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Le Corbusier S Centrosoyuz in Moscow Jean Louis Cohen PDF
Le Corbusier S Centrosoyuz in Moscow Jean Louis Cohen PDF
Courtesy of Fondation Le
Corbusier, Paris.
52
Jean-Louis Cohen
Future Anterior
Volume V, Number 1
Summer 2008
Le Corbusiers Centrosoyuz
in Moscow
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In fact, more substantial changes took place in the construction of the faade, with the use of metallic frames for the
double glazing, which were thicker than the slender ones perhaps incautiously drafted in Paris. Also, the limited supply of
high-quality glass led to the use of two dierent colors white
and green for the windowpanes.8 In the back of the building,
the pilotis were uted, this manner of colonization giving
them the dignity simple cylindrical stilts would not have
acquired. This policy of architectural improvement also extended to the interior where the industrial nishes imagined
by Le Corbusier were dropped in favor of more elaborate materials. The posts in the great hall were faced with reconstituted
grey marble, with pale oak moldings in lieu of the missing
capitals, and faux black marble plinths. The correspondence of
Charlotte Perriand reveals that the changes in favor of ashier
materials were imposed by Liubimov himself.9
The walls were faced in yellow Crimean marble, and the
oors composed of large squares of light-grey marble with a
crisscross pattern of darker grey lines. The ramps were carpeted in black rubber and paneled with oak. The walls of the
landings were of grey marble. The ofce partitions were also
largely decorated in various pale-colored woods.10 In short,
the completed object was totally faithful to the composition
and the structural principles of Le Corbusier but had been
signicantly resurfaced internally by Kolli.
The building was hotly debated in the press. Viktor
Kokorin qualied this chuzhoi dom (foreign house) as
unholy.11 Sergei Kozhin, the former constructivist and later
partner of Richard Neutra, regretted the cold, monotonous,
55
56
57
et de lurbanisme (Paris: G. Crs & Cie, 1930), 46, 48. I prefer this translation by
Kenneth Hylton to the published one: Precisions on the Present State of Architecture and City Planning (Cambridge, Mass.: MIT Press, 1991).
4
Le Corbusier, Les techniques sont lassiette mme du lyrisme, 5960.
5
American Blower Corporation, letter to Le Corbusier, January 24, 1930, Fondation
Le Corbusier, Paris (to be abbreviated as FLC from here on).
6
Hannes Meyer, Hannes Meyer ber Sowjetruland, Die Baugilde 11, no. 30
(1931): 1602.
7
Le Corbusier, letter to Nikolai Kolli, Paris, April 13, 1934, FLC.
8
Charlotte Perriand, memo to Le Corbusier, January 18, 1934, FLC.
9
Ibid.
10
Nikolai Kolli, Dom Narkomlegproma, in Arkhitektura SSSR, October 1936, p. 28.
Kolli also described the building in similar terms in a letter to Le Corbusier of
March 25, 1936.
11
Viktor Kokorin, Chuzhoi dom, Arhitekturnaia Gazeta, January 24, 1935.
12
S. N. Kozhin, Oshibki zamysla, Arkhitektura SSSR 2, no. 12 (December 1934): 9.
13
Alexander Vesnin, Legkost, Stroinost, Iasnost, Arkhitektura SSSR 2, no. 12
(December 1934): 8.
14
Lazar Kaganovich, speech at the meeting of the Moscow architects, February 28,
1935, Russian State Archives for Political History, 81/3/186/34, quoted by Elisabeth Essaian in Le plan general de reconstruction de Moscou de 1935 (Doctoral
thesis; Saint Denis: University of Paris 8, 2006), 369.
15
Mikhail Tsapenko, O realisticheskikh osnovakh sovetskoi arkhitektu (Moscow:
Gos. izd-vo lit-ry po stroitelstvu i arkhitekture, 1952).
16
Nikolai Bylinkin, Istoria sovetskoi architektury 19171958 (Moscow: Gos. izd.
lit. po stroitelstvu, arkhitekture i stroitelnym materialam, 1962), 76.
17
Eugne-Emmanuel Viollet-le-Duc, Restauration, in Dictionnaire raisonn de
larchitecture franaise du XIe au XVIe sicle (Paris: Vve A. Morel, 1854), 8:14.
18
Nikolai Kolli, color samples for the Centrosoyuz sent to Le Corbusier, 1934, FLC
H2(9)332 to 334.
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