Les Couleurs Le Corbusier CMYK values

Nummernumber Farbtonname nuance name 32001 blanc 32010 gris foncé 31 32011 gris 31 32012 gris moyen 32013 gris clair 31 32020 bleu outremer 31 32021 outremer moyen 32022 outremer clair 32023 outremer pâle 32024 outremer gris 32030 bleu céruléen 31 32031 céruléen vif 32032 céruléen moyen 32033 céruléen clair 32034 céruléen pâle 32040 vert anglais 32041 vert anglais clair 32042 vert anglais pâle 32050 vert foncé 32051 vert 31 32052 vert clair 32053 vert jaune clair 32060 ocre 32080 orange 32081 orange clair 32082 orange pâle 32090 rouge vermillon 31 32091 rose pâle 32100 rouge carmin 32101 rouge rubia 32102 rose clair 32110 l'ocre rouge 32111 l'ocre rouge moyen 32112 l'ocre rouge clair 32120 terre sienne brûlée 31 32121 terre sienne brique 32122 terre sienne claire 31 32123 terre sienne pâle 32130 terre d'ombre brûlée 31 32131 ombre brûlée claire 32140 ombre naturelle 31 32141 ombre naturelle moyenne 32142 ombre naturelle claire 4320A rouge vermillon 59 4320B blanc ivoire 4320C rose vif 4320D terre sienne brûlée 59 4320E noir d'ivoire 4320F vert olive vif 4320G vert 59 4320H gris 59 4320J terre d'ombre brûlée 59 4320K bleu outremer 59 4320L ocre jaune clair 4320M le rubis 4320N bleu céruléen 59 4320O gris clair 59 4320P terre sienne claire 59 4320R ombre naturelle 59 4320S orange vif 4320T bleu outremer foncé 4320U gris foncé 59 4320W le jaune vif wallcoverings for the ultimate in refinement de ultieme verfijning in muurbekleding le revêtement mural dans sa quintessence Wandbekleidung für raffinierte Eleganz

www.arte-international.com 2 2/1 Stimulating, reflective, evocative… This collection is as much masterpiece of art – initially launched as wallcoverings with a homage to the world-renowned Swiss-French architect, different designs. Le Corbusier’s ‘Polychromie architecturale’ Le Corbusier (1887-1965) as it is a celebration of his unique has given rise to the present wallcovering collection. Our vision. ambition is not to replicate Le Corbusier’s own creations but rather to reinterpret them. With a new series of designs, Architect, urban planner, painter, writer, designer, theorist… the collection honours Le Corbusier as an exceptional Le Corbusier was well ahead of his time across many personality and evokes the spirit of his impressive legacy. domains. Indeed, his revolutionary views on life and living continue to influence contemporary architecture today, Le Corbusier was very much driven by modern technology nearly 100 years on. and innovative production methods. Arte works with the same spirit and has based the new series of designs on The adjacent photo captures this innovative spirit beautifully. advanced technologies of the modern age. The Le Corbusier The house and car depicted appear to originate from wallcovering collection by Arte forms part of our constant altogether different historical periods. And yet, they are both endeavour to extend the boundaries of the world of of the same vintage: the house, a Le Corbusier creation (Villa wallcoverings with use of new techniques. Our ambition is Stein-de-Monzie, “Les Terrasses”, Garches, France) was built to firmly anchor this collection’s place in the modern age in 1926. The car is a Voisin also dating from the twenties. while staying true to Le Corbusier’s own unique philosophy.

In addition to architecture, art and writing, Le Corbusier’s This book has been produced in collaboration with Les creative oeuvre comprises the unique ‘Polychromie Couleurs Suisse and La Fondation Le Corbusier. architecturale’, a peerless two-part colour system and a

3 LE CORBUSIER

Charles-Édouard Jeanneret-Gris, better known by his pseudonym “Le Corbusier” (1887-1965), was a Swiss- French architect, artist and designer and is widely regarded as one of the founders of modernism. Well ahead of his time, he is without a doubt one of the most influential architects of the 20th century. He conceived homes and their functionality from the point of view of the needs of both their inhabitants and their surroundings, an approach previously unheard of at the time. Indeed, Le Corbusier’s work and ideas changed the face of architecture and the buildings drawn by his hand can still be found across the world - in Europe, the Americas, in India, Asia and Africa.

Le Corbusier’s creative domain, however, is not limited to architecture. It also comprises the fields of theoretical reflection, furniture design, arts, and in particular architectural colour design.

The images on this page offer just a glimpse of the breadth and richness of Le Corbusier’s oeuvre. 4/1

ARCHITECTURE DOM-INO L’UNITÉ D’HABITATION LE MODULOR

Le Corbusier’s modernist houses stood in stark The Dom-Ino principle comprises an open floor plan The house, for Le Corbusier, is reconceived from the Le Modulor is a reference system developed on contrast to the creations of his contemporaries. A constructed from concrete surfaces supported by a point of view of the functions it must fulfill, both the basis of the dimensions of the human body. Le wide range of innovations – such as a self-supporting minimum of thin, concrete columns. The open floor internally for the inhabitants and externally with Corbusier divided the human body into two parts, structure made from reinforced concrete (cf. Dom- plan enables a wide degree of freedom when defining regards to its place in the immediate environment. above and below the waist, each divided again in turn Ino House) or simply the way in which a building the layout of the actual building. This principle The design process therefore devotes a great deal of at the knee and the neck. It was initially developed as a stands in relation to its inhabitants and environment disposed the need for cumbersome supporting walls, attention to such factors as light and wind but also bridge between the metric and imperial systems, used (cf. l’Unité d’Habitation) – placed Le Corbusier’s enabling the integration of large window panes. For a the broader context of the city of which the house by Le Corbusier to determine the proportions of his architecture at a tangent to the conventions and long time, this principle formed the basis upon which is a part. The house becomes, to use Le Corbusier’s buildings and furniture. A reference system of human norms typical of his era. The principles and concepts Le Corbusier gave form to his buildings. terminology, a “machine-à-habiter” (or “machine for proportions, and a continuation, in Le Corbusier’s that gave rise to those innovations continue to living”). An example of this is L’Unité d’Habitation own conception, of da Vinci’s Vitruvian Man. influence architects today. built in Marseille (France), Nantes-Rezé (France), Firminy (France) and Berlin (Germany). The building in Marseille contained not only 337 appartments, but also an indoor supermarket, bookshop, restaurant, daycare, medical facilities and sport facilities. There is also a rooftop with a running track and shallow paddling pool for children. Many of the convictions and reflections that gave rise to L’Unité d’Habitation can be found in Le Corbusier’s book Vers une architecture (toward an architecture).

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4 PURISM FURNITURE DESIGN POLYCHROMIE TAPESTRY

Purism was a movement founded by Le Corbusier Le Corbusier’s revitalising approach did not stop at Le Corbusier has created two sensational colour Besides buildings, paintings, furniture and colours, Le together with artist and friend, Amédée Ozenfant. It the building but extended to the furniture it contains. collections: in 1931 and in 1959. He renounced Corbusier also designed tapestries. The most known was largely intended as a reaction to cubism, which This is why Le Corbusier developed a furniture the common sampling by sample book and created examples are the ones he made for the High Court Le Corbusier found overly decorative, and as an collection in the same spirit as his buildings, he diverse atmospheres, where each corresponds to in Chandigarh. They form a unity with the building expression of the desire to return to the essential referred to his furniture as `equipment` (hence: specific virtues or to specific actions of colour at and they all tell a different story about the city, the through the use of clearly ordered forms, simple `the house is a machine for living`) or `human limb the same time as to fundamental manifestations of people and their culture. In 1952, Le Corbusier wrote colours and an absence of ornamentation. objects` (conform Le Modulor). The furniture was sensitivity. The shades are systematically structured an essay about tapestry, a medium that he contended designed in collaboration with Pierre Jeanneret (his in a way that the individual colour selection can should now be ‘a funcitonal and not decorative cousin) and Charlotte Perriand. be made very easily and effortlessly. The ‘claviers de element’. couleurs’ (or colour keyboards), initially published The first items of furniture were presented to the in cooperation with the Swiss wallpaper company public in 1928 during the “Salon d‘Automne” in Salubra, touches each of us with a certain harmony. Paris. Today, Le Corbusier’s ‘Polychromie architecturale’ is the most wanted publication by Le Corbusier. Many Just like his buildings and his ‘Polychromie’, these architects ask for these colours as a reference for furniture pieces have undoubtedly preserved their professional and reliable colour design. contemporary character and continue to be sold today.

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5/5 Photo: Cassina© FLC/Prolitteris

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Photo: Cassina© FLC/Prolitteris

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5 The impressive colours of this collection originate from Le Corbusier‘s unique ‘Polychromie architecturale’ - an inimitable colour system and a masterwork.

In view of the numerous natural colours, we decided to make a selection. On the opposite page you can see the colour stripe with all the harmonious Le Corbusier colours and the colours we selected. Each colour has its own specific characteristics and is accompanied by a short description.

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Les Couleurs Suisse Le Corbusier‘s ‘polychromie architecturalE’

Les Couleurs Suisse AG holds the worldwide mandate and the exclusive rights from La Fondation Le Corbusier „To choose, one has to feel not successively, but synchronically. To choose, one has to see what it is about and the eye has to in Paris to preserve and promote the unique ‘Polychromie architecturale’ of Le Corbusier, the exceptional be like an agile tool in the service of a deep instinct. One has to make the task easier, eliminate the sterile fatigues (efforts of personality, the most famous architect, designer and artist of the twentieth century and far beyond. the memory). One has to classify, to spread out a choice. The eye has to see! Objectively, truly.“ (Le Corbusier) Consistent with the philosophy of Le Corbusier, his impressive natural and harmonious keyboards of colour shall become authentically accessible in outstanding architecture and design. As colours of nature, Le Corbusier’s colours represent the original and fundamental. They are eminently architectural and are derived from spatial and physiological effects (modifying space, classifying objects, acting In this spirit, Les Couleurs Suisse provides profoundly authentic services for an exquisite network of renowned physiologically upon us and reacting strongly upon our sensitivities). Les Couleurs® Le Corbusier partners, differentiating themselves by premium positioning, excellent quality, Consistently harmonious and impressively combinable, universally valid and everlasting. creative and aesthetic design as well as entrepreneurship. „All of us, according to our taste and reactions, favour one or more dominating schemes of colour. Each individual is drawn ARTE, known for its passion for exquisite wallcoverings, was asked to design a sensational wallcovering towards some particular harmony which seems to accord with his inner feelings. The practical difficulty is to show colours in collection inspired by Le Corbusier and his masterpiece of colours. such a way that the individual can detect his own ‘affinity’“. (Le Corbusier) Les Couleurs Suisse AG www.lescouleurs.ch Le Corbusier was impressed by the balanced harmony of colours in nature. He built his ‘Polychromie architecturale’ on an intelligent, artistic, emotional and passionate selection of pigments. The choice of colour tones is based on the characteristics of the colours themselves.

The first colour keyboards of 1931 consist of 43 shades of colour. The second collection of 1959 completes the ‘Polychromie architecturale’ with another colour keyboard of 20 colours.

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Le Corbusier Colours ARTE SELECTION COLOUR CHARACTERISTICS 6 7

Les Couleurs®

gris foncé 31 32010 The iron grey. Soft, warm, expressive, like velvety iron; stable and

dynamicstable and in dynamic any light. in all light conditions.

GRIS FONCÉ from 1931. It looks soft and warm, like velvety iron. And looks

32010 The darkest grey shade of the first Le Corbusier colour collection

gris 31 32011 Thewalls mediumto become grey. more More shaded luminescent and lightens and up elegantly surrounding restrained; areas.

stableand restrained. and dynamic. It is stable and dynamic in any light. It can cause

GRIS 31

Canalready cause brighter walls and to more become luminescent. more shaded The colour and lookslightens elegant up

32011

surroundingThe medium areas. grey of the first colour collection. This shade is

gris clair 31 32013 Theenvironments. brightest grey from 1931. An almost fabric-like pearl grey; a

staticand airy. velvet It hascolour.Weakly a static appearance luminescent and also and looks airy. good Also inimpressive shadowy

GRIS CLAIR 31

inalmost shady fabric-like environments. pearl grey. The nuance is weakly luminescent

32013 The fourth and brightest grey of the 1931 collection. A bright,

outremer gris 32024 The blue grey. The imagination. Greyish restrained, embodying

space.very effective Dynamic in shadow.and very effective in shadow. The brightest

OUTREMER GRIS

ultramarineIt is greyish ofand Le restrained. Corbusier’s It haspolychromie. a dynamic appearance and looks

32024 The brightest ultramarine nuance of Le Corbusier’s polychromie.

Thomas Luippold

architectural polychromy with another colour keyboard of 20 colours. l’ocre rouge 32110 The red of ancient architecture. Earthy and deeply luminescent;

The first colour keyboards of 1931 consist of 43 shades of colour. The second collection of 1959 completes the

dynamicenvironment. and Itstable, can fixeven areas in andshaded make environments. them project forward.Can fixate

on the characteristics of the colours themselves.

L’OCRE ROUGE

wallsdeeply. and This make shade them looks project dynamic forward. and stable, even in a shaded

on an intelligent, artistic, emotional and passionate selection of pigments. The choice of colour tones is based 32110 L’ocre rouge, the red of ancient architecture, is earthy and shines

Le Corbusier was impressed by the balanced harmony of colours in nature. He built his architectural polychromy

(Le Corbusier) ombre naturelle 31 32140 The very dark natural umber. An elegant grey brown shade with

especially in shaded environments. such a way that the individual can detect his own ‚affinity‘“. hints of red and green. It is stable and dynamic, especially in

OMBRE NATURELLE 31 shade with hints of red and green. It looks stable and dynamic,

towards some particular harmony which seems to accord with his inner feelings. The practical difficulty is to show colours in shaded environments.

32140 The very dark natural umber. An elegant, velvety grey brown

„All of us, according to our taste and reactions, favour one or more dominating schemes of colour. Each individual is drawn

combinable, universally valid and everlasting. ombre naturelle moyenne 32141 The grey brown umber. The brightened natural umber.

physiologically upon us and reacting strongly upon our sensitivities). Consistently harmonious and impressively

Masterfullyand shadow. defined, aesthetically balanced, elegant and stony,

architectural and are derived from spatial and physiological effects (modifying space, classifying objects, acting

OMBRE NATURELLE MOYENNE

stablevelvety and and dynamic stoney. inThis light shade and looksshadow. stable and dynamic in light

As colours of nature, Le Corbusier’s colours represent the original and fundamental. They are eminently

32141 The brightened natural umber. A grey brown that looks balanced,

(Le Corbusier)

of the memory). One has to classify, to spread out a choice. The eye has to see! Objectively, truly.“ ombre naturelle claire 32142 The light and very discrete natural umber. A shadow colour, ideal

light, particularly also in shadowy surroundings. to be like an agile tool in the service of a deep instinct. One has to make the task easier, eliminate the sterile fatigues (efforts for combinations. It is stable and static in any light, very nice in

OMBRE NATURELLE CLAIRE this shade is ideal for combinations. It looks stable and static in any

„To choose, one has to feel not successively, but synchronically. To choose, one has to see what it is about and the eye has shady surroundings.

32142 The bright and very discreet natural umber. As a shadow colour,

LE CORBUSIER‘S ARCHITECTURAL POLYCHROMY

and static – an ideal mood background.

blanc ivoire 4320 B Theelephant ivory teeth. white. It looksLike modest,elephant quiet teeth. and Elegant, balanced quiet, as well balanced; as stable

stable,dispersing static industrial - an ideal colours. background. blanc ivoireThe impressive resembles alternativethe colour toof

collection inspired by Le Corbusier and his masterpiece of colours.

The special alternative to the usual, commonly available and light LANC IVOIRE

B light dispersing industrial white.

ARTE, known for its passion for exquisite wallcoverings, was asked to design a sensational wallcovering Blanc ivoire looks elegantly whitewashed and charmingly chalky. 4320 B

well as entrepreneurship.

partners, differentiating themselves by premium positioning, excellent quality, creative and aesthetic design as vert olive vif 4320 F The unique olive green. A modern and very popular nuance, a Le

green olive stands for health and longevity.

In this spirit, Les Couleurs Suisse provides profoundly authentic services for an exquisite network of renowned Corbusier classic. In the course of light it metamorphoses from

yellow depending on exposure to light. In modern symbolism, OLIVE VIF

VERT yellow green to green yellow.

Is a modern nuance that changes colour from yellow green to green 4320 F shall become authentically accessible in outstanding architecture and design.

Consistent with the philosophy of Le Corbusier, his impressive natural and harmonious keyboards of colour

which should not attract attention to be hidden.

terre d’ombre brûlée 59 4320 J Thewith dark,umber. almost This black,very dark burnt shade umber. can camouflage, Resembles itthe allows widely that

personality, the most famous architect, designer and artist of the twentieth century and far beyond.

knownboth light mahogany and shadow. shade. Le Stable Corbusier and dynamic achieved in anlight effect and ofshadow. depth

in Paris to preserve and promote the unique architectural polychromy of Le Corbusier, the exceptional

widely known mahogany shade. And looks stable and dynamic in D’OMBRE BRûLÉE 59

TERRE Camouflaging, hiding the supposingly inapparent.

Les Couleurs Suisse holds the worldwide mandate and the exclusive rights from La Fondation Le Corbusier The dark, almost black, burnt shade of umber. It resembles the 4320 J

emphasizing other colours.

LES COULEURS SUISSE

ombre naturelle 59 4320 R Theideal deeplycamouflaging dark natural colour umber.or a shade A thatbrown acts shade, as a backgroundclose to

black.dynamic Matt, in strongmodest, or stableweak andlight. dynamic Ombre innaturelle any light. 59 isIdeal also toan

black. This colour looks matt and modest. And looks stable and NATURELLE 59

OMBRE camouflage or to emphasize other colours.

The deep, dark shade of umber. A brown shade that is close to 4320 R

bleu outremer foncé 4320 T The profound ultramarin blue. Appears deep blue and reflects

infinity.shadow. The dynamic shade is fascinating in light and in shadow. BLEU OUTREMER FONCÉ Le Corbusier. associated with infinity. It looks dynamic and is also impressive in

4320 T colourgroup has it’s own chararacteristics and is accompanied by a short discription that has been written by This darkened nuance of ultramarine looks deep blue and is

On the opposite page you can see an overview of the entire coloursystem and the colours we selected. Each

conceived by Le Corbusier. Because of the great number of different colours we decided to make a selection.

prEsErvEd by lEs cOulEurs suissE

ARTE SELECTION LE CORBUSIER’S COLOUR ExPLANATIONS LE CORBUSIER COLOURS The colours from this collection are derived from the ‘polychromie architecturale’coloursystem as it was 7 8 Tints

9 PAVILION

Le Corbusier is most renowned for his purist, modernist architecture. And yet, the strict, Chapel Notre Dame du Haut in Ronchamp. Built in 1954, this church embodies Le Corbusier’s more organic minimalist forms associated with the movement and sculptural approach. were far from sacred for him. In his artworks, for example, we find a range of more organic forms and warm colours. Moreover, we know that this more organic approach also began to show in his architecture from the 1950s, most likely inspired by Le Corbusier’s many travels. An example of this “warmer” and more organic approach can be found in his chapel Notre Dame du Haut in Ronchamp.

Among Le Corbusier’s personal possessions, we also find a large number of primitive works of art.

Objects that seem quite foreign to the purified 10/3 forms of his modernist architecture. His personal 10/2 painting studio, of which one wall was made from rough stone, also demonstrates how he enjoyed being surrounded by tactile materials. 8/1

We know that Le Corbusier studied primitive living and had an interest for tent constructions. In this wallcovering, we have combined the tent structure of the Philips Pavilion with Le Corbusier’s affection for the more organic, imperfect and warm elements of primitive art. 10/4

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These images demonstrate that Le Corbusier had much affinity for the organic and primitive.

Our first paper weave structure with a line pattern that alludes to the structure of the Philips Pavilion and a texture inspired by a more organic and primitive sensibility.

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The decorative element of architectural drawing.

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A wireframe of the Philips Pavilion’s tent structure inspired us to create a similar pattern in paper.

11 # 20545 Pavilion

12 # 20540 Pavilion

13 # 20544 Pavilion # 20540 Pavilion # 20541 Pavilion # 20545 Pavilion

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UNITY

Le Corbusier is attributed with the claim that a window is not meant to let in air but light. In fact, he is responsible for the invention of several new window systems that enabled the maximum infiltration of light into buildings. Windows, for Le Corbusier, are “perforations” in the façade of a building, perforations that also strongly influence the look of a building. It is this perforation that we have raised to the level of motif in this wallcovering. Not the window as such but rather the rhythm in which windows define the exterior façade – in this case those of l’Unité d’Habitation in Marseille – form the inspiration for this design.

The look and feel of the wallcovering, however, is not confined to the strict forms of modernism but has a warmer and more earthy character, an influence that was more tangible in the second half of Le Corbusier’s career.

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16/7 The rhythm of the windows in l’Unité d’Habitation in Marseille is reflected in that of the perforations in the wallcovering.

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The perforated wood which Le Corbusier often integrated in his collages.

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The warmth of his purist paintings and the texture of his workshop define the tonality and texture of the wallcovering.

17 # 20506 Unity # 20526 Tints

18 # 20503 Unity # 20502 Unity # 20500 Unity

19 # 20500 Unity # 20503 Unity

20 # 20500 Unity # 20528 Tints

21 STONE

During his early years, Le Corbusier spent time working with Auguste Perret. Perret was an architect and pioneer in the field of reinforced concrete. The knowledge that Le Corbusier acquired during those years played a major role in his later career. The use of reinforced concrete can almost be regarded as a constant in Le Corbusier’s buildings. Le Corbusier often played with the typical texture of concrete, created by the wooden planks of the formwork. However, he would often use concrete as a canvas Examples of wood casting in Le for other patterns and illustrations as well, lending Corbusier’s buildings. an otherwise cold and bleak material a deeper sense of warmth. In line with this approach, Le Corbusier experimented with a faux marble print in one of his own wallpaper designs. It is from this second angle of attack that we chose to develop a wallcovering that occupies the middle ground between a concrete and marble structure. Modern techniques enable us to achieve a very rich and tactile wallcovering thanks to an engaging mix of textures and materials.

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22 Wooden table from Le Corbusier. Illustrating his love for natural materials and textures. 23/1

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The replica marble structure as supplied to Salubra by Le Corbusier.

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Photomural of natural materials made by Le Corbusier.

First tests with a simulated concrete structure.

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23 # 20550 Stone # 20526 Tints

24 # 20554 Stone # 20528 Tints

25 # 20550 Stone # 20552 Stone # 20555 Stone # 20553 Stone

26 27 DOTS

Le Corbusier was commissioned by the wallpaper factory Salubra S.A. to design a wallpaper collection back in 1931, which resulted in Salubra I. One of the wallpaper designs consisted of a dot pattern in two dot sizes, each in nine colours. This dot pattern was inspired by the cardboard material with tiny perforations which Le Corbusier often used as a base for his drawings and collages.

With this composition, we have recreated the Le Corbusier design with new innovative printing techniques in line with Le Corbusier’s own progressive spirit. The dot pattern, for example, is not made from oil paint as in the original. For the dots we use an ink with relief and a high gloss finish. The appearance of these dots changes under specific lighting conditions. This technique offers added value to the wallcovering, playing with light in the same spirit Le Corbusier did in his architectural designs.

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The importance of light in architecture, embodied in a painting by Le Corbusier. 28/3

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28 Our first tests. Perforated wooden panels which Le Corbusier used as a basis for his wallpaper and many of his collages.

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29 # 20566 Dots

30 # 20567 Dots # 20530 Tints

31 # 20564 Dots # 20563 Dots

32 33 SQUARES

The inspiration for this pattern comes from the wallpaper “wall” designed by Le Corbusier for Salubra’s second collection in 1959. The design consists of large white surfaces surrounded by a grid of small squares. This grid made us think of the many windows Le Corbusier incorporated in his The slanted concrete sun screens were the façades, which rendered both definition and rhythm inspiration for twisting the pattern at several places. to his buildings. The grid is interrupted at regular 34/1 intervals by placing various elements at unexpected angles. This skewing of the design is intended as a reference to Le Corbusier’s angular `brise soleil`, for example to be found in the Assembly building in Chandigarh. We opted in favour of thermoformed textile instead of traditional printed paper. The 34/3 result is a sleek and strong pattern combined with 34/2 an extra degree of warmth and tactility.

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Windows in Ronchamp.

34/6 34 The square grid comes back in Le Corbusier’s buildings but also in the pattern below which he created for the Salubra collection.

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Our first tests.

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35 # 20580 Squares

36 # 20581 Squares # 20580 Squares # 20583 Squares # 20582 Squares

37 # 20583 Squares

38 39 Le Corbusier Wallcoverings

Innovative, non-woven wallcoverings combined with three-dimensional textile wallcoverings, based on Le Corbusier’s Polychromie architecturale. Revêtement mural innovant basé sur la Polychromie architecturale de Le Corbusier, combinant intissé et textile tridimensionnel.

Width / Largeur: 70 cm (27.56”) / 90 cm (35.43”) / 128 cm (50.39”) Sold by cut length / Livré au découpage

Info and complementary samples available on request. Info et échantillons complémentaires disponibles sur demande.

Fire certificates available on request. Les classifications résistance au feu sont disponibles sur demande. 20500-20508 20580-20583 20500-20508 20520-20572 20580-20583 20520-20572

40 Copyrights

PAGE IMAGE N° DESCRIPTION COPYRIGHT NR 2 2/1 Villa Stein-de Monzie, 1928 © FLC/Prolitteris,2013 4 4/1 Le Corbusier explaining the modular, 1960 © FLC/Prolitteris,2013 4 4/2 Villa Savoye, Poissy, 1928 © FLC/Prolitteris,2013 4 4/3 Carpenter Center for Visual Arts, Boston, 1961 © FLC/Prolitteris,2013 4 4/4 Palais de l’Assemblée, Chandigarh, 1955 © FLC/Prolitteris,2013 4 4/5 Maison Dom-Ino, 1914 © FLC/Prolitteris,2013 4 4/6 Model, Maison Citrohan, 1920 © FLC/Prolitteris,2013 4 4/7 Unite d’habitation, Marseille, 1945 © FLC/Prolitteris,2013 4 4/8 Unité d’habitation, Marseille, rooftop © FLC/Prolitteris,2013 4 4/9 Modulor drawing © FLC/Prolitteris,2013 4 4/10 Modulor drawing © FLC/Prolitteris,2013 5 5/1 Tapisserie “Les mains” © FLC/Prolitteris,2013 5 5/2 Le Corbusier tapisserie “Traces de pas dans la nuit”, 1948-1957 © FLC/Prolitteris,2013 5 5/3 Polychromie architecturale © FLC/Prolitteris,2013 5 5/4 Polychromie architecturale © FLC/Prolitteris,2013 5 5/5 Le Corbusier tapisserie “Traces de pas dans la nuit”, 1948-1957 © FLC/Prolitteris,2013 5 5/6 Tapisserie pour Chandigarh © FLC/Prolitteris,2013 6 6/1 Clavier de couleurs Salubra 2, 1959 © FLC/Prolitteris,2013 6 6/2 Clavier de couleurs Salubra 1, 1931 © FLC/Prolitteris,2013 6 6/3 Polychromie drawings © FLC/Prolitteris,2013 6 6/4 Polychromie architecturale © FLC/Prolitteris,2013 10 10/1 Atelier Le Corbusier, 24 rue Nungesser et Coli, Paris © FLC/Prolitteris,2013 10 10/2 African textile Istock royalty free 10 10/3 Chapelle Notre Dame du Haut, Ronchamp, 1950-1955 © FLC/Prolitteris,2013 10 10/4 Le Corbusier in his atelier, 24 rue Nungesser et Coli, Paris © FLC/Prolitteris,2013 10 10/5 Tree trunk coffee tables © FLC/Prolitteris,2013 10 10/6 Personal ethnic object of Le Corbusier © FLC/Prolitteris,2013 10 10/7 Lithographie “Amitiés aux amies”, 1956 © FLC/Prolitteris,2013 10 10/8 Chapelle Notre Dame du Haut, Ronchamp, 1950-1955 © FLC/Prolitteris,2013 10 10/9 Palais de l’Assemblée, Chandigarh, 1955 © FLC/Prolitteris,2013 10 10/10 Lithographie “Ariane et Pasiphaé”, 1932-1961 © FLC/Prolitteris,2013 10 10/11 Cabanon, Roquebrune Cap Martin, 1949 © FLC/Prolitteris,2013 10 10/12 Le Corbusier with his statue “Totem”, 1950 © FLC/Prolitteris,2013 11 11/1 Vintage African textile Istock royalty free 11 11/2 Pavillon Philips, exposition internationale de 1958, Bruxelles © FLC/Prolitteris,2013 11 11/3 Pavillon Philips, exposition internationale de 1958, Bruxelles © FLC/Prolitteris,2013 11 11/4 Pavillon Philips, exposition internationale de 1958, Bruxelles © FLC/Prolitteris,2013 11 11/5 Wire model of Philips Pavilion © FLC/Prolitteris,2013 11 11/6 Kasbah Oulad Othmane Istock royalty free 11 11/7 Viewpoint sketch © FLC/Prolitteris,2013 16 16/1 Unite d’habitation, Marseille, 1945 © FLC/Prolitteris,2013 16 16/2 Unite d’habitation, Marseille, 1945 © FLC/Prolitteris,2013 16 16/3 Unite d’habitation, Marseille, 1945 © FLC/Prolitteris,2013 16 16/4 Unite d’habitation, Marseille, 1945 © FLC/Prolitteris,2013 16 16/5 Unite d’habitation, Marseille, 1945 © FLC/Prolitteris,2013 16 16/6 Couvent Sainte-Marie de la Tourette, Eveux-sur-l’Arbresle, 1953 © FLC/Prolitteris,2013 16 16/7 Unite d’habitation, Marseille, 1945 © FLC/Prolitteris,2013 17 17/1 Tapisserie ‘Les mains’ © FLC/Prolitteris,2013 17 17/2 Maisons Jaoul, Neuilly-sur-Seine, 1952 © FLC/Prolitteris,2013 17 17/3 Nails in wood Istock royalty free 17 17/4 Perforated wood own picture 17 17/5 Atelier Le Corbusier, 24 rue Nungesser et Coli, Paris © FLC/Prolitteris,2013 17 17/6 African scarification Istock royalty free 22 22/1 Reinforced concrete own picture 22 22/2 Modulor man cast in L’unité d’habitation © FLC/Prolitteris,2013 22 22/3 Base of L’unité d’habitation © FLC/Prolitteris,2013 22 22/4 Texture of cast concrete own picture 22 22/5 Fractured rock Istock royalty free 22 22/6 Villa Shodhan, Ahmedabad, 1952 © FLC/Prolitteris,2013 22 22/7 Texture of cast concrete own picture 22 22/8 École d’Art et d’Architecture, Chandigarh, Inde, 1950 - 1965 © FLC/Prolitteris,2013 22 22/9 Texture of cast concrete own picture 23 23/1 Clavier de couleurs Salubra 2, 1959 © FLC/Prolitteris,2013 23 23/2 Tree trunk coffee tables © FLC/Prolitteris,2013 23 23/3 Sand detail Istock royalty free 23 23/4 Marble texture own picture 23 23/5 Marble texture own picture 23 23/6 Pavillon Suisse, Cité Internationale Universitaire, Paris © FLC/Prolitteris,2013 23 23/7 Rope texture Istock royalty free 28 28/1 École d’Art et d’Architecture, Chandigarh, Inde, 1950 - 1965 © FLC/Prolitteris,2013 28 28/2 Lithographie extrait de “Le Poème de l’Angle droit” p.69 © FLC/Prolitteris,2013 28 28/3 Painting with dot matrix © FLC/Prolitteris,2013 28 28/4 Painting with dot matrix © FLC/Prolitteris,2013 28 28/5 Salubra wallpaper © FLC/Prolitteris,2013 29 29/1 Clavier de couleurs Salubra 2, 1959 © FLC/Prolitteris,2013 29 29/2 Dot grid Istock royalty free 29 29/3 Perforated wood own picture 34 34/1 Render of square grid Istock royalty free 34 34/2 Carpenter Center for Visual Arts, Boston, 1961 © FLC/Prolitteris,2013 34 34/3 Clay stones with perforations Istock royalty free 34 34/4 Aerateur, La Tourette © FLC/Prolitteris,2013 34 34/5 Carved stone latticework creating a perforated wall Istock royalty free 34 34/6 Windows in Chapelle Notre Dame du Haut, Ronchamp © FLC/Prolitteris,2013 35 35/1 Carpenter Center for Visual Arts, Boston, 1961 © FLC/Prolitteris,2013 35 35/2 Prototypes Salubra wallpaper © FLC/Prolitteris,2013 35 35/3 Maison Guiette Antwerpen, 1926 © FLC/Prolitteris,2013 35 35/4 Concrete grid texture Istock royalty free 35 35/5 École d’Art et d’Architecture, Chandigarh, Inde, 1950 - 1965 © FLC/Prolitteris,2013

41 Les Couleurs Le Corbusier CMYK values CMYK Corbusier Le Couleurs Les number nuance name nuance Farbtonname number Nummer 20 blanc 32001 32010 gris foncé 31 foncé gris 32010 32011 gris 31 gris 32011 32012 gris moyen gris 32012 32013 gris clair 31 clair gris 32013 32020 bleu outremer 31 outremer bleu 32020 32021 outremer moyen outremer 32021 32022 outremer clair outremer 32022 32023 outremer pâle outremer 32023 32024 outremer gris outremer 32024 32030 bleu céruléen 31 céruléen bleu 32030 32031 céruléen vif céruléen 32031 32032 céruléen moyen céruléen 32032 32033 céruléen clair céruléen 32033 32034 céruléen pâle céruléen 32034 32040 vert anglais vert 32040 32041 vert anglais clair anglais vert 32041 32042 vert anglais pâle anglais vert 32042 32050 vert foncé vert 32050 32051 vert 31 vert 32051 32052 vert clair vert 32052 32053 vert jaune clair jaune vert 32053 32060 ocre ocre 32060 28 orange 32080 32081 orange clair orange 32081 32082 orange pâle orange 32082 32090 rouge vermillon 31 vermillon rouge 32090 32091 rose pâle rose 32091 32100 rouge carmin rouge 32100 32101 rouge rubia rouge 32101 32102 rose clair rose 32102 32110 l'ocre rouge l'ocre 32110 32111 l'ocre rouge moyen rouge l'ocre 32111 Les Couleurs Suisse AG owns the worldwide exclusive rights, granted by the Foundation 32112 l'ocre rouge clair rouge l'ocre 32112 32120 terre sienne brûlée 31 brûlée sienne terre 32120 Le Corbusier, to preserve and promote Le Corbusier’s Polychromie architecturale 32121 terre sienne brique sienne terre 32121 32122 terre sienne claire 31 claire sienne terre 32122 32123 terre sienne pâle sienne terre 32123 32130 terre d'ombre brûlée 31 brûlée d'ombre terre 32130 32131 ombre brûlée claire brûlée ombre 32131 32140 ombre naturelle 31 naturelle ombre 32140 32141 ombre naturelle moyenne naturelle ombre 32141 32142 ombre naturelle claire naturelle ombre 32142 4320A rouge vermillon 59 vermillon rouge 4320A 4320B blanc ivoire blanc 4320B 4320C rose vif rose 4320C 4320D terre sienne brûlée 59 brûlée sienne terre 4320D 4320E noir d'ivoire noir 4320E 4320F vert olive vif olive vert 4320F 4320G vert 59 vert 4320G 4320H gris 59 gris 4320H 4320J terre d'ombre brûlée 59 brûlée d'ombre terre 4320J 4320K bleu outremer 59 outremer bleu 4320K 4320L ocre jaune clair jaune ocre 4320L 4320M le rubis le 4320M 4320N bleu céruléen 59 céruléen bleu 4320N 4320O gris clair 59 clair gris 4320O 4320P terre sienne claire 59 claire sienne terre 4320P 4320R ombre naturelle 59 naturelle ombre 4320R 4320S orange vif orange 4320S 4320T bleu outremer foncé outremer bleu 4320T 4320U gris foncé 59 foncé gris 4320U 4320W le jaune vif jaune le 4320W

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