Le Corbusier

Le Corbusier (Charles-Édouard Jeanneret), 1920, Nature morte (Still Life), oil on canvas, 80.9 cm × 99.7 cm (31.9 in × 39.3 in), Museum of Modern Art, New York

Charles-Édouard Jeanneret was born on 6 October 1887 in La Chaux-de-Fonds, a small city in the French-speaking Neuchâtel canton in north-western Switzerland, in the Jura mountains, 5 kilometres (3.1 mi) across the border from France. It was an industrial town, devoted to manufacturing watches. Among the unifying social structures of La Chaux-de-Fonds was the Loge L'Amitié, the Masonic lodge with its francophone moral, social, and philosophical ideas, including the symbolic iconography of the right angle (rectitude) and the compass (exactitude). Le Corbusier would later describe these as "my guide, my choice" and as his "time-honored ideas, ingrained and deep-rooted in the intellect, like entries from a catechism."[6] (He adopted the pseudonym Le Corbusier in 1920.) His father was an artisan who enamelled boxes and watches, and his mother taught piano. His elder brother Albert was an amateur violinist.[13] He attended a kindergarten that used Fröbelian methods.[14][15][16]

Like his contemporaries Frank Lloyd Wright and Mies van der Rohe, Le Corbusier lacked formal training as an architect. He was attracted to the visual arts; at the age of fifteen, he entered the municipal art school in La-Chaux-de-Fonds which taught the applied arts connected with watchmaking. Three years later he attended the higher course of decoration, founded by the painter Charles L'Eplattenier, who had studied in Budapest and Paris. Le Corbusier wrote later that L'Eplattenier had made him "a man of the woods" and taught him about painting from nature.[13] His father frequently took him into the mountains around the town. He wrote later, "we were constantly on mountaintops; we grew accustomed to a vast horizon."[17] His architecture teacher in the Art School was architect René Chapallaz, who had a large influence on Le Corbusier's earliest house designs. He reported later that it was the art teacher L'Eplattenier who made him choose architecture. "I had a horror of architecture and architects," he wrote. "...I was sixteen, I accepted the verdict and I obeyed. I moved into architecture."[18]

• 
  Le Corbusier's student project, the Villa Fallet, a chalet in La Chaux-de-Fonds, Switzerland (1905)
• 
  The "Maison Blanche", built for Le Corbusier's parents in La Chaux-de-Fonds (1912)
• 
  Open interior of the "Maison Blanche" (1912)
• 
  The Villa Favre-Jacot in Le Locle, Switzerland (1912)

Le Corbusier began teaching himself by going to the library to read about architecture and philosophy, visiting museums, sketching buildings, and constructing them. In 1905, he and two other students, under the supervision of their teacher, René Chapallaz, designed and built his first house, the Villa Fallet, for the engraver Louis Fallet, a friend of his teacher Charles L'Eplattenier. Located on the forested hillside near Chaux-de-fonds, it was a large chalet with a steep roof in the local alpine style and carefully crafted coloured geometric patterns on the façade. The success of this house led to his construction of two similar houses, the Villas Jacquemet and Stotzer, in the same area.[19]

In September 1907, he made his first trip outside of Switzerland, going to Italy; then that winter travelling through Budapest to Vienna, where he stayed for four months and met Gustav Klimt and tried, without success, to meet Josef Hoffmann.[20] In Florence, he visited the Florence Charterhouse in Galluzzo, which made a lifelong impression on him. "I would have liked to live in one of what they called their cells," he wrote later. "It was the solution for a unique kind of worker's housing, or rather for a terrestrial paradise."[21] He travelled to Paris, and for fourteen months between 1908 and 1910 he worked as a draftsman in the office of the architect Auguste Perret, the pioneer of the use of reinforced concrete in residential construction and the architect of the Art Deco landmark Théâtre des Champs-Élysées. Two years later, between October 1910 and March 1911, he travelled to Germany and worked for four months in the office Peter Behrens, where Mies van der Rohe and Walter Gropius were also working and learning.[22]

In 1911, he travelled again with his friend August Klipstein for five months;[23] this time he journeyed to the Balkans and visited Serbia, Bulgaria, Turkey, Greece, as well as Pompeii and Rome, filling nearly 80 sketchbooks with renderings of what he saw—including many sketches of the Parthenon, whose forms he would later praise in his work Vers une architecture (1923). He spoke of what he saw during this trip in many of his books, and it was the subject of his last book, Le Voyage d'Orient.[22]

In 1912, he began his most ambitious project; a new house for his parents. also located on the forested hillside near La-Chaux-de-Fonds. The Jeanneret-Perret house was larger than the others, and in a more innovative style; the horizontal planes contrasted dramatically with the steep alpine slopes, and the white walls and lack of decoration were in sharp contrast with the other buildings on the hillside. The interior spaces were organized around the four pillars of the salon in the centre, foretelling the open interiors he would create in his later buildings. The project was more expensive to build than he imagined; his parents were forced to move from the house within ten years, and relocate to a more modest house. However, it led to a commission to build an even more imposing villa in the nearby village of Le Locle for a wealthy watch manufacturer, Georges Favre-Jacot. Le Corbusier designed the new house in less than a month. The building was carefully designed to fit its hillside site, and the interior plan was spacious and designed around a courtyard for maximum light, a significant departure from the traditional house.[24]

Charles-Édouard Jeanneret, 1914–15, Maison Dom-Ino (Dom-ino House)

During World War I, Le Corbusier taught at his old school in La-Chaux-de-Fonds. He concentrated on theoretical architectural studies using modern techniques.[25] In December 1914, along with the engineer Max Dubois, he began a serious study of the use of reinforced concrete as a building material. He had first discovered concrete working in the office of Auguste Perret, the pioneer of reinforced concrete architecture in Paris, but now wanted to use it in new ways.

"Reinforced concrete provided me with incredible resources," he wrote later, "and variety, and a passionate plasticity in which by themselves my structures will be the rhythm of a palace, and a Pompieen tranquillity."[26] This led him to his plan for the Dom-Ino House (1914–15). This model proposed an open floor plan consisting of three concrete slabs supported by six thin reinforced concrete columns, with a stairway providing access to each level on one side of the floor plan.[27] The system was originally designed to provide large numbers of temporary residences after World War I, producing only slabs, columns and stairways, and residents could build exterior walls with the materials around the site. He described it in his patent application as "a juxtiposable system of construction according to an infinite number of combinations of plans. This would permit, he wrote, "the construction of the dividing walls at any point on the façade or the interior."

The Anatole Schwob House in La-Chaux-de-Fonds (1916–1918)

Under this system, the structure of the house did not have to appear on the outside but could be hidden behind a glass wall, and the interior could be arranged in any way the architect liked.[28] After it was patented, Le Corbusier designed several houses according to the system, which was all white concrete boxes. Although some of these were never built, they illustrated his basic architectural ideas which would dominate his works throughout the 1920s. He refined the idea in his 1927 book on the Five Points of a New Architecture. This design, which called for the disassociation of the structure from the walls, and the freedom of plans and façades, became the foundation for most of his architecture over the next ten years.[29]

In August 1916, Le Corbusier received his largest commission ever, to construct a villa for the Swiss watchmaker Anatole Schwob, for whom he had already completed several small remodelling projects. He was given a large budget and the freedom to design not only the house but also to create the interior decoration and choose the furniture. Following the precepts of Auguste Perret, he built the structure out of reinforced concrete and filled the gaps with brick. The centre of the house is a large concrete box with two semicolumn structures on both sides, which reflects his ideas of pure geometrical forms. A large open hall with a chandelier occupied the centre of the building. "You can see," he wrote to Auguste Perret in July 1916, "that Auguste Perret left more in me than Peter Behrens."[30]

Le Corbusier's grand ambitions collided with the ideas and budget of his client and led to bitter conflicts. Schwob went to court and denied Le Corbusier access to the site, or the right to claim to be the architect. Le Corbusier responded, "Whether you like it or not, my presence is inscribed in every corner of your house." Le Corbusier took great pride in the house and reproduced pictures in several of his books.[31]

Le Corbusier, 1921, Nature morte (Still Life), oil on canvas, 54 x 81 cm, Musée National d'Art Moderne, Paris

Le Corbusier, 1922, Nature morte verticale (Vertical Still Life), oil on canvas, 146.3 cm × 89.3 cm (57.6 by 35.2 inches), Kunstmuseum Basel

Le Corbusier, 1920, Guitare verticale (2ème version), oil on canvas, 100 cm × 81 cm (39 in × 32 in), Fondation Le Corbusier, Paris

Le Corbusier moved to Paris definitively in 1917 and began his architectural practise with his cousin, Pierre Jeanneret (1896–1967), a partnership that would last until the 1950s, with an interruption in the World War II years.[32]

In 1918, Le Corbusier met the Cubist painter Amédée Ozenfant, in whom he recognised a kindred spirit. Ozenfant encouraged him to paint, and the two began a period of collaboration. Rejecting Cubism as irrational and "romantic", the pair jointly published their manifesto, Après le cubisme and established a new artistic movement, Purism. Ozenfant and Le Corbusier began writing for a new journal, L'Esprit Nouveau, and promoted with energy and imagination his ideas of architecture.

In the first issue of the journal, in 1920, Charles-Edouard Jeanneret adopted Le Corbusier (an altered form of his maternal grandfather's name, Lecorbésier) as a pseudonym, reflecting his belief that anyone could reinvent themselves.[33][34] Adopting a single name to identify oneself was in vogue by artists in many fields during that era, especially in Paris.

Between 1918 and 1922, Le Corbusier did not build anything, concentrating his efforts on Purist theory and painting. In 1922, he and his cousin Pierre Jeanneret opened a studio in Paris at 35 rue de Sèvres.[25] They set up an architectural practice together. From 1927 to 1937 they worked together with Charlotte Perriand at the Le Corbusier-Pierre Jeanneret studio.[35] In 1929 the trio prepared the "House fittings" section for the Decorative Artists Exhibition and asked for a group stand, renewing and widening the 1928 avant-garde group idea. This was refused by the Decorative Artists Committee. They resigned and founded the Union of Modern Artists ("Union des artistes modernes": UAM).

His theoretical studies soon advanced into several different single-family house models. Among these, was the Maison "Citrohan." The project's name was a reference to the French Citroën automaker, for the modern industrial methods and materials, Le Corbusier advocated using in the house's construction as well as how he intended the homes would be consumed, similar to other commercial products, like the automobile.[36]

As part of the Maison Citrohan model, Le Corbusier proposed a three-floor structure, with a double-height living room, bedrooms on the second floor, and a kitchen on the third floor. The roof would be occupied by a sun terrace. On the exterior, Le Corbusier installed a stairway to provide second-floor access from the ground level. Here, as in other projects from this period, he also designed the façades to include large uninterrupted banks of windows. The house used a rectangular plan, with exterior walls that were not filled by windows but left as white, stuccoed spaces. Le Corbusier and Jeanneret left the interior aesthetically spare, with any movable furniture made of tubular metal frames. Light fixtures usually comprised single, bare bulbs. Interior walls also were left white.

In 1922 and 1923, Le Corbusier devoted himself to advocating his new concepts of architecture and urban planning in a series of polemical articles published in L'Esprit Nouveau. At the Paris Salon d'Automne in 1922, he presented his plan for the Ville Contemporaine, a model city for three million people, whose residents would live and work in a group of identical sixty-story tall apartment buildings surrounded by lower zig-zag apartment blocks and a large park. In 1923, he collected his essays from L'Esprit Nouveau published his first and most influential book, Towards an Architecture. He presented his ideas for the future of architecture in a series of maxims, declarations, and exhortations, pronouncing that "a grand epoch has just begun. There exists a new spirit. There already exist a crowd of works in the new spirit, they are found especially in industrial production. Architecture is suffocating in its current uses. "Styles" are a lie. Style is a unity of principles which animates all the work of a period and which result in a characteristic spirit...Our epoch determines each day its style..-Our eyes, unfortunately, don't know how to see it yet," and his most famous maxim, "A house is a machine to live in." Most of the many photographs and drawings in the book came from outside the world of traditional architecture; the cover showed the promenade deck of an ocean liner, while others showed racing cars, aeroplanes, factories, and the huge concrete and steel arches of zeppelin hangars.[37]

The Pavilion of the Esprit Nouveau (1925)

The model of the Plan Voisin for the reconstruction of Paris displayed at the Pavilion of the Esprit Nouveau

An important early work of Le Corbusier was the Esprit Nouveau Pavilion, built for the 1925 Paris International Exhibition of Modern Decorative and Industrial Arts, the event which later gave Art Deco its name. Le Corbusier built the pavilion in collaboration with Amédée Ozenfant and with his cousin Pierre Jeanneret. Le Corbusier and Ozenfant had broken with Cubism and formed the Purism movement in 1918 and in 1920 founded their journal L'Esprit Nouveau. In his new journal, Le Corbusier vividly denounced the decorative arts: "Decorative Art, as opposed to the machine phenomenon, is the final twitch of the old manual modes, a dying thing." To illustrate his ideas, he and Ozenfant decided to create a small pavilion at the Exposition, representing his idea of the future urban housing unit. A house, he wrote, "is a cell within the body of a city. The cell is made up of the vital elements which are the mechanics of a house...Decorative art is antistandarizational. Our pavilion will contain only standard things created by industry in factories and mass-produced, objects truly of the style of today...my pavilion will therefore be a cell extracted from a huge apartment building."[38]

Le Corbusier and his collaborators were given a plot of land located behind the Grand Palais in the centre of the Exposition. The plot was forested, and exhibitors could not cut down trees, so Le Corbusier built his pavilion with a tree in the centre, emerging through a hole in the roof. The building was a stark white box with an interior terrace and square glass windows. The interior was decorated with a few cubist paintings and a few pieces of mass-produced commercially available furniture, entirely different from the expensive one-of-a-kind pieces in the other pavilions. The chief organizers of the Exposition were furious and built a fence to partially hide the pavilion. Le Corbusier had to appeal to the Ministry of Fine Arts, which ordered that fence be taken down.[38]

Besides the furniture, the pavilion exhibited a model of his 'Plan Voisin', his provocative plan for rebuilding a large part of the centre of Paris. He proposed to bulldoze a large area north of the Seine and replace the narrow streets, monuments and houses with giant sixty-story cruciform towers placed within an orthogonal street grid and park-like green space. His scheme was met with criticism and scorn from French politicians and industrialists, although they were favourable to the ideas of Taylorism and Fordism underlying his designs. The plan was never seriously considered, but it provoked discussion concerning how to deal with the overcrowded poor working-class neighbourhoods of Paris, and it later saw the partial realization in the housing developments built in the Paris suburbs in the 1950s and 1960s.

The Pavilion was ridiculed by many critics, but Le Corbusier, undaunted, wrote: "Right now one thing is sure. 1925 marks the decisive turning point in the quarrel between the old and new. After 1925, the antique-lovers will have virtually ended their lives . . . Progress is achieved through experimentation; the decision will be awarded on the field of battle of the 'new'."[39]

In 1925, Le Corbusier combined a series of articles about decorative art from "L'Esprit Nouveau" into a book, L'art décoratif d'aujourd'hui (The Decorative Art of Today).[40][41] The book was a spirited attack on the very idea of decorative art. His basic premise, repeated throughout the book, was: "Modern decorative art has no decoration."[42] He attacked with enthusiasm the styles presented at the 1925 Exposition of Decorative Arts: "The desire to decorate everything about one is a false spirit and an abominable small perversion....The religion of beautiful materials is in its final death agony...The almost hysterical onrush in recent years toward this quasi-orgy of decor is only the last spasm of a death already predictable."[43] He cited the 1912 book of the Austrian architect Adolf Loos "Ornament and crime", and quoted Loos's dictum, "The more a people are cultivated, the more decor disappears." He attacked the deco revival of classical styles, what he called "Louis Philippe and Louis XVI moderne"; he condemned the "symphony of color" at the Exposition, and called it "the triumph of assemblers of colors and materials. They were swaggering in colors... They were making stews out of fine cuisine." He condemned the exotic styles presented at the Exposition based on the art of China, Japan, India and Persia. "It takes energy today to affirm our western styles." He criticized the "precious and useless objects that accumulated on the shelves" in the new style. He attacked the "rustling silks, the marbles which twist and turn, the vermilion whiplashes, the silver blades of Byzantium and the Orient...Let's be done with it!"[44]

"Why call bottles, chairs, baskets and objects decorative?" Le Corbusier asked. "They are useful tools....The decor is not necessary. Art is necessary." He declared that in the future the decorative arts industry would produce only "objects which are perfectly useful, convenient, and have a true luxury which pleases our spirit by their elegance and the purity of their execution and the efficiency of their services. This rational perfection and precise determinate creates the link sufficient to recognize a style." He described the future of decoration in these terms: "The idea is to go work in the superb office of a modern factory, rectangular and well-lit, painted in white Ripolin (a major French paint manufacturer); where healthy activity and laborious optimism reign." He concluded by repeating "Modern decoration has no decoration".[44]

The book became a manifesto for those who opposed the more traditional styles of the decorative arts; In the 1930s, as Le Corbusier predicted, the modernized versions of Louis Philippe and Louis XVI furniture and the brightly coloured wallpapers of stylized roses were replaced by a more sober, more streamlined style. Gradually the modernism and functionality proposed by Le Corbusier overtook the more ornamental style. The shorthand titles that Le Corbusier used in the book, 1925 Expo: Arts Deco were adapted in 1966 by the art historian Bevis Hillier for a catalogue of an exhibition on the style, and in 1968 in the title of a book, Art Deco of the 20s and 30s. And thereafter the term "Art Deco" was commonly used as the name of the style.[45]

• 
  The Villa La Roche-Jeanneret (now Fondation Le Corbusier) in Paris (1923)
• 
  Corbusier Haus (right) and Citrohan Haus in Weissenhof, Stuttgart, Germany (1927)
• 
  The Villa Savoye in Poissy (1928–1931)

The notoriety that Le Corbusier achieved from his writings and the Pavilion at the 1925 Exposition led to commissions to build a dozen residences in Paris and the Paris region in his "purist style." These included the Maison La Roche/Albert Jeanneret (1923–1925), which now houses the Fondation Le Corbusier; the Maison Guiette in Antwerp, Belgium (1926); a residence for Jacques Lipchitz; the Maison Cook, and the Maison Planeix. In 1927, he was invited by the German Werkbund to build three houses in the model city of Weissenhof near Stuttgart, based on the Citroen House and other theoretical models he had published. He described this project in detail in one of his best-known essays, the Five Points of Architecture.[46]

The following year he began the Villa Savoye (1928–1931), which became one of the most famous of Le Corbusier's works, and an icon of modernist architecture. Located in Poissy, in a landscape surrounded by trees and a large lawn, the house is an elegant white box poised on rows of slender pylons, surrounded by a horizontal band of windows which fill the structure with light. The service areas (parking, rooms for servants and laundry room) are located under the house. Visitors enter a vestibule from which a gentle ramp leads to the house itself. The bedrooms and salons of the house are distributed around a suspended garden; the rooms look both out at the landscape and into the garden, which provides additional light and air. Another ramp leads up to the roof, and a stairway leads down to the cellar under the pillars.

Villa Savoye succinctly summed up the five points of architecture that he had elucidated in L'Esprit Nouveau and the book Vers une architecture, which he had been developing throughout the 1920s. First, Le Corbusier lifted the bulk of the structure off the ground, supporting it by pilotis, reinforced concrete stilts. These pilotis, in providing the structural support for the house, allowed him to elucidate his next two points: a free façade, meaning non-supporting walls that could be designed as the architect wished, and an open floor plan, meaning that the floor space was free to be configured into rooms without concern for supporting walls. The second floor of the Villa Savoye includes long strips of ribbon windows that allow unencumbered views of the large surrounding garden, which constitute the fourth point of his system. The fifth point was the roof garden to compensate for the green area consumed by the building and replace it on the roof. A ramp rising from ground level to the third-floor roof terrace allows for a promenade architecturale through the structure. The white tubular railing recalls the industrial "ocean-liner" aesthetic that Le Corbusier much admired.

Le Corbusier was quite rhapsodic when describing the house in Précisions in 1930: "the plan is pure, exactly made for the needs of the house. It has its correct place in the rustic landscape of Poissy. It is Poetry and lyricism, supported by technique."[47] The house had its problems; the roof persistently leaked, due to construction faults; but it became a landmark of modern architecture and one of the best-known works of Le Corbusier.[47]

Thanks to his passionate articles in L'Esprit Nouveau, his participation in the 1925 Decorative Arts Exposition and the conferences he gave on the new spirit of architecture, Le Corbusier had become well known in the architectural world, though he had only built residences for wealthy clients. In 1926, he entered the competition for the construction of a headquarters for the League of Nations in Geneva with a plan for an innovative lakeside complex of modernist white concrete office buildings and meeting halls. There were 337 projects in competition. It appeared that the Corbusier's project was the first choice of the architectural jury, but after much behind-the-scenes manoeuvring, the jury declared it was unable to pick a single winner, and the project was given instead to the top five architects, who were all neoclassicists. Le Corbusier was not discouraged; he presented his plans to the public in articles and lectures to show the opportunity that the League of Nations had missed.[48]

In 1928, Le Corbusier took a major step toward establishing modernist architecture as the dominant European style. Le Corbusier had met with many of the leading German and Austrian modernists during the competition for the League of Nations in 1927. In the same year, the German Werkbund organized an architectural exposition at the Weissenhof Estate Stuttgart. Seventeen leading modernist architects in Europe were invited to design twenty-one houses; Le Corbusier and Mies van der Rohe played a major part. In 1927 Le Corbusier, Pierre Chareau and others proposed the foundation of an international conference to establish the basis for a common style. The first meeting of the Congrès Internationaux d'Architecture Moderne or International Congresses of Modern Architects (CIAM), was held in a château on Lake Leman in Switzerland 26–28 June 1928. Those attending included Le Corbusier, Robert Mallet-Stevens, Auguste Perret, Pierre Chareau and Tony Garnier from France; Victor Bourgeois from Belgium; Walter Gropius, Erich Mendelsohn, Ernst May and Mies van der Rohe from Germany; Josef Frank from Austria; Mart Stam and Gerrit Rietveld from the Netherlands, and Adolf Loos from Czechoslovakia. A delegation of Soviet architects was invited to attend, but they were unable to obtain visas. Later members included Josep Lluís Sert of Spain and Alvar Aalto of Finland. No one attended from the United States. A second meeting was organized in 1930 in Brussels by Victor Bourgeois on the topic "Rational methods for groups of habitations". A third meeting, on "The functional city", was scheduled for Moscow in 1932, but was cancelled at the last minute. Instead, the delegates held their meeting on a cruise ship travelling between Marseille and Athens. Onboard, they together drafted a text on how modern cities should be organized. The text, called The Athens Charter, after considerable editing by Le Corbusier and others, was finally published in 1943 and became an influential text for city planners in the 1950s and 1960s. The group met once more in Paris in 1937 to discuss public housing and was scheduled to meet in the United States in 1939, but the meeting was cancelled because of the war. The legacy of the CIAM was a roughly common style and doctrine which helped define modern architecture in Europe and the United States after World War II.[50]

• 
  The National Museum of Western Art in Tokyo (1954–1959)
• 
  Carpenter Center for the Visual Arts in Cambridge, Massachusetts (1960–1963)
• 
  The Centre Le Corbusier in Zürich (1962–1967)

The 1950s and 1960s were a difficult period for Le Corbusier's personal life; his wife Yvonne died in 1957, and his mother, to whom he was closely attached, died in 1960. He remained active in a wide variety of fields; in 1955 he published Poéme de l'angle droit, a portfolio of lithographs, published in the same collection as the book Jazz by Henri Matisse. In 1958 he collaborated with the composer Edgar Varèse on a work called Le Poème électronique, a show of sound and light, for the Philips Pavilion at the International Exposition in Brussels. In 1960 he published a new book, L'Atelier de la recherché patiente The workshop of patient research), simultaneously published in four languages. He received growing recognition for his pioneering work in modernist architecture; in 1959, a successful international campaign was launched to have his Villa Savoye, threatened with demolition, declared a historic monument; it was the first time that a work by a living architect received this distinction. In 1962, in the same year as the dedication of the Palace of the Assembly in Chandigarh, the first retrospective exhibit on his work was held at the National Museum of Modern Art in Paris. In 1964, in a ceremony held in his atelier on rue de Sèvres, he was awarded the Grand Cross of the Légion d'honneur by Culture Minister André Malraux.[74]

His later architectural work was extremely varied, and often based on designs of earlier projects. In 1952–1958, he designed a series of tiny holiday cabins, 2.26 by 2.26 by 2.6 metres (7.4 by 7.4 by 8.5 feet) in size, for a site next to the Mediterranean at Roquebrune-Cap-Martin. He built a similar cabin for himself, but the rest of the project was not realized until after his death. From 1953–to 1957, he designed a residential building for Brazilian students for the Cité de la Université in Paris. Between 1954 and 1959, he built the National Museum of Western Art in Tokyo.[75] His other projects included a cultural centre and stadium for the town of Firminy, where he had built his first housing project (1955–1958); and a stadium in Baghdad, Iraq (much altered since its construction). He also constructed three new Unités d'Habitation, apartment blocks on the model of the original in Marseille, the first in Berlin (1956–1958), the second in Briey-en-Forêt in the Meurthe-et-Moselle Department; and the third (1959–1967) in Firminy. From 1960–to 1963, he built his only building in the United States; the Carpenter Center for the Visual Arts in Cambridge, Massachusetts.[74] Jørn Utzon, the architect of the Sydney Opera House, commissioned Le Corbusier to create furnishings for the nascent opera house. Le Corbusier designed a tapestry, Les Dés Sont Jetés, which was completed in 1960.[76]

Le Corbusier died of a heart attack at age 77 in 1965 after swimming at the French Riviera.[77] At the time of his death, several projects were on the drawing boards: the church of Saint-Pierre in Firminy, finally completed in modified form in 2006; a Palace of Congresses for Strasbourg (1962–65), and a hospital in Venice (1961–1965), which were never built. Le Corbusier designed an art gallery[78] beside the lake in Zürich for gallery owner Heidi Weber in 1962–1967. Now called the Centre Le Corbusier, it is one of his last finished works.[79]

The holiday cabin where he spent his last days in Roquebrune-Cap-Martin

The Fondation Le Corbusier (FLC) functions as his official estate.[80] The US copyright representative for the Fondation Le Corbusier is the Artists Rights Society.[81]

Le Corbusier was an eloquent critic of the finely crafted, hand-made furniture, made with rare and exotic woods, inlays and coverings, presented at the 1925 Exposition of Decorative Arts. Following his usual method, Le Corbusier first wrote a book with his theories of furniture, complete with memorable slogans. In his 1925 book L'Art Décoratif d'aujourd'hui, he called for furniture that used inexpensive materials and could be mass-produced. Le Corbusier described three different furniture types: type-needs, type-furniture, and human-limb objects. He defined human-limb objects as: "Extensions of our limbs and adapted to human functions that are type-needs and type-functions, therefore type-objects and type-furniture. The human-limb object is a docile servant. A good servant is discreet and self-effacing to leave his master free. Certainly, works of art are tools, beautiful tools. And long live the good taste manifested by choice, subtlety, proportion, and harmony". He further declared: "Chairs are architecture, sofas are bourgeois".

Frame of an LC4 chair by Le Corbusier and Perriand (1927–28) at Museum of Decorative Arts, Paris

Le Corbusier first relied on ready-made furniture from Thonet to furnish his projects, such as his pavilion at the 1925 Exposition. In 1928, following the publication of his theories, he began experimenting with furniture design. In 1928, he invited the architect Charlotte Perriand to join his studio as a furniture designer. His cousin, Pierre Jeanneret, also collaborated on many of the designs. For the manufacture of his furniture, he turned to the German firm Gebrüder Thonet, which had begun making chairs with tubular steel, a material originally used for bicycles, in the early 1920s. Le Corbusier admired the design of Marcel Breuer and the Bauhaus, who in 1925 had begun making sleek modern tubular club chairs. Mies van der Rohe had begun making his version in a sculptural curved form with a cane seat in 1927.[92]

The first results of the collaboration between Le Corbusier and Perriand were three types of chairs made with chrome-plated tubular steel frames: The LC4, Chaise Longue, (1927–28), with a covering of cowhide, which gave it a touch of exoticism; the Fauteuil Grand Confort (LC3) (1928–29), a club chair with a tubular frame which resembled the comfortable Art Deco club chairs that became popular in the 1920s; and the Fauteuil à dossier vascular (LC4) (1928–29), a low seat suspended in a tubular steel frame, also with cowhide upholstery. These chairs were designed specifically for two of his projects, the Maison la Roche in Paris and a pavilion for Barbara and Henry Church. All three clearly showed the influence of Mies van der Rohe and Marcel Breuer. The line of furniture was expanded with additional designs for Le Corbusier's 1929 Salon d'Automne installation, 'Equipment for the Home'. Despite the intention of Le Corbusier that his furniture should be inexpensive and mass-produced, his pieces were originally costly to make and were not mass-produced until many years later, when he was famous. [93]

There is debate over the apparently variable or contradictory nature of Le Corbusier's political views.[94] In the 1920s, he co-founded and contributed articles about urbanism to the fascist journals Plans, Prélude and L'Homme Réel.[95][94] He also penned pieces in favour of Nazi anti-semitism for those journals, as well as "hateful editorials".[96] Between 1925 and 1928, Le Corbusier had connections to Le Faisceau, a short-lived French fascist party led by Georges Valois. Valois later became an anti-fascist.[97] Le Corbusier knew another former member of Faisceau, Hubert Lagardelle, a former labor leader and syndicalist who had become disaffected with the political left. In 1934, after Lagardelle had obtained a position at the French embassy in Rome, he arranged for Le Corbusier to lecture on architecture in Italy. Lagardelle later served as minister of labor in the pro-Axis Vichy regime. While Le Corbusier sought commissions from the Vichy regime, particularly the redesign of Marseille after its Jewish population had been forcefully removed,[94] he was unsuccessful, and the only appointment he received from it was membership of a committee studying urbanism. Alexis Carrel, a eugenicist surgeon, appointed Le Corbusier to the Department of Bio-Sociology of the Foundation for the Study of Human Problems, an institute promoting eugenics policies under the Vichy regime.[94]

Le Corbusier has been accused of antisemitism. He wrote to his mother in October 1940, before a referendum held by the Vichy government: "The Jews are having a bad time. I occasionally feel sorry. But it appears their blind lust for money has rotted the country". He was also accused of belittling the Muslim population of Algeria, then part of France. When Le Corbusier proposed a plan for the rebuilding of Algiers, he condemned the existing housing for European Algerians, complaining that it was inferior to that inhabited by indigenous Algerians: "the civilized live like rats in holes", while "the barbarians live in solitude, in well-being."[98] His plan for rebuilding Algiers was rejected, and thereafter Le Corbusier mostly avoided politics.[99]

Few other 20th-century architects were criticized, or praised, as much as Le Corbusier. In his eulogy to Le Corbusier at the memorial ceremony for the architect in the courtyard of the Louvre on 1 September 1965, French Culture Minister André Malraux declared, "Le Corbusier had some great rivals, but none of them had the same significance in the revolution of architecture, because none bore insults so patiently and for so long."[100]

Later criticism of Le Corbusier was directed at his ideas on urban planning. In 1998, the architectural historian Witold Rybczynski wrote in Time magazine:

"He called it the Ville Radieuse, the Radiant City. Despite the poetic title, his urban vision was authoritarian, inflexible and simplistic. Wherever it was tried—in Chandigarh by Le Corbusier himself or in Brasilia by his followers—it failed. Standardization proved inhuman and disorienting. The open spaces were inhospitable; the bureaucratically imposed plan was socially destructive. In the US, the Radiant City took the form of vast urban-renewal schemes and regimented public housing projects that damaged the urban fabric beyond repair. Today, these megaprojects are being dismantled, as superblocks give way to rows of houses fronting streets and sidewalks. Downtowns have discovered that combining, not separating, different activities is the key to success. So is the presence of lively residential neighbourhoods, old as well as new. Cities have learned that preserving history makes more sense than starting from zero. It has been an expensive lesson, and not one that Le Corbusier intended, but it too is part of his legacy."[101]

Technological historian and architecture critic Lewis Mumford wrote in Yesterday's City of Tomorrow that the extravagant heights of Le Corbusier's skyscrapers had no reason for existence apart from the fact that they had become technological possibilities. The open spaces in his central areas had no reason for existence either, Mumford wrote, since on the scale, he imagined there was no motive during the business day for pedestrian circulation in the office quarter. By "mating utilitarian and financial image of the skyscraper city to the romantic image of the organic environment, Le Corbusier had produced a sterile hybrid."

The public housing projects influenced by his ideas have been criticized for isolating poor communities in monolithic high-rises and breaking the social ties integral to a community's development. One of his most influential detractors has been Jane Jacobs, who delivered a scathing critique of Le Corbusier's urban design theories in her seminal work The Death and Life of Great American Cities.

For some critics, the urbanism of Le Corbusier was the model for a fascist state.[102] These critics cited Le Corbusier himself when he wrote that "not all citizens could become leaders. The technocratic elite, the industrialists, financiers, engineers, and artists would be located in the city centre, while the workers would be removed to the fringes of the city".[103]

Alessandro Hseuh-Bruni wrote in "Le Corbusier's "Fatal Flaws – A Critique of Modernism" that

"In addition to setting the stage for infrastructural developments to come, Le Corbusier's blueprints and models, while not so well-regarded by urban planners and street dwellers alike, also examined the sociological side of cities in great detail. World War II left millions dead and transformed the urban landscape throughout much of Europe, from England to the Soviet Union, and housing on a mass scale was necessary. Le Corbusier personally took this as a challenge to accommodate the masses on an unprecedented scale. This mission statement manifested itself in the form of "Cité Radieuse" (The Radiant City), located in Marseille, France. The construction of this utopian sanctuary was dependent on the destruction of traditional neighbourhoods – he showed no regard for French cultural heritage and tradition. Entire neighbourhoods were ravaged to make way for these dense, uniform concrete blocks. If he had his way, Paris' elite Marais community would have been destroyed. In addition, the theme of segregation that plagued earlier models of Le Corbusier's continued in this supposed utopian vision, with the 5 wealthy elite being the only ones to access the luxuries of modernism."[104]

Gustavo Capanema Palace, Rio de Janeiro (Brazil)

Le Corbusier was concerned about problems he saw in industrial cities at the turn of the 20th century. He thought that industrial housing techniques led to crowding, dirtiness, and a lack of a moral landscape. He was a leader of the modernist movement to create better-living conditions and a better society through housing. Ebenezer Howard's Garden Cities of Tomorrow heavily influenced Le Corbusier and his contemporaries.[105]

Le Corbusier revolutionized urban planning, and was a founding member of the Congrès International d'Architecture Moderne (CIAM).[106] One of the first to realize how the automobile would change human society, Le Corbusier conceived the city of the future with large apartment buildings isolated in a park-like setting on pilotis. Le Corbusier's plans were adopted by builders of public housing in Europe and the United States. In Great Britain, urban planners turned to Le Corbusier's "Cities in the Sky" as a cheaper method of building public housing from the late 1950s.[107] Le Corbusier criticized any effort at ornamentation of the buildings. The large spartan structures in cities, but not part of it, have been criticized for being boring and unfriendly to pedestrians.[108]

Several of the many architects who worked for Le Corbusier in his studio became prominent, including painter-architect Nadir Afonso, who absorbed Le Corbusier's ideas into his aesthetics theory. Lúcio Costa's city plan of Brasília and the industrial city of Zlín planned by František Lydie Gahura in the Czech Republic are based on his ideas. Le Corbusier's thinking had profound effects on city planning and architecture in the Soviet Union during the Constructivist era.

Le Corbusier harmonized and lent credence to the idea of space as a set of destinations between which mankind moved continuously. He gave credibility to the automobile as a transporter and freeway in urban spaces. His philosophies were useful to urban real estate developers in the American post-World War II period because they justified and lent intellectual support to the desire to raze traditional urban spaces for high density, high-profit urban concentration. The freeways connected this new urbanism to low density, low cost, highly profitable suburban locales available to be developed for middle-class single-family housing.

Missing from this scheme of movement was connectivity between isolated urban villages created for the lower-middle and working classes, and the destination points in Le Corbusier's plan: suburban and rural areas, and urban commercial centres. As designed, the freeways travelled over, at, or beneath grade levels of the living spaces of the urban poor, for example, the Cabrini–Green housing project in Chicago. Because such projects were devoid of freeway-exit ramps and were cut off by freeway rights-of-way, they became isolated from the jobs and services that had been concentrated at Le Corbusier's nodal transportation endpoints.

As jobs migrated to the suburbs, these urban-village dwellers effectively found themselves stranded without freeway-access points in their communities or public mass transit that could economically reach suburban job centres. Late in the post-War period, suburban job centres found labour shortages to be such a critical problem that they sponsored urban-to-suburban shuttle-bus services to fill the vacant working-class and lower-middle-class jobs, which did not typically pay enough to afford car ownership.

Le Corbusier influenced architects and urbanists worldwide. In the United States, Shadrach Woods; in Spain, Francisco Javier Sáenz de Oiza; in Brazil, Oscar Niemeyer; In Mexico, Mario Pani Darqui; in Chile, Roberto Matta; in Argentina, Antoni Bonet i Castellana (a Catalan exile), Juan Kurchan, Jorge Ferrari Hardoy, Amancio Williams, and Clorindo Testa in his first era; in Uruguay, the professors Justino Serralta and Carlos Gómez Gavazzo; in Colombia, Germán Samper Gnecco, Rogelio Salmona, and Dicken Castro; in Peru, Abel Hurtado and José Carlos Ortecho; in Lebanon, Joseph Philippe Karam; in India Shiv Nath Prasad.

Le Corbusier, work reproduced in Život 2 (1922)

The Fondation Le Corbusier is a private foundation and archive honoring the work of Le Corbusier. It operates Maison La Roche, a museum located in the 16th arrondissement at 8–10, square du Dr Blanche, Paris, France, which is open daily except for Sunday.

The foundation was established in 1968. It now owns Maison La Roche and Maison Jeanneret (which form the foundation's headquarters), as well as the apartment occupied by Le Corbusier from 1933 to 1965 at rue Nungesser et Coli in Paris 16e, and the "Small House" he built for his parents in Corseaux on the shores of Lac Leman (1924).

Maison La Roche and Maison Jeanneret (1923–24), also known as the La Roche-Jeanneret house, is a pair of semi-detached houses that was Le Corbusier's third commission in Paris. They are laid out at right angles to each other, with iron, concrete, and blank, white façades setting off a curved two-story gallery space. Maison La Roche is now a museum containing about 8,000 original drawings, studies and plans by Le Corbusier (in collaboration with Pierre Jeanneret from 1922 to 1940), as well as about 450 of his paintings, about 30 enamels, about 200 other works on paper, and a sizable collection of written and photographic archives. It describes itself as the world's largest collection of Le Corbusier drawings, studies, and plans.[80][109]

• In 1937, Le Corbusier was named Chevalier of the Légion d'honneur. In 1945, he was promoted to Officier of the Légion d'honneur. In 1952, he was promoted to Commandeur of the Légion d'honneur. Finally, on 2 July 1964, Le Corbusier was named Grand Officier of the Légion d'honneur.[1]
• He received the Frank P. Brown Medal and AIA Gold Medal in 1961.
• The University of Cambridge awarded Le Corbusier an honorary degree in June 1959.[110]

In 2016, seventeen of Le Corbusier's buildings spanning seven countries were identified as UNESCO World Heritage Sites, reflecting "outstanding contribution to the Modern Movement".[111]

Le Corbusier's portrait was featured on the 10 Swiss francs banknote, pictured with his distinctive eyeglasses.

The following place-names carry his name:

• Place Le Corbusier, Paris, near the site of his atelier on the Rue de Sèvres
• Le Corbusier Boulevard, Laval, Quebec, Canada
• Place Le Corbusier in his hometown of La Chaux-de-Fonds, Switzerland
• Le Corbusier Street in the partido of Malvinas Argentinas, Buenos Aires Province, Argentina
• Le Corbusier Street in Le Village Parisien of Brossard, Quebec, Canada
• Le Corbusier Promenade, a promenade along the water at Roquebrune-Cap-Martin
• Le Corbusier Museum, Sector – 19 Chandigarh, India
• Le Corbusier Museum in Stuttgart am Weissenhof

• 1923: Villa La Roche, Paris, France
• 1925: Villa Jeanneret, Paris, France
• 1926: Cité Frugès, Pessac, France
• 1928: Villa Savoye, Poissy-sur-Seine, France
• 1929: Cité du Refuge, Armée du Salut, Paris, France
• 1931: Palace of the Soviets, Moscow, USSR (project)
• 1931: Immeuble Clarté, Geneva, Switzerland
• 1933: Tsentrosoyuz, Moscow, USSR
• 1947–1952: Unité d'Habitation, Marseille, France
• 1949–1952: United Nations headquarters, New York City, U.S. (Consultant)
• 1949–1953: Curutchet House, La Plata, Argentina (project manager: Amancio Williams)
• 1950–1954: Chapelle Notre Dame du Haut, Ronchamp, France
• 1951: Maisons Jaoul, Neuilly-sur-Seine, France
• 1951: Buildings in Ahmedabad, India
  • 1951: Sanskar Kendra Museum, Ahmedabad
  • 1951: ATMA House
  • 1951: Villa Sarabhai, Ahmedabad
  • 1951: Villa Shodhan, Ahmedabad
  • 1951: Villa of Chinubhai Chimanlal, Ahmedabad
• 1952: Unité d'Habitation of Nantes-Rezé, Nantes, France
• 1952–1959: Buildings in Chandigarh, India
  • 1952: Palace of Justice
  • 1952: Museum and Gallery of Art
  • 1953: Secretariat Building
  • 1953: Governor's Palace
  • 1955: Palace of Assembly
  • 1959: Government College of Art (GCA) and the Chandigarh College of Architecture (CCA)
• 1957: Maison du Brésil, Cité Universitaire, Paris, France
• 1957–1960: Sainte Marie de La Tourette, near Lyon, France (with Iannis Xenakis)
• 1957: Unité d'Habitation of Berlin-Charlottenburg, Flatowallee 16, Berlin, Germany
• 1962: Carpenter Center for the Visual Arts at Harvard University, Cambridge, Massachusetts, U.S.
• 1964–1969: Firminy-Vert, France
  • 1964: Unité d'Habitation of Firminy-Vert
  • 1965: Maison de la Culture de Firminy
• 1967: Heidi Weber Museum (Centre Le Corbusier), Zürich, Switzerland

• 1918: Après le cubisme (After Cubism), with Amédée Ozenfant
• 1923: Vers une architecture (Towards an Architecture) (frequently mistranslated as "Towards a New Architecture")
• 1925: Urbanisme (Urbanism)
• 1925: La Peinture moderne (Modern Painting), with Amédée Ozenfant
• 1925: L'Art décoratif d'aujourd'hui (The Decorative Arts of Today)
• 1930: Précisions sur un état présent de l'architecture et de l'urbanisme (Precisions on the present state of architecture and urbanism)
• 1931: Premier clavier de couleurs (First Color Keyboard)
• 1935: Aircraft
• 1935: La Ville radieuse (The Radiant City)
• 1942: Charte d'Athènes (Athens Charter)
• 1943: Entretien avec les étudiants des écoles d'architecture (A Conversation with Architecture Students)
• 1945: Les Trois établissements Humains (The Three Human Establishments)
• 1948: Le Modulor (The Modulor)
• 1953: Le Poeme de l'Angle Droit (The Poem of the Right Angle)
• 1955: Le Modulor 2 (The Modulor 2)
• 1959: Deuxième clavier de couleurs (Second Colour Keyboard)
• 1964: Quand les Cathédrales Etáient Blanches (When the Cathedrals were White)
• 1966: Le Voyage d'Orient (The Voyage to the East)

• Butterfly roof
• Crystal Cubism
• Mathematics and art
• Raoul Albert La Roche (Swiss donator and collector of art)

Wikiquote has quotations related to Le Corbusier.

Wikimedia Commons has media related to Le Corbusier.

• Le Corbusier architectural drawings, 1935–1961. Held by the Department of Drawings & Archives, Avery Architectural & Fine Arts Library, Columbia University.
• Fondation Le Corbusier – Official site
• Projects by Le Corbusier – ArchDaily
• Le Corbusier's Working Lifestyle: 'Working with Le Corbusier'
• Plummer, Henry. Cosmos of Light: The Sacred Architecture of Le Corbusier. Bloomington: Indiana University Press, 2013.
• "Le Corbusier and the Sun". solarhousehistory.com.