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.

Les rapports entretenus par Le Corbusier, architecte le plus emblématique de la modernité, avec le pouvoir politique sont foncièrement ambivalents. Promoteur inlassable du bonheur pour tous à travers l’architecture, Le Corbusier a pourtant frayé avec à peu près tous les pouvoirs, apparemment sans témoigner de préférences politiques, d’une manière qui semble contradictoire avec ses propres objectifs. À travers une série de paradoxes, nous cherchons à montrer que l’attitude politique de Le Corbusier ne doit pas simplement être référée (...) à un ensemble d’arguments factuels et historiques, voire à une forme d’opportunisme consubstantiel à l’architecte en recherche de commandes, mais également à une certaine conception théorique et philosophique de la nature du pouvoir lui-même. Le pouvoir, conçu de manière purement formelle et extrêmement individualiste, n’est jamais pensé autrement que comme simple moyen ou cause efficiente visant à mettre en action la seule révolution valable pour Le Corbusier, à savoir la transformation de la culture par l’architecture. Se dessine ainsi la figure d’une pensée profonde des pouvoirs de l’architecture, en même temps que d’une singulière absence d’intelligence du politique. (shrink)

Les rapports entretenus par Le Corbusier, architecte le plus emblématique de la modernité, avec le pouvoir politique sont foncièrement ambivalents. Promoteur inlassable du bonheur pour tous à travers l’architecture, Le Corbusier a pourtant frayé avec à peu près tous les pouvoirs, apparemment sans témoigner de préférences politiques, d’une manière qui semble contradictoire avec ses propres objectifs. À travers une série de paradoxes, nous cherchons à montrer que l’attitude politique de Le Corbusier ne doit pas simplement être référée (...) à un ensemble d’arguments factuels et historiques, voire à une forme d’opportunisme consubstantiel à l’architecte en recherche de commandes, mais également à une certaine conception théorique et philosophique de la nature du pouvoir lui-même. Le pouvoir, conçu de manière purement formelle et extrêmement individualiste, n’est jamais pensé autrement que comme simple moyen ou cause efficiente visant à mettre en action la seule révolution valable pour Le Corbusier, à savoir la transformation de la culture par l’architecture. Se dessine ainsi la figure d’une pensée profonde des pouvoirs de l’architecture, en même temps que d’une singulière absence d’intelligence du politique. (shrink)

In 1949, the photographer Lucien Hervé took a picture of an innovative apartment building in Marseille, France, and sent it to the building's architect, Le Corbusier. Le Corbusier responded by asking Hervé to become his official photographer. This book recounts the creative collaboration between these two groundbreaking Modernists. The author takes the reader on a tour of sixteen of Le Corbusier's most iconic buildings using Hervé's edited sheets of contact prints as visual guides. These sheets, which became (...) an effective tool in the collaborative dissemination of Le Corbusier's work, capture Hervé's dynamic perspectives and dramatic use of light. His sequencing of the individual prints creates an exhilarating rhythm that powerfully showcases the architect's novel forms and materials. (shrink)

. Repetition and Difference: Lefebvre, Le Corbusier and Modernity's moral Landscape: A Commentary. Ethics, Place & Environment: Vol. 5, No. 2, pp. 135-144.

If, as Lefebvre argues, every society produces its own social space, then modernity might be characterized by that (anti-)social and instrumental space epitomized and idealized in Le Corbusier's writings. This repetitively patterned space consumes and regulates the differences between places and people; it encapsulates a normalizing morality that seeks to reduce all differences to an economic order of the Same. Lefebvre's dialectical conceptualization of 'difference' can both help explain the operation of this (im)moral landscape and offer the possibility of (...) alternative post-modern social spaces that might produce and respect Otherness. In this sense Lefebvre's work is an incipient 'difference ethics'. (shrink)

The paper gives an analysis of the conception of rationality of two influential representatives of the 20th century theory of urbanism, and their philosophical grounds. It also outlines the problem of modern rationality, questions its character and points out, that for the time being the transition to a new way of thinking is problematic.

Le Corbusier's visionary or realistic urban plans are accompanied by various experimental ways of presentation, all designed to involve the public and political authorities through spectacular installations that play on the dimension of illusionism. In his quest to present his urbanistic ideas, Le Corbusier uses dioramas, photographs and film projections. The aim of his staging is to modify the conventional vision of reality with a systematic bombardment of spectacular images.

Le Corbusier's visionary or realistic urban plans are accompanied by various experimental ways of presentation, all designed to involve the public and political authorities through spectacular installations that play on the dimension of illusionism. In his quest to present his urbanistic ideas, Le Corbusier uses dioramas, photographs and film projections. The aim of his staging is to modify the conventional vision of reality with a systematic bombardment of spectacular images.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 105-115 [Access article in PDF] Intimacy and Monumentality in Chandigarh, North India: Le Corbusier's Capitol Complex and Nek Chand Saini's Rock Garden Sharon Irish School of Architecture University of Illinois, Urbana-Champaign Chandigarh's Le Corbusier: The Struggle for Modernity in Postcolonial India, by Vikramaditya Prakash. Seattle: University of Washington Press, 2002, 179pp., $35.00 cloth. The seventh century poet and philosopher Dharmakirti (...) wrote of the path we each must make: No one behind, no one ahead, The path the ancients cleared has closed. And the other path, everyone's path, easy and wide, goes nowhere. I am alone and find my way.1The image in Figure 1 shows the bottom of a concrete ramp that angles back upon itself as it connects two levels of the government complex in Chandigarh and ends in a grassy hillside that has several dirt paths cutting across it. The concrete ramp begins just to the left of Le Corbusier's Assembly Hall (Figure 2). What I hope is evident from just two images is the contrast between the curving, unplanned path that pedestrians have made as they leave the bottom of the ramp, and the axial, monumental path implicit in the organization of the large concrete plaza in front of the Assembly Hall. One is informal and intimate because of the many footprints that have worn away the grass; the other is formal and monumental in its carefully controlled framing of a sculptural presence. They are two very different paths, offering different rewards as we wander upon them.As Vikramaditya Prakash's book, Chandigarh's Le Corbusier, emphasizes, the Capitol Complex derived from Le Corbusier's personal mythology, transmogrified somewhat by the site, the politics, and the climate. Le Corbusier "considered it the true mission of modern architecture to reestablish the aesthetic and poetic forms necessary for the liberation and deliverance of...modern man."2 Le Corbusier's monumentalism, then, was imposed on Chandigarh's landscape and the inhabitants with the assumption that he knew best what architecture was appropriate for "liberation." While there are many aspects of his designs to appreciate and admire, his buildings only indirectly address the visitor, preferring uncanny to intimate relationships.3 [End Page 105] Click for larger viewFigure 1 The bottom of the ramp leading into a path toward the Trench of Consideration, Capitol Complex, Chandigarh. Photo by the author. Click for larger viewFigure 2 Façade of the Assembly Building, Le Corbusier, 1953-61, Chandigarh. Photo by the author. [End Page 106]For six months in 1999, I lived in Chandigarh within a few blocks of Le Corbusier's government complex and another compelling place, the nearby and unrelated Rock Garden. While the paths at the Government Complex are, for the most part, empty, those in the Rock Garden are not and provide chances for intimate interactions that are only hinted at underneath Le Corbusier's concrete ramp. Poignant informality in Le Corbusier's government sector exists in areas that were never completed according to plan.4 Its predominant monumentality provides a useful contrast to the intimate spaces of the Rock Garden.In the 1950s, two men, Le Corbusier and Nek Chand Saini, began two very different projects within a kilometer of each other in Chandigarh. Le Corbusier's Capitol Complex started in the very highest government circles with Prime Minister Jawaharwal Nehru: the plan was to build a new state capital for a newly divided Punjab in a newly independent India. In architectural history, Chandigarh is well known and well studied due to its planning and design. Nek Chand's Rock Garden (under construction since 1958, and open to the public since 1976) began as an illegal private project by one man to give form to his imagination. This essay is my impressionistic response to these two projects.Monumental buildings often function powerfully as icons or as proud isolated structures. Visited on ceremonial occasions, they can provide visually compelling backdrops to large-scale... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aviation and the Aerial View:Le Corbusier's Spatial Transformations in the 1930s and 1940sM. Christine Boyer (bio)Part One: The Aerial ViewAviation and Equipment. A London publishing house, The Studio, Ltd, sent Le Corbusier a letter in January 1935, inquiring whether he would be interested in collaborating on a new series of books to be titled The New Vision. The promoters explained that each book in the series would (...) be devoted to a unique event in industrial design, with specific attention paid to the designers, their aims, and the potential these designs held for social and human development. They would begin the series with a volume on the airplane. Le Corbusier was asked to write an introductory essay, supply captions for the images they had already collected, and offer a few suggestions for additional illustrations.1Accepting the invitation, Le Corbusier in his reply, however, transformed the project: instead of the word "airplane" he preferred "aviation," by which he meant all the prodigious phenomena opening vast new horizons in space and influencing the future of "equipment" in the broadest sense of the word.2 Already in Precisions (1930) he had written, "I replace the word 'urbanism' by the term 'equipment.' I have already replaced the term 'furniture' by that of 'equipment.' Such stubbornness shows well that we are purely and simply claiming tools for work, for we do not want to die of hunger facing the embroidered flowerbeds of aesthetic urbanism" [143]. To his bag of equipment, Le Corbusier now adds "aviation," a tool of modern communication forging new modes of exchange and new links between nations.3The material subsequently sent by the publishing house to Le Corbusier also met with lukewarm reception: he favored more lively documentation such as the view from an airplane as it flew over cities—vast open terrain, the sea, and the forests. And he wanted more picturesque treatment of the lives of aviators, their psychological and social attitudes including analysis of the great aerial routes being drawn between Europe and America, Africa, or Asia. The publishing house was unable to fulfill Le Corbusier's [End Page 93] expectations, reminding him that their focus was limited to "the airplane" and that they expected to receive all his material by May.4What did Le Corbusier mean by "aviation" and the "epic of the air," a phrase he used in the preface of the subsequent book Aircraft (1935)? What new horizons did aviation open and how did this affect the perception of space and the process of reading the terrain as a two-dimensional map or a plan? And what did aviation have to do with "equipment"? Just the year before Le Corbusier had seen the Exposition de l'Aéronautique in Milan for which Mussolini offered the maxim: "Aviation is grand, small, or nothing at all, depending on whether public awareness of aviation is grand, small, or nothing at all."5 Le Corbusier, ever the great publicist, accepted the challenge to spread the meaning of "aviation" in the inclusive sense of the word entailing adventure and service, organization, and machinery.The rapid growth of aviation during the interwar period was mercurial, dramatically reshaping perception of the world and of space. There were daring flights of aviators challenging the breath of oceans and deserts, the heights of Everest, the length of Africa, the uncharted terrain of the North and South Poles. The airplane not only internationalized cartography; it was a tool for exploring and controlling the colonies. While aerial photography, which recorded in precise detail the realistic shape of landmasses, coastlines, seas, deserts, and mountains, perfected the process of mapmaking and enriched the documentary archive of the planet.Yet even more stunning, aviation continually shrunk the size of the globe after the initial KLM flight between Amsterdam and Jakarta took off in 1924. Then the time needed to navigate the 9000 miles was 55 days; within five years it had been reduced to a mere 12 days. A world map criss-crossed with national air routes came into view. In the 1930s civil airlines began to offer passenger and mail service between London and the Middle East, then on to India and... (shrink)

A boat is a floating piece of space, a place without place, which lives by itself, which is closed in on itself and that is at the same time exposed to the infinity of the sea. Nowadays one cannot conceive a utopia that does not address itself to nomads, peoples and individuals, to the homeless, to the excluded. After World War I a concrete barge made its way up and down the Seine between Rouen and Paris.1 It was called the (...) Liège, and its mission was to supply the French capital with English coal. When it was decommissioned in 1929, the Armée du salut (the French Salvation Army) bought it with the aid of a donation from Madeleine Zillhardt, the recently bereaved long-term companion of the painter .. (shrink)

The city has featured as a central image in utopian thought. In planning the foundation of the new and ideal city there is a close interconnection between ideas about urban form and the vision of the moral good. The spatial structure of the ideal city in these visions is a framing device that embodies and articulates not only political philosophy but is itself an articulation of moral and cosmological systems. This paper analyses three different utopian moments in three different historical (...) epochs – Tommaso Campanella’s City of the Sun (1602), the Choson dynasty foundation of the city of Seoul (1395) and the modernist utopian urbanism of the controversial Le Corbusier (1887–1965). In this analysis attention is drawn to the cosmological and moral visions articulated in these three ‘images of the city’ (Lynch). The opposition between rationalistic/mechanistic and religious/traditional urban design can prove to be an oversimplification that obscures the complex interrelations between the moral geometry and the natural alignments of the ideal urban form. (shrink)

Le Corbusier still believed that architecture’s fundamental measure should be man. With the exception of Hilberseimer, who more perspicaciously believed in the advent of an abstract, conceptual and computational form of production, architecture has been late in grasping the interlinkage of science, industry and capitalism. Even if it means a questioning of its own foundations, it can no longer feign ignorance of a production process that relies increasingly on linguistic constructions, on an « ambient factory » of interconnected PCs.

Smithson, Notari, Le Corbusier, Einstein…Renée Green’s work sketches genealogies through reconstructions and inquiries based on displacements through times and spaces, between the present and the past, the subject of narration and the subject of the story, here and elsewhere. In these back-and-forth movements between archive and fiction, historical figures emerge as ghosts which literally haunt her films, occupying a spatial borderline between imagination, history and the desires invested in the process of remembrance.

Anhand ausgewählter Bauten von Le Corbusier, Alvar Aalto, Frank Lloyd Wright und Giuseppe Terragni analysiert Peter Eisenman die Merkmale allgemeiner und spezifischer Form, deren Zusammenspiel er als Grundlage architektonischer Erfindung und Komposition ausweist. Gleichzeitig wird in seiner Studie der Ausgangspunkt des theoretischen und praktischen Werks von Peter Eisenman erkennbar..

The Swiss-born designer Le Corbusier’s famous metaphorical characterization of a house as a machine heralded a view of architectural impulse of staggering influence. It was for Le Corbusier “not foolishness to hasten forward a clearing up of things” and to affirm the radically transformative possibilities for making architecture in full acknowledgment of the forces of industry. Architects are to embrace the logic and symbolic economy of the machine in order to guide the spirit and gather the forms of (...) the emergent age. For Le Corbusier:Our external world has been enormously transformed in its outward appearance and in the use made of it. By reason of the machine, we have gained a new perspective and a new.. (shrink)

The word "globalization" is used to convey the hope and determination of order-making on a worldwide scale. It is trumpeted as providing more mobility--of people, capital, and information--and as being equally beneficial for everyone. With recent technological developments--most notably the Internet--globalization seems to be the fate of the world. But no one seems to be in control. As noted sociologist Zygmunt Bauman shows in this detailed history of globalization, while human affairs now take place on a global scale, we are (...) not able to direct events; we can only watch as boundaries, institutions, and loyalties shift in rapid and unpredictable ways. Who benefits from the new globalization? Are people in need assisted more quickly and efficiently? Or are the poor worse off than ever before? Will a globalized economy shift jobs away from traditional areas, destroying time-honored national industries? Who will enjoy access to jobs in the new hierarchy of mobility? From the way the global economy creates a class of absentee landlords to current prison designs for the criminalized underclass, Bauman dissects globalization in all its manifestations: its effects on the economy, politics, social structures, and even our perceptions of time and space. In a chilling analysis, Bauman argues that globalization divides as much as it unites, creating an ever-widening gulf between the haves and the have-nots. Rather than the hybrid culture we had hoped for, globalization is creating a more homogenous world. Drawing on the works of philosophers, social historians, architects, and theoreticians such as Michel Foucault, Claude Lévi-Strauss, Alfred J. Dunlap, and Le Corbusier, Globalization presents a historical overview of the methods employed to create and define human spaces and institutions, from rural villages to sprawling urban centers. Bauman shows how the advent of the computer translates into the decline of truly public space. And he explores the dimensions of a world in which--through new technologies--time is accelerated and space is compressed, revealing how we have arrived at our current state of global thinking. Bauman's incisive methods of inquiry make Globalization an excellent antidote to the exuberance expressed by those who stand to benefit from the new pace and mobility of the modern life. (shrink)

Historically the plan has been about much more than economic planning. By plan-based thought I mean a concept of social governance that requires a multiple but structured articulation of social, economic, administrative and political forces and institutions and aims at shaping new forms of integration and social control using a specific scientific discourse.The following essays provide an analysis of global planning starting from different historical and geographical situations and different disciplinary perspectives. The broad picture that emerges shows points of continuity (...) and discontinuity between different contexts and theories but also reveals a common theme: the conflictual relationship between economics and politics which not only reflects the hierarchies between state and society but also shows the dialectic between different forms and conceptions of power and their social reproduction. Plan-based thought does not only concern temporary institutional transformations, but reacts and is connected to the management of social conflicts over time. (shrink)

Historically the plan has been about much more than economic planning. By plan-based thought I mean a concept of social governance that requires a multiple but structured articulation of social, economic, administrative and political forces and institutions and aims at shaping new forms of integration and social control using a specific scientific discourse.The following essays provide an analysis of global planning starting from different historical and geographical situations and different disciplinary perspectives. The broad picture that emerges shows points of continuity (...) and discontinuity between different contexts and theories but also reveals a common theme: the conflictual relationship between economics and politics which not only reflects the hierarchies between state and society but also shows the dialectic between different forms and conceptions of power and their social reproduction. Plan-based thought does not only concern temporary institutional transformations, but reacts and is connected to the management of social conflicts over time. (shrink)

Departing from the intention to explore Frank Gehry’s drawings serving to their own designer to grasp ideas during the process of their genesis, the article examines Frank Gehry’s concern about the revelation of the first gestural drawings and all the sketches and working models concerning the evolution of his projects, and his intention to capture the successive transformation and progressive concretisation of architectural concepts. The article also compares Gehry’s design process with that of Enric Miralles, Alvar Aalto, Bernard Tschumi, and (...) Le Corbusier. It sheds light on Miralles, Aalto, Le Corbusier and Gehry’s interest in a holistic understanding of all the parts of an architectural project, which is expressed through their tendency to draw the different sketches concerning the same project on the same sheet of paper. At the core of Gehry’s design approach is the osmosis of function and morphology. This aspect of his design vision could be compared to Alvar Aalto’s design process. At the core of the article are the distinction between communication drawings and conceptual drawings, and Gehry’s concern about achieving an osmosis between function and morphology. The article also investigates Gehry’s use of uninterrupted self-twisting line in his sketches, exploring his intention to enhance a straightforward relationship between the gesture and the decision-making regarding the form of the building. (shrink)

The Ethics of Architecture offers a short and approachable scholarly introduction to a timely question: in a world of increasing population density, how does one construct habitable spaces that promote social goals like health, happiness, environmental friendliness, and justice? What are the special ethical obligations assumed by architects? Because their work creates the basic material conditions that make all other human activity possible, architects and their associates in building enjoy vast influence on how all we live, work, play, worship, and (...) think. With this influence comes tremendous, and not always examined, responsibility. This book addresses the range of ethical issues that architects face, with a broad understanding of ethics. Beyond strictly professional duties - transparency, technical competence, fair trading - lie more profound issues that move into aesthetic, political, and existential realms. Does an architect have a duty to create art, if not always beautiful art? Should an architect feel obliged to serve a community and not simply the client? Is social justice a possible orientation for architectural practice? Is there such a thing as feeling compelled to "shelter being" in architectural work? By taking these usually abstract questions into the region of physical creation, the book attempts a concrete reformulation of "architectural ethics" as a matter of deep reflection on the architect's role as both citizen and caretaker. Thinkers and makers discussed include Le Corbusier, Martin Heidegger, Lewis Mumford, Rem Koolhaas, Jane Jacobs, Arthur Danto, and John Rawls. An added preface addresses architectural issues arising during and after the 2020 COVID-19 pandemic. (shrink)

From Music to Sound is an examination of the six musical histories whose convergence produces the emergence of sound, offering a plural, original history of new music. Both well-known and lesser-known works and composers are anaylsed in detail, from Debussy to contemporary music in the early 21st century; from rock to electronica; from the sound objects of the earliest musique concrète to current electroacoustic music; from the Poème électronique of Le Corbusier-Varèse-Xenakis to the most recent inter-arts attempts. Covering theory, (...) analysis and aesthetics, this book will be of great interest to scholars, professionals and students of Music, Musicology, Sound Studies and Sonic Arts. (shrink)

Similar to its old history, Japan has a rich traditional and ethical Architecture. Based on these tenets and ethics, different concepts and spaces are formed through the time, as now Japan's ethical and traditional design ideas has its standard principles. Linking the present and the past has always been a momentous criterion in the countries with an old rich Architecture. This fact is indeed important in Japan due to the blend of ethics and religions with peoples` life. Through this idea, (...) three Japanese Architects, Kenzo Tange, Fumihiko Maki and Tadao Ando-who are the only Japanese pritzker prize winners-have well, noticed the need for linking the country's traditional and ethical Architecture criteria with the contemporary Architecture. So, analyzing such projects of these architects prepares a good basis to find out the quality of how traditional and ethical design ideas crystallize in the works of contemporary Japanese architects. The research method for this article is a comparative analysis between the architects` particular projects and Japan's ethical and traditional design ideas, formed through the history of architecture in this country. The contents of this article rely heavily on three bases: 1) study of the historical documents concerning the ethical and traditional design concepts in Japan. 2) The consultancy of leading experts on Asian traditional constructions and ethical architecture specialists from Azad Universities in Tehran. 3) Comparative analysis between the ethical concepts applied in different contemporary works. The results show that the contemporary architects have had good bases for presenting the traditional design concepts as standard principles are all formed in the architecture of Japan today. Meanwhile, it seems that Maki and Ando are more likely to have a conceptual look at Japan's traditions while Tange has a more formal viewpoint. Chronological analysis of the architects` projects shows that despite, all the three architects were impressed by the works of le Corbusier, they were successful to keep contacts with Japan's traditional design concepts. (shrink)

A fresh interpretation of Jeremy Bentham, finding that his “radical foolery” embodied a social ethics that was revolutionary for its time. Jeremy Bentham (1748–1832) is best remembered today as the founder of utilitarianism (a philosophy infamously abused by the Victorians) and the conceiver of the Panopticon, the circular prison house in which all prisoners could be seen by an unseen observer—later seized upon by Michel Foucault as the apotheosis of the neoliberal control society. In this volume in the Untimely Meditation (...) series, Christian Welzbacher offers a new interpretation of Bentham, arguing that his “radical foolery” (paraphrasing Goethe's characterization of Bentham) actually embodied a social ethics that was new for its time and demands proper historical contextualization rather than retroactive analysis from the vantage point of late capitalism. Welzbacher provides just such an analysis, offering an account of the two great utilitarian projects that occupied Bentham all his life: the Panopticon and the Auto-Icon. Welzbacher rescues the Panopticon from the misapprehensions of Foucault, Orwell, and Lacan, arguing that Bentham saw the Panopticon as a pedagogical instrument incorporating the tenets of reason; construction and function, plan and influence, architecture and politics are brought into alignment. Bentham extolled the discovery in words that could easily be ascribed to Le Corbusier, Bruno Taut, or any other modernist architect. The Auto-Icon expressed Bentham's theories that the dead should benefit later generations; these theories were effectively sealed when Bentham decided to have his body preserved and put on display. (It can be seen today in a cabinet at University College London.) He also donated his inner organs to science—a practice outlawed at the time—and posthumously stage-managed his own ceremonial autopsy. Welzbacher reveals a Bentham who raised questions that feel familiar and current, invoking topoi that would come to define the modern era and that reverberate to this day. (shrink)

brook muller begins his contribution to the Coss Dialogues by contesting and at least partially deconstructing Le Corbusier’s aphorism “a house is a machine for living.” He then trades upon an ambiguity that masks the difference between watersheds that mark an important transition from one phase to another and those that are defined by the drainage area associated with a body of water. The 2015 Coss Dialogues took place in the watershed of the Grand River, which extends from its (...) southeast limit near Jackson, Michigan, through my home in Lansing before emptying into Lake Michigan near Grand Haven, some 40 miles to the west of Grand Rapids. The main point that I take.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 334-345 [Access article in PDF] Philosophy After Joyce:Derrida and Davidson Reed Way Dasenbrock A GOOD DEAL OF ATTENTION has been paid to James Joyce's influence on literature. Few novelists in the twentieth century have escaped Joyce's influence one way or another, and Robert Martin Adams has even dedicated a book, AfterJoyce, 1 to the proposition that the history of prose fiction is most properly (...) divided into two eras, before and after Joyce. One suspects that Joyce would have appreciated Adams's quasi-blasphemous periodizing.My focus here is Joyce's influence on a different intellectual and cultural realm, philosophy. Joyce's impact on philosophy clearly has not been of the same magnitude. Joyce is not one of those rare figures who have spanned fields or been as important an influence in another field as in his own, unlike Nietzsche, say, or a figure of concern to us here, Jacques Derrida. Joyce's impact on philosophy, thus, is not epoch-changing or field-changing in the way his impact on literature is. Wittgenstein and Heidegger are the two philosophers in the twentieth century whose work have comparably been assessed as epoch-changing. It is worth noting that both men are close contemporaries of Joyce: Wittgenstein, in particular, with his multilingual, Austro-Hungarian, and pan-European character, orientation towards the arts, defiance of so many philosophical conventions, and self-awareness of language, offers a fascinating parallel with Joyce, a parallel already explored to [End Page 334] some extent in the literature. If Joyce, Stravinsky, Picasso, and Le Corbusier, for example, can be said to exemplify modernist literature, music, painting, and architecture, then Wittgenstein is the exemplification of modernist philosophy. But Modernism, or at least so we are told, is out of fashion and out of date, yet Joyce remains our contemporary in ways many of his fellow modernists may not. Nowhere is this more clearly shown than in his continuing presence in contemporary philosophy.The conventional way of writing the history of philosophy in the twentieth century is to divide it into two camps, one oriented towards mathematics, science and logical analysis, a school of philosophy called the analytic or Anglo-American school, the other oriented towards literature and culture and an engagement with the history of philosophy, called the Continental school. That there are a number of problems with this way of mapping the field is by now widely accepted, but no one has successfully replaced this division with anything generally seen to be more adequate, so we continue to use the terms, if as Derrida might say "under erasure." If contemporary analytic philosophy has a single leading figure, I would assign that position to Donald Davidson; continental philosophy has distinct German and French variants, but clearly foremost on the French side is Jacques Derrida. One of the factors leading to our awareness that this bipolar model of the history of twentieth-century philosophy doesn't work very well has been a body of work pointing out a number of similarities between the work of these two philosophers. 2 But what hasn't been pointed out is that both philosophers are interested in Joyce. Thus, the work of Joyce is one of the places the two currents of philosophy merge or at least come into contact. In my opinion, neither Derrida nor Davidson is or deserves to be a crucial figure in Joyce criticism, but looking at their interest in Joyce allows us to trace a neglected chapter in Joyce's influence on the culture and thought of our time and to assess the similarities and differences between the work of these two philosophers.Derrida's work on Joyce includes two essays on Joyce, one an address to the 1984 Joyce Symposium in Frankfurt, "Ulysses Gramophone: Hear say yes in Joyce," 3 an essay which Margot Norris included in A Companion to James Joyce's Ulysses (in abridged form) as one of five exemplary or representative pieces of theoretical approaches to Ulysses (representing deconstruction, of course), and an earlier essay on Finnegans Wake, "Two Words for Joyce... (shrink)

Walter Benjamin has become a decisive reference point for a whole range of critical disciplines, as he constructed a unique and provocative synthesis of aesthetics, politics and philosophy. -/- Examining Benjamin’s contributions to cultural criticism in relation to the works of Max Ernst, Adolf Loos, Le Corbusier and Sigfried Giedion, this book also situates Benjamin’s work within more recent developments in architecture and urbanism. -/- This is a concise, coherent account of the relevance of Walter Benjamin’s writings to architects, (...) locating Benjamin’s critical work within the context of contemporary architecture and urbanism. (shrink)

대도시에서 발생하는 문제들을 해결하기 위해 스마트시티가 미래도시의 모델로 추동되고 있다. 지능형 융합기술에 기반 한 스마트시티는 인문적 가치를 상실하지 않기 위해 편리성, 경제성의 가치 넘어 거주 공동체의 감성적, 공공적 가치를 창출해야 한다. 따라서 본 논문은 프랑스 대도시들에서 실현되고 있는 시간정책과 파리 15구에 위치한 이씨 레 물리뇨(Issy Les Moulineaux)의 첫 친환경 스마트 시범지구인 포르디씨(Fort d.

Ontology of Construction explores theories of construction in modern architecture, with a particular focus on the relationship between nihilism of technology and architecture. Providing an historical context to the concept of making, the essays collected in this volume articulate the implications of technology in works by such architects as Le Corbusier, Frank Lloyd Wright, Adolf Loos, and Mies van der Rohe. Also provided is an interpretation of Gottfried Semper's discourse on the Tectonic and the relationship between architecture and other (...) crafts. Emphasising 'fabrication' as a critical theme for contemporary architectural theory and practice, Ontology of Construction is a provocative contribution to the current debate in these areas. (shrink)

Fascism, modernism and modernity -- The Jew as anti-artist : Georges Sorel and the aesthetics of the anti- Enlightenment -- La Cité française : Georges Valois, Le Corbusier and fascist theories of urbanism -- Machine primitives : Philippe Lamour and the fascist cult of youth -- Classical violence : Thierry Maulnier and the legacy of the Cercle Proudhon.