Tim Benton

The Open University, Art History, Emeritus

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« Ici règne l’amitié. Rencontre en bord de mer : E-1027, L’Etoile de mer, Le Cabanon à Roquebrune-Cap-Martin »

The Painter Le Corbusier

De Gruyter eBooks, Apr 6, 2023

Review: <i>Eileen Gray, Designer and Architect</i>

Journal of the Society of Architectural Historians, Jun 1, 2021

The Villa de Mandrot and the place of the imagination

This is a revision of an article published originally in Catalan in Quaderns. It is the first att... more This is a revision of an article published originally in Catalan in Quaderns. It is the first attempt not only to retail the detailed design and construction history of Le Corbusier's Villa de Mandrot, but also to demonstrate how Le Corbusier turned away from the fundamental tenets of his earlier work. Using archival sources and a detailed analysis of over 200 hundred drawings and 300 hundred documents, I demonstrate how the house began as a standardised steel housing cell and developed into a stone villa embedded in the landscape.

The concept of high art and the reaction to it

Open University Press eBooks, 1972

モダニスト古典主義に向かって〔Werk・archithese 23-24〕(CURRENT NEWS)

建築文化, Mar 1, 1979

Le Corbusier – Der Maler

De Gruyter eBooks, Apr 6, 2023

Giuseppe Pagano, Polemical Photographer

Intellect Books, Jan 15, 2020

Le Corbusier: del refugio primitivo a Le Cabanon

A&P continuidad., Jul 1, 2018

Próximo número : ARQUITECTURA Y OFICIO Diciembre 2018, Año V -Nº 9 / on paper/on line A&P Continu... more Próximo número : ARQUITECTURA Y OFICIO Diciembre 2018, Año V -Nº 9 / on paper/on line A&P Continuidad fue reconocida como revista científica por el Ministero dell'Istruzione, Università e Ricerca (MIUR) de Italia, a través de las gestiones de la Sociedad Científica del Proyecto. El contenido de los artículos publicados es de exclusiva responsabilidad de los autores; las ideas que allí se expresan no necesariamente coinciden con las del Comité Editorial. Los editores de A&P Continuidad no son responsables legales por errores u omisiones que pudieran identificarse en los textos publicados. Las imágenes que acompañan los textos han sido proporcionadas por los autores y se publican con la sola finalidad de documentación y estudio. Los autores declaran la originalidad de sus trabajos a A&P Continuidad; la misma no asumirá responsabilidad alguna en aspectos vinculados a reclamos originados por derechos planteados por otras publicaciones. El material publicado puede ser reproducido total o parcialmente a condición de citar la fuente original. Agradecemos a los docentes y alumnos del Taller de Fotografía Aplicada la imagen que cierra este número de A&P Continuidad.

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La maison La Roche et les ateliers d’artistes de Le Corbusier

This builds on my earlier work to carry out a fundamental analysis of one of Le Corbusier's m... more This builds on my earlier work to carry out a fundamental analysis of one of Le Corbusier's most important works, in terms of its function as host to the mst important collection of Cubist art in Paris. Archival sources are used to document the commission, design and construction of the house, as well as its reception. The underlying ambiguities involved in housing art in a self-consciously artistic work of architecture are explored.

La rhétorique de la vérité: Le Corbusier à Alger

Editions de la Villette eBooks, 2012

This is the first attempt to tell the story of Le Corbusier's lectures in Algiers in 1931 and... more This is the first attempt to tell the story of Le Corbusier's lectures in Algiers in 1931 and 1933. Given a mythical importance by Le Corbusier himself I have used archival sources and contemporary press accounts to give a more rounded and nuamnced picture of what actually happened, what Le Corbusier actually said and showed and the the effect these lectures had.

E1027, une icône de la modernité des années 1920

Comment juger la villa E.1027? S’agit-il d’un projet architectural, certes interessant mais amate... more Comment juger la villa E.1027? S’agit-il d’un projet architectural, certes interessant mais amateur, concu par un designer de genie ? Avons-nous plutot a faire a une oeuvre d’architecture fondamentale ? Est-ce un paradigme du mouvement moderne ou plutot une critique de ses idees? E.1027 joue sur ces multiples registres. [How do we judge E.1027 ? Is it an interesting, but amateur architectural project by a brilliant designer, or a significant work of architecture in its own right? Is it a paradigm of the Modern Movement or a critique of many of its founding ideas? To an extent it is all of these things.]

Voiture Minimum: Le Corbusier and the Automobile

Journal of Design History, May 22, 2012

Avant garde sources

Victoria and Albert Museum eBooks, 2003

Speculation about the relationship between Art Deco and avant-garde art, normally distinguished a... more

Marseille: Unité d'habitation or "The company of clouds, the sky, or the stars

Museum of Modern Art eBooks, 2013

Le Corbusier's treatment of the roof garden of the Unite d'Habitation reveals his aesthet... more

The Style and the Age

Victoria and Albert Museum eBooks, Sep 17, 2003

An introduction to the themes and issues in the Art Deco catalogue

Museum practice and heritage

Manchester University Press eBooks, 2010

Art Deco architecture

An analysis of the impact of Art Deco on architecture in Europe and America and a questioning of ... more

Art Deco and Japonisme

Art Services International eBooks, 2012

An account of the symbiotic relationship between Japanese and European decorative arts, with rega... more

Eileen Gray’s Jean Désert showroom 217 Rue du Faubourg Saint-Honoré, Paris ; marketing design in the 1920s

Les Cahiers de la recherche architecturale, urbaine et paysagère, Nov 3, 2021

In 1923 Gray exhibited a complete room, which she dubbed 'bedroom boudoir for Monte Carlo' at the... more In 1923 Gray exhibited a complete room, which she dubbed 'bedroom boudoir for Monte Carlo' at the Salon des artistes décorateurs. 7 Partly under the influence of the Romanian architect and journalist Jean Badovici and partly through the stimulation offered by several de Stijl artists and architects in Rotterdam, she moved away from lacquer towards abstract compositions and, from 1925 or 1926, tubular steel furniture. 8 I will show that her approach to design and business practices differed substantially from that of her contemporaries.

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