Since the dawn of the modern era, there has been a strong relationship between architecture and the car, especially in the works of Le Corbusier.
Le Corbusier was fascinated by his car (the Voisin C7 Lumineuse); the aesthetics of this functional, mass produced machine deeply influenced his designs. Its focus on function translated into his concept that houses should be "machines for living" and inspired a series of experiments of mass produced, pre-fab houses (such as the Maison Citrohan). Most of these concepts were later materialized in the iconic Villa Savoye, whose floorplan was even designed to accommodate the car's turning radius.
LEGO® has officially announced the next addition to their architecture-inspired products: The United Nations Headquarters. Standing alongside New York City’s East River, the United Nations Headquarters is a beacon of modernism and international collaboration, designed by a team of multinational architects including Le Corbusier and Oscar Niemeyer. Scaling 5 inches high x 8 inches wide x 6 inches deep, this representation of the UN Headquarters costs $49.99.
Check out more about the building and its history here.
In this article, which originally appeared on Architectural Review, Iman Ansari interviews Peter Eisenman about his personal views on architecture throughout the course of his career.
Iman Ansari: More than any other contemporary architect, you have sought a space for architecture outside the traditional and conventional realm. You have continually argued that modern architecture was never fully modern and it failed to produce a cognitive reflection about the nature of architecture in a fundamental way. From your early houses, we see a search for a system of architectural meaning and an attempt to establish a linguistic model for architecture: The idea that buildings are not simply physical objects, but artifacts with meaning, or signs dispersed across some larger social text. But these houses were also part of a larger project that was about the nature of drawing and representation in architecture. You described them as “cardboard architecture” which neglects the architectural material, scale, function, site, and all semantics associations in favor of architecture as “syntax”: conception of form as an index, a signal or a notation. So to me, it seems like between the object and the idea of the object, your approach favors the latter. The physical house is merely a medium through which the conception of the virtual or conceptual house becomes possible. In that sense, the real building exists only in your drawings.
Peter Eisenman: The “real architecture” only exists in the drawings. The “real building” exists outside the drawings. The difference here is that “architecture” and “building” are not the same.
Dutch designers, Rem Koolhaas and Hella Jongerius, have revamped the delegates' lounge in the United Nations building just in time for the 68th General Assembly this week. The "workshop of peace" lounge space, originally designed in 1952 by Wallace K. Harrison in collaboration with renowned modernists Le Corbusier and Oscar Neimeyer, now sports a range of pastel-colored sofas and lounge chairs, opting for minimal intervention in attempts to maximize the social space. Read more about the UN North Delegates lobby on Gizmodo.
https://www.archdaily.com/430669/koolhaas-revamps-un-building-s-modernist-era-loungeJose Luis Gabriel Cruz
The Wall Street Journal recently detailed the complex history of E-1027, the house which Eileen Gray designed with her lover Jean Badovici in Southern France: from the murals which Le Corbusier painted on the walls (without Gray's permission) to the murder that happened there in 1996 to the restoration that has been going on for over a decade (a supposed "massacre" of the original). You can read the full article here.
Opening October 11th to mark the re-opening of the J1 Maritime Hangar, Marseille-Provence 2013, European Capital of Culture, is presenting the Le Corbusier and Brutalism Exhibition in celebration of one of the most esteemed architects of the 20th century. The exhibition emphasizes the different facets of this unique artist-architect who along with his design work also pursued drawing, urbanism, painting, and sculpture.
Curated by Jacques Sbriglio, the renowned Marseille architect and realized in collaboration with the Fondation Le Corbusier,Le Corbusier and Brutalism covers the period from 1935 to 1965. It presents more than 250 of the architect’s works: 133 original blueprints, 54 drawings and sketches, 33 paintings, 14 sculptures, 10 enamels, 4 tapestries, and 19 architectural models, as well as close to 100 photographs taken at Le Corbusier’s building sites. The exhibition ends December 22. For more information, please visit here.
Although critiquing the exhibit for some "critical flaws" - namely the choice of theme and the lack of explanatory text - Alexandra Lange's review for The New Yorker praises the MoMA's Le Corbusier exhibit, “An Atlas of Modern Landscapes,” as a "must-see" thanks to its varied displays, which show "the terrific span of Le Corbusier's career in time, space, and scale [...] If current architects take anything from the exhibition [...] it should be the power of those big, gestural drawings, where visual and verbal argument vividly come together." Read the rest of Lange's critique at The New Yorker.
The Plug-In City by Peter Cook, 1964. Image via Archigram Archives
This AD Round Up is dedicated to unbuilt classics, a selection of projects and ideas that, although never built, contributed greatly to the canon of twentieth century architecture. In 1920, Buckminister Fuller designed the Dymaxion House, which displayed forward-thinking innovations in sustainability and prefabrication. In 1924, Le Corbusier’s radical plan for Ville Radieuse (The Radiant City) had an extensive influence upon modern urban planning and led to the development of new high-density housing typologies. In the same year Friedrick Kiesler introduced his "Endless House", the basis for his subsequent manifesto of Correalism. Eight years later in 1932, Philip Johnson and Henry-Russell Hitchcock curated the “Modern Architecture: International exhibition” at the MoMA, introducing the emerging International Style and laying the principles for Modern architecture. And finally, one of Archigram’s most famous utopian visions, the Plug-In City, proposed by Peter Cook in 1964, offered a fascinating new approach to urbanism and reversed traditional perceptions of infrastructure’s role in the city.
Alix Bossard shares this must-watch video that outlines Le Corbusier's five revolutionary principles of modern architecture. Using gorgeous motion design, the video briefly introduces us to everything from le Modulor to Villa Savoye and Les Cités Radieuses. Enjoy this two-minute recap of the career of one this century's most influential architects.
MoMA's new exhibition, Le Corbusier: An Atlas of Modern Landscapes focuses on the way in which Le Corbusier focused on the world of architecture. It explores both his most famous architectural projects, as well as the means by which he was able to realize them. Through a collection of early watercolors, drawings and photographs, curatorJean-Louis Cohen provides a peak into Le Corbusier's journeys and developments as an architect, how he explored the world and what he drew from his travels and observations.
As we've mentioned before, Irish designer Eileen Gray was undoubtedly one of the most influential, and most overlooked, designers of the 20th century. However, a new Kickstarter campaign aims to put that right once and for all. The campaign is seeking funds to help renovate Gray's seminal house, E-1027, for the production of a feature film about the architect.
When the gym and solarium on the 20-century’s most famous rooftop terrace - elevated 18-stories above Le Corbusier’s Cité Radieuse - went up for sale in 2010, French designer Ito Morabito of Ora-ïto immediately jumped on the opportunity and purchased the space. With the support of the Foundation Le Corbusier, Ora-ïto initiated a campaign to restore the 1950‘s structure to its original state, by removing an addition that blocked the spaces 360-degree views of the city, and transform it into a contemporary art center, named the MAMO for “Marseille Modulor” - as a nod to New York’s MOMA.
Le Corbusier (1887-1965) was the most significant architect of the twentieth century. Every architecture student examines the Swiss master's work. Yet, all too frequently, they rely on reproductions of faded drawings of uneven size and quality. Le Corbusier Redrawn presents the only collection of consistently rendered original drawings (at 1:200 scale) of all twenty-six of Le Corbusier's residential works. Using the original drawings from the Le Corbusier Foundation's digital archives, architect Steven Park has beautifully redrawn 130 perspectival sections, as well as plans, sections, and elevations of exterior forms and interior spaces.
We here at ArchDaily are big fans of Roman Mars' radio program 99% Invisible, and just had to share the latest show: "In and Out of Love." In it, Mars explores the changing face of Philadelphia's JFK Plaza (more commonly known as LOVE Park), why its Modernist characteristics made it perfect for skateboarding (although city officials certainly didn't feel that way), and why Le Corbusier truly is the patron saint of skateboarders.
And, if you like this, check out Why Skateboarding Matters to Architecture, and follow the jump for some very cool, very innovative skate-friendly homes, stores, and parks...
Iconic for its floating steel roof and brightly colored panels, the Pavillon Le Corbusier is the last building Le Corbusier designed before his death in 1965. Completed in 1967, the building stands as a testament to Corbusier’s renaissance genius as an architect, painter, and sculptor. It does so both intentionally, as it is an exhibition space for his life’s work, and naturally, as it is a building masterfully designed. Interestingly, the building diverges in some ways from the style responsible for his renown – concrete, stone, uniform repetition, etc. It celebrates the use of steel, with which he explored prefabrication and assembly, and a freedom through modularity, in which the plan is completely open but infinitely adaptable.
.jpg?1379388488 "An axonometric drawing of Eisenman’s House II, (1975). Image Courtesy of an-onymous.com")
.jpg?1379388545 "Model of Cannaregio project with House 11a at different scales (1978). Image Courtesy of an-onymous.com")
_with_a_caption_from_Eisenman.jpg?1379388568 "The cover of Michael Haneke's \"Funny Games\" (2007) with a caption from Eisenman. Image Courtesy of an-onymous.com")
