Results for 'Le Corbusier'
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- LeCorbusier and the Concept of Self.Simon Richards &LeCorbusier -2003 - Yale University Press.Filosofische analyse van het zelfconcept van de Zwitsers-Franse architect (1887-1965), herwaardering van zijn motieven als stadsplanoloog en nieuwe inzichten met betrekking tot zijn intellectuele relaties met andere leden van de avantgarde van de twintigste eeuw.No categories
- LeCorbusier: Architect, Painter, WriterNew World of Space.Paul Zucker,Stamo Papadaki &LeCorbusier -1949 -Journal of Aesthetics and Art Criticism 7 (4):369.
- (1 other version)LeCorbusier : architecture et politique.Labbé Mickaël -2017 -Astérion. Philosophie, Histoire des Idées, Pensée Politique 16.Les rapports entretenus par LeCorbusier, architecte le plus emblématique de la modernité, avec le pouvoir politique sont foncièrement ambivalents. Promoteur inlassable du bonheur pour tous à travers l’architecture, LeCorbusier a pourtant frayé avec à peu près tous les pouvoirs, apparemment sans témoigner de préférences politiques, d’une manière qui semble contradictoire avec ses propres objectifs. À travers une série de paradoxes, nous cherchons à montrer que l’attitude politique de LeCorbusier ne doit pas simplement être référée (...) à un ensemble d’arguments factuels et historiques, voire à une forme d’opportunisme consubstantiel à l’architecte en recherche de commandes, mais également à une certaine conception théorique et philosophique de la nature du pouvoir lui-même. Le pouvoir, conçu de manière purement formelle et extrêmement individualiste, n’est jamais pensé autrement que comme simple moyen ou cause efficiente visant à mettre en action la seule révolution valable pour LeCorbusier, à savoir la transformation de la culture par l’architecture. Se dessine ainsi la figure d’une pensée profonde des pouvoirs de l’architecture, en même temps que d’une singulière absence d’intelligence du politique. (shrink)No categories
- Andre ikoner. Museene (1925).LeCorbusier -2006 -Agora Journal for metafysisk spekulasjon 24 (3):221-226.No categories
- Brev fra Charles-Édouard Jeanneret (Athen)til William Ritter (München) 10. september 1911.LeCorbusier -2018 -Agora Journal for metafysisk spekulasjon 36 (1):157-161.No categories
- Hva maskinen har lært oss (1925).LeCorbusier -2004 -Agora Journal for metafysisk spekulasjon 22 (1-2):194-200.No categories
- Teknikken er poesiens grunnlag (1929).LeCorbusier -2004 -Agora Journal for metafysisk spekulasjon 22 (1-2):201-205.No categories
- When the Cathedrals Were White. A Journey to the Country of Timid People.Paul Zucker &LeCorbusier -1948 -Journal of Aesthetics and Art Criticism 6 (3):287.
- LeCorbusier & Lucien Herve: A Dialogue Between Architect and Photographer.Jacques Sbriglio -2011 - J. Paul Getty Museum.In 1949, the photographer Lucien Hervé took a picture of an innovative apartment building in Marseille, France, and sent it to the building's architect, LeCorbusier. LeCorbusier responded by asking Hervé to become his official photographer. This book recounts the creative collaboration between these two groundbreaking Modernists. The author takes the reader on a tour of sixteen of LeCorbusier's most iconic buildings using Hervé's edited sheets of contact prints as visual guides. These sheets, which became (...) an effective tool in the collaborative dissemination of LeCorbusier's work, capture Hervé's dynamic perspectives and dramatic use of light. His sequencing of the individual prints creates an exhilarating rhythm that powerfully showcases the architect's novel forms and materials. (shrink)No categories
- LeCorbusier, l'aereo e il destino della metropoli moderna.Matteo Vegetti -2020 -Società Degli Individui 66:35-43.No categories
- Repetition and difference: Lefebvre, lecorbusier and modernity's (im)moral landscape.Mick Smith -2001 -Ethics, Place and Environment 4 (1):31 – 44.If, as Lefebvre argues, every society produces its own social space, then modernity might be characterized by that (anti-)social and instrumental space epitomized and idealized in LeCorbusier's writings. This repetitively patterned space consumes and regulates the differences between places and people; it encapsulates a normalizing morality that seeks to reduce all differences to an economic order of the Same. Lefebvre's dialectical conceptualization of 'difference' can both help explain the operation of this (im)moral landscape and offer the possibility of (...) alternative post-modern social spaces that might produce and respect Otherness. In this sense Lefebvre's work is an incipient 'difference ethics'. (shrink)
- LeCorbusier's Postmodern Plan.Dennis Crow -1989 -Theory, Culture and Society 6 (2):241-261.No categories
- Repetition and difference: Lefebvre, lecorbusier and modernity's (im)moral landscape: A commentary.Neil Maycroft -2002 -Ethics, Place and Environment 5 (2):135 – 144.. Repetition and Difference: Lefebvre, LeCorbusier and Modernity's moral Landscape: A Commentary. Ethics, Place & Environment: Vol. 5, No. 2, pp. 135-144.
- LeCorbusier, J. Jacobs and Their Rationalities.Andrej Gogora -2010 -Filozofia 65 (4):361-365.The paper gives an analysis of the conception of rationality of two influential representatives of the 20th century theory of urbanism, and their philosophical grounds. It also outlines the problem of modern rationality, questions its character and points out, that for the time being the transition to a new way of thinking is problematic.Export citation
Bookmark - La città dell'illusione. Strategie narrative e forme di rappresentazione nelle visioni urbanistiche di LeCorbusier.Anna Rosellini -2020 -Scienza and Politica. Per Una Storia Delle Dottrine 32 (62).LeCorbusier's visionary or realistic urban plans are accompanied by various experimental ways of presentation, all designed to involve the public and political authorities through spectacular installations that play on the dimension of illusionism. In his quest to present his urbanistic ideas, LeCorbusier uses dioramas, photographs and film projections. The aim of his staging is to modify the conventional vision of reality with a systematic bombardment of spectacular images.No categories
- LeCorbusier and the Occult.Simon Richards -2010 -Common Knowledge 16 (3):553-554.No categories
- LeCorbusier: Last WorksThe Poetry of Dada and Surrealism: Aragon, Breton, Tzara, Eluard and Desnos.Van Meter Ames,Willy Boesiger &Mary Ann Caws -1970 -Journal of Aesthetics and Art Criticism 29 (2):282.
- Arhitektura moderne in das Unheimliche: Heidegger, Freud in LeCorbusier.Mateja Kurir -2018 - Ljubljana: Inštitut Nove revije.Das Unheimliche je tisto nedomače, grozljivo in strašljivo, ki pri Freudu in Heideggerju izhaja iz najbolj domačega in varnega, obenem pa je tudi eden od običajno spregledanih skupnih točk njunega dela. To je tudi ravnina, na kateri moderna in modernistična arhitektura, kot jo je oblikoval tudi LeCorbusier, zasije v drugačni perspektivi. Jedro arhitekture in metropole moderne bi morebiti lahko prebrali ravno skozi okular te grozljivosti das Unheimliche. -/- Knjiga v slovenski kulturni prostor prinaša prvo poglobljeno analizo prepleta moderne (...) in njene arhitekture z grozljivo tesnobnostjo, ki jo označuje termin das Unheimliche. -/- Predgovor h knjigi je napisal Aleš Vodopivec, strokovni recenziji pa Žarko Paić in Mladen Dolar. Knjiga je izšla pri Inštitutu Nove Revije s podporo Javne agencije za raziskovalno dejavnost Republike Slovenije, oblikoval jo je Ivian Kan Mujezinović. (shrink)Export citation Bookmark
- The City of Illusion. Narrative Strategies And Forms Of Representation Of LeCorbusier's Urban Planning Visions.Anna Rosellini -2020 -Scienza and Politica. Per Una Storia Delle Dottrine 31 (62).LeCorbusier's visionary or realistic urban plans are accompanied by various experimental ways of presentation, all designed to involve the public and political authorities through spectacular installations that play on the dimension of illusionism. In his quest to present his urbanistic ideas, LeCorbusier uses dioramas, photographs and film projections. The aim of his staging is to modify the conventional vision of reality with a systematic bombardment of spectacular images.No categories
- Paul Otlet, Otto Neurath, LeCorbusier : un projet pour la paix perpétuelle.Walter Tega -2014 -Revue de Métaphysique et de Morale 84 (4):545.No categories
- The antisocial urbanism of LeCorbusier.Simon Richards -2007 -Common Knowledge 13 (1):50-66.No categories
- Ethical difference(s): A response to maycroft on lecorbusier and Lefebvre.Mick Smith -2002 -Ethics, Place and Environment 5 (3):260 – 269.(2002). Ethical Difference(s): A Response to Maycroft on LeCorbusier and Lefebvre. Ethics, Place & Environment: Vol. 5, No. 3, pp. 260-269.
- Intimacy and Monumentality in Chandigarh, North India: LeCorbusier's Capitol Complex and Nek Chand Saini's Rock GardenChandigarh's LeCorbusier: The Struggle for Modernity in Postcolonial India.Sharon Irish &Vikramaditya Prakash -2004 -Journal of Aesthetic Education 38 (2):105.In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 105-115 [Access article in PDF] Intimacy and Monumentality in Chandigarh, North India: LeCorbusier's Capitol Complex and Nek Chand Saini's Rock Garden Sharon Irish School of Architecture University of Illinois, Urbana-Champaign Chandigarh's LeCorbusier: The Struggle for Modernity in Postcolonial India, by Vikramaditya Prakash. Seattle: University of Washington Press, 2002, 179pp., $35.00 cloth. The seventh century poet and philosopher Dharmakirti (...) wrote of the path we each must make: No one behind, no one ahead, The path the ancients cleared has closed. And the other path, everyone's path, easy and wide, goes nowhere. I am alone and find my way.1The image in Figure 1 shows the bottom of a concrete ramp that angles back upon itself as it connects two levels of the government complex in Chandigarh and ends in a grassy hillside that has several dirt paths cutting across it. The concrete ramp begins just to the left of LeCorbusier's Assembly Hall (Figure 2). What I hope is evident from just two images is the contrast between the curving, unplanned path that pedestrians have made as they leave the bottom of the ramp, and the axial, monumental path implicit in the organization of the large concrete plaza in front of the Assembly Hall. One is informal and intimate because of the many footprints that have worn away the grass; the other is formal and monumental in its carefully controlled framing of a sculptural presence. They are two very different paths, offering different rewards as we wander upon them.As Vikramaditya Prakash's book, Chandigarh's LeCorbusier, emphasizes, the Capitol Complex derived from LeCorbusier's personal mythology, transmogrified somewhat by the site, the politics, and the climate. LeCorbusier "considered it the true mission of modern architecture to reestablish the aesthetic and poetic forms necessary for the liberation and deliverance of...modern man."2 LeCorbusier's monumentalism, then, was imposed on Chandigarh's landscape and the inhabitants with the assumption that he knew best what architecture was appropriate for "liberation." While there are many aspects of his designs to appreciate and admire, his buildings only indirectly address the visitor, preferring uncanny to intimate relationships.3 [End Page 105] Click for larger viewFigure 1 The bottom of the ramp leading into a path toward the Trench of Consideration, Capitol Complex, Chandigarh. Photo by the author. Click for larger viewFigure 2 Façade of the Assembly Building, LeCorbusier, 1953-61, Chandigarh. Photo by the author. [End Page 106]For six months in 1999, I lived in Chandigarh within a few blocks of LeCorbusier's government complex and another compelling place, the nearby and unrelated Rock Garden. While the paths at the Government Complex are, for the most part, empty, those in the Rock Garden are not and provide chances for intimate interactions that are only hinted at underneath LeCorbusier's concrete ramp. Poignant informality in LeCorbusier's government sector exists in areas that were never completed according to plan.4 Its predominant monumentality provides a useful contrast to the intimate spaces of the Rock Garden.In the 1950s, two men, LeCorbusier and Nek Chand Saini, began two very different projects within a kilometer of each other in Chandigarh. LeCorbusier's Capitol Complex started in the very highest government circles with Prime Minister Jawaharwal Nehru: the plan was to build a new state capital for a newly divided Punjab in a newly independent India. In architectural history, Chandigarh is well known and well studied due to its planning and design. Nek Chand's Rock Garden (under construction since 1958, and open to the public since 1976) began as an illegal private project by one man to give form to his imagination. This essay is my impressionistic response to these two projects.Monumental buildings often function powerfully as icons or as proud isolated structures. Visited on ceremonial occasions, they can provide visually compelling backdrops to large-scale... (shrink)
- Aviation and the Aerial View: LeCorbusier's Spatial Transformations in the 1930s and 1940s.M. Christine Boyer -2003 -Diacritics 33 (3/4):93-116.In lieu of an abstract, here is a brief excerpt of the content:Aviation and the Aerial View:LeCorbusier's Spatial Transformations in the 1930s and 1940sM. Christine Boyer (bio)Part One: The Aerial ViewAviation and Equipment. A London publishing house, The Studio, Ltd, sent LeCorbusier a letter in January 1935, inquiring whether he would be interested in collaborating on a new series of books to be titled The New Vision. The promoters explained that each book in the series would (...) be devoted to a unique event in industrial design, with specific attention paid to the designers, their aims, and the potential these designs held for social and human development. They would begin the series with a volume on the airplane. LeCorbusier was asked to write an introductory essay, supply captions for the images they had already collected, and offer a few suggestions for additional illustrations.1Accepting the invitation, LeCorbusier in his reply, however, transformed the project: instead of the word "airplane" he preferred "aviation," by which he meant all the prodigious phenomena opening vast new horizons in space and influencing the future of "equipment" in the broadest sense of the word.2 Already in Precisions (1930) he had written, "I replace the word 'urbanism' by the term 'equipment.' I have already replaced the term 'furniture' by that of 'equipment.' Such stubbornness shows well that we are purely and simply claiming tools for work, for we do not want to die of hunger facing the embroidered flowerbeds of aesthetic urbanism" [143]. To his bag of equipment, LeCorbusier now adds "aviation," a tool of modern communication forging new modes of exchange and new links between nations.3The material subsequently sent by the publishing house to LeCorbusier also met with lukewarm reception: he favored more lively documentation such as the view from an airplane as it flew over cities—vast open terrain, the sea, and the forests. And he wanted more picturesque treatment of the lives of aviators, their psychological and social attitudes including analysis of the great aerial routes being drawn between Europe and America, Africa, or Asia. The publishing house was unable to fulfill LeCorbusier's [End Page 93] expectations, reminding him that their focus was limited to "the airplane" and that they expected to receive all his material by May.4What did LeCorbusier mean by "aviation" and the "epic of the air," a phrase he used in the preface of the subsequent book Aircraft (1935)? What new horizons did aviation open and how did this affect the perception of space and the process of reading the terrain as a two-dimensional map or a plan? And what did aviation have to do with "equipment"? Just the year before LeCorbusier had seen the Exposition de l'Aéronautique in Milan for which Mussolini offered the maxim: "Aviation is grand, small, or nothing at all, depending on whether public awareness of aviation is grand, small, or nothing at all."5 LeCorbusier, ever the great publicist, accepted the challenge to spread the meaning of "aviation" in the inclusive sense of the word entailing adventure and service, organization, and machinery.The rapid growth of aviation during the interwar period was mercurial, dramatically reshaping perception of the world and of space. There were daring flights of aviators challenging the breath of oceans and deserts, the heights of Everest, the length of Africa, the uncharted terrain of the North and South Poles. The airplane not only internationalized cartography; it was a tool for exploring and controlling the colonies. While aerial photography, which recorded in precise detail the realistic shape of landmasses, coastlines, seas, deserts, and mountains, perfected the process of mapmaking and enriched the documentary archive of the planet.Yet even more stunning, aviation continually shrunk the size of the globe after the initial KLM flight between Amsterdam and Jakarta took off in 1924. Then the time needed to navigate the 9000 miles was 55 days; within five years it had been reduced to a mere 12 days. A world map criss-crossed with national air routes came into view. In the 1930s civil airlines began to offer passenger and mail service between London and the Middle East, then on to India and... (shrink)No categories
- Creativity and intelligibility in lecorbusier's chapel at ronchamp.John Alford -1958 -Journal of Aesthetics and Art Criticism 16 (3):293-305.
- "De Vitruve à LeCorbusier": G. Uniack. [REVIEW]W. Sinclair Gauldie -1969 -British Journal of Aesthetics 9 (2):202.Export citation Bookmark
- The formal syntax of modernism: Carnap and lecorbusier.Gordon C. F. Bearn -1992 -British Journal of Aesthetics 32 (3):227-241.
- The Eisenstein effect: architecture and narrative montage in Eisenstein and LeCorbusier.Anthony Vidler -2019 - In Edward Dimendberg,The moving eye: film, television, architecture, visual art, and the modern. New York, NY: Oxford University Press.No categoriesExport citation Bookmark
- The "Floating Asylum," the Armée du salut, and LeCorbusier: A Modernist Heterotopian/Utopian Project.Diane Morgan -2014 -Utopian Studies 25 (1):87-124.A boat is a floating piece of space, a place without place, which lives by itself, which is closed in on itself and that is at the same time exposed to the infinity of the sea. Nowadays one cannot conceive a utopia that does not address itself to nomads, peoples and individuals, to the homeless, to the excluded. After World War I a concrete barge made its way up and down the Seine between Rouen and Paris.1 It was called the (...) Liège, and its mission was to supply the French capital with English coal. When it was decommissioned in 1929, the Armée du salut (the French Salvation Army) bought it with the aid of a donation from Madeleine Zillhardt, the recently bereaved long-term companion of the painter .. (shrink)
- Understanding the Architectural Walks of LeCorbusier through Chuang-tzu's Ecologic Aethestics of Enjoyment in Untroubled Ease.Lee Seung Hee -2018 -동서철학연구(Dong Seo Cheol Hak Yeon Gu; Studies in Philosophy East-West) 88:167-190.No categories
- Moral geometry, natural alignments and utopian urban form.Jean-Paul Baldacchino -2018 -Thesis Eleven 148 (1):52-76.The city has featured as a central image in utopian thought. In planning the foundation of the new and ideal city there is a close interconnection between ideas about urban form and the vision of the moral good. The spatial structure of the ideal city in these visions is a framing device that embodies and articulates not only political philosophy but is itself an articulation of moral and cosmological systems. This paper analyses three different utopian moments in three different historical (...) epochs – Tommaso Campanella’s City of the Sun (1602), the Choson dynasty foundation of the city of Seoul (1395) and the modernist utopian urbanism of the controversial LeCorbusier (1887–1965). In this analysis attention is drawn to the cosmological and moral visions articulated in these three ‘images of the city’ (Lynch). The opposition between rationalistic/mechanistic and religious/traditional urban design can prove to be an oversimplification that obscures the complex interrelations between the moral geometry and the natural alignments of the ideal urban form. (shrink)No categories
- N extensions à Extensions de la grille.Philippe Morel -2005 -Multitudes 1 (1):57-65.LeCorbusier still believed that architecture’s fundamental measure should be man. With the exception of Hilberseimer, who more perspicaciously believed in the advent of an abstract, conceptual and computational form of production, architecture has been late in grasping the interlinkage of science, industry and capitalism. Even if it means a questioning of its own foundations, it can no longer feign ignorance of a production process that relies increasingly on linguistic constructions, on an « ambient factory » of interconnected PCs.No categories
- Renée Green : tactiques de l'histoire.Giovanna Zapperi -2008 -Multitudes 34 (3):139.Smithson, Notari, LeCorbusier, Einstein…Renée Green’s work sketches genealogies through reconstructions and inquiries based on displacements through times and spaces, between the present and the past, the subject of narration and the subject of the story, here and elsewhere. In these back-and-forth movements between archive and fiction, historical figures emerge as ghosts which literally haunt her films, occupying a spatial borderline between imagination, history and the desires invested in the process of remembrance.No categories
- The Machine Is a Watershed for Living In.Brook Muller -2016 -The Pluralist 11 (1):78-92.The Swiss-born designer LeCorbusier’s famous metaphorical characterization of a house as a machine heralded a view of architectural impulse of staggering influence. It was for LeCorbusier “not foolishness to hasten forward a clearing up of things” and to affirm the radically transformative possibilities for making architecture in full acknowledgment of the forces of industry. Architects are to embrace the logic and symbolic economy of the machine in order to guide the spirit and gather the forms of (...) the emergent age. For LeCorbusier:Our external world has been enormously transformed in its outward appearance and in the use made of it. By reason of the machine, we have gained a new perspective and a new.. (shrink)
- Die Formale Grundlegung der Modernen Architektur.Peter Eisenman -2005 - Gebr. Mann Verlag. Edited by Werner Oechslin.Anhand ausgewählter Bauten von LeCorbusier, Alvar Aalto, Frank Lloyd Wright und Giuseppe Terragni analysiert Peter Eisenman die Merkmale allgemeiner und spezifischer Form, deren Zusammenspiel er als Grundlage architektonischer Erfindung und Komposition ausweist. Gleichzeitig wird in seiner Studie der Ausgangspunkt des theoretischen und praktischen Werks von Peter Eisenman erkennbar..No categories
- Plan-based Thought: From the New Civilisation to the Global System of Power.Roberta Ferrari -2020 -Scienza and Politica. Per Una Storia Delle Dottrine 31 (62).Historically the plan has been about much more than economic planning. By plan-based thought I mean a concept of social governance that requires a multiple but structured articulation of social, economic, administrative and political forces and institutions and aims at shaping new forms of integration and social control using a specific scientific discourse.The following essays provide an analysis of global planning starting from different historical and geographical situations and different disciplinary perspectives. The broad picture that emerges shows points of continuity (...) and discontinuity between different contexts and theories but also reveals a common theme: the conflictual relationship between economics and politics which not only reflects the hierarchies between state and society but also shows the dialectic between different forms and conceptions of power and their social reproduction. Plan-based thought does not only concern temporary institutional transformations, but reacts and is connected to the management of social conflicts over time. (shrink)No categories
- Seeking the “museum of the future”: Public exhibitions of science, industry, and the social, 1910–1940.Loïc Charles &Yann Giraud -2021 -History of Science 59 (2):133-154.Using as case studies the initiatives developed by two museum curators, the Belgian bibliographer Paul Otlet (1868–1944) and the Austrian social scientist Otto Neurath (1882–1945), and their subsequent collaboration with an extended network of scientists, philanthropists, artists, and social activists, this article provides a portrait of the general movement toward the creation of a new form of museum: the “museum of the future,” as Neurath labeled it. This museum would be able to enlighten the people by showing the nature of (...) modern industrial civilization. The promoters of the “museum of the future” intended to reform museum practices by organizing exhibitions of social facts, but also by integrating several dimensions – architecture, commerce, entertainment, pedagogy, and science and technology – to create a holistic frame to address their audience. However, the effortlessly circulating museum Neurath and Otlet envisioned stood in sharp contrast to the many, often immaterial, boundaries they encountered in their attempt to implement their vision. Ever-growing nationalism, the professionalization of social science, and the increasing commercialization of scientific vulgarization are some of the factors that help explain their failure. (shrink)
- Il pensiero di piano. Dalla nuova civiltà al sistema globale di potere.Roberta Ferrari -2020 -Scienza and Politica. Per Una Storia Delle Dottrine 32 (62).Historically the plan has been about much more than economic planning. By plan-based thought I mean a concept of social governance that requires a multiple but structured articulation of social, economic, administrative and political forces and institutions and aims at shaping new forms of integration and social control using a specific scientific discourse.The following essays provide an analysis of global planning starting from different historical and geographical situations and different disciplinary perspectives. The broad picture that emerges shows points of continuity (...) and discontinuity between different contexts and theories but also reveals a common theme: the conflictual relationship between economics and politics which not only reflects the hierarchies between state and society but also shows the dialectic between different forms and conceptions of power and their social reproduction. Plan-based thought does not only concern temporary institutional transformations, but reacts and is connected to the management of social conflicts over time. (shrink)No categories
- From music to sound: the emergence of sound in 20th- and 21st-century music.Makis Solomos -2020 - New York, NY: Routledge.From Music to Sound is an examination of the six musical histories whose convergence produces the emergence of sound, offering a plural, original history of new music. Both well-known and lesser-known works and composers are anaylsed in detail, from Debussy to contemporary music in the early 21st century; from rock to electronica; from the sound objects of the earliest musique concrète to current electroacoustic music; from the Poème électronique of LeCorbusier-Varèse-Xenakis to the most recent inter-arts attempts. Covering theory, (...) analysis and aesthetics, this book will be of great interest to scholars, professionals and students of Music, Musicology, Sound Studies and Sonic Arts. (shrink)
- Nietzsche for architects.Lucy Huskinson -2025 - New York, NY: Routledge.Nietzsche's philosophy is provocative and complex and has been hugely influential on modern intellectual history and European culture. But his critical approach and writing style invites misunderstandings, sometimes to disastrous consequences. His ideas-or those loosely associated with him-are often briefly cited in scholarly studies in architectural theory and history. His ideas are thought to have influenced the theories and designs of such iconic architects as LeCorbusier, Henry van de Velde, Bruno Taut, and Louis H. Sullivan, as well as (...) competing approaches to architecture and design, such as those adopted by the Bauhaus School and the Nazis. In the bewildering array of architectural positions that lay claim to Nietzsche as an influence, how can we begin to make sense of Nietzsche's own approach to architecture? And how can we identify within his complex philosophy the key ideas and themes we require to make sense of his contribution to architecture? This first introduction to Nietzsche's philosophy written specifically for architects locates his evaluation of appropriate and inappropriate architecture in the body of his writings and presents a clear overview of Nietzsche's insights into architectural design alongside his advice for architects and designers. (shrink)Export citation Bookmark
- On Architecture.Fred Leland Rush -2008 - Routledge.Architecture is a philosophical puzzle. Although we spend most of our time in buildings, we rarely reflect on what they mean or how we experience them. With some notable exceptions, they have generally struggled to be taken seriously as works of art compared to painting or music and have been rather overlooked by philosophers. In On Architecture , Fred Rush argues this is a consequence of neglecting the role of the body in architecture. Our encounter with a building is first (...) and foremost a bodily one; buildings are lived-in, communal spaces and their construction reveals a lot about our relation to the environment as a whole. Drawing on examples from architects classic and contemporary such as LeCorbusier and Frank Lloyd Wright, and exploring the significance of buildings in relation to film and music and philosophers such as Heidegger and Merleau-Ponty, Fred Rush argues that philosophical reflection on building can tell us something important about the human condition. (shrink)
- Philosophie und Gegenwart.Simon Moser -1960 - Meisenheim am Glan,: A. Hain.Philosophie und Gegenwart.--Grundbegriffe der Politik.--Zur Freiheitsproblematik von heute.--Evolution und Revolution.--Mythos, Utopie, Ideologie.--Von der metaphysischen Wissenssoziologie Schelers zur empirischen Soziologie der Gegenwart.--Der Begriff des Gesetzes in den Wissenschaften.--Theorie und Praxis.--Der Wahrheitsbegriff bei Thomas von Aquin.--Philosophie an der Technischen Hochschule.--Ronchamp, ein sakraler Bau von LeCorbusier.--Medizin und Philosophie.--Ansatzpunkte einer philosophischen Analyse des Sports.Export citation Bookmark
- Machines, Watersheds, and Sustainability.Paul B. Thompson -2016 -The Pluralist 11 (1):110-116.brook muller begins his contribution to the Coss Dialogues by contesting and at least partially deconstructing LeCorbusier’s aphorism “a house is a machine for living.” He then trades upon an ambiguity that masks the difference between watersheds that mark an important transition from one phase to another and those that are defined by the drainage area associated with a body of water. The 2015 Coss Dialogues took place in the watershed of the Grand River, which extends from its (...) southeast limit near Jackson, Michigan, through my home in Lansing before emptying into Lake Michigan near Grand Haven, some 40 miles to the west of Grand Rapids. The main point that I take.. (shrink)
- Porosité, infiltration et anticipation dans l’action.Clémentine Cluzeaud -2018 -Nouvelle Revue d'Esthétique 20 (2):113-125.Que donne à penser la scénographie lorsqu’elle entreprend de se définir à partir de ses propres outils? Quelles stratégies développe-t-elle lorsqu’elle choisit de s’interroger en se confrontant à l’architecture? Archivolte, spectacle conçu comme un projet de casse du Musée leCorbusier de Tokyo et orchestré par le scénographe David Séchaud, tente de répondre à ces questions. L’œuvre ne tend plus ici dans un produit fini démontrant un savoir-faire, la scène devient davantage le lieu d’un « comment faire? ». Le (...) plateau se transforme en un vaste atelier, où la visibilité de la technique fait partie de la dramaturgie, où la scénographie devient un art du braconnage. (shrink)No categories
- Ethical and Traditional Concerns in Contemporary Japanese Design.Parisa Yazdanpanah Abdolmaleki &Ehsan Daneshfar -2011 -Asian Culture and History 3 (1):115-124.Similar to its old history, Japan has a rich traditional and ethical Architecture. Based on these tenets and ethics, different concepts and spaces are formed through the time, as now Japan's ethical and traditional design ideas has its standard principles. Linking the present and the past has always been a momentous criterion in the countries with an old rich Architecture. This fact is indeed important in Japan due to the blend of ethics and religions with peoples` life. Through this idea, (...) three Japanese Architects, Kenzo Tange, Fumihiko Maki and Tadao Ando-who are the only Japanese pritzker prize winners-have well, noticed the need for linking the country's traditional and ethical Architecture criteria with the contemporary Architecture. So, analyzing such projects of these architects prepares a good basis to find out the quality of how traditional and ethical design ideas crystallize in the works of contemporary Japanese architects. The research method for this article is a comparative analysis between the architects` particular projects and Japan's ethical and traditional design ideas, formed through the history of architecture in this country. The contents of this article rely heavily on three bases: 1) study of the historical documents concerning the ethical and traditional design concepts in Japan. 2) The consultancy of leading experts on Asian traditional constructions and ethical architecture specialists from Azad Universities in Tehran. 3) Comparative analysis between the ethical concepts applied in different contemporary works. The results show that the contemporary architects have had good bases for presenting the traditional design concepts as standard principles are all formed in the architecture of Japan today. Meanwhile, it seems that Maki and Ando are more likely to have a conceptual look at Japan's traditions while Tange has a more formal viewpoint. Chronological analysis of the architects` projects shows that despite, all the three architects were impressed by the works of leCorbusier, they were successful to keep contacts with Japan's traditional design concepts. (shrink)
- Avant-garde fascism: the mobilization of myth, art, and culture in France, 1909-1939.Mark Antliff -2007 - Durham: Duke University Press.Fascism, modernism and modernity -- The Jew as anti-artist : Georges Sorel and the aesthetics of the anti- Enlightenment -- La Cité française : Georges Valois, LeCorbusier and fascist theories of urbanism -- Machine primitives : Philippe Lamour and the fascist cult of youth -- Classical violence : Thierry Maulnier and the legacy of the Cercle Proudhon.
- Architectural Drawings as Investigating Devices: Architecture’s Changing Scope in the 20th Century.Marianna Charitonidou -2023 - London; New York: Routledge.Architectural Drawings as Investigating Devices explores how the changing modes of representation in architecture and urbanism relate to the transformation of how the addressees of architecture and urbanism are conceived. The book diagnoses the dominant epistemological debates in architecture and urbanism during the 20th and 21st centuries. It traces their transformations, paying special attention to LeCorbusier and Ludwig Mies van der Rohe’s preference for perspective representation, to the diagrams of Team 10 architects, to the critiques of functionalism, and (...) the upgrade of the artefactual value of architectural drawings in Aldo Rossi, John Hejduk, Peter Eisenman, and Oswald Mathias Ungers, and, finally, to the reinvention of architectural programme through the event in Bernard Tschumi and the Office for Metropolitan Architecture (OMA). Particular emphasis is placed on the spirit of truth and clarity in modernist architecture, the relationship between the individual and the community in post-war era architecture, the decodification of design process as syntactic analogy and the paradigm of autonomy in the 1970s and 1980s architecture, the concern about the dynamic character of urban conditions and the potentialities hidden in architectural programme in the post-autonomy era. This book is based on extensive archival research in Canada, the USA and Europe, and will be of interest to architects, artists, researchers and students in architecture, architectural history, theory, cultural theory, philosophy and aesthetics. (shrink)
- Comments on Brook Muller’s "The Machine Is a Watershed for Living In (Reconstituting Architectural Horizons)".Piers H. G. Stephens -2016 -The Pluralist 11 (1):101-109.in a stimulating and rich address, Brook Muller diagnoses some of the problems and challenges that our ecological crises bring to contemporary architecture, and attempts to break out of the conceptual straitjacket of modernism that he sees as contributing to the difficulty of producing original, promising solutions. In particular, he draws attention to the hugely pervasive role of LeCorbusier’s idea of the house as a machine for living in: here, he suggests, LeCorbusier’s enduring influence is manifested (...) not only in the “litany of environmental challenges associated with the legacy of the architectural machine” such as “climate change, massive species die-off, diminished air and water quality, and water and.. (shrink)
- The radical fool of capitalism: on Jeremy Bentham, the Panopticon, and the Auto-icon.Christian Welzbacher -2018 - Cambridge, Massachusetts: The MIT Press.A fresh interpretation of Jeremy Bentham, finding that his “radical foolery” embodied a social ethics that was revolutionary for its time. Jeremy Bentham (1748–1832) is best remembered today as the founder of utilitarianism (a philosophy infamously abused by the Victorians) and the conceiver of the Panopticon, the circular prison house in which all prisoners could be seen by an unseen observer—later seized upon by Michel Foucault as the apotheosis of the neoliberal control society. In this volume in the Untimely Meditation (...) series, Christian Welzbacher offers a new interpretation of Bentham, arguing that his “radical foolery” (paraphrasing Goethe's characterization of Bentham) actually embodied a social ethics that was new for its time and demands proper historical contextualization rather than retroactive analysis from the vantage point of late capitalism. Welzbacher provides just such an analysis, offering an account of the two great utilitarian projects that occupied Bentham all his life: the Panopticon and the Auto-Icon. Welzbacher rescues the Panopticon from the misapprehensions of Foucault, Orwell, and Lacan, arguing that Bentham saw the Panopticon as a pedagogical instrument incorporating the tenets of reason; construction and function, plan and influence, architecture and politics are brought into alignment. Bentham extolled the discovery in words that could easily be ascribed to LeCorbusier, Bruno Taut, or any other modernist architect. The Auto-Icon expressed Bentham's theories that the dead should benefit later generations; these theories were effectively sealed when Bentham decided to have his body preserved and put on display. (It can be seen today in a cabinet at University College London.) He also donated his inner organs to science—a practice outlawed at the time—and posthumously stage-managed his own ceremonial autopsy. Welzbacher reveals a Bentham who raised questions that feel familiar and current, invoking topoi that would come to define the modern era and that reverberate to this day. (shrink)
- Musical Functionalism: The Musical Thoughts of Arnold Schoenberg and Paul Hindemith.Magnar Breivik -2011 - Pendragon Press.In this book the concept of functionalism, well-known in 20th-century architecture and design, is used to investigate the musical thoughts of two of the leading composers at the time of the Bauhaus, the time of Adolf Loos and LeCorbusier. Functionalism may be characterized by the functional treatment of the chosen material, by functional design, and by a focus on the work's intended function. This tripartite requirement also defines the concept of musical functionalism as developed in this study, and (...) it serves as the foundation for a presentation of Schoenberg's and Hindemith's thoughts on the subject. Examined through the lens of musical functionalism, common traits between the two composers become evident, despite all their individual characteristics as artists of noticeable integrity. Discussions of the musical material, of musical form, and of the function of music allow the author to reveal a shared epistemological base underlying the external dissimilarities of the two composers' style and language. (shrink)
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David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Area Editors:
David Bourget
Gwen Bradford
Berit Brogaard
Margaret Cameron
David Chalmers
James Chase
Rafael De Clercq
Ezio Di Nucci
Esa Diaz-Leon
Barry Hallen
Hans Halvorson
Jonathan Ichikawa
Monte Johnson
Michelle Kosch
Øystein Linnebo
Paul Livingston
Brandon Look
Manolo Martínez
Matthew McGrath
Michiru Nagatsu
Susana Nuccetelli
Giuseppe Primiero
Jack Alan Reynolds
Darrell P. Rowbottom
Aleksandra Samonek
Constantine Sandis
Howard Sankey
Jonathan Schaffer
Thomas Senor
Daniel Star
Jussi Suikkanen
Aness Kim Webster
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