Le Corbusier
Le Corbusier
Childhood
- Charles Édouard-Jeanneret was born in the fall of 1887 in the small industrial town
of La Chaux-de-Fonds, in the section of the Alps called the Jura Mountains, just
across the border from France. The city was known for its renowned watchmaking
industry. His father was a watch engraver and enameller, and his mother worked as a
music teacher. They encouraged their son to study decorative arts in the hope that he
would also become an engraver of watchcases. Jeanneret also frequently made trips
with his father into the mountains around La-Chaux-de-Fonds, becoming intimately
acquainted with nature and the environment.
Education
- At 13 years of age, Le Corbusier left primary school to learn the enameling and
engraving of watch faces, his father’s trade, at the École des Arts Décoratifs at La
Chaux-de-Fonds. There, Charles L’Eplattenier, whom Le Corbusier later called his
only teacher, taught him art history, drawing etc
- It was L’Eplattenier who decided that Le Corbusier, having completed three years of
studies, should become an architect and gave him his first practice on local projects.
From 1907 to 1911, on his advice, Le Corbusier undertook a series of trips that played a
decisive role in the education of this self-taught architect. During these years of
travel through central Europe and the Mediterranean, he made three major
architectural discoveries. The Charterhouse of Ema at Galluzzo, in Tuscany,
provided a contrast between vast collective spaces and “individual living cells” that
formed the basis for his conception of residential buildings. Through the
16th-century Late Renaissance architecture of Andrea Palladio in the Veneto
region of Italy and the ancient sites of Greece, he discovered classical proportions.
Finally, popular architecture in the Mediterranean and on the Balkan Peninsula
gave him a repertory of geometric forms and also taught him the handling of light
and the use of landscape as an architectural background.
- At the age of 30 he returned to live in Paris, where his formation was completed a year
later when he met the painter and designer Amédée Ozenfant, who introduced him
to sophisticated contemporary art.
- This exposure to different forms of architecture in 1910 and 1911, later helped Le
Corbusier come up with a number of key architectural findings such as the five
points of architecture. He observed the differences between huge collective spaces
and separate compartmentalized areas.
- He devised a new system of measurement known as the ‘Modulor’. The Fibonacci
series, the golden ratio and other important concepts formed the basis of this
- In 1912, he came back to the city where he was born and turned to teaching. It was
here that he started to design villas( example villa Jeanneret-Perret) and decided to
seriously pursue architecture.
villa Jeanneret-Perret
(La Chaux-de-Fonds : Builds the villa
Jeanneret-Perret in the rue de la Montagne (for
his parents)
- The architect-painter moved to Paris in 1917, and worked as an architect on
concrete structures under government contracts. However, his inclination then was
more towards painting.
- In 1918, Le Corbusier met the renowned painter Amedee Ozenfant. They both came
out with a book ‘Apres les cubisme’ in which they dealt with a new anti-cubism
artistic movement called, ‘Purism’.
The Modulor:
- The Modulor is an anthropometric scale of proportions devised by Corbusier. The
system is based on human measurements, the double unit, the Fibonacci numbers, and
the golden ratio. Le Corbusier described it as a "range of harmonious measurements
to suit the human scale, universally applicable to architecture and to mechanical
things."
- Le Corbusier developed the Modulor in the attempt to discover mathematical
proportions in the human body and then to use that knowledge to improve both the
appearance and function of architecture
- Le Corbusier placed systems of harmony and proportion at the center of his design
philosophy. His faith in the mathematical order of the universe was closely bound to
the golden section and the Fibonacci series, which he described as ‘rhythms apparent
to the eye and clear in their relations with one another’
2 villa shodha
- It is a modernist villa located in Ahmedabad, India, it was built between 1951 and
1956. Building on his earlier designs and integrating the traditional features of
Ahmedabad design, the villa symbolizes Le Corbusier's "family" architecture. The
building is currently used as a private residence.
- Key aspects taken into consideration in the design of Villa Shodhan include the sun,
the wind, the view on arrival and the landscape. They could be faced above all by the
positioning of the facades which, with a diagonal orientation, allowed the
incoming visitor a view on three quarters of the building. The landscape enhances
the construction by contrasting the curved mounds of the site with the geometric
and rectangular lines of the structure. The rectangular geometry of the north-west
and south-west facades is further emphasized by the installation of brise soleil for
protection from the.
Justification
When Asked about the house Corbusier said,
- ‘What have I given to Shodhan? ….I have given him: shade in the summer, sun in
the winter, air circulation and cool in the seasons…..He leaves his house on the first
terrace, in the shade, sheltered. In constantly moving air. He climbs to the roof, he
sleeps there. Everywhere he or his guests are sheltered, captivated and enchanted.’
- This project was a continuation of villa savoye and corbusier adjusted and built the
being for indian climate
3 villa savoye
- Exemplar of his "five points for new constructions”. He built it in the following
manner:
The first point was Pilotis which he incorporated by lifting structure off the ground,
supporting it by pilotis – reinforced concrete stilts.
The second point was a free design of façade, meaning non- supporting walls that
could be designed as the architect wished,
The third point was a free open plan, meaning that the floor space was free to be
configured into rooms without concern for supporting walls.
The fourth point was horizontal windows which he inducted in the second floor of
the building by adding long strips of ribbon windows that allow unencumbered views
of the large surrounding yard.
The fifth point was the roof garden to compensate for the area consumed by the
building and replacing it on the roof.
A ramp rising from ground floor to the roof terrace allows for an architectural
promenade through the structure. The white tubular railing recalls the industrial
"ocean-liner" aesthetic that Le Corbusier much admired.
Justification
- paradigm of the “machine as a home”, so that the functions of everyday life inside
become critical to its design. The movement of cars to enter the interior of the
house (a concept that impassioned Le Corbusier for years) is the trigger for the
design of the building.
- This concept also includes the fact that housing is designed as an object that
allegedly landed on the landscape, is totally autonomous and it can be placed
anywhere in the world.