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Notas
1
Este artigo parte da dissertao de mestrado defendida pelo autor denominada Arquitetura e
Complexidade: Le Corbusier e a considerao do homem, defendida em 30/10/00 no curso de
mestrado em teoria e prtica de projeto da EA-UFMG
2
Leur ide tait simple: ils avaient un magnifique parc form de prs entours de fort; ils
dsiraient vivre la campagne; ils taient relis Paris par 30 kilomtres dauto. On va donc
la porte de la maison en auto, et cest larc de courbure minimum dune auto qui fournit la
dimension mme de la maison. Lauto sengage sous le pilotis, tourne autour des services
communs, arrive au milieu, la porte du vestibule, entre dans le garage ou poursuit sa route
pour le retour: telle est la donne fondamentale. Autre chose: la vue est trs belle, lherbe est
une belle chose, la fret aussi: on y touchera le moins possible. La maison se posera au milieu
de lherbe comme un objet, sans rien dranger. LE CORBUSIER. Oeuvre Complte 1929-34,
p.24.
3
LE CORBUSIER. Journal de psychologie normale, Paris, 1926, apud BANHAM. Teoria e projeto
na primeira era da mquina, p. 404. Banham aponta ainda a forte influncia de Auguste Choisy
no pensamento de Le Corbusier, especialmente no que se refere importncia da tcnica na
determinao arquitetnica.
4
Os Cinco Pontos aparecem de modo parcial nas seguintes residncias projetadas por Le
Corbusier: na Villa La Roche Jeanneret (1923-4) pilotis, planta e fachadas livres e terraojardim so realizados pontualmente; na Maison Lipchitz e Miestchanninof (1923-5) a estrutura
independente no explcita, a fentre en longueur pouco expressiva e no h pilotis; na
Maison Planeix (1924-8) aparece o pilotis atualmente fechado , a estrutura independente
pouco expressiva e, na fachada frontal, no aparece a fentre en longueur nem o pano de vidro
fachada livre, e ainda o terrao jardim no suficientemente integrado aos espaos da casa;
na Maison Cook (1926), todos os Cinco Pontos se realizam, porm restritos pela frente estreita
do terreno;na Villa Stein de Monzie (1926-7), melhor demonstrao do conceito da fentre en
longueur, e na Villa Church (1928) no comparece o pilotis e a independncia da estrutura no
explcita externamente; na Villa Baizeau (1927) a estrutura independente, a planta livre,
porm o projeto realizado apresenta uma simplificao que contraria a complexidade do espao
do primeiro projeto. Sobre as primeiras casas dos anos 20, cf. CURTIS. Le Corbusier: ideas and
forms, p.71-84 e BOESIGER.GIRSBERGER. Le Corbusier 1910-65, p.22-57.
5
Larchitecture arabe nous donne un enseignement prcieux. Elle sapprcie la marche, avec le
pied; cest en marchant, en se dplaant que lon voit se dvelopper les ordonnances de
larchitecture. Cest un principe contraire larchitecture baroque qui est conue sur le papier,
autour dun point fixe thorique. Je prfre lenseignement de larchitecture arabe. LE
CORBUSIER. JEANNERET. Oeuvre Complte 1929-1934, p. 24.
6
La rusticit des materiaux nest aucunement une entrave la manifestation dun plan clair et
dune esthtique moderne. LE CORBUSIER. JEANNERET. Oeuvre Complte 1929-1934, p. 48.
7
[...] each of which takes it departure from an existing practice and proceeds to reverse it. The
use of pilotis, for example, is a reversal of the classical podium; it accepts the classical
separation of the piano nobile from the ground but interprets this separation in terms of void
rather than mass. The fnetre en longueur is a contradiction of the classical window aedicule.
The roof terrace contradicts the pitched roof and replaces the attic story with an open-air room.
The free facade replaces the regular arrangement of window openings with a freely composed
surface. The free plan contradicts the principle by which distribution was constrained by the need
for vertically continuous structural walls and replaces it with a free arrangement of nonstructural
partitions determined by functional convenience. COLQUHOUN. Essays in architectural criticism,
p. 51.
8
It is therefore legitimate, when discussing Le Corbusiers creative process, to speak of the
displacement of concepts and by this to indicate a process of reinterpretation, rather than one
of creation in a cultural void. The change in the arrangement and interpretation of existing
elements found in Le Corbusiers work takes several forms, two of which seem to be of
particular importance. The first occurs when elements of high tradition are radically transformed
under conditions alien to their normal use. The second occurs when elements belonging to a
tradition outside that of high architecture are assimilated into architecture and given a symbolic
significance which they have not hitherto possessed. COLQUHOUN. Essays in architectural
criticism, p. 51.