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Scarred by his experiences as a war correspondent, Matthew flees to Paris to heal and forget—even as he must stir up the past to write the memoir he’s promised to his impatient literary agent. Resurrecting a friendship with Jack, a Vietnam vet and ex-mercenary, Matthew enters Jack’s alcohol-dimmed world of shadowy bars and calculating lovers. But there is also Saida—beautiful, damaged and proud—who fled Lebanon with her family and now runs a café. Matthew is drawn to her kindness, and to her fierce love for her teenage son, who is growing into manhood on the treacherous streets of the North African quarter. This is Paris far from the glimmer of tourist lights. Here secrets are divulged, guilt and passion revealed, and Matthew is caught up in an inescapable final confrontation. The Radiant City is a novel of astonishing depth and power.
The Unite d'Habitation at Marseilles is a key building of the twentieth century, and a seminal work in Le Corbusier's oeuvre. A precursor of buildings in Nantes, Berlin, Briey-en-Foret and Firminy, it established, in built form, Le Corbusier's ideas of public housing that had existed only on paper for more than twenty-five years. David Jenkins argues that the Marseilles Unite stands out as a powerful and convincing testament of Le Corbusier's fundamental humanism and his faith in the principles of the Ville Radieuse and the Brutalist medium of rough cast concrete which in other, less able hands, have since been called into question.
Le Corbusier's assistant and fellow architect remembers his mentor in a series of concise and poetic reflections. Le Corbusier's Hands offers a poetic and personal portrait of Le Corbusier—a nuanced portrayal that is in contrast to the popular image of Le Corbusier the aloof modernist. The author knew Le Corbusier intimately for thirty years, first as his draftsman and main assistant, later as his colleague and personal friend. In this book, written in the mid-1980s, Wogenscky remembers his mentor in a series of revealing personal statements and evocative reflections unlike anything that exists in the vast literature on Le Corbusier. Wogenscky draws a portrait in swift, deft strokes—50 short chapters, one leading to the next, one memory of Le Corbusier opening into another. Appearing and reappearing like a leitmotif are Le Corbusier's hands—touching, taking, drawing, offering, closing, opening, grasping, releasing: "It was his hands that revealed him.... They spoke all his feelings, all the vibrations of his inner life that his face tried to conceal." Wogenscky writes about Le Corbusier's work, including the famous design of the chapel at Ronchamp, his ideas for high-density Unités d'Habitation linked to the center of a "Radiant City," and his "Modulor" system for defining proportions—which Wogenscky compares to a piano tuner's finding the exact relation between sounds. He remembers the day Picasso spent with Le Corbusier at the Marseilles building site—"All day long they outdid one another in a show of modesty," he observes in amazement. He adds, speaking for himself and the others present, "We were inside a double energy field." And Wogenscky writes about Le Corbusier more personally. "I have spent years trying to understand what went on in his mind and in his hand," he tells us. With Le Corbusier's Hands, Wogenscky gives us a unique record of an enigmatic genius.
Published in 1923, Toward an Architecture had an immediate impact on architects throughout Europe and remains a foundational text for students and professionals. Le Corbusier urges readers to cease thinking of architecture as a matter of historical styles and instead open their eyes to the modern world. Simultaneously a historian, critic, and prophet, he provocatively juxtaposes views of classical Greece and Renaissance Rome with images of airplanes, cars, and ocean liners. Le Corbusier's slogans--such as "the house is a machine for living in"--and philosophy changed how his contemporaries saw the relationship between architecture, technology, and history. This edition includes a new translation of the original text, a scholarly introduction, and background notes that illuminate the text and illustrations.
While Le Corbusier's urban projects are generally considered confrontational in their relationship to the traditional urban fabric, his proposal for the Venice hospital project remained an exercise in preserving the medieval fabric of the city of Venice through a systemic replication of its urban tissue. This book offers a detailed study of Le Corbusier's Venice hospital project as a plausible built entity. In addition, it analyses it in the light of its supposed affinity with the medieval urban configuration of the city of Venice. No formal attempt to date has been made to critically analyse the hospital project's design considerations in comparison to the medieval urban configuration of the city of Venice. Using a range of methodologies including those from architectural theory and history, using archival resources, on-site analysis, and interviews with important resource persons, this book is an interpretation of the conceptual basis for Le Corbusier understanding of the structural formulation of the city of Venice as mentioned in The Radiant City (1935). In doing so, it deciphers the diagrammatic analysis of the city structure found in this work into a set of coherent design modules that were applied in the hospital project and that could become a point of further investigation. Architects and other architecturally interested laypeople with an interest in Venice will find the book a valuable addition to their knowledge. For architectural historians the book makes an important link between modernism and the historically grown Venice.
Why technology is not an end in itself, and how cities can be “smart enough,” using technology to promote democracy and equity. Smart cities, where technology is used to solve every problem, are hailed as futuristic urban utopias. We are promised that apps, algorithms, and artificial intelligence will relieve congestion, restore democracy, prevent crime, and improve public services. In The Smart Enough City, Ben Green warns against seeing the city only through the lens of technology; taking an exclusively technical view of urban life will lead to cities that appear smart but under the surface are rife with injustice and inequality. He proposes instead that cities strive to be “smart enough”: to embrace technology as a powerful tool when used in conjunction with other forms of social change—but not to value technology as an end in itself. In a technology-centric smart city, self-driving cars have the run of downtown and force out pedestrians, civic engagement is limited to requesting services through an app, police use algorithms to justify and perpetuate racist practices, and governments and private companies surveil public space to control behavior. Green describes smart city efforts gone wrong but also smart enough alternatives, attainable with the help of technology but not reducible to technology: a livable city, a democratic city, a just city, a responsible city, and an innovative city. By recognizing the complexity of urban life rather than merely seeing the city as something to optimize, these Smart Enough Cities successfully incorporate technology into a holistic vision of justice and equity.
The Restless Hungarian is the saga of an extraordinary life set against the history of the rise of modernism, the Jewish Diaspora, and the Cold War. A Hungarian Jew whose inquiring spirit helped him to escape the Holocaust, Paul Weidlinger became one of the most creative structural engineers of the twentieth century. As a young architect, he broke ranks with the great modernists with his radical idea of the “Joy of Space.” As an engineer, he created the strength behind the beauty in mid-century modern skyscrapers, churches, museums, and he gave concrete form to the eccentric monumental sculptures of Pablo Picasso, Isamu Noguchi, and Jean Dubuffet. In his private life, he was a divided man, living behind a wall of denial as he lost his family to war, mental illness, and suicide. In telling his father’s story, the author sifts meaning from the inspiring and contradictory narratives of a life: a motherless child and a captain of industry, a clandestine communist who designed silos for the world’s deadliest weapons during the Cold War, a Jewish refugee who denied he was a Jew, a husband who was terrified of his wife’s madness, and a man whose personal saints were artists.
The fourteen essays are by Russell Walden, Paul Turner, Patricia Sekler, Maurice Favre, Brian Taylor, Charles Jencks, Anthony Sutcliffe, Robert Fishman, Martin Purdy, John Winter, Maxwell Fry, Jane Drew, Madhu Sarin, and Stanislaus von Moos.
Seminar paper from the year 2013 in the subject Art - Architecture / History of Construction, grade: -, Technical University of Darmstadt, language: English, abstract: Charles-Edouard Jeanneret-Gris, born October, 6th 1887, is known as one of the most important architects of the last century. Otherwise, he is also seen extremely controversial in-between his artistic municipality. According to his point of view of architecture as a complex art of construction, he also dealt with architectural theory, city planning, sculpture and designing of furniture. Additionally, he was creative in drawing and painting. In "L'Esprit Nouveau" - an artistic magazine published since 1920 - he began to use the pseudonym Le Corbusier. Due to architecture, Le Corbusier's so-called "Five Points of a new Architecture" are very important. These principles point out a radical architectural change in order to react to the accelerating progress of mechanization and its influence on social change. As a result, Le Corbusier especially dealt with the construction of accommodations to implement his complex theory consistently. So-called "Doppelhaus in der Weissenhofsiedlung in Stuttgart" - designed by Pierre Jeanneret and Le Corbusier - seems to be an example. To give his theories and visions a suited area, Le Corbusier academically worked in architectural societies like "Congres Internationaux d'Architecture Moderne" (CIAM). However, the architect was one of CIAM's co-founders. Until the mid 1920s, Le Corbusier was both, a social and an artistic supporter of capitalism. "Ville Contemporaire" (1922) with its forced authority, clear structure and geometry is an important evidence for his ideal. Since the beginning of the crisis of global economy in 1929, Le Corbusier has changed his point of view in a more radical one. The architect became an infernal supporter of so-called French syndicalism. Le Corbusier died on August, 27th 1965