Des-montaje de la maqueta de la propuesta para el Palacio de los Soviets de Le Corbusier

Abstract

[EN] : From the pages of L'Esprit Nouveau and inspired by films, Elie Faure coined the term "cineplástique" to refer to the combination betweenimages and music, similarly to theMethode Dalcroze in dancing. Le Corbusier, Albert Jeanneret and Pierre Chenal proposed two filmic experiences related to this new concept- "Batir" and "L'Architecture d'aujourd´hui". Several models were made specifically for these films and designed to be viewed on screen. This feature became more complex in the film of the proposal model for Palace of Soviets. Le Corbusier displayed a process consisting onthede-montageof the object, reversing thus the path to the actual building, which allows the viewer to become familiar from the start with the finished piece. Thereafter ,as if it was an "écorché", their insides are displayed, featuring an architectural anatomy lesson which ends with the empty site of Salvador, where the brightness of the large steel arch ("Stal" in Russian)is reflected in the Moskva River. This filming resource is related to Sergei Eisenstein's theories of " montage as conflict", illustrated by a scale model that also verifies the effectiveness of form with respect to acoustic waves, in line with those made by engineers such as Gustave Lyon. Therefore, the combination of movement, space and sound is achieved through the architectural model. That is the seed of acoustic architecture

[ES] : From the pages of L'Esprit Nouveau and inspired by films, Elie Faure coined the term "cineplástique" to refer to the combination betweenimages and music, similarly to theMethode Dalcroze in dancing. Le Corbusier, Albert Jeanneret and Pierre Chenal proposed two filmic experiences related to this new concept- "Batir" and "L'Architecture d'aujourd´hui". Several models were made specifically for these films and designed to be viewed on screen. This feature became more complex in the film of the proposal model for Palace of Soviets. Le Corbusier displayed a process consisting onthede-montageof the object, reversing thus the path to the actual building, which allows the viewer to become familiar from the start with the finished piece. Thereafter ,as if it was an "écorché", their insides are displayed, featuring an architectural anatomy lesson which ends with the empty site of Salvador, where the brightness of the large steel arch ("Stal" in Russian)is reflected in the Moskva River. This filming resource is related to Sergei Eisenstein's theories of " montage as conflict", illustrated by a scale model that also verifies the effectiveness of form with respect to acoustic waves, in line with those made by engineers such as Gustave Lyon. Therefore, the combination of movement, space and sound is achieved through the architectural model. That is the seed of acoustic architecture