This creates new “strings” or openings pointing out to new potentials of shapes and functions.
Bringing the rhythm of nature into the home At the core of the research project are several experiments done by the writer, among these the project entitled “Reef”.
The aim of the project was to create a natural sense of time within a building.
By placing a wind sensor outside of the building, codes of the behavior of the wind was recorded and transmitted through a micro-controller to material forms in the ceiling of the building, which were poetically shaped like butterfly wings or small lungs.
The museum has commissioned new photographs by Richard Pare of the architect’s best-known projects, including the 1929 Villa Savoye near Paris; not surprisingly most of these pictures show the buildings framed by or emerging from thickets of greenery.
Architecture And Nature Thesis
But Le Corbusier’s tendency to produce buildings estranged from nature is also very much in evidence.
You can almost picture the curators, Jean-Louis Cohen and Barry Bergdoll, brainstorming to come up with the most unlikely, counterintuitive thesis about Le Corbusier they could — and then setting out to defend it with straight faces, deep scholarship and a good deal of museological firepower.
The thesis is that Le Corbusier was an architect who put concern with the natural world at the center of his work.
FULL COVERAGE: 2013 Spring arts preview Summing up the typical view, architect and critic Peter Blake wrote in 1960 that Le Corbusier believed a building “should stand in contrast to nature, rather than appear as an outgrowth of some natural formation.”In general, I admire and even find myself rooting for museum shows that advance surprising arguments about well-known architects.
But this effort to go against the grain of architectural history is a contradictory one, in certain ways divided against itself — in part thanks to how much material it puts on view.