1,720,956 research outputs found
VERSO UNA COMPLESSITÀ. Teoria e rappresentazione in Le Corbusier e Robert Venturi
No full textIn 1966 the MoMA (Museum of Modern Arts), in collaboration with the Graham
Foundation for Advanced Studies in Chicago, published for the first time the book
Complexity and Contradiction in Architecture by Robert Venturi. In the introduction,
the historian Vincent Scully resolutely defines the book as the most important work on
how to make architecture after the book Vers une Architecture by Le Corbusier in 1923.
Scully also clarifies how deeply Venturi’s training and ideas were influenced by a deep
knowledge of the literature and the architecture of the Swiss architect. Nonetheless, his
theories appear to be opposite to those of Le Corbusier. In fact, to the noble purism of
individual buildings and the city as a whole, Venturi responds instead by accepting the
contradictions and complexity of urban experience at all levels. But Vers une Architecture
and Complexity and Contradiction in Architecture are both works realised by architects
who truly learnt from the architectures of the past. This concept immediately transpires
from the pages of the two books, which, as Scully points out, are complementary to each
other and essentially very similar.
Indeed, the two architects share a comprehensive and participatory knowledge of their
own Time, as well as of the ancient world; this awareness of the Present Time and its
ongoing needs and mutations has made them capable of Translating and Transforming
experiences into architectural work.
Starting from this reflection, the presented contribution realises a double path of an
analysis of the cited texts, aiming to highlight the similarities in the process of elaboration,
and communication of architectural theory of one of each.
Ultimately, the work we propose is an attempt to reread the architectural thought of
the two authors. The research follows the traces of what in their respective books
constitutes the immaterial dialogue between images and words, even more precisely
between gesture and word, that each of them has made to organize, write and conceive
their book
FROM ORNAMENT TO THE CITY. The teaching of Eugène Grasset within the urban design of Le Corbusier. DALL'ORNAMENTO ALLA CITTà . L'insegnamento di Eugène Grasset nel disegno urbano di Le Corbusier
No full textLe Corbusier presents for the first time the Plan de la Ville de 3 millions d’habitants in 1922 at
the Salon d’Automne. At that time the Swiss architect had already completed an important part
of his artistic training. His training started at the École d’Art municipal in his native town La
Chaux–de–Fonds, and continued in his two important training trips in Northern Italy, Vienna
and Paris, between 1907–1909; and in Germany and the East between 1910–1911. The young
Jeanneret, during these four years of intense research, starts, slowly and painfully, a profound revision
of the teachings received from the master Charles L’Eplattenier on the value of ornament.
Le Corbusier becomes increasingly critical and projected towards the search for the architecture
of tomorrow, coming to repudiate decorative art in 1925 through the homonymous book in
which he explains his reasons in detail. Starting from these two elements, in this paper we aim to
understand how the lessons learned by the young Le Corbusier about ornament and geometry,
are also to be found in his later work and specifically in the conception of this urban design. The
Plan de la Ville de 3 millions d’habitants seems to be build on a warp that geometrically controls
the plot and defines the urban layout. Similarly, the exercises reported in Méthode de composition
ornementale by Eugène Grasset, a book on which Jenneret himself read extensively, reveal the
geometric–compositional method applied to obtain new decorative drawings. By decoding the
method applied by Grasset for the design of two–dimensional ornaments, we intend to reveal
the geometric matrices and the stratifications of urban patterns adopted by Le Corbusier for the
layout of the Plan de la Ville de 3 millions d’habitants
JHON HEJDUK AND THE DESIGN METHOD IN HIS WORK. FROM NINE SQUARE GRID PROBLEM TO TEXAS HOUSES
No full textFor John Hejduk, the single-family house is an area in which to develop a new representative code. In our research we want to highlight the ordering role that the scheme played in the figurative processes he used. Starting from the series of images of the Texas Houses a sequence of figurative actions has been identified that, using basic principles and elementary geometries, could reconstruct the formal genesis of the planimetric plants.
The resulting taxonomy allows the comparison of the generative processes of the figures and the identification of spatial categories
LIMES ET CON-FINIS_abstract
No full textIn our research about decoding complex events
through the process of graphic abstraction,
we investigated a possible visual or mental
representation of boundaries. Boundaries
are typically built on a large scale and cannot
be reduced to a geometric figure. These two
properties lead to the following consequence:
boundaries are perceived as something immaterial. We all know the role of imagination
as a means to be conscious of something
and to make it exist. So we tried to create an
overall and concise representation of boundaries. To achieve this goal we conducted an
analytic study on relevant defensive and military walls, from the ancient Roman Empire to
post World War II. We selected 23 case study,
classified by the same criteria. At the end, we
found out that two categories are prevalent:
continuous boundaries and discontinuous
boundaries. Both of them are organized into
four different typologies. We translated them
into graphic symbols which constitute the
minimum unit useful to draw a conceptual
map. So we condensed a lot of information
in a short space and, above all, made visible
the invisible
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
- …
