机器与和谐:纯粹主义时期勒·柯布西耶建筑中的准自主性

聚焦纯粹主义时期勒·柯布西耶建筑中的自主性,分析现有论述,并进行重建。研究展开过程如下:首先,澄清此前研究中从多米诺体系来认识勒·柯布西耶建筑中的自主性之谬误;其次,讨论将形式主义的自主性应用到勒·柯布西耶建筑中的不合理性;再次,建立从机械论来认识勒·柯布西耶建筑中自主性的新的可能;最后,阐明勒·柯布西耶的建筑需要服从外在的和谐目的,故将其视为一种准自主性。围绕自主性这个建筑学的核心概念之一,提出了一个新的视角来认识纯粹主义时期勒·柯布西耶的建筑。     

最新展览资讯

<正>纯粹主义的时代——勒·柯布西耶从绘画到建筑勒·柯布西耶(Le Corbusier),真名Charles-édouard Jeanneret,1887年生于瑞士,被誉为"近代建筑三大巨匠"之一。日本东京国立西洋美术馆(National Museum of Western Art,Tokyo)由勒,柯布西耶设计,且于2016年登记为联合国世界文化遗产,该馆于2019年迎来创立60周年,通过举办该展以示纪念。展览聚焦于勒·柯布西耶在巴黎推进纯粹主义(Purism)的     

最新展览资讯

<正>纯粹主义的时代——勒·柯布西耶从绘画到建筑勒·柯布西耶(Le Corbusier),真名Charles-édouard Jeanneret,1887年生于瑞士,被誉为"近代建筑三大巨匠"之一。日本东京国立西洋美术馆(National Museum of Western Art,Tokyo)由勒,柯布西耶设计,且于2016年登记为联合国世界文化遗产,该馆于2019年迎来创立60周年,通过举办该展以示纪念。展览聚焦于勒·柯布西耶在巴黎推进纯粹主义(Purism)的     

勒·柯布西耶与“极少主义”

勒·柯布西耶是现代建筑运动的领军人物,他在早期作品中所表现出来的简约、纯粹的建筑思想促进了现代建筑的发展。而极少主义建筑思想兴起于20世纪下半叶。极少主义提倡简约、自然,消除繁琐的装饰,体现建筑最本质元素的元素。这与早期勒·柯布西耶所提倡的建筑哲学类似。本文以勒·柯布西耶早期建筑思想及其作品为切入点,探究其与"极少主义"的关系。     

勒·柯布西耶绘画中空间观念的转向:纯粹主义前后

本文回溯了勒·柯布西耶在纯粹主义运动(1918—1925年)前后,其绘画中空间观念所经历的转向。彼时的让纳雷以绘画作为实验工具,发展了他对于空间的理解。本文把勒·柯布西耶在纯粹主义前后的绘画探索分为四个阶段,通过比较四个阶段的作品,指出勒·柯布西耶的空间观念经历了由注重写实与透视,到关注对象平面中的几何与秩序,再到用透明的块面相互叠加来营造深度感,最后转为对于大自然、人体等有机形式的探索,揭示出其不同绘画题材背后隐藏着的形式逻辑的必然联系。     

柯布西耶的物体美学和白盒子设计技法(1918-1930年)

文章研究柯布西耶如何将从现代抽象绘画中汲取的物体美学应用于20世纪20年代的白色小住宅设计.通过与阿梅代·奥赞方一起创作纯粹主义绘画,柯布西耶学到了一套将物体类型化的观看技巧,再结合其在东方之旅上转译自古典建筑的设计法,他开始将这些教益在白色小住宅上逐一展开试验.对位法、表面拉伸、视觉操控,是柯布西耶在20世纪20年代...     

【城市笔记：之19】 奥赞方是如何为勒·柯布西耶的施瓦布别墅写评论的

本文的主角是勒·柯布西耶曾经的好友、画家兼评论家,阿梅代·奥赞方。作为当时最了解勒·柯布西耶思想的评论人之一,奥赞方曾在1921年的《新精神》上评论过勒.柯布西耶设计的施瓦布别墅。这篇评论体现着纯粹主义美学的主要立场和方法,通过清洗装饰,澄清概念,把建筑设计变成美学问题,也就是当时新美学里对审美活动试图给出的科学化阐释。同时,这篇评论也间接地将勒·柯布西耶定居巴黎前、定居巴黎后,到《新精神》创刊这段时间里的观念变化串联了起来。追溯这篇评论的论辩过程,也就将奥赞方与勒·柯布西耶当年那些一般性的论点再度具体化。     

纯粹主义内涵及其在建筑上的应用

从主题、空间与形式三个方面详细阐述了纯粹主义的内涵,经过对其拓展与延伸,将纯粹主义运用到建筑设计之中,得到其建筑主题、空间与形式的内涵,并且通过对柯布西耶萨伏伊别墅的分析解释了纯粹主义的建筑本质。     

新精神与体育元素——勒·柯布西耶对体育的理解与建筑实践

勒·柯布西耶的“新精神”和“纯粹主义”思想贯穿其建筑设计和城市规划,而他对于生活中的体育元素的独特理解成为促生现代主义建筑设计原则的缘由之一,并体现在他从早期的小型居住建筑直到后期的大型居住综合体的实践中.本文对上述要素于相关设计实践中的呈现进行解读,从另一个角度来理解柯布西耶的思想.     

现代景观艺术巨匠——勒·柯布西耶作品展

正纽约现代艺术博物馆将举办一场有关现代景观艺术巨匠——勒·柯布西耶的建筑世界观的展览。此次展览不仅向观众展现勒·柯布西耶的著名建筑类作品,还着重探索他如何将这些作品从纯粹的图纸——转换成现实的建筑。通过展现勒·柯布西耶事业早期一系列的水彩画、图纸以及照片,策展人Jean-Louis Cohen希望带领人们深入勒·柯布西耶的建筑设计旅程,了解他的创作历程,揭示他如何在探索这个世界的同时,依靠其敏锐观察力从设计旅程中获得丰硕成果。     

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.     

神圣的比例--勒·柯布西耶的"模度"

该文通过对勒·柯布西耶"模度"的分析,指出在"模度"简单的数字和比例背后反映了柯布对理性和有机自然和谐统一的不懈的追求.     

Back to Basics: Maisons Jaoul and the Art of the mal foutu

Although Le Corbusier's debt to vernacular architecture has been frequently discussed, the particular effects that the architect searched for in his postwar buildings have been insufficiently studied. The Maisons Jaoul (1951–1955) are a case in point. Le Corbusier's search for a direct, expressive, and tactile quality of building is here also related to his interest in the ideas and practice of Jean Dubuffet. Le Corbusier was not a regionalist but he particularly admired craftsmen from the Mediterranean basin, who, he believed, retained a vigorous and comprehensive sympathy for materials. This article, using firsthand interviews with Le Corbusier's craftsmen, explores the complex and subtle ways that Le Corbusier and his assistants negotiated the textural effects they desired, which Le Corbusier described ironically as mal foutu (messed up).     

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。     

对柯布西耶设计的修道院中的非理性场景解析

通过对柯布西耶的Sainte Marie de La Tourette修道院中提取的三个建筑场景的分析,揭示了柯布西耶在修道院这类具有理性空间的建筑类型中的非理性操作,以提升人们对柯布西耶作品的认识。     

'Beyond the clichés of the hand-books': Le Corbusier's architectural promenade

This study places Charles-Edouard Jeanneret/Le Corbusier's concept of the architectural promenade within the culture of La Chaux-de-Fonds in 1887-1917. It is based on in-depth empirical research being currently carried out in private and public archives in La Chaux-de-Fonds and in other Swiss towns. The paper also considers to a lesser extent specific aspects of the architecture of Le Corbusier in Paris after 1917, which are in accord with the La Chaux-de-Fonds period of 1887-1917, based on current in-depth research in private and public archives in France. The essay, which thus presents completely new empirical evidence, is part of research in progress towards a monograph in preparation for the MIT Press. By extrapolation, through its analysis of Jeanneret/Le Corbusier's architectural promenade within the cultural and intellectual context of La Chaux-de-Fonds in 1887-1917, the study addresses the problematics of the architectural language of the Modern Movement.     

关于勒·柯布西耶的周末住宅分析

该文以勒·柯布西耶1935年设计的周末住宅为线索,从建筑形态,结构体系等方面展现这一时期的住宅的特点,揭示勒·柯布西耶在设计乡土建筑中的思维和创作方法。     

理解勒·柯布西耶——《明日之城市》译后

结合<明日之城市>的翻译工作体会,介绍了该书的创作背景和主要内容,并对勒·柯布西耶的现代城市规划思想进行了分析和讨论.     

The Cultural Politics of Aerial Vision: Le Corbusier in Brazil (1929)

The early twentieth-century invention of the airplane brought on a cultural euphoria that influenced the works and writings of urbanists, architects, artists, and science-fiction writers during the 1920s and 1930s. Le Corbusier's urban design for Rio de Janeiro—which he sketched, so he claimed, from an airplane—offers a visual basis to study how the aesthetic experience of flight was translated spatially, visually, and politically into his design of the future city. The polemics informing Le Corbusier's aerial "discovery" of South American geography revealed that there was a new empowerment in the act of looking from above, and that the spatial characteristics of his subsequent design interventions evoked that empowerment.     

IAUS建筑学院,清华大学,中国

Design Concept: Staggered Dwelling The maisonette system, inspired by Le Corbusier's concept of linking vertical cores and a central corridor, has been incorporated in this model.