Le Corbusier: The Architect Who Reimagined Modern Living
1. Introduction: The Man Behind the Name
Charles-Édouard Jeanneret, who adopted the pseudonym Le Corbusier in the 1920s, stands as one of the most influential and controversial figures in twentieth-century architecture. A Swiss-French polymath who worked simultaneously as architectural designer, painter, urban planner, furniture designer, and prolific writer, Le Corbusier fundamentally reimagined how humans should live in the modern age. His radical ideas about architecture and urbanism shaped cities across the globe, inspired generations of architects, and continue to provoke passionate debate nearly six decades after his death.
Le Corbusier’s vision was nothing less than the complete reformation of the built environment to serve the needs of modern industrial society. He believed that architecture could be a tool for social reform, that proper design could improve human lives, and that the chaos of traditional cities should be replaced with rationally planned environments emphasizing light, air, greenery, and efficiency. His famous declaration that “a house is a machine for living in” encapsulated his functionalist philosophy, though his later works would reveal a more complex relationship between rationalism and poetry, between machine precision and human emotion.
The scope of Le Corbusier’s ambition was extraordinary. He designed private villas and mass housing projects, chapels and government buildings, furniture and entire cities. He painted throughout his life, developing his own artistic movement called Purism. He wrote extensively, producing books and manifestos that articulated his architectural philosophy and influenced designers worldwide. Few figures in any field have demonstrated such range of talent or exerted such profound influence on their discipline. Understanding Le Corbusier means grappling with both his visionary brilliance and his significant flaws, his utopian idealism and his occasionally authoritarian impulses, his profound insights and his blind spots.
2. Early Life and Formation
2.1 Birth and Origins in La Chaux-de-Fonds
Charles-Édouard Jeanneret was born on October 6, 1887, in La Chaux-de-Fonds, a small city in the Swiss Jura mountains near the French border. This industrial town, known for watchmaking, would influence his later fascination with precision, mechanics, and the beauty of functional objects. His father, Georges-Édouard Jeanneret-Gris, was an enameler of watch dials, while his mother, Marie Charlotte Amélie Perret, was a musician and piano teacher. The family valued culture and education, providing young Charles-Édouard with exposure to art, music, and craftsmanship from an early age.
The landscape of the Jura, with its dramatic topography, vast horizons, and clear mountain light, made a lasting impression on the future architect. Throughout his life, Le Corbusier would emphasize the importance of landscape, views, and the relationship between buildings and their natural settings. The precision and mechanical sophistication of watchmaking, the dominant industry of his birthplace, may have contributed to his later interest in standardization, modularity, and the idea of architecture as a precisely calibrated machine.
2.2 Education and Early Influences
Jeanneret attended the École d’Art in La Chaux-de-Fonds, where he initially trained as an engraver and chaser, following in his father’s footsteps in the watch industry. However, his teacher Charles L’Eplattenier recognized the young man’s broader talents and encouraged him to pursue architecture. L’Eplattenier, an advocate of Art Nouveau and regional architectural traditions, guided Jeanneret’s early development and secured him his first architectural commission at age seventeen: the Villa Fallet, a house incorporating Art Nouveau decorative elements and references to the regional Jura landscape.
This early exposure to Art Nouveau and decorative architecture is significant because Le Corbusier would later violently reject ornamentation in favor of stark functionalism. His evolution from decorated Art Nouveau to austere modernism reflects the broader shift in European architecture during the early twentieth century. L’Eplattenier also encouraged Jeanneret to travel and study, advice that would prove formative as the young architect embarked on educational journeys that exposed him to diverse architectural traditions.
2.3 Formative Travels and the “Voyage d’Orient”
Between 1907 and 1911, Jeanneret undertook extensive travels that profoundly shaped his architectural thinking. He spent time in Vienna, where he was exposed to the work of the Vienna Secession architects. He worked briefly in Paris in the office of Auguste Perret, a pioneer in the use of reinforced concrete, learning construction techniques that would prove essential to his later work. He then spent several months in Germany working for Peter Behrens, one of the first industrial designers, alongside other future modernist masters including Ludwig Mies van der Rohe and Walter Gropius.
Most significant was his “Voyage d’Orient” (Journey to the East) in 1911, a six-month journey through Central Europe, the Balkans, Turkey, and Greece. This trip, undertaken with his friend Auguste Klipstein, exposed Jeanneret to vernacular architecture, ancient monuments, and especially the classical architecture of Greece. He was particularly struck by the Parthenon in Athens, which he saw as the perfect synthesis of rational order and aesthetic beauty, of mathematical precision and emotional power. The white-walled vernacular buildings of the Mediterranean, with their simple geometric forms, flat roofs, and integration with landscape, would become a crucial reference for his later architectural work.
During these travels, Jeanneret filled numerous sketchbooks with drawings, took photographs, and recorded observations that would inform his thinking throughout his career. These journeys taught him that great architecture transcended historical styles and cultural contexts, that there were universal principles of proportion, light, and spatial organization that could be identified and applied. This belief in universal principles would become central to his modernist philosophy.
2.4 The Adoption of “Le Corbusier”
In 1920, Charles-Édouard Jeanneret adopted the pseudonym “Le Corbusier,” derived from the name of an ancestor, Lecorbésier. This renaming marked a deliberate break with his past and the creation of a new identity as a modernist revolutionary. The pseudonym also reflected his understanding of the importance of branding and public persona in promoting his ideas. As Le Corbusier, he would launch the journal “L’Esprit Nouveau” (The New Spirit) with the painter Amédée Ozenfant and the poet Paul Dermée, using it as a platform to articulate his architectural and artistic theories.
The adoption of this new name coincided with his definitive move to Paris and his emergence as a leading voice of architectural modernism. Le Corbusier was not just a name but a persona: the uncompromising prophet of a new architecture for a new age, the rational planner who would sweep away the chaos of the old city and replace it with clarity and order. This persona, cultivated through his writings, his distinctive appearance (he typically wore round black-rimmed glasses and bow ties), and his rhetorical skill, made him one of the most recognizable architects in the world.
3. Architectural Philosophy and Revolutionary Ideas
3.1 The Five Points of Architecture
In 1926, Le Corbusier articulated his “Five Points of Architecture,” a set of design principles that would define modernist architecture and influence building design throughout the twentieth century. These principles were made possible by the use of reinforced concrete construction, which liberated buildings from the structural constraints of load-bearing walls.
The Pilotis: Raising the building on reinforced concrete columns (pilotis) freed the ground level for circulation and greenery, separating the building from the damp earth and creating a flowing open space beneath. This elevation also emphasized the building as an object placed in landscape rather than growing from it.
The Free Plan: Because walls no longer needed to support the structure, interior spaces could be arranged freely according to function rather than structural necessity. Columns formed a regular grid, and walls became non-structural partitions that could be placed anywhere.
The Free Façade: Similarly, exterior walls became independent of structure, functioning as weather protection and fenestration rather than support. This allowed the façade to be designed independently of the building’s structural grid.
The Horizontal Window: Free façades enabled continuous horizontal ribbon windows that provided even illumination and panoramic views, contrasting with the vertical windows of traditional architecture.
The Roof Garden: Flat roofs, made practical by reinforced concrete, could be transformed into gardens, reclaiming the green space occupied by the building’s footprint and providing outdoor living space insulated from the noise of the street.
These five points represented a systematic break with traditional architecture and offered a new vocabulary for modern building. They were not merely aesthetic choices but derived from new construction technologies and rationalist principles about how buildings should function.
3.2 The Modular System
Le Corbusier spent much of his career developing the “Modulor,” a system of proportion based on human measurements and the golden ratio. First published in 1948, the Modulor attempted to create a universal system of architectural proportion that would harmonize with human scale while facilitating standardized, prefabricated construction.
The system was based on the proportions of a six-foot tall man with his arm raised, generating two series of measurements (the red series and blue series) that related to each other through golden ratio proportions. Le Corbusier believed this system could bring order and harmony to architecture and industrial design, providing a human-scaled alternative to arbitrary metric measurements. He used the Modulor in many of his later projects, including the Unité d’Habitation, where it governed everything from overall dimensions to the sizing of kitchen cabinets.
While the Modulor never achieved the universal adoption Le Corbusier hoped for, it represents his ongoing attempt to ground modern architecture in rational, scientific principles while maintaining connection to human scale and classical proportional systems. The system reveals Le Corbusier’s desire to be not just a designer of buildings but a theorist who would provide fundamental principles for all of modern architecture.
3.3 “A House is a Machine for Living In”
Perhaps no Le Corbusier phrase is more famous—or more misunderstood—than his declaration that “a house is a machine for living in” (from his 1923 book “Vers une Architecture,” translated as “Towards a New Architecture”). This statement has often been interpreted as cold functionalism that reduces housing to mere mechanical efficiency, but Le Corbusier’s meaning was more nuanced.
He was arguing that houses should be designed with the same rational efficiency and attention to function as well-designed machines like automobiles and airplanes. Just as these machines were perfected through engineering principles rather than applied decoration, so too should houses be designed primarily for how they work rather than how they look. This didn’t mean houses should be emotionless or purely utilitarian, but rather that their beauty should emerge from their rational organization and function rather than from applied ornament.
Le Corbusier admired the economy and precision of industrial design, and he believed architecture had much to learn from engineering. However, his best buildings demonstrate that he understood architecture must address human emotional and spiritual needs as well as practical ones. The machine metaphor was partly polemical, intended to shock architects out of their reverence for historical styles and decorative excess.
3.4 Rejection of Ornament and Embrace of Function
Le Corbusier was a fierce advocate for eliminating applied decoration from architecture, believing that the modern age required a new aesthetic based on pure form, proportion, and the honest expression of function and materials. This position aligned him with other modernists like Adolf Loos, whose essay “Ornament and Crime” (1908) argued that decoration was primitive and wasteful in modern society.
For Le Corbusier, beauty in architecture should come from correct proportions, the play of light on pure geometric forms, and the clarity of spatial organization. He frequently cited industrial structures, ocean liners, automobiles, and airplanes as examples of modern beauty arising from functional perfection. His buildings typically featured white or off-white surfaces, unadorned planes, large areas of glass, and geometric clarity.
However, Le Corbusier’s rejection of applied ornament didn’t mean his buildings were devoid of aesthetic consideration. On the contrary, he was deeply concerned with composition, proportion, and the sensory experience of architecture. His buildings created visual interest through the interplay of geometric forms, the contrast of solid and void, the careful framing of views, and the orchestration of movement through space. In his later career, he would also embrace rougher textures, exposed concrete, and more sculptural forms, demonstrating that his aesthetic was more complex than simple functionalism.
4. Major Architectural Works
4.1 Villa Savoye: The Manifesto Building
The Villa Savoye, completed in 1931 in Poissy, outside Paris, is perhaps Le Corbusier’s most famous building and the fullest expression of his Five Points of Architecture. Designed as a weekend house for the Savoye family, the villa is a white cubic volume raised on pilotis, with a roof garden, free plan, free façade, and horizontal ribbon windows—a built manifesto of modernist principles.
The approach to the house is deliberately choreographed. Visitors arrive by automobile (the modern means of transportation) under the building, where the curved ground floor volume accommodates car parking. A ramp leads upward to the main living level, a continuous open space with ribbon windows providing panoramic views of the surrounding landscape. The ramp continues to the roof garden, framed by sculptural elements including a solarium with curved walls. This promenade architecturale (architectural promenade) guides visitors through a carefully sequenced spatial experience.
The villa’s white surfaces, geometric purity, and horizontal emphasis create an object of abstract beauty, like a Cubist sculpture placed in the landscape. Yet the building is also intensely functional, with carefully designed built-in furniture, efficient kitchen, and bedrooms with en-suite bathrooms—modern amenities that were innovative for 1931. The Villa Savoye synthesizes Le Corbusier’s theoretical principles with practical livability, though the house did suffer from technical problems including leaks, which strained his relationship with the clients.
Today, the Villa Savoye is a museum and a UNESCO World Heritage Site, recognized as one of the most influential buildings of the twentieth century. It established a vocabulary for modern residential architecture and demonstrated that modernist principles could create buildings of genuine beauty and spatial sophistication.
4.2 Unité d’Habitation: Revolutionary Housing
The Unité d’Habitation in Marseille, completed in 1952, represents Le Corbusier’s most ambitious attempt to revolutionize mass housing. This massive housing block, designed to accommodate 1,600 people in 337 apartments, embodies his vision of a “vertical garden city” that would provide all the amenities of a small community within a single building.
The building is a massive concrete structure raised on powerful pilotis, creating a shaded public space beneath. The apartments are organized as double-height units that interlock like bottles in a wine rack, maximizing efficiency while providing each unit with two-story living spaces. The building includes not just housing but shops on internal “streets,” a rooftop with a kindergarten, running track, and communal spaces, and originally included a hotel and restaurants. Le Corbusier called it a “vertical village,” attempting to create community and social interaction in dense urban housing.
The use of raw, unfinished concrete (béton brut in French) marked a departure from Le Corbusier’s earlier white modernism and gave rise to the term “Brutalism” to describe this rougher aesthetic. The building’s façade features deep balconies providing shade and outdoor space for each unit, with primary colors (red, yellow, blue) used for some elements, creating visual variety in the otherwise monochrome concrete mass.
The Unité was controversial when built, with critics attacking its massive scale and fortress-like appearance. However, it proved influential internationally, inspiring numerous imitators (often poorly executed) and demonstrating that high-density housing could provide quality of life if properly designed. The building remains occupied and is now a UNESCO World Heritage Site, recognized as a masterpiece of modernist architecture and a bold experiment in communal living.
4.3 Notre-Dame du Haut at Ronchamp: Sculptural Spirituality
The chapel of Notre-Dame du Haut at Ronchamp, completed in 1955, represents Le Corbusier’s most dramatic departure from rationalist modernism and his turn toward sculptural, emotionally expressive architecture. This Catholic pilgrimage chapel, replacing a church destroyed in World War II, sits atop a hill in eastern France, its curved walls and upswept roof creating a building unlike anything Le Corbusier or anyone else had designed before.
The chapel’s exterior features massive curving walls of white concrete, punctured by irregularly placed windows of various sizes that appear to have been carved from the thick walls. The most dramatic element is the roof, a curved concrete shell that appears to float above the walls, separated by a thin gap that allows light to enter. The roof curves upward at its edges, giving the building a dynamic, almost aerodynamic profile. The south wall curves outward, while the east wall angles inward, creating a dynamic composition of sculptural forms.
Inside, the chapel is dark except for shafts of colored light entering through the deep window openings, which are filled with painted glass. The floor slopes following the hillside terrain, and the walls are rough concrete, creating a cave-like atmosphere. Multiple altars allow for services to be held indoors or outdoors, accommodating large numbers of pilgrims. The space is profoundly emotional and spiritual, using light, form, and materials to create an atmosphere of mystery and contemplation.
Ronchamp shocked many who expected Le Corbusier to apply his rationalist principles to the chapel. Instead, he created a highly sculptural, intuitive design that seems to respond to its hilltop site and spiritual function rather than to geometric logic. The building demonstrated that modernism could be expressive and emotional, not just rational and functional. It influenced a generation of architects to explore more sculptural, plastic forms in concrete and remains one of the most powerful religious buildings of the twentieth century.
4.4 Chandigarh: Building a Capital City
Le Corbusier’s most ambitious project was the planning and design of Chandigarh, the new capital city of the Punjab region in northern India, commissioned in 1950 by Prime Minister Jawaharlal Nehru. After India’s partition in 1947, Punjab’s capital Lahore went to Pakistan, necessitating a new capital for Indian Punjab. Nehru, committed to modernization, chose Le Corbusier to create a city that would symbolize India’s progressive future.
Le Corbusier designed the city’s master plan, organizing it into sectors (rectangular neighborhoods) separated by major roads in a grid pattern. Each sector was designed to be relatively self-sufficient with its own shops, schools, and services. The city emphasized greenery, with parks and gardens throughout, and separated vehicular traffic from pedestrian movement. At the city’s head, Le Corbusier designed the Capitol Complex, a monumental ensemble of government buildings that remains his most significant urban design achievement.
The Capitol Complex includes the Palace of Assembly (legislative building), the High Court, the Secretariat (administrative offices), and monuments including the Open Hand sculpture. These buildings demonstrate Le Corbusier’s later Brutalist style, with massive concrete forms, dramatic use of light and shadow, sculptural elements, and integration of water features. The buildings incorporate elements responding to India’s climate, including deep overhangs for shade, water features for cooling, and orientation to capture breezes.
Chandigarh remains a controversial project. Admirers praise its bold vision, monumental architecture, and successful creation of a functioning modern city. Critics point to its automobile-centered planning, its alienation from Indian architectural traditions, and its failure to adequately address India’s actual needs, including housing for lower-income workers. The city’s rigid grid and separation of functions created a city that lacks the vitality and complexity of traditional Indian urbanism. Nevertheless, Chandigarh stands as a unique twentieth-century experiment in creating a modern capital from scratch, and the Capitol Complex is recognized as a UNESCO World Heritage Site.
4.5 Other Significant Projects
Beyond these major works, Le Corbusier designed numerous other significant buildings throughout his career. The Villa Stein-de Monzie at Garches (1927) is another masterpiece of his white period, demonstrating the spatial complexity achievable within geometric rigor. The Maison La Roche (1925) in Paris houses the Fondation Le Corbusier and showcases his innovative use of ramps and double-height spaces. The Carpenter Center for the Visual Arts at Harvard University (1963) is his only building in North America and features a dramatic ramp that penetrates through the building.
His housing projects include additional Unités d’Habitation in cities including Nantes, Berlin, Briey, and Firminy. The Convent of Sainte-Marie de la Tourette (1960), a Dominican monastery near Lyon, demonstrates his late Brutalist style applied to monastic life, with rough concrete, minimal windows, and an atmosphere of austerity and contemplation. Throughout his career, Le Corbusier also designed furniture, including the iconic LC2 and LC4 chaise lounge, which remain in production and are considered classics of modern design.
5. Urban Planning Visions
5.1 The Ville Radieuse (Radiant City)
Le Corbusier’s urban planning theories were as radical as his architectural ideas, and far more controversial. His vision for the modern city found its fullest expression in the Ville Radieuse (Radiant City), a theoretical plan he developed in the 1930s. This plan proposed replacing traditional dense urban fabric with widely-spaced high-rise towers set in parkland, with complete separation of functions: residential towers, office towers, industrial zones, and cultural facilities would each occupy distinct areas connected by highways.
The Radiant City plan called for demolishing existing urban fabric and starting fresh with rational planning. Residential towers, similar to the later Unité d’Habitation, would house people at high density while occupying only a small percentage of ground area, with the remaining space devoted to parks and recreation. Highways on different levels would separate fast-moving traffic from local traffic and pedestrians. The city would be zoned functionally, with people living in one area, working in another, and finding recreation in a third.
Le Corbusier believed this approach would solve the problems of industrial cities: overcrowding, inadequate light and air, chaotic traffic, mixing of incompatible uses. His vision promised residents of high-rise towers would enjoy views, sunlight, fresh air, and access to greenery—benefits traditionally available only to those wealthy enough to afford suburban houses. The efficient vertical arrangement would preserve countryside from suburban sprawl while maintaining urban density.
5.2 Plan Voisin for Paris
In 1925, Le Corbusier presented the Plan Voisin, a shocking proposal to demolish much of central Paris and replace it with his vision of the modern city. The plan called for destroying a large area north of the Seine, preserving only a few historically significant monuments, and replacing the medieval street pattern with a grid of highways and eighteen identical sixty-story cruciform towers housing business offices. Residential quarters would consist of lower apartment buildings in parkland.
The Plan Voisin (named after an automobile manufacturer who sponsored the exhibition where it was displayed) was never intended to be implemented but rather to provoke discussion about urban planning and to demonstrate Le Corbusier’s principles. It succeeded in provoking—critics were horrified by the proposal to destroy historic Paris, while some modernists embraced the vision of a rational, efficient city replacing organic chaos.
The Plan Voisin encapsulates both the utopian ambition and the problematic aspects of Le Corbusier’s urbanism. His diagnosis of urban problems—congestion, poor living conditions, inadequate infrastructure—was accurate. His solution—wholesale demolition and replacement with rationally planned towers—ignored the social, cultural, and economic complexity of existing cities, the value of historic fabric, and the unpredictable vitality that emerges from traditional urban patterns. The plan’s influence on actual urban renewal projects in the mid-twentieth century, which did demolish historic neighborhoods to build tower blocks, represents one of Le Corbusier’s most troubling legacies.
5.3 Urban Planning Principles and Legacy
Le Corbusier’s urban planning principles, articulated in books like “The City of Tomorrow” (1924) and “La Ville Radieuse” (1933), profoundly influenced twentieth-century urban development. His ideas about separating functions, housing people in high-rise towers surrounded by greenery, and designing cities for automobile circulation were implemented (often poorly) in urban renewal projects worldwide from the 1950s through the 1970s.
The results were frequently disastrous. Tower blocks isolated from surroundings, surrounded by poorly maintained parkland, became sites of social problems. The destruction of traditional neighborhoods eliminated functioning communities and replaced them with alienating environments. The separation of functions created lifeless business districts and residential areas lacking the mix of uses that creates urban vitality. Wide highways carved up neighborhoods and prioritized cars over pedestrians.
Urban theorists like Jane Jacobs mounted devastating critiques of Le Corbusier’s planning principles, arguing that traditional street-based urbanism, mixed uses, and medium-density development actually worked better than high-rise towers in parks. By the 1970s, Le Corbusier’s urban planning vision was largely discredited, though its influence persisted in public housing design and suburban planning.
5.4 Controversies and Criticisms
The failures of Corbusian urban planning have led to harsh reassessment of his legacy. Critics argue that his authoritarian approach to planning, which assumed architects and planners knew better than residents what they needed, enabled destructive urban renewal. His willingness to sweep away existing fabric ignored the value of place, memory, and community. His faith in technocratic solutions overlooked the social and political dimensions of urban life.
More troubling are revelations about Le Corbusier’s political views, including his brief association with fascist groups in the 1940s and his expressions of authoritarian and racist ideas. While his politics were complex and evolved over time, these associations have complicated his legacy and raised questions about the relationship between his urban visions and authoritarian politics.
Despite these serious criticisms, Le Corbusier’s influence on urban planning remains significant. Some of his ideas, particularly about preserving open space and separating pedestrians from traffic, have value when applied thoughtfully. His failure lies not in identifying real urban problems but in proposing solutions that were too simplistic and that ignored the complexity of human communities and urban life.
6. Le Corbusier as Painter and Visual Artist
6.1 Purism Movement
Le Corbusier maintained a parallel career as a painter throughout his life, and his painting informed his architecture just as his architectural thinking influenced his art. In 1918, he and Amédée Ozenfant founded Purism, an artistic movement that arose as a reaction against the decorative tendencies of Cubism. Purism emphasized clear, recognizable forms, geometric order, and a limited palette, seeking to create paintings as rationally organized as machine-made objects.
Purist paintings typically depicted everyday objects—bottles, glasses, pipes, musical instruments—arranged in carefully composed still lifes. These “objects-types,” as Le Corbusier called them, were ordinary manufactured items whose forms had been perfected through use, representing modern beauty based on function rather than decoration. The paintings featured flattened space, overlapping transparent planes, and precise geometric composition, creating images that were simultaneously abstract and representational.
Le Corbusier published the Purist manifesto “After Cubism” with Ozenfant in 1918, arguing that Cubism had become too decorative and subjective. Purism would restore clarity, order, and universal values to art. This emphasis on rationality, geometric order, and the beauty of functional objects directly paralleled his architectural theories. The objects in his paintings—the curves of bottles, the rectangular forms of books—reappear as architectural elements in his buildings.
6.2 Paintings and Their Relationship to Architecture
Le Corbusier painted regularly, typically in the mornings before turning to architectural work. He produced hundreds of paintings over his lifetime, exhibiting them regularly and considering himself as much a painter as an architect. His paintings served as a laboratory for exploring form, color, and composition, experiments that fed directly into his architecture.
Many of his paintings feature forms he called “objets à réaction poétique” (objects of poetic reaction)—found objects like shells, bones, and stones whose forms inspired him. These organic forms began appearing in his later architecture, which became more sculptural and less geometric. The curved walls of Ronchamp, for instance, relate directly to forms explored in his paintings of the 1950s.
Color was particularly important in Le Corbusier’s paintings, and he developed complex color theories based on the interaction of colors and their spatial effects. He applied these theories to architecture, using color to organize space and enhance spatial perception. His “Architectural Polychromy” system provided palettes of colors specifically designed for architectural application, and he used color boldly in projects like the Unité d’Habitation to articulate structure and create visual interest.
6.3 Tapestries and Sculptures
In addition to painting, Le Corbusier created tapestries and sculptures, particularly later in his career. He designed tapestries based on his paintings, often on a monumental scale suitable for architectural settings. These textile works brought his visual language into three-dimensional space and demonstrated his interest in integrating art with architecture.
His sculptures included the monumental “Open Hand” sculpture at Chandigarh, symbolizing peace and reconciliation, giving and receiving. This twenty-six-meter-high weathervane was intended to rotate with the wind, a kinetic element unusual in Le Corbusier’s work. He also created smaller sculptures exploring organic forms, continuing the investigation of biomorphic shapes that characterized his later paintings and buildings.
Le Corbusier’s artistic production was not separate from his architecture but integral to it. He saw painting, sculpture, and architecture as complementary forms of visual expression, different means of exploring spatial relationships, proportion, color, and form. This integration of multiple disciplines made him a true Renaissance figure, though his vision was thoroughly modern.
7. Le Corbusier as Writer and Theorist
7.1 “Towards a New Architecture”
“Vers une Architecture” (Towards a New Architecture), published in 1923, is perhaps the most influential architectural book of the twentieth century. Compiled from articles Le Corbusier wrote for his journal “L’Esprit Nouveau,” the book presents his architectural philosophy through provocative text and striking photographs that juxtapose ancient monuments, ocean liners, automobiles, airplanes, and modern buildings.
The book’s famous opening line, “Architecture or Revolution. Revolution can be avoided,” set the urgent tone. Le Corbusier argued that if architecture failed to meet the needs of modern society, social revolution would result. He insisted that architects must embrace the machine age, learn from engineers, and create a new architecture appropriate to modern life. The book celebrated industrial design—the functional beauty of grain silos, steamships, and automobiles—as examples modern architects should follow.
“Towards a New Architecture” articulated principles that would define modernist architecture: the plan as generator of form, the importance of primary geometric forms, the rejection of decoration, the embrace of new materials and construction technologies. The book’s polemical style, combining manifestos with image-driven arguments, made it accessible and persuasive. It was translated into multiple languages and influenced architects worldwide, becoming the canonical text of the modern movement.
7.2 “The City of Tomorrow”
“Urbanisme” (The City of Tomorrow and Its Planning), published in 1924, presented Le Corbusier’s urban planning theories. The book diagnosed the problems of industrial cities—overcrowding, inadequate housing, chaotic traffic—and proposed radical solutions including high-rise towers, separation of functions, and cities designed for automobile circulation. It contained early versions of his Ville Contemporaine (Contemporary City) plan and laid groundwork for later plans including the Ville Radieuse and Plan Voisin.
The book demonstrated Le Corbusier’s conviction that rational planning by experts could solve urban problems. He argued for comprehensive planning that would organize cities scientifically according to modern needs. While this faith in technocratic solutions now seems naive or even dangerous, the book raised important questions about how cities should adapt to industrial age demands including automobile transportation, new building technologies, and changing social patterns.
7.3 Other Writings and Publications
Le Corbusier was extraordinarily prolific as a writer, producing dozens of books and hundreds of articles. “The Decorative Art of Today” (1925) extended his argument against ornament to all decorative arts, advocating for functional design in furniture, interiors, and everyday objects. “When the Cathedrals Were White” (1947), written after a visit to New York, compared medieval cathedral building to modern American skyscrapers, arguing both represented the highest aspirations of their eras.
“The Modulor” (1948) and “Modulor 2” (1955) explained his proportional system. “Le Poème de l’Angle Droit” (The Poem of the Right Angle, 1955) combined poetry with his artwork in a meditation on fundamental themes including nature, craft, and the cosmos.
