Captando la mirada. Publicidad y reclamo en el espacio expositivo de Le Corbusier

Abstract

[EN] Within the work of Le Corbusier, the exhibition space was a theme widely developed. For example, the idea of a theoretical prototype of the museum was recurrent throughout his work, as a latent idea, waiting for the time to be taken to the reality of construction. In the case of the museum of unlimited growth, theoretically developed throughout the 1930s, the few built examples are executed from the fifties. In carrying out a compilation of examples of exhibition spaces designed by Le Corbusier, following similar typological lines, where not only museums but also pavilions, exhibition halls, expositions and even commercial proposals are included, we find that the total number of works exceeds eighty, covering projects since 1910 (the exhibition hall of the Ateliers d’Artistes) to the death of Le Corbusier in 1965, with the final example: the Museum of the 20th Century in Nanterre. When analyzing the different design strategies employed by the Master at the exhibition architecture, an interesting point is the study of advertising, propaganda (attracting the interest of visitors), the relationship with graphic design, and the use of color, graphics and signage. All these aspects are especially relevant in the case of exhibition halls and pavilions for trademarks.

[ES] Within the work of Le Corbusier, the exhibition space was a theme widely developed. For example, the idea of a theoretical prototype of the museum was recurrent throughout his work, as a latent idea, waiting for the time to be taken to the reality of construction. In the case of the museum of unlimited growth, theoretically developed throughout the 1930s, the few built examples are executed from the fifties. In carrying out a compilation of examples of exhibition spaces designed by Le Corbusier, following similar typological lines, where not only museums but also pavilions, exhibition halls, expositions and even commercial proposals are included, we find that the total number of works exceeds eighty, covering projects since 1910 (the exhibition hall of the Ateliers d’Artistes) to the death of Le Corbusier in 1965, with the final example: the Museum of the 20th Century in Nanterre. When analyzing the different design strategies employed by the Master at the exhibition architecture, an interesting point is the study of advertising, propaganda (attracting the interest of visitors), the relationship with graphic design, and the use of color, graphics and signage. All these aspects are especially relevant in the case of exhibition halls and pavilions for trademarks.