"Le Corbusier en Bogotá: el proyecto del ""Gran Inmueble"" para los Ministerios (1950-1951)"
- Autores: Fernando Arias Lemos
- Directores de la Tesis: Rogelio Salmona (dir. tes.)
- Lectura: En la Universitat Politècnica de Catalunya (UPC) ( España ) en 2005
- Idioma: español
- Tribunal Calificador de la Tesis: Carlos Martí Arís (presid.), Anna Vincenza Nufrio (secret.), Jaime Sarmiento Ocampo (voc.), Maria Rubert de Ventós (voc.), Emilia Hernández Pezzi (voc.)
- Materias:
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- Resumen
The analysis of the "grand immeuble" in Bogotá formulated the following premises:
Filling the empty space caused by the lack of analysis of Le Corbusier's architecture in Bogotá.
The analysis available emphasizes the urban aspect of Le Corbusier's proposal in which planning assumes the fundamental aspects; in addition the history of modern architecture in Colombia reserved for Le Corbusier an ambiguous place, representing the strongest influence for the architecture that started being developed in Colombia, and at the same time, considering this architecture as a mechanical production, remote from any correspondence or resonance from the peculiarities of Bogotá.
Show the relationship between Le Corbusier's architecture and his Plan Directeur to make Bogotá a modern city. This relationship is mediated by a formal common law to the urban development, and to the architectonic project, law that supported the creation of architecture. The formal law made it possible to be moved by (react) because it was built based on a priori principles, and in turn it expressed a feasible architecture (technique and constructively valid).
Conclusions:
The complementarity between formal logic of the "grand immeuble"; that originated on the autonomy of a discipline expressed with general type principles (technical procedures for architecture construction), and the effort of adaptating the form to a particular situation.
The "grand immeuble" represented a universal architectonic shape to become a reality on a particular situation; it was a permanent shape fixed as a typological-form (feasible, repeatable, and capable of showing the architectonic thought that created it), which represented a spirit of a characterized period; intensive development of tertiary activity in capitals, administrative headquarters of a country. Generalization of a formal solution to different specific cases was subject to the guidelines of the formal law: visual know
