Educational guide The La Roche House – Le Corbusier and Pierre Jeanneret. Photo Olivier Martin-Gambier The La Roche House Constructed between 1923 and 1925 by Le Corbusier and Pierre Jeanneret, the La Roche House represents an exceptional architectural undertaking. Its originality lies in the unification it forges between two different spaces, each serving a different function: an art gallery on one hand and, on the other, the private apartments of the resident and collector, Raoul La Roche. The La Roche House occupies the end of the Docteur Blanche cul-de-sac in Paris's 16th arrondissement, a neighborhood under development at the time. The use of new construction materials allowed Le Corbusier to put into practice here what he would define in 1927 as the “Five Points towards a New Architecture”: the open facade, the open plan, the long horizontal window, the roof garden, and the pilotis. As a key precedent to the Villa Savoye in Poissy (1928), an architectural icon, the La Roche House constitutes itself a hallmark in the history of the Modern Movement. From 1925 to 1933, numerous architects, writers, artists, and collectors came to visit this experimental home, leaving their mark with a signature in the visitor's book, kept open in the entrance hall. The La Roche House, as well as the adjacent Jeanneret House, were classified as historical monuments in 1996. Since 1970, they have undergone several restoration campaigns. Maison La Roche 1 The proprietor and the architect THE MES The patron: The role of the architect Born in Basel, Switzerland, Raoul La Roche (1889- (to build and to manage 1965) settled in Paris in 1912 and began work at the the space). Crédit Commercial de France (Commercial Credit of The architectural France). In 1918, he met Charles-Edouard Jeanneret commission, the patron (who would not adopt the pseudonym, Le Corbusier The architect, his patron until 1920). Eager to familiarize himself with A private residence modern painting, he was immediately drawn to the Purist style that Le Corbusier and his friend, BEFORE THE VISIT Amédée Ozenfant, had developed in their tableaux. Initially, he bought from them their own canvasses, Le Corbusier then, following their advice, built up a significant The Bauhaus collection of cubist and purist works. Thoroughly The Modern Movement: convinced of the ideas the two painters had defined - Alvar Aalto and advocated, he funded the diffusion of their - Mallet-Stevens Portrait of Raoul La Roche Photo Sartiny review l’Esprit Nouveau (The New Spirit), published - Mies Van der Rohe from 1920 to 1925. From 1921 and on, La Roche - Piet Mondrian acquired works by Picasso, Braque, Fernand Léger, Juan Gris, and Jacques Lipchitz. - Théo Van Doesburg As his collection grew, he sought a means to properly hang and display the avant- Docomomo France garde tableaux. His apartment on rue de Constantine in the 7th arrondissement of (documents on the Paris had grown unsuitable for such a collection. It’s at this time, then, that Raoul La architecture of the Modern Roche commissioned from his friend and architect a house-gallery, suitable not only Movement) to house and give prominence to his art collection but also to serve as his principal residence. AFTER THE VISIT “Purist house” Purist movement The architect: Modern housing Born Charles-Edouard Jeanneret, Le Corbusier Domestic architecture (1887-1965), left his birthplace La Chaux-de-Fonds inscribed or classified as a in Switzerland, in 1917, and settled definitively in Historical Monument Paris. His teacher, Charles L’Eplattenier, played a critical role in his education. Le Corbusier HISTORICAL PERIODS explained: “One of my teachers (a very remarkable man) gently dissuaded me from the The 20th century and our age choice of a mediocre career. He wanted to turn ART HISTORY me into an architect. I loathed architecture and Spatial arts architects… As I was only sixteen, I accepted his verdict and obeyed his edict: I took up Daily arts 1 architecture.” Between 1907 and 1911, Le Portrait of Le Corbusier Visual arts Corbusier made a certain number of tours in Italy, NOTE: Le Corbusier is cited as an Germany, and the Orient to study art and architecture. By 1923, when he received example in the reference list for the commission for the La Roche House, he had already designed several edifices at the communal habitat (Radiant La Chaux-de-Fonds and in Paris (the Ozenfant House). As an architect, urban city) and for sacred architecture planner, painter, and writer, he conducted various studies on artistic creation and (the chapel at Ronchamp) the modern habitat. In 1923, he published Towards an Architecture, which remains today one of the iconic references of modern architecture. La Roche House 2 The series of “purist” houses: In the 1920s, Le Corbusier undertook the construction of roughly a dozen private residences in Paris and its surroundings, denoted by the term, the “purist” houses. Among his clients figured artists (the painter Ozenfant, the sculptors Miestchaninoff and Lipchitz…), connoisseurs of art (Raoul La Roche, the Steins), and the “enlightened” bourgeois of the time (Church, Savoye). The character of these houses evolved over the course of the decade. To begin with, in 1922, the Besnus House in Vaucresson and Ozenfant’s studio in Paris lay the foundations of the « Five Points towards a New Architecture ». The La Roche House introduced one year later the theme of the “architectural promenade”, a formal principle that culminated five years later in the Villa Savoye (1928). The Jeanneret and La Roche Houses are representative of the ideas that Le Corbusier explored in the 1920s. Devoid of ornamentation and composed of simple, geometric forms, they are the fruit of a new architectural language. In their outright defiance of the academic aesthetic tradition, they join the ranks of the Modern Movement*. As such, these two houses helped Le Corbusier to establish himself as a renowned architect; it was after these years of experimentation that, at the end of the decade, he received his first major commissions: the Centrosoyus in Moscow; in Paris, the Salvation Army Cité de Refuge and the Swiss pavilion at the Cité Universitaire; the Clarté building in Geneva… 2 Photo Olivier Martin-Gambier 1 Photo Olivier Martin-Gambier 3 Photo Olivier Martin-Gambier 1. Ozenfant’s studio, Paris, 1922 2. Lipchitz-Miestchaninoff studios, Boulogne, 1923 3. Stein-de-Monzie House, Garches, 1926 4. Villa Savoye, Poissy, 1928 4 Photo Paul Koslowski La Roche House 3 Conception and construction THEMES The project, the construction: The building and its Assisted by his cousin, Pierre Jeanneret, Le Corbusier first imagined a project for a terrain large architectural unity situated along the Docteur Blanche cul-de-sac. After having Construction conceived several different structures, the associates settled upon a project for two adjoint houses, each with a distinct floor plan. As Le Corbusier described it “One BEFORE THE VISIT accommodates a family with children, and is thus composed of a quantity of small The architectural project rooms and all amenities needed by a family, whereas the second is designed for a 2 The construction bachelor, owner of a collection of modern paintings, and passionate about art.” That is to say, the first house was designed for Le Corbusier’s brother (Albert The structure Jeanneret), his wife (Lotti Rääf), and their two daughters, and the second for Raoul La AFTER THE VISIT Roche. Construction began in November of 1923, and in March of 1925, La Roche moved definitively into his new house. However, certain elements of the home, such The art of architecture, as the furnishings, were not completed until November of that same year. the relation with a particular site The site today, the site in 1923 Urbanism Bird’s eye view, project for three houses (for Lotti Rääf, M. Motte, and Sigismond Marcel, 7-10 May 1923. (FLC 15111) Construction site of the La Roche House, entrance hall and bay window, 1924 (FLC L2-12-22) (FLC L2-12-18) One program, two functions: In response to Raoul La Roche’s commission, Le Corbusier and Pierre Jeanneret designed a project for a home/gallery that clearly disassociates the two functions. On one half on the plan, they situated the art gallery and library, designed to house a significant collection of modern art and sculpture. They arranged the residential space on the other half, reserved specifically for domestic activities. Raoul La Roche’s private apartments are directly adjacent to the Jeanneret House, whereas the gallery, perpendicular to the private street that runs along the square du Docteur Blanche, is immediately visible from the entrance of the cul-de-sac. La Roche House 4 Plan of the Jeanneret and La Roche Houses La Roche House THEMES Library A reading of the plan Dining Dressing room Kitchen BEFORE THE VISIT room "Purist” Distribution of the various bedroom Living room rooms Bathroom 2nd floor Jeanneret House La Roche House Terrace Terrace Bedroom Void in the Pantry entrance hall Office Dining room Bedroom Boudoir Bedroom Art gallery 1st floor Jeanneret House La Roche House Storage room Kitchen Studio Entrance Guest hall room Kitchen Caretaker’s Garage Garage apartment Caretaker’s Entrance s dining room hall Jeanneret House Caretaker’s bedroom Ground floor La Roche Mn La House Roche • 5 5 The exterior of the house THE MES The pilotis: Circulation Visually juxtaposed to A reading of the facade the bulk of the gallery, (balance/imbalance – the slender pilotis* empty/filled, symmetry) supporting the La Roche House free up BEFORE THE VISIT space on the ground. This architectural tool How a building secures invites the visitor to itself in the ground: the La Roche House. Photo: Pietro Luigi Piccardo, (FLC L2-12-45-001) move freely under the foundations building.