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A new type of social organization, such as the League of

ations, could not acquire a meaningful physical setting by incorporating elements borrowed from Le Corbusier's project in a formally academic architectural complex. the Palace of the League of In consequence ations has proved almost un­

usable. This principle holds good for architecture, and per­ haps also for politics. In 1927 the following comment appeared under my name in the Berlin journal Bauwelt (p. 1096): "A League of Nations building that ties itself to the ghosts of history is likely to become a haunt of ghosts. " We have paid particular attention to the League of ations Palace because it served as the general public's first introduc­ tion to contemporary architecture. The same year also marked its introduction to modern solutions of the housing problem. It was in 1927 that the Deutsche Werkbund put Mies van der Rohe in complete charge of the Weissenhof settlement at Stutt­ gart. Mies van der Rohe entrusted the design of the houses to The elimination of Le Corbusier's ations was one of the reasons for those architects from all over Europe who had been most active in the new developments. project for the League of

founding the ClAM in 1928.
The Cenlrosoyus.

Moscow

Le Corbusier's Geneva plan remained a project, but the prin­ ciples embodied in it were partially realized in the Centrosoyus at Moscow (1928-34). The erection of the Centrosoyus­ now the Ministry of Light Industry - was retarded partly by the requirements of the Five-Year Plan and partly by the emergence of an architectural reaction. It was one of the last modern structures erected in Russia. Le Corbusier's design for the Palace of the Soviets (1931) feU within the period of Stalinist reaction. With the ceiling of the great hall suspended on wire cables from a parabolic curve (jig. 433), it was Le Corbusier's boldest accompljshment up to that time. In 1931 the realjzation of this project or any of the other contemporary schemes, such as those by Gropius and
the ollly pos.�ible solutiou was to Collo", Le Corbusier'. general layout. less academic shapes to prnduce 8 formal exterior appearance. typists to diplomats. agreed that it was 0 failure. This geuer.1

arrangemenl lhe architects treated in 8 spirit of routine that shows in their use or color· In 1937. ten )'eo,rg after Everyone. from the competition was held. tho building \\'8S opened and put into service.

538

wilh introduction hy Sigrried Gicdion. " For further illustratiolls see u CorblUlier. 539 . not only in Europe and the United States but in Latin Amer­ ica as well.u. and vast. Large Constructions and Architectural Aims In Paris. Le Corbusier's literary connections were not even restricled to the arts.S. two large constructions by Le Corbusier appeared in quick succession: the Salvation Army hospice (1929-33) and the Swiss Pavilion of the University City (1931-33).R. Le Corbusier as a wriLer 1929-1934. II (Zurich. To the best of our knowledge this was the first time that the curved wall again came into use in modern architecture (fig.of aesthetic means. vol. . was no longer conceivable in the U.Breuer and by the sculptor Gabo.ranging in subject from painting to city planning .S. Although the room at his disposal was relatively limited. The pavilion of the Swiss dormitory is one of Le Corbusier's freest and most imaginative creations.re compWe. at about the same time. The whole building is supported by immense ferroconcrete pillars which run deep into the soil to the underlying rock. It is significant that the means employed are apparently very simple: the exact place­ ment of the staircase and the unexpected undulations in the walls (the principle of the plan libre).have had as much influence as rus buildings. a.11 But what strikes one from the very [ust as extraordinary is the molding of volumes and space in the entrance hall. the imagina­ tion of the architect has created a space that is living. J n the inventiveness it displays it is comparable to the work of the great periods. 1931). the other is modeled carefully in a curved wall of rugged stone. Both show additions to Le Corbusier's equip­ ment . free. Le Corbusier's writings . 322). One side of the building consists of the glass curtain wall of the studios. The articles in the periodical L'Esprit nouveau which Jeanneret (Le Corbusier) and Ozenfant pub­ lished during the years 1919-25 deal with developments in ev­ ery field which had a formative influence upon the thought of the period.