Strands of theatre: Le Corbusier’s staging of the Palace of the Soviets, 1931

El proyecto para el concurso del Palacio de los Soviets en Moscú (1931) de Le Corbusier plantea otra posible y más fragmentaria clave de interpretación que, aunque en principio sea más marginal, merece ser mencionada: la relación con el teatro, con la renovación de la escena europea y con la experimentación soviética, porque Le Corbusier es consciente de que la arquitectura no consiste sólo en la cualidad del edificio, es también una puesta en escena, una dramaturgia. Escenógrafos como Appia, con la luz, o directores de escena como Max Reinhardt, con el espectáculo de masas, y Vsevelod Meyerhold, con el teatro japonés del Kabuki, van penetrando en el sentir de un Le Corbusier que deja la impronta teatral en la puesta en escena de la megaestructura moscovita.Le Corbusier’s design submitted to the public competition for the Palace of the Soviets in Moscow (1931) may have an additional interpretation which, although less researched and in principal more marginal, is noteworthy. And that is the relationship between theatre and the resetting of the stage in Europe and Soviet experimentation. Le Corbusier was aware that architecture goes beyond the building itself and is also a sort of staging or dramaturgy. Set designers such as Appia, through the use of light, or stage directors like Max Reinhardt, through the use of performance for the masses, and Vsevelod Meyerhold, through Japonese Kabuki theatre, gradually permeated the sensibility of Le Corbusier who left staging as a mark in his design for the Moscow megastructure

The memory of a disappeared architectural typology of the popular performance: the circus-theatres in Spain

This work was funded by national funds through FCT - Fundação para a Ciência e a Tecnologia, I.P., within the project UIDB/04041/2020 (Centro de Estudos Arnaldo Araújo).info:eu-repo/semantics/publishedVersio

Mirada objetiva y dimensión subjetiva del cine en Le Corbusier

[EN] : Le Corbusier’s contacts with the world of cinematography spanned his entire career and cover a broad spectrum. They materialized in the conception and construction of screening rooms for cinema, the participation in projects and cinema-making, and the publication of sporadic features under the title "Esprit de vérité" (1933). This article covers Le Corbusier’s unique cinematographic thought standing apart from those of other distinguished architects of his generation and highlights the change he experienced between the film L’Architecture d’Aujourd'hui (1930) and the multimedia work Le Poème électronique (1958). It traces a path originating with the notion of cinema as a medium where images are at the service of architecture and never the other way around, and winding up with the use of soviet montage as a subjective message of the filmmaker who, in this case was also maker of the architecture.[ES] : Le Corbusier’s contacts with the world of cinematography spanned his entire career and cover a broad spectrum. They materialized in the conception and construction of screening rooms for cinema, the participation in projects and cinema-making, and the publication of sporadic features under the title "Esprit de vérité" (1933). This article covers Le Corbusier’s unique cinematographic thought standing apart from those of other distinguished architects of his generation and highlights the change he experienced between the film L’Architecture d’Aujourd'hui (1930) and the multimedia work Le Poème électronique (1958). It traces a path originating with the notion of cinema as a medium where images are at the service of architecture and never the other way around, and winding up with the use of soviet montage as a subjective message of the filmmaker who, in this case was also maker of the architecture.González Cubero, J. (2016). Mirada objetiva y dimensión subjetiva del cine en Le Corbusier. En LE CORBUSIER. 50 AÑOS DESPUÉS. Editorial Universitat Politècnica de València. 862-879. https://doi.org/10.4995/LC2015.2015.803OCS86287

Sesión continua: "Nómadas en el jardín". Ville contemporaine y Ville radieuse

Peer Reviewe

Contemporary landscapes of geometric abstraction: The grid in the stage space

La retícula es el soporte conceptual y formal utilizado como paradigma de la modernidad en las artes plásticas duran-te el siglo xx, presente avant la lettre en la arquitectura, y un elemento de rezagada incorporación a la escenografía en la concepción del espacio escénico, aun nutriéndose de ellas. Ante su escasa y esporádica presencia en la escena en el pasado siglo, el artículo expone el aliento que adquiere en su ocaso y las formas que adopta en el siglo actual, fundamentalmente en la práctica escenográfica clásica en el teatro a la italiana. A través de una sucinta selección de ejemplos, y aplicando una metodología analítica y comparativa, se aporta un examen y taxonomía de cómo la retícula se ha denotado en el espacio escénico y qué ha connotado como sistema significante. El teatro de texto, la ópera y la danza son los territorios artísticos de las artes escénicas que se han recorrido, para desvelar los aspectos funcionales, plásticos y significativos de los paisajes de la abstracción geométrica configurados por la retícula.The grid is the conceptual and formal support used as a paradigm of modernity in the plastic arts during the twentieth century, present avant la lettre in architecture, and an element of late incorporation to scenography in the conception of the scenic space, even though it is nourished by them. Given its scarce and sporadic presence on the stage in the last century, the article expo-ses the breath it acquires in its decline and the forms it adopts in the current century, mainly in the classical scenographic practice in the Italian-style theatre. Through a succinct selection of examples, and applying an analytical and comparative methodology, an examination and taxonomy of how the grid has been denoted in the scenic space and what it has connoted as a signifying system is provided. Text theatre, opera and dance are the artistic territories of the performing arts that have been explored to reveal the functional, plastic and significant aspects of the landscapes of geometric abstraction configured by the grid

Expanded and performative: architecture of the scene, scene of the architecture

El itinerario seguido por el teatro en el siglo xx tuvo el denominador común con otros campos artísticos de superar las convenciones heredadas y sus límites disciplinares. La intención, profundamente arraigada en la segunda mitad de este siglo, fue ensanchar sus concepciones originarias, lo cual desembocó en estados y adjetivaciones de “expandida” y/o “performativa”, inicialmente rompedores y hoy ya instalados junto con la ortodoxia como paradigmas de las artes actuales. Los debates sobre qué es el teatro, la escenografía o la arquitectura teatral han supuesto avances en el camino seguido, pero hoy son un antiguo corsé, no por ello prescindible, ante el amplio y diverso panorama de prácticas artísticas actuales que tratan reflejar la complejidad del mundo contemporáneo de la era digital. Este texto recapitula sobre la herencia y quiere contribuir al debate actual proponiendo un horizonte de simbiótica colaboración entre las artes, en su estar “más allá de sí mismas”, para trabajar sobre la forma simbólica del siglo XXI.The itinerary followed by the theatre in the 20th century had the common denominator with other artistic fields of over-coming inherited conventions and its disciplinary limits. The intention, deeply rooted in the second half of this century, was to broa-den its original conceptions, which led to states and adjectivisations of “expanded” and/or “performative”, initially ground-breaking and today already established along with orthodoxy as paradigms of the current arts. The debates on what theatre, scenography or theatrical architecture are have led to progress on the path followed, but today they are an old constraint, not for that reason dis-pensable, in the face of the wide and diverse panorama of current artistic practices that try to reflect the complexity of the contem-porary world of the digital era. This text reflects on the heritage and aims to contribute to the current debate by proposing a horizon of symbiotic collaboration between the arts, in their being “beyond themselves”, to work on the symbolic form of the 21st century

The built memory: presenting the colonization villages in Spain by the newsreel of State NO-DO.

The newsreel of State used to show to Spanish society a determined image of architecture, conditioned by the political needs of Franco’s Regime. In this case, the subject of the cinematographic image of villages of colonization of the Tagus valley as presented by the NO-DO newsreel (Noticiarios y Documentales Cinematográficos) is studied. NO-DO was originally created as a propaganda tool and an instrument for the diffusion of “specially relevant” news from that time period. The analysis of the architecture built by the National Institute of Colonization (INC) and showed in different editions of the newsreel allowed us to understand the ideological approach made by the Regime to the Spanish countryside, through the model of colonization of the territory, and how building was used as propaganda. The urban model proposed was defined by civic centres –usually square-shaped-, and church towers as urban milestones set in the landscape. For this reason, politic demonstrations in the representative public spaces of villages, through the delivering of houses and rural property to settlers, incorporated the context and living conditions in which new villages were built. At the same time, the visits to irrigation farms, new irrigation canals, and hydraulic and hydroelectric infrastructures exemplify the agrarian and irrigation policies during the autarchy, whereas in the next decades, and because of the economic and social development of the countryside, news about reservoirs were just referred to sports and leisure activities. Therefore, these cinematographic images of buildings, irrigation policies and the modernization of rural landscape presented in cinemas through the NO-DO newsreel are relevant, since they build a collective memoryof the architecture and engineering of that time. They also document the social, politic and economic role that the creation of Spanish villages of colonization at river basins had, specifically in one of the biggest rivers, the Tagus

El "hameau" vertical de Le Corbusier. Una alternativa residencial al bloque lineal

[EN] The vertical " hameau" of Le Corbusier is a prototype of collective housing, developed as a plastic alternative to “Unité d’habitation de grandeur conforme", perhaps his most synthetic work. The residential tower is generated from urban doctrine of 7V theory through the shape of one of the elementary forms: the cylindrical volume. The towers keep capacity, shape and dimensions unchanged in any urban environments where they are inserted: the unbuilt urban projects in his last stage in Europe. Far from being a genuine type, is based in other previous constructions; the children's summer camps sponsored by the Fiat factory in the 30s, and some residential experiments by French architect Auguste Bossu erected by those years in the city of Saint-Etienne. The article describes the relationship between these structures and the cylindrical villages for singles and analyzes the peculiarities of their formal structure and the dynamic of their internal organization in order to check how those constructions were adapted by Le Corbusier for the constitution of a new collective type dwelling which still remains in the shadow of his most famous projects[ES] El " hameau" vertical de Le Corbusier es un prototipo de alojamiento colectivo, desarrollado como alternativa plástica a la " Unité d'habitation de grandeur conforme", quizás su obra más sintética. La torre residencial se concreta a partir de las teorías urbanas de la regla de las 7V, a través de la impronta de una de las formas elementales: el volumen cilíndrico, manteniendo prácticamente inalteradas capacidad, forma y dimensiones en cualquiera de los entornos urbanos donde se inserta, los proyectos no construidos de su última etapa para Europa. Lejos de ser un modelo genuino es deudor de otras construcciones previas, los albergues para las colonias infantiles italianas, promovidas por la fábrica FIAT en los años 30, y algunos experimentos residenciales del arquitecto francés Auguste Bossu, erigidos también por esos años en la ciudad de Saint-Étienne. El artículo traza las relaciones entre estas construcciones y las aldeas cilíndricas para solteros, analizando las particularidades de su estructura formal y la dinámica de su organización interna, para comprobar cómo son adoptadas por Le Corbusier en la constitución de la identidad de un nuevo tipo de vivienda colectiva que permanece todavía a la sombra de sus proyectos más reconocidosMartínez Domingo, Y.; González Cubero, J. (2016). El "hameau" vertical de Le Corbusier. Una alternativa residencial al bloque lineal. En LE CORBUSIER. 50 AÑOS DESPUÉS. Editorial Universitat Politècnica de València. 1348-1363. https://doi.org/10.4995/LC2015.2015.778OCS1348136

DRAMATIC ARCHITECTURES. THEATRE AND PERFORMING ARTS IN MOTION

This work was funded by national funds through FCT - Fundação para a Ciência e a Tecnologia, I.P., within the project UIDB/04041/2020 (Centro de Estudos Arnaldo Araújo).info:eu-repo/semantics/publishedVersio

Changing space and performance for a changing world

This work was funded by national funds through FCT - Fundação para a Ciência e a Tecnologia, I.P., within the project UIDB/04041/2020 (Centro de Estudos Arnaldo Araújo).info:eu-repo/semantics/publishedVersio