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.

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 (...) à un ensemble d’arguments factuels et historiques, voire à une forme d’opportunisme consubstantiel à l’architecte en recherche de commandes, mais également à une certaine conception théorique et philosophique de la nature du pouvoir lui-même. Le pouvoir, conçu de manière purement formelle et extrêmement individualiste, n’est jamais pensé autrement que comme simple moyen ou cause efficiente visant à mettre en action la seule révolution valable pour Le Corbusier, à savoir la transformation de la culture par l’architecture. Se dessine ainsi la figure d’une pensée profonde des pouvoirs de l’architecture, en même temps que d’une singulière absence d’intelligence du politique. (shrink)

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 (...) à un ensemble d’arguments factuels et historiques, voire à une forme d’opportunisme consubstantiel à l’architecte en recherche de commandes, mais également à une certaine conception théorique et philosophique de la nature du pouvoir lui-même. Le pouvoir, conçu de manière purement formelle et extrêmement individualiste, n’est jamais pensé autrement que comme simple moyen ou cause efficiente visant à mettre en action la seule révolution valable pour Le Corbusier, à savoir la transformation de la culture par l’architecture. Se dessine ainsi la figure d’une pensée profonde des pouvoirs de l’architecture, en même temps que d’une singulière absence d’intelligence du politique. (shrink)

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 (...) an effective tool in the collaborative dissemination of Le Corbusier's work, capture Hervé's dynamic perspectives and dramatic use of light. His sequencing of the individual prints creates an exhilarating rhythm that powerfully showcases the architect's novel forms and materials. (shrink)

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.

. Repetition and Difference: Lefebvre, Le Corbusier and Modernity's moral Landscape: A Commentary. Ethics, Place & Environment: Vol. 5, No. 2, pp. 135-144.

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 (...) alternative post-modern social spaces that might produce and respect Otherness. In this sense Lefebvre's work is an incipient 'difference ethics'. (shrink)

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.

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.

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 (...) wrote of the path we each must make: No one behind, no one ahead, The path the ancients cleared has closed. And the other path, everyone's path, easy and wide, goes nowhere. I am alone and find my way.1The image in Figure 1 shows the bottom of a concrete ramp that angles back upon itself as it connects two levels of the government complex in Chandigarh and ends in a grassy hillside that has several dirt paths cutting across it. The concrete ramp begins just to the left of Le Corbusier's Assembly Hall (Figure 2). What I hope is evident from just two images is the contrast between the curving, unplanned path that pedestrians have made as they leave the bottom of the ramp, and the axial, monumental path implicit in the organization of the large concrete plaza in front of the Assembly Hall. One is informal and intimate because of the many footprints that have worn away the grass; the other is formal and monumental in its carefully controlled framing of a sculptural presence. They are two very different paths, offering different rewards as we wander upon them.As Vikramaditya Prakash's book, Chandigarh's Le Corbusier, emphasizes, the Capitol Complex derived from Le Corbusier's personal mythology, transmogrified somewhat by the site, the politics, and the climate. Le Corbusier "considered it the true mission of modern architecture to reestablish the aesthetic and poetic forms necessary for the liberation and deliverance of...modern man."2 Le Corbusier's monumentalism, then, was imposed on Chandigarh's landscape and the inhabitants with the assumption that he knew best what architecture was appropriate for "liberation." While there are many aspects of his designs to appreciate and admire, his buildings only indirectly address the visitor, preferring uncanny to intimate relationships.3 [End Page 105] Click for larger viewFigure 1 The bottom of the ramp leading into a path toward the Trench of Consideration, Capitol Complex, Chandigarh. Photo by the author. Click for larger viewFigure 2 Façade of the Assembly Building, Le Corbusier, 1953-61, Chandigarh. Photo by the author. [End Page 106]For six months in 1999, I lived in Chandigarh within a few blocks of Le Corbusier's government complex and another compelling place, the nearby and unrelated Rock Garden. While the paths at the Government Complex are, for the most part, empty, those in the Rock Garden are not and provide chances for intimate interactions that are only hinted at underneath Le Corbusier's concrete ramp. Poignant informality in Le Corbusier's government sector exists in areas that were never completed according to plan.4 Its predominant monumentality provides a useful contrast to the intimate spaces of the Rock Garden.In the 1950s, two men, Le Corbusier and Nek Chand Saini, began two very different projects within a kilometer of each other in Chandigarh. Le Corbusier's Capitol Complex started in the very highest government circles with Prime Minister Jawaharwal Nehru: the plan was to build a new state capital for a newly divided Punjab in a newly independent India. In architectural history, Chandigarh is well known and well studied due to its planning and design. Nek Chand's Rock Garden (under construction since 1958, and open to the public since 1976) began as an illegal private project by one man to give form to his imagination. This essay is my impressionistic response to these two projects.Monumental buildings often function powerfully as icons or as proud isolated structures. Visited on ceremonial occasions, they can provide visually compelling backdrops to large-scale... (shrink)

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 (...) be devoted to a unique event in industrial design, with specific attention paid to the designers, their aims, and the potential these designs held for social and human development. They would begin the series with a volume on the airplane. Le Corbusier was asked to write an introductory essay, supply captions for the images they had already collected, and offer a few suggestions for additional illustrations.1Accepting the invitation, Le Corbusier in his reply, however, transformed the project: instead of the word "airplane" he preferred "aviation," by which he meant all the prodigious phenomena opening vast new horizons in space and influencing the future of "equipment" in the broadest sense of the word.2 Already in Precisions (1930) he had written, "I replace the word 'urbanism' by the term 'equipment.' I have already replaced the term 'furniture' by that of 'equipment.' Such stubbornness shows well that we are purely and simply claiming tools for work, for we do not want to die of hunger facing the embroidered flowerbeds of aesthetic urbanism" [143]. To his bag of equipment, Le Corbusier now adds "aviation," a tool of modern communication forging new modes of exchange and new links between nations.3The material subsequently sent by the publishing house to Le Corbusier also met with lukewarm reception: he favored more lively documentation such as the view from an airplane as it flew over cities—vast open terrain, the sea, and the forests. And he wanted more picturesque treatment of the lives of aviators, their psychological and social attitudes including analysis of the great aerial routes being drawn between Europe and America, Africa, or Asia. The publishing house was unable to fulfill Le Corbusier's [End Page 93] expectations, reminding him that their focus was limited to "the airplane" and that they expected to receive all his material by May.4What did Le Corbusier mean by "aviation" and the "epic of the air," a phrase he used in the preface of the subsequent book Aircraft (1935)? What new horizons did aviation open and how did this affect the perception of space and the process of reading the terrain as a two-dimensional map or a plan? And what did aviation have to do with "equipment"? Just the year before Le Corbusier had seen the Exposition de l'Aéronautique in Milan for which Mussolini offered the maxim: "Aviation is grand, small, or nothing at all, depending on whether public awareness of aviation is grand, small, or nothing at all."5 Le Corbusier, ever the great publicist, accepted the challenge to spread the meaning of "aviation" in the inclusive sense of the word entailing adventure and service, organization, and machinery.The rapid growth of aviation during the interwar period was mercurial, dramatically reshaping perception of the world and of space. There were daring flights of aviators challenging the breath of oceans and deserts, the heights of Everest, the length of Africa, the uncharted terrain of the North and South Poles. The airplane not only internationalized cartography; it was a tool for exploring and controlling the colonies. While aerial photography, which recorded in precise detail the realistic shape of landmasses, coastlines, seas, deserts, and mountains, perfected the process of mapmaking and enriched the documentary archive of the planet.Yet even more stunning, aviation continually shrunk the size of the globe after the initial KLM flight between Amsterdam and Jakarta took off in 1924. Then the time needed to navigate the 9000 miles was 55 days; within five years it had been reduced to a mere 12 days. A world map criss-crossed with national air routes came into view. In the 1930s civil airlines began to offer passenger and mail service between London and the Middle East, then on to India and... (shrink)

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 (...) Liège, and its mission was to supply the French capital with English coal. When it was decommissioned in 1929, the Armée du salut (the French Salvation Army) bought it with the aid of a donation from Madeleine Zillhardt, the recently bereaved long-term companion of the painter .. (shrink)

Reproduit quatre conférences faites en 1946 et 1947 sous ce titre au Collège de philosophie, et interroge la notion de temps comme limitation même de l'être fini ou comme relation de l'être fini à Dieu (Electre).

Les Cyniques grecs ne nous ont pas l gu de savants trait s. Leur philosophie, plut t pragmatique, s'exprimait par l'observance d'une vie asc tique franchement marginale. Le lecteur d couvrira dans ces fragments qui leur sont attribu s, dans ces t moignages de contemporains, pr sent s ici dans leur version fran aise, l'univers et l'id al des Cyniques. Le texte de cette nouvelle dition a t enti rement revu par l'auteur. Les recherches effectu es depuis la premi re (...) publication (1975) ont permis de compl ter plusieurs sections et d'y inclure des fragments nouveaux et des traductions r centes. Une bibliographie enti rement r vis e et deux nouveaux index viennent compl ter l'ouvrage. (shrink)

Analyse dans la perspective phénoménologique de l'essence comme expression de "l'être" différent de l'"étant". Substitution, dans la subjectivité, de soi à autrui.