scholarly journals Laminar ceilings? Shell construction in the work of some masters of modern architecture

2018 ◽  
pp. 97
Author(s):  
Rafael García García
Keyword(s):  
Comparative Analysis ◽  
Le Corbusier ◽  
Modern Architecture ◽  
Formal Potential

AbstractThis contribution explores the constructive and formal potential of the laminar structures in the work of three prominent figures of Modern Architecture. Unlike the most memorable constructions of this type, the roof structures here considered are not the main and only protagonist element of the building. Conversely in these cases they have been designed as parts of the building more inconspicuous and integrated. The study excludes therefore the most important realizations and also more known, made by authors as Maillart, Candela, Isler, Torroja, Saarinen, Niemeyer, etc. which have been widely treated in the specialized literature. The paper is focused in architects as Le Corbusier, Alvar Aalto and Louis Kahn, for whom the study of their approach to the laminar seems not to have been made adequately as a whole till now. Are important too, the considerations resulting from the comparative analysis, shedding some light on the idiosyncratic way in which this type of structures was adopted by each architect.ResumenEn este artículo se explora el empleo realizado por tres figuras destacadas de la arquitectura moderna de la potencialidad formal y constructiva de las estructuras laminares. A diferencia de como ocurrió en la mayoría de las construcciones memorables de este tipo, la estructura de cubierta no es necesariamente el gran y único elemento protagonista, proyectándose más bien por el contrario, como partes del edificio más discretas e integradas. Se excluyen, por tanto, las realizaciones más importantes, pero también más conocidas, de autores como Maillart, Candela, Isler, Torroja, Saarinen, etc. ya ampliamente tratadas en la literatura dedicada al tema. Contrariamente, en este trabajo se centra la atención en arquitectos como Le Corbusier, Alvar Aalto, Louis Kahn, cuya aproximación menos evidente a lo laminar entendemos que no ha sido en conjunto suficientemente tratada hasta ahora. Son importantes también las conclusiones derivadas de los análisis comparativos, las cuales arrojan alguna luz sobre las particulares formas en que se adoptó este tipode estructuras por cada arquitecto.

Houses beyond manifestos

2021 ◽  
pp. 18-25
Author(s):  
Ruth Verde Zein
Keyword(s):  
Le Corbusier ◽  
Sao Paulo ◽  
Modern Architecture ◽  
São Paulo ◽  
Interconnected Network ◽  
Commercial Space ◽  
Good Shape ◽  
Individual Solution

Brazilian historiography on modern architecture, replicated by international authors, confirms the importance and the pioneer stance of Gregori Ilitch Warchavchik (1896-1972)/Mina Klabin’s (1896-1969) 1927-1932 architecture in São Paulo, and the 1126 Bahia Street (Luiz da Silva Prado) house, 1930-1931, São Paulo, Brazil, is a remarkable example of their initial set of houses. Its design dialogues with other houses simultaneously designed by Adolf Loos (1870-1933), Le Corbusier (1887-1965), Juan O’Gorman (1905-1982), and the connections among all these modernist pieces and their authors suggest the informal existence of an interconnected network of creators, spread across continents. Likewise, they all put forward proselytizing strategies to amplify the repercussion of their works through exhibitions, publications, and debates. The generous internal spaces of this house on Bahia Street, the steady play of its geometrical composition, and its wise topographical and innovative landscape arrangements are well balanced, providing the authors’ aim of both making a manifesto and providing the site and the client’s necessities with an appropriate individual solution. The house has been used as a commercial space in recent decades, but it has been properly maintained and it is still in good shape.

scholarly journals Criminal Skins: Tattoos and Modern Architecture in the Work of Adolf Loos

2005 ◽  
Vol 48 ◽  
pp. 235-256 ◽  
Author(s):  
Jimena Canales ◽  
Andrew Herscher
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Le Corbusier ◽  
Modern Architecture ◽  
Turn Of The Century ◽  
Less Is More ◽  
International Style

Adolf Loos’s famous essay, ‘Ornament and Crime’, decisively linked unornamented architecture with the culture of modernity and, in so doing, became one of the key formulations of modern architecture. To a great extent, the essay’s force comes from arguments drawn from nineteenth-century criminal anthropology. Nevertheless, Loos’s work has been consistently understood only within the context of the inter-war avant- gardes. In the 1920s, Le Corbusier was particularly enthusiastic in bringing Loos’s work to the fore, thereby establishing its future reception. ‘Ornament and Crime’ became an essential catalyst for architecture’s conversion away from the historicism of the nineteenth century to modernism. At the turn of the century, Loos’s essay already foreshadowed the white abstraction of ‘less is more’ architecture and the functionalist rigour of the International Style which would dominate the twentieth century.

scholarly journals Le Corbusier: publicaciones en Estados Unidos, 1925-1939

2020 ◽  
pp. 42
Author(s):  
Fernando Zaparaín Hernández ◽  
Jorge Ramos Jular ◽  
Pablo Llamazares Blanco
Keyword(s):  
New York ◽  
New York Times ◽  
Le Corbusier ◽  
International Exhibition ◽  
Modern Architecture ◽  
The New York Times

Se recopilan y analizan las publicaciones, de y sobre Le Corbusier, en Norteamérica, en el periodo de entreguerras, que corresponde con la difusión inicial de sus ideas e incluye su participación en la Modern Architecture International Exhibition del MoMA en 1932, su muestra de pintura en la galería Becker en 1933 y el viaje con exposición de 1935. Durante esta época se consolidaron en Estados Unidos la estandarización industrial, la automoción o los fenómenos urbanos complejos, que atrajeron a Le Corbusier, y propiciaron allí el interés por sus alegatos sobre la máquina. Se aporta un listado actualizado, operativo y más completo, que permite hacer una mínima bibliometría, con 15 textos de Le Corbusier y 73 de otros autores. Muchos eran antiguos colaboradores (Rice, Frey, Stonorov) o admiradores en torno al MoMA, con Hitchcock a la cabeza (Kocher, Barr, Heap, Lescaze, Hood). Hubo alguna respuesta crítica de figuras como Wright, Fuller, Bauer o Mumford. Destacaron determinados medios e instituciones favorables (<em>Architectural Record</em>, <em>The New York Times</em>, The Studio, MoMA, Architectural League). En cuanto al formato, no se trata de estudios académicos ni metodológicos, sino alegatos breves y provocadores, con el hábil recurso a titulares e imágenes propias, en paralelo al texto. La temática principal no fue su obra construida, sino sus propuestas urbanas.

scholarly journals Le Corbusier’s Legacy: Modern experimentation in Mario Bonito´s work

2015 ◽  
Author(s):  
Helder Casal Ribeiro
Keyword(s):  
Rational Design ◽  
Academic Work ◽  
Le Corbusier ◽  
Modern Architecture ◽  
Third Generation ◽  
Design Issues ◽  
Crystal Palace ◽  
Palabras Clave ◽  
Modernist Architecture ◽  
Just Society

Abstract: This paper investigates the path of third generation Portuguese modern architect, Mário Bonito (1921/1976), in order to understand and clarify his contribution to the maturity process of portuguese modern architecture, that began at the end of the 1940s, strongly influenced by Le Corbusier. Through the understanding of his final academic work, CODA (Competition to Obtain the Architects Diploma), designated Pavilhão das Ilhas Adjacentes, located in Jardim do Palacio Cristal (Crystal Palace Gardens) in Porto, dated 1947/48, we intend to deepen his relationship with the modern premises of corbusier´s architecture, framed by portuguese reality. However Le Corbusier´s legacy in Mario Bonito´s work is not formal but thematic, in understanding the main issues that guide the intent of progressive man in molding a modern and just society. The paper covers themes characteristic to Portuguese modernist architecture such as the dialogue between craftsmanship and technique, compositional rigor and rational design issues resulting from the systematization of the construction processes, with the search for standardization of architectural and constructional elements. This dialogue emphasizes the compromise between tradition and modernity that will be present in all of Mário Bonito´s designed and written work, announcing the experimental temperament and formal coherence of his subsequent works. Resumen: Este artículo investiga el camino de la tercera generación de arquitecto moderno portugués, Mário Bonito (1921/1976), a fin de comprender y aclarar su contribución al proceso de la madurez de la arquitectura moderna portuguesa, que se inició a finales de la década de 1940, fuertemente influenciado por Le Corbusier. A través de la comprensión de su obra académica final, CODA (Concurso para Obtenção do Diploma de Arquitecto), designado Pavilhão das Ilhas Adjacentes, ubicado en Jardim do Palacio de Cristal en Porto, con fecha de 1947 / 48, tenemos la intención de profundizar su relación con las premisas modernas de la arquitectura Corbusiana, encuadradas por la realidad portuguesa. Sin embargo el legado de Le Corbusier en el trabajo de Mario Bonito no es formal, sino temático, en la comprensión de los temas principales que guían la intención del hombre progresista en el moldeo de una sociedad moderna y justa. El artículo abarca temas como el diálogo entre la artesanía y la técnica, el rigor compositivo y problemas de diseño que resulten de la sistematización de los procesos de construcción, con la búsqueda de la normalización de los elementos arquitectónicos y constructivos. Este diálogo enfatiza el compromiso entre la tradición y la modernidad que estará presente en todo trabajo diseñado y escrito de Mario Bonito, anunciando el temperamento experimental y coherencia formal de sus obras posteriores.  Keywords: legacy; Mário Bonito; portuguese architecture; Porto; universality. Palabras clave: legado; Mário Bonito; arquitectura portuguesa; Porto; universalidad. DOI: http://dx.doi.org/10.4995/LC2015.2015.1004

Costa, Lúcio (1902–1998)

2018 ◽  
Author(s):  
Maarten Goossens
Keyword(s):  
Latin American ◽  
Architectural Design ◽  
Le Corbusier ◽  
Modern Architecture ◽  
Town Planning ◽  
Capital City ◽  
Ministry Of Education ◽  
American Modernism ◽  
National School ◽  
Relevant Work

Brazilian architect Lúcio Marçal Ferreira Ribeiro Lima Costa was a founding father and one the main exponents of Brazilian modern architecture. After passing his childhood in Europe, Costa enrolled in the National School of Beaux-Arts in Rio de Janeiro. Although his first years as a practicing architect were characterized by the influence of the neocolonial movement then in its full vigour, by 1929 Lúcio Costa became, along with Gregori Warchavchik, one of the first advocates of modern architecture in Brazil, influenced by the ideas of Le Corbusier, who had visited Brazil in 1929. Costa was given the opportunity to actively promote modern ideas when he was appointed, in 1930, as head of the National School of Beaux-Arts. One of Costa’s most significant designs from this period, and a landmark in Brazilian and Latin American Modernism, is the Ministry of Education and Public Health (1936–1945), designed with Affonso Eduardo Reidy, Oscar Niemeyer (one of Costa’s former students), and with the participation of Le Corbusier as a design consultant, among others. During his career Costa was able to combine architectural design, landscape architecture, town planning, public service, heritage protection and writing. His most relevant work is the layout of Brasília, the newly built capital city of Brazil (1956–1960).

Influence without anxiety: Jørn Utzon, Silkeborg Museum and Le Corbusier

2000 ◽  
Vol 4 (2) ◽  
pp. 106-122 ◽  
Author(s):  
Richard Weston
Keyword(s):  
Le Corbusier ◽  
Modern Architecture ◽  
Comprehensive Assessment ◽  
Third Generation ◽  
The Third

Although hailed by Sigfried Giedion as the leader of the Third Generation of modern architects, Jørn Utzon has generally been interpreted as a Nordic regionalist, in succession to Asplund and Aalto. Drawing on both familiar and unpublished material, taken from a monograph to be published by Edition Bløndal later this year, the paper explores striking, but previously neglected or ignored parallels between the work of Utzon and Le Corbusier. A comprehensive assessment of Utzon's work is long overdue, and should situate him in the mainstream of international modern architecture.

The making of architectural promenade: Villa Savoye and Schminke House

2012 ◽  
Vol 16 (2) ◽  
pp. 108-124
Author(s):  
Flora Samuel ◽  
Peter Blundell Jones
Keyword(s):  
Le Corbusier ◽  
Modern Architecture ◽  
Generic Term

The term ‘architectural promenade’ has become a part of the language of modern architecture, yet it has been little discussed or investigated. We find it insufficient as a generic term to express a concern with the experience of moving through a building, for the promenade can mean different things to different people. To illustrate this point we make a comparison of the promenade in the Villa Savoye by Le Corbusier – perhaps the promenade par excellence – and that of the almost contemporary Schminke House by Hans Scharoun. We have found many distinct differences. The emphasis in this essay is on the meaning and manipulation of space, something of deep concern to both architects and a topic that each of us has explored separately elsewhere.

scholarly journals The Corb Legagy. A conversation with Kenneth Frampton

2021 ◽  
pp. 132
Author(s):  
Veronique Boone ◽  
Gregorio Carboni Maestri
Keyword(s):  
New York ◽  
Graduate School ◽  
Architectural Design ◽  
Le Corbusier ◽  
Modern Architecture ◽  
Columbia University ◽  
Critical History ◽  
Peter Eisenman

<p>Esta entrevista se realizó el 6 de septiembre de 2019 con Kenneth Frampton, Ware Professor à la Graduate school of architecture, planning, and preservation, Columbia University of New York. Esta conversación forma parte de una serie de entrevistas con destacados historiadores y arquitectos que marcan la primera generación de estudios sobre la figura y la obra de Le Corbusier, realizada con el apoyo de la Fundación Le Corbusier. Este intercambio filmado y transcrito cuestiona el terreno en el que Kenneth Frampton ha estudiado a Le Corbusier e integrado la obra del arquitecto en su investigación sobre la arquitectura moderna. Aborda cuestiones relacionadas con la arquitectura y los edificios de Le Corbusier (como la Unité d’habitation, las villas Roq y Rob y la Maison de week-end); el proyecto del Movimiento Moderno y la influencia de sus ideas antes y después de las guerras mundiales en Europa, Londres, Gran Bretaña y la escena americana. Figuras como el Atelier 5, Peter Eisenman, Lluis Sert e instituciones como la Conference of Architects for the Study of the Environment y Harvard, así como una comprensión más profunda de nociones como el regionalismo crítico o lo vernáculo en la obra de Le Corbusier también han sido temas de conversación. Frampton evoca su relación con Le Corbusier y habla de sus escritos, como editor técnico de la revista Architectural Design y posteriormente como historiador, con la edición de Modern Architecture: A Critical History.</p>

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