Suchergebnisse

RESUMEN Cuando Le Corbusier ya había pasado de los cuarenta años se enfrentó a dos concursos internacionales: el Palacio de las Naciones en Ginebra (1926–31) y el Palacio de los Soviets en Moscú (1931–32) con los que intentaba acceder a grandes encargos de estado con mayor escala urbana en los que poner a prueba su ideario moderno sobre arquitectura y urbanismo. En ambos casos estuvo entre los vencedores pero por conveniencia e indecisión, los poderes políticos optaron por soluciones academicistas. Al conocer las decisiones definitivas, Le Corbusier y todos sus contactos del Movimiento Moderno orquestaron diversas polémicas ante los medios de comunicación y los gobernantes por entender que el progreso se veía lastrado por el triunfo de propuestas reaccionarias. Mediante el estudio de la correspondencia con personas particulares como Moser, Giedion, Colly o Stonorov, conservada en la Fundación Le Corbusier, se analizan las relaciones y el tono ideológico en torno a aquellas protestas. En esos textos quedan reflejados los principales rasgos que caracterizan la modernidad como su internacionalización, la seguridad en la propia misión, la defensa de lo nuevo o el método dialéctico.SUMMARY When Le Corbusier had already passed the age of forty he confronted two international competitions: the Palais des Nations in Geneva (1926–1931) and the Palace of the Soviets in Moscow (1931–32), with which he attempted to access large state commissions, with greater urban scale, in which to test his ideas about modern architecture and urbanism. In both cases he was among the winners, but through convenience and indecision the political powers opted for solutions from academicians. Upon knowing the final decisions, Le Corbusier and all his contacts in the Modern Movement orchestrated several controversies with the media, and the people in power, to convey that progress seemed burdened by the triumph of reactionary proposals. The relationships and ideological tone around those protests are analysed by studying correspondence with individuals such as Moser, Giedion, Colly or Stonorov, which are preserved in the Le Corbusier Foundation. These texts reflect the main features that characterize modernity such as its internationalization, the security in the mission itself, the defence of the new or the dialectical method.

In 2015 an essay by the architect Marc Perelman was printed in Le Monde claiming Le Corbusier was a fascist and that the French academy had whitewashed this from architectural history. The 2015 exhibition Le Corbusier: Mesures de l'homme, a major retrospective of the architect, held at the Centre Pompidou was adduced as evidence since it did not mention Le Corbusier's politics, despite three French books on Le Corbusier's fascism appearing in 2015, and the scandal that erupted around them. The letter was signed by myself, Zeev Sternhell, Xavier de Jarcy, Marc Perelman, and Daniel de Roulet; and reprinted in English by Verso in January 2017. The Fondation le Corbusier, who are unhappy with this turn of events, wrote to me asking me why I signed the letter. This essay will attempt to answer the question by evaluating the French quarrel, on both sides, and allegations about Le Corbusier's fascism.

Cuando Le Corbusier ya había pasado de los cuarenta años se enfrentó a dos concursos internacionales: el Palacio de las Naciones en Ginebra (1926–31) y el Palacio de los Soviets en Moscú (1931–32) con los que intentaba acceder a grandes encargos de estado con mayor escala urbana en los que poner a prueba su ideario moderno sobre arquitectura y urbanismo. En ambos casos estuvo entre los vencedores pero por conveniencia e indecisión, los poderes políticos optaron por soluciones academicistas. Al conocer las decisiones definitivas, Le Corbusier y todos sus contactos del Movimiento Moderno orquestaron diversas polémicas ante los medios de comunicación y los gobernantes por entender que el progreso se veía lastrado por el triunfo de propuestas reaccionarias. Mediante el estudio de la correspondencia con personas particulares como Moser, Giedion, Colly o Stonorov, conservada en la Fundación Le Corbusier, se analizan las relaciones y el tono ideológico en torno a aquellas protestas. En esos textos quedan reflejados los principales rasgos que caracterizan la modernidad como su internacionalización, la seguridad en la propia misión, la defensa de lo nuevo o el método dialéctico. ; When Le Corbusier had already passed the age of forty he confronted two international competitions: the Palais des Nations in Geneva (1926–1931) and the Palace of the Soviets in Moscow (1931–32), with which he attempted to access large state commissions, with greater urban scale, in which to test his ideas about modern architecture and urbanism. In both cases he was among the winners, but through convenience and indecision the political powers opted for solutions from academicians. Upon knowing the final decisions, Le Corbusier and all his contacts in the Modern Movement orchestrated several controversies with the media, and the people in power, to convey that progress seemed burdened by the triumph of reactionary proposals. The relationships and ideological tone around those protests are analysed by studying correspondence with individuals such as Moser, Giedion, Colly or Stonorov, which are preserved in the Le Corbusier Foundation. These texts reflect the main features that characterize modernity such as its internationalization, the security in the mission itself, the defence of the new or the dialectical method.

In the nineteen-fifties the architectural profession turned its gaze towards India where Le Corbusier had been commissioned to build an ideal modern city. Today, Chandigarh is a pulsating metropolis while, at the same time, the originally planned city was able to retain its garden city character. In her extensive urban portrait, the photographer and ethnologist Bärbel Händel investigates the alleged contradiction between European modernism and Indian lifestyle. This book presents a range of photographs and texts that exemplify the local modernism of the gesamtkunstwerk that is Chandigarh. With ethnographic flair, the author looks at the adoption of the star architect's systems of rules and regulations. Alternating between architecture and scenes from daily life, her images paint a multifaceted picture of "Living with Le Corbusier" in this unique planned city in India

[EN] The research focuses on the possibility of transferring theoretical ideas of Le Corbusier into educational programs of the very young children – between three and six. The worldwide development of civilization changed the natural environment of the human. For the average European citizen a city is more natural place for living than a forest. Simultaneously, in these days many inhabitants present an extremely conformist approach to life and to the surrounding space. The participation of members of the society in the shaping of public spaces is possible only through the involvement and practice, but the democratic responsibility does not appears out of nowhere. It must be fostered and nurtured as early as in childhood. According to developmental psychology, children in the age of 3-6 are very susceptible to the acquisition of new skills and learn it in an intuitive way. The proper education program using Le Corbusier's lectures and theory could help them to understand the space better. The seeming simplicity of above rules is an advantage in this case – thereby it can be explained to even such an audience as small children. On the other hand, some kind of abstract and hidden difficulty included in this theory becomes an opportunity to create a very absorbing and stimulating workshops that follow the needs of younger and older children. Le Corbusier's legacy includes not only physical issues and can be used in many different ways. As Pablo Picasso once stated: every child is an artist, the problem is staying an artist when you grow up. For those reasons, incorporating such an innovative strategy for kids' education reveals a great potential. ; [ES] Los estudios realizados enfocan en comprobar las posibilidades de usar las ideas teóricas de Le Corbusier en los programas educativos para niños de tres a seis años. El desarrollo de la civilización ha cambiado el entorno natural del ser humano - una ciudad para el ciudadano promedio de Europa es un lugar más natural para vivir que el bosque. Al mismo tiempo, hay ...

Le Corbusiers Museumsgebäude sind bereits detailliert erforscht worden. Dass der Architekt jedoch nicht nur die "baulichen Hüllen" zahlreicher Museen entwarf, sondern auch intensiv über museologische Strategien nachdachte, fand in wissenschaftlichen Arbeiten bislang kaum Beachtung. Nähert man sich Le Corbusiers Museen unter dem Aspekt der Programmatik, so kann das Konzept des Museum of Knowledge als Quintessenz seiner museologischen Überlegungen gewertet werden. Den Kern des Konzeptes bildet die Auffassung des Museums als Werkzeug zur Erklärung des Weltganzen. Obwohl bereits im Genfer Mundaneum von 1928 präfiguriert, hat Le Corbusier diesem Gedanken ausschließlich in seinem Spätwerk konkreten Ausdruck verliehen. Sämtliche der von ihm konkret geplanten Museums of Knowledge sind dabei in Indien zu lokalisieren. In seiner frühesten Form handelt es sich beim Museum of Knowledge um ein Universalmuseum, in dem grundlegende Aspekte des modernen Lebens (beispielsweise Hygiene, Gesundheitsvorsorge, Demokratie, Elektronik, Industrie) der breiten indischen Öffentlichkeit vermittelt werden sollten. Le Corbusier sah eine Verbreitung derartiger Ausstellungshäuser auf dem ganzen Subkontinent vor, konnte letztendlich jedoch nur eines in der nordindischen Stadt Ahmedabad realisieren (1951–1957). Seine inhaltlichen Überlegungen zu diesem Museum werden in der Dissertation analysiert und die Genese des Projektes, soweit sie sich rekonstruieren ließ, nachgezeichnet. Das Museum of Knowledge von Ahmedabad diente als Vorbild für ein ähnliches Projekt am Gandhi Memorial (Rajghat) in New Delhi (1953–1955). Die Analyse der zum Rajghat-Projekt erhaltenen Dokumente macht deutlich, dass Le Corbusier die in Ahmedabad begonnene Initiative in New Delhi nicht nur auszuweiten, sondern auch weiterzuentwickeln versuchte. Le Corbusiers Konzept mündete schließlich, nach einigen Jahren vergeblichen Experimentierens, im noch heute utopisch anmutenden Museum of Knowledge für das Regierungsgelände der punjabischen Stadt Chandigarh (1961–1965). Mit einem klassischen Museum hat dieses unrealisierte Projekt nichts mehr zu tun. Vielmehr handelt es sich um ein audiovisuelles "Entscheidungszentrum", in dem elektronische Rechenmaschinen Lösungsstrategien zu ethischen, sozialen und politischen Fragen der Zeit anbieten sollten. Die komplexe Genese dieses visionären Projektes erfährt in der Dissertation zum ersten Mal eine genaue Aufarbeitung.