just the news today, architects compared to Le Corbusier, should we analyze as to how he remains a constant referent for Architecture Media? 


LC and Moses 

Leaving aside whether such a city is anything to be thankful for, it’s  actually a stretch to say that Moses was so prophetic. If Moses had a  vision, it was that of Napoleon III’s Haussman, tempered by Le  Corbusier’s insistence on social and moral improvement through planning  and design. The problem that Moses the Title I slum clearer set out to  remedy was the congested haphazardness of the existing city, and the  solution was clean lines and open, sanitized spaces. Moreover, Moses  loved to beat naysayers over the head with his impressive record of  “getting things done.” In Title I projects, that often meant new forms  of housing, some of it financed by union pensions and committed to what  we now call “affordability.” If there was “vision” at work here, it was  the socialist tinged vision of Abraham Kazan, of the Amalgamated  Clothing Workers and the United Housing Federation. 1 


LC and Thom Mayne 

March 14 2007 will go down in history as the day everyone decided they  love LA-based Thom Mayne. First, Nicolai Ourousssssoffffff writes a  valentine to his favorite living architect. Well, he plays it coy and  doesn't come right out and say Mayne is his favorite living architect  but we assume he is after last week's love note and today's big, wet  sloppy kiss. Behold, upon describing Mayne's newly finished San  Francisco Federal Building, Ouroussoff can barely contain his adoration: 

The sense of airiness is magical. Protected by the perforated steel  screen, the windows can be operated from inside, and when they are open,  a cool breeze drifts through the space. Beautiful undulating concrete  ceilings help channel the air from north to south, sensitizing us to the  natural world waiting outside. (Unfortunately, some of this effect has  been lost by the erection of a crude system of partitions and office  cubicles.) Aside from the compositional inspiration, what the architect  is clearly seeking to retrieve from Modernist forebears like Le  Corbusier is an unflinching optimism. In a world where commercialism  regularly trumps public service, Mr. Mayne seems to be telling us that  the values of Old-World Modernism may not be so bad. Rather than  obliterate this architectural past, he aims to imbue it with the human  element that Modernism forgot, the quirks and odd delights that can root  a building in personal and emotional territory. 2


LC and Richard Meier 

At Hotel Raphael, Richard Meier's reference to his model is the use of  chairs and a canapé designed by Le Corbusier (the famous LC2). The  colors of the walls in the rooms are in pastel yellow-green and  brown-beige, in the common areas in the lobby and on the third floor in  "Swiss Coffee", a pastel color between white and beige. The (night  table) lamps are Meier 8 FMS. Tempur beds and Simmons mattresses  complete the picture. Free broadband internet is available throughout  the hotel. 

Richard Meier acknowledges to be primarily influenced by the architects  Le Corbusier, Alvar Aalto, Ludwig Mies van der Rohe, Louis I. Kahn and  Frank Lloyd Wright. Collage is important to him as a formal exercise. In  her book about Richard Meier (get it from Amazon.com), Dana Hutt states:  "Central to Meier's abstraction is the use of light as a material." This  includes both natural and artificial light. Purity and clarity dominate  his concept of space, form and light. Meier himself says: "My goal is  presence, not illusion." 

cont'd... http://www.cosmopolis.ch/travel/rome/hotel_raphael_081.htm


LC and tatlin, Breuer, Aalto (and architects still in production) 

The entrance to the show is pure seduction: a streamlined silver Tatra  77a boasting triple headlamps, suicide front doors and a louvered rear  panel with dorsal fin — an absolute shark of an automobile. Mount the  main stairs, flanked on either side by seven reproduction armchairs by  Gerrit Rietveld, and you enter the rotunda, filled with modernist icons,  from models of structures actual and imaginary by Le Corbusier and  Vladimir Tatlin, respectively, to a period Marcel Breuer chair and an  Alvar Aalto vase still in production. 3


and the list continues....

  • 1. http://www.brooklynrail.org/2007-03/express/a-moses-for-our-time
  • 2. http://la.curbed.com/archives/2007/03/this_is_thom_ma.php
  • 3. http://www.readexpress.com/read_freeride/2007/03/modernism_designing_a_new_world.php