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Mapping the Stylistic Affiliations of Le Corbusier's Work 0.1 Prologue

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Le Corbusier, 50 years later International Congress Valencia 18th-20lli November 2015 DOI: http://dx.doi.org/10.4995/LC2015.2015.799 Mapping the Stylistic Affiliations of Le Corbusier's Work P. Ilias Panigyrakis TU Delft, School of Architecture and the Built Environment Abstract: The paper deals with Le Corbusier's connection to the term "style". A classification of his work in specific architectural styles is discussed, followed by a description of the procedure through which the style ofthe man Le Corbusier was constructed; in an attempt to search meaning in his continual stylistic shifts and the rationale that kept his lifetime's work and identity strongly compact when we consider him retrospectively. Resiimen: El articulo trata la conexión de Le Corbusier con el lérmino ëstilo'.'Se disciite una clasificación de su obra en estilos arqiiitectónicos especificos, seguido de una descripción de los procedimientos a través del ciial el hombre fiie construido al estilo de Le Corbusier; un intento de büsqueda de sentido en siis camhios estilisticos contimias y las razones que mantuvo el trabajo y la identiclad de su vida fuertemente compacta, cuando lo consideramos retrospectivamente Keywords: Le Corbusier; Style; Stylistic Shifts. Palabras clave: Le Corbusier; Estilo; Cambios Estilisticos. 0.1 Prologue It is said that Le Corbusier used to keep a picture of his 1914 Maison Dom-ino scheme side by side with a picture ofthe Parthenon from his 1911 visit in Athens. It is also known that he viciously fought against the talk of styles m the architectural discourse. How should we interpret then the above mentioned coupling of Dom-mo, the epitome of technique of the 20th century architecture, along with the Parthenon, the most imitated object of any iconographic style prior to Modernism? This research will argue for the stylistic affiliations of Le Corbusier's work in an attempt to map the trajectory of architectural forms applied hi the extensive work ofthe legendary architect. In his 1936 Oeuvre Complete, Le Corbusier writes: "In a hundred years we cmd d speak of a "style". We should not do so today, but only of STYLE, which is, the moral tendency of any work created, truly created'. " It is here clearly stated that although Le Corbusier's name was strictly affiliated with Modernism's moralistic arguments against 19th century's affluence of styles and formalistic expressions, he strongly sustained an artistic approach towards the architectural form, not unlike his painting asphations, thus in stylistic terms. Several styles have been clearly used by Le Corbusier in his career of sixty years: from the regional styles of La Chaux-de- Fonds and the Villa Savoye's strict Modernism until Ronchamp chapel's formalistic excess and 1950's brutalistic experiments. Even on one of his final schemes, the 1965 Venice hospital, Le Corbusier showcased his ' '"Dans cent ans, nous pourrons parler d'un 'style '. II n' en faut pas aujourd' hut, mais seulement DU STYLE, c 'est-ci-dire de la tenue morale dans toute oeuvre créée, veritablement créée. " Le Corbusier, Le Corbusier et Pierre Jeanneret, Oeuvre Complete: 1910-1929, Paris: Les Editions d' Architecture, 1936, pp.2. This worlc is licensed under a Creative Commons 4.0 International License (CC BY-NC-ND 4.0) 1016 flexible formalistic capability, borrowing from the structuralist style of his 30-years younger, Candilys' compositions. Style, as a term aims for the systematic approach towards the artistic creation2. However, although the 19th century architectural theoreticians went through great pains to define a methodological approach towards architectural styles, since the dawn of Modernism it has been abolished from architecture's critical analysisS. This however does not mean that it was not continuously used in terms ofthe architectural practice. The correspondence between architectural form and extrinsic factors is that which posits it as an "undiscussed, self-evident" analytical tool upon which our historical consciousness is based''. It is this basic role of style for the orderhig of historiogi-aphy that establishes its use essential for the relevance of produced mnovative works. And although modernist rhetoric denounced style as an operative motive, the production of style has provided the organizing factor and orientmg framework for the social production of the architectural discipline^ that is currently re-emerging, in relation to the social changes of the second half of the 20th century characterizing architecture's development with its immediacy^ 0.2 Objectives The objectives of this research would be to point out, in architectural terms, the "STYLE" or "styles" used by Le Corbusier. • What defined his stylistic periods? • What were the reasons for his recurring stylistic shifts? • How did he sfructured his personal image, and to what extent this affected his stylistic engagements? • What role did his careful post-production played in the formation of his work's hnage? 0.3 Methodology The research will be organized in two parts, dealing with two aspects of style a) towards his work and b) Le Corbusier himself. oLe Corbusier: Tlie Architectural Sti'les: The first part will deal with the classification of his architectural work in specific stylistic groups as well as his linkage to wider stylistic movements. The bulk architectural projects will be chronologically presented, noting his projects that proved to be pivotal to his stylistic shifts. Moreover, a short comments will be made on Le Corbusier's main design or constructional inventions in order to observe to what degree these innovations shaped his stylistic endorsements throughout his architectural career. oLe Corbusier: T/ie Stvie of tlie Man: The second part will deal, more generally, with Le Corbusier's personal style of appearance, tracing an overview of his wide spectrum of coinciding interests that struchired his persona as a sophisticated artist. His unceasing passing through multiple design and knowledge fields will be put in perspective with the structuring of his image, along with other factors that shaped his figure such as: his careful post-production of his work, his participafion and direction of exhibidons and associations as well as his numerous publications. ^ Schapiro, Meyer, Theory and P liil osopliy of art: Style, Artist and Society, George Braziller, Inc., New York, 1994. ^ Bakel, Anton Paulus Maria von. Styles of Architectural Designing: Empirical Research on Working Styles and Personality Dispositions, Ph.D. submitted at the Technische Universiteit Eindhoven, 2009. "* Makkreel, Dilthey, Philosopher of the Human Studies, Princeton, Princeton University Press, 1992. ' Brain, David, "Discipline and Style: The Beaux Arts and the Social Reproduction of an American Architecture". In Theory and Society vol.18. Berlin: Springer, 1989. pp. 807. Hvattum, Mari, "Crisis and Correspondence: Style in the Nineteenth Century".In Architectural Histories, vol 1, EAHN, Zurich, 2013. pp. 1-8. This work is licensed under a Creative Commons 4.0 International License (CC BY-NC-ND 4.0) 1017 O Style by Le Corbusier: In conclusion, a short note will be made on Le Corbusier's personal attitude towards the notion of style. LE CORBUSIER /CHARLES EDOUARD JEANNERET ARCHITECTURAL STYLES 1887-1965 I Fbrmaliva Years \- Rational Approach Formalistic Associations 1965 I I I I I I I I I I I I I r I 1 i I I I I I I I t I I I • I I I I I 1 I I ' I I I 4 ' I I I Architectural eXPPESSIONISTK ARTNQUveAU 'fiEGKWAL Styles iAOOiRH PROTO-MOOERtf NEO^SSICAL MUTAUSM.Indi3a Projects \ Buildings villi Fttttt Oztnfëni must I Studio Vnltétffiibhailcn p^TfffSr/lfj&afftStyi KkKle^ Fe^lltiiaWflï— ViltiJiquemel Usintdaude It Duval V3la Besfws Pi.-v rjM fl^ : (sciUKin ffenct; CêbanM Maisons La ttocba-Jtanntni Villa Cunitditt VtTlaStofzef Wtfsj UpcNtz-Stiestchaf}inQff teoh dAit tt dAfthittclun VtHaSchwób t4aitont\caii\in* J Mffison rfu Tonkin Otapellt Noirt Oamt dv Haut PaiiSon dt Ltspril Nomtau '/'• PataiadnrUatim^Ahmtdab^d vmaJt^ntitnl-Ptnet Ualfon Ptantix VHaSatabtia .Vcdf.r' QuaftitfiModtmttFfugis mSfiodhan O'fwna KioCiir laSula' '{'- HauttConCliamSgafti] Amée Al Salut, Palais da Ptupte ViUaFwrn-Jacoi UusHAimtdtbad U»f son Cook Uaiton atn'tttt my MaiawifJaout VMa Stain-da-Mem!* M<jiXir. UnhidHabitatiotxNtnlts Maison Temitlen I i CowtntSimta-UiritdahTowttli PaviIhnNtsVé I UilsenduBiitM vaiaOHnh Maisons Wmstn^iof-Sitdlung Ctntrosoyus ViSaSavoya UnHitfHibialmtiilin .'.füdcfn I A/m4» Salut dti ét Ftfugf ' Ptvillon PMipt Atmée<iuSakjt,Asiftlhtlant AfipatimtntBtlsttgvl umtmdtrichiu \__jModein I ViHa MMdfot I Unité thiM^lionemmy ktwHMtCuni \ Kiodtm ParithnSuitsa EgSieSijm Piert M-jiJi.-n tmmtvbk Molitof \ ; Modem |.Wcdr/,'sP,-..Lai:; uMifiiiHiuiineiier U Maison dt weekend U Moil «.I»0«( itM Occiiknm Tatya ! VHU'LaStMtant- Atat;.lO.-olrf5! PavUhn de» Tamps Notniaux 1. Classification of Le Corbusier's buildings during his lifetime corresponding to architectural styles and periods. This work is licensed under a Creative Commons 4.0 International License (CC BY-NC-ND 4.0) 1018 Part 1. Le Corbusier: The Architectural Styles Le Corbusier's total work is usually summed up in 3 periods that subsequently typity his early, mature and late work, throughout the years: A) 1887-1922, B) 1922-1944 and C) 1944-1965'. This study will attempt to address these periods through an analysis of the prmciples that Le Corbusier posed as his basic starting pomts for his architecture and the different formal characteristics of his styles. 1.1 The Formative Years (1887-1922) This fu-st period could be characterized as Proto-Modem. The elements of the architectural vernacular that Le Corbusier deemed domuiant were gradually simplified towards a new direction that allowed modemism to emerge. Regional, Ait Nouveau and Neo-classical were mutated stylistically losmg their cohesion with the motives that generated them: local elements wore off, contradiction between art nouveau and industry climaxed and neo-classical doctrines seemed all too distanced. Le Corbusier's early years were marked by his largely influential roots in his upbringmg at La Chaux-de-Fonds. The regional styles ofthe area, as well as the popular Ait Nouveaux styles ofthe epoch do appear m Charles Jeanneret's first works.
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  • Suburbanization Historic Context and Survey Methodology

    Suburbanization Historic Context and Survey Methodology

    INTRODUCTION The geographical area for this project is Maryland’s 42-mile section of the I-95/I- 495 Capital Beltway. The historic context was developed for applicability in the broad area encompassed within the Beltway. The survey of historic resources was applied to a more limited corridor along I-495, where resources abutting the Beltway ranged from neighborhoods of simple Cape Cods to large-scale Colonial Revival neighborhoods. The process of preparing this Suburbanization Context consisted of: • conducting an initial reconnaissance survey to establish the extant resources in the project area; • developing a history of suburbanization, including a study of community design in the suburbs and building patterns within them; • defining and delineating anticipated suburban property types; • developing a framework for evaluating their significance; • proposing a survey methodology tailored to these property types; • and conducting a survey and National Register evaluation of resources within the limited corridor along I-495. The historic context was planned and executed according to the following goals: • to briefly cover the trends which influenced suburbanization throughout the United States and to illustrate examples which highlight the trends; • to present more detail in statewide trends, which focused on Baltimore as the primary area of earliest and typical suburban growth within the state; • and, to focus at a more detailed level on the local suburbanization development trends in the Washington, D.C. suburbs, particularly the Maryland counties of Montgomery and Prince George’s. Although related to transportation routes such as railroad lines, trolley lines, and highways and freeways, the location and layout of Washington’s suburbs were influenced by the special nature of the Capital city and its dependence on a growing bureaucracy and not the typical urban industrial base.