Le Corbusier,Teilhard de Chardin and The Planetisation of Mankind'

The modern world has made all things interrelated, the relations are continuous and contiguous around the globe, affected by nuances and diversity... The question is man and his environment, an event of local as well as of global order. 1 Le Corbusier was very interested in the ideas of the Jesuit priest and distinguished palaeontologist Pere Pierre Teilhard de Chardin. 'Do you know this man and his research (Palaeontology, the human condition, the future)?' wrote the architect to his friend and collaborator Andreas Speiser on 22 December, 1954.2 In this letter (Fig. 1) he relates that he spent the whole journey back from India reading the priest's works. 'I was very favourably impressed by him' he wrote, 'I must get in touch with him before long.' Le Corbusier includes in the letter a list of papers by Teilhard, which he must have believed to be of particular interest. The 'etc' at the end of this list is of interest, indicating the extent of the architect's reading of this profoundly religious man. Le Corbusier asterisked the first essay, linking it with the word ' avenir ' or future and also the word ' definitives ,' definitive answers, a word which he then crossed out with one line, leaving it clearly legible. It is as though he believed that Teilhard had the answers that he was so desperately looking for, but years of disappointment, secrecy and disillusionment had made him wary. Being first on the list, the essay La Planetisation Humaine , 'The Planetisation of Mankind' is probably the most important in terms of Le Corbusier's reading of Teilhard.3 In this paper I will focus on the essay in an attempt to deduce just why Le Corbusier was so impressed by the works of this radical priest. In doing so, I hope to shed some light on Le Corbusier's spiritual agenda for architecture, an aspect of his work which still remains remarkably obscure. In particular I will focus on the concept of community expressed in the Unite block in Marseilles (1952). It should be mentioned that Le Corbusier does make other references to Teilhard, for example in an interesting stream of consciousness in one of his sketchbooks of 1960.4 Incidents such as this indicate that the priest's ideas were a continuing source of inspiration for the architect.     

勒·柯布西埃的摩天楼

勒·柯布西埃在20世纪初对摩天楼进行过诸多探索,但与这方面有关的专门研究并不多见。文章试图介绍柯布西埃在上世纪20年代到50年代的三个不同阶段里,对摩天楼的理论和实践方面的探索和贡献。     

“小组十”、柯布西耶与毯式建筑

"小组十"在20世纪中期提倡的毯式建筑原型,在当代出现了大量复兴。但对这一原型的研究在历史上被极大的忽视了。本文通过对毯式建筑的历史回顾和分析梳理,试图重新发掘它的意义,并以柯布西耶的威尼斯医院为特例,分析"小组十"可能的失败原因,以此对当代的复兴现象提出警示。     

Le Corbusier and Alexander Vesnin

Le Corbusier's world-wide success was unprecedented in twentieth century architecture. His ideas permeated many countries and inspired numerous professionals in the field. This paper considers one aspect of Le Corbusier's conquest of the architectural world: his personal contacts with leading architects around the globe, exemplified by his friendship with Alexander Vesnin, the Russian architect and artist. The origins of the friendship between Le Corbusier and A. Vesnin are analysed through a comparison of their biographies. Their two main points of contact are examined in detail: personal meetings between the two masters, and their correspondence, which casts light on both the history and nature of Le Corbusier's relationships with his correspondents. The paper ends with a discussion of Le Corbusier's impact on Vesnin's ideas and projects. The personal meetings and correspondence between Le Corbusier and A. Vesnin amply demonstrate Le Corbusier's talent for searching out professional contacts throughout the world, approaching them, and establishing personal relationships with them. These relationships enhanced Le Corbusier's influence, encouraged the development of ideas and projects similar to his own in many nations and, in Vesnin's case, contributed to the spread of 'the Le Corbusier myth' in Russia.     

Le Corbusier and Alexander Vesnin

Le Corbusier's world-wide success was unprecedented in twentieth century architecture. His ideas permeated many countries and inspired numerous professionals in the field. This paper considers one aspect of Le Corbusier's conquest of the architectural world: his personal contacts with leading architects around the globe, exemplified by his friendship with Alexander Vesnin, the Russian architect and artist. The origins of the friendship between Le Corbusier and A. Vesnin are analysed through a comparison of their biographies. Their two main points of contact are examined in detail: personal meetings between the two masters, and their correspondence, which casts light on both the history and nature of Le Corbusier's relationships with his correspondents. The paper ends with a discussion of Le Corbusier's impact on Vesnin's ideas and projects. The personal meetings and correspondence between Le Corbusier and A. Vesnin amply demonstrate Le Corbusier's talent for searching out professional contacts throughout the world, approaching them, and establishing personal relationships with them. These relationships enhanced Le Corbusier's influence, encouraged the development of ideas and projects similar to his own in many nations and, in Vesnin's case, contributed to the spread of 'the Le Corbusier myth' in Russia.     

勒·柯布西耶的神圣空间结构形态研究

勒·柯布西耶生平设计过四项宗教建筑,其中三件建成作品不仅是大师作品的经典,也成为现代建筑的经典,并对当代教堂建筑有着深刻的影响,本文试图透过迥异的形态表象,窥探其中既沿袭相应教义要求又具有时代特征的天才般创造性,借以生成空间形态以满足宗教活动与精神需要的复杂规律性所在及其延续与变化。     

勒·柯布西耶住宅研究寻踪

从勒·柯布西耶的住宅研究入手，阐述了其住宅研究的设计路线、技术路线、人文路线，并通过其住宅作品分析来反映其住宅研究的丰富内容，最后进行小结和评价。     

走近柯布

我们究竟在多近的距离认识过柯布西耶？我们是否认真地问过，《走向新建筑》中的帕提农为何如此地闪亮着光辉？这位大师在其早年的“东方之旅”中究竟还发现了什么？也许，为了理解现代建筑．理解西方的现代建筑，我们应该再次回望这位20世纪的英雄。     

库哈斯与柯布西耶及其作品的比较

对库哈斯及柯布西耶进行了介绍,比较了库哈斯和柯布西耶的共性和差异,通过分析两件有相同出发点的作品,即萨伏伊与达尔雅瓦,来认知库哈斯及柯布西耶的异同,以提高人们对库哈斯及柯布西耶作品的认识。     

勒·柯布西耶建筑设计中色彩的运用

对勒.柯布西耶及其设计思想、设计风格进行了介绍,以法国巴黎的建筑为例,对色彩与建筑本体的关系进行了阐述,并以萨伏伊别墅为例,论述了色彩与建筑周边环境的协调性,从对勒.柯布西耶建筑设计中色彩运用的剖析,得出的一些设计结论给后来设计者的建筑创作提供了参考和启发。     

解读柯布西耶遗作——费尔米尼的圣皮埃尔教堂

文章叙述了柯布西耶遗作费尔米尼的圣皮埃尔教堂的设计与建造历程。作者通过分析揭示了柯布在宗教建筑中对用光手法的不断演进与突破;此外通过对柯布一系列草图的分析,试图理清建筑师设计思路的发展,并阐述其建筑设计体系的开放性。     

《直角之诗》与勒·柯布西耶的建筑思想

0前言翻看建筑大师勒·柯布西耶(1887-1965)的作品集,人们会很容易得到这样的印象:他的作品从20世纪50年代开始发生了明显的变化——由早期的白色的、机器美学的建筑转变为晚期的粗野主义建筑。但是,当我亲自走在他各个时期的作品中的时候,我却感受到了始终如一的强烈的柯布西耶味道,或者说是柯布西耶个人的建筑趣味。这些个人趣味并非为了功能而存在,有时甚至显得刻意而令人费解,但它却并没有被他早期和晚期看似完全不同的风格所割裂,始终贯穿于柯布西耶所有的作品里。为什么会表现出如此的一致性?这个问题     

《直角之诗》与勒·柯布西耶的建筑思想

前言 翻看建筑大师勒·柯布西耶(1887-1965)的作品集,人们会很容易得到这样的印象:他的作品从20世纪50年代开始发生了明显的变化--由早期的白色的、机器美学的建筑转变为晚期的"粗野主义"建筑.     

机器，建筑——柯布西耶是如何思考建筑的？

文章通过针对勒·柯布西耶的文本及作品的解读,着重疏理了作为一名现代主义者的柯布西耶的建筑思考之路,并试图分析其中的基本原则,以对当今的建筑学思考提供参考。     

对柯布西耶的Garches别墅理性之分析

通过对LC的Garches别墅的形体上和数学模数上的分析，指出LC在设计过程中的理性成分，阐述了设计过程中理性的重要性，并体现了建筑体量感性中的理性。     

永无止境的创新与革命——勒·柯布西耶中心纪略

勒·柯布西耶（Le Corbusier 1887年10月6日-1965年8月27日）,20世纪最重要的建筑师之一,是现代建筑运动的激进分子和主要倡导者,更是机器美学的重要奠基人。1928年他与格罗皮乌斯、密斯·范·德·罗一起开创了现代主义建筑运动,组织了国际现代建筑协会,并与美国人富兰克·劳埃德·赖特合称为现代建筑的四大杰出代表。     

柯布西耶对苏联人民人会堂公共集会空间的演绎

对柯布西耶在20世纪30年代苏联人民大会堂设计方案过程演化的分析。阐述了柯布对现代集会公共空间的创新和定义。     

柯布西耶模度体系在建筑中的应用

简述了模度的生成背景与内容,分析了传统美学、数学、人文在模度中的体现,并在此基础上以马赛公寓为例,对模度在建筑设计中的应用方法进行了探讨,为模度的使用积累了经验。