Le Corbusier
Charles-Édouard Jeanneret (6 October 1887 – 27 August 1965), known as Le Corbusier (UK: /lə kɔːrˈbjuːzieɪ/ lə kor-BEW-zee-ay,[2] US: /lə ˌkɔːrbuːˈzjeɪ, -ˈsjeɪ/ lə KOR-boo-ZYAY, -SYAY,[3][4] French: [lə kɔʁbyzje]),[5] was a Swiss-French architect, designer, painter, urban planner and writer, who was one of the pioneers of what is now regarded as modern architecture. He was born in Switzerland and acquired French nationality by naturalization on 19 September 1930.[6] His career spanned five decades, in which he designed buildings in Europe, Japan, India, as well as North and South America.[7] He considered that "the roots of modern architecture are to be found in Viollet-le-Duc".[8]
"Charles Jeanneret" redirects here. For the Australian politician, see Charles Jeanneret (politician).
Le Corbusier
27 August 1965 (aged 77)
Swiss, French
Architect
- AIA Gold Medal (1961)
- Grand Officier of the Légion d'honneur (1964)
Villa Savoye, Poissy
Villa La Roche, Paris
Unité d'habitation, Marseille
Notre Dame du Haut, Ronchamp
Buildings in Chandigarh, India
Dedicated to providing better living conditions for the residents of crowded cities, Le Corbusier was influential in urban planning, and was a founding member of the Congrès International d'Architecture Moderne (CIAM). Le Corbusier prepared the master plan for the city of Chandigarh in India, and contributed specific designs for several buildings there, especially the government buildings.
On 17 July 2016, seventeen projects by Le Corbusier in seven countries were inscribed in the list of UNESCO World Heritage Sites as The Architectural Work of Le Corbusier, an Outstanding Contribution to the Modern Movement.[9]
Le Corbusier remains a controversial figure. Some of his urban planning ideas have been criticized for their indifference to pre-existing cultural sites, societal expression and equality, and his alleged ties with fascism, antisemitism, eugenics,[10] and the dictator Benito Mussolini have resulted in some continuing contention.[11][12][13][14]
Le Corbusier also designed well-known furniture such as the LC4 Chaise Lounge Chair, and the ALC-3001 chair, both made of leather with metal framing.
The "Maison Blanche", built for Le Corbusier's parents in La Chaux-de-Fonds (1912)
Le Corbusier began teaching himself by going to the library to read about architecture and philosophy, visiting museums, sketching buildings, and constructing them. In 1905, he and two other students, under the supervision of their teacher, René Chapallaz, designed and built his first house, the Villa Fallet, for the engraver Louis Fallet, a friend of his teacher Charles L'Eplattenier. Located on the forested hillside near Chaux-de-fonds, it was a large chalet with a steep roof in the local alpine style and carefully crafted coloured geometric patterns on the façade. The success of this house led to his construction of two similar houses, the Villas Jacquemet and Stotzer, in the same area.[21]
In September 1907, he made his first trip outside of Switzerland, going to Italy; then that winter travelling through Budapest to Vienna, where he stayed for four months and met Gustav Klimt and tried, without success, to meet Josef Hoffmann.[22] In Florence, he visited the Florence Charterhouse in Galluzzo, which made a lifelong impression on him. "I would have liked to live in one of what they called their cells," he wrote later. "It was the solution for a unique kind of worker's housing, or rather for a terrestrial paradise."[23] He travelled to Paris, and for fourteen months between 1908 and 1910 he worked as a draftsman in the office of the architect Auguste Perret, the pioneer of the use of reinforced concrete in residential construction and the architect of the Art Deco landmark Théâtre des Champs-Élysées. Two years later, between October 1910 and March 1911, he travelled to Germany and worked for four months in the office Peter Behrens, where Mies van der Rohe and Walter Gropius were also working and learning.[24]
In 1911, he travelled again with his friend August Klipstein for five months;[25] this time he journeyed to the Balkans and visited Serbia, Bulgaria, Turkey, Greece, as well as Pompeii and Rome, filling nearly 80 sketchbooks with renderings of what he saw—including many sketches of the Parthenon, whose forms he would later praise in his work Vers une architecture (1923). He spoke of what he saw during this trip in many of his books, and it was the subject of his last book, Le Voyage d'Orient.[24]
In 1912, he began his most ambitious project; a new house for his parents, also located on the forested hillside near La-Chaux-de-Fonds. The Jeanneret-Perret house was larger than the others, and in a more innovative style; the horizontal planes contrasted dramatically with the steep alpine slopes, and the white walls and lack of decoration were in sharp contrast with the other buildings on the hillside. The interior spaces were organized around the four pillars of the salon in the centre, foretelling the open interiors he would create in his later buildings. The project was more expensive to build than he imagined; his parents were forced to move from the house within ten years, and relocate to a more modest house. However, it led to a commission to build an even more imposing villa in the nearby village of Le Locle for a wealthy watch manufacturer, Georges Favre-Jacot. Le Corbusier designed the new house in less than a month. The building was carefully designed to fit its hillside site, and the interior plan was spacious and designed around a courtyard for maximum light, a significant departure from the traditional house.[26]
Toward an Architecture (1920–1923)[edit]
In 1922 and 1923, Le Corbusier devoted himself to advocating his new concepts of architecture and urban planning in a series of polemical articles published in L'Esprit Nouveau. At the Paris Salon d'Automne in 1922, he presented his plan for the Ville Contemporaine, a model city for three million people, whose residents would live and work in a group of identical sixty-story tall apartment buildings surrounded by lower zig-zag apartment blocks and a large park. In 1923, he collected his essays from L'Esprit Nouveau published his first and most influential book, Towards an Architecture. He presented his ideas for the future of architecture in a series of maxims, declarations, and exhortations, pronouncing that "a grand epoch has just begun. There exists a new spirit. There already exist a crowd of works in the new spirit, they are found especially in industrial production. Architecture is suffocating in its current uses. "Styles" are a lie. Style is a unity of principles which animates all the work of a period and which result in a characteristic spirit...Our epoch determines each day its style..-Our eyes, unfortunately, don't know how to see it yet," and his most famous maxim, "A house is a machine to live in." Most of the many photographs and drawings in the book came from outside the world of traditional architecture; the cover showed the promenade deck of an ocean liner, while others showed racing cars, aeroplanes, factories, and the huge concrete and steel arches of zeppelin hangars.[39]
The Decorative Art of Today (1925)[edit]
In 1925, Le Corbusier combined a series of articles about decorative art from "L'Esprit Nouveau" into a book, L'art décoratif d'aujourd'hui (The Decorative Art of Today).[42][43] The book was a spirited attack on the very idea of decorative art. His basic premise, repeated throughout the book, was: "Modern decorative art has no decoration."[44] He attacked with enthusiasm the styles presented at the 1925 Exposition of Decorative Arts: "The desire to decorate everything about one is a false spirit and an abominable small perversion....The religion of beautiful materials is in its final death agony...The almost hysterical onrush in recent years toward this quasi-orgy of decor is only the last spasm of a death already predictable."[45] He cited the 1912 book of the Austrian architect Adolf Loos "Ornament and crime", and quoted Loos's dictum, "The more a people are cultivated, the more decor disappears." He attacked the deco revival of classical styles, what he called "Louis Philippe and Louis XVI moderne"; he condemned the "symphony of color" at the Exposition, and called it "the triumph of assemblers of colors and materials. They were swaggering in colors... They were making stews out of fine cuisine." He condemned the exotic styles presented at the Exposition based on the art of China, Japan, India and Persia. "It takes energy today to affirm our western styles." He criticized the "precious and useless objects that accumulated on the shelves" in the new style. He attacked the "rustling silks, the marbles which twist and turn, the vermilion whiplashes, the silver blades of Byzantium and the Orient...Let's be done with it!"[46]
"Why call bottles, chairs, baskets and objects decorative?" Le Corbusier asked. "They are useful tools....The decor is not necessary. Art is necessary." He declared that in the future the decorative arts industry would produce only "objects which are perfectly useful, convenient, and have a true luxury which pleases our spirit by their elegance and the purity of their execution and the efficiency of their services. This rational perfection and precise determinate creates the link sufficient to recognize a style." He described the future of decoration in these terms: "The idea is to go work in the superb office of a modern factory, rectangular and well-lit, painted in white Ripolin (a major French paint manufacturer); where healthy activity and laborious optimism reign." He concluded by repeating "Modern decoration has no decoration".[46]
The book became a manifesto for those who opposed the more traditional styles of the decorative arts; In the 1930s, as Le Corbusier predicted, the modernized versions of Louis Philippe and Louis XVI furniture and the brightly coloured wallpapers of stylized roses were replaced by a more sober, more streamlined style. Gradually the modernism and functionality proposed by Le Corbusier overtook the more ornamental style. The shorthand titles that Le Corbusier used in the book, 1925 Expo: Arts Deco were adapted in 1966 by the art historian Bevis Hillier for a catalogue of an exhibition on the style, and in 1968 in the title of a book, Art Deco of the 20s and 30s. And thereafter the term "Art Deco" was commonly used as the name of the style.[47]
Corbusier Haus (right) and Citrohan Haus in Weissenhof, Stuttgart, Germany (1927)
The notoriety that Le Corbusier achieved from his writings and the Pavilion at the 1925 Exposition led to commissions to build a dozen residences in Paris and the Paris region in his "purist style." These included the Maison La Roche/Albert Jeanneret (1923–1925), which now houses the Fondation Le Corbusier; the Maison Guiette in Antwerp, Belgium (1926); a residence for Jacques Lipchitz; the Maison Cook, and the Maison Planeix. In 1927, he was invited by the German Werkbund to build three houses in the model city of Weissenhof near Stuttgart, based on the Citroen House and other theoretical models he had published. He described this project in detail in one of his best-known essays, the Five Points of Architecture.[48]
The following year he began the Villa Savoye (1928–1931), which became one of the most famous of Le Corbusier's works, and an icon of modernist architecture. Located in Poissy, in a landscape surrounded by trees and a large lawn, the house is an elegant white box poised on rows of slender pylons, surrounded by a horizontal band of windows which fill the structure with light. The service areas (parking, rooms for servants and laundry room) are located under the house. Visitors enter a vestibule from which a gentle ramp leads to the house itself. The bedrooms and salons of the house are distributed around a suspended garden; the rooms look both out at the landscape and into the garden, which provides additional light and air. Another ramp leads up to the roof, and a stairway leads down to the cellar under the pillars.
Villa Savoye succinctly summed up the five points of architecture that he had elucidated in L'Esprit Nouveau and the book Vers une architecture, which he had been developing throughout the 1920s. First, Le Corbusier lifted the bulk of the structure off the ground, supporting it by pilotis, reinforced concrete stilts. These pilotis, in providing the structural support for the house, allowed him to elucidate his next two points: a free façade, meaning non-supporting walls that could be designed as the architect wished, and an open floor plan, meaning that the floor space was free to be configured into rooms without concern for supporting walls. The second floor of the Villa Savoye includes long strips of ribbon windows that allow unencumbered views of the large surrounding garden, which constitute the fourth point of his system. The fifth point was the roof garden to compensate for the green area consumed by the building and replace it on the roof. A ramp rising from ground level to the third-floor roof terrace allows for a promenade architecturale through the structure. The white tubular railing recalls the industrial "ocean-liner" aesthetic that Le Corbusier much admired.
Le Corbusier was quite rhapsodic when describing the house in Précisions in 1930: "the plan is pure, exactly made for the needs of the house. It has its correct place in the rustic landscape of Poissy. It is Poetry and lyricism, supported by technique."[49] The house had its problems; the roof persistently leaked, due to construction faults; but it became a landmark of modern architecture and one of the best-known works of Le Corbusier.[49]
Founding of CIAM (1928) and Athens Charter[edit]
In 1928, Le Corbusier took a major step toward establishing modernist architecture as the dominant European style. Le Corbusier had met with many of the leading German and Austrian modernists during the competition for the League of Nations in 1927. In the same year, the German Werkbund organized an architectural exposition at the Weissenhof Estate Stuttgart. Seventeen leading modernist architects in Europe were invited to design twenty-one houses; Le Corbusier and Mies van der Rohe played a major part. In 1927 Le Corbusier, Pierre Chareau and others proposed the foundation of an international conference to establish the basis for a common style. The first meeting of the Congrès Internationaux d'Architecture Moderne or International Congresses of Modern Architects (CIAM), was held in a château on Lake Leman in Switzerland 26–28 June 1928. Those attending included Le Corbusier, Robert Mallet-Stevens, Auguste Perret, Pierre Chareau and Tony Garnier from France; Victor Bourgeois from Belgium; Walter Gropius, Erich Mendelsohn, Ernst May and Mies van der Rohe from Germany; Josef Frank from Austria; Mart Stam and Gerrit Rietveld from the Netherlands, and Adolf Loos from Czechoslovakia. A delegation of Soviet architects was invited to attend, but they were unable to obtain visas. Later members included Josep Lluís Sert of Spain and Alvar Aalto of Finland. No one attended from the United States. A second meeting was organized in 1930 in Brussels by Victor Bourgeois on the topic "Rational methods for groups of habitations". A third meeting, on "The functional city", was scheduled for Moscow in 1932, but was cancelled at the last minute. Instead, the delegates held their meeting on a cruise ship travelling between Marseille and Athens. On board, they together drafted a text on how modern cities should be organized. The text, called The Athens Charter, after considerable editing by Le Corbusier and others, was finally published in 1943 and became an influential text for city planners in the 1950s and 1960s. The group met once more in Paris in 1937 to discuss public housing and was scheduled to meet in the United States in 1939, but the meeting was cancelled because of the war. The legacy of the CIAM was a roughly common style and doctrine which helped define modern architecture in Europe and the United States after World War II.[52]
The modular design of the apartments inserted into the building
Salon and Terrace of an original unit of the Unité d'Habitation, now at the Cité de l'Architecture et du Patrimoine in Paris (1952)
The 1950s and 1960s were a difficult period for Le Corbusier's personal life: his wife Yvonne died in 1957 and his mother, to whom he was closely attached, died in 1960. He remained active in a wide variety of fields: in 1955 he published Poéme de l'angle droit, a portfolio of lithographs, published in the same collection as the book Jazz by Henri Matisse. In 1958 he collaborated with the composer Edgar Varèse on a work called Le Poème électronique, a show of sound and light, for the Philips Pavilion at the International Exposition in Brussels. In 1960 he published a new book, L'Atelier de la recherché patiente The workshop of patient research), simultaneously published in four languages. He received growing recognition for his pioneering work in modernist architecture: in 1959 a successful international campaign was launched to have his Villa Savoye, threatened with demolition, declared a historic monument; it was the first time that a work by a living architect had received this distinction. In 1962, in the same year as the dedication of the Palace of the Assembly in Chandigarh, the first retrospective exhibit on his work was held at the National Museum of Modern Art in Paris. In 1964, in a ceremony held in his atelier on rue de Sèvres, he was awarded the Grand Cross of the Légion d'honneur by Culture Minister André Malraux.[77]
His later architectural work was extremely varied and often based on designs of earlier projects. In 1952–1958 he designed a series of tiny holiday cabins, 2.26 by 2.26 by 2.6 metres (7.4 by 7.4 by 8.5 feet) in size, for a site next to the Mediterranean at Roquebrune-Cap-Martin. He built a similar cabin for himself but the rest of the project was not realized until after his death. From 1953–to 1957 he designed the Maison du Brésil, a residential building for Brazilian students for the Cité Universitaire in Paris. Between 1954 and 1959 he built the National Museum of Western Art in Tokyo.[78] His other projects included a cultural centre and stadium for the town of Firminy, where he had built his first housing project (1955–1958), and a stadium in Baghdad, Iraq (much altered since its construction). He also constructed three new Unités d'Habitation apartment blocks on the model of the original in Marseille, the first in Berlin (1956–1958), the second in Briey-en-Forêt in the Meurthe-et-Moselle Department and the third (1959–1967) in Firminy. From 1960–to 1963 he built his only building in the United States, the Carpenter Center for the Visual Arts in Cambridge, Massachusetts.[77] Jørn Utzon, the architect of the Sydney Opera House, commissioned Le Corbusier to create furnishings for the nascent opera house. Le Corbusier designed a tapestry, Les Dés Sont Jetés, which was completed in 1960.[79]
Le Corbusier died of a heart attack at age 77 in 1965 after swimming on the French Riviera.[80] At the time of his death several projects were on the drawing board: the church of Saint-Pierre in Firminy, finally completed in modified form in 2006, a Palace of Congresses for Strasbourg (1962–65) and a hospital in Venice (1961–1965), which were never built. Le Corbusier designed an art gallery[81] beside the lake in Zürich for gallery owner Heidi Weber in 1962–1967. Now called the Centre Le Corbusier, it is one of his last finished works.[82]
Controversies[edit]
There is debate over the apparently variable or contradictory nature of Le Corbusier's political views.[98] In the 1920s, he co-founded and contributed articles about urbanism to the fascist journals Plans, Prélude and L'Homme Réel.[99][98] He also penned pieces in favour of Nazi antisemitism for those journals, as well as "hateful editorials".[100] Between 1925 and 1928, Le Corbusier had connections to Le Faisceau, a short-lived French fascist party led by Georges Valois. (Valois later became an anti-fascist.)[101] Le Corbusier knew another former member of Faisceau, Hubert Lagardelle, a former labor leader and syndicalist who had become disaffected with the political left. In 1934, after Lagardelle had obtained a position at the French embassy in Rome, he arranged for Le Corbusier to lecture on architecture in Italy. Lagardelle later served as minister of labor in the pro-Axis Vichy regime. While Le Corbusier sought commissions from the Vichy regime, particularly the redesign of Marseille after its Jewish population had been forcefully removed,[98] he was unsuccessful, and the only appointment he received from it was membership of a committee studying urbanism. Alexis Carrel, a eugenicist surgeon, appointed Le Corbusier to the Department of Bio-Sociology of the Foundation for the Study of Human Problems, an institute promoting eugenics policies under the Vichy regime.[98]
Le Corbusier has been accused of antisemitism. He wrote to his mother in October 1940, as the Vichy government enacted anti-Jewish laws: "The Jews are having a bad time. I occasionally feel sorry. But it appears their blind lust for money has rotted the country." He was also accused of belittling the Muslim population of Algeria, then part of France. When Le Corbusier proposed a plan for the rebuilding of Algiers, he condemned the existing housing for European Algerians, complaining that it was inferior to that inhabited by indigenous Algerians: "the civilized live like rats in holes" while "the barbarians live in solitude, in well-being."[102] His plan for rebuilding Algiers was rejected, and thereafter Le Corbusier mostly avoided politics.[103]
World Heritage Site[edit]
In 2016, seventeen of Le Corbusier's buildings spanning seven countries were identified as UNESCO World Heritage Sites, reflecting "outstanding contribution to the Modern Movement".[114]
Le Corbusier's portrait was featured on the 10 Swiss francs banknote, pictured with his distinctive eyeglasses.
The following place-names carry his name: