Le Corbusier: Ideologies, Principles, Values

8/11/2019 Le Corbusier: Ideologies, Principles, Values

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LE CORBUSIER

(CHARLES-EDOUARD JEANNERET)

The Engineers Aesthetics and Architecture

The Engineers Aesthetics and Architecture are two things that march

together and follow one from the other: the one being now at its full height, the

other in an unhappy state of retrogression.The Engineer, inspired by the law of Economy and governed by

mathematical calculation, puts us in accord with universal law. He achieves

harmony.

The Architect, by his arrangement of forms, realizes an order which is a

pure creation of his spirit; by forms and shapes he affects our senses to an

acute degree and provokes plastic emotions; by the relationships which he

creates he wakes profound echoes in us, he gives us the measure of an order

which we feel to be in accordance with that of our world, he determines the

various movements of our heart and of our understanding; it is then that we

experience the sense of beauty.

Three Reminders to Architects

MassOur eyes are constructed to enable us to see forms in light. Primary forms are beautiful forms because they can

be clearly appreciated. Architects today no longer achieve these simple forms. Working by calculation, engineers employ

geometrical forms, satisfying our eyes by their geometry and our understanding by their mathematics; their work is on the

direct line of good art.

Surface

A mass is enveloped in its surface, a surface which is divided up according to the directing and generating lines o

the mass; and this gives the mass its individuality. Architects today are afraid of the geometrical constituents of surfaces

The great problems of modern construction must have a geometrical solution. Forced to work in accordance with the stric

needs of exactly determined conditions, engineers make use of form-generating and form-defining elements. They create

limpid and moving plastic facts.

Plan

The Plan is the generator. Without a plan, you lack of order and willfulness. The Plan holds in itself the essence o

sensation. The great problems of tomorrow, dictated by collective necessities, put the question of plan in a new form

Modern life demands, and is waiting for, a new kind of plan, both of the house and for the city.

Regulating Lines

An inevitable element of Architecture; the necessity of order. The regulating line is a guarantee against

willfulness. It brings satisfaction to the understanding. The regulating line is a means to an end; it is not a recipe. Its

choice and the modalities of expression given to it are an integral part of an architectural creation.

1-Basic Theory

The theory of Le Corbusier is multi-faceted and defies simple explanation. A fundamental aspect of his theory is that

architecture relates to a fixed world-order. From Vers une architecture:

Architecture is a thing of art, a phenomenon of the emotions, lying outside questions of construction and beyond themThe purpose of construction is to make things hold together; of architecture to move us. Architectural emotion exists when

the work rings within us in tune with a universe whose laws we obey, recognize and respect. When certain harmonies

have been attained, the work captures us. Architecture is a mater of harmonies, it is apure creation of the spirit.This

attitude has its architectural origins in Greece, Vitruvius, and the Renaissance.

Le Corbusier appropriates much of this philosophy, but without an overt reference to God. It would seem that for Le

Corbusier the laws of the universe are a priori, and exists within itself as an absolute, without relying on reference to othe

elements. In discussing beauty, Le Corbusier states that we feel harmonies because they arouse, deep within us and

beyond our senses, a resonance . . . which begins to vibrate. An indefinable trace of the Absolute which lies in the depths

of our being.


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Another aspect of Le Corbusiers philosophy was his concern for a new architecture relative to current times. Each epoch

should create its own works of architecture. He has an inherent belief that forward progress is good. If a man does no

move forward he becomes bankrupt. Vers une architecture contains many images of airplanes, motorcars, and ocean

linersexamples of modern technology and progress. Other strands of modernism current at that time felt that a clean

break from the past was necessary, i.e., virtually starting with a blank slate. Le Corbusier is different in this regard as he

maintains links with the past. The most obvious, as noted above, is a belief in an absolute. In addition, Le Corbusier draws

selectively from the past of Western architecture. He uses examples of Greece, Rome, and other periods to amplify his

various arguments.

2- Mass

Having established that his theory is based on mathematically expressed harmonies, Le Corbusier states that these

harmonies are perceived through the eyes. He discusses these perceptions as three reminders to architects; mass

regulating line, and plan. With regard to mass, Le Corbusier has famously argued that:

Architecture is the masterly, correct and magnificent play of masses brought together in light. Our eyes are made to see

forms in light; light and shade reveal these forms; cubes, cones, spheres, cylinders or pyramids are the great primary

forms which light reveals to advantage; the image of these is distinct and tangible within us and without ambiguity. It is fo

that reason that these are beautiful forms, the most beautiful forms.

Villa Savoye uses a multiple of primary forms as part of its design. Fig. 3.07 shows how a series of simple forms comprise

the volumes of the design. Figs. 3.03 and 3.04 show detailed elements, where the composition of cylinder and rectangula

masses are clear. Compare these with the photos of primary forms shown in Vers une architecture - - grain elevators,pyramids, etc.

Fig 3.01 - Grainelevator. Primarycylinders - sculpteshade and shado(Vers unearchitecture)

Fig 3.02 - Pyramids (fromVers une architecture)

Fig 3.03 - Villa Savoye Cylindrical columns,rectangular middle, cylindrical top

Fig 3.04 - VillaSavoye Primaryforms. Whitecylinders giveshade and shadow.

Fig 3.05 - Coliseum (from Vers unearchitecture)

Fig 3.06 - Grain elevator. Boldprimary forms, sculpted by light.(From Vers une architecture)

Fig 3.07 - Primary massing ofVilla Savoye Base, middleand top in primary forms


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3 - Regulating LinesThe second reminder to architects in Vers une architecture was that of surface. In the words of Le Corbusier:

To leave a mass intact in the splendor of its form in light, but, on the other hand, to appropriate its surface forneeds which are often utilitarian, is to force oneself to discover in this unavoidable dividing up of the surface theaccusing and generating lines of the form.

Included in Vers une architecture are a number of examples of classical buildings with regulating lines. Figs. 4.08and 4.03 show Notre Dame and Michaelangelos Capitiol. The idea of regulating lines was not original to LeCorbusier. The principle of an ordering geometry had been in use since before antiquity. Renaissance architectsonwards used ratios as a means of constructing an ordered geometry in a building, most visibly in elevation, butalso in plan and section.

Fig. 4.02 looks at the proportions of Palladios canonical Villa Rotunda. A classical proportion of 1:2 is used inplan, and proportions of 3:4:5 appear in the elevation. In my eyes, this is a far more rigourous composition thanthe Villa Savoye. An interesting observation between these two buildings can be made in the differences in planand elevation. The Villa Rotunda seems to apply the ordering geometry more starkly in plan than in elevation,whereas the Villa Savoye seems to apply the ordering geometry more in elevation than in plan.

Fig. 4.04 shows regulating lines applied to the south elevation of Villa Savoye. Vertical proportions of the mainelements are loosely in proportion of 3:4:5. Other elements of the faade can be placed by diagonal regulatinglines as shown in the diagram. However, an number of other elements of the faade can not be explained byregulating lines - - for example the roof level elements and the window mullions in the long strip window, have noapparent generation by regulating lines.

The writings of Le Corbusier, particularly the later Modulor, implies a fixed order against which a design can beconstructed. It would appear to me however, that the application of these rules was selective by Le Corbusier. Forexample, the proportional system used in Villa Savoye is an ordering device towards a belief of absolute order - inother words, the proportioning system is a means towards an end, but not the end in itself. In Vers unearchitecture and later writings it is not clear to me what Le Corbusier means by the Absolute. This is reflected inturn in the buildings where the design methods are a search towards an glimpsed subconscious conception.

Regulating lines do not appear to be the sole means of providing order in the Villa Savoye, but one of the orderingtools used in the composition, ie, structure, composition of masses, etc. Underlying all of these efforts is the

assumption that striving towards and achieving order is the essence of architecture. For example, if ones view ofarchitecture were phenomenological, then the use of regulating lines and other ordering systems would have littlebearing, in themselves, on the architecture.

Fig 4.01 - LeCorbusiersketch of the Modulor

Fig 4.02 - Proportionalanalysis of Palladios VillaRotunda

Fig 4.03 - Regulating linesapplied to MichaelangelosCapitoll (from Vers unearchitecture)

Fig 4.04 - Regulating linesapplied over existing elevationsof Villa Savoye


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This ordering is overlaid with other ordering elements, whether they are regulating lines, composition of masses, or the

sequence of views in the architectural promenade.

Le Corbusier used the category of plan to discuss a wide variety of topics such as unity, rhythm, housing, and urban

planning. With respect to rhythm, Le Corbusier identifies equalisation (symmetry, repetition); compensation (movement o

contrary parts); and modulation (the development of an original plastic invention).

For Le Corbusier, the "plan bears within itself a primary and pre-determined rhythm." Fig. 5.10 shows the rhythm

introduced by the structural grid. A simple grid of 4.75m (originally designed as 5.0m) is carried through the elevational

composition. Fig. 5.09 shows the column grid at the ground and first floor level. The highlighted area shows where the gridis rational - - i.e., where the 4.75m dimension is carried through. The area not highlighted is where the grid had to be

compromised to accommodate the needs of residential floor plan. The grid therefore seems more iconic that actual. It

could further be argued that an independent structural grid, particularly at the first floor and above, could not be justified in

a pure value engineering terms for a structure as simple as a single-family house. However, this of course is not the

concern on this project, and it is the idea that is carried through and expressed.

Rhythm is also introduced in sub-components of Villa Savoye. The horizontal glazing pattern of the ramp glazing (Fig.

5.04) is an effective use of this technique.

Fig 4.05 - Villa at Garches(from Oeuvre Complete)

Fig 4.06 - Proportioningdiagram of Albertis S.

Andrea church

Fig 4.07 - LeCorbusiersVilla Jeanneret (from Versune architecture)

Fig 4.08 - Regulating lines onNotre Dame (from Vers unearchitecture)

Fig 4.09 - Plan analysis ofVilla Savoye showingproportions and regullatinglines

4 - Equalisation

The last of the three reminders to architects in Vers une architecture was the plan.

The Plan is the generator.

Without a plan, you have lack of order, and willfulness.

The Plan holds in itself the essence of sensation.

Underlying the idea of plan is the central importance of order. According to LeCorbusier "where order reigns, well-being begins."11 This links to the idea about the

importance of harmony, and its relation to the Absolute, i.e., the more order one has,

the closer one is to the Absolute.

Peter Carl postulates that for Le Corbusier, written language, matter, mathematics,

music and time are systems of signs that refer to a significant segment of reality.

These signs are

the fruit of a marriage. This marriage takes place between two orders, the human

and the cosmic. . . Order, in the singular is the very key of life.

Methods of ordering can be seen throughout the Villa Savoye. The idea of a

repetitive structural grid, as in the Domino project (Fi g 5.03) uses a simple idea of

structure as an orderin element.


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The above is not meant as a negative criticism of Le Corbusier. It does, however, demonstrate the strength of Le

Corbusiers design intuition in that he is able to break apart various ordering techniques and recombine them into

exceptional works of architecture.

Fig 5.01 - Hindoo temple(from Vers unearchitecture)

Fig 5.02 - Villa Savoye Fig 5.03 - Le Corbusier,Domino project

Fig 5.04 - Villa Savoye, study sat roof garden ramp showingintroduction of rhythm insubcomponents.

Fig 5.05 - Temple atThebes (from Vers unearchitecture)

Fig 5.06 - Villa Savoye groundfloor entry (from Oeuvre Complete)

Fig 5.07 - Villa Savoye Fig 5.08 - Plan diagram showinhierarchy of ordering elements

Fig 5.09 - Plan diagramshowing structural grid.Shaded area indicatesunmodified grid.

Fig 5.10 - Sketch elevationshowing the order introduced byexploiting the structural grid

5 - CompensationLe Corbusier briefly mentions the Acropolis (Fig. 6.02) as an example of a rhythm of compensating masses. This iswithin the context of a discussion of the plan governing the massing of buildings.

In my opinion, Villa Savoye is a masterful composition of elements.. Fig. 6.07 shows a series of plan diagramsshowing the organisational massing at each level. There is an intuitive and sensitive balance apparent at each level.The ground floor balances the entry foyer with the exterior forecourt, offset from the private garage space. The firstfloor balances the salon / living room with the large roof garden, with a minor offset of the ramp and stair hallway.The roof level balances the small screened roof garden with the void of the roof garden below. These compositionsare more powerful in the elevational arrangements and the movement through the spaces, than they are in thestatic plan diagram.

Figures 6.04 to 6.06 are a series of perspective sketches that show the balance and massing of different elementsof Villa Savoye. It is difficult to find an element that feels either out of place or out of proportion. There is also asubtle gradation of emphasis on different elements. This is particularly important as one moves through the building


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and experiences the spaces relative to each other. For example, in the roof garden shown in figure 6.06, the largerenclosed mass to the left acts as a major visible anchor. There are several subtle horizontal elements in contra-positionthe roof, strip windows, and the outdoor table. The ramps give a delicate diagonal opposition to primaryCartesian elements.

Fig 6.01 - Le Corbusier,main door intoRonchamp

Fig 6.02 - Villa Savoye roofgarden (from OuevreComplete)

Fig 6.03 - Plan of the Acropolis (fromVers une architecture)

Fig 6.04 - Sketch of firstfloor hallway

Fig 6.05 - Sketch elevation Fig 6.06 - Sketch perspective of roofgarden

Fig 6.07 - Plandiagramshowingbalancing ofmasses

6 - ModulationThe third aspect of rhythm that Le Corbusier identifies in Vers une architecture is modulation. He gives the example ofSanta Sophia (Fig. 7.03), where "the plan influences the whole structure: the geometrical laws on which it is based andtheir various modulations are developed in every part of the building."

Beyond this relatively minor explanation, Le Corbusier does not elaborate any further on this theme. However, it doesexplain a way of thinking and looking at buildings, which is reflected in the Villa Savoye.

Figures 7.04 and 7.12 are perspective sketches of the first floor hallway and first floor roof garden, respectively. Thereis a balance and proportion between the elements. I suspect that this balance and proportion is ultimately achieved bya very discerning eye on Le Corbusiers part, and considerable reworking of the design until it felt right.

Fig 7.01 - Villa Savoye,view from living room toroof garden

Fig 7.02 - Villa Savoye, mainstaircase

Fig 7.03 - Santa Sophia(from Vers unearchitecture)

Fig 7.04 - Sketch of firstfloor hall


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Fig 7.05 - Villa Savoye, roofsolarium

Fig 7.06 - Villa Savoye, south-north section looking west

Fig 7.07 - Villa Savoye,north-south section

looking east

Fig 7.08 - Villa Savoye,west-east section looking

north

Fig 7.09 - Villa Savoye,ground level plan

Fig 7.10 - Villa Savoye, first levelplan

Fig 7.11 - Villa Savoye,second level plan

Fig 7.12 - Sketchperspective of roof garden

looking towards living room.

7 - Architectural PromenadeThe concept of the architectural promenade is very important in the work of Le Corbusier. Surprisingly, this gets verylittle mention in Vers une architecture. Le Corbusier does however mention:

An axis is perhaps the f irst human manifestation; it is the means of every human act. . . The axis is the regulator ofarchitecture . . . Arrangement is the grading of axes, and so it is the grading of aims, the classification of intentions.

The architect therefore assigns destinations to his axes. These ends are the wall (the plenum, sensorial sensation) orlight and space (again sensorial sensation).

The architectural promenade through the Villa Savoye is an important element of the design. Fig. 8.05 highlight thecentral ramp and stair. In the earliest schemes, there was only a ramp for circulation, with presumably the stair beingadded at the clients request. From the ground floor looking up the ramp (Fig. 8.04), one is drawn up due to the lightwhose source is not immediately visible. At the first floor, the main living floor, (Fig. 8.02) the ramp and stair are themain features of the "foyer". As one ascends, there in a developing view of the roof garden . . . the "courtyard in thesky" around which the plan is developed.

This use of light to draw one up the ramp and into the roof garden is a subtle, but powerful element used to define thearchitectural promenade.

In Villa Savoye, the spaces themselves are rather simple for example, the first floor salon is a rectangular volume.The magic comes in the inter-relationships of the various spaces, their composition, massing, and sequence ofmoment through them. The sequence of movement through the Villa Savoye is more of an experience in itself. It is

through this movement that one perceives the brilliant compositional arrangements. This is very different fromsomeone such as Frank Lloyd Wright for whom the processional route prepared one to experience the principal spacesin the design. Figs. 8.13 and 8.14 show a comparison of the architectural promenade in t he Villa Savoye and WrightsUnity Temple. The procession in the Unity Temple is very controlled, and very much controls the perception of thechurch hall. At Villa Savoye, the procession up the ramp allows one to see and appreciate the forms and compositionsfrom multiple vantage points.


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Fig 8.01 - Villa Savoye -main stair

Fig 8.02 - Villa Savoye - Stair and ramp Fig 8.03 - Sketch by Le Corbusier of Villa Savoyeroof garden

Fig 8.05 - Diagram showingcirculation

Fig 8.06 - Villa Savoye roof gardenviewed from Living Room

Fig 8.07 - Villa Savoye , on approach(from Ouevre Complete)

Fig 8.09 - Villa Savoye, ground levelreception area (from Ouevre Complete)

Fig 8.10 - Villa Savoye, ramp from roof gardento solarium (from Ouevre Complete)


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Fig 8.12 - Sketch by LeCorbusier of Wannerresidence

Fig 8.13 - Movement diagram throughVilla Savoye

Fig 8.14 - Movement diagram through UnityTemple (Frank Lloyd Wright)

8 - Five Points of Architecture

In 1926, two years before design started on the Villa Savoye, Le Corbusier and Pierre Jeanneret published amanifesto/declaration entitled "Five points towards a new architecture." This is a short manifesto that "in no wayrelates[s] to aesthetic fantasies or a striving for fashionable effects, but concern architectural facts that imply anentirely new kind of building."

Perhaps due to its brevity, the manifesto does not explain why these five points are important, or what relevance theyhave to works of architecture. However, Le Corbusier was a man to whom ideas were fundamental. It is thereforeinteresting to see some of the results of his thought processes, even if the underlying rationale is not made clear.

The five points can be summarised as 1) Supports; 2) Roof gardens; 3) Free design of the ground plan; 4) Horizontalwindows; and 5) The free design of the faade. Perhaps not surprisingly, the Villa Savoye is a clear example of abuilding incorporating these five points.

By supports, Le Corbusier states the ground level of buildings should be raised 3 to 6 metres above existing grade, sothat "the rooms are thereby removed from the dampness of the soil; [and]they have light and air."18 The main floor ofVilla Savoye is set one level above grade. With the exception of bedrooms for the servants (who apparently are notcovered by this manifesto), there are no primary rooms at grade level.

What this does is to li terally and figuratively separate the house from the ground (fig. 9.08). It is an interesting contrastto other design philosophies that seek to merge the dwelling with the earth, and to incorporate the experience of atactile terra firma in a design. However, the disassociating the house with the ground does allow the perception andexperience of the house to be more cerebral . . . ie, it allows one to fully appreciate the Absolute harmonies to whichthe composition is attuned.

It is also interesting consider in this context Le Corbusiers ideas of urban planning, particularly the Voisin project (fig.9.11). Here are a series of free-standing towers set amongst landscaped fields. It is this same mental approach that isfound in the siting of the Villa Savoye, although on a very much reduced scale.

The roof garden is obviously provided in Villa Savoye. Similar to the argument above, a roof garden, as opposed to agarden planted at grade, is mentally disassociated with the surrounding landscape. One can appreciate the verdantroof terrace, but the feel is distinctly different than a grade level garden.

The use of roofs for other purposes was not new to Modern architecture. Le Corbusier cites the famous example ofthe race track on the roof of the Fiat factory in Turin (fig. 9.04). This is a striking image of new and modern whichwas critically important to the modern movement. One suspects that it was not the object per se that was important,but rather the idea of breaking from a very structured 19th century past and its social conventions. I suspect that thereis an element of this thinking in both this manifesto point, and in its realisation in the Villa Savoye.

The free design of the ground plan involves several ideas. First, there is the idea of an independent structural systemthat carries the floors separate from the walls. This was previously espoused by Le Corbusier in his Domino project

(fig. 9.01). This allows walls and partitions to be merely screens, and to be positioned wherever desired. Secondly,there is the idea of bringing the landscape under the outline of the building.

Villa Savoye uses the independent structural system, but as previously noted, with the exception of certain visiblepublic zones, the columns are placed to suit residential space planning requirements. The idea is still there, but thepurity of concept has been compromised.

The idea of screen walls is also emphasized in Villa Savoye. The ground level has a screen wall (fig. 9.03, 9.07) thatis obviously non-load bearing. This further mentally separates the house from the physical landscape. Thelandscaping also extends under the outline of the house, albeit in gravel. This gives the impression that theconnection between the house and the landscaping is to be tightly and rigorously controlled. The randomness ofnature is controlled in its interaction with the house.


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The use of horizontal windows at Villa Savoye is clear (figs. 9.12 and 9.13). This does several things. First, itemphasizes that the wall is non-structural, and that the building is held up a separate framing structure. Secondly, itoffers and image of new and modern that further emphasizes the shift away from a previous epoch. Finally, andperhaps most importantly, it offers a direct connection and association with the horizon, and as such becomes anelement that mediates ones perception of nature, ie, the natural surroundings and horizon are perceived and framedby the man-made structure.

The free design of the faade is a point that seems somewhat gratuitous. The idea of the non-structural aspects of thehorizontal window are repeated. The free design of the faade in theory allows an easier application of regulatinglines and so forth, but history abounds with many geometrically ordered buildings constructed of load-bearingmasonry.

Fig 9.01 - Domino projectby Le Corbusier

Fig 9.02 - Motorcar Fig 9.03 - Villa Savoyeentrance

Fig 9.04 - Roof track at Fiatfactory, Turin (from Vers unearchitecture)

Fig 9.05 - Villa Savoye roofgarden

Fig 9.07 Villa Savoye (fromOeuvre Complete)

Fig 9.08 Villa Savoye (fromOeuvre Complete)

Fig 9.06 Diagram showingplacement and orientationof roof gardens

Fig 9.09/15 Le Corbusiersketch

Fig 9.10/16 Le Corbusiersketch

Fig 9.11 - Le Corbusier Voisinplan


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Fig 9.12 - South elevation Fig 9.13 - West elevation Fig 9.14 - Roof garden Fig. 9.17 - Le Corbusier sketc

Fig 9.18 - Le Corbusiersketch of Villa Savoye roofgarden (from OuevreComplete)

Fig 9.19 - Villa Savoye roofgarden (from OuevreComplete)

Villa Fallet A family home built on a hillside. The detail and

ornament of the house is based on geometric patterns and the

simplification of natural forms, like seeds and leaves. The

design philosophy of this house is an extension of nature and

in harmony with its site, a position that was the core of the

Arts and Crafts Movement.

Villa Schwob A home for a wealthy family wanting a design

to reflect their social standing. The expression of nature, that

had been so much a part of Villa Fillet has gone and any

decoration is reduced to lines that define the forms of the

building and link the separate parts together in a proportional

composition of geometric shapes. In this design, he began to

focus for the first time on the interior of the building and

envisage how the occupants would experience the spaces. In

later life he said that he considered this to be the first design in

which he was thinking as an architect.

Villa Savoye (1928-1931) illustrates how far Le Corbusier had

moved away from his earlier Arts and Crafts approach. The

rational plan and structure of this home in Poissy combined

with the composition of interlinked spaces and geometric

shapes make it clear that it is a man made design statement

in contrast with nature. The visual contrast is given even

greater impact by the building being painted white and raised

off the ground on slender stilts.


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Cite de Refuge (1929-1933) was designed as a Salvation Army

refuge for the homeless of Paris. It was the first time that such

a hostel had been designed as a new building rather than

converting an existing one. He took the opportunity to create a

building full of sunlight and fresh air, a factory ofgoodness. In

designing this building he was also testing out many of his

ideas for urban buildings in the new cities that he envisaged

building. Throughout this period of his life he was developing

theories of urban design developed around the idea of high-

rise buildings which he saw as the answer to the housing crisis

and a way of raising the quality of life for people living in cities.

The density of population in such high rise buildings released

large areas of land for parks, community buildings and a

segregated transport system for vehicles and pedestrians.

Notre-Dame-du-Haut Chapel, Ronchamp (195054)His most

visionary work is often considered to be this pilgrimage church

located on a hilltop that had been a significant religious site for

centuries. Le Corbusier was invited to design the building as part of amovement in the Catholic Church to use art and architecture to

explore the roots of religion. The feeling was that the traditional

forms of church architecture had lost their meaning for people and

that the Church had to turn to the most vigorous creators of modern

art and architecture to put this right. In this building Le Corbusier

responds to the sacredness of the site both for the individual at

prayer within the building and to the crowds of pilgrims who gather

on the hillside. The sculptural form of the building is dominated by

the shape of the roof which is based on an inverted crab shell that Le

Corbusier found on a beach and kept in his studio. Throughout his life

he kept such natural objects around him to stimulate his imagination

and promote design ideas for the detail, structure and overall form of

the architecture he was creating. The unique shape of the buildingalso responds to the acoustic needs of the interior chapels and

exterior pilgrimage space. The sculptural form also emphasises the

relationshi of the buildin to its location

Unite dHabitation (19461952)This was the first commission granted

to Le Corbusier for social housing and was an opportunity to

incorporate many of the ideas he had been developing for many

years. It aimed to provide accommodation for individual families in a

building that promoted a sense of community. The families that were

housed in this complex building had lost their homes in the recent war

and so there was a great sense of this project being a flagship for

reconstruction. The building is constructed from in situ reinforced

concrete and contains 337 apartments and communal spaces

including a nursery school, shops, hotel and roof top terrace. It was in

this building that Le Corbusier tested out the proportional system of

measurements that he called The Modulor. This system was

developed in order to unify the design of the building by relating the

different parts of the building one to another and to the scale of the

human body. As an example of mass housing this building was very

influential and four similar UnitedHabitation were built in France and

Germany.

Le Corbusier: Ideologies, Principles, Values

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