Savoye Space: The Sensation of the Object Naegele, Daniel Naegele, Daniel
dc.contributor.department Architecture 2018-02-16T19:13:43.000 2020-06-29T23:44:04Z 2020-06-29T23:44:04Z Mon Jan 01 00:00:00 UTC 2001 2001-10-01
dc.description.abstract <p>Le Corbusier's early education encouraged him to think of architecture in idealistic and metaphoric terms: architecture not as building, but as representation. Schooled in the neomedieval beliefs of John Ruskin and Owen Jones, and in the organic similes of art nouveau, he was convinced that art and industry, like art and craft in former times, ought naturally to ally. For Le Corbusier, a building was always like something else. His La Chauxde- Fonds houses were like the nature that surrounded them, with their roofs designed as curves and folded gables to echo the shape of local ftr trees.1 The Salvation Army building was like a beached ocean liner, the Unites like ftling cabinets or wine racks. Continuous ribbon buildings projected for Rio de Janeiro and Algiers were like bridges or aqueducts or even like the Great Wall of China, and the polychrome Nestle Pavilion was like a collage painting into which the viewer could walk.</p>
dc.description.comments <p>This article is from <em>Harvard Design Magazine</em> 15 (2001): 4–13. Posted with permission.</p>
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dc.identifier.articleid 1027
dc.identifier.contextkey 7334857
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dc.language.iso en
dc.source.bitstream archive/|||Fri Jan 14 23:09:06 UTC 2022
dc.subject.disciplines Architectural History and Criticism
dc.subject.disciplines Architecture
dc.subject.keywords Modernism
dc.subject.keywords Le Corbusier
dc.title Savoye Space: The Sensation of the Object
dc.type article
dc.type.genre article
dspace.entity.type Publication
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relation.isOrgUnitOfPublication 178fd825-eef0-457f-b057-ef89eee76708
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