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Home , Art Nouveau, Francis Jourdain, Frantz Jourdain, Villa Savoye

avant-gardes, succeeding and mixing phases, plans, he met , Pierre Paquet, and the genres, currents and contexts1. Throughout Henri-Léon Baudouin, , the century, it exhibited Brancusi, Braque, Eugène Grasset and, in particular, Frantz Salon d´Automne of Chagal, De Chirico, Delaunay, Derain, Van Jourdain, architect and art critic, president . Dongen, Duchamp, Kandinsky, Léger, Matisse, of the Salon. All of them were his art and Ozenfant, Picabia, Picasso, Rodin, , architecture referents. At their request, he and representation Utrillo and a long etcetera of other artists. The visited the main exhibitions of the moment: José Ramón Alonso Pereira enumeration reveals the internationality of the Salon Beaux Arts, open from April to July, the Salon, whose artists made Paris the the Automobile and Bicycle Exhibition and of art. In 1914 the Salon was consolidated the Salon d’Automne, both of them held that and unanimously recognized (CORET autumn at the , where, in 1909, 2003). Despite a very clear he visited the first Aeronautics Exhibition tendency during its early years, the Salon and in November, before leaving Paris, the always sought a dialogue between modern new Salon d’Automne of that season. During and ancient, far from the dogmatic excesses his training years at La Chaux de Fonds, of some avant-gardes. The Salon´s basic L’Eplattenier had restrained his pictorial originality led in the fact that it was a house vocation, directing him towards architecture. Introduction to all artistic manifestations, bringing together However, Le Corbusier continued painting all sorts of artists: painters and sculptors, watercolours and making drawings in form The Salon d’Automne in Paris was the locus glassmakers and ceramists, decorators and of sketches, studies and travel impressions. of the new arts; an annual contest created architects, allowing all of them to freely Most are typical of an architect in training, in 1903 to offer the artists a plural field of exhibit their creations. It often had specific but anothers reveal a young painter who encounter and to show to the public the sections destined to and books, to was very much in contact with his time, for present there, the tendencies and new arts. religious art, theatrical decoration, , whom images –far from being banal - were Cradle of vanguards, the Salon stood out for fashion, urbanism or urban art. Architecture a starting point for reflection. In his process spreading all kinds of artistic genres, from had a continued presence throughout the of personal and artistic maturation, the trips painting and , to photography, years. Jourdain, Plumet, Sauvage, Lurcat, he made between 1908 and 1911 to and engraving, design, architecture and applied Mallat-Stevens, Le Corbusier and the all of Central Europe and, in particular, to the arts. Le Corbusier attended it on several best architects presented their works there. East were key. They led to many visual and occasions between 1912 and 1929, both with took also a preferential place, cultural references, then used in his articles his paintings and his architecture; with whose presence would be amplified until and books. Orient gave rise to a sample of his urban planning and his it then links to the 1925 Decorative Arts 16 watercolours painted in the course of proposals. He went with his drawings of Exhibition. Although the first Salon took place the trip, shown under the poetic title of the Orient journey before the European within the , the success led it to ‘Le Langage des Pierres’ at Neuchâtel in War and he returned after to showcase his occupy the Grand Palais in 1904, the house for April and May 1912, within the Peintres, works and make his or such exhibition of arts which would occupy Sculpteurs et Architectes Suisses Exhibition, his Équipement de l’habitation well-known this space uninterruptedly since that moment and afterwards ---as a reduced version-- at examples of his architecture. then. The Petit Palais and the Grand Palais the Zurich Kunsthaus, during 1913 Spring were the jewels of the 1900 Paris, designed (BROOKS 1997). When he returned to La The Salon d’Automne as part of a vast programme thought out for Chaux, he stayed in contact with Perret the Universal Exhibition. Symbols of the and Jourdain, to whom he frequently At the beginning of the century, there social taste of the time, both of them shared wrote. Thus, wishing to exhibit at Paris his were several art salons in Paris: Beaux their urban character and their expository watercolours, he begged Perret “s’est temps Arts, Artistes Français, Independants, etc. will. However, they were diverse in their encore, de m’inscrire comme participant However, Paris lacked a plural place for architectural forms and in their capacity au Salon d’Automne, section peinture”. all the arts and their innovative currents to hold events, notably larger was the one In October and November he exhibited to gather. Some artists and critics such as corresponding to the Grand Palais. his Orient watercolours, with the same Carrière, Desvallières, Guimard, Valloton, Neuchâtel title: ‘Langage de pierres’. They Vuillard, Rambosson and , This is a singular work by Deglané, Thomas were located in one of the great halls at the who was thr Salon’s first president, worked and Louvet which brings together the top of the stairs, next to those of Van Dongen. hard to make it a reality (JOURDAIN 1926). formalism of its plant and its facades with There they remained between October 1 and some spatial advances such as a large glazed November 8 (SOCIETÉ 1912, GRESLERI In October 1903, the general public of Paris hall, whose background is occupied by a 1988) He would have liked to see them could see within the Petit Palais, the works monumental staircase. Louvet took care of the exhibited, however, he was not able to make of Bonnard, Blanche, Gleizes, Marquet and new structures, worth mentioning because of it to Paris until December and he could only Villon under an electric light, a significant their complex and well-studied design, and collect them. In October he wroted to Karl novelty of the times. The contributions of the grand staircase, a compromise between Ernst Osthaus, banker and maecenas, creator made during the year 1903, were confirmed and that was originally of the Wesphalia Folkwang Museum, whom in 1904. The 1905 Salon was the scene of a large hall of honour. Between 1900 and 1940 he had visited before his trip: “J’ai exposé a spectacular presentation. Upon entering it was the framework of art and , of quelques acquarelles du voyage au Salon the room, one could see ’s ‘La automobile and aeronautics; the framework d’Autumne et cose qui m’a fait plaisir elles femme au chapeau’, it scandalized some by of the Salon d’Automne and of many other on été placées en bonne place et Maurice the violence of its shapes and colours. The annual exhibitions. It was the framework of Denis leur a accordé son éloge. Lorsqu’elles art critic Louis Vauxcelles when he first Le Corbusier’s dioramas: interior framework avaient paru ici, en une exposition régionale, saw the paintings actually exclaimed: “It of the Ville Contemporaine in 1922, external on m’avait taxé de fou, et très malmené dans is a cage of beasts!” (A “cage aux fauves”). framework of the Voisin Plan in 1925. les journaux” (6). Apparently, at the time , the first pictorial revolution of he had an offer to buy his watercolours but the century, had emerged. If Impressionists Its presence in the years before the war he refused to sell them. Nowadays, these reflected the light and its variations as watercolours have been valued as true essence of painting, Matisse’s chromatic Le Corbusier arrived in Paris in the spring of creative artistic efforts, independent of their cry was a step forward where subject and 1908, and remained there almost two years, architectural studies (DUCROS 2002). In that form were pretexts for drawing attention until December 1909 (ALONSO 2015). From same 1912 Salon, Fernand Léger exposed his to the chromatic essence of art. The Salon the early days of his stay, he established a painting “Passage à niveau”, while Duchamp- reflects and gives back to the relationship –even if indirectly - with the Villon exhibited a socalled Maison Cubiste, the image of itself. Open to all formulas and Autumn Salon. Before getting to work with whose facade said to be inspired by the talents, it presented all artistic trends and all , and within his training homonymous painting. The presence of such

JOSÉ RAMÓN ALONSO PEREIRA 169 a diverse mixture of arts moved the critic 1922 Salon: Ville contemporaine the city and its image, which entails not to qualify the 1912 Salon d’Automne as the only a new sense of space and new means to “salon bourgueois” (MARÉ 1912, PÉLADAN That autumn, when he was 35 years old, Le build it, but also new ways of representing it. 1912). That year, Le Corbusier had opened Corbusier exhibits in the Salon d’Automne “a There were three levels in which he offered a studio in La Chaux de Fonds. He designed decorative and a city of three million the city’s image. A scientific level, through Jeanneret-Perret’s and Favre-Jacot’s , inhabitants behind”. It was a provocative abstract planes. A representative level, with and published ‘Etude sur le mouvement response to a dismissive invitation. In his book perspectives, sketches, drawings and photos, d’art décoratif en Allemagne’. In the summer ‘Oeuvre Complète’ he writes: “One day in which present the diverse aspects of the city of 1913 he travelled again to , July 1922, Marcel Temporal leading the urban as it can be devised. And a scenographic level visited the Baufach-Asstellung in Leipzig section of the Salon d’Automne, proposed us to with panoramic images, in which not only and participated with his brother in the do something for the next Salon in November” the city is seen but one is inserted within it. inauguration festival of the Dalcroze Institute (LE CORBUSIER 1929). Temporal had a very All these images conform a chain of more at Hellerau. In autumn he went several broad concept of urban art: “L’art urbain c’est or less complex links, which are both a times to Paris, where he visited Perret, Du la boutique, l’enseigne en fer forgé, la porte structural document and an instrument of Bois and Grasset, as well as Frantz Jourdain de la maison, la fontaine dans la rue, tout ce expression. For Le Corbusier, the different and his son, , assessing his que nos yeux voient de la chaussée, etc. “, images of the Ville Contemporaine play a works exhibited in the Autumn Salon3. He he said. He would call seven architects to be decisive role in the knowledge of architecture, also admired there, the installations and the part of the Salon’s new section. Among them: and represent a new way to interpret and with designs of a light and elegant Mallat Stevens, Charles Siclis and Alfred represent the new city. His sketches and classicism, seeking in them the basis for a Agache, who presented the project of a ‘Cité perspectives show his way of looking at renovation of decorative arts. In 1913 he also des Morts’5 (WALDEMAN 1922). By behaving things, while using photography to move discovered and admired the works of Frank like an avant-garde artist, Le Corbusier would project space to real space. Meanwhile, , then exhibited in Paris. In the participate controversially. The poet Paul dioramatic perspectives allow him to 1913 Salon, the Alfonso XIII’s Hispano-Suiza Dermée defined his position as a “dadaïsme give a new vision of the whole, that eases was also exhibited, whose bodywork was by cartésien” (SOCIETÉ 1922, DOILLER. understanding problems in a scenographic Amedée Ozenfant. VEISSERE 1922). La Ville Contemporaine is scale. Images are juxtaposed showing their a new city that, because of its territorial and links and their oppositions, making them Its presence in the years after the war urban dimension, wanted to be an abstract “explode under the eyes of the reader”, response from to the as he wrote in ‘Vers une architecture’ (LE After 1914-1918 World War, the Salon metropolitan reality of Paris, where Le CORBUSIER 1923). There is a relationship d’Automne was organized again, in a constant Corbusier had lived and worked for several between the information provided: sketches, boom during the following years. 1922 sees years. A regular and symmetrical ideal city perspectives, photos, plans, and the message the consecration of the new Salon, with the with differentiated areas, each of which he want to convey about the city, which is not theatre section by Cocteau and Romains, and corresponded to an ideal type. It was only drawn on planimetries, but, thanks to the Corbusean Ville Contemporaine. The a ‘vertical garden city’, whose high density diorama, can be understood via one’s senses twenties were years of fulfillment for Le allowed soil to be released and returned to and sensitivity. Spaces and forms of the new Corbusier who, “pleine de vigueur”, retook Nature. The urban art section occupied the city multiply their means of representation, architecture, associated with his cousin rotunda and the Grand Palais’ hall. The Ville reinforcing Le Corbusier’s will to represent (1896-1967), with whom he enjoyed the hall’s most distinct place, under and explain the city. studied the Maison Citrohan, the Immeubles- the monumental staircase. The Corbusean villas and the Ville Contemporaine. In stand fitted into the lower space of it, with Maurice Raynal, L’Esprit Nouveau art critic, February, he exhibited a ‘gravure forte’ at the an area of almost 200 m2, it was made up of wrote (RAYANL 1922): “From the beginning, Salon des Indépendants, and plans to go to two parts: a straight body, where plans and the work shows a kind of plastic lyricism, the to give some lectures on rational drawings were exposed and a double- master and not tyrant of Nature”. In another L’Esprit Nouveau and to see the possibilities height semi-cylindrical annex with a diorama, paper, he states: “It is a kind of heroic poem as of founding an American edition. “The having by its side two exhibition spaces with much for the audacity of plan as for its plastic situation is excellent”, he wrote in November plans and images, joining architecture and arrangement”. “Voici Babel disciplinée”, (ALONSO 2015). He repeatedly returns to representation in an efficient and brilliant synthesized André Gybart (GIBERT the Salon d’Automne. If in 1922 he shows synthesis.6 (ALONSO 2016) 1922). In the 1922 Salon he also exhibited there the project of a modern city, in 1923 he two residential types: Maison Citrohan presents some villas and models of houses The ability of Le Corbusier to conceive spaces and Immeubles Villas. For the first one he shaping the official typologies for social joins the need to represent them, transmit presented a plaster model; for the second, housing. That year he publishes “Vers une them and explain them in his projects. The he presented plans and perspectives, and Architecture”, exhibited with Ozenfant at diorama responds to that need. As a strategy assured: “In order to build houses in big cities, Rosenberg Gallery, and builds the villas La of mediation between rational and sensitive, cell and apartment must be reconsidered. Roche-Jeanneret and Le Lac. In 1924, he the diorama established an ideal continuity We will not arrive at the pure type more than sets up his atelier in the rue de Sèvres, builds between the spectator and the city7 (LE through multiple experiences. In the past it two houses in Boulogne and a working-class CORBUSIER 1922). “I would like - he wrote took centuries. Nowadays, machine imposes neighborhood in Bordeaux. The following (LE CORBUSIER 1925) — that the spectator serial work (and) replaces century by decade”8 year he publishes ‘Urbanisme.’ L’Esprit could, by an imaginative effort, conceive the (LE CORBUSIER 1935). Both relationships Nouveau turned him into a public figure, new type of height city (but) that rampant between architecture and representation will which took him to take on a new name: Le city surpasses our imagination”. Therefore, be developed better in 1923. Corbusier, who came to symbolize modern he added, “I have sketched a diorama whose architecture. An architecture whose rigorous purpose is to objectify before eyes the novelty 1923 Salon: models project effort requires a parallel effort of to which our spirit is not prepared”. The understanding. diorama is a ‘machine à émovoir’, a machine If in 1922 Temporal had organized the to convince, not to reason: that is what urban art section gathering “many activities That particular time is a moment of planes and two-dimensional drawings are and young forces”, in 1923 he directed the exceptional conceptual lucidity, in which for. There was also an idea to introduce some works towards green architecture, funeral “the arguments and concepts of painter and figures at the foreground. That is the basis architecture and commercial architecture9 architect became interchangeable”, and in to the well-known taken from (SOCIETÉ 1923). Little of that interested Le which the everyday objects of industrial a café terrace, in which the real Paris and Corbusier. However, he participated in the manufacturing began to configure his the imagined Ville face one another: the real Salon presenting four scale models of his projects, taking on an architectural meaning. and the ideal, although it was not done so in works10 (VEISSIÈRE 1923). He said: “The “Conceptual displacement” it was named the benefit of communication simplicity. Le Maison Ozenfant just emerges from the (RUEGG 2017). Corbusier raises an interdependence between field (...). The Maison Albert, whose plans

170 TRADUCCIONES / TRANSLATIONS are finished, will be budgeted. Three more 1927 Salon: Weissenhoff previous graphic, plastic and photographic will start in Boulogne in autumn. From all experiences and suggested a small installation of them, models are manufactured for the The following years: 1924, 1925 and 1926 that anticipated his new exhibition which Salon d’Automne “11. The Raoul La Roche Le Corbusier did not attend the Autumn would take place two years later. The person house, as later the Stein (1927) and the Salon. Oblivious to what was in charge of the works and of the (1929) set the way to the new in the Salon but linked to the figurative Salon installation was Alfred Roth (1903- art of living, which had so many times been experiences exhibited within it, between 1998, a young Swiss architect, the first of imagined and drawn. The three of them April and October 1925 he participated in those incorporated to the atelier (MOOS are temples of modernity, emblems of the the Decorative and Modern Industrial Arts 1985, LENTZCHE 2006). new architecture and the personality of Le Exhibition. He presented there the L’Esprit (1903-1999 - key figure in those years - Corbusier, and as such he wanted to exhibit Nouveau pavilion, a manifestation at the same referred to the exciting climate of team their models within the Salon. Those years, time of the new architecture and of the new collaboration. “The work was fascinating the use of models was quite a common way city (LE CORBUSIER 1929). He occupied a because of the great freedom with which new of for presenting architecture, Its three- marginal area next to the Grand Palais, and proposals were accepted and the vision of dimensional reality complemented plans and in a few weeks built a pavilion that illustrated new challenges from a global dimension, even drawings, seeking a better comprehension of the principle of the Immeuble-villa, as a though every proposal had to go through the the general public. “Le grand public n’a point residential unit that shaped the city. The rigorous and rational filter of Le Corbusier” le goût de l’abstract et prefère un dessin, Pavilion wanted to be the dialectical symbol (PERRIAND 2003 . The Weissenhof proved une réalisation concrète, qui lui parait plus of Corbusean architecture by uniting the the many complementary contributions and expresive”. Models allow “rendre un compte images of the city and the built-up sample identified a common line that set the start of absolument exact de la construction”12. of the dwelling-type that was to shape it. A Modern Movement. Beaux-arts education favoured the transfer propagandistic way to promote the forms to architecture of plasticity until then only and modes of modernity. Compared to the 1929 Salon: L’équipement de l’habitation typical of sculptural methods. Made in previous volumetric models, the Pavilion was plaster - a cheap and easy-to-work-with a real-scale model of one of its cell-types, Just one year later, in June 1928, Le Corbusier material -, models as a means of exhibiting whose interior was conceived as a purist organized the first International Congress of works were used by other architects, such composition, which brought together the Modern Architecture, CIAM, in La Sarraz. as Mallat-Stevens, Loos, Perret, Lurçat,... standardization of everyday objects, with The following year, he travelled to South although their representation, their finishes, the work of artists such as Picasso, Braque, America to give a series of conferences, from their use of colour or their textures were Leger, Gris, Ozenfant, Lipchitz and Le which important urban studies emerged. far from the of those Corbusean Corbusier. The compositional unity between This journey left him on the sideline of models. Exposed within the centre of the art and object was completed by the space the II CIAM held in Frankfort in October Grand Palais, Le Corbusier’s models were containing its urban proposals, testing the 1929. He did not go to the Salon d’Automne aesthetic and architectural manifestos that continuity between city and housing, and in December, with Pierre Jeanneret and gave a three-dimensional expression to his how the problems of decorative art and Charlotte Perriand. In 1929 Le Corbusier theories (26). They did not only allow to see urbanism could be considered as extremes advanced another step in the link between volumetric reality, but also to test plastic of the same issue, as was also evidenced by architecture, interior design, equipment principles prior to constructive realities. the simultaneous edition of ‘Urbanisme’ and furnishing, a subject that had been Overcoming the vagueness of the Maison and ‘L’Art Décoratif d’Aujourd’hui’. Thus, concerning him for years. “We cannot revise Citrohan exhibited in 1922. Even hough the pavilion is a paradigm of the new way effectively the plans for contemporary he maintains its plastic abstraction and its of living and modern aesthetics defended house unless we have a new vision of the chromatic neutrality, he makes dialogue by Le Corbusier. During the immediate issue of furniture,” he said (LE CORBUSIER the target of masses and surfaces and years he built the Cook and Stein villas, 1930) The design of furniture plays a decisive the contrast with the black lines. the Planeix maison, and the Armée de role in the trajectory of modern architecture. Therefore, no model exhibited in the Salon, Salut’s Palais du Peuple, his first collective Although Le Corbusier had previously produced such a rejection by the press like building, and worked on his most important designed various furniture models, it was those by Le Corbusier. Executed at 1:20 project until then: the headquarters of the the participation within the Weissenhof by Charles Lasnon, who combined the old Geneva League of Nations. The key piece that confirmed him the actual need to arts and crafts and the new techniques of of work during these years was the pair move forward and carry out the production representation, the models were halfway of dwelling-types built in the Weissenhof of serial-type furniture. In 1924 he had between object-type and avant-garde colony organized in 1927 by the Deutscher addressed Établissements UP in Breno, to . Pleased with the results, Le Werkbund in Stuttgart (SOCIETÉ 1927, LE promote the manufacture of serial furniture. Corbusier had them photographed by CORBUSIER 1929, JOEDICKE 2000). They “One of the essential factors that paralyzes Albin Salaun and distributed them to the were two different types of houses. The the success of architecture, especially in press, attending the Salon d’Automne with first one, a Citrohan-type but perfected. this period of high prices --he wrote-- is them (COVA 2015) Regarding the Salon’s The second one, a semi-detached house, in the lack of serial elements established by architecture, Perret spoke in ‘Paris Journal’, which he suggested a single transformable industry”, which prevented the architect criticizing the “travail” of the young space organized by sliding walls that left from the possibility to “rigorously equip generation as “faisseurs de volumes”, and the space open during the day and closed , dining rooms, bedrooms.” And he especially those of Le Corbusier, whose at night, as a sort of cabin or a car in which concluded: “If the question interested you, “architectural and technical flaws” and to sleep in. The Weissenhof also reflected perhaps we would try this autumn or the next “functional inconsequence” were censored automobile ideals, emblem of a new world, one a participation in the Salon d’Automne, (BADERRE 1923). “Models presented by Le whose fascination joined the houses with the where it would be easy for me to obtain a Corbusier and Jeanneret have concentrated Mercedes-Benz car, as both reinforcement well-placed stand, on which we would try discussions, since the innovative technique and mutual marketing. They were ‘inhabiting a clear demonstration of our intentions”13. of these architects alters all traditions” Both machines’. Le Corbusier wanted to exhibit Upon returning from Stuttgart, Le Corbusier the 1922 stand and the 1923 models arise them at the Salon d’Automne, as well as hired Perriand to refine previous schemes, from the need to explain architecture one house at Boulogne and the Palais du and take responsibility for the equipment and through didactic means. We can contrast Peuple (HUYCHE 1927, ROTH 1996). The furnishing atelier area (Espegel 2009). After their images and their representation 1927 exhibition differed from that of 1923. two years of work, the team made progress techniques. If models are three-dimensional If the architecture representation was then in the design and manufacture of furniture- and plastic, a stand is at the same time entrusted to the three-dimensional plastic prototypes: a chaise-longe, a chair and real and illusionary, when confronting the game of the block of white plaster that an armchair, a chair with tilting backrest, scientific aspects of planimetries to the defined volumes, surfaces and architectural chairs and stools, etc. These designs were scenographic of diorama, both evidence Le masses, now the plurality of representation manufactured by Thonet, who incorporated Corbusier’s architecture. methods previously experienced, synthesized them into his open line by

JOSÉ RAMÓN ALONSO PEREIRA 171 Breuer and Mies. The first sample of these vehicles of expression: from watercolours elements of furniture Le Corbusier wanted to diorama, from plane to volume models, to bring and show off in the Autumn Salon, from sketches and perspectives to scientific where he presented in 1929 a stand called schemes. Le Corbusier had raised in each ‘L’Équipement de l’habitation’. What he one and every one of his contributions to presented there was not just the furniture the Salon d’Automne an interdependence prototypes he had been working on, but the between architecture and image that entailed complete interior equipment of a house. a new sense of space and new means to build The critics said: “It is the most studied and it, evidencing how his ability to conceive best-prepared set in the whole Salon, not spaces was linked to the need of representing only for its ideas, but also for a meticulous them. Sometimes posed as canonical program, which brings the essence of modern images, these architectural representations life”, even though the name ‘équipement’, presented within the Salon played a key role as ‘machine à habiter’ was seen as an insult for Le Corbusier, whose representations and to good taste. Someone titled: “Adam au were of the same , Salon d’Automne” (SOCIETÉ 1929, LE which joined together allowed not only to CORBUSIER, JEANNERET, PERRIAND read the images, but to understandthe world 1930). The Salon catalogue indicated: that they represented. The process has ‘Experiment interieur d’une habitation. confirmed the interest of theme: architecture Demonstration au Salon d’Automne 1929 and representation, and endorses the “, with three areas: “la salle de séjour sur conclusions obtained, having been able to see cuisine, des chambres et la salle de bain.” how Le Corbusier uses painting, drawings, As for furniture, it emphasized “normalisés plans, models, dioramas, furniture, pavilions, casiers” forming “cloisons” between pieces, stands and, in general, all means of expression and then he enumerated the different at his disposal to make his concerns chairs and armchairs, as well as the chaise- acknowledged and his proposals taken into longe “tiltable by simple sliding, without account within a singular context: the Paris mechanical means (that) allows different Salon d’Automne. positions.” Chromed steel and aluminum became basic elements of an example of austere equipment. “We evoked Peugeot 1. For the posters of its various editions, the Salon counted with the best known artists of that moment. Thus, for the initial 1903 bicycles. Forgotten that Peugeot does not Salon, the author was Henri Bellery-Desfontaines (1867- 1909), painter, illustrator and architect, who had gained a belong to the furniture business. So? Thonet, medal at the 1900 Universal Exposition. The authors of the posters reproduced, corresponding to the editions related to Le Corbusier, whose curved wooden chairs woke up were Ferdinand Mifliez, Misti, in 1908, Georges Dorignac in 1922, our admiration”15 (PETIT 1970). L’Esprit and Jacqueline Marval in 1923. 2. The catalog lists five sets of works: nº 823-826, which are Nouveau pavilion had set the starting point identified as “Langage de pierres (aquarelle)”. to the end of traditional types and the start 3. Letter to Osthaus, 5 Oct 1912 FLC E “-17-339. Le Corbusier met Denis and Bourdelle at Perret, with whom they collaborated in of universal combinable systems, which The Champs Elysées Theater. would be the hallmark of residential units. 4. The importance of the Salon d’Automne is confirmed in the six pages of sketches that Le Corbusier dedicated in his notebooks, In 1925 the last vestiges of past furniture FLC 2849. were abandoned and he began to consider 5. “The Autumn Salon was inaugurated on October 31 at the Grand Palais, which hosted the Salón del Car. Their character being combinable elements of simplified forms, and so different, both are happy symptoms of French vitality. The to think that furniture design posed essential Salon presents this year not only a set of works characteristic of all the trends of painting and sculpture, decorative art, religious architectural issues, where the principle of art and sports art, but also a urban art section, whose organizer is Marcel Temporal. (...) In the center there is a panorama of the abstraction visualized functions and defined contemporary city conceived by Le Corbusier “. (Wldeman 1922). forms. Thus cross-sectional flows between 6. Dioramas were spectacles of notable popular success and great diversity of scenic effects. Le Corbusier also applied the architecture and furniture were raised, and possibilities of the diorama to the Voisin Plan of Paris, to the Cité that is where it really became architecture Mondiale in Geneva and the Maciá plan for . 7. At the exhibition works collaborate Darantière, who signed the (BENTON 1982, RUEGG 2017). The stand perspective of the diorama, Pottevin, who made it, the architect Provin and the decorator Norbert Guéret who built the stand, was a complete work, a total work, which Printemps and Saint-Gobain warehouses that adapted it, the Electro-entreprise, who was in charge of lighting, and the Franco- reflects the state of knowledge and project American Housing Group that financed the studies. of Le Corbusier. Its inauguration on the 8. “L’étude de 1922 était un travail de laboratoire d’où était résultée un théorique conclusion, in vérité, un doctrine d’urbanisme”. Le evening of December 10 was a social event. Corbusier (1935) 204 9. In 1924, the Urban Art section derived to commercial Even if it was not of an immediate economic architecture, seen as an emblem of modernity, joining different success, 9,733 francs were to be paid in order works and authors within a ‘place publique’. to participate in the Salon. The next decade 10. The Catalog presented them together as “Des maquettes de hôtels privées”. was a very difficult time in Europe. The 1937 11. FLC, R.2.2.271, November 29, 1923, letter to his parents. Universal Exhibition still hosted the Salon 12. FLC H1-9-10. Letter from Le Corbusier to M. Besnus. 7 Mar at the Invalides esplanade. But in 1939 the 1923. World suffered a great convulsion. Although 13. FLC R.3.4.224, letter to Établissements UP réunis, Breno, 11 Jan 1924. “I believe that there is a program of construction of the Salon was held in 1940, it was interrupted serial elements of capital importance”. he said, and offered to take in the following years. In 1944 a “Liberation advantage of a trip to in March to visit the factories. 14. FLC - X.1.10.38 ss. XXV edition of the Salon d’Automne; Le Salon” was held, with a large exhibition of Corbusier stand. Picasso, and in 1945 a “Victory Salon” was 15. Le Corbusier quotes, 14 Nov 1962. held. Little by little, the Salon is reborn and it sees the flourishing of post-war art and artists (CORET 2003). Le Corbusier, however, will Salon d’Autonme never return to the Salon d’Autumne. Le Corbusier Équipement de l’habitation Conclusion Scale Indoor space The cycle had closed. From art-landscape to architecture and - in an inverse, anticlassical order - from an urban scale to a building scale and to a small scale of interior spaces and furnishing. All of these, through varied

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