23/2 % le Corbusier )*+,*-./01µ+ Moment: Le Corbusiers hemliga laboratorium

Transcription

1 !"#$%&%'(% /2 % le Corbusier )*+,*-./01µ+ Moment: Le Corbusiers hemliga laboratorium!"#$%& %'# 1963-()µ* %+, -./01+, 230/).*µ0 0$4 %'5%'# µ0 %+6 Kristiina 1%' Moderna Museet %+, (%'.7&"µ+,, 89: µ4* *.&µ+ ;./01+ ;38<6 %'# µ08:"'#, *6* *.'5 *379%;.%'6*, *$& %9, 100=0, $'# $*3'#19:1%+.*6 10 &"' %'6.&1µ' 06&1' >'510,.*9 09=9.: µ0%: %'6 $698µ& %'# 1%+ /:"*11* %'# Cap Martin %' ;./01+ =06 µ$'304 6*.*"5A09 ;6* ;38' %&1' $'9.4"'.*9 $'"#=9:1%*%' &1' %'# Le Corbusier. B' 4=9'.*9 0=C, &$'# µ$&301*6 µ&6' 0$9"08µ;6*, 0D*930%9.: =048µ*%* %+, ='#"09:, *#%'5 %'# maître 6* 1%+/'56 10.:$'9'#, 7C3'#, %'# E'#104'# %+, 1'#+=9.), $3<%05'#1*, $'# 170=4*10 ' Moneo. (0.:/0 $*3'#14*1+ &µ<, *#/06%9.C6.'µµ*%9C6 %+, ='#"09:, %'#, ;7< %+6 06%5$<1+ &%9.:%9.*96'5389' µ'# *$'.*"5$%0%*9, &79 µ&6' $3:8µ*%* $'# =06 047* = /;109, *F903<µ;6* 1 *#%)6, *"":.*9 0$09=) µ'# ;7'#6 =9*F'3'$'9+/04 µ0 %' $;3*1µ* %'# 73&6'#. 2";$<.*9 *$'"*µ@:6< $3:8µ*%* $'# =06 047* D*6*=04, %'#":791%'6 &$<, ;%19 µ'# F*46'6%*6.?*9 1.0F%&µ'#6 0$41+, 1%' µ01'=9:1%+µ* %<6 1%:10<6 µ$3&, 10.:$'9' ;./0µ*, $:6< 1%+ µ0%* *$& %' ;6* 1%& :""', $&1' =9*F'30%9.: /* ;@"0$* %* 4=9* 0./;µ*%*, :6, &6%*, *.&µ+ F'9%+%),,.*%:F036* 6* %*D9=;A< 89: 6* %'6 =C *$&.'6%:, 41<, 6* %'6 86<341< =9: >C1+,, &$<, %' 0$ *$& $'"5 µ*.35%03*.*9 ' Tadao Ando 7<34, &µ<,.*9 *#%&, =#1%#7C, 6* %'6 $3'":@09 ), &$<, 0#%57+1* 6* %' *$'%'"µ)1<.*9 6* %' 091$3:D< µ0 %'6!9:66+ G06:.+, µ0 %'6 Paolo Soleri,.*9 µ0 :""'#, 1$'#=*4'#, =+µ9'#38'5,. E0 %'6 Corbu &µ<, + $3&/01+.*9 %' µ* ;7'#6 :""+ 1+µ*14*.*9 =9:1%*1+. H46*9 *#%;, $'# ;7'#6 6*.:6'#6 µ0 %9, 8060%9.), F510<, 0$9=3:109, $'# :1.' ;, '"&."+30, *379%0.%&6<6, *$& %9, =0.*0%40, %'# 1960 µ;739.*9 %'# 1980, *"":.*9 *38&%03*, µ0 %9, µ0%*"":d09, %'# µ'6%03691µ'5, &$<, %9, #"'$'9'56 60C%03'9 *379%;.%'60,. B' µ&6' "'9$&6 $'# µ'5µ0960 6*.*%*F;3< $039=9*@:>'6%*, %'#, 7C3'#, %+, -./01+,, )%*6 6* $'>:3< µ$3'1%: 1%+6 '/&6+ &$'# µ4"*80 ' Corbusier 89: %9, $'"0'='µ9.;, %'# *6%9")A09,. I%*6.:%9.*9 *#%&!?:%9 1*6 «09.'69.) 1#6:6%+1+», $'# $:6%<, =06 µ$'3'510 6* 0D*1F*" : µ9: *6%41%'97+ «86<39µ4*» µ0 µ08:"'#, =+µ9'#38'5,, + %076'"'84* $03*1µ;6<6 0$'7C6. *#%'1*3.*1µ&, ) µ*%*9'='d4* 06 #$6C109; J =9*F'3: %+,."4µ*.*,, %+, «#F),».*9 %'# $3''391µ'5 %<6 0$9"08µ;6<6 0./0µ:%<6, =06 )%*6 $*3: µ4* =098µ*%'"+$%9.) 0$9@0@*4<1+ %+, $3<%0K.), F#19'86<µ4*, %'# 1#6'"9.'5 ;38'# %'# µ08:"'# *379%;.%'6*-$'"0'=&µ'#-.*""9%;76+.*9 =9*6'+%).?"4µ*.0, $'# *F'3'51*6 10 =048µ*%* *$& %' ><83*F9.&.*9 8"#$%9.& %'# ;38'.*9 $'# 0.%046'6%*6 1%' ;$9$"', 1%'.%)39' -*$& %' "9"9$'5%09' %'#.*%*F589', %' Cabanon (1951).*9 %* Pavillons des expositions (=0.*0%4*, 1960), <, %9, $*3*""*8;, %<6 %0%3*8<69.),.:%'A+, E'#104<6 %'# LL'# *9C6* (*$& %' 1931.*9 µ0%:, 09..2*-28).*9 %*.'"'19*4* «$*":%9*» Centrosoyus ( ).*9 %<6 ('@9;% (1931-) 1%+ E&17*- 1%' *1%9.),."4µ*.*, 156/0%' 1#8.3&%+µ* -*$& %*.#@036+%9.:.%)39* %+, Chandigahr (=0.*0%4* 1950, 09..3), <, %' 156'"' %'# M60#µ*%9.'5?;6%3'# Wogensky 1%+ Nanterre (*$& %* %0"0#%*4* %'# projets, 09..4), %+6 Unité d habitation %+, E*11*"4*, (1945-).*9 %+6 $3&%*1+ 89: %' N'1'.'µ04' %+, 2060%4*, (1965-),.*9 %;"',, 1%: 898*6%9*4* $'"0'='µ9.: %'# 17;=9* -*$& %' Plan Voisin, 1%9, $3'%:109, %'# 89: %' O"8;39 (09..7).*9 %+ (%'.7&"µ+ (09..8). (%+6 $&"+ $'# #$'=;70%*9 %+6 -./01+, 1%+ (%'.7&"µ+, ' 1%+6 #"'$' &, ;38'# &%*6 %' 1962 ' Theodor Ahrenberg %'# >+%: 6* 170=9:109 ;6* E'#104' 1%+6 #=:%96+ 0$9F:609* 06&,.*6*"9'5, $'# /* 1%;8*>0 ;38* 3 =+µ9'#38c6 0$9"08µ;6<6 *$& %'6 1'#+=& 1#"";.%+: %<6 Matisse, Picasso.*9 %'# 4=9'# %'# Le Corbusier (09..9*, 9@). J 156/01+.*9 + µ'3f) %'# E'#104'# $'# =06 $3*8µ*%'$'9)/+.0, $*3;$0µ$*6 1%' µ9.3&%03' 10."4µ*.*?;6%3' LC ) E'#104' Heidi Weber 1%+ P#347+, $'# 0470 ' 4=9', 170=9:109 "48' 6<34%03*, 7<34,.*9 0=C 6* $3'":@09 6* %' =04 '"'."+3<µ;6' ( ).

2 J -./01+ =06 $*3;"09A0 %;"', 6* =C109.*9 %' 1%48µ* %'# Modulor, *#%), %+, «73#1), *6*"'84*,» $'# 0$*603µ * µ'$'904 ' Corbusier =9*1%*19'"'8C6%*, =+µ9'#3840, %'# µ9:, 9=0C='#, =9:$"*1+, %'# *6/3C$96'# (*31069.'5) 1Cµ*%', (09..10). 1* 18 1= 2* E08:"<6 =9*1%:10<6 D5"96+ µ*.;%%* %'# Q9'9.+%9.'5?;6%3'# %+, Chandigahr 4 5. Bµ)µ* &A+, %'# N'1'.'µ04'# %+, 2060%4*, 10 17;=9' µ).'#, $03. 3 µ;%3<6 %'# Guillermo Jullian de la Fuente, 1#6038:%+ %'# Le Corbusier

3 6 8 9* 9@ 10

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8 2. To $*30..")19' 1%' Otaniemi 170=9:1%+.0 *$& %'#, *379%;.%'60, Heikki.*9 Kaija Siren %' 1957.*9 D*6*170=9:1%+.0 *$& %'#, 4=9'#, $3'.09µ;6'# 6* *$'.*%*1%*/04.*%: %' =#6*%&6 $3', %+6 *379.) %'# µ'3f) %' 1978, µ0%: %+6 $#3.*89: $'# %'.*%;1%30A0 '"'."+3<%9.: =5' 73&69* $396. J *379%0.%'69.) µ'3f).*9 ' 170=9*1µ&, %'# $*30.."+14'# %*#%4>0%*9 µ0 µ9: 1%'9709C=+-µ969µ*"91%9.) 1*F)609*.* &%+%*, $'# %+6 0$'7) *6 %' *6:"'8& %'#, 1%' F96"*6=9.& design 73+1%9.C6 *6%9.09µ;6<6 (@". Tapio Wirkkala, Kaj Franck,..:). (0 *#%& %' µ9.3&.%439' %'.:/0 %4 $;3* *$& %+6 '#14* ;709 *$'1#3/04. M&6' 3 %'47'9, =5' 7C3'9,.*9 + %:D+ %<6 '3/'8<64<6.*9 %<6 =9:F*6<6 '34<6 %'#, $*3;µ096*6 89: 6* $3'1=C1'#6 %+6 #"9.) *.%96'@'"4* 1%+6 #$03@*%9.) $*3'#14* %'# F<%&,. (%+6 *$"&%+%: %'#, (@".singularity) '9 %'47'9 *#%'4 =06.*%*.3*%'56 $*3: µ&6' %+ 19<$) %'# 73&6'#,.*9 µ;1* *$& %+6 *.96+14* %'#, 41%*6%*9 C, 0:6 086C39>*6 &%9 '#=;6 :""' ).:%9 $03911&%03' *$*9%04%*9. (%+6 $034'=' $'# ;8960, 1%'6 *9C6* %'5%' &$'# + #$03@'") %&1' 1#76: '=) µ9: *379%0.%'69.) ;6=09*, + *$'#14* $"0'6*1µC6 0$9@0@*9C609 %'# "&8'# *#%'5 %'# *$;39%%'# %' *1F*";,. M039.: 1%'9704* %+,.*%*1.0#),: - '9 =5' 1093;, %<6 F03&6%<6 10 *$&1%*1+ 15 µ..*9 $3'1=9'34>'#6 %9, 91*$'1%:109, %<6 D5"96<6 >0#.%C6 %+, '3'F), $'# $*3*%4/06%*9 *6: 3 µ. (6 >0#.%:)Z %'.*/*3& 5A',.:%< *$& %* $;"µ*%* %<6 >0#.%C6 '34>0%*9 1%* 4 µ. $034$'#, 06C %' µ;891%' 5A', %+, %398<69.), *.µ), $034$'# 1%* 11 µ. *$& %' =:$0='Z - %' %'5@"'.*9 %' D5"'.#39*37'56 C, #"9.:Z %' F#19.& FC, 0917<304 *$& %+ 6&%9* $"0#3: $3'1=4='6%*, *6:"'8* µ0 %9, =9*/;109, %'#.*93'5 %+6 0D*930%9.) #F) %<6 2 F#19.C6 #"9.C6Z 10 *6%4/01+ $"0#3: 046*9 + 19<$)Z µ;1* 1%+6 %'69.) %+, *.96+14*, '=+804 %' 6'5 $3', %' µ#1%)39' %'# 1%'9709C='#, µ0%*"9.'5 1%*#3'5,.*9 0.04/06, $3', %+6 *$03*6%'156+ %<6 =*1C6.*9 %<6 "9µ6C6, $'# /* ;"080.*604, &% '56 C, '9.04*, *8*$+%:.*9 µ#1%+39*.: 15µ@'"* 06&, :86<1%'#.&1µ'# 1%' #$03$;3*6Z /01+ %<6 7C3<6.*9 + 0$9"'8) %<6 #"9.C6 *$'=4=09 µ0 %'6 $9& *$"&.*9 %*#%&73'6* ;6%076'.* '6' %3&$', *37;%#$*.*9 µ6)µ0, *$& %+6 91%'39.) $*3:='1+ %+, 0.."+19*1%9.), *379%0.%'69.), %'# %&$'# *#%'5Z $3'*5"9', 7C3',, 903:3791+ $'304*,.*9."4µ*.*, µ0.#34*37' µ;%3' %9, F#19.;, =9*1%:109, %'# *6/3C$'#,.*/C,.*9 %' =#6*µ9.& %'# A#791µ'5.*9 %'# =9*"'891µ'5 $'#.*"04%*9 6* *$0"0#/03C109, #"9.:, 046*9 µ039.'4.34.'9 1%+6 7<3'73'69.) *"#14=* %+, "'#/+3*69.), $*3:='1+,.*9 %+, *379%0.%'69.), %+, 0.F3*1+,.*9 $*3'#14*,. 3. J 0.."+14* 1%+6 10 *$&1%*1+ $034$'# [ C3*, $0>'$'304*, *$& %' $*30..")19' %'# Otaniemi. ( *#%& %'# %' ;38' (=9*8<691µ&, 1963,.*%*1.0#) 1965) ' *379%;.%<6 Aarno Ruusuvuori, *$'=4=09 µ0 7*3*.%+391%9.) 0#/5%+%*.*9 %&"µ+ µ9: 80<µ0%39.C6 µ'3fc6, µ0.#39:37' %'6 &8.' 06&,."091%'5.5@'#,.9@<%'5 %+, 0.."+14*,.*/0*#%),. H=C, *.'"'5/+10 $91%: %9, *D9<µ*%9.;, $3'\$'/;109, $'# 06#$:37'#6 1%+ 80<µ0%34*.*9 1%* µ*/+µ*%9.:. U 4=9', $41%0#0 &%9 046*9 0#.'"C%03' 6* 066')109.*604, ;6* $039@:""'6 $'# 0.F3:>0%*9 µ0 µ*/+µ*%9.) 1*F)609*,.*9 <, 0. %'5%'# #9'/0%'510 %+6 *37) &%9 + µ*/+µ*%9.) ='µ) *$'%0"'510 %'."09=4 µ;1< %'# '$'4'# #"'$'9'510 %' ;38' %'# 2. B' $039@:""'6 %+, 0.."+14*, %+, Tapiola =06 ;$30$0.*%: %'6 *379%;.%'6* 6* *6%*8<64>0%*9 µ0 %* 5A+.*9 %9, 8#:"960, $3'1&A09, %<6 $538<6.*9 "'9$C6 =+µ'14<6.%+34<6 %'# 853< $039@:""'6%',. -$30$0 *6%4/0%* 6* =9*µ'3FC609 ;6*6 D07<391%&.&1µ', *$'µ'6<µ;6' $41< *$& %9, 1#1%:=0, %<6.<6'F&3<6 =;6%3<6 $'# %' $039%3#8#34>'#6. J "9%) 80<µ0%34*.*9 '."091%&, %0.%'69.&, 7*3*.%)3*, %<6 0D<%039.C6 0$9F*609C6 7<34, %+6 $*3*µ9.3) 65D+ =9*.'1µ+%9.C6 ) D;6<6 1%'9704<6 $3', %+6 *F*930%9.) $3&/01+ %+, 156/01+,, /* *$;=9=*6 µ0 09" *.*9 $91%&%+%* %9, $*3*$:6< 0$9=9CD09,. 2 B+6 %'$'/;%+1) %'# 89: %+ 1+µ*14* %<6 µ*/+µ*%9.c6 =9*%5$<10 ' A. Ruusuvuori 10 1#6;6%0#D) %'# %' 1991 $3', %9, Riitta Nikula.*9 Marja-Riitta «An architectural autobiography; Questions to Aarno -.='1+ %'# E'#104'# W96"*6=9.), O379%0.%'69.),: Aarno Ruusuvuori; Structure is the Key to Beauty (Five Masters of the North), Helsinki 1992, 1.53.

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10 4. J 0.."+14* Temppeliaukio-«0.."+14* 170=9:1%+.0 *$& %'#, *379%;.%'60, *=0"F'5, Timo (1928-).*9 Tuomo ( ) Suomalainen, *$'1$C6%*, *379.: %' 1 ' 23*@04' 10 *379%0.%'69.& =9*8<691µ& (1961). J 0.."+14* $'%0"04 1)µ03*, 50 $034$'# 73&69* µ0%: %+ 15""+A+.*9.*%*1.0#) %'#, %'$&1+µ' %+, F96"*6=9.), $3<%05'#1*,,.*9 %'6 =+µ'f9";1%03' 10 *39/µ& 0$91.0$%C6 $3''391µ&, 1#8.396&µ06' µ0 &"* %* :""* *379%0.%'69.: ;38*.*9 µ6+µ04* %+, =9*F;3'6 6* #$'83*µµ91%04 &%9 + =+µ'f9"4* %'# *#%) *$0#/560%*9 $03911&%03' 1%'6.'96& 0$91.;$%+, 7<34, &µ<, %' ;38' 6* ;709 %5709 µ;739 1)µ03* %+, *6:"'8+,.*%*D4<1+, *$& %'6 *379%0.%'69.&.&1µ' %+, 7C3*, (@";$0 $9&.:%<). J $3&%*1+ %<6 *379%0.%&6<6 $3';@"0$0 %+, 0.."+14*,.*9 %<6 $*3*3%+µ:%<6 µ;1* %+, 'µc6#µ+, $"*%04*,, *F)6'6%*, 0"05/03+ %+6 F#19.) µ'3f).*9 73)1+ %'# *$& %'#, $034'9.'#,. (*6 %;%'9*, *$'%0"'510 39>'1$*1%9.) 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J.3*%'51* 9=0'"'84* )%*6.*%: 1#6;$09* 0$9.39%9.) ;<,.*9 *$'339$%9.) *$;6*6%9 10 0µF*604,.*9 «$3'."+%9.;,» $3'1<$'$*804, $*30.."4109,, '9 0$9"'8;,.*9 =9*1%:109, %<6 '$'4<6.346'6%*6 064'%0.*%: %' ='.'56. -%19 06C «$039/<39'$'9)/+.*6» %* ;38* %<6 Suomalainen.*9 06 µ;309, %'# Timo Penttilä (@". $.7 H/69.& V;*%3' H"146.9, 1967), :""'9 «*6*379.'4» µ0 0$4.0F*"), %'6 Alvar Aalto.*9 %'#, Pietilä (@". $ "+14* Kaleva 1%' Tampere/ , Dipoli 1%' Otaniemi/ ), *379%;.%'60,.*9 *#%'4 %'# «:""'#».*9 %'# «=9*F'30%9.'5», ;µ096*6 1%' *$#3&@"+%',.*9 &79 µ&6'. 4 E0 %' ;38' %'#,, '9 %0"0#%*4'9 1#6;@*"*6 1%+ /0µ0"4<1+.*9 1%*=9*.) *6:=09D+ %'# :""'# $&"'#, %+, *379%0.%'69.), 06&, 0D$3019'691µ'5 µ0 %9, &$'90, 8;F#30, %'6 1#6;=0*6 µ0 1%'9704* %'# '3/'"'89.'5 µ'6%03691µ'5.*9 %'# *.µ:>'6%', %&%0 F96"*6=9.'5 -@";$0.*9 1.*6=96*#9.'5- $'# 41<, 0D+8'56.*9 %+ 1+µ0396) *60.%9.&%+%* ;<,.*9 $")3+ *$'='7) =#10D)8+%<6 1#76: 15873'6<6 %:10<6, $'# 0.F3:>'6%*9 µ;1* *$& %9, 0#.'"40,.*9 %9, =#6*%&%+%0, %'# +"0.%3'69.'5 170=9*1µ'5. O$& %* "48* ;6%#$*, F*460%*9 &%9 '9 Suomalainen,.*9 %'#":791%'6 ' Timo, &$<, µ*, =&/+.0 %' #.*934* 6* %'6 86<341'#µ0.*9 6* =9*$91%C1'#µ0 *$&.'6%:, )%*6 :%'µ*-=+µ9'#38'4 µ0 %' 7:391µ* %+, *F'14<1+, 1%+6 '#14* %+, *379%0.%'69.), %'#,, %<6 7*µ+"C6 %&6<6.*9 %+, *D9'$3;$09*, µ0 µ4* 10µ6&%+%* 170=&6 *F'$"91%9.).*%: %+6 $*3'#14*1+ %+, ='#"09:, %'#,, 9=9&%+%0, $'# =06 1#6:='#6 *6*8.*1%9.: *.&µ*.*9 1%9, µ;30, µ*,, µ0 =#6*µ9.;, &$<, µ0%*d5 :""<6 %+, *#%'$3'@'"),, %+, 7093*8C8+1+, 9=0C6.*9 µ;1<6, %+, =90.=4.+1+,.*9 $3'C/+1+, ;38<6, %'# «.#6+89'5» %+, «*6*86C3+1+,»,."$ U Timo Suomalainen µ9":09 89: %+6 0.."+14* 1%+6 041'=& %+,.?'6%: %'# + 2*19"9.) M0%34='#, ' Asko Salokorpi, '?<61%*6%46', Q0.*@:""*,.*9 '?. G*6/&$'#"',. 4 (%+6 $*3*86C391+.*9 %'6 0D'1%3*.91µ& %'# ;38'# %<6 *=0"FC6 Suomalainen *$& %' *379%0.%'69.& «.*%01%+µ;6'».*%: %9, =0.*0%40, 1960.*9 1970,.*/C,.*9 1%+ 1+µ*14* %'# «timing» %+, *379%0.%'69.),, ' Roger Connah, 1#883*F;*,,.39%9.&, %+, *379%0.%'69.),, 1#6038:%+, 89: *3.0%: 73&69* 1%'!3*F04' %<6 Reima.*9 Raili 030#6+%),.*9 86C1%+, %+, F96"*6=9.), *379%0.%'69.),, *F903C609 ;6* 1+µ*6%9.& %'# 15883*µµ* µ0 %4%"': Grace and Architecture (;.='1+ The Finnish Building Centre, Helsinki, 1998). ( *#%& *6*F;309 7*3*.%+391%9.:: «Upon initial research in the Museum of Finnish Architecture s data base, the absence of any mention of the Espoonlahti church (µ4* :""+ 0.."+14* %<6 Suomalainen) began to suggest a stranger story. It became obvious that to try to explain this phenomenon we would need to explore a sociology as well as a politics of architecture In this case, it became clear that there was a desire to promote architecture(s) that `gave off what we might call, official visions. The corollary of this is obvious; other works are discouraged.» '$.$.,