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), je bio francuski arhitekta vajcarskog porijekla. Pravo ime Charles Edouard Jeanneret zauzima istaknuto mjesto u modernoj umjetnosti kao arhitekte, slikara i pisaca koji je presudno uticao na suvremenu svjetsku arhitekturu. Primjenom novih materijala, poput armiranog betona, stakla i eljeza, te novih graevinskih metoda, u arhitekturi je radikalno prekinuo s tradicionalnim graevinskim formama. Le Korbizije postaje poznat prvo nagraenim natjeajnim projektom za palatu Lige naroda u Zenevi 1927. Nakon 1945. koncentrie se na stambenu problematiku, u skladu sa suvremenim postulatima kolektivnog stanovanja. Od 1947. do1951. gradi takozvani "Sunani grad" u Marseillesu, stambeni blok za 3.600 stanovnika, koji je postao uzorom za mnoga slina rjeenja.
Le Korbuzije je 1925. godine na izlobi predstavio -Savremeni grad za tri miliona Stanovnika,predstavio je radikalni plan rekonstrukcije centra Pariza. Geometrijsko sredite poslovnog grada formiraju ose saobraajnica, koje jasno odaju strogost u principu odvajanja kolskog od pjeakog saobraaja i od ostalih gradskih funkcija. Dominantne graevine ovog plana jesu kule soliteri, osnove krsta, koje poput religijskih graevina u prolosti u novom gradu budunosti najavljuje dominaciju novog poretka. Korbizijeov plan je doiveo mnoge kritike savremenika.
Arhitektura je uslovljena duhom vremena, a duh vremena su dubine prolosti, poznavanje sadanjosti i sagledavanje budunosti Le Corbusier
Izmeu 1920. i 1930. Le Korbizije je sa manjim brojem arhitekata i urbanista konano prekinuo s istorijskom tradicijom. Otrina njihovih programskih zahteva i beskompromisna gradnja prvih naselja (Amsterdam, Rotterdam, Frankfurt na Majni, Berlin ), izaziva jak otpor, ali otvara put urbanizmu kao modernoj disciplini. 1928. godine je osnovan CIAM, Centar internacionalne moderne arhitekture, koji svojom teoretskom misli utie na urbanizam na teorijskom i praktinom planu. U njemu su bili arhitekti - Mis van der Roe, Valter Gropijus, zatim, urbanista Ludvig Hilbersajmer, tu su bili Kornelius van Besteren, Jakob Oud, Gerit Ritveld, kao i Le Korbizje. KARAKTERISTIKE MODERNOG GRADA 20.veka -Nakon postupnog nestanka bloka izrazito se polariziraju dve tipologije stanovanja: individualno stanovanje i viestambena izgradnja (maine za stanovanje) - Grad vie nije dominantno prostor u kojem se stanuje. Veliki deo njegovog tkiva otpada na radne i komunalne aktivnosti koje treba planirati. (Istorijski grad se bavio ekskluzivno samo stanovanjem, centrom i reprezentacijom). Tehnoloki razvoj omoguava superpoziciju sadraja kroz vertikalno, a ne samo horizontalno zoniranje. - Istraivaki i nauni pristup planiranju ini struku urbanizma interdisciplinarnom, a karakterie je internacionalizacija stila i koncepata. - Nastaju novi gradovi s predominacijom jedne funkcije: industrijski grad, univerzitetski, administrativni, turistiki i sl.
Sema urbanog planiranja koju je LeKorbizije uradio, prvo za Pariz i tada tridesetih godina za nekoliko prostranih severnoafrickih i juznoamerickih gradova, tako da je saobracaj imao vaznu ulogu, a prilicno ignorisuci istorijski razvoj i demokratska prava, tako da je zivot svake osobe bio ispunjen sa planiranim uredjenjem mesta produkcije, administracije, stanova i sportskih mogucnosti i konacno da moderna metropola za milion stanovnika zahteva vizuelno monumentalnu ekspresiju.Ova pretpostavka takodje formira principe Atinske povelje koji rezultiraju zakljuc`cima 4. kongresa Ciam-a 1933.god. Humanije vizije buducnosti su prezentirane u LeKorbizijeovoj knjizi La Ville radieuse iz 1935.g i Les Trois Etablissements Humains iz 1945.g. LeKorbizije je bio ukljucen i u sve posleratne rekonstrukcije i njihove programe koji su bili izvedeni ne previse drugacije od njegovih zamisli i teza kao jedan stav restauracije koji je bio prihvacen u Zapadnoj Evropi posle 2. svetskog rata, kao verovanje u bolju buducnost. Tako je njegov program Propos d`urbanisme iz 1945. godine bio vidjen kao obnovljena vizija boljeg sveta koji nije bas sasvim odgovarao svim savremenim potrebama pa je izgledao dvostruko anahronicno. Njegov posleratni rad ni na koji nacin nije bio inferioran u kreativnoj snazi,vec je kasnije imao veliki uticaj na arhitekturu, tako da je sa projektom Unite d`Habitation at Marseilles iz 1947. do 1952.godine koji je majstorski bio prilagodjen u pogledu jedinica jednog razlicito artikulisanog bloka od 540 fita tj 165 metara duzine i 172 fita tj 56 metara visokom , neobicnom projektu velike zapremine sa 337 apartmana, koji je u pogledu tehnicke zastite imao zahteve za zvucnom zastitom a isto tako da se unesu individualne celije u vidu kutija u raster mreze skeletnog rama, zatim da se ostvari unutrasnja cirkulacija i svi urbanisticki dnevni zahtevi kao sto su ulice za soping, komunalni servisi, hotel, rekreacija, pejzaz na krovu koji je prostran kao stadion, koji obezbedjuje za nekih 1800 stanovnika zivot u mnogo spratnim i na 2 etaze stambenim jedinicama koje je on elaborirao do 1922. godine kao model habitata. Ako ga poredimo sa njegovim ranijim projektima koji su bili u vidu horizontalnog stanovanja u Pessac-u iz 1925. godine, kao i vertikalnim susednim jedinicama koje su inkorporirale apartmane u jednu kulu, sto se i vidi u kasnijim projektima, kao sto su seme za Nantes Reze iz 1952. do 1957.godine, zatim Berlin iz 1956. do 1958., kao i Meaux iz 1957. do 1959.g , zatim Briey en Foret iz 1957. do 1960.g kao i Firminy Vert iz 1962. do 1968.g., koje nose svedocanstvo o upotebljivosti njegovih projekata u masovnom stanovanju. Kada se sve to poredi sa konvencionalnim stambenim apartmanskim kulama, njegovi radovi nose nesto od velike skulptoralne snage kao i strucnog bogatstva u izrazu, ako vrsimo analogiju sa okeanskim brodom zaista nailazimo na slicnost! LeKorbizije je realizovao kompletnu sintezu njegovih ranih programskih i pionirskih zgrada, kao i njegovih kasnijih skulptoralno volumetrijskih arhitektonskih zamisli u Indiji. Njegove 4 zgrade u Ahmedabadu, Muzej iz 1954 do 1956. godine, zgrada Wool Weavers Asociation iz 1954 do 1956. godine, Sarabhai kuca iz 1955. do 1956.god kao i Shodhan Vila iz 1956. godine, kombiniju preciznost plana osnove kao i estetiku Ville Stein i Savoye sa slobodom koja je bila preteca arhitekture u drugoj polovini veka. U ovim zgradama novo bogatstvo arhitektonskog jezika je kreirano, tako da je armirani beton postavljem u dijalogu sa drugim materijalima zgrada kao i sa prirodom.
LeKorbizije -ov duzi stvaralacki period kao vodece figure u modernoj arhitekturi, za skoro polovinu veka bio je jedinstven medju arhitektima njegovog vremena i konacno je odraz
njegovog kapaciteta i obdario je arhitekturu sa ekspresijom koja evocira duh njegove epohe. U tom smislu on je bio veoma jednostavan u tradiciji racionalistickog i kreator formi koje su dobar odraz njegovog vremena! ` Le Korbizje i Mis van der Roe (Mies van der Rohe), glavni su eksponenti i nosioci pokreta Moderne, tragali su za tehnologijom i podesnim gradjevinama, objektima koji su funkcionalni, uniformni, bezlicni, jednoobrazni i bez laznog sjaja i kich ornamentacije. (Setimo se samo dela Ornament i Zlocin arh. Adolf-a Loos-a, da napravimo malu digresiju.) Ovaj pragmatican i strog dizajn je dominirao stambenom izgradnjom i poslovnim zgradama u periodu posle II svetskog rata.
1. Stupovi: zgrada je na stupovima. Zgrada sa osnovama u zemlji - tamni i esto vlani prostori. Armirani beton je omoguio da zgrada lebdi u zraku, a komad zemlje ispod nje je vrt koja se nalazi i na krovu objekta. 2. Krovne vrta ... Armirani beton je novo sredstvo za homogenizaciju pokrivanja objekata. Razlozi tehniki, ekonomski i enja za suvremenim konforom, razlozi osjeajni - sve to nam nudi da se odluujemo za terase na krovovima. 3. Slobodna kompozicija. Stalno se grade nosei zidovi od ega ovisi projekt. Armirani beton je dao slobodan prostor i po posebnim katovima se ne moraju ponavljati iste osnove i projektirati isti prostor, katovi su nezavisni i to se ogleda u utedama u prostoru i investicijama. 4. Uzduni prozori. Prozor je osnovni element u arhitekturi i projektu zgrade. Armirani beton znai revoluciju za povijest prozorskih otvora. Prozori se sada mogu projektirati kao odnosi punog-praznog i uzdu cijele fasade. 5. Slobodna fasada. Stupovi iza fasada unutar objekata. Fasade su tanke membrane odnosno opne koje se sastoje od prozora i ispune od izolirajueg materijala koji se nosi na armirano-betonskim konstrukcijama. Fasada je slobodna.
meDJunarodnim modernim pokretom), da bi proao krajnje konvencionalan projekat- u to vreme Le Korbizje dolazi u sukob sa nemakim arhitektima iz pokreta "nova objektivnost" (nemaka arhitektonska levica), oko nekih formalnih aspekata Le Korbizjeove arhitekture koji imaju smisao izvan funkcionalne ravni; naime njegoviprojekti javnih zgada sve vie su monumentalizovani (u teznji da poveze inzenjersku estetiku i arhitekturu, utilitarnost i hijerarhiju, na pr. Projekti za Zenevu, 1929. "Grad Mondijal" i u okviru njega zigurat "Muzej Mondijal"), povezani sa jednom, u sutini,klasicistikom izrazajnom logikom (brani se esejem "Odbrana arhitekture" na ije zaglavlje stavlja jedan citat u kome se izmeDJu ostalog kaze da je "nova objektivnost"unitila dve rei: arhitektura i umetnost, zamenivi ih raima: graditi i ziveti
andigar LeKorbizije -ova aktivna uloga u Candigaru, kao novom glavnom gradu Indijske drzave Punjab, osnovanom 1947. godine je bila presudna, on je bio odgovoran za osnovne planove iz 19501951.godine sa Maxwell Fry i Jane Drew kao saradnicima, kao i za kapitol zonu zgrada vlade iz 1952 do 1964 godine, dok su stambene i komercijalne cetvrti bile izgradjene od strane indijskih arhitekata.On je dostigao prostrone kreacije najviseg kvaliteta u njegovom sopstvenom modernom idiomu, koji ni na koji nacin nije protivurecio istorijskoj arhitekturi Indije. Pocetni plan grada je napravio americki arhitekta Albert Majer koji je radio sa poljskoim arhitektom Metjuom Novickim. Posle smrti Novickog Le Krobizije je uvucen u projekat.
Grad ima oblik mree. Podijeljen je u sektore, koji lie jedan na drugoga. Svaki sektor ima dimenzije 800 metara sa 1.200 metara. Sektori su trebali biti samodovoljni i sadravati supermarkete, trnice, kole, hramove. Grad Brazilija Nova prestonica Brazila je poverena na izgradnju dvojici Le Korbizjeovih sledbenika koji su odlicnom idejom pobedili na raspisanom konkursu. Ceo grad je planiran izmedju krakov avestackog jezera, a potpuna novost je originalno resenje saobracaja u vise nivoa, gde jeizbegnuto presecanje saobracajnica, a izvrsena je segregacija saobracaja po vrstama. IakoL.C.nije direktno ucestvovao u stvaranju Brazilije, ona je njegov najveci urbanisticki podvig idokaz opravdanosti nacela koja je uvek zastupao
vajcarski paviljon, Univerzitetski grad u Parizu, 1930.-32. Molitor blok, predgradje Pariza, 1930.
Tu je Le Korbizje imao apartman (na krovu)sve do smrti23. Konkursni rad za Palatu Sovjeta, 1931. -slino kao u projektu sedita Lige naroda,Le Korbizje eksperimentie sa meDJusobnim odnosom elemenata kompleksa, da bi se na kraju odluio za aksijalno naspramno postavljena dva auditorijuma (za 15000, odnosno 6500 ljudi); ovaj "konstruktivistiki" projekat odbijen je zbog "industrijske" ikonografije u atmosferi trijumfa socrealizma (naglaena konstrukcija koja je napolju; objekat izdeljenu vise sklopova)24. Zgrada Centrosojuza, Moskva, 1929.-31. (pokuaj primene dvostrukog staklenog zida, koji je bio standardna tehnika u vajcarskim Jurama, ali nije mogao odoleti otroj ruskoj zimi-ku e: - prekid sa estetikom purizma krajem 20-tih godina rezultat je relativizacije pogleda narezultate indus trijske civilizacije; Le Korbizje se okree jednom izrazu poviene regionalne - topografske senzibilnosti; izrazajnost sa apstrakcije prelazi na konstrukciju (s jedne strane vraa se regionalnom izrazu kod porodinih kua, a sa druge (kao u Site Mondijale)
monumentalnosti i klasinoj uzvienosti)25. Kua Mandro, kod Tulona, 1931.- neobradjeni kamen, "bavasti" svod
u XIX veku, samo uverenje da se dolo do istinski dobrog oblika, ve otvara i nove tehnike mogunosti: raa se arhitektura buldoera koji e poravnati planine,i nasuti doline. Pod uslovom da ispunjava svoje funkcije i da je efikasan urbanisti e usvojiti isti plan grada za Francusku, Japan, Sjedinjene Drave i severnu Afriku. Tako Le Korbizje predlae praktino istu shemu za Rio i za Alir, a plan za rekonstrukciju San-Dijega reprodijuje u manjoj razmeri plan Voisin za Pariz iz 1920. (oe, 1978, 25)
Le Korbizijeov plan mozda i ne bi imao tolikog uticaja da ga nije stavio na papir. Francuski modernista je zelio da oformi veliki industrijski grad tako sto bi sagradio Towers in park gdje bi radnisi mogli da zive visoko iznad ulica opkoljeni zelenim povrsinama i daleko od svojih radnih mjesta (fabrika). Njegova ideja je bila Le Corbusiers plan may not have had such power if he hadnt put it on paper. The French modernist architect wanted to reform the polluted industrial city by building towers in a park where workers might live high above the streets, surrounded by green space and far from their factories. His idea was radical for the 1930s, and it was his diagrams of it that really captured the imagination. "It swept everyone along," says Benjamin Grant, the public realm and urban design program manager for the San Francisco Planning and Urban Research Association. "They were such compelling drawings of such a compelling idea." Le Corbusiers iconic plan for his "Ville Radieuse" was an obvious choice when Grant and SPUR began to curate a new exhibition, "Grand Reductions: Ten diagrams that changed urban planning." Le Corbusier's tidy scheme for "towers in a park," drawn as if on a blank slate, would influence planners for decades to come. Some of the other diagrams in this survey are a bit more surprising. The exhibitions title Grand Reductions suggests the simple illustrations power to encapsulate complex ideas. And for that reason the medium has always been suited to the city, an intricate organism that has been re-imagined (with satellite towns! in rural grids! in megaregions!) by generations of architects, planners and idealists. In the urban context, diagrams can be powerful precisely because they make weighty questions of land use and design digestible in a single sweep of the eye. But as Le Corbusiers plan illustrates, they can also seductively oversimplify the problems of cities. These 10 diagrams have been tremendously influential not always for the good. "The diagram can cut both ways: It can either be a distillation in the best sense of really taking a very complex set of issues and providing us with a very elegant communication of the solution," Grant says. "Or it can artificially simplify something that actually needs to be complex."
Over the years, some of these drawings have perhaps been taken too literally, while others likely lie behind some of your favorite spots in your city. "Even if you dont know the diagram," Grant says, "you might know the places that the diagram inspired." SPUR shared these images from the exhibition, which opened this week. If you happen to live in San Francisco, you can also visit the show in person at the SPUR Urban Center Gallery (654 Mission Street) through February (oh, and its free!).
Le Corbusier was trying to find a fix for the same problems of urban pollution and overcrowding, but unlike Howard, he envisioned building up, not out. His plan, also known as Towers in the Park, proposed exactly that: numerous high-rise buildings each surrounded by green space. Each building was set on what planners today would derisively refer to as superblocks, and space was clearly delineated between different uses (in the above diagram, this includes housing, the business center, factories and warehouses). Le Corbusiers ideas later reappeared in the design of massive public housing projects in the U.S. in the era of urban renewal. This is an image of the famous Pruitt-Igoe housing project in St. Louis that was demolished just 18 years after it was built.
Im nearly done with Le Corbusiers The City of Tomorrow and its Planning, which is a very fascinating book. The reason I read it now was that I began to suspect that if software architecture and enterprise architecture should use urban planning as a metaphor, it would probably be closer to the use-zoning kind of Le Corbusier andEbenezer Howard, and not the New Urbanism of Jane Jacobs, with its stressing of the importance of diversity in neighborhoods. Software architecture and enterprise architecture, after all, aim at keeping heterogeneity in check, although EAacknowledges that it can only reduce it to a certain extent. This book offers some very interesting clues as to the motivations for use-zoning. Le Corbusier has an entire chapter devoted to statistics showing the exodus of city dwellers from the centers of great cities, and the replacement by business. Le Corbusier seems to take this as evidence that people prefer to live in suburbs rather than in cities, and therefore bases his theory of urban planning on the idea that the center should be for commerce (and some public services), and that it should be surrounded by two belts of residential areas one with blocks of dwellings on the cellular system, and one outer garden city.1
Le Corbusier doesnt seem that far away from Jane Jacobs in what he wanted to achieve, but they are lightyears apart regarding their ideas about how cities best are transformed. Le Corbusier believed in knocking down entire districts and rebuilding them from scratch (and he actually makes a convincing case), for instance in his Voisin plan2 for rearranging the center of Paris shown in the picture above. Jacobs, on the other hand, believes that change must be gradual and often affected through indirect measures, as neighborhoods in cities are delicate organisms which must be handled with care or they will be destroyed.
Le Corbusiers theories suggest that the center of a great city should consist mainly of skyscrapers exclusively for commercial use and that the area occupied by these should be no greater than 5 percent. The remaining 95% should be parks with trees. Also in the center there would be a train station, the hub of the city, and three -story buildings with luxury shops, [...] restaurants and cafs.
Surrounding the center there would be a belt of residential buildings, in the form of those zigzag blocks with set-backs seen in the picture below (from his contribution to a 1933 competition for the renewal of Stockholms city centre). Each of these buildings are to be small communities in themselves, offering catering and domestic services. But what bothers me is that I cant find any mention of shops, cafs, and restaurants in this residential district (or in the garden city, for that matter). Did he really intend for all shopping, out of house dining, and visiting cafs to take place in the center of the city?
As for his garden city, which surrounds the residential belt around the center, I suspect he saw this quite differently than Ebenezer Howard. All across Le Corbusiers book, there are references to how order = peace and happiness. His garden city was to be of a purely geometrical kind. Perhaps this is what Howard advocated as well, but for some reason Ive interpreted (assumed?) him as being for charming garden cities with curvilinear streets. Le Corbusier continues: The result of a true geometrical lay-out is repetition. The result of repetition is a standard, the perfect form (i.e. the creation of standard types). A geometrical lay-out means that mathematics play their part. There is no first-rate human production but has geometry at its base. So Le Corbusiers garden city is rectilinear (as the rest of his Contemporary City). The 400200 yard blocks are parks surrounded by two or three story villas. These parks are said to contain all kinds of arrangements for sports: Football, tennis, running tracks, basket ball, etc., are all available. You come home, you change, you can take your exercise just outside your own home. Again no mention of shops, restaurants, cafs, theaters, museums, etc. Somewhere there is a mention which I cant find to museums and theaters, but as I remember it, these were to be located in the center as well. Ill better finish this post before it gets too long. I havent quite figured out if he says something that is of relevance to software architecture and enterprise
architecture. Ive written some margin notes about this that I have to review. Also, it is interesting to consider his theories in the context of imageability. See also my previous posts Le Corbusier and Order and Le Corbusier and Monasteries as Cities.
1
It makes me suspect that Walt Disney was a huge fan of Le Corbusier in his planning the Experimental Prototype Community of Tomorrow,EPCOT. 2 Named after an automobile company that financed his pavilion at the Exhibition of Decorative Art in 1925. Le Corbusier also approached Citron and Peugeot, who both declined his invitation.
Urbanism Designed in between Corbusiers proposal of the Contemporary City for 3 Million People in 1922 and the Radiant City in 1935, Clart can be seen as a bridge between these two urban designs. As his irst multi-family dwelling, Clart also represents the irst opportunity for Le Corbusier to apply his urban planning concepts, which include higher density housing, to a real project in an urban context. To create higher densities than the nearby existing housing, the ninestory Clart took advantage of the maximum allowable height in its district of Geneva by tapering the top stories. Similar to the housing Figure 8: 1/8= 1 scale model of Immeuble Clart, south faade with sunlight simulated for noon on December 21 (photograph by author).Figure 9: 1/8 = 1 scale model of Immeuble Clart, south faade with sunlight simulated for noon on March 21 (photograph by author).Figure 10: 1/8 = 1 scale model of Immeuble Clart, south faade with sunlight simulated for noon on June 21 (photograph by author).SPSULe Corbusier - The Annual Deans Architecture Symposium 2009- 142 - Southern Polytechnic State Universityof the Contemporary City, Clart is double loaded with the long faades facing North and South. However, while the surrounding urban grid was oriented approximately with the cardinal directions, the plan of Clart was deliberately canted so the faades faced 20 degrees east of north and 20 degrees west of south and required the construction of a new street. This shift can be explained by examining the contemporary thoughts on urban planning leading up to the design of Clart. Physicians during the Industrial Revolution attributed disease to a lack of direct sunlight in workers housing, and consequently urban planners in the early 1900s developed different tools and thoughts about maximizing light in urban areas. (15) In 1913, Augustin Rey, a French housing oficial, mapped both the length of days throughout the year as well as the maximum temperatures at different times of the year on a circular graphic. Finding the longest day of the year, the summer solstice in June, and warmest day of the year, typically August in France, he drew a solar axis from the center of the graphic to June and a thermal axis from the center to August. Rather arbitrarily assigning the direction of south to the solar axis, Rey determined that the optimal direction for a building to face would
be in the direction of a heliothermic axis or the average of the solar and thermal axes. A building oriented toward a heliothermic axis would face slightly west of south. Corbusier was aware of Reys theories and drew similar diagrams when discussing the orientation of buildings in the Radiant City. A simpler and more straightforward explanation for orienting a building west of south can be found in the writings of Raymond Unwin. After compiling information on the position of the sun throughout the year and making the assumption that sunshine before 8 a.m. is little enjoyed, while that from 4 p.m. to 8 p.m. is perhaps the most enjoyed, Unwin came to the conclusion that taking the whole year round, there can be no doubt that an aspect south or slightly west of south may be considered the most desirable for dwelling rooms. (16) These thoughts on solar orientation manifest themselves more fully in the housing of the Radiant City with its double loaded corridors in buildings with units facing east and west and single loaded corridors with units facing south. However, the organization and complexity of Clart is signiicantly different from the proposal for housing seen in either the Contemporary or Radiant City concepts. In all likelihood, these differences are the result of the client, Edmond Wanner. In the letter from Wanner to Corbusier dated April 26, 1930, Wanner argued to replace the design of an interior street, a strategy common to the housing designs in Corbusiers urban design proposals. This interior street would eventually be built in LUnit dHabiation designs of the late 1940s and early 1950s. Wanners concern was that the corridors measure 12 meters without any lighting whatsoever. (17) Furthermore, Wanner continued to argue in the same letter that the disposition of the plot does not allow comparison to a general case, but leads rather to the resolution of a speciic case implying that Corbusier was trying to apply his urban design concepts to Clart. The general case that Wanner referred to is likely the designs for Project Wanner, the Immeuble Villa based housing proposal Corbusier had designed for Wanner two years earlier. The design for the Immeuble Villas and Project Wanner is similar to the housing of the Contemporary City, and Corbusier continues to Figure 11: Immeuble Clart, balcony (photograph by author).Figure 12: Immeuble Clart with surrounding context highlighting the unusual orientation of the building (photograph by author). SPSULe Corbusier The Annual Deans Architecture Symposium 2009So - 143 - uthern Polytechnic State Universitydevelop this concept of using a repeated housing unit with interior streets connecting them in the Unite-like housing schemes for the Radiant City proposal. The question as to why Corbusier designed Clart with a variety of unit types if his urban planning schemes continued to emphasize the use of a single repeated unit. The answer can be found once again in the desires of Wanner who wanted a variety of unit types for different perspective inhabitants.
Veliki Le Korbizije je uio modernu arhitekturu putujui po naim krajevima one 1911. i crtajui nae kue... Od ove spontane, anonimne, narodne ive arhitekture uimo se strogosti i funkcionalnosti, razumevamo vezu izmeu kue i ivota, kue i prirode, kue i materijala. Ranko Radovic (1935-2005)
Interesting note: Le Corbusier died of a heart attack while swimming in the Mediterranean, against his doctors wishes. Salvador Dal is said to have sent a tribute of flowers at Corbusier funeral, despite them both being artistic enemies. His influence was universal and his works are invested with a permanent quality possessed by those of very few artists in our history. US President Lyndon B. Johnson
[11] Svi ljudi imaju iste organizme, iste funkcije. Svi ljudi imaju iste potrebe. (Le Korbizje, 2006, 108) [12] Proseni ljudi ne ive u zgradama. Oni na putuju metoom. Oni ne koriste stepenite niti liftove. Gde god da pogledamo neemo nai prosenu osobu. Jednostavno zato to prosena osoba ne postoji. Niko ne ivi u stanu sa 2,3 sobe, putuje 3,7 puta godinje, niti ima 1,7 dece. Ove osobe postoje samo u statistikama. Put do drutva gde svi imaju jednake mogunosti mora poeti od injenice da smo svi razliiti. (Vasiljevi -Tomi, Karabegovi , Cveti , 2010, 44)