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Art Nouveau, from the French 20513 Fig. 1 Chapel of Notre Dame du Haut, Ronchamp, 1950–4. Repro- duced from William J. R. Curtis, Modern Architecture Since 1900, 1982; 3rd edition, Phaidon, London and New York, 1996, ISBN 0- Le Corbusier 7148-3356-8, p. 418. ARCHITECT, TOWN PLANNER, DESIGNER, PAINTER, SCULPTOR, WRITER Training and influences by Le Corbusier began as a designer-engraver but was urged to Dr John W Nixon switch to architecture by the director of his school, the painter Charles L'Eplattenier. His architectural training (c. 1905–12) was largely self-directed, and comprised: Related Study Notes Le Corbusier (1887–1965) – born Charles-Édouard Jeanneret, the son of a watch engraver in the Swiss Fig. 2 Maison Fallet, La Chaux-de-Fonds, 1905–7. Reproduced from town of La Chaux-de-Fonds – is generally regarded as William J. R. Curtis, Le Corbusier: Ideas and Forms, Phaidon, 10030 London, 1986, ISBN 0-7148-2790-8, p. 131. The order within: an the single most influential figure in mid-20thC world approach to pictorial analysis architecture. ‘Le Corbusier' was the name he adopted about 1920. He exerted influence not just through o actual commissions (his first house, the Maison Fallet was 10040 architectural works but through town-planning, furniture produced in 1905–6 when he was aged 18; this, the Classicism, Neoclassicism Maison Jaquemont, 1907–8, and other early works in his and Romanticism design, painting and a considerable body of writing. His home town of La Chaux-de-Fonds reveal L'Eplattenier's work of the 1920s and '30s was firmly Modern, rejecting Arts and Crafts and Art Nouveau stylistic influence); 10060 the 19th century Arts and Crafts approach and embrac- From realism to abstraction ing a machine, or engineering, aesthetic. The functional o working with established architects, including: 20400 engineering of ocean liners, aircraft and cars strongly - 14 months (1908–09) with August Perret in Paris, here Architecture and technical influenced him and this is especially evident in his receiving a grounding in use of the reinforced concrete innovation designs of this time for villas around Paris. He did not frame (a major example of Perret's work is the Church simply design villas for the well-to-do. In his Maison of Notre-Dame at Raincy, 1922–23); 20445 Frank Lloyd Wright Domino, 1914–15, and Maison Citrohan, 1921, he pro- - 5 months (1910) with Peter Behrens in Berlin (Walter posed systems for mass-produced housing in reinforced Gropius and Ludwig Mies van der Rohe were also with 20521 concrete, but probably his most influential solution to Behrens about this time); De Stijl the mass-housing need was the Marseilles apartment o travel, establishing professional contacts (such as with 20522 block, the Unité d'Habitation of 1945–52 – a partial realis- Josef Hoffman and Adolf Loos in Vienna and Tony Gar- Bauhaus ation of his concept of a ‘vertical housing city'. The nier in Lyons) and viewing sites of architectural interest building inspired many 'homages' around the world but, (e.g., 1911, Classical sites in Greece and Turkey). 20527 Ludwig Mies van der Rohe as a model 'solution' to mass-housing needs, it has also It was not until his Villa Schwob of 1916, at La Chaux-de- attracted much criticism. ‘Brutalist' apartment blocks Fonds, that the characteristics of his mature work begin to 20711 influenced by it often proved decidedly unattractive to tentatively emerge: geometrical simplicity, harmonious Art Deco those having to live in them, particularly further north 30412 than the south of France, or when aesthetic and technic- Fig. 3 Villa Schwob, La Chaux-de-Fonds, 1916; south façade shortly Édouard Manet al problems were not solved with the master's flair, or after construction. Reproduced from Curtis, 1986, p. 45. when tight budgets impacted on aesthetic and other 30746 Pictorial analysis and considerations. The Unité d'Habitation also reveals an proportions, functional planning and construction, and a interpretation: a case study emphasis on the sculptural, non-functional treatment of ‘sculptural' treatment of forms and spaces. The Villa Schwob, form, something increasingly apparent in his work from although providing hints of these characteristics, is a notably 30820 the 1930s on. This tendency probably saw its most uneasy and unresolved mix of old and new approaches. Modernism and poetic expression in his pilgrimage Church of Notre Postmodernism Dame du Haut at Ronchamp, 1950–54. Theories and publications 40415 Le Corbusier exercised considerable influence through his New Brutalism AS and A2 content writings and he himself was much influenced by Nietzsche This Study Note covers Le Corbusier’s full career. Those (Z10060). The controversial German philosopher’s aphor- intending to take examinations in the subject should note that istic style of writing is reflected to an extent in Le Corbusier’s In the text, a Z symbol refers the work falls across several sections at AS and A2 – the own, some of his sayings being: “the house is a machine for to these Study Notes current specification should be consulted. living in”; “a curved street is a donkey track, a straight street, Examiners allow a measure of flexibility around specific- a road for men”; “architecture is the masterly, correct and ation chronological boundaries. Discussion of specific magnificent play of masses brought together in light”; and examples may range up to five years beyond any such “the city that has speed has success”. boundary without penalty: over five years and up to a maximum of fifteen, penalties are progressively imposed. Fig. 4 Domino skeleton, 1914-15. Reproduced from Curtis, 1986, p. Where the purpose of discussion is not to describe and 43. analyse specific examples but rather to establish general context or significance, no chronological restrictions apply. 1/5 20513u.doc: first published 2004; revised 2007 CCEA GCE HISTORY OF ART DOMINO HOUSING SYSTEM a machine for living in", he wrote) In 1914–15, a year or two before the Villa Schwob, Le o the need to satisfy intellectually and aesthetically through Corbusier made a decided step towards Modernism with his arrangements of abstract form. Domino, or ‘Dom-ino’, housing system design. The Domino house skeleton comprised three rectangular horizontal slabs, CITROHAN HOUSING SYSTEM The Domino was the skeleton of a house. The Citrohan, six slender columns supporting each of the upper two slabs developed in 1920–22 and described in Vers une Architect- and six blocks the bottom one, with the three slabs connect- ure, took this a stage further. Curtis: ed by reinforced-concrete stairs. The columns, or ‘pilotis’ as he later termed them, were set back from the outer edges of ‘Citrohan’ was a pun on ‘Citroën’ – a house like a car. Le the slabs, allowing freedom of treatment to the infill, non- Corbusier hoped to mass-produce the pieces of the load-bearing, walls. The basic Domino unit could be replicat- building by Taylorized methods like those being used in 3 ed indefinitely in any direction. The floor slabs apparently automobile factories. Housing shortages in post-war reminded Le Corbusier of the chips used in the game of France were a critical matter, and the architect was dominoes. This plus domus being Latin for house, and ino directing his ideas at government agencies and industrial- evoking innovation, led to the name. ists as much as at private clients… The Citrohan embod- ied the conception of a ‘machine à habiter’ – a ‘machine INTERNATIONAL STYLE for living in’ – a functional tool raised to the level of art While arguably anticipated in most, if not all, its essential through judicious proportions, fine spaces and the strip- elements,1 there is no denying that Le Corbusier’s Domino ping away of pointless decoration and purposeless habits. system quickly exerted major and widespread – international It was a utopian challenge to the status quo. – influence. William J. R. Curtis in his book Le Corbusier: Ideas and Forms, 1986, writes: Fourteen years later, in the Oeuvre complète, volume I, Fig. 5 Model of the Citrohan House, 1920–22. Reproduced from Richard Weston, Modernism, Phaidon, London, 1996, ISBN 0-7148- Le Corbusier published the Dom-ino skeleton on its own. 2879-3, p. 110. By this time it had taken on the status of an icon of modern architecture. The formal characteristics of what The Maison Citrohan was cubic with a flat roof, a was later called the ‘International Style’ – hovering hori- double-height living room and a large area of factory zontal volumes, taut skins, regular lines of support – were glazing; in the later version the box was raised on stilts to based on analogous systems in concrete or steel… The liberate the soil beneath for parking but also to suggest Dom-ino was trabeation in an elemental form – pure the independence from the terrain… In line with Purist column and pure slab… One is not surprised by the pretensions to universality, the Citrohan was intended for legend that the ageing Le Corbusier kept a picture of the everyone everywhere: an abstract product of technology Dom-ino on his wall next to a photograph of the Parthen- above differences of region. In fact it seemed to be on: both were central to his lifelong production, and both directed at the habits of an artist monk: the Parisian studio embodied notions he regarded as fundamental.2 type of house (with large north glazing) cross-bred with PURISM the cell of the monastery of Ema. There were Mediterra- In 1916 Le Corbusier left Switzerland to settle in Paris and in nean overtones in the whitewashed cube and nautical 1918, with the painter Amadée Ozenfant, he launched the ones in the terraces like decks, but the section with a movement known as Purism.
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