• Journal of architectural history
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• v.13 no.2 s.38
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• pp.7-19
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• 2004

This study is an attempt to prove a relationship between Le Corbusier's utopian attitude towards nature and architectural ideology and ideology by a form of inquiry into sociological interests. That is to find out contradictions and limitations in Le Corbusier's architectural world, namely particularity of his ideology by exploring the base entangled with special interests in the society up until formation of his architectural language. A process of this study is by; 1. Examining of background which affected Le Corbusier's attitude towards nature until the nature became his architectural language; 2. An analysis of Le Corbusier's architectural works. That is, this study's main interest is on formation of Le Corbusier's architectural language by his attitude towards nature which present in residential field especially focused on Villa Meyer and Villa Savoye, two best examples of his villa. 3. This study have a goal to investigate that utopian and ideological conception in architecture of Le Corbusier have a dialectic relationship between them. This goal can be achieved by observing in what ways Le Corbusier's utopian attitude towards nature is expressed in residential architectural language and researching into his inconsistent architectural ideology derived from applying architectural language present in villa to pre-fabricated apartment houses.

• Journal of The Korean Digital Architecture Interior Association
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• v.7 no.2
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• pp.33-41
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• 2007

This thesis aims at understanding Le Corbusier's architecture through study of proportion. Based on the analysis of these texts, four elements - geometry in the outline, diagonal regulation lines in the facade, arithmetic rhythm in the structure, composition in the inner space - were listed. Through these four proportional systems. ten houses of 1920's, designed by Le Corbusier were analysed. The Le Corbusier's proportional system can be classified by two different purposes ; aesthetics and utility standardization for the mass production was reflected. In the later period, the proportion system of 1920's has changed through the process of self-contradiction. But the concept of the golden section and the human scale was reflected on Modulor, which Le Corbusier created in 1940's. Therefore, Le Corbuiser's notion of proportion for harmony of architecture has consistent meaning throughout all of his works from the 1920's.

• Journal of architectural history
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• v.5 no.1 s.9
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• pp.102-112
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• 1996

Cette etude vise a trouver I'intention originelle de Le Corbusier(1887-1968) dans les Maisons Jaoul a Neuilly-sur-Seine (1951-1955). En general, on regarde ces maisons comme no autre architecture do Le Corbusier ou un des oeuvres do Brutalisme International. Mais, en consideration du developpement architectural de Le Corbusier, les Maisons Jaoul a ete we des deux realisations de la maison economique en serie que Le Corbusier a etudiee pour la vie: l'un a ete l'Unite d'Habitation a Marseille(1947-1952) pour la cite verticale en serie et l'autre les Maisons Jaoul pour une cite horizontale en serie. Pourtant, ces maisons ne sont pas parfaites pour l'homme. Selon Marie Jaoul qui est une petite-fille d'Andre Jaoul, Le Corbusier a prefere l'harmonie entre la nature et l'architecture plutot qu'entre l'homme et l'architecture.

• KIEAE Journal
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• v.16 no.1
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• pp.121-130
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• 2016

Purpose: This paper is an attempt to explicate the principle of space and form-making in Le Corbusier's architecture from the viewpoint of integrating and relating architecture with the natural landscape. It shows thereby how the geometrical element of architecture and the non-geometrical element of the nature coexist in terms of form. It also explains how space is deployed for the construction of cognitive system between natural landscape and architectural scenery in terms of space, hoping to make a contribution to design method of contemporary house as an elementary datum. Method: Three issues are studied, focusing on the designs around nineteenth thirties in the earliest phase of Le Corbusier: How architectural form and nature is related, how natural greens is introduced into urbanism, and how natural landscape is introduced to house design. 1) it is studied how the relation between the nature and the formal elements of purism in Le Corbusier's architecture is formed. 2) it is studied how the relation between the nature and architecture proposed in Le Corbusier's urbanism is formed. 3) Le Corbusier's "four compositions" is analyzed in terms of relation-formation between architectural space and the nature. 4) it is studied how the natural landscape is introduced to Le Corbusier's house-design in the form of architectural promenade. Result: It has been found out that the natural landscape in Le Corbusier's architecture is not just a simple background, but a necessary element for the consummation of form and space in his architecture, and that architectural inspiration is maximized with coexistence with nature.

• Journal of the Korean housing association
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• v.8 no.2
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• pp.27-35
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• 1997

In the beginning of the 1930's. Le Corbusier's new attention turned toward the local conditions of construction, which can be associated with the prevailing sprit of regionalism and vernaculaire culture. What especially concerns us here is the reference that Le Corbusier makes to vernacular architecture, which we have seen to be the soure of his late houses. During the 1950's, with the United' habitation and the Jaoul houses, Le Corbusier ushered in a new housing trend onto the scene. noteworthy for its use of raw materials and for its opposition to the international style.

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.162-172
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• 2004

Architects and designers of the 20th Century made various efforts to establish new design languages reflecting the changes of society, the times, and environment. They used furniture, especially chairs, as controversial items of aesthetic value, society and ideology. Le Corbusier and Alvar Aalto are furniture designers as well as architects, who adopted this ‘spirit of the times’ actively and have greatly contributed to modernism. This study will help us to understand the diversity of design since modernism, by comparing these two designers' furniture design. It also covers the common factors In modern furniture design, and analyses their individuality and likeness In design. The following is a comparison of furniture design by Le Corbusier and Alvar Aalto. Le Courbusier linked International design and Aalto linked Rational design and Organic concept design to their furniture, just as they did in their architecture. They were able to establish the base of modern furniture design by adapting new concepts and pursuing humanism. In structure, Le Corbusier's furniture Is simple and proportional. It demonstrates a sophisticated geometric composition, mechanical beauty. On the other hand, Aalto rationally linked nature with human requirements and his furniture is organic and in harmony with geometric structure. In function, Le Corbusier's furniture is standardized and prefabricated. He designed for the user so they could choose to use the furniture efficiently to suit their needs. In comparison with Le Corbusier, Aalto Invented the ‘Stacking Chair’ which allows a more effective use of space and reflected the structure of the human body to improve the user's comfort. In materials and techniques, Le Corbusier used new materials like metal or leather, and attempted new ways such as welding, prefabrication, and standardization for production. On the contrary, Alto mainly used birch, which is the traditional material in Finland, and tried new bent wood techniques and joining methods.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.5
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• pp.12-26
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• 2021

The purpose of this research is to analyze the influence and legacy of Le Corbusier, who has been neglected in the past discourse of landscape architecture, on the formation of modernism in landscape architecture. The research examined the relationship between Le Corbusier's ideas and practices and modern landscape architecture in three parts. The first part analyzed chronologically the relationship between architecture and landscape in Le Corbusier's theories and practices. The evaluations and criticisms of Le Corbusier's landscape practices were also examined. The second part analyzed the relationship between Le Corbusier and European Modernism in landscape architecture and his influence on European modern landscape architects focusing on Vera, Lurcat, and Canneel-Claes. The third part looked into Le Corbusier's influence on American and British modern landscape architects including Tunnard, Chruch, Rose, Eckbo, and Kiley. The result of the research showed Le Corbusier's works and theories heavily influenced important landscape architects in Europe and America, who played key roles in forming Modernism in landscape architecture. Rather than introducing Le Corbusier's Modernism theory into the discourse of landscape architecture without questioning, modern landscape architects accepted his theory and practice of Modernism selectively with praise as well as criticism. Canneel-Claes, Turnnad, and Eckbo were the pioneers who tried to establish the basis of Modernism in landscape architecture by positively accepting Le Corubiser's thoughts on Modernism; whereas, Steel and Rose criticized Le Corubiser's attitude on landscape architecture. Church and Kiely were indirectly influenced by Le Corbusier in forming their Modernism style.

• Architectural research
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• v.14 no.2
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• pp.67-73
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• 2012

The purpose of this study is to reveal the meaning of ramp of Le Corbusier's Carpenter Center for the Visual Arts focused on experience of architectural promenade. The Carpenter Center was completed in 1964, only a year earlier than the death of Le Corbusier and also, this building is the only building actually constructed in North America. Despite these important facts, the meanings of the ideas of this building have not been paid attention as much as other buildings constructed at the same period, such as, Venice Hospital and Un Pavillion D'exposition in Zurich. In his book, 'Oeuvre Complete 1957-1965', Le Corbusier mentioned Carpenter Center as an architectural experiments of his ideas. The study of carpenter center will be an important architectural subject to clarify the meaning of his later works and ideas.

• Journal of architectural history
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• v.7 no.2 s.15
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• pp.77-90
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• 1998

This study on the site of vision in the Villa Savoye of Le Corbusier, concentrates on the precise analysis of the meaning of 'fenetre on longueur' in the living room. A lots of architectural theorists have regarded the Villa Savoye of Le Corbusier as a symbol of modern architecture, and his 'fenetre on longueur' as products of modern technology. But Le Corbusier who defined himself as 'homme visuel', responded keenly to the vision conditions inherent to the human finitude, Indifferent to the modern technology, Such a response would be derived from the experience of Acropolis, where 'the scheme was designed to be seen from a distance.' Generally speaking, 'fenetre en longueur', contra to 'porte-fenetre', makes one to focus on the panorama effect of the horizon, including a distant view. Entering the living room of Villa Savoye, however, we may perceive this window in two ways. Firstly this window acts as a screen to obstruct not to see outside, because of the wall above pressing down the line of view. Secondly this acts as a frame to make us see a distant view as far as eye can reach. These two ways result in the abbreviation of near view, and a sudden shift between a inferiority(derived from 'screen effect') and a distant view(from 'frame effect'). Depending on such a observation, this study can evaluate 'fenetre en longueur' internalizing of a distant view as the highest compressed scene of Le Corbusier's architectural poetics.

• Journal of the Korean housing association
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• v.15 no.4
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• pp.107-115
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• 2004

The purpose of this paper is to study on the architectural value in Dom-Ino system. Dom-Ino system by Le Corbusier is a structural system for effective production in terms of physical reproductivity and a modeling system from the view of formal composition. It creates planar grid with a fixed ratio, manipulates the user group, and becomes the basic construction method. Form comes out of geometrical proportion system, and grid-based plan provides regularity and order to elevation planning. Production requires standardization. Indoor space is maintained by uniformed and integrated service facilities. Dom-Ino system was a transitional step of the Modulor system which was created by Le Corbusier in 1945 and composes of and equivalent proportional system. The fact that the numerical proportion system is the one of appropriate design methods implys a progressive concept that architectural configurations are controlled by the technology of that time. And also the system is one of the object type of Corbusier's housing architecture.