Filosofische analyse van het zelfconcept van de Zwitsers-Franse architect (1887-1965), herwaardering van zijn motieven als stadsplanoloog en nieuwe inzichten met betrekking tot zijn intellectuele relaties met andere leden van de avantgarde van de twintigste eeuw.

Published in 1923, Toward an Architecture had an immediate impact on architects throughout Europe and remains a foundational text for students and professionals. Le Corbusier urges readers to cease thinking of architecture as a matter of historical styles and instead open their eyes to the modern world. Simultaneously a historian, critic, and prophet, he provocatively juxtaposes views of classical Greece and Renaissance Rome with images of airplanes, cars, and ocean liners. Le Corbusier's slogans--such as "the house is a machine for living in"--and philosophy changed how his contemporaries saw the relationship between architecture, technology, and history. This edition includes a new translation of the original text, a scholarly introduction, and background notes that illuminate the text and illustrations.

This book considers the architect Le Corbusier’s encounters with Australia and New Zealand as a two-way exchange, showing the impact of his ideas and projects on architects of the region whilst also revealing counterinfluences on Le Corbusier in his post-war career that were activated by his contacts. Compiled from detailed archival research undertaken at the Fondation Le Corbusier, Paris, and nationally based archives, Le Corbusier in the Antipodes brings together a set of episodes placing them in context with the history of modern art, architecture and urbanism in 20th century Australia and New Zealand. Key exchanges between Le Corbusier and others never before described are presented and analyzed, including Le Corbusier’s contact with Australian architect Harry Seidler at Chandigarh, Le Corbusier’s drawing of the plan of Adelaide in 1950 and his creative collaboration with Jorn Utzon on art for the Sydney Opera House. This book also includes analysis of previously unseen Le Corbusier artworks, which formed part of the Utzon family collection. In reading these personal and contingent moments of encounter, the book puts forward new ways of understanding the dissemination and mediation of Le Corbusier’s ideas and their effects in post-war Australia and New Zealand. These antipodean contacts are set against the broader story of Le Corbusier’s career, questioning received interpretations of his design methods and current assumptions about the influence of his work in national contexts beyond Europe.

The social consequences of anti-parasitic urbanism, as efforts to expunge supposedly biological parasites penalize those viewed as social parasites. According to French philosopher Michel Serres, ordered systems are founded on the pathologization of parasites, which can never be fully expelled. In Paris and the Parasite, Macs Smith extends Serres's approach to Paris as a mediatic city, asking what organisms, people, and forms of interference constitute its parasites. Drawing on French poststructuralist theory and philosophy, media theory, the philosophy of science, and an array of literary and cultural sources, he examines Paris and its parasites from the early nineteenth century to today, focusing on the contemporary city. In so doing, he reveals the social consequences of anti-parasitic urbanism.

Journalist Flint recounts the life and times of the legendary architect Charles-Édouard Jeanneret, aka Le Corbusier, and provides illuminating details of his most iconic projects.

There is no shortage of books about Le Corbusier, or Mies van der Rohe, or De Stijl. However, this book considers them in relation to each other, observing how a study of one can illuminate the works of the others. Going beyond a superficial look at the end-products of these architects, this book examines the philosophical foundations of their work, taking as its central theme the aim of universality, as opposed to the individual and the particular. Each of these three aimed at universality, but for each this concept took on a different form. The universality of De Stijl and artists like Van Doesburg and Mondrian resembled that of the universe itself: it was boundless, going beyond the limits of the canvas and seeking to abolish the wall as the boundary between interior and exterior space. In contrast, each of Le Corbusier’s creations was a self-contained universe within a clear frame, while Mies fluctuated between these two perspectives.

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An encyclopedia about various topics relating to urban studies.

- Author is known as an international authority on the subject. - Based on original archival research, the book provides a fresh perspective by situating the city in both historical and cultural context. - Will appeal to a range of disciplines, from urban planning to architecture and landscape architecture, to cultural and postcolonial studies.