“The home should be the treasure chest of living”

Charles-Édouard Jeanneret, known as

Le Corbusier
About the
Born in October 6, 1887
La Chaux-de-Fonds, Switzerland
Architect
DiedAugust 27, 1965 (aged 77)
Roquebrune-Cap-Martin, France

Was a Swiss-French architect,

designer, painter, urban planner, writer,
and one of the pioneers of what is now
called modern architecture

Le Corbusier did not have formal

academic training as an architect.

Le Corbusier began teaching himself

by going to the library to read about
architecture and philosophy, by visiting
museums, by sketching buildings, and
by constructing them LE CORBUSIER
 Style of Architecture
Mechanical analogy
Linguistic analogy
Five points of Architecture

Use of pilotis i.e. reinforced

concrete stilts
Free façade
Open floor plan
Long horizontal ribbon windows
Roof garden
LIST OF PROJECTS
1905 Villa Fallet, La Chaux de fonds, Switzerland
1912 Villa Jeanneret, Paris
1916 Villa Schwob, Paris
1923 Villa LaRoche, Paris
1924 Pavilion de L’Esprit Nouveau, Paris
1924 Quartiers Modernes Fruges, Pessac France
1926 Villa Cook, Boulogne-sue-Seine, France
1927 Villas at Weissenhof Estate, Stuttgart, Germany
1928 Villa Savoye, Poissy-sur-Seine, France
1929 Armee du Salut, Cite de Refuge, Paris
1930 Pavilion Suisse, Cite Universitaire, Paris
1931 Palace of the Soviets, Moscow, USSR
1933 Tsentrosoyuz, Moscow, USSR
1936 Palace of the Ministry of National Education and Public Health, Rio de
Janerio
1938 The Cartesian Sky-scrapper.
1946 Duval Factory in Saint Die, France
1947-1952 Unite d’Habition, Marseille, France
1948 Curutchet House, La Plata, Argentina
1949 Usine Cluade et Duval, Saint Die-des-Vosges
1950 UN Headquarters, New York
1950-1954 Chapel Notre Dame du Haut, Ronchamp, France
1951 Cabanon Le Corbusier, Roquebrune-Cap-Martin
1951 Maisons Jaoul, Neuilly-sur-Seine, France
1952 Unite d’Habitation of Nantes-Reze, Nantes, France
1952-1959 Buildings in Chandigarh, India.
1905 Museum at Ahmedabad, India
1912 Unite d’Habitation of Briey en Foret, France
1957 National Museum of Western Art, Tokyo
1913 Masison du Bresil, Cite Universataire, Paris
1957-1960 Sainte Marie de la Tourette Lyon, France
1957 Unite Habitation of Berlin-Charlottenburg, Flatowallee 16, Berlin
Villa Savoye France 1928 National museum of western Heidi Weber Museum
art

Palace of Assembly Chandigarh

Capitol High Court
Maison Domino
RONCHAMP – 1955 ( Chapel of Notre Dame du Haut )
 INTRODUCTION
• Location : Ronchamp, France
• Date : 1955
• Building Type : church
• Construction System : reinforced concrete
• Climate : temperate
• Context : rural, mountains
• Style : Expressionist Modern
• Physical Characteristics:
Simplicity
Oblong nave
Two side entrances
Axial main alter
Three chapels
Three towers
4 ft to 12 ft thick, whitewashed, sprayed concrete walls (known
as Gunite or Gunnire)
Beton brut roof
Southern facing wall of windows
Sculpture of the Virgin Mary
 THE BELLS
• Approach route of the chapel is from the Southeast . To the west is located a bell
• Chapel is placed at the high point on an East West axis. tower, a very simple composition,
• The site is high on a hill near Belfort in eastern France comprisinga metal frame holding
bells.
 DESIGN
• Large Embrasures on south wall represent • The upper two tiers of the interior
the Crow (Corvus), Libra Constellation windows of the South wall as the Virgo
constellation.
• That Le Corbusier based his design off • Le Corbusier superimposed Ronchamp II
of praying hands, a ship, a bird, a nuns over Ronchamp I.
cowl.
PLAN OF THE
CHAPEL
THE MAIN ENTRANCE ( SOUTH ) ALTAR

DOOR DECORATIONS
The door itself has a painting by Le Corbusier.
Door panels consist of open hand, star, pyramid,
meandering river, rain, and clouds. Each door consists
of eight panels. Pivoting door on center. Red and
blue symbolize opposites
 WATER COLLECTION
The billowing 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. THE LIGHT FROM HEAVENS SHINING OVER THE CHAPELS

The most striking features of the façade are the two chapels
flanking the secondary access: both are
symmetrically arranged around the axis
of the door. However, their curved
shape invite to access to the interior.
The complex shapes at Ronchamp start from a
theme of acoustic parabolas, playing a practical role
on the east wall to reflect the sound from the outside
altar for the pilgrims gathered on the hill.
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
 PLAY OF LIGHT
The shell has been put on walls which
are absurdly but practically thick.
Inside them however are reinforced
concrete columns. The shell will rest on
these columns but it will not touch the
wall. A horizontal crack of light 10cm
wide will amaze.‖

Corbusier has been able to use the light of the sun in a most articulate way,
expressing the daily life of the sun as its light, thereby glorifying the creator
of it. Walls become dark as light streams from their openings with great
intensity. While light brought from above the private chapels is soft and
comforting, one might feel a certain sense of unrest due to the
power of the light entering through specific

The south wall which is punctuated with deep splayed

windows of variable sizes and in some cases fitted with
colored glass.
DAYLIGHT FACTOR SIMULATIONS
PHYSICAL CHARACTERISTICS ENHANCE
THE RELIGIOUS FUNCTION
Simplicity- The chapel appears completely organic both in form and in materials. Notre Dame
Du Haut lacks any obvious attempts at accentuating geometry. The materials are left in the raw
and allowed to age naturally. The simplicity of form gives the chapel the feel of sculpture.

Lack of ornate detail allows the building to completely exist as a religious space without any
distractions to pilgrims and worshippers. Lacking mass-produced materials the structure is pure
and simple exemplifying the desired way of life for those who came to the chapel.

Beton Brut Roof-It is said that the smooth curve of the roof is symbolic of praying hands.

South Facing Wall of Windows-Light has been a long time symbol of religion. Gothic
Architecture took this concept to the extreme considering light one of the most important
elements of any religious structure. Light gives the space an ethereal quality.

Sculpture of the Virgin Mary-

Shodhan house
 About Shodhan House
• Alternative names Shodhan House
• Type of Function Villa
• Construction started 1951
• Completed1956
• Size (16X6X13)Meters
• Client Surottam Hutheesing (original)
Shyamu Shodhan (later)
• Owner Shodhan family
• Design and construction (Architect) Le
Corbusier
Site Context
• Site had curved mounds,
irregular terrain.

• Site faced south-east direction

• There were no water bodies

near the site though a pool was
dug later
ORIENTATION AND SURROUNDING
•According to placing of
house,
house faces north east

•There is a pool in east

direction

•House placed diagonally,

making 3 quarters of it
visible at once
N
•The house is surrounded
by gardens.
ORIENTATION AND SUN
SW winds all
year round
Thus suncutters also acts
as wind catchers in
southwest direction

Cold northern winds are

blocked by smaller
windows.
SITE CONSIDERATION
The house had to respond
to varying Indian climate.

Climate The client was very rich

and wanted a house
reflecting his flamboyant
Client’s lifestyle
way of
life
India was in post
Indian colonisation phase, thus
Culture
innovation was
important.
cONCEPT
 Le Corbusier referred to the house as Shodhan
update the Villa Savoye. This metamorphosis
involves the emergence of a brise soleil and a
parasol-like armor béton brut superimposed on the
city of Ahmedabad, a lattice wall to the bread of
watercress and a roof garden on toit.
 On a magic trick that, by juxtaposition of two new
elements, a refined house gives the appearance of a
warrior of concrete, however, suggests the presence
of the former.
Design Approach
• Use of suncutters on two facades.

• They also act as wind catchers

Wind

• Terraces provided at many levels

Sun Landscaping
• House placed diagonally, making 3
Architect’s quarters of it visible at once.

main • Despite being private residence, house

focus alomost achieves monumental

presence due to scaling of brises soleil.
 DESIGN INFLUENCE
 The house comprised of several of the themes of Le
Corbusier’s previous works and is a synthesis of
previous ideas played at a higher pitch.

Villa Baizeau(cut off roof,visible pillars )

FORM AND SHAPE
• Form is that of a basic cube.

• Volumes have been cut in form of

brises soloeil, recessed columns on
rooftop.

• All the facades are different.

• They work together to create an

interesting form.

• Thus house is placed diagonally on

site to give a 3D view of house.
MASSING
• The house is derived from basic cube.

• Volumes are sculpted out of it on basis

of modular scale

• Due to dimensions of brises soleil,

house almost attains monumental
scale
SPATIAL ORGANIZATION
We can see how levels, terraces are
juxtaposed to define spaces.

Low heighted
washrooms
SPATIAL ORGANIZATION
• The house has five levels.

• Apart from the private spaces such as

bedrooms, whole place acts as
transition area, because client wanted
a place where he could entertain
guests.

• Thus there are transition spaces

connected by ramps, staircases.

• Ramps andstaircase are designed in

such a way so that they culminate
towards certain viewpoints.
Entry &
Approach
GROUND FLOOR
varanda

Dining room
Living room

stair office Servant

quarters

ramp
toilet kitchen
Entry hall column

wardrobe pantry
entry toilet

garage
1ST FLOOR

library

void

stair
Stair(up)
ramp
closet

bathroom

bedroom
2ND FLOOR

4
bedroom

Terrace
ramp
bathroom

7
gallery

Private 3 bedroom
area 6
Public area void
5
3RD FLOOR
void

varanda

gallery
4TH FLOOR
SECTION PROFILE
Inference: The levels are layered spatially and horizontally, with Double heighted
help of terraces, double heights, etc to create interesting spaces rooms
and connect to nature, while maintaing privacy.

Interlinking of ramps
levels
Circulation
in section
CIRCULATION IN
PLAN
BUILDING GEOMETRY
• Substractive
form
• Cubical form
• Solid & Void
 LIGHT
• Due to the absence of
interior partitions, Le
Corbusier was able to bring
natural light to certain
spaces as an architectural
element that together with
the warm breeze of India
created a tactile and
changing environment that
maintains a strong
connection with nature
SHADE AND SHADING DEVICE
Parasol roof

Main roof

Sun
Cutter

• Living quarters of the house are sheltered under an

umbrella-like free standing roof parasol. A fitting device
for the hot-dry climate where shade is essential during
daytime and the outdoor is pleasant in the evening
• The suncutters or brise soleil also works as shading
device.
MATERIAL
• On site cast concrete

• Wooden framework

• Brick Jalis

• Stone flooring
ELEMENTS
columns
Parasol
walls
roof

• Various elements are used.

• Recessed columns to hold roof
• Walls to cover façade, partition walls
are minimum
• Sun cutters
• Windows are again minimum, there
are windows inspired by mondrain
squares
• Roofs appears to cover the building
from sun
• There is no concpet of being raised
from ground
• All elements, though different
structurally and functionally, come
together in unison to create overall
experience.
CRITICAL ANALYSIS

• There is an interesting play of

light and shadows

• Interior façade is revealed but

not overlapping of spaces

• All independent elements act

in harmony to create overall
view

• House was called refined

version of villa savoye as it
accepted nature beautifully
 Unite’ d’habitation(1952)
Subject: contemporary architecture

Timeline :brutalism
Orientation:
The longest axis faces which has the housing unit faces
east and west directions
• Modular System
• In 1950, Le Corbusier developed a module concept: a new
system of proportions based on the Renaissance, which
substitutes the traditional metric decimal system.
• This measurement system was based on the
measurements of the human being, entirely the opposite
of the decimal system. In the words of Le Corbusier, “a
machine, a piece of furniture or a newspaper are
extensions of man. And architecture, and as a result every
object created for man, must not only impact on a mental
or emotional level but also on a more physical or bodily
level”. Projects like the Marseille Housing Unit (1947-1952,
France), the chapel at Ronchamp (1950-1954, France)
and the city of Chandigarh in India are based on this
modular system.