LE CORBUSIER

Students: Evelyn Victoria Velázquez López.

Janeth Berenice Portillo Meza.

Esmeralda Yocseline González García.

Maryhol Montes Orozco.

Ana Karen Fernández Amarillas.

Group: 7

Semester:4

Universidad Autónoma de Sinaloa.

Facultad de Arquitectura

Le Corbusier adopted

his pseudonym in the

1920’s, allegedly

deriving it in part

from the name of a

distant ancestor,

“Lecorbésier”. He was

awarded the Frank P.

Brown Medal in

1961.

Charles-Édouard Jeanneret, who chose to be known as Le

Corbusier (1887-1965), was a Swiss architect, designer,

urbanist, writer and painter, famous for being one of the

pioneers of what now is called Modern architecture or the

International style. He was a pioneer in studies of modern

high design and was dedicated to providing better living

conditions for the residents of crowded cities.

Life

Early life and education, 1887–1913

He was born as Charles-Édouard Jeanneret-Gris in La Chaux-de-Fonds, a

small city in Neuchâtel canton in north-western Switzerland, in the Jura

Mountains, just 5 kilometers (3.1 mi) across the border from France.

Le Corbusier was attracted to

the visual arts and studied at

the La-Chaux-de-Fonds Art

School under Charles L'E-

plattenier, who had studied in

Budapest and Paris.

In his early years he would frequently escape the somewhat provincial at-mosphere of his hometown by traveling around Europe. He traveled to Par-is, he studied architecture in Vienna and he worked near Berlin for the re-nowned architect Peter Behrens, where he might have met Ludwig Mies van de Rohe and Walter Gropius

Later in 1911, he journeyed to the Balkans

and visited Bulgaria, Greece and Turkey, fill-

ing sketchbooks with renderings of what he

saw, in-

cluding

Early career: the villas, 1914–1930

Le Corbusier taught at his old school in La-Chaux-de-Fonds during

World War I, not returning to Paris until the war was over. During the-

se four years in Switzerland, he worked on theoretical architectural

studies using modern techniques.

Soon he would begin his own architectural practice with his cousin,

Pierre Jeanneret (1896–1967), a

partnership that would last until

1940.

In 1918, Le Corbusier met the Cubist

painter, Amédée Ozenfant; the two be-

gan a period of collaboration, rejecting

Cubism as irrational and "romantic,

"the pair jointly published their mani-

festo, Après le cubisme and established

a new artistic movement, Purism.

Pseudonym adopted, 1920

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 any-

one could reinvent themselves.

Between 1918 and 1922, Le Corbusier built nothing, con-

centrating his efforts on Purist theory and painting.

His theoretical studies soon advanced into several different

single-family house models. Between 1922 and 1927, Le

Corbusier and Pierre Jeanneret designed many private

houses for clients around Paris. In Boulogne-sur-Seine and

the 16th arrondissement of Paris, Le Corbusier and Pierre

Jeanneret designed and built the Villa Lipschitz, Maison

Cook, Maison Planeix, and the Maison La Roche/Albert

Jeanneret, which now houses the Foundation Le Corbusier.

Forays into urbanism

For a number of years French offi-cials had been unsuccessful in deal-ing with the squalor of the growing Parisian slums, and Le Corbusier sought efficient ways to house large numbers of people in response to the urban housing crisis. He believed that his new, modern architectural forms would.

Le Corbusier moved into studies for entire cities. In 1922, he presented his scheme for a "Contemporary City" for three million inhabitants (Ville Contemporaine). The center-piece of this plan was the group of sixty-story, cruciform skyscrapers; steel-framed office buildings en-cased in huge curtain walls of glass. These skyscrapers were set within large, rectangular park-like green spaces.

At the center was a huge transporta-tion hub, that on different levels in-cluded depots for buses and trains, as well as highway intersections, and at the top, an airport. He had the fanciful notion that commercial airliners would land between the huge skyscrapers.

In the 1930s, Le Corbusier expand-ed and reformulated his ideas on ur-banism, eventually publishing them in La Ville radieuse (The Radiant City) of 1935. Perhaps the most sig-nificant difference between the Con-temporary City and the Radiant City is that the latter abandons the class-based stratification of the former; housing is now assigned according to family size, not economic position

La Ville radieuse also marks Le Cor-busier's increasing dissatisfaction with capitalism and his turn to the right-wing syndicalism of Hubert Lagardelle.

In the 1950s, a unique opportunity to translate the Radiant City on a

grand scale presented itself in the construction of the Union Territory

Chandigarh, the new capital for the Indian states of Punjab and Haryana and the first planned city in India. Le Corbusier designedmany administra-tion buildings including a court-house, parliament

building and a university.

His body was found by bathers and he was pronounced dead at 11 a.m. It was assumed that he may have suffered a heart attack.

Le Corbusier's death had a strong impact on the cultural and political world.

The Soviet

Union added, "Modern architecture has lost its greatest master".

DEATH

It was Le Corbusier's Villa Savoye (1929–1931) that most succinctly summed up his five points of archi-tecture that he had elucidated in the journal L'Esprit Nouveau and his 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 – re-inforced concrete stilts. These pi-lotis, 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 de-signed as the architect wished, and an open floor plan, meaning that the floor space was free to be con-figured 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 yard, and 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 replacing it on the roof. A ramp ris-ing from ground level to the third floor roof terrace allows for an ar-chitectural promenade through the structure. The white tubular railing recalls the industrial "ocean-liner" aesthetic that Le Corbusier much admired. As if to put an exclama-tion mark after Le Corbusier's hom-age to modern industry, the drive-way around the ground floor, with its semicircular path, measures the exact turning radius of a 1927 Cit-roën automobile.

Five Points of Architecture.

IDEAS

The Modulor

Le Corbusier placed systems of harmony and proportion at the centre of his design philoso-phy, and his faith in the mathematical order of the universe was closely bound to the golden section and the Fibonacci series, which he de-scribed as "rhythms apparent to the eye and clear in their relations with one another. And these rhythms are at the very root of human ac-tivities. They resound in Man by an organic in-evitability, the same fine inevitability which causes the tracing out of the Golden Section by children, old men, savages, and the learned.

INFLUENCE

Le Corbusier was at his most influential in the sphere of urban planning, was

a founding member of the congres international d’Architecture Moderne

(CIAM).

Le Corbusier described the city of the future as consisting of large aparta-

ment building isolated in a park-like setting on pilotis.

Le Corbusier criticized any effort at ornamenta-

tion. Thr large spartan structures in cities, but

not’ of cities, have been widely critized for

being boring an unfriendly to pedestrians.

Throughout the years, many architects worked

for Le Corbusier in his studio, and a number of

them became notable in their own right, inclui-

ding painter-architect Nadir Alfonso, who absor-

bed Le Corbusier´s ideas into his own aesthetics

theory.

CRITICISMS

Since his death, Le Corbusier´s

contribution has been hotly cons-

tested, as the architecture values

and its accompanying aspects

within modern architecture vary,

both between different schools of

thought and among practising ar-

chitects.

At the level of building, his later

Works expressed a complex un-

derstanding of modernity´s impact,

yet his urban designs have drawn

scorn from critics. One social com-

mentator writes that “Le Corbusier

was to architecture what pol pot

was to social reform.

The public housing projects influenced by his

ideas are seen by some as having had the effect

of isolating por communities in monolithic high-

rises and breaking the social ties integral to a

community’s development. One of his most in-

fluential detractors has been jane jacobs, who

delivered a scathing critique of Le Corbusier´s

urban design theories in her seminal work The

death an life of great American Cities.

Most important buildings of

Le Corbusier Villa Savoie (architecture) (1928)

Is a building located in Poissy, outside of Par-

is, which was built in 1929 and designed by Le

Corbusier, one of the most influential archi-

tects of the twentieth century. The Villa

Savoye is considered the paradigm of inter-

national architecture and the new way to

build residential buildings of the twentieth

century

*Flat roof, on which stands a garden.

*Free interior space, due to the pillar

structure and partitions.

* Exterior free of structural elements, so

that can be designed without condi-

tions.

*Windows runs on facades for natural

lighting profuse inside (in longerur fen-

etre)

Philips Pavilion(1958)

The Philips Pavilion was a temporary building designed by architects Le Corbusier occasion of the World

Exhibition in Brussels in 1958. The building became known for his radical approach and intense artistic fu-

sion between architecture, image and sound.

The pavilion is an asymmetrical composition composed of 9 hyperbolic paraboloide. The paraboloide is

formed by straight precast concrete about 1.5 m wide and 6 cm thick, supported by guy wires on both

caras

Unité habitation in Marseille (1947-1952)

The Unité d'Habitation in Marseilles designed by the Swiss-French architect Le Corbusier from 1945, and

built between 1947 and 1952, is a block of flats raw concrete.

Built as a prototype, this work synthesizes much of the experimental work of Le Corbusier from 1920 on-

wards, being hailed as the most significant to the type of housing colectiva1 contribution and cata-

loged within the great architectural works of the century XX.

The chapel of Notre Dame du

Haut(1950-1954)

The chapel of Notre Dame du Haut in Ron-

champ, France, informally known as Ronchamp,

is a chapel of Catholic worship that was built

between 1950 and 1955, is a creation of the

Franco-Swiss architect Le Corbusier and one of

the most important examples and successful reli-

gious architecture of the twentieth century.

The plan of the church is somewhat simple point,

consists of a nave and curvy oblong shape , with

two entrances on the sides, a main altar axially

and three chapels beneath towers . It consists

mainly of curved walls, especially the south wall,

elasticity concrete shell roof; the building pre-

sents a massive, sculptural form. Small windows,

brightly painted and apparently irregular are

punched in these thick walls give a weak but

exciting light within the building , enhanced by

further indirect light coming from under the three

towers.

The structure in the Chapel of Notre Dame du

Haut, is made mostly of concrete and stones

and is quite small, including in the thick walls,

with roof upturned supported on columns em-

bedded within the walls , like a billowing sail . The

heaviness of the walls and roof is misleading.

Saint-Pierre (Firminy)

The church of Saint-Pierre

in Firminy (Loire, France),

is the last major work de-

signed by Le Corbusier.

Initially conceived as a

church construction be-

gan in 1971 posthumous-

ly.

The church was one of

several buildings commis-

sioned the architect in

the early 1950s by the

then mayor of Firminy Eu-

gène Claudius-Petit. The

first sketches date from

1961 and were based on

an old design of the ar-

chitect for a church in

Tremblay in 1929.3 How-

ever, Le Corbusier died

before green design light

should occur, and this

was completed by Jo-

seph Oubrerie, one of

employees in the study of

maestro.

It is the first solo work

designed by the architect Le

Corbusier. It was built to

house their parents in 1912 in

the Swiss town of La Chaux-

de-Fonds, birthplace of the

architect.

Opened an architectural

office in La Chaux -de -

Fonds. After studying and

traveling in Europe, the

architect had distanced Art

Nouveau style that prevailed

in the region at that time,

and the “Maison Blanche "

was his first opportunity to

build a building at its own

discretion. Jeanneret himself

lived and worked in this

house from 1912 to 1915. The

house was sold in 1919 and

had various owners until in

2000 it was bought and

restored by the "Association

Maison Blanche”, which

opened in 2005.

Villa Jeanneret-Perret

(1912)