Le Corbusier PDF

Institute Of Technology Of Cambodia
Departement of Civil Engineering And

Architecture
Assignment
Professor : Soeun Vathanak

Student : Pil Sokheng
Group : I3-OAC
ID : e20170682
Acandemic Year
2019-2020
Charles-Édouard Jeanneret
I. Biography
Charles-Edouard Jeanneret-Gris, known as Le Corbusier was born on October 6 1887, Le
Corbusier was the second son of Edouard Jeanneret, an artist who painted dials in the town’s
renowned watch industry, and Madame Jeannerct-Perrct, a musician and piano teacher. His
family's Calvinism, love of the arts and enthusiasm for the Jura Mountains, where his family
fled during the Albigensian Wars of the 12th century, were all formative influences on the
young Le Corbusier.
At age 13, Le Corbusier left primary school to attend Arts Décoratifs at La Chaux-de-Fonds,
where he would learn the art of enameling and engraving watch faces, following in the footsteps
of his father. There, he fell under the tutelage of L’Eplattenier, whom Le Corbusier called “my
master” and later referred to him as his only teacher. L’Eplattenier taught Le Corbusier art
history, drawing and the naturalist aesthetics of art nouveau. Perhaps because of his extended
studies in art, Corbusier soon abandoned watchmaking and continued his studies in art and
decoration, intending to become a painter. L’Eplattenier insisted that his pupil also study
architecture, and he arranged for his first commissions working on local projects. These trips
played a pivotal role in Le Corbusier’s education. He made three major architectural
discoveries. In various settings, he witnessed and absorbed the importance of the contrast
between large collective spaces and individual compartmentalized spaces, an observation that
formed the basis for his vision of residential buildings and later became vastly influential;
classical proportion via Renaissance architecture; and geometric forms and the use of landscape
as an architectural tool. In 1912, Le Corbusier returned to La Chaux-de-Fonds to teach
alongside L’Eplattenier and to open his own architectural practice. He designed a series of
villas and began to theorize on the use of reinforced concrete as a structural frame, a thoroughly
modern technique.
Le Corbusier began to envisage buildings designed from these concepts as affordable
prefabricated housing that would help rebuild cities after World War I came to an end. The
floor plans of the proposed housing consisted of open space, leaving out obstructive support
poles, freeing exterior and interior walls from the usual structural constraints. This design
system became the backbone for most of Le Corbusier’s architecture for the next 10 years.
In 1917, Le Corbusier moved to Paris, where he worked as an architect on concrete structures
under government contracts. He spent most of his efforts, however, on the more influential,
and at the time more lucrative, discipline of painting.
Then, in 1918, Le Corbusier met Cubist painter Amédée Ozenfant, who encouraged Le
Corbusier to paint. Kindred spirits, the two began a period of collaboration in which they
rejected cubism, an art form finding its peak at the time, as irrational and romantic.
With these thoughts in mind, the pair published the book Après le cubisme (After Cubism), an
anti-cubism manifesto, and established a new artistic movement called purism. In 1920, the
pair, along with poet Paul Dermée, established the purist journal L’Esprit Nouveau (The New
Spirit), an avant-garde review.
In the first issue of the new publication, Charles-Edouard Jeanneret took on the pseudonym Le
Corbusier, an alteration of his grandfather’s last name, to reflect his belief that anyone could
reinvent himself. Also, adopting a single name to represent oneself artistically was particularly
en vogue at the time, especially in Paris, and Le Corbusier wanted to create a persona that could
keep separate his critical writing from his work as a painter and architect.
In the pages of L’Esprit Nouveau, the three men railed against past artistic and architectural
movements, such as those embracing elaborate nonstructural (that is, nonfunctional)
decoration, and defended Le Corbusier’s new style of functionalism.
In 1923, Le Corbusier published Vers une Architecture (Toward a New Architecture), which
collected his polemical writing from L’Esprit Nouveau. In the book are such famous Le
Corbusier declarations as “a house is a machine for living in” and “a curved street is a donkey
track; a straight street, a road for men.”
Le Corbusier’s collected articles also proposed a new architecture that would satisfy the
demands of industry, hence functionalism, and the abiding concerns of architectural form, as
defined over generations. His proposals included his first city plan, the Contemporary City,
and two housing types that were the basis for much of his architecture throughout his life: the
Maison Monol and, more famously, the Maison Citrohan, which he also referred to as “the
machine of living.”
Le Corbusier envisioned prefabricated houses, imitating the concept of assembly line
manufacturing of cars, for instance. Maison Citrohan displayed the characteristics by which
the architect would later define modern architecture: support pillars that raise the house above
the ground, a roof terrace, an open floor plan, an ornamentation-free facade and horizontal
windows in strips for maximum natural light. The interior featured the typical spatial contrast
between open living space and cell-like bedrooms.
In an accompanying diagram to the design, the city in which Citrohan would rest featured green
parks and gardens at the feet of clusters of skyscrapers, an idea that would come to define urban
planning in years to come.
Soon Le Corbusier’s social ideals and structural design theories became a reality. In 1925-
1926, he built a workers’ city of 40 houses in the style of the Citrohan house at Pessac, near
Bordeaux. Unfortunately, the chosen design and colors provoked hostility on the part of
authorities, who refused to route the public water supply to the complex, and for six years the
buildings sat uninhabited.
II. Top 5 of Le Corbusier’s Architecture
1. Palace of Assembly
Palace of Assembly,Chandigar,India
2. Palace of Justice
Palace of Justice, Chandigar,India

3. Heidi Weber Museum
Heidi Weber Museum, Zürich, Switzerland
4. Mill Owners’ Association Building
Mill Owners’ Association Building, Ahmedabad,India

5. Sainte Marie de la Tourette
Sainte Marie de la Tourette,Lyon,Paris
Although all buildings have their own specials and architecture style, I prefer to
choose Heidi Weber Museum
Iconic for its floating steel roof and brightly colored panels, the Pavillon Le Corbusier is the
last building Le Corbusier designed before his death in 1965. Completed in 1967, the building
stands as a testament to Corbusier’s renaissance genius as an architect, painter, and sculptor. It
does so both intentionally, as it is an exhibition space for his life’s work, and naturally, as it is
a building masterfully designed. Interestingly, the building diverges in some ways from the
style responsible for his renown – concrete, stone, uniform repetition, etc. It celebrates the use
of steel, with which he explored prefabrication and assembly, and a freedom through
modularity, in which the plan is completely open but infinitely adaptable.

Le Corbusier PDF

Uploaded by

Copyright:

Available Formats

Le Corbusier PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Le Corbusier PDF

Uploaded by

Copyright:

Available Formats

Institute Of Technology Of Cambodia

Departement of Civil Engineering And

Professor : Soeun Vathanak

Palace of Justice, Chandigar,India

Heidi Weber Museum, Zürich, Switzerland

4. Mill Owners’ Association Building

Mill Owners’ Association Building, Ahmedabad,India

Sainte Marie de la Tourette,Lyon,Paris

You might also like

Pfad - The Proxy pFad of © 2024 Garber Painting. All rights reserved.