Podcasts about corbusier

durée : 00:47:29 - Affaires sensibles - par : Fabrice Drouelle, Franck COGNARD - Aujourd'hui dans Affaires sensibles « Le Corbusier, fasciste ! » - réalisé par : Stéphane COSME

A pioneer in her field, Catherine Bauer Wurster was advisor to five presidents on urban planning and housing and was one of the primary authors of the Housing Act of 1937. During the 1930s she wrote the influential book Modern Housing and was one of the leaders of the "housers" movement, advocating for affordable housing for low-income families.  Catherine Bauer's life divided into two names and two geographies:  her urban east coast youth, and her later life in the Bay Area. She hobnobbed with the bohemian elite of the interwar years….brilliantly charming  the big architect names of the Weimar Republic, Paris cafe society, and the International Style:  Gropius, Mies, Corbusier, Oud, May, and her lover, Lewis Mumford. Her glamour and charismatic presence endeared her to trade unionists, labor leaders, and politicians—who she tried to turn to her vision of housing as a worthy responsibility of the government—sexier and leftier during the Depression. Her arguments were a harder sell in the red scare fifties and ran into a dreary deadlock in the suburban sixties, as she later wrote from her west coast stronghold at the University of California, Berkeley. In the Bay Area she developed an academic career that also included her husband architect William Wurster, a daughter, and a house on the bay – all surrounded by the nature she quickly grew to love. Her legacy lives on to this day, as even the latest of housing legislation echoes the progressive ideals she was advocating for in her prime.  Produced by Brandi Howell for the New Angle Voice podcast from the Beverly Willis Architecture Foundation. Editorial advising from Alexandra Lange. Thanks to host Cynthia Phifer Kracauer. Special thanks in this episode to Barbara Penner, Gwendolyn Wright, Sadie Super, Matthew Gordon Lasner, Katelin Penner, and Carol Galante.  Archival recordings are from the UC Berkeley Bancroft Library. Funding from the New York State Council on the Arts.The Kitchen Sisters Present is produced by The Kitchen Sisters (Nikki Silva & Davia Nelson) with Nathan Dalton and Brandi Howell. The Kitchen Sisters Present is part of Radiotopia from PRX.

IN MEMORIAM. Joseph Rykwert CBE died on October 18th 2024 at the age of 98. One of the foremost architectural historians and critics of his generation, Rykwert spent most of his working life in the UK and the USA. He was the Paul Philippe Cret Professor Emeritus of Architecture at the University of Pennsylvania and taught the history and theory of architecture at several institutions in Europe and North America. His many influential works on architecture include The Idea of a Town (1963), On Adam's House in Paradise (1972), The Orders of Architecture (1982), The Dancing Column (1996), and The Seduction of Place (2000). All of his books have been translated into several languages. I visited Joseph often at his house in London's Hampstead, and on 9th July 2021 he generously agreed for our conversation to be recorded and to take part in what would become this final interview. We publish it here for the first time because it was made to be able to remember and celebrate Joseph's ‘gloriously erudite', light-hearted voice at the time of his passing. Sadly, even if he lived to a considerable age, that time is now upon us. "I don't think there's one outstanding figure in my generation, there are a lot of second rank figures but there was not one figure of the stature of Corbusier." "Frank Lloyd Wright was a genius. Some of Wright's buildings are impressive. I met him once, but not as a pupil. He was very antipatico, very exploitative of all the people who came to learn from him." "I think of myself as superficial and ignorant, because I just haven't read enough."

durée : 00:58:49 - Entendez-vous l'éco ? - par : Tiphaine de Rocquigny, Aliette Hovine - Au cours du XXème siècle, l'architecture novatrice de Le Corbusier s'est confrontée au défi démographique et à l'amélioration des conditions de la vie urbaine. - invités : Tim Benton Professeur d'histoire de l'art à la Open University (Royaume-Uni), spécialiste de l'histoire de l'architecture moderne; Emmanuel Bellanger Historien

​​L'immeuble Clarté, situé en plein centre-ville, est parfois oublié des Genevois. Pourtant, une riche histoire entoure cet édifice du centre-ville. Pour pallier ça, la Bibliothèque de Genève y consacre une exposition photo. Pour en savoir plus sur cette exposition, nous recevons Nicolas Schaetti, conservateur et responsable de la Bibliothèque de […] The post Exploration photographique de l'immeuble Clarté du Corbusier first appeared on Radio Vostok.

​​L'immeuble Clarté, situé en plein centre-ville, est parfois oublié des Genevois. Pourtant, une riche histoire entoure cet édifice du centre-ville. Pour pallier ça, la Bibliothèque de Genève y consacre une exposition photo. Pour en savoir plus sur cette exposition, nous recevons Nicolas Schaetti, conservateur et responsable de la Bibliothèque de […] The post Exploration photographique de l'immeuble Clarté du Corbusier first appeared on Radio Vostok.

The young architect has already made a mark on one of Sweden's cities by winning a competition to build a housing complex in multiple classical styles. Nils Freckeus has a strictly classical approach and aspires to work like the old building masters.

The Modernist architecture we love is exciting, edgy, sometime inexplicable, often brilliant.  Modernism has been around a long time, yet there's also been a movement beyond  Neutra and Corbusier and Gropius and Breuer and Mies, that's frequently misunderstood.  We're talking about organic architecture, houses that make Neutra look downright classical. Organic architects are a fiercely independent breed, using their intuition like Yoda would use the Force, taking on unusual materials and construction techniques, and sculpting residences that look out of this world.  More simply put, organic architecture is to modernism like monks are to priests, and these monks take their craft very seriously.  As a client, you tell them what you need, but you are not going to tell them what to design.  Joining us today are two prominent living organic architects, Bart Prince and Michael Johnson and later on, returning musical guests Peter Lamb and The Wolves.

Bonjour et bienvenue dans le podcast Aphrodisart, un voyage envoûtant qui vous révélera les passions et les secrets de l'histoire de l'art. Je vous propose aujourd'hui de découvrir l'architecte Henri Sauvage.  De l'art nouveau en passant par l'hygiénisme puis aux commandes prestigieuses, venez découvrir les œuvres emblématiques de ce personnage. Instagram et Tiktok : Aphrodisart_ BIBLIOGRAPHIE : Beaux-arts - Qu'est-ce que l'Art nouveau ? | Beaux Arts  Article : Cinq édifices remarquables d'Henri Sauvage, - Ville de Paris MINNAERT J.-B. , Henri Sauvage, l'exercice du renouvellement, Paris, Norma, 2002. MINNAERT J.-B. , Henri Sauvage, le rationaliste, Paris, Éditions du patrimoine, 2011. BOILEAU. L, « Causerie - La villa Majorelle », L'Architecture, no 40, 5 octobre 1901, p. 342-348.  JOURDAIN. F, "La villa Majorelle à Nancy", La Lorraine artiste, no 16, 15 août 1902, p. 242-250. LOYER. F, GUENE. H, Henri Sauvage, les immeubles à gradins, Paris/Liège, IFA/Mardaga, 1987. Mes cours à sorbonne Université - Architecture et urbanisme du XIXe-XXe siècle de MINNAERT J.B CRÉDITS MUSIQUES  Gregor Quendel - Cinematic Celesta Trailer Score.wav  - Freesound  Monument Music - “ Betrayal” - Music from #Uppbeat (free for Creators!): https://uppbeat.io/t/monument-music/betrayal License code: UUKWRNHI3EMHIDMD  Monument Music - "Love story" - Music from #Uppbeat (free for Creators!): https://uppbeat.io/t/monument-music/love-story License code: FNEXALTUPBWKDEYM Ilya Kuznetsov -  "Losses"  - Music from #Uppbeat (free for Creators!): https://uppbeat.io/t/ilya-kuznetsov/losses License code: BBBTTYVH3JQUV5HR Bosnow - " the Lullaby of Peace" - Music from #Uppbeat (free for Creators!): https://uppbeat.io/t/bosnow/the-lullaby-of-peace-and-love License code: RUW0EC3IGICBIOR4 Danijel Zambo " Winter Wonderland " - Music from #Uppbeat (free for Creators!): https://uppbeat.io/t/danijel-zambo/winter-wonderland License code: JBWLG68SH9AYSQJ1  Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

durée : 00:03:24 - Où est-ce que tu vas pour les vacances ? - par : David ABITTAN - Chaque jour, David Abittan nous emmène à la découverte d'une ville française, et tente de nous convaincre d'aller la visiter à partir de quelques-uns de ses lieux remarquables. Aujourd'hui, rendez-vous à Firminy.

Pour ce nouvel épisode, zoom sur une pièce de design culte : Le « FAUTEUIL LC2 » du Corbusier.Rendez-vous sur Instagram: @betyle__Email: betylepodcast@gmail.comBetyle est un podcast créé par Sophie Lambert, Carla Romano & Nicolas Cazenave de la Roche Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Le 21 avril 1960, Brasilia devient capitale du Brésil. Une ville complètement sortie de terre, ultra moderne : cette ville est l'incarnation de la cité de l'avenir. Quatre ans plus tôt, au même endroit, il n'y avait ... rien. Bassin, verdure, tout est artificiel. Brasilia est construite sur un plateau désertique à mille kilomètres de Rio. Après la Seconde Guerre mondiale aux côtés des Alliés, le Brésil connaît une période de relative démocratie. Brasilia vient incarner le renouveau, une "ville socialiste" comme l'explique un de ses deux architectes Oscar Niemeyer. Si cette ville idéale vous rappelle Le Corbusier et sa cité Radieuse de Marseille, c'est normal :: ses architectes Oscar Niemeyer et Lúcio Costa sont deux disciples du Corbusier.

(00:00) Welcome(00:10) Suzy Chase(00:12) Dining Room Table in NYC(00:20) The Brutalists(00:43) Decorating by the Book Podcast(00:50) The Brutalists Book(01:20) Hilton Carter(01:38) Buy the Book(02:16) Owen Hopkins(02:38) DBTB(02:56) Brutalism(03:19) Béton Brut(03:53) The Podcast(04:06) Modernism after WWII(04:11) Color Television(04:26) Owen(04:54) Suzy(05:03) Social Housing(05:13) Le Corbusier(05:27) Brutalists Cover(05:33) Corbusier(05:58) Large Social Housing(06:36) Buy The Book Here (06:46) Hunstanton School(06:57) Reyner Banham(07:03) Ethic or Aesthetic?(07:11) Founder of New Brutalism in the '50's(07:24) The New Brutalism Book(07:36) Steel and Glass(07:38) Ludwig Mies van der Rohe(07:42) IIT Chicago(07:49) Banham(08:02) The Hunstanton School(08:17) Purchase the Book Here(08:32) Aesthetic or Ethic?(08:52) DBTB(09:18) The Big Brutalist Question(09:29) Hopkins(09:41) Zvi Hecker(09:44) Krakow, Poland(09:48) Samarkand, Uzbekistan(09:53) City Hall(10:07) Inverted Ziggurat(10:14) Library of Birmingham(10:18) Boston City Hall(10:23) Repeating Diamond Pattern(11:04) Hecker(11:24) Buy The Book Here(11:43) Agustín Hernández Navarro(11:52) Praxis(12:16) UK Brutalism(12:19) US Brutalism(12:20) Soviet Brutalism(12:24) Japanese Brutalism(12:42) Pre Columbian Architecture(12:49) Praxis House(13:58) Your Host Suzy Chase(14:06) The Barbican(14:19) Medieval Gatehouse(14:29) Three Towers(14:58) Narrow Windows(15:05) Castle Windows(15:23) Concrete Towers(15:46) Romanesque Columns(15:58) Classic Capital(16:15) Old and New (16:32) The Show (16:43) Georges Adilon(16:50) Lycée Sainte Marie-Lyon(17:36) Adilon's Work(18:01) Sainte Marie(18:54) Fernando Menis(19:00) Holy Redeemer Church(19:02) Canary Islands(19:08) Tenerife(19:36) Menis(19:45) Redeemer Church(19:56) Purchase Book (20:13) Trinity Square Car Park(21:09) Owen's Website(21:31) Follow The Show on IG(21:49) Brutalist Interior Example(22:05) Brutalist Social Housing Interior Example(22:11) Balfron Tower(22:16) Ernö Goldfinger(22:25) Balfron(22:38) Wade & Tilly Hemingway(22:56) Balfron Interior(23:10) Balfron National Trust Interior(23:22) Tower(23:39) Suzy Chase Your Host(24:13) Hopkins(24:21) Farrell Center(25:25) Purchase The Book(26:07) Website(26:12) Owen Hopkins on Twitter(26:17) Owen Hopkins on Instagram(26:23) Suzy Chase Podcaster(26:32) The Brutalists Purchase Here(26:37) Thanks For ListeningChapters, images & show notes powered by vizzy.fm.

Aujourd'hui, je vais vous parler de la cité radieuse du Corbusier.  Credits image : Vincent Desjardins, Flickr  Texte : Sonia Zannad Voix : Odile Dussaucy Production, réalisation : MesSortiesCulture Le texte de cet épisode, avec son visuel est sur TartinesDeCulture, ici. Abonnez-vous à nos podcasts, ici.     A bientôt pour un nouvel épisode!     Retrouvez nos #mardidevinette et #enigmeduvendredi sur Facebook et Instagram.  Trouvez vos visites guidées sur MesSortiesCulture.  Nourrissez votre curiosité avec TartinesDeCulture.  Enchantez vos collaborateurs et vos clients avec MSCulture. Recevez votre Newsletter personnalisée.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

De l'art pauvre chez les frères dominicains, une certaine idée de la fragilité… Focus sur une exposition d'art contemporain à voir jusqu'à Noël au Couvent de La Tourette (Rhône), édifice religieux du Corbusier transformé par les œuvres de l'artiste-sculpteur italien Giuseppe Penone, figure de l'arte povera. Ou comment la Cène, la Crucifixion, le tombeau du Christ ou la Résurrection reprennent sens dans ces sculptures, ces bois sculptées, cette poutre devant l'autel, ces matériaux tordus, creusés, ces frottages. Un projet soutenu par la Fondation Saint-Irénée. Détail artistique avec Marc Chauveau, frère dominicain et commissaire de cette exposition, lui-même historien de l'art.INFOS PRATIQUES | Exposition “Giuseppe Penone”, jusqu'au 24 décembre au couvent Sainte-Marie de La Tourette, 69210 Éveux. Horaires et tarifs sur couventdelatourette.fr

durée : 00:30:00 - Les Nuits de France Culture - L'architecte Le Corbusier victime consentante d'un cambriolage ? C'était dans l'émission "Ce soir on cambriole !" de Max Favalelli. Le Corbusier expliquait la signification pour lui d'une sélection d'objets qu'il gardait dans son atelier : coquillage, os, pierre, statue... L'architecte Le Corbusier victime consentante d'un cambriolage ?  * C'était dans l'émission "Ce soir on cambriole !" de Max Favalelli. Le concept était le suivant : Max Favalelli s'introduisait chez une personnalité, lui subtilisait quelques objets et interrogeait ensuite ladite personnalité sur son lien avec ceux-ci. Ce soir-là nous étions chez Le Corbusier, dans son atelier qu'il appelait son archipel, l'architecte vivait dans une de ses oeuvres et sa collection privée recelait quelques surprises. Premiers larcins des coquillages et voici ce qu'en disait l'architecte :  La vraie formation que j'ai toujours eue c'est de considérer la nature, l'étudier et en recevoir la leçon. En effet, j'ai un faible pour les coquillages parce que le coquillage est une forme de merveille qui, depuis que je suis gosse, m'a toujours épaté, il n'y rien de plus beau qu'un coquillage.c'est l'harmonie-même, c'est la loi de l'harmonie, l'idée est simple : elle se développe soit par rayonnement, soit par spirale, intérieurement et extérieurement de manière étonnante.  Second objet volé chez Le Corbusier : une pierre. L'architecte avoue qu'il l'a lui-même dérobé en Égypte, il s'agit d'une pierre de la pyramide de Khéops. Un fragment de branche torsadée, qui ressemble à une colonne torse... Un objet qui ressemblait à  une éponge desséchée, ramassée sur la route de Biarritz... Le Corbusier explique. Un débris d'os, une boite d'allumette à propos de laquelle il explique :  C'est une petite dévotion que j'ai à l'égard du feu, le vieux païen qui est moi et qui se trouve avoir dans sa poche le feu à disposition, dans un petit emballage pelliculaire de bois, j'ai toujours trouvé cela admirable, on peut presque s'asseoir sur une boite d'allumette tant c'est solide... pour un bâtisseur c'est une leçon de chose. Par Max Favalelli - Avec Le Corbusier Ce soir on cambriole - Le Corbusier (1ère diffusion : 31/07/1960 Chaîne Parisienne) Indexation web : Sandrine England, Documentation sonore de Radio France Archive Ina-Radio France

František Sammer, l'architecte tchèque dans l'ombre du Corbusier

František Sammer, l'architecte tchèque dans l'ombre du Corbusier

In de jaren 20 van de 20ste eeuw doet ook het modernisme zijn intrede aan de Franse Riviera. De Ierse architecte en designer Eileen Gray laat in Cap Martin haar Villa E-1027 bouwen. Het is haar eerste architecturale creatie en is een waar icoon van de modernistische architectuur geworden. Le Corbusier was er later graag te gast, al waren de muren volgens hem saai en schreeuwden ze om muurschilderingen. Le Corbusier liet vlakbij ook zijn eigen ‘Cabanon' bouwen.

The man who killed Gandhi is the subject of a new play opening at the National Theatre by Anupama Chandrasekhar. She's one of Rana Mitter's guests along with Balkrishna Doshi, a Riba Gold Medal winner for his buildings, which include low-cost housing and research into environmental design. He studied with Le Corbusier and historian Vikram Visana joins Rana to trace the links between Corbusier, Doshi and Charles Correa. And as she directs a new play at Hampstead Theatre, the Tamasha Theatre Artistic Director Pooja Ghai is also in the Free Thinking studio. The Father and the Assassin - a new play by Anupama Chandrasekhar runs at the National Theatre from 12 May Vikram Visana teaches at the University of Leicester. His research has included the work of architect Charles Correa (1930 -2015). Lotus Beauty by Satinder Chohan is directed by Pooja Ghai at the Hampstead Theatre from May 13th to June 18th. You can find Tamasha Theatre company's podcast dramas online at https://tamasha.org.uk/projects/the-waves/ https://www.architecture.com/awards-and-competitions-landing-page/awards/royal-gold-medal Producer: Tim Bano

What you'll learn in this episode:   Why jewelers from the Pacific Northwest have a singular style, and how Laurie draws inspiration from her environment How Laurie and other artists in the Northwest School of Jewelers incorporate found objects, humor and wordplay into their work What inspired Susan to focus on American jewelry How Susan sorted through Laurie's 30-year archive, and what it was like to write “North by Northwest: The Jewelry of Laurie Hall”   About Susan Cummins   Born in 1946 in Minneapolis, Minnesota, but raised primarily in Atherton, California, Susan Cummins specializes in contemporary art jewelry and spent many years as a gallerist in Mill Valley, California. In 1983, Cummins took over Horizon Gallery in Mill Valley, re-naming it the Susan Cummins Gallery. Noting a lack of representation, Cummins settled on American jewelry as a primary focus for her gallery. Eventually, Cummins relocated to a larger space in Mill Valley and became known for representing painters and jewelers in the same gallery space, blurring the rigid distinction between fine art and craft. Cummins maintained the gallery until 2002. In 1997, Cummins helped found Art Jewelry Forum, a nonprofit tasked with connecting people working across the field of contemporary jewelry and educating new audiences. She continues to be a frequent contributor and is currently serving as the board chair. Cummins has also served on boards for arts organizations such as the American Craft Council and the Headlands Center for the Arts. Her primary focus in recent years has been her work as director of the Rotasa Foundation, a family foundation that supports exhibitions and publications featuring contemporary art jewelers. Susan Cummins was elected a 2018 Honorary Fellow of the American Craft Council.         About Laurie Hall   Laurie Hall, along with Ron Ho, Kiff Slemmons, Ramona Solberg, and Nancy Worden, is part of what has been called the Northwest School of Jewelers, an influential jewelry art movement centered around an eclectic style of narrative and composition. Laurie Hall is a long-time artist and educator from the Pacific Northwest, whose work has exhibited internationally. In 2016, her work was featured in Craft in America's exhibition Politically Speaking: New American Ideals in Contemporary Jewelry. Laurie's work is part of numerous private and public collections including The Museum of Art and Design in NYC, The Tacoma Art Museum, The Museum of Fine Arts, Houston. Additional Resources: Photos Available on TheJewelryJourney.com: Coney Island Express 1983 Carved polychromed wood, bronze, sterling silver, string, and found cocktail umbrella  1 1/2 x 1 1/4 x 16 inches Private collection  Photo: Roger Schreiber   Stumped 1988 Yew wood, sterling silver (oxidized), and antique compass 13 x 1/4 x 3/8 inches The Museum of Fine Arts, Houston, Helen Williams Drutt Collection, museum purchase funded by the Morgan Foundation in honor of Catherine Asher Morgan, 2002.3793   Cubist Café 1987 Sterling silver (oxidized) 6 1/2 x 12 3/4 x 1/2 inches Tacoma Art Museum, gift of Mia McEldowney Photo: Doug Yaple   Wrapped Up in the Times 1987 Sterling silver (oxidized), aluminum sheet, and decoy fish eye 6 x 4 1/2 x 1 1/2 inches Sandy and Lou Grotta collection Photo: Richard Nichol     The Royal Brou Ha Ha 1996 Sterling silver (stamped), stainless-steel fine mesh, hematite beads, and sterling silver foxtail chain 10 x 10 x 1 1/2 inches Tacoma Art Museum, gift of Sharon Campbell Photo: Richard Nichol   One Screw 2009 Bronze screw and sterling silver 1 x 1 x 1/4 inches Curtis Steiner collection Photo: Curtis Steiner   No. 2, Please! 1988 Bronze, found No.2 pencils, basswood, and color core 16 x 3/4 x 4 3/4 inches The Museum of Fine Arts, Houston, Helen Williams Drutt Collection, museum purchase funded by the Morgan Foundation in honor of Catherine Asher Morgan, 2002.3791   Behind the Eight-Ball 2008 Fabricated marriage of metal ball (copper, sterling silver, nickel silver, bronze), copper frame, found printing plate and stencil, and sterling silver 2 3/4 x 3 x 1/2 inches Marcia Doctor collection Photo: Roger Schreiber   Transcript:   Although her work has been shown internationally, Laurie Hall's jewelry is undoubtedly rooted in the Pacific Northwest. As a member of the influential Northwest School of Jewelers, Laurie's eclectic, often humorous work has drawn the attention of numerous gallerists and collectors, including Art Jewelry Forum co-founder Susan Cummins. Susan recently captured Laurie's career in the new book, “North by Northwest: The Jewelry of Laurie Hall.” Laurie and Susan joined the Jewelry Journey Podcast to talk about the influences behind the Northwest School; where Laurie draws her inspiration from; and what they learned from each other while writing the book. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode.    Today, my guests are Susan Cummins and Laurie Hall. Susan has co-authored with Damian Skinner a new book, “North by Northwest: The Jewelry of Laurie Hall.” For 20+ years, she was the driving force behind Art Jewelry Forum, which advocates for contemporary art jewelry. Laurie is an arts educator and jeweler from the Pacific Northwest whose jewelry has been exhibited internationally. She's a key figure in the Northwest School of Jewelry, an influential jewelry art movement centered around an eclectic style of narrative and composition. If you haven't heard Part 1, please go TheJewelryJourney.com.    Welcome back. Susan, did you see Laurie's work somewhere and said, “I want to show that,” or did Laurie send you a photo and say, “Do you want to carry my stuff?” How did that work?   Susan: I don't think Laurie sent me anything. I think I saw her work in a gallery in San Francisco that had it before I did, the Lane Potter Gallery.   Laurie: Right.   Susan: It could have been that I saw it in the catalogue for Jewelry U.S.A. or another invitational of some sort, or I could have seen it through Kiff Slemmons, who I was also showing at the time. Somehow or another, I saw images of it. I had a show—I can't remember if it was a group show. Maybe it was Northwest jewelers; I don't remember the reason for the group show, but it seemed to me that Laurie's work would fit into that. That's when she did the café piece, because Laurie always was very conscious of where her pieces were going.    If she was doing a show that was going to be in the San Francisco Bay Area, she wanted to do something that reminded her of that area that she thought people there would relate to. She thought San Francisco was kind of like Paris, in that there are cafés and Bohemians, life and art and all that. So, she made this café piece that looks like it could have been something that Brock or Picasso did early in their careers. There's a guitar in there. There are tables with plates and chairs and things askew, as if in a cubist painting, and the word “café” in big letters across the top. It was something she thought the San Francisco community would like.    When she did something for the East Coast, she often thought about folk art and Americana, so she used whirligig figures, literally off of whirligigs, or folk art-influenced imagery, like people riding a bicycle, or a tall bicycle with a top hat on and a little message, or the words “Coney Island” on it so they would be thinking of Coney Island. It was very folk art, Americana-like, which she thought the East Coast would be more interested in. Laurie was definitely making work for these markets she showed in, very conscious of that and very accommodating to it. Anyway, did I answer your question? I think I got carried away there.   Sharon: Yes. Laurie, how did the fact that you were a teacher influence the work you did? I don't know if you're still teaching.   Laurie: I taught for over 38 years. The cubist café was because we were studying cubism. I taught calligraphy, lettering and graphics. I love lettering and graphics, and the kids influenced me a lot because they would comment on what I was making or doing. I didn't work at school, but I'd sometimes bring a piece in and show it to them. Did I answer it?   Sharon: Yes.   Susan: Why don't you talk about that piece you did that was a challenge for the students in your class to make something like it?   Laurie: Yeah, you mean the football thing. At Mercer Island High School, they always win all the sport competitions, football, basketball, baseball, soccer, everything. Sometimes they'd shut school down when they were in the finals. I had a whole bunch of football players in my class, and they all called me Hall. They all thought I was cool.    Sharon: I'm sorry. You were cool? Is that what you said?   Laurie: They thought I was cool.   Sharon: For a minute I thought you said cruel, and I was going, “O.K.”    Laurie: No, they called me Agent Orange and Galleon. It was quite funny. They all wanted an A, and they kept coming up and saying, “What does it take to get an A? This is an art class. It must be easy to get an A.” I said, “All right. We're making jewelry. You guys have to make a necklace and wear it into the lunchroom if you expect to get an A. You have to wear it. I really want you to wear it all day, but I won't be able to see you all day.” Anyhow, they did it, and everybody enjoyed it.   Sharon: And did they get A's?   Laurie: If they deserved one. Just by them doing it, I thought they deserved an A because of that, yeah.   Sharon: It's a high hurdle, walking to the lunchroom with something like that.   Laurie: Yes, guys with big necks and everything. It was humorous.   Susan: You also did a piece yourself that had to do with the idea of football, which was a sandwich board piece you wear over your shoulders, front and back. It was called “Rah, Rah, Sis, Boom, Bah.” There were footballs flying over the goalposts and flags and people waving and numbers and all kinds of things.   Laurie: I had a little candy. They used to give candy out. If you had a date to the football game, they'd give you a favor, a little tin football with some candy in it. So, I used that football on the necklace. That was my found object that I had, but how did I come about having that? I think it was in my brother's drawer upstairs in my parents' house.   Susan: No, somebody invited you to a football game and gave you a piece of candy.    Laurie: I doubt it. I probably stole the candy in it.    Sharon: Laurie, was there a point in your jewelry making that you were selling but making so much that you said, “I can't teach right now”? Was there so much demand, or no?   Laurie: No, I had a really good job. I needed the money. I had no other means of support because I'm a single lady, and I loved it. It was consistent. It was reliable. I had no desire to make production jewelry. I worked for Robert Lee Morris one summer for six weeks. It was interesting, and I really liked Robert. I went to his workshop up in Lake Placid, New York. He made that Coty collection of bracelets that are all aerodynamic, and he was talking about that. I used hollow construction a lot because I'm not a flat jeweler. I really make dimensional things.   Sharon: Yes, you can see that now.   Laurie: To me they're sculpture; they really are. They're sculptural, and I like the way they interact with the body. It's a sculpture on the body, as I said, but I'm not really intellectual about what I'm doing. I'm just recording things that I think other people could find interest in and making them. Do I know they're going to find interest in them? I've always been lucky my work has gone out. Am I big seller? I usually sell what I make, but I can't make that much. I've always been interrupted by school. I had a lot of kids every day. I was in a public school, and then I had to clean the room and get the supplies. I had a whole lot of energy. I'm kind of amazed at what I did at this point.    Sharon: Have you ever put on a piece that you had been playing with and said, “This is too flat,” or “It's not talking,” or “This isn't what I had in mind”?   Laurie: You mean do I mess up and trash something? Yeah, of course. There's one piece in the book that's made out of an aluminum ruler. I made that piece three times and even had it photographed. I don't have a lot of money, but I don't think about that. I just go and do something because I know I'll have to figure it out later. When I finally got that piece done, it went to a gallery and it sold immediately, but I made it three times. I have evidence of the way it looked along the way.   Sharon: What was it the other times? You didn't think it was dimensional enough?   Laurie: It just didn't do it. That's all I can say. To be honest about it, it wasn't compelling. There are compelling ideas. Some people can sit down and design something and make it—I'd say there's the ordinary way things look where they're acceptable, like a lady the other day showed me a picture of something on a TV set and said, “Is this your piece?” I looked at it and said, “No. It's nice, but I don't make that kind of thing.” I don't try to make nice. I don't try to make acceptable. I just try to make something that's got a little bit of magic to the message. You don't get it right away maybe, but you keep wanting to go back and look at it. That's what I hope for, and that's what it does to me when I make it. I either know it works or I know it doesn't work.   Sharon: Do you have a story in mind that you want to say, or message in mind that you want to get across in a piece before you start it?   Laurie: Sometimes, like when I found the screw, I knew what I was going to do with it. I saw what was behind the Eight Ball. I saw that ball thing, and I had some Corbusier letters. They were stencils, and I had the monkey. I knew I wanted to make a marriage of a metal ball, and I wanted to see how round I could get it. That was the high bar, so it was technical in one aspect. I try to go over the high bar sometimes.    What other piece can I talk about? The “Wrapped Up in the Times” piece doesn't have any found objects in it other than a glass eye, but I had aluminum, and I made the newspaper out of aluminum because I could cut letters. If you know how you can do it with the materials you have available—and I work with anything. If I think it will work in the piece, I work with it.   Susan: We should say that “Wrapped Up in the Times” is a fish wrapped up in The New York Times. It's a pun. I was going to say a couple of things about Laurie's work. One is that she really does describe the Northwest. If you've ever lived in the Northwest, which I have, either in Portland or Seattle, there are so many references to her place of origin that you just can't miss them. For example, there are a lot of boats in her work. There's water or fishing references. There's a bridge. One necklace is of the bridge. Portland, if you've ever been there, there's a river that goes through the city, and over the river are many, many bridges. There's also a lot of wood and log sections, like rounds of cut wood which came from some branches of a hawthorn tree—I forget what it was.   Laurie: Yew wood.   Susan: Yew wood, yeah. Those sections were all arranged around a necklace with a little compass down in the bottom, which refers to a story about Laurie getting lost in the woods. She called it “Stumped,” again referring to getting lost in the woods, but also referring to the fact that Portland was a big source for lumber companies back in the 19th century for wood. For a long time, they cut the trees and left them stumps, so there are vast areas where there were stumps. Even today, Portland is known by the nickname of Stumptown, and you can find Stumptown coffee around town. It's a brand of coffee. There are parts of the city that are called Stumptown. So, it's a joke, and yet she made this necklace that has this title.    A lot of Laurie's pieces are like that. They are puns or plays on words, or just something funny. There's another piece called “The Royal Brewhaha,” which is about brewing tea. It's got tea bags all around it, all of which Laurie made, but it's about the English, so the royal part comes in making a deal about something. It's just funny and fun. She's often very clever about how she names them. It's also things that are coming from this area, except maybe “The Royal Brewhaha,” but many things—   Laurie: Except it was Princess Di and the royal family. I am Scottish, English, Irish, all the British Isles, so I couldn't help but identify with her because she was so tortured by the royal family. I hated that, so I had to make a piece about it.   Susan: Everything that she's doing is coming from her place, her environment. Everything around her and in her life is incorporated one way or another into the pieces.   Sharon: Susan, in writing the book and interviewing Laurie and going through the archives, what surprised you most about Laurie's work?   Susan: I knew Laurie to some degree before, but not all that well. It is fantastic when you write a book about somebody and you get to ask them every single question you can think of about themselves, about their lives, about their backgrounds, about the piece they made. We literally went through all the work Laurie had ever done that we had pictures of, and I said, “O.K., Laurie, what's this piece about? What's it made of? When did you make it? What were you referring to?” So, we have something written up in our archive about every single piece.   I don't know if there's any one thing that surprised me about Laurie, but everything about Laurie was interesting and funny and fun and amazing in how original her work is, and how she embodies a certain area of this country, and how she was a very American jeweler who was interested in stories and her place of origin. I think none of that was a big surprise, but it all was really interesting to me.   Laurie: Ramona had used things from other places in the world, and I could relate to what she had done, but I didn't want to do it again. I knew I wanted to celebrate American things, and that was it. Then I went about trying to describe it, not thinking it out until I had to make things. I'm very driven by a deadline and a vacation and having time to work, because I worked all the time.    Sharon: Were you picking things not just from America, but from the Pacific Northwest?   Laurie: I was living there and I loved where I was from, so I couldn't help but record what was going on in my life.   Sharon: I'm curious, because in the past 30 years, let's say, everyone has even less of an understanding of your work. I could see how it would be like, “Oh look, you have this ethnic jewelry over here, and you have your cool jewelry over here,” which is really unusual. Have you seen more “I don't get it” in the past 30 years?   Laurie: If someone saw the café necklace on, they'd want it, or they'd say, “Well, maybe I can't wear that, but I really like that.” I don't want to worry about that. I didn't worry about it, and I'm still not worried about it. That's what's wrong. I think Dorothea Prühl was not thinking too much about acceptability. I love her pieces. Being free and expressing your own self or your original thoughts is better than anything else. It really is.    Susan: I think Laurie's work speaks to American interests. I don't think those interests have changed a huge amount from when she made these pieces, but she's been making pieces all along. She's still making pieces. She's still reflecting her times and her place. I think we're talking more about the beginnings of her career or some of the earlier pieces, but the later pieces are also very similar in their humor and their personal reflections of where she is. That doesn't change much over time. Your environment is your environment. The Northwest is the Northwest. There still are influences from nature, from First Nations people. There's a lot of imagery you can see all around Portland and Seattle from the Native Americans who were there originally, which influenced Laurie's work as well.    Laurie: I love that stuff. It's the same feeling. It was looking at the materials. Making with materials is so exciting with the colors, the textures, all of those things. It's just so exciting putting them together.   Susan: And that's pretty much constant with what Laurie's made all along.   Sharon: Laurie, was there something surprising or interesting that was thought-provoking as Susan was interviewing you and you were thinking more about the work? Were there surprises or reflections you had that hadn't occurred to you?   Laurie: I think Susan explained how I think. That was a surprise to me, because I didn't think anybody could figure out how I think. That was the biggest gift she gave me. I was so pleased with the writing and also with Damian, with some of the things he'd say to me. It was fun. We interviewed a lot, and it was always exhilarating.    I never did this because I was trying to make a living or be famous or anything, but I did it because I liked expression. Even from when I was a kid, I won a poster contest. I was in the fifth grade. Everybody at the school entered and I won; the fifth grader got first prize. I never felt that my primitive style would be rejected. I also felt that I could go ahead and be the way I am inside, put it down in paint, put in down in printmaking, put it down however—not that I didn't have to work hard to get one composition to work, but another one would fall into place. There are quick pieces. Then there are long, hard pieces that you work on. They're all different.   Susan: We should also say, Laurie, you were teaching art in general in your high school classes.   Laurie: I wasn't just a jewelry teacher. I was teaching painting, printmaking, graphics, textiles, everything. I had to go out at the end of the day and go from one end of Seattle to the other getting supplies. Then I'd go down to Pacific Island Metal where they have all this junk, and I'd think, “Oh, look at that! Look at that, this metal!” I love metal, I really do. I can make sculpture for the body, but when you think about making your sculpture that is freestanding, I haven't done much with that yet. I still want to make some tabletop ones, little ones, but it's putting things together that's so exciting.    Sharon: So, there's more to be explored. I have to say the book is very clear in terms of explaining your thought process behind each of the photos, which are beautiful, as well as your thought process in general. It's published by Arnoldsche. How do you say that?   Susan: Arnoldsche. They've published a lot of books on contemporary jewelry, especially European ones, but they've also published more American writers about American jewelers now. Toni Greenbaum just published one on Sam Kramer. The influx book that Damian and Cindi Strauss and I worked on was also published by Arnoldsche. They are really the best distributors of contemporary jewelry publications.   Susan: Yes, and I was excited they were going to publish my book.   Sharon: It sounds like such an honor. It's a beautiful book. It's available on the Art Jewelry Forum site, ArtJewelryForum.org, if you want to see a beautiful book. It's also a very readable book with the pictures. Thank you both very, very much. It's greatly appreciated. I hope to talk to you about the next book.   Susan: Thank you, Sharon. Thanks so much for having us.   Laurie: Thanks, Sharon.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.      

“Truth of feature is related to truth of being” - Frank Lloyd Wright What does the building in the dream look like? How does the space make you feel? During dream work and active imagining, I often ask clients these questions. Many times clients lack any formal training in architectural style or the history of design. When I name the specific architectural styles or design traditions present in client's dreams they often draw a blank on the names. When I ask them if the design elements of those styles are present then I get “Oh yeah! The stone had this blocky spiraly pattern.” or “The columns had this simple shape over and over like in [X] movie”. People remember how the spaces they were in made them feel first and the details about those same spaces second. In dreams buildings have a symbolic and metaphorical component. Architects and design professionals will tell you, people don't always consciously notice the space they are in. Yet people unconsciously feel the interiors they inhabit in an intuitive way. “Clean up your house” is one of the early mandates that many cognitive therapists will prescribe to patients under the assumption that their space becoming more orderly in the exterior will reorder their interior cognition. Jung began developing his theory of archetype when he was working with psychotic and impoverished persons that had no exposure to anthropology or mythological theory. Yet Jung observed these persons' psychotic episodes and hallucinatory events often were exact descriptions of ancient Babylonian and Persian mythology. Jung's conclusion was that the images and symbols of unconscious are often “collective” or universal amongst all humans due to their shared evolutionary history. Are there archetypal elements of architecture, in the same way that their primal elements of consciousness? As I said before, when I mention to clients during dream work specific architectural styles; Incan revival, Frank Lloyd Wright, Danish modern; they often draw a blank. Yet when I ask them for details about the structures they have experienced many of the specific details of these styles of design through the psyche in their dream world. Are there archetypal visual patterns that come from our unconscious? Carl Jung thought that the unconscious spoke in symbols through myth and dreams. He saw metaphor as a way that our psyche could tell us deeper truths than language and consciousness alone could contain. It would make sense that the unconscious also speaks through the houses and cities we build to contain our lives. Design itself is a kind of symbol. In the same way that a poem or song can make us feel something that is not present in the literal meaning of its text. Just like a poem is more than a list or a story, architecture is more than creating a structure that won't fall down. Like poetry, the arrangements of structural elements in architecture gesture towards a greater meaning than merely practical purpose. Architecture is meant to impart an emotional story, and sense of structural purpose. The point of a well designed building is to have an effect on our psyche. The interpretation of dreams enriches consciousness to such an extent that it relearns the forgotten language of the instincts. ~Carl Jung, Man and His Symbols, Page 52. The set designer of the 1982 film Bladerunner (Lawrence G. Paull) did an interview once that I found fascinating. Paull explained that the world in the script of Bladerunner lacked any exposition. Paul said he built three sets over each set. In the first set there was high technology overlaid over a previously mechanical world. In the second set people had overlaid the infrastructure for wireless technological revolution over this first tactile-technical world. On the third layer of the set that he built, Paul over lapped vandalism and security devices. The script doesn't tell the audience the history of the world, but the audience intuits the history based on the design of the world. The audience feels the conflicting sense of an optimistic and hopeful world overlain with a cynical and hopeless future. Here the subconscious elements of design are used to tell a story. Our sub-cortical body brains, that Jung described as our unconscious, evolved to feel our deep emotional and intuitive experiences at a level beneath cognition. Being aware of how our environment made us feel at an unconscious level kept us alive through prehistory. Our fight or flight system that helps us to “read the room or “know something in the gut” is the core of this system and the oldest evolutionary piece of our brain, with all other parts developing later. The latest neuroscience indicates that the first thing that our infant brain begins to recognize is the basic structure of the faces around us and then, later, the rooms and spaces those faces inhabit. What is it about these spaces that we are designed to recognize from an evolutionary standpoint? Are there deeply unconscious reactions that design and architecture invoke in us? We have an instinctual reaction to shape and symbol. A dog will bark at a snake shaped stick because the dogs that didn't bark at that shape died. Jung's idea of archetypal postulated that their were structures that underlay consciousness. These structures manifest as psychological patterns that can be observed repeating across history in mythology, politics, and culture. Could they also be found in design? Seldom are the implications of the visual part of archetypes discussed. But yet, aren't the “element and principals of design” the first thing that a pupil learns in art school?” There is a tacit agreement among design professionals that certain forms of design are good or bad in a way that defies any cognitive or intellectual rule. Leon Krier Painting in Post Modern Classicsm Architecture Leon Krier is one architect who has written about the archetypal elements of structures. Krier has written extensively about the patterns and forms in city planning and their effect on our psychology. Krier is an architect, design theorist, and urban planner. He became famous for his work on Seaside, Florida; Poundbury, England; and Ciudad Cayalá in Guatemala. He was influential to the new urbanism movement. Krier works in a postmodern classicist style. His work striped ornamentation, removed extraneous detail and assembled the oldest and most timeless architectural features. You will recognize many design elements in his drawings that have been a part of architecture since the bronze age. “The poet does not excel by inventing new words, but when by particular arrangements of otherwise familiar words, he makes us see ourselves in new ways,” -Leon Krier Krier's architecture is interesting to me as a psychotherapist because his work is in conversation with Jung's ideas and focuses on the psychological reactions that design evokes. Krier felt that the archetypal ideas in architecture were unchanging because they were inborn from the deep psyche. Krier believed that the usage of structure and space should be intuited from design. Much of Krier's work was built around his study of the way that people think and function. Krier was molding the architecture to the person instead of attempting to mold people with architecture. Krier and the new urbanist movement designed space that innately fused with the way that humans historically think, feel and live. This clashed with the modernist ideas present at the beginning of Krier's career. The modernist architects practicing after the middle of the century sought to uproot the structures present in society and transform the way that humans lived through design. In Krier's notes and doodles he expresses contempt for the hubris and revolutionary tendencies of the disciples of Mies van der Rohe and le Corbusier. The debate of tradition vs progress has been raging in architecture for nearly two centuries. ‘In traditional cultures invention, innovation and discovery are means to improve handed-down systems of communication, representation, thinking and building … in Modernist cultures, by contrast, invention, innovation, and discovery are ends in themselves' -Leon Krier Krier is not clinging to tradition and antiquity simple to be anachronistic. Instead Krier is reaching through all of the traditions to find the most fundamental pieces of architecture in their most pure form. Jung's work in psychology was an attempt to find these same primal forms and the roots of what makes us human. Krier's insistence on shaving design elements back to their most time honored and simplest forms make his buildings seem like they sprung from dreams or myth. Krier works in with structural archetypes. His buildings often feel like they exist in both all eras and none. One of Krier's early projects, Atlantis at Tenerife, was never built. However, elements of it informed thousands of projects that Krier and other architects did build over the next decades. Don't these renderings look like the setting of a dream? Perhaps Krier did have an intuitive insight into the forms that lurk in our shared unconscious psyche. In the Dominion of the Dead, Robert Pogue Harrison writes about architecture “Must we change our way of existing before we can change the way we build? Or would changing the way we build change the way we exist?”. Jung observed that our brains are capable of processing information in both an introverted and extroverted way. Our brains are designed to search the world around us for information but also to have our inner and subjective experiences guide us. We are designed to learn about the world around us through the spaces we inhabit, but also through our own inward journeys. In other words, our thinking is a product of our environment while also our environment is a product of our thinking. Both projects must be undertaken simultaneously. We need creativity in our personal interior and cultural exterior worlds to be whole. We need both internal and external creativity to be whole. We need to look for the soul of our collective hummanity dually in the patterns of our ancient history and our ability to transcend that history. The search for the basic structure of the deepest parts of consciousness is something that the field of architecture, like all other creative disciplines, can help us with but not somethings that it can do for us. We can take inspiration from innovation while still recognizing that what makes a design good is how well it resonates with the deepest patterns inborn in our creative human spirit. Humans make mythology in the same way they make architecture. Both The Odyssey and Star Wars are built on the same mythological framework and describe the same inborn heroic process within us. Both are one attempt to tell the same story with in our own ongoing human story. Both are using the same elements to tell the same story, yet both stories are different. We are driven to describe over and over again the patterns and voices, shapes and spaces that we sense from within our own soul. The debate between modernism and traditionalism in design is a flawed one when it assumes only environment or self determines reality. We can neither completely control society through building nor can we find inner peace and natural order while living in a creatively devoid chaotic wasteland. The journey to find and know the self through creativity is both a collective and personal one. It is through discovering how to build that we can find ourselves and through finding ourselves that we discover how to build.

In this episode I am joined by the architect Simon Pendal. We talk about his project Beaconsfield House.The home is an extension and renovation of a 1940's workers cottage, located in the suburbs of the Australian city of Perth. The scheme retains the original cottage fronting onto the street and extends it to the rear with a new extension to create new livings spaces, a master bedroom and a multi-purpose space for the artist owners to display their work.This is no ordinary extension, however. The new parts have been designed intentionally as a spatial sequence, that unveils itself in a series of sculptural, primitive, cave-like spaces. The existing house is linked to the extension via a huge, upturned boat curved ceiling and the curves and circular forms are repeated in the walls and window openings.The projected is unexpected in its suburban surroundings and has a hint of Corbusier in its use of material, form and colour.At the end of the episode, I ask Simon the three questions I ask all my podcast guests;– what really annoys him about his home?– what house has he visited that has really inspired him?– and, if he could choose anyone to design him a new house, who would he choose?I hope you enjoy listening!

Modernism is a cultural and philosophical movement that emerged in the West during the late 19th and early 20th centuries. It's a complex hydra-headed beast that was pervasive in the arts, but also spread through modern industrial societies influencing architecture and science. As part of a series of programmes on BBC Radio 3 and 4 celebrating modernism, Kirsty Wark presents an introduction to modernism – how and why did it arise at this time, and its legacy today. She is joined by the cultural historian Matthew Sweet who is presenting a 10-part series for BBC Radio 4 on a crucial year for modernism: 1922 – The Birth of Now. Suzanne Hobson, from Queen Mary University of London, is an expert on modernist literature, and examines the defining characteristics of the genre, while the musician Soweto Kinch discusses the impact of modernism on music, especially the development of jazz, and how it plays out today. While innovations in the arts including stream of consciousness, atonal music and abstract art are the headline acts for modernism the academic Charlotte Sleigh looks more closely at what was happening in the sciences, and how innovations in physics, psychology and technology changed the way people experienced the world. Producer: Katy Hickman Image: Modulor le Corbusier. Cover template.

  This week, we sit down with Joseph Clarke to discuss his new book Echo's Chamber: Architecture and the Idea of Acoustic Space. The discussion looks at the convergence of politics, acoustics, and the metamorphosis of acoustic spatial thinking from Wagner to Le Corbusier and beyond.

Uma conversa que vai desde a curadoria do espaço à arquitetura. O processo de construção de uma exposição e o interesse pelas primeiras obras dos arquitetos. Na verdade, são as visões parciais que mais detêm a sua atenção.Discutimos a janela e a paisagem, a escala, a inevitabilidade tectônica, as metamorfoses do lugar...e a ruína. Cruzam-se nomes (Eduardo Souto Moura, Adolf Loos, Corbusier, Álvaro Siza) e obras. Faz-se arquitetura...falando.Convidado: Nuno Graça MouraModeração: Ana Catarina Silva, Estudante de Arquitetura

Cristian Chironi"Le Corbusier. Viaggi, oggetti e collezioni"Pinacoteca Agnelli, TorinoMostra aperta fino al 5 settembre 2021https://www.pinacoteca-agnelli.it/visit/La Pinacoteca Agnelli di Torino riapre finalmente le porte al pubblico martedì 27 aprile con lamostra “Le Corbusier. Viaggi, oggetti e collezioni” dedicata all'architetto franco-svizzero padredel Movimento Moderno.Per garantire la sicurezza del visitatore è assicurato il rispetto delle norme vigenti e l'accessoavviene tramite ingressi contingentati con prenotazione consigliata nei giorni feriali eobbligatoria nei giorni festivi tramite il sito web della Pinacoteca.L'esposizione è curata dall'artista Cristian Chironi ed è organizzata dalla Pinacoteca Agnelli incollaborazione con la Fondation le Corbusier di Parigi, che conserva gran parte dei documenti edegli oggetti appartenuti all'architetto. FIAT è main partner del progettoIl percorso espositivo si sviluppa lungo tutto il terzo piano della Pinacoteca e ripercorre la vita diLe Corbusier, incentrata sulla continua ricerca di idee e ispirazioni, raccontandola attraversooggetti, disegni e fotografie.Gli oggetti presenti in mostra sono stati riscoperti e valorizzati in seguito al restauro - curato dallaFondation - dell'appartamento parigino di Le Corbusier in Rue Nungesser et Coli. Si tratta di sassi,pezzi di legno, conchiglie, oggetti di metallo, vetri, materiali che egli raccoglieva considerandoli“objets à réaction poétique” (oggetti a reazione poetica) capaci di innescare in lui il processocreativo. Ad esempio, il carapace di granchio che è esposto in mostra, ha dato origine all'idea delcelebre tetto della Cattedrale di Ronchamp. Accanto a essi sarà visibile l'archivio cartaceo dellefonti di ispirazione in cui venivano conservati, meticolosamente classificati per soggetto, ritaglidi giornale, cartoline, biglietti del treno.La mostra comprende diverse fotografie e schizzi di automobili e mezzi di trasporto. Sappiamoche Le Corbusier era un grande appassionato di automobili. - spiegano Ginevra Elkann e MarcellaPralormo, rispettivamente presidente e direttrice della Pinacoteca; aveva raccolto molto materialesull'auto - proseguono- probabilmente perché gli era utile per realizzare uno dei suoi sogni piùgrandi: disegnare un'automobile. Era stata una sfida inseguita per molto tempo e con energia.Una sezione è completamente dedicata ai viaggi di Le Corbusier, anch'essi raccontati attraversobiglietti, dépliant turistici e cartoline di monumenti e paesaggi che l'artista amava raccogliere econservare accuratamente, in modo non molto diverso rispetto a quello con cui essi vengono oggiesposti al pubblico.Particolare attenzione è data ai tre viaggi che Le Corbusier fece a Torino: nel 1902, all'età di sedicianni, in occasione dell'esposizione Universale alla Promotrice delle Belle Arti dove il futuroarchitetto aveva esposto un orologio; nel 1934, quando venne ritratto a bordo di una Balilla sullapista del Lingotto e l'ultimo, nel 1961, quando fu invitato dall'ICOM a tenere un discorso sul temadel museo ideale in occasione della conferenza annuale dell'associazione durante le celebrazionidi Italia61.Centrale in questa mostra il ruolo dell'artista-curatore Cristian Chironi; il quale non si è limitatoalla mise en forme della collezione nello spazio espositivo, ma creerà attività educative,raccontando il suo progetto My house is a Le Corbusier, programma di residenza itinerante eautogestito che prevede soggiorni nelle abitazioni di Le Corbusier in tutto il mondo.La mostra è corredata da un catalogo edito da Corraini con il progetto grafico di Studio Radl.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Vu sur Parole de… Derby girl… Parole de… Derby girl Comprendre le Roller derby en déconstruisant les clichés et idées reçues. Avec Mélissande aka Meurt Made des Duchesses du Nantes Roller Derby. Une émission de Sali Kettar Musiques « Pompidou » – Portico Quartet « Madama Blu » – Franco Ricciardi « Rockabilly Rules » – Strays Cats (générique fin) Extrait sonore tiré de « Chez le Corbusier » […] Cet article provient de Radio AlterNantes FM

Spesso giardini molto famosi non hanno autore. I motivi possono essere tanti, che vanno dalla quantità, alla cultura del momento.Un giardino però oltre a essere di chi ce l'ha, porta in sé l'impronta di chi lo ha fatto e di chi lo mantiene.Oggi scopriamo insieme come i giardini ti insegnano a essere parte di un processo, con altre persone e la natura.ISCRIVITI E COMMENTA ☝️☝️ FAMMI SAPERE CHE NE PENSI! INSTAGRAM

Deux projets de maillage viennent s'ajouter à la mission Stéphane Bern : l'écluse le Corbusier de Kembs-Niffer et le mur d'enceinte de Wangen – Niedertor. Il s'agit de projets historiques et sociaux qui permettront de préserver un patrimoine local exceptionnel. Présentation du dispositif par Pierre Goetz, Délégué régional de la Fondation du Patrimoine Délégation Alsace www.fondation-patrimoine.org

"Au commencement était l'action" : ainsi le Faust de Goethe traduit-il la première phrase de l'évangile de Saint Jean, remplaçant de manière impie "verbe" par "action". De même Rem koolhaas, encore étudiant, aura immédiatement compris, au-delà de l'espace et de la forme, l'importance des situations et des actions en architecture. L'éphémère mur de Berlin, plus que le Panthéon, la cathédrale gothique ou la Chandigarh de le Corbusier, luit vénéneusement comme une référence incontournable. Cette frontière hallucinatoire délimitait deux territoires programmatiques antinomiques- une zone d'abondance et une zone de pénurie- dont les porosités- les checkpoints- créaient, par leur animation fébrile, les lieux intenses d'un nouvel ordre urbain. Une scène traumatique qui sera transposée à l'infini dans toute son oeuvre, en autres exemples: dans une maison de luxe perdue dans la campagne hollandaise ou dans le projet non réalisé pour le Parc de la Villette à Paris, dans le futur campus Axel Springer à Berlin ou dans la casa da Musica de Porto..." Richard Scoffier, architecte, philosophe, professeur des Écoles Nationales Supérieures d'architecture. "Rem Koolhaas : action" ouvre l'Université Populaire 2015 du Pavillon de l'Arsenal qui poursuit l'interrogation initiée en 2014 sur les différentes« manières de construire des mondes ». 4 nouvelles figures de l'architecture contemporaine sont passées au crible de l'analyse de Richard Scoffier, architecte, philosophe, professeur des Écoles Nationales Supérieures d'Architecture.

ABOUT STACY GARCIA:Youtube: https://www.youtube.com/channel/UCwuGSwfSFoMoc4iM6WWnu7AWebsite: https://stacygarcia.com LinkedIn Profile: https://www.linkedin.com/in/stacygarcia/Twitter: https://twitter.com/stacygarciaincInstgram: https://www.instagram.com/stacygarciainc/Facebook: https://www.facebook.com/stacygarciainc/ Bio:THE WOMANAn established leader in the world of design, Stacy Garcia is a successful creative entrepreneur and founder of multiple business enterprises: LebaTex, Inc., a distinctive textile supplier and Stacy Garcia, Inc., a licensing firm and design house.Stacy is an internationally renowned designer and forecasting expert has partnered with some of the world’s leading manufacturers to create products that span from floor to ceiling for resorts and homes all over the world.She was voted one of the 10 leading voices in the hospitality industry and honored by the American Society of Interior Designers - ASID for Design Excellence.Her work has been featured in Interior Design, Boutique Design, New York Spaces, LUXE, Rue Daily and Architectural Digest.Stacy has an established reputation as a preeminent forecaster of color and design trends, and is a Chair-holder of Color Marketing Group, the premiere international color forecasting association.Stacy is also a dynamic public speaker with experience hosting panels, workshops and keynotes.Renowned for her distinct, lively and fashion-centric patterns and product designs, Stacy is the founder and creative forceTHE COMPANYStacy Garcia is a leading licensing and design company with a collection of global lifestyle brands that add a well-traveled and sophisticated edge to the ever-evolving world of fashion and interiors.With roots in hospitality design, they offer inspired product lines across a number of markets and in categories including textiles, carpet, wall-covering, furniture and lighting.Our brands include:Stacy Garcia Commercial,Stacy Garcia | New York,Stacy Garcia HomeStay by Stacy Garcia.Founded in 2004 and headquartered in New York, the privately held company is led by Founder and Chief Inspiration Officer, Stacy GarciaEp.9 INTRODUCTION:I'm an architect and of course I am always tuned into my physical environment. My home however has somehow never been the focus of my creative output at least until recently. Being more involved in the hospitality space, I've turned my bedroom into a nest that I would be delighted to spend any night number of nights in if it were a hotel and I’ve begun to focus more on the use of color and textures and furniture as a way to express myself.I’m moving beyond my mid century modern black Mies Van der Rohe Barcelona chairs, le Corbusier chaise and Noguchi tables to considering textures and that are drawn from different cultures and geographies.My guest today finds the world of travel  a never-ending experience of inspiration from which she draws colors, patterns, and textures and turns them into textiles, furniture and home Décor. She describes her aesthetic as “global eclectic with a refinement to it.”She is “…an authoritative, informational and entertaining speaker. She does her research, backing up her contentions with facts and figures. But she also knows how to connect the dots to give her audience the big picture. She’s organized, thorough and responsive—a pleasure to work with throughout the process.”Mary Scoviak, Executive Editor Boutique DesignStacy Garcia is a successful creative entrepreneur and founder of multiple business enterprises: LebaTex, Inc., a distinctive textile supplier and Stacy Garcia, Inc., a licensing firm and design house.Stacy is an internationally renowned designer and forecasting expert has partnered with some of the world’s leading manufacturers to create products that span from floor to ceiling for resorts and homes all over the world.She was voted one of the 10 leading voices in the hospitality industry and honored by the American Society of Interior Designers - ASID for Design Excellence and she is the Chairperson for the Color Marketing Group.INFO ON DAVID KEPRON:Website: https://www.davidkepron.comLinkedIn: https://www.linkedin.com/in/david-kepron-9a1582b/Instagram: davidkepron and NXTLVL_experience_designTwitter: @davidkepron 

The reporter Ernie Pyle drives to the nearly finished Norris Dam in 1935, and writes about the Tennesee Valley Authority.Music: “Kickin’ Mule,” played by the King Family, FSA recording, Library of Congress; “Non troppo lento” from piano quartet by Aaron Copland, by BannerArts, from Washington Musica Viva; “Arkansas Traveler,” by Mrs. Ben Scott and Myrtle B. Wilkinson, from the WPA California Folk Music Project, Library of Congress; “Traveling to Louisiana,” by Lobo Loco, from the Free Music Archive, freemusicarchive.org.Sounds from freesound.org: users craigsmith (wind, red-tailed hawk, construction site, typewriter, army convoy, machine guns, rain and thunder); equiloud (creek sounds); heyheymaimai (frogs and cicadas of Tennessee);inchadney (mountain stream); rtb45 (hydroelectric turbines); ivolipa (high voltage)Special appearance by Franklin D. Roosevelt as himself, radio address on the Democratic Party platform, July 20, 1932, from the Master Speech File of the Franklin D. Roosevelt Presidential Library.Research covers a lot of ground but for further reading I recommend especially Sarah T. Phillips, This Land, This Nation: Conservation, Rural America, and the New Deal (2007). For le Corbusier and Norris Dam, see Mardges Bacon, “Le Corbusier and Postwar America: The TVA and Béton Brut,” Journal of the Society of Architectural Historians (March 2015). Donald Davidson’s history of the Tennessee River, part of the old Rivers of America series, is quite remarkable, if you can stand reading the unreconstructed white southern point of view; the woodcuts of TVA power lines and dams by Theresa Sherrer Davidson are remarkable. J. Saunders Redding’s record of his travel in the South is No Day of Triumph (1942). Ernie Pyle’s columns appear in Scripps-Howard newspapers of the era; I got them from the Pittsburgh Press on newspapers.com.

Je vous propose une merveilleuse rencontre dans cet épisode ! Je ne sais pas si vous souvenez de l’épisode sur le Corbusier avec l’architecte Jacques Sbriglio, c’était l’épisode 36. Vous aviez beaucoup aimé ce format dans lequel j'interviewe un.e spécialiste d’un.e architecte très connu et l’objectif c'est à chaque fois de mieux comprendre leur démarche, ce qu’ils ont voulu dire, dans quel contexte ils s’inscrivaient etc. et aussi découvrir des anecdotes méconnues du grand public. Aujourd’hui j’ai invité à mon micro Cloé Pitiot, qui est conservatrice au Musée des arts décoratifs de Paris et qui est surtout une spécialiste d’Eileen Gray Eileen Gray, c’est l'une de mes architectes et designers préférées ! Elle a été absolument visionnaire et quand on regarde ses meubles et surtout la villa E 1027 à coté de Nice, on peut dit que c’était complètement digue d’avoir pensé à tout ça dans les années 20 ! C’était il y a presque 100 ans en fait qu’elle a dessiné cette maison. Vous trouverez en lien de cet épisode des photos et vous verrez à quel point on pourrait très bien croire que c’est une villa qui a été construite il y a très peu de temps ! Contrairement à ce qu’on pourrait penser, Eileen Gray est de la génération d'avant celle de Charlotte Perriand. C’est en grand partie à cause du fait qu’elle n'ait pas produit du mobilier en grande série, que l’on a beaucoup moins parlé d’elle. Il y a eu peu d’expositions sur elle. En france il y en a eu qu’une seule - c’était en 2013 au Centre Pompidou et c’était d’ailleurs Cloé Pitiot qui avait été à son initiative. Je la remercie d’ailleurs d’avoir très gentiment accepté de nous éclairer sur l’univers d’Eileen Gray. Vous verrez cette discussion est passionnante et en plus Cloé, qui a énormément enquêté sur elle, étudié ses correspondances etc, nous confirme que c’était une femme humainement incroyable, très attentive aux autres et aussi complètement connectée à la nature. Je ne vous en dis pas plus et vous souhaite une très bonne écoute ! Cet épisode a été réalisé grâce à la complicité de Plendi by Vinci Construction. >> voir les photos sur mon compte Instagram @ouestlebeau >> Inscrivez-vous à la NEWSLETTER pour recevoir le beau tous les vendredis dans votre boite mail Pour participer à la #newsletter, envoyez-moi vos travaux par email helene@ouestlebeau.com >>Visiter la Villa E1027 : https://capmoderne.monuments-nationaux.fr >> CREDITS Où est le beau ? est un Podcast créé et réalisé par Hélène Aguilar Edition et montage : Paco Del Rosso Identité graphique : Catherine Sofia

Dannati Architetti è la serie podcast di intrattenimento culturale in cui Chiara, architecture sharer, racconta in ordine sparso le vite dei più celebri maestri, spaziando da grandiosi progetti e geniali follie a gossip e curiosità. Un format a tratti cinico e divertente, in cui la storia dell'architettura non è solo per gli addetti ai lavori. Ma proprio per tutti. Scritto e narrato da Maria Chiara Virgili. Illustrazioni di Giulia Renzi.

Sujets traités :  - 16 cas de coronavirus dans le Haut-Rhin. 5 dans le Bas-Rhin. C’est le nouveau bilan établi hier soir par l’Agence régionale de santé. Les autorités modifient la procédure de prise en charge. Désormais, seuls les cas graves sont testés. Les autres patients devront rester confinés 14 jours à leur domicile. Les hôpitaux et les médecins de ville craignent une augmentation rapide du nombre de patients. Pour soulager le centre 15, un numéro vert est mis à la disposition du public de 8h30 à 19h : 0800.130.000 - De nombreux événements sont annulés en raison du risque de contagion. C’est le cas des portes ouvertes des universités de Strasbourg et de Haute-Alsace, qui devaient avoir lieu samedi. - L’aéroport de Strasbourg Entzheim, évacué, hier matin suite à une alerte à la bombe. 350 personnes ont dû quitter l’aérogare, des vols ont été détournés, d’autres annulés. Jusqu’en fin d’après-midi, les forces de l’ordre ont fouillé le site. Autre intervention pour le même motif hier matin au lycée le Corbusier à Illkirch. Des élèves auraient entendu parler d’une bombe devant exploser à 11 heures. Les doutes ont été levés et les élèves évacués ont pu retourner dans leur établissement. - Manifestation des avocats de l’Est, demain, à Colmar. A l’initiative de la Conférence des bâtonniers de l’Est, les avocats d’Alsace, de Lorraine, de Champagne-Ardenne, de Franche-Comté et de Bourgogne, sont appelés à manifester à partir de 15h devant les grilles de la préfecture du Haut-Rhin. Une manifestation pour protester contre le projet de réforme des retraites. Les bâtonniers alsaciens ont demandé à être reçus par le préfet. Les avocats sont en grève depuis le 6 janvier dernier. Ceux du barreau de Colmar se réuniront demain matin en assemblée générale pour décider de la suite à donner au mouvement. - Les élections municipales. A Kaysersberg Vignoble, 3 listes sont déclarées. Il s’agit d’Henri Stoll, de Martine Schwartz et d’Alain Thurlings, à la tête de la troisième liste, intitulée Dynamique nouvelle. Pour le candidat, avoir un équilibre de représentation était nécessaire. Du coup, ses co-listiers viennent des trois villages. Nous l'écoutons. Son projet s’articule autour de différentes thématiques avec en ligne de mire, le mieux vivre pour tous les habitants. Nous l'écoutons. Retrouvez l’intégralité de l’entretien avec le candidat sur notre site azur-fm.com dans la rubrique actu municipales 2020 : http://azur-fm.com/news/municipales-2020-161/1 - Ce soir, AZUR FM, le journal l'Alsace et les DNA vous invitent aux Tanzmatten pour un débat public opposant les quatre têtes de liste aux élections municipales de Sélestat. Les différents thèmes de campagne seront abordés durant 1h30 afin que chaque candidat puisse dessiner sa vision de Sélestat de 2020 à 2026. Le débat sera animé par Franck Buchy pour l’Alsace et les DNA et Franck Jehl pour AZUR FM. Ouverture des portes des Tanzmatten à 19h. Attention le nombre de places est limité. Vous pourrez aussi suivre les débats sur les sites dna.fr et lalsace.fr. Et en podcast, sur azur-fm.com - La fibre optique arrive à Sélestat. La communauté de communes choisi l’opérateur SFR pour déployer la fibre sur son territoire d’ici la fin 2022. - Le tir de disques enflammés qui était prévu le 29 février au rocher des celtes, à Dieffenthal, avait été annulé en raison des vents violents. La manifestation est reportée au 7 mars, c’est ce samedi, à partir de 18h.

 Sujets traités : 16 cas de coronavirus dans le Haut-Rhin. 5 dans le Bas-Rhin. C’est le nouveau bilan établi hier soir par l’Agence régionale de santé. Les autorités modifient la procédure de prise en charge. Désormais, seuls les cas graves sont testés. Les autres patients devront rester confinés 14 jours à leur domicile. Les hôpitaux et les médecins de ville craignent une augmentation rapide du nombre de patients. Pour soulager le centre 15, un numéro vert est mis à la disposition du public de 8h30 à 19h : 0800.130.000 De nombreux événements sont annulés en raison du risque de contagion. C’est le cas des portes ouvertes des universités de Strasbourg et de Haute-Alsace, qui devaient avoir lieu samedi. L’aéroport de Strasbourg Entzheim, évacué, hier matin suite à une alerte à la bombe. 350 personnes ont dû quitter l’aérogare, des vols ont été détournés, d’autres annulés. Jusqu’en fin d’après-midi, les forces de l’ordre ont fouillé le site. Autre intervention pour le même motif hier matin au lycée le Corbusier à Illkirch. Des élèves auraient entendu parler d’une bombe devant exploser à 11 heures. Les doutes ont été levés et les élèves évacués ont pu retourner dans leur établissement. Manifestation des avocats de l’Est, demain, à Colmar. A l’initiative de la Conférence des bâtonniers de l’Est, les avocats d’Alsace, de Lorraine, de Champagne-Ardenne, de Franche-Comté et de Bourgogne, sont appelés à manifester à partir de 15h devant les grilles de la préfecture du Haut-Rhin. Une manifestation pour protester contre le projet de réforme des retraites. Les bâtonniers alsaciens ont demandé à être reçus par le préfet. Les avocats sont en grève depuis le 6 janvier dernier. Ceux du barreau de Colmar se réuniront demain matin en assemblée générale pour décider de la suite à donner au mouvement. Les élections municipales. A Kaysersberg Vignoble, 3 listes sont déclarées. Il s’agit d’Henri Stoll, de Martine Schwartz et d’Alain Thurlings, à la tête de la troisième liste, intitulée Dynamique nouvelle. Pour le candidat, avoir un équilibre de représentation était nécessaire. Du coup, ses co-listiers viennent des trois villages. Nous l'écoutons. Son projet s’articule autour de différentes thématiques avec en ligne de mire, le mieux vivre pour tous les habitants. Nous l'écoutons. Retrouvez l’intégralité de l’entretien avec le candidat sur notre site azur-fm.com dans la rubrique actu municipales 2020 : http://azur-fm.com/news/municipales-2020-161/1 Ce soir, AZUR FM, le journal l'Alsace et les DNA vous invitent aux Tanzmatten pour un débat public opposant les quatre têtes de liste aux élections municipales de Sélestat. Les différents thèmes de campagne seront abordés durant 1h30 afin que chaque candidat puisse dessiner sa vision de Sélestat de 2020 à 2026. Le débat sera animé par Franck Buchy pour l’Alsace et les DNA et Franck Jehl pour AZUR FM. Ouverture des portes des Tanzmatten à 19h. Attention le nombre de places est limité. Vous pourrez aussi suivre les débats sur les sites dna.fr et lalsace.fr. Et en podcast, sur azur-fm.com La fibre optique arrive à Sélestat. La communauté de communes choisi l’opérateur SFR pour déployer la fibre sur son territoire d’ici la fin 2022. Le tir de disques enflammés qui était prévu le 29 février au rocher des celtes, à Dieffenthal, avait été annulé en raison des vents violents. La manifestation est reportée au 7 mars, c’est ce samedi, à partir de 18h.

"Kanske upptäcker ni i mig en svensk le Corbusier?!" Den frågan ställde sig den unge Bruno Mathsson. Oavsett svar har han utan tvekan blivit en av våra mest omtyckta formgivare. Det här avsnittet är en kortfattad introduktion till Bruno Mathssons liv och verk. Litteratur och vidare läsning: Hedvig Hedqvist, "Bruno Mathsson", Orosdi-Back, Stockholm, 2014. Ni följer väl oss på Instagram @designpodden. Det går också utmärkt att maila oss på designpodden@gmail.com. Musik: Heftone Banjo Orchestra 'Dill Pickles'

For our 8th Mixtape, CLOT Magazine's editor Jacobo García has prepared a selection of the most relevant Spanish ambient and experimental sound artists and musicians from the 80s and 90s. Only a few years after the end of the fascist dictatorship, Spanish musical scene exploded, and every region started developing micro scenes mostly focused on rock, pop or punk. This was preceded by a few interesting blends of flamenco, rock and funk in the 70s. From the 80’s explosion, the most widely recognized movement is the Movida, an amalgam of punk, new wave and pop that it is a still a reference to many new bands in the country and music connoisseurs outside it. At the same time, but in different circles, a group of producers, composers and sound artists were developing works in the experimental and avant-garde terrains. Supported from a few independent labels like El Cometa de Madrid, Hyades Arts (a partnership between mainstream singer Alejandro Sanz and renowned writer Elvira Lindo) or Auxilio de Cientos. The music ranged from New Age to Ambient, from Sound Art to Industrial and Noise and the artists came from different contexts, many times building connections, or coming from cinema or the visual, plastic and performative arts. The scene was considered too intellectual from many of the most accessible counterparts. Looking back and considering the quality of works, the originality of narratives and concepts, the contemporaneity of the productions, it seems natural to ascertain that those times defined a golden era for the avant-garde. From global pioneers like Esplendor Geométrico to cult industrial acts such us Diseño Corbusier, from ambient stalwart Suso Saiz to Javier Segura’s haunting productions. Ildefonso Aguilar, Patricia Escudero, Orfeón Gagarín, El Sueño de Hyparco, etc., the list of remarkable of artists, ensembles and creations is daunting. This mix, recorded by our contributing editor for Spain, Jacobo García using records from his collection does not present a complete, comprehensive selection, there is too much material for that. What this selection aims is to thread a set of tracks presenting the musical essence of those times. At CLOT Magazine, we hope it opens a window to a new audience to a not so distant past, one that has been relatively forgotten but which offers innumerable musical rewards. Tracklist: Suso Saiz - Nada de lo que Sucede, Mirrors Of Pollution, NO-CD Rekords, 1994. Iury Lech - De la Melancolía, Musica Para el Fin de los Cantos, Hyades Arts, 1990. Patricia Escudero - Prelude A La Porte Heroque Du Ciel Fragmento - 1894, Satie Sonneries, Grabaciones Accidentales / El Cometa de Madrid, 1987. Grupo Circulo (Adolfo Núñez) - Animacion Del Cuadrado, Talleres De Arte Actual 83-84, Circulo de Bellas Artes, 1985. Randomize - Contemporize, ¿Como se Divertirán los Insectos?, Grabaciones Accidentales, 1986. El Sueño de Hyparco - La Máquina Machacadora de Cerebros, Ambientes Hormonales, Hyades Arts, 1990. T - En El Camino De La Roca, Dark Fields, Klamm Records, 1983. Neo Zelanda - Pretoria, Mix Zelánea, Auxilio de Cientos, 1986. Diseño Corbusier - Meta Metalic, Pérfido Encanto, Auxilio de Cientos, 1985. Javier Segura - El Aborigen Parte I, El Sol Desde Oriente (Selected & Unreleased Recordings 1980-1990), Pasat Continu, 2017. Finis Africae - El Abrazo De La Selva (The Jungle Hug), Amazonia, Ediciones Cúbicas, 1990.

durée : 00:40:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Pour sa nuit rêvée, Paul Chemetov, architecte, dévoile sa philosophie de l'architecture et nous donne à entendre des archives de Malraux, du Corbusier, de Soupault, de Jean Prouvé, parmi d'autres. Entretien 1/3. - réalisation : Virginie Mourthé - invités : Paul Chemetov architecte

durée : 00:30:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - L'architecte Le Corbusier victime consentante d’un cambriolage ? C'était dans l'émission "Ce soir on cambriole !" de Max Favalelli. Le Corbusier expliquait la signification pour lui d’une sélection d’objets qu’il gardait dans son atelier : coquillage, os, pierre, statue... - réalisation : Virginie Mourthé - invités : Le Corbusier (Charles-Edouard Jeanneret-Gris) architecte, urbaniste, décorateur, peintre et homme de lettres

Come and see us record a live episode at Dulwich Picture Gallery on the 26th June! We'd love to meet you!Modernist Architecture has always had more than its fair share of critics. In this episode, the first of a two parter, we discuss the reactionary, counter-revolutionary opposition to modernism in Britain during the interwar period. First, comes an examination of the stodgy, flag-waving, imperialist Classicism of the Edwardian era, which Luke thinks includes some of the worst architecture in Britain. One of the perpetrators of that style, Reginald Blomfield, wrote a patriotic screed against the continental, ‘cosmopolitan’ Modern architecture, which he subtly titled ‘Modernismus.’ We also examine Lutyens’ review of ‘Towards a New Architecture,’ a critique of Corbusier’s theory, but also a refutation of modernism as an appropriate style for living in. Lastly we consider the slightly outlandish ‘England and the Octopus’ by the eccentric architect Clough William Ellis, famous for designing the town sized folly of Portmeirion in North Wales. Fruity characters, problematic tropes and anxiety about a declining Empire abound.In the bonus episode we will discuss the Evelyn Waugh's 'Decline and Fall.'This episode is sponsored by The Article Trade Program.Edited by Matthew Lloyd Roberts. Support the show on Patreon to receive bonus content for every show. Please rate and review the show on your podcast store to help other people find us! Follow us on twitter // instagram // facebookWe’re on the web at aboutbuildingsandcities.orgThis podcast is powered by Pinecast.

Concrete is one of the most commonly used building materials, so many famous sights could not exist without it. In this episode we give you an overview on the history of the material and explain why it has been so successful. We discuss how it is made and used and talk about some famous examples. Visit https://beyondthesights.info for additional links and pictures of some of the discussed buildings! Chapters: 00:01:43.000 1920s and 1930s 00:03:17.000 Freyssinet 00:05:25.000 Shells 00:14:36.000 Formwork 00:17:17.000 India 00:23:57.000 Le Corbusier 00:29:06.000 Concrete as decoration 00:32:07.000 Unitè d'Habitation 00:37:22.000 Brazil 00:41:23.000 Ferrocement 00:45:28.000 Italy 00:48:55.000 Chiesa dell'autostrada 00:50:50.000 Perception of Concrete 00:56:01.000 Japan

Lådor av betong och transparent glas. Hus med insidan utanpå. Hus som inte flyttar på sig och knappt låter sig rivas. Katarina Wikars om den nybrutalistiska arkitekturen. Sextio- och sjuttiotalets brutalistiska byggnader har så smått börjat omvärderas. Tidigare utskällda och föraktade hus i grå betong tycks omfamnas av en ny generation entusiaster. I böcker och på poddar spirar ett nytt intresse. Samtidigt hotar fortfarande rivning många av de här husen och renoveringar har inte sällan gått hårt åt dem. Arkitekturhistorikern Marin Rörby har tillsammans med fotografen Tove Falk Olsson har gjort sin andra studie över denna epok i boken Sverige Brutal, uppföljaren till Sthlm Brutal. Husen med attityd, solitärerna. Om den tidiga modernismen hade idéer om den nya människans historielöshet så var det här en annan tid med andra behov. Brutalismens byggnader var satta att tjäna det allmänna, göra samhällsnytta. Storskaliga statligt finansierade bostadskomplex i England och i USA, offentliga byggnader, stadshus, skolor, sjukhus och bibliotek byggdes gärna i rå betong. Sociala ambitioner låg implicit i stilen. Följ med Katarina Wikars på en nybrutalistisk vandring i Stockholm med poeten och arkitekten Lars Mikael Raattamaa, där vi går igenom det nybrutalistiska manifestet av Reyner Banham från 1955. Ethel Delin berättar om villan i Djursholm hon beställde av arkitekten Leonie Geisendorf som varit elev hos Le Corbusier i Paris. Geisendorf stod också bakom S.t Görans gymnasium på Kungsholmen, som nu blivit studentbostäder. Och så ett besök i LO:s bortglömda betongpalats på en åker i Åkersberga. I Katarina Wikars reportage nämns förstås modernist-ikonen Le Corbusier och han väcker just nu starka känslor i Frankrike, landet där han framför allt verkade. Just nu planeras ett stort Corbusiermuseum i Poissy - en förort till Paris - och den plats där Le Corbusiers kända Villa Savoye finns. Men, Le Corbusier vurmade för totalitära ideologier, detta har diskuterats tidigare i Frankrike, men i med planerna på ett nytt museum har de kritiska rösterna höjts igen. Kulturredaktionens Cecilia Blomberg medverkar i ett samtal om den nu återuppväckta Corbusier-debatten. Dessutom, vår reporter Joakim Silverdal har träffat författaren Eva Lindström som prisats för årets svenska bilderbok för "Kom hem Laila". Programledare: Gunnar Bolin Producent: Maria Götselius

Pour le dernier épisode de notre série de balades architecturales à travers l'Île-de-France, nous vous proposons un tour de périphérique, sans sortir du car, rythmé par les explications érudites de deux grands architectes.

Pour le dernier épisode de notre série de balades architecturales à travers l'Île-de-France, nous vous proposons un tour de périphérique, sans sortir du car, rythmé par les explications érudites de deux grands architectes.

Depending on who's telling the tale, the Cabrini-Green housing projects on Chicago's Near North Side are either patient-zero for urban dysfunction and decay, or a humble high-rise utopia, Corbusier's Radiant City with soul. But at the end of the day it was home to 15,000 people. Cabrini-Green was mostly demolished by 2011, but its legacy both haunts, or enriches, the city, depending on who you ask. Co-hosts Zach Mortice and Newcity Design Editor Ben Schulman asked two Chicagoans: Chicago filmmaker Ronit Bezalel, whose film "70 Acres in Chicago" spent 20 years tracing the decline of of this community; and artist, designer, and educator Andres Hernandez, whose exhibit "Vacancy: Urban Interruption and (Re)Generation" at the Glass Curtain Gallery explored how the ghosts of Cabrini-Green still settle over our pop-culture landscape. Special thanks to recording studio engineer Tim Joyce.