Casas Cobo, Francisco Javier
[EN] Although currently it is largely accepted that Chapelle Notre-Dame du Haut at Ronchamp is one of the milestones
in Le Corbusier’s works, there is no less agreement in saying that it was one of the most controversial of his works and one
turning point in modern architecture, not only in terms of digging a grave for functionalism but to opening a window to a
wide bunch of architects and works that would have been excluded from history and maybe forever otherwise. In order to
recall its importance, we must look back to how architectural journals featured Ronchamp in the mid fifties as, on...
[EN] Le Corbusier’s architectural production throughout the twentieth century served as a reference for subsequent
developments in architecture and urban planning in Sweden. Some of the buildings and urban plans subsequently developed
in Sweden and influenced by Le Corbusier’s ideas and projects also impacted on the international architectural scene. This
research analyses how the study of Le Corbusier’s works affected projects in Sweden from the 1920s to the 1970s and how
they also became an international standard. Le Corbusier’s works provided a kind of prototype, with which Swedish
architects experimented in alternative ways. During the 1920s, Le Corbusier’s Pavilion de l’Esprit Nouveau and the Stuttgart
Viar Fraile, Iñigo
[EN] Le Corbusier was a great searcher. A light searcher. Afterwards a first period of searching he founded his cubic
and white architecture and after the Word War II and fifteen years without erecting up a building, Le Corbusier restarted a
new path, a new search for the light in his architecture, much broader. In this second age, the work with the light and with the
shadow, mostly with the shadow, as plastic and sculptural mechanism is very deep. He worked with the light via two systems:
“interposition” and “capture”. The mechanism of “interposition” was developed by Le Corbusier by means of the BriseSoleil,
García González, Andrea; Mas Llorens, Vicente; Santatecla Fayos, José
[EN] Villa Sarabhai is considered by many critics to be a paradigm of "architecture femelle", because it absorbs the
setting and has vaulted spaces, which are elements associated with a rustic, folkloric, and even primitive, architecture.
However, the evolution of the project shows that Le Corbusier did not intend to integrate the villa into the landscape or pay
tribute to traditional architecture. Le Corbusier kept evolving. He added new twists to his consolidated architectonic
strategies and defied classification: he generated a free plan by using walls; he transformed the garden terrace from a room
without a ceiling into a prairie; and, instead of laminating the...
Mejía Vallejo, Clara Elena; Deltell Pastor, Juan
[EN] The projects for the Sainte-Baume and Cap Martin take up the thread of several previous investigations by Le
Corbusier about the medium density housing built from load-bearing walls, as they are the Maisons Loucheur (1929), the
Maisons Murodins (1940), the Maisons pour Maîtres et Contremaîtres of the SPA (1940) and the Unites Transitoires (1944).
However, one can say that in them lies a new search that has to do with the association of these residential units in favour of
forming a coherent and unified whole, analysing the implications that those create with the landscape. At the same time that
Le Corbusier makes a reflexion...
Serra Lluch, Juan de Ribera; Llopis Verdú, Jorge; Torres Barchino, Ana María; Giménez Ribera, Manuel
[EN] We have carried out a new study of the color combinations selected by Le Corbusier in the ‘claviers’ for the
Salubra wallpaper company in 1931, by analyzing them in the Natural Color System NCS, which allows us to understand the
perceptive variables of colors (hue, blackness and chromaticness) as well as their combination criteria.
In this paper, the selected hue ranges are discussed, and those absent ones. We aim to find out the underlying order in the
color combinations by studying the similarities and contrasts of their hues in NCS. We demonstrate graphically some
principles in Le Corbusier’s color preferences, such as the usual...
Martín Fuentes, Daniel Vicente
[EN] Trying to achieve a better understanding of the higrothermic performance of The Maisons Jaoul of Le Corbusier,
they are studied from different approaches: theoretical, empiric, numeric and perceptual. The aim is to understand
profoundly this emblematic building of the domestic architecture of the XX century. For that, the study analyses the project,
but also compares and contrasts a series of data coming from the two houses which have a very similar volume and
compactness but orthogonal orientation to finally take account of the perception of the actual inhabitants. Conclusions are
revealing and strengthen the idea of how exceptional the...
López Díaz, Jesús; Ruíz Suaña, Jose Antonio
[EN] The Spanish architect Rafael Leoz de la Fuente (1921-1976) before finishing his studies in 1955, began to
collaborate with other partners in the realization of social housing projects. His experience in the work of the Poblado
Dirigido de Orcasitas, led him to initiate a research process to which he dedicated much of his work.
The theoretical works of the architect had an important dissemination and international impact, to a large extent, due to his
friendship with Le Corbusier and Jean Prouvé. Personal tuning and coincidence of interests between them, led Le Corbusier
to propose to Rafael Leoz as a member of the Cercle d'Études...
Ponce Gregorio, Pedro
[EN] It was around september the second, 1931, on a private letter dispatched by some B. Breslow acting as Comercial
Representative of the URSS in France, when Le Corbusier received the invitation to participate in the contest of the one that
would be for many the essential building of the country, the Palace of the Soviets in Moscow. A building that for that matter
would not only enbodies russian´s working class will, but also should become in the same way, there where the El Salvador
cathedral was built, the artistic-architectural monument of the still struggling soviet capital. This and not else is the point...
Garcia-Gasco Lominchar, Sergio
[EN] Iñaki Abalos develop in “Atlas pintoresco” a research about Modern Movement and its relationship with nature
and landscape. The author provides an analysis which unmask the picturesque elements in the work of Le Corbusier. These
elements, even being "latent" in its earliest theoretical postulates, gradually and "almost secretly" will take over his way of
projecting to conquer all scales of architecture in its final stage.
Some of the architectural features of the so-called Paulista School seems to have influences of the later work of Le Corbusier.
Paulo Mendes pavilion for the World Expo Osaka'70 can serve to establish an analysis of some of the...
Campos Uribe, Alejandro
[EN] Albeit different versions of Team 10 birth and dissolution of CIAM exist, all of them coincide in its disruptive
nature. This article tries to prove, far from the canonical representation of the end of CIAM and by studying the documents
that went through Le Corbusier’s atelier in Paris; that many of the ideas of Team 10 were already present inside CIAM and
that Team 10’s creation had the support of several of CIAM’s founding members. It is especially important Le Corbusier’s
personal backing. Le Corbusier, who through letters and drawings understood very soon that it was the time to step aside and
Pérez Rodríguez, Marta
[EN] Into the ideas enunciated by Le Corbusier there are two paths starting apparently from parallel and opposite
worlds, but finally coming to converge in a same place.
With the construction of the “Pavillon de l’Esprit Nouveau”, in 1925, it is defined the new outside space linked to modern
life. This is given simultaneously from the collective with the “immeuble-villa”, and from the individual, la villa, although
both succeed as coexistent processes. This emptiness was called by Le Corbusier “jardin suspendu”, and the order to define
it, will be the same used to build the whole system.
From inside, this garden will fail to be an...