Results for ' Le Corbusier'

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  1.  8
    Le Corbusier and the Concept of Self.Simon Richards & Le Corbusier - 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.
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  2.  14
    Le Corbusier: Architect, Painter, WriterNew World of Space.Paul Zucker, Stamo Papadaki & Le Corbusier - 1949 - Journal of Aesthetics and Art Criticism 7 (4):369.
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  3.  4
    Andre ikoner. Museene (1925).Le Corbusier - 2006 - Agora Journal for metafysisk spekulasjon 24 (3):221-226.
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  4.  5
    Brev fra Charles-Édouard Jeanneret (Athen)til William Ritter (München) 10. september 1911.Le Corbusier - 2018 - Agora Journal for metafysisk spekulasjon 36 (1):157-161.
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  5.  5
    Hva maskinen har lært oss (1925).Le Corbusier - 2004 - Agora Journal for metafysisk spekulasjon 22 (1-2):194-200.
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  6.  3
    Teknikken er poesiens grunnlag (1929).Le Corbusier - 2004 - Agora Journal for metafysisk spekulasjon 22 (1-2):201-205.
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  7.  18
    Le Corbusier: architecture and politics.Mickaël Labbé - 2017 - Astérion 16.
    Les rapports entretenus par Le Corbusier, architecte le plus emblématique de la modernité, avec le pouvoir politique sont foncièrement ambivalents. Promoteur inlassable du bonheur pour tous à travers l’architecture, Le Corbusier 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 Le Corbusier ne doit pas simplement être référée (...)
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  8.  28
    Le Corbusier : architecture et politique.Labbé Mickaël - 2017 - Astérion. Philosophie, Histoire des Idées, Pensée Politique 16.
    Les rapports entretenus par Le Corbusier, architecte le plus emblématique de la modernité, avec le pouvoir politique sont foncièrement ambivalents. Promoteur inlassable du bonheur pour tous à travers l’architecture, Le Corbusier 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 Le Corbusier ne doit pas simplement être référée (...)
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  9.  11
    When the Cathedrals Were White. A Journey to the Country of Timid People.Paul Zucker & Le Corbusier - 1948 - Journal of Aesthetics and Art Criticism 6 (3):287.
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  10.  8
    Le Corbusier & 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, Le Corbusier. Le Corbusier 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 Le Corbusier's most iconic buildings using Hervé's edited sheets of contact prints as visual guides. These sheets, which became (...)
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  11.  34
    Repetition and difference: Lefebvre, le corbusier and modernity's (im)moral landscape: A commentary.Neil Maycroft - 2002 - Ethics, Place and Environment 5 (2):135 – 144.
    . Repetition and Difference: Lefebvre, Le Corbusier and Modernity's moral Landscape: A Commentary. Ethics, Place & Environment: Vol. 5, No. 2, pp. 135-144.
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  12. Le Corbusier, 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.
     
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  13.  10
    Le Corbusier, l'aereo e il destino della metropoli moderna.Matteo Vegetti - 2020 - Società Degli Individui 66:35-43.
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  14. Repetition and difference: Lefebvre, le corbusier 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 Le Corbusier'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 (...)
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  15.  21
    Le Corbusier: 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.
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  16.  36
    Le Corbusier's Postmodern Plan.Dennis Crow - 1989 - Theory, Culture and Society 6 (2):241-261.
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  17.  32
    Le Corbusier and the Occult.Simon Richards - 2010 - Common Knowledge 16 (3):553-554.
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  18.  8
    The City of Illusion. Narrative Strategies And Forms Of Representation Of Le Corbusier's Urban Planning Visions.Anna Rosellini - 2020 - Scienza and Politica. Per Una Storia Delle Dottrine 31 (62).
    Le Corbusier'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, Le Corbusier 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.
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  19.  10
    La città dell'illusione. Strategie narrative e forme di rappresentazione nelle visioni urbanistiche di Le Corbusier.Anna Rosellini - 2020 - Scienza and Politica. Per Una Storia Delle Dottrine 32 (62).
    Le Corbusier'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, Le Corbusier 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.
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  20.  8
    Paul Otlet, Otto Neurath, Le Corbusier : un projet pour la paix perpétuelle.Walter Tega - 2014 - Revue de Métaphysique et de Morale 84 (4):545.
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  21. Creativity and intelligibility in le corbusier's chapel at ronchamp.John Alford - 1958 - Journal of Aesthetics and Art Criticism 16 (3):293-305.
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  22.  70
    The antisocial urbanism of Le Corbusier.Simon Richards - 2007 - Common Knowledge 13 (1):50-66.
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  23.  14
    Intimacy and Monumentality in Chandigarh, North India: Le Corbusier's Capitol Complex and Nek Chand Saini's Rock GardenChandigarh's Le Corbusier: 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: Le Corbusier's Capitol Complex and Nek Chand Saini's Rock Garden Sharon Irish School of Architecture University of Illinois, Urbana-Champaign Chandigarh's Le Corbusier: 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 (...)
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  24. Urban Planning/Utopian Dreaming: Le Corbusier's Chandigarh Today.Peter Fitting - 2002 - Utopian Studies 13 (1):69 - 93.
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  25.  47
    Aviation and the Aerial View: Le Corbusier'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:Le Corbusier'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 Le Corbusier 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 (...)
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  26. "De Vitruve à Le Corbusier": G. Uniack. [REVIEW]W. Sinclair Gauldie - 1969 - British Journal of Aesthetics 9 (2):202.
     
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  27. The formal syntax of modernism: Carnap and le corbusier.Gordon C. F. Bearn - 1992 - British Journal of Aesthetics 32 (3):227-241.
  28.  27
    Ethical difference(s): A response to maycroft on le corbusier and Lefebvre.Mick Smith - 2002 - Ethics, Place and Environment 5 (3):260 – 269.
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  29.  7
    Understanding the Architectural Walks of Le Corbusier 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.
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  30. The Eisenstein effect: architecture and narrative montage in Eisenstein and Le Corbusier.Anthony Vidler - 2019 - In Edward Dimendberg (ed.), The moving eye: film, television, architecture, visual art, and the modern. New York, NY: Oxford University Press.
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  31.  50
    The "Floating Asylum," the Armée du salut, and Le Corbusier: 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 (...)
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  32.  15
    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 (...)
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  33.  25
    N extensions à Extensions de la grille.Philippe Morel - 2005 - Multitudes 1 (1):57-65.
    Le Corbusier 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.
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  34.  23
    The Machine Is a Watershed for Living In.Brook Muller - 2016 - The Pluralist 11 (1):78-92.
    The Swiss-born designer Le Corbusier’s famous metaphorical characterization of a house as a machine heralded a view of architectural impulse of staggering influence. It was for Le Corbusier “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 (...)
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  35.  25
    Renée Green : tactiques de l'histoire.Giovanna Zapperi - 2008 - Multitudes 34 (3):139.
    Smithson, Notari, Le Corbusier, 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.
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  36.  8
    Die Formale Grundlegung der Modernen Architektur.Peter Eisenman - 2005 - Gebr. Mann Verlag. Edited by Werner Oechslin.
    Anhand ausgewählter Bauten von Le Corbusier, 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..
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  37.  48
    Globalization: The Human Consequences.Zygmunt Bauman - 1998 - Columbia University Press.
    The word "globalization" is used to convey the hope and determination of order-making on a worldwide scale. It is trumpeted as providing more mobility--of people, capital, and information--and as being equally beneficial for everyone. With recent technological developments--most notably the Internet--globalization seems to be the fate of the world. But no one seems to be in control. As noted sociologist Zygmunt Bauman shows in this detailed history of globalization, while human affairs now take place on a global scale, we are (...)
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  38.  13
    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 (...)
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  39.  11
    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 (...)
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  40.  4
    Benjamin for Architects (E. Hanif, Trans.).Brian Elliott - 2011 - Tehran: Fekr-e No. Translated by Ehsan Hanif.
    Walter Benjamin has become a decisive reference point for a whole range of critical disciplines, as he constructed a unique and provocative synthesis of aesthetics, politics and philosophy. -/- Examining Benjamin’s contributions to cultural criticism in relation to the works of Max Ernst, Adolf Loos, Le Corbusier and Sigfried Giedion, this book also situates Benjamin’s work within more recent developments in architecture and urbanism. -/- This is a concise, coherent account of the relevance of Walter Benjamin’s writings to architects, (...)
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  41.  29
    The Architectures of Iannis Xenakis.Elizabeth Sikiaridi - 2003 - Technoetic Arts 1 (3):201-207.
    Iannis Xenakis (1922–2001), composer, architect, engineer and media artist, designed together with Le Corbusier the Philips-pavilion for the 1958 Brussels World Fair. This pavilion is an early example of (“hybrid”) combined media and architectural space as it contained a Poème Électronique, an electronic synthesis of visual projections (conceived by Le Corbusier ) and acoustic events (composed by Varèse). The pavilion's architecture with its hyperbolic-paraboloid shells had a dynamic expression. Xenakis continued this research into complex material architectural forms. He (...)
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  42. Frank Gehry’s non-trivial drawings as gestures: drawdlings and a kinaesthetic approach to architecture.Marianna Charitonidou - 2023 - Journal of Visual Art Practice 21 (2):147-174.
    Departing from the intention to explore Frank Gehry’s drawings serving to their own designer to grasp ideas during the process of their genesis, the article examines Frank Gehry’s concern about the revelation of the first gestural drawings and all the sketches and working models concerning the evolution of his projects, and his intention to capture the successive transformation and progressive concretisation of architectural concepts. The article also compares Gehry’s design process with that of Enric Miralles, Alvar Aalto, Bernard Tschumi, and (...)
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  43.  12
    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 Le Corbusier-Varèse-Xenakis to the most recent inter-arts attempts. Covering theory, (...)
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  44.  8
    Conceptos para las ciudades del siglo XX.Juan Andrés Rodríguez-Lora, Daniel Navas-Carrillo & María Teresa Pérez-Cano - 2022 - Human Review. International Humanities Review / Revista Internacional de Humanidades 11 (4):1-20.
    La presente investigación aborda los distintos modelos urbanísticos que propuso Le Corbusier a lo largo de toda su trayectoria. Estos modelos principales, cuantificándose hasta cuatro, además de otros de menor entidad, muestran la evolución en la conceptualización y las características que propuso para la ciudad del siglo XX. Su aplicación a las diferentes ciudades, tanto interiores como litorales, evidencian tanto la diversidad de su urbanismo como la adaptabilidad de los mencionados modelos a casos reales. De este modo, se procura (...)
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  45. Attempts at a new historiography of twentieth-century architecture in Marianna Charitonidou's books. [REVIEW]Cezary Wąs - forthcoming - Journal of Art Historiography.
    Marianna Charitonidou's books discuss the problem of changes in the creation of architecture in the 20th century. The author showed representatives of four generations of architects of this period. The first group is represented by Le Corbusier and Ludwig Mies van der Rohe. The second generation was described as a group of opponents to the CIAM environment centered around the Team X grouping and the activities of Alison and Peter Smithson and Aldo van Eyck. Generation three was discussed based (...)
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  46.  34
    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 Le Corbusier and Ludwig Mies van der Rohe’s preference for perspective representation, to the diagrams of Team 10 architects, to the critiques of functionalism, and (...)
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  47.  7
    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 (...)
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  48.  5
    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 Le Corbusier. 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 (...)
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  49.  37
    Symbol and Function in Contemporary Architecture.Curtis L. Carter - 2008 - Proceedings of the Xxii World Congress of Philosophy 1:15-25.
    The focus here will be on the tension between architecture’s symbolic role and its function as a space to house and present art. ‘Symbolic’ refers both to a building as an aesthetic or sculptural form and secondly to its role in expressing civic identity. ‘Function’ refers to the intended purpose or practical use apart from its role as a form of art. As an art form, it serves important symbolic purposes; its practical purposes are linked to serving individual and community (...)
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  50.  31
    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 Le Corbusier’s idea of the house as a machine for living in: here, he suggests, Le Corbusier’s enduring influence is manifested (...)
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