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Ordering Code and Mediating Machine ORDERING CODE AND MEDIATING MACHINE LE CORBUSIER AND THE ROOTS OF THE ARCHITECTURAL PROMENADE Armando Rabaça Departamento de Arquitectura Faculdade de Ciências e Tecnologia Universidade de Coimbra 2013 ORDERING CODE AND MEDIATING MACHINE LE CORBUSIER AND THE ROOTS OF THE ARCHITECTURAL PROMENADE Armando Manuel de Castilho Rabaça Correia Cordeiro Dissertação de Doutoramento em Arquitectura / PhD Thesis (especialidade de arquitectura e construção) Orientadores / Supervisors Professor Doutor Professor Francesco Passanti José António Oliveira Bandeirinha (Departamento de Arquitectura da (University of Texas at Austin, School FCT da Universidade de Coimbra) of Architecture) Departamento de Arquitectura Faculdade de Ciências e Tecnologia Universidade de Coimbra 2013 ABSTRACT This dissertation analyses the roots of Le Corbusier’s concept of “promenade architecturale” by examining his formative years between the early education in La Chaux-de-Fonds and the journey to the East. The architectural promenade is here un- derstood as a basic concept of Le Corbusier that informs the many factors implicated in his work. I start by proposing a broad understanding of the architectural prom- enade, seeing the concept as an expression for the experiential dimension of archi- tecture and landscape. This experiential dimension, I argue, is broadly submitted to a pattern rooted in his early formative years–a pattern which developed along with the other themes and concepts that he absorbed during this early period, and which, like these, had deep consequences in his work and thought. It is my argument that this experiential pattern is rooted in the dialectical cat- egories of the picturesque and the Sublime in landscape experience. This is shown through an analysis of his academic works in La Chaux-de-Fonds, made between 1902 and 1907. The study of the following traveling period–the trip to Italy and Vienna in 1907-1908, the Parisian sojourn between 1908 and 1909, the German sojourn be- tween 1910 and 1911, and the journey to the East in 1911–shows the many intellec- tual discourses that he was exposed to, and how, through these, the initial dialectical categories crystallized during the school years were gradually enriched with Romantic aesthetics and philosophical concepts, acquiring architectural specificity. The analysis of this process through his early works and writings allows us to understand the formation and meaning of the promenade’s experiential pattern, and reevaluate the extent to which it partakes in Le Corbusier’s rich and complex multilay- ered architectural discourse. What can be broadly termed as architectural promenade is seen as a manifestation of Le Corbusier’s code of ordering spaces and organizing the world, through which he invested them with a symbolic dimension and philosophical world-view. Together with technical, practical, and aesthetic factors, Le Corbusier’s architectural promenade is understood as a fundamental component of his Romantic project for integrating man and the world. i key words Le Corbusier; Jeanneret; Promenade architecturale; Modern architecture; space experience. RESUMO Esta dissertação analisa as origens do conceito de “promenade architecturale” de Le Corbusier, examinando os anos de formação compreendidos entre os estudos artísticos em La Chaux-de-Fonds e a viagem ao Oriente. A “promenade architecturale” é aqui entendida como um conceito básico de Le Corbusier que informa os diversos factores que o seu trabalho envolve. Começando por propor um entendimento alar- gado da “promenade architecturale”, o conceito é visto como expressão da dimensão experiencial da arquitectura e do espaço natural. Defende-se que esta dimensão expe- riencial é, em termos gerais, submetida a um padrão com origem nos anos de forma- ção – um padrão que se desenvolveu a par com outros temas e conceitos absorvidos durante este período, e que, tal como aqueles, teve profundas consequências no seu trabalho e pensamento. O argumento que se defende aqui é o de que este padrão experiencial tem origem nas categorias dialécticas do pitoresco e do Sublime na experiência do espaço natural. Isto é demonstrado através da análise dos seus trabalhos académicos em La Chaux-de- Fonds, elaborados entre 1902 e 1907. O estudo do período de viagens que se segue – a viagem a Itália e Viena em 1907 e 1908, a estada em Paris entre 1908 e 1909, a estada na Alemanha entre 1910 e 1911, e a viagem ao Oriente de 1911 – explora os diversos dis- cursos intelectuais aos quais esteve exposto, e como, através destes, a inicial dialéctica de categorias cristalizada durante os anos de escola foi gradualmente enriquecida com conceitos estéticos e filosóficos românticos, adquirindo especificidade arquitectónica. A análise deste processo através dos seus primeiros trabalhos e escritos permite- nos entender a formação e significado do padrão experiencial da “promenade” e reava- liar até que ponto este participa no rico e complexo discurso arquitectónico de Le Cor- busier. Aquilo que, num sentido lato, se pode chamar de “promenade architecturale” é visto como uma manifestação do seu código de organização do espaço e de ordenação do mundo, através do qual Le Corbusier os investiu com uma dimensão simbólica e uma filosofia existencialista. Juntamente com os factores técnicos, prácticos e estéti- ii cos, a “promenade architecturale” de Le Corbusier é entendida como uma componente fundamental do seu projecto romântico para integrar o homem no mundo. Palavras chave Le Corbusier; Jeanneret; Promenade architecturale; modern architecture; space experience. PREFACE Le Corbusier is perhaps the most widely studied architect of all times. As Ken- neth Frampton has noted, it will be a long time before we shall free ourselves from the fertility of his vision and the range of his influence. He is in our DNA, just as the nine- teenth century is in the DNA of the modernist generation. It is this fertility and the rich complexity of his elaborations on the essence of modern architecture that make him so good to think with still today. This work mainly focuses on Le Corbusier’s formative years. I will generally re- fer to him as Jeanneret, his birth name, Le Corbusier being used after 1920. With few exceptions dictated by the clarity of speech, I will preserve the original version of his written statements because I believe his rhetoric and aphoristic way of writing is best understood in this way. For the sake of consistency, I will adopt the same principle for other authors. For occasional translations I follow the English editions: Le Corbusier, Toward an Architecture, trans. John Goodman (London: Frances Lincoln, 2008) for Vers une architecture (Paris: G. Crès, 1923); Le Corbusier, Journey to the East, trans. Ivan Žaknic, rev. ed. (Cambridge: MIT Press, 2007), for Voyage d’Orient (Paris: Édi- tions Forces Vives, 1966). For the remaining translations, unless otherwise noted, all translations are my own. Throughout this work I will frequently refer to Jeanneret’s correpondence. That with his parents is at the Bibliothèque de la Ville de La Chaux-de-Fonds. The pe- riod that concerns us here as been recently published as Le Corbusier, correspondance: Lettres à la famille 1900-1925, vol. 1, ed. Rémi Baudouï and Arnaud Dercelles (Paris: Fondation Le Corbusier, 2011). The correspondence with Charles L’Eplattenier is at the Fondation Le Corbusier, and that with Auguste Perret is at the Institut Français d’Architecture. These are published in the first two volumes of Le Corbusier, Lettres à ses maîtres, ed. Marie-Jeanne Dumont (Paris: Éditions du Linteau, 2002-2006). The correspondence with William Ritter is at the Schweizerische Landsbibliothek in Bern. Copies are available at the Bibliothèque de la Ville de La Chaux-de-Fonds and at the Fondation Le Corbusier. iii In the transpcriptions of Jeanneret’s handwritten notes I will preserve the ab- breviations: “1” un(e) “av.” avec “bp” beaucoup “c-a-d” c’est-à-dire “ds” dans “gd” grand(e) “gds” grands(es) “nb” nombre “ns” nous “p” pour The following abbreviations are used for the archives: FLC Fondation Le Corbusier BV Bibliothèque de la Ville de La Chaux-de-Fonds EAA École d’art appliqué de La Chaux-de-Fonds BN Bibliothèque Nationale de France INHA Institut national d’histoire de l’art iv ACKNOWLEDGEMENTS I owe debts of gratitude to more people than can conveniently be named. In the words of Peter Fleming, he who befriends a traveler is not easily forgotten. My dissertation research was aided by a fellowship from Fundação para a Ciência e Tecnologia. The Fernando Távora Prize promoted by Ordem dos Arquitectos SRN gave me the opportunity to chase the steps of Jeanneret in his voyage d’Orient. A word of appreciation is due to those institutions. For their assistance in my research I thank: at the Fondation Le Corbusier, Ar- naud Dercelles, chief archivist, and Madame Delphine Studer; at the Bibliothèque de la Ville de La Chaux-de-Fonds, Madame Sylvie Béguelin, former responsible for the sector of research and information; at the École d’art appliqués de La Chaux-de-Fonds, Madame Catherine Corthésy, librarian. Words only partially express what I fell toward the supervisors of this thesis: José António Bandeirinha, whose support and encouragement I have relied on throughout this endeavor. I want to thank him for his thoughtful readings. Francesco Passanti, whose thorough readings, detailed remarks, and critical insight proved profoundly constructive in the elaboration of this thesis. I am most thankful for his personal engagement. v TABLE
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