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LATE WORKS

OF
LE
CORBUSIER

• SUBMITTED BY
• HARPREET
• JYOTI
• PARVATI
• SALONI
• SURABHI
• III-B
PHILOSOPHY – HOUSE IS A MACHINE
EARLY - WORKS LATE - WORKS

Charles-Édouard Jeanneret October 6, 1887 La Chaux-de-Fonds, Switzerland


INTRODUCTION
 BY THE 1950S AND 60S, THE ORTHODOXY OF MODERNISM STARTED TO BREAK UP. EVEN MODERNIST
DESIGNERS AND ARCHITECTS SEEMED TO WANT SOMETHING NEW.
 THEIR WORK FROM THIS PERIOD BECAME LESS RELIANT ON STRICT ARCHITECTURAL DOCTRINE AND MORE
EXPRESSIVE.
VILLA
 MODERNIST DESIGNERS TRIED TO CREATE FUNCTIONALLY- SAVOYE
PERFECT DESIGNS THAT WOULD BE UNIVERSAL AND NEVER
BECOME OBSOLETE

 IN HIS LATER YEARS, THE GREAT SWISS ARCHITECT LE


CORBUSIER RECEIVED TWO COMMISSIONS FROM THE CATHOLIC
CHURCH
 HE DESIGNED THE CHURCH OF NOTRE DAME AT
RONCHAMP (1950-4), WHICH WAS A REPLACEMENT FOR A
MEDIEVAL CHAPEL
NOTRE DAME
 IN NOTRE DAME ,THERE IS HUGE CHANGE IN THE STYLE. THE
BLOCK-LIKE FORMALITY OF HIS EARLIER WORK HAS GONE.
 INSTEAD, IT CONSISTS OF ORGANIC CURVES, BOTH CONCAVE
AND CONVEX.
 IT STILL HAS THE PURE, WHITE SURFACES OF EARLY
MODERNISM, BUT THE FORMS ARE MORE EXPRESSIVE AND
IMAGINATIVE.
 THIS IS PURE ABSTRACT SCULPTURE.
DOOR DECORATIONS -

THE DOOR ITSELF HAS APAINTING BY LE


CORBUSIER.DOOR PANELS CONSIST
OFOPEN HAND,
STAR,PYRAMID,MEANDERING RIVER,
RAIN, ANDCLOUDS.
EACH DOOR CONSISTSOF EIGHT PANELS.
PIVOTINGDOOR ON CENTER. RED
ANDBLUE SYMBOLIZE OPPOSITES
PHYSICAL CHARACTERISTICS
Le Corbusier made use of curved surfaces of
reinforced concrete to generate a form that
is bold and organic. Since its construction,
the building has evoked poetic notions in
the mind of the visitor observing the play of
light and shadow on different surfaces.

The south wall which is


punctured with deep
splayed windows of
variable sizes and in
some cases filled with
coloured glass

WATER COLLECTION -
The roof of concrete was planned to slope toward the back, where a
fountain of abstract forms is placed on the ground. When it rains, the water
comes pouring off the roof and down onto the raised, slanted concrete
structures, creating a dramatic but natural fountain.
MONASTERY OF LA TOURETTE (1953-7),

HIS OTHER COMMISSION FOR THE CHURCH REVERTED TO THE RIGID


GEOMETRY OF HIS USUAL WORK. THIS IS THE MONASTERY OF LA
TOURETTE (1953-7)FRANCE , OVERLOOKING THE ROHNE VALLEY
CONSIDERED MOST IMPORTANT BUILDING OF LATE MODERNIST
STYLE

IT WAS BUILT FOR AN ORDER OF MONKS. THIS DOES NOT HAVE THE LIGHTNESS AND ETHEREAL
QUALITY OF HIS EARLIER WORK.
IT IS EXECUTED IN ROUGH CONCRETE THAT IS LEFT EXPOSED, MAKING IT DELIBERATELY HARSH
AND RUGGED.
THE FORM IS A REGULAR REPEATING GRID WITH A STRONG HORIZONTAL EMPHASIS.

THE CONTRASTS OF THIS BUILDING ARE FASCINATING.


THE RAW CONCRETE SUITS THE STRICT RELIGIOUS DOCTRINE IT
WAS BUILT FOR.
THE CHAPEL IS AN ABSTRACT COMPOSITION WITH THE BARE
MINIMUM OF RELIGIOUS SYMBOLISM.
THE WALLS ARE IMMENSELY THICK, WHICH EVOKES THE
MASSIVENESS OF MEDIEVAL ARCHITECTURE.
THE WALLS ARE PIERCED WITH HORIZONTAL SLITS, WHICH
ALLOWS SHAFTS OF COLOURED LIGHT TO PENETRATE THE
INTERIOR, GIVING SPIRITUAL ATMOSPHERE
FIRMINY VERT
•FIRMINY VERT IS GROUP OF MODERN BUILDINGS
DESIGNED BY ARCHITECT LE CORBUSIER LOCATED
IN FIRMINY , FRANCE IN 1964–1969.
• IT INCLUDES :
-THE SAINT-PIERRE CHURCH,
- A STADIUM,
- A CULTURAL CENTER, AND
- AN UNITE D‘ HABITATION.
• IT WAS DESIGNED BASED
ON MODERNISM PRINCIPLES OF ARCHITECTURE.
• IT IS PRAISED AS ONE OF EUROPE'S MOST
ACCOMPLISHED POSTWAR PLANNING EXERCISES.

STADIUM

CULTURAL CENTER ST. PIERRE CHURCH UNITED HABITATION


SAINT-PIERRE (ENGLISH: SAINT
PETER) -IS A CONCRETE BUILDING IN
THE COMMUNE OF FIRMINY , FRANCE.
 THE LAST MAJOR WORK OF LE
CORBUSIER, IT WAS COMPLETED IN
2006, FORTY-ONE YEARS AFTER HIS
DEATH.
DESIGNED TO BE A CHURCH IN THE
MODEL CITY OF FIRMINY VERT, THE
CONSTRUCTION OF SAINT-PIERRE WAS
BEGUN IN 1971, SIX YEARS AFTER LE
CORBUSIER'S DEATH IN 1965.
DUE TO LOCAL POLITICAL CONFLICTS IT REMAINED STALLED FROM 1975 TO
2003, WHEN THE LOCAL GOVERNMENT DECLARED THE MOULDERING CONCRETE
RUIN AN "ARCHITECTURAL HERITAGE" AND FINANCED ITS COMPLETION.
THE BUILDING WAS COMPLETED BY THE FRENCH ARCHITECT,JOSÉ OUBRERIE, LE
CORBUSIER'S STUDENT FOR MANY YEARS.
 IT HAS BEEN USED FOR MANY DIFFERENT PURPOSES, AS A SECONDARY
SCHOOL AND AS A SHELTER.
 AS THE SECULARIST FRENCH STATE MAY NOT USE PUBLIC FUNDS FOR
RELIGIOUS BUILDINGS, SAINT-PIERRE IS NOW USED AS A CULTURAL VENUE.
THE CENTRE LE CORBUSIER OR HEIDI WEBER MUSEUM
 AN ART MUSEUM IN ZÜRICH (SWITZERLAND)
DEDICATED TO THE WORK OF THE SWISS
ARCHITECT LE CORBUSIER.
 IN 1960 HEIDI WEBER HAD THE VISION TO
ESTABLISH A MUSEUM DESIGNED BY LE CORBUSIER.
THIS BUILDING SHOULD EXHIBIT HIS WORKS OF ART
IN AN IDEAL ENVIRONMENT CREATED BY THE
ARCHITECT HIMSELF.
IN 1960 LE CORBUSIER WAS MANDATED BY HEIDI
WEBER, A SWISS ART COLLECTOR AND PATRON, TO
CONCEIVE A PUBLIC EXHIBITION BUILDING.
ONE YEAR LATER, THE FIRST DRAWINGS FOR A
BUILDING TO BE CONSTRUCTED IN CONCRETE WERE
PRESENTED ; BUT THEN IN 1962 THE CONCEPT WAS
CHANGED TO A STEEL BUILDING.

TWO YEARS LATER THE CONSTRUCTION


WAS STARTED. IN 1965 LE CORBUSIER DIED,
AND ON 15 JULY 1967, THE CENTRE LE
CORBUSIER WAS OFFICIALLY INAUGURATED.
AMONG OTHERS, THE HEIDI WEBER
FOUNDATION – CENTRE LE
CORBUSIER PRESERVES THE LAST BUILDING
DESIGNED BY LE CORBUSIER, ORGANIZES
EXHIBITIONS, AND COLLECTS AND
DOCUMENTS HIS WORK.
CARPENTER CENTER FOR THE VISUAL ARTS
THE ALLOTTED SPACE WAS QUITE SMALL, SO THE
COMPLETED BUILDING PRESENTS ITSELF AS A COMPACT,
ROUGHLY CYLINDRICAL MASS BISECTED BY AN S-SHAPED
RAMP ON THE THIRD FLOOR.

 LE CORBUSIER'S EARLIEST DESIGN SHOWED A MUCH


MORE PRONOUNCED RAMP THAT FURTHER SEPARATED
THE TWO PARTS OF THE CENTRAL MASS.

HOWEVER, THE EARLY DESIGN CREATED THE PROBLEM


OF TOO MUCH DISRUPTION OF THE CENTRAL MASS. THIS
PROBLEM WAS RECONCILED BY USING A PINWHEEL
EFFECT SO THAT IN THE FINALLY EXECUTED DESIGN.

 THE TWO HALVES MEET AT A VERTICAL CORE THAT


HOUSES AN ELEVATOR.

THE CONCRETE RAMP IS CANTILEVERED FROM THIS


CENTRAL SPINE AND STANDS ATOP A FEW PILOTIS.

THE LANDING AT THE TOP OF THE RAMP IS LOCATED IN


THE CORE OF THE BUILDING AND LEADS TO VARIOUS
STUDIOS AND EXHIBITION SPACES SEEN THROUGH GLASS
WINDOWS AND DOORS, PROVIDING VIEWS INTO THE
BUILDING'S INSTRUCTIONAL AND DISPLAYING FUNCTIONS
WITHOUT INTERRUPTING THE ACTIVITIES IN PROGRESS.
PALACE OF ASSEMBLY,CHANDIGARH
SECTION