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Este artículo revisa los principios de diseño ortopédico de Le Corbusier para presentar una serie de preocupaciones más generales sobre la higiene energética. Examinando el modo en que determinados objetos de diseño reflejan las preocupaciones emergentes de la psicología moderna, se demostrará cómo Le Corbusier veía las artes decorativas como una forma de gestionar el aspecto energético de la experiencia humana, previniendo crisis y aliviando la sobrecarga psicológica que define un conjunto de experiencias recién urbanizadas y cosmopolitas. Al enmarcar el diseño en el contexto más amplio de la higiene energética, el objetivo de este artículo es situar a Le Corbusier como un diseñador integral que respondió a las exigencias médicas y tecnocientíficas de la vida moderna.

Salvador Pérez Arroyo tiene algo de maestro oriental. Incluso antes de haber hecho las maletas y trasladado su vida a lo que nosotros llamamos el Extremo Oriente, el ser de Salvador tenía ya una presencia próxima y distante a la vez. Desde la elegancia de su deambular por las aulas y pasillos de la vieja Escuela de Arquitectura de Madrid, Salvador ejercía un magisterio profundo, original y culto, muy distinto del de otros colegas contemporáneos. En su heterodoxa cátedra convocaba a muy variados profesionales –desde Iñaki Ábalos o Juan Herreros a Alejandro Zaera– con la única condición de estar dispuestos a trabajar codo con codo con los estudiantes para desvelar conjuntamente el futuro de la arquitectura.Salvador es un arquitecto y un académico atípico. Un fuera de radar que, en estos tiempos convulsos, todavía mantiene el magisterio de quien no ha renunciado a vivir el tiempo que le ha tocado en suerte. También se puede decir de él que nunca ha rehusado a responder a ninguna fórmula que le hayamos planteado: entrevistas, reflexiones, escritos, etcétera. Esta conversación que se publica aquí se ha producido en el momento de un nuevo traslado de Salvador. En este caso desde Vietnam a Italia, a Padua en concreto, donde ha decidido instalarse por el gusto de recuperar las conversaciones con sus colegas de antaño.El título de la conversación, un evidente robado a la obra de Philip K. Dick, ilustra su interés y su autoridad por la contemporaneidad. En este caso le planteamos cuestiones relacionadas con la práctica del proyecto y con su docencia, en esta nueva era que abre la inteligencia artificial. En su discurso aparecen igualmente muchos de los personajes que han ayudado a configurar nuestro tiempo, desde David Lynch a Michel Houellebecq, pasando también por los arquitectos Sigurd Lewerentz o Le Corbusier.

The ground is the first architectural act. It is the most basic -- and important -- dimension of that rich and complex definition of the physical environment, and it offers human beings their most direct and constant contact with the world through its topography, matter and memory. The ground holds within it the potential for primaeval architectural work, that which is most primitive, atavistic and essential. In his book Poème de l'angle droit, Le Corbusier argues that the right angle between the vertical of human beings and the horizontal of the ground is the most elementary coordinate governing how we inhabit the world. The vertical state inherent to the human body and the horizontal state that aligns our eyes and the horizon complement each other and condition every human spatial experience. In this way, the ground can be understood as a basic foundational plane, a topography of contact that links our body with the physical environment and places it in a material and poetic continuity with the world.

Villa Dall’Ava (1984–91) has been recognised as a significant work in the oeuvre of Rem Koolhaas/OMA. The building’s enduring intrigue is tied to a set of famous photographs taken at the villa whose enigmatic subjects have long baffled critics and that have raised conjectures regarding the villa’s connections with surrealism and the oeuvre of Salvador Dalì. Drawing on archival research and interviews with the protagonists of the project, this article identifies the origins of the photographs’ subjects in an unpublished short film and in a series of 400 film stills by Hans Werlemann and Claudi Cornaz that were made in 1991 but only recently resurfaced from the archives. Werlemann’s ostensible intention was to narrate the villa’s future life through ‘memories’ rooted in his shared interests with Koolhaas, but his secret aim was to unveil the principles that guided OMA in the villa project. The creative process behind the short film provides evidence that challenges the traditional Daliesque interpretation of these images and instead indicates they were inspired by the cinematic and photographic work of Man Ray, whose ‘analogies’ enabled Werlemann to transform the villa into a ‘personality’ that comes alive to narrate its secret life. Finally, the article discusses Koolhaas’s and Werlemann’s contrasting interpretations of the short film and their differing views of it as a medium for the interpretation of architecture.

Der Mann mit der schwarzen Mütze ist erleichtert, nicht mehr allein mit der Person zu sein, die ihn am Bahn-hof abgeholt und mit der U-Bahn zum Museum gebracht hat, um die-sen bekannten Chefkurator zu treffen. Er kennt den Chefkurator gut. Ein Sprecher erzählt im Voiceover die Geschichte von Le Corbusiers Besuch im Jahr 1937. Josef aktiviert persönliche Geschichten auf eine Art und Weise, von der man nur träumen kann. In der einfachen Art und Weise, wie er die Geschichte in Gespräche einfie-ßen lässt, liegt eine gewisse Kom-plexität.

Color as a feature of interior spaces is a fundamental component of human interaction with the built environment. Therefore, planning the design concept of an interior space with attention to color choices is extremely important, especially when the users of a given space include individuals who require additional support and care, such as the elderly. The colors used in architecture and interiors play a crucial role in the well-being of older adults, influencing their spatial perception, behavior, and activity. With age, color perception changes due to the effects of the aging process on vision. Visual deficits lead to shifts in sensory perception, which can, in turn, affect the sense of well-being, often creating a heightened sense of uncertainty. These changes in color perception due to aging may impact the color preferences of older people within their living environments. To create supportive environments for seniors, it is necessary to investigate which colors are most easily recognized, which colors are easiest to distinguish, and which colors are preferred by older adults. Based on a review of the literature and research findings on age-related changes in chromatic and spatial perception, design recommendations and guidelines have been developed. To supplement this knowledge, a survey was conducted among seniors to gather insights on their color preferences. Observations and analyzes of the survey results point to strategies for color use and underscore the importance of color in designing sustainable living spaces for seniors.

In 1923 Le Corbusier's Vers une architecture was published for the first time, maybe the most influential essay for the discipline ever. Imprinted on the title page of that first edition was the photo of the deck of the steamer Aquitaine, at the time the most up-todate result of the industry: from there, the \"machine\" became the model for a radical renewal of architecture. Nowadays, in 2023, who would ever dream of presenting the latest cruise ship or a super-jet as a paradigm for a renewed architecture? In fact, in the meantime a century has passed and a turnaround has taken place. The current environmental crisis, with ever more violent and frequent extreme events on the one hand and an increasingly widespread rampant eco-anxiety on the other, is changing our sensibility. The paradigm for the architecture-to-come that is starting to glimpse in this first part of the XXI century is hybrid, \"monstrous\", made of vegetable and animal matter: it is more similar to a tree than to an airplane, more similar to an animal than to a ship; finally, more similar to Buddha than to Christ. This article will try to argue how and why Buddhist nonviolence can be assumed - in an ecological key - as a revolutionary posture to try to access in a new era, also for the discipline of architecture.

The surroundings of the Acropolis and Philopappos Hill in Athens (1951-1958), by Dimitris Pikionis, and the Capitol of Chandigarh in India (1951-1963), by Le Corbusier, are two projected architectural landscapes that coincide in time. Both are conceived as true constructed manifestos in which the ground acquires a similar role as a container for multiple overlapping memories. The two projects become cartographies with thickness and density -- both real and conceptual -- that are created from the shape and treatment of materials. Considering the landscape in which they are framed and also using diverse cultural references, this study analyzes the way in which these projects generate a layer of updated architectural memory that seeks, in turn, to define a new identity on the sites.