Conoids and Hyperbolic Paraboloids in Le Corbusier’s Philips Pavilion

The Philips Pavilion at the Brussels World Fair is the first of Le Corbusier’s architectural works to connect the evolution of his mathematical thought on harmonic series and modular coordination with the idea of three-dimensional continuity. This propitious circumstance was the consequence of his collaboration with Iannis Xenakis, whose profound interest in mathematical structures was improved on his becaming acquainted with the Modulor, while at the same time Le Corbusier encountered double ruled quadric surfaces. For the Philips Pavilion—the Poème Électronic—Corbusier entrusted Xenakis with a “mathematical translation” of his sketches, which represented the volume of a rounded bottle with a stomach-shaped plan. The Pavilion was designed as if it were an orchestral work in which lights, loudspeakers, film projections on curved surfaces, spectators’ shadows and their expression of wonder, objects hanging from the ceiling and the containing space itself were all virtual instrument

Petrucci, Concezio

Profilo biografico di Concezio Petrucci (1902-1946), architett

Pediconi, Giulio

Profilo biografico di Giulio Pediconi, architetto romano (1906-1999

Chiesa a Trezzano sul Naviglio, Milano. Un volume compatto e poroso affacciato sull'acqua

La nuova chiesa parrocchiale a Trezzano sul Naviglio, nella diocesi di Milano, analizzata e commentata nel contesto delle architetture selezionate per il numero della rivista "Cemento. Sperimentazione e nuovi linguaggi" dedicato ad alcune recenti opere che si avvalgono delle potenzialità figurative del cemento

Porcinai Pietro

Profilo biografico di Pietro Porcinai (1910-1986), architetto di giardiniPietro Porcinai (1910-1986), biograph

Piccinato, Luigi

Profilo biografico di Luigi Piccinato (1899-1983), padre della moderna urbanistica in Itali

Melodie di pietra by Adriana Rossi

Melodie di pietre is in-depth analysis of the cloister of San Cugat on the basis of musical notions and symbolism. This research provides us with an occasion for some brief reflections on the historic relationships between music and architecture

Synesthesia

L’articolo è concepito come una successione di immagini in un mondo dominato dalle immagini. Anche se Juhani Pallasmaa nel 2005 ha pubblicato "The Eyes of the Skin" offrendo un nuovo modo di interpretare la percezione in Architettura, e Peter Zumthor ha pubblicato suggerimenti per gli studenti in architettura il cui scopo è quello di costruire atmosfere, questo articolo tratta un modo ancestrale di comunicare idee (in particolare idee compositive) attraverso simboli, evocazioni, tracce di immagini, sfumature di ricordi.The paper is conceived as a chain of images in a world dominated by images. Even if Juhani Pallasmaa in 2005 published "The Eyes of the Skin" offering a new way to interpret perception in Architecture, and Peter Zumthor published suggestions to students in architecture is to build atmospheres, this paper deals with an ancestral way to communicate ideas (particularly compositional ideas) through symbols, evocations, traces of images, shades of memories

Architectonics of Musics. Esperienze multidisciplinari alla Columbia University

Music, like architecture, is an immersive experience – it surrounds you. One can turn away from a painting or a work of sculpture, while music and architecture engulf the body in space. “Architectonics of Music” records the series of Studios taught at Columbia University on music and architecture. They are part of a larger project to develop cross-disciplinary, inspiration-provoking work on new architectural languages. Steven Holl began this studio in 2006 and continued the masterclasses in several editions at Columbia University up to 2018. The design experimentations began with a full immersion investigation translating a music excerpt into space, material and form. Teams of students analyzed works of 20th century composers with an eye to the geometric potential of translation into architecture and consequently focused on transcribing the concept into architectural models. The results from the 2013 edition are presented in the framework of the whole experience of the seven editions of the advanced studio workshop as well as in the context of Steven Holl’s research on Architecture and Music