The document provides information about Cubism in art and architecture. It describes how Cubism was developed by Picasso and Braque in the early 1900s as a revolutionary painting style that depicted objects from multiple viewpoints simultaneously on a two-dimensional surface. This influenced the development of Cubist architecture, which is characterized by geometric shapes, flat surfaces, and a rejection of traditional perspective. Examples of Cubist buildings discussed include the Chapel of Notre Dame du Haut designed by Le Corbusier, Czech Cubist buildings in Prague, and the Centre Le Corbusier art museum in Zurich.

1. Ar. ARUNA BAGHEL

3. • IN FINE ART, THE TERM CUBISM DESCRIBES THE REVOLUTIONARY STYLE OF
PAINTING INVENTED BY PABLO PICASSO (1881-1973) AND GEORGES
BRAQUE (1882-1963) IN PARIS, DURING THE PERIOD 1907-12.
• EVER SINCE THE RENAISSANCE, IF NOT BEFORE, ARTISTS PAINTED PICTURES
FROM A SINGLE FIXED VIEWPOINT, AS IF THEY WERE TAKING A PHOTOGRAPH.
• IN CONTRAST, BRAQUE AND PICASSO THOUGHT THAT THE FULL SIGNIFICANCE
OF AN OBJECT COULD ONLY BE CAPTURED BY SHOWING IT FROM MULTIPLE
POINTS OF VIEW AND AT DIFFERENT TIMES
• THEY ABANDONED THE IDEA OF A SINGLE FIXED VIEWPOINT AND INSTEAD
USED A MULTIPLICITY OF VIEWPOINTS. THE OBJECT WAS THEN REASSEMBLED
OUT OF FRAGMENTS OF THESE DIFFERENT VIEWS, RATHER LIKE A COMPLEX
JIGSAW PUZZLE.
• IN THIS WAY, MANY DIFFERENT VIEWS OF AN OBJECT WERE SIMULTANOUSLY
DEPICTED IN THE SAME PICTURE.
• THUS THE CUBIST STYLE FOCUSED ON THE FLAT, TWO-DIMENSIONAL SURFACE
OF THE PICTURE PLANE, AND REJECTED THE TRADITIONAL CONVENTIONS AND
TECHNIQUES OF LINEAR PERSPECTIVE, CHIAROSCURO (USE OF SHADING TO
SHOW LIGHT AND SHADOW) AND THE TRADITIONAL IDEA OF IMITATING
NATURE

4. CUBISM AND ARCHITECTURE
• CUBIST ARTIST PAINTED ABSTRACT OBJECT AS DISSECTED GEOMETRICAL
SHAPES
• BUILDING BASED ON CUBIST PRINCIPLES ARE DESIGNED AS GEOMETRICAL
INTERLOCKING SHAPES OR SIMPLY AS A SINGLE GEOMETRICAL SHAPE
CHARACTERISTICS
• EACH BUILDING HAS A BASIC GEOMETRICAL DESIGN ,OFTEN A CUBOIDAL
SHAPE.
• BUILDINGS OFTEN HAVE SHARP ,CLEAN LINES, ENSURING THE BUILDING IS IN
VIEW IN PERSPECTIVE WITH EASE.
• CUBIST BUILDING ARE OFTEN DESIGNED TO BE A PRE FABRICATED BUILDING,
MOVED FROM FACTORY TO THE BUILDING SITE WHERE THEY ARE
ASSEMBLED.
• THE WINDOWS HAVE A CUBE/RECTANGULAR FORM AND DO NOT
NECESSARILY LINE UP WITH EACH OTHER AS TRADITIONAL/CONVENTIONAL
BUILDING.
• SUBTLE COLOR DOMINATE THE DESIGN, WITH ONE OR TWO COLORS
PROMINENT.

5. • A MAJOR CHARACTERISTIC OF THE CUBIST STYLE OF ART IS HOW THE BACKGROUND PLANES INTERSECT
WITH THOSE OF THE OBJECT, OVERLAPPING EACH OTHER IN SUCH A WAY THAT THEY FORM SHALLOW
UNDEFINED SPACES.
• THE INFLUENCE OF THIS CUBIST CHARACTERISTIC BECAME A HALLMARK OF THE DEVELOPMENT OF A NEW
TYPE OF ARCHITECTURE IN CZECHOSLOVAKIA. IT IS CALLED CZECH CUBISM AND IS UNIQUE TO PRAGUE.
• THERE WAS A GROUP OF FOUR MEN WHOSE WORK WAS VERY IMPRESSIVE., PAVAL JANAK, JOSEF GOCAR,
JOSEF CHOLCOL AND VLASTISLAV HOFMAN, WERE DESIGNERS WHO TRAINED WITH OTTO
WAGNER(ARCHITECT/DESIGNER) AND JAN KOTERA (HIS STUDENT)IN THE ATELIERS OF THE VIENNA
SECESSIONISTS. THESE MEN WORKED TO INCORPORATE ANGLED PLANES INTO ARCHITECTURE AND
EVERYDAY OBJECTS. THEY FELT THAT THESE ANGLED PLANES WERE MUCH MORE DYNAMIC THAN
HORIZONTAL AND VERTICAL PLANES AND EXPRESSED THE INTERNAL ENERGY OF THE OBJECT OR
BUILDING. PRAGUE'S WEALTHY SOCIETY WERE VERY OPEN TO AVANT GARDE TRENDS AND IDEAS AND
FINANCED THESE YOUNG MEN'S CUBIST DEVELOPMENT. THEY CREATED EVERYTHING FROM CUPS AND
SAUCEERS, FURNITURE TO APARTMENT COMPLEXES BUILT ACCORDING TO THE THEORETICAL
FRAMEWORK OF CUBISM.

6. INTERIORS WITH CUBIST FEATURES

7. THEY RECENTLY DESIGNED
THIS HOUSE (ABOVE) IN
AOTO, AN URBAN SUBURB OF
TOKYO.
THE REINFORCED CONCRETE
BUILDING STANDS OUT
THANKS TO ITS SEEMINGLY
RANDOM WINDOWS, BUT IT’S
INSIDE THAT TRULY INSPIRES.
THE FRONT ENTRYWAY
(BELOW) IS FRAMED MUCH
LIKE A PAINTING, CREATING
THE FEELING OF STEPPING
INTO AN ABSTRACT WORK BY
PICASSO.
SHARP ANGLES AND
SHADOWS GIVE THE ROOM
MOVEMENT AND LIFE
DESPITE ITS BEING AS OF YET
UNFURNISHED.
THE WINDING, PLATFORMED
STAIRCASE RISES FOUR
FLIGHTS UP TO THE ROOF
TERRACE, AND WHEN THE
SUN SHINES THROUGH THE
“RANDOM” WINDOWS, THE
VARIOUS SPACES ARE
TRANSFORMED INTO AN
INFINITY SKETCH

8.  LOCATION RONCHAMP , HAUTE-SAONE , FRANCE.
 ARCHITECT - LE CORBUSIER.
CLIMATE - TEMPERATE
GROUND BREAKING - 1953.
 ARCHITECTURAL TYPE - CHAPEl.
 COMPLETED – 1955.
 THE CHAPEL IS A WORKING RELIGIOUS BUILDING.
 IT ATTRACTS 80,000 VISITORS EACH YEAR.
CHAPEL OF NOTRE DAME DU HAUT

9. HISTORY
•THE CHAPEL IS THE LATEST OF
CHAPELS AT THE SITE. THE
PREVIOUS CHAPEL WAS
COMPLETELY DESTROYED THERE
DURING WORLD WAR II.
•AT THE TIME THE NEW BUILDING
WAS BEING CONSTRUCTED,
CORBUSIER WAS NOT EXACTLY
INTERESTED IN “MACHINE AGE”
ARCHITECTURE BUT HE FELT HIS
STYLE WAS MORE PRIMITIVE AND
SCULPTURAL.
• ALSO, HE REALIZED WHEN HE
VISITED THE SITE THAT HE COULD
NOT USE MECHANIZED MEANS OF
CONSTRUCTION, BECAUSE ACCESS
WAS TOO DIFFICULT.

10. •LE CORBUSIER BASED HIS DEISGN OFF
PRAYING HANDS ,A SHIP,,A BIRD,A NUNS COWL
•HE SUPERIMPOSED RAMPCHAMP II
OVER RONCHAMP I

11. N

12. ARCHITECTURE
STRUCTURE
THE STRUCTURE IS MADE
MOSTLY OF CONCRETE AND IS
COMPARATIVELY SMALL,
ENCLOSED BY THICK WALLS.
 IN THE INTERIOR, THE
SPACES LEFT BETWEEN THE
WALLS AND ROOF ARE FILLED
WITH CLERESTORY WINDOW.
THE MAIN PART OF THE
STRUCTURE CONSISTS OF TWO
CONCRETE MEMBRANES
SEPARATED BY A SPACE OF
6'11“.

13.  INTERESTING FACT WHEN ITS RAIN
WATER POURS OFF THE SLANTED
ROOF ONTO A FOUNTAIN, CREATING
A DRAMATIC WATER FALL
THE SOUTH WALL OF RONCHAMP IS A
CREATURE OF ITS OWN. RATHER THAN
DESIGNING A STRAIGHT, 50 CM THICK
CONCRETE PIECE, LE CORBUSIER SPENT
MONTHS TRYING TO PERFECT THE OUTSIDE
WALL.
SOUTH WALL
CURVED WALL ON THE SOUTH WALL DIRECTS THE
VISITORS UP AND`TO THE ENTRANCE

14. •THE PLAN ITSELF LOOKS LIKE A PAINTING WITH THE FORMATION OF SURFACES ,INSPIRED FROM
CUBIST PAINTINGS.
•THE PLAN IS INSPIRED FROM THE PAINTING OF “LE CORBUSIER, WOMEN WITH CANDLE”
“I WAS IMPRESSED BY THE NATURAL CONCENTRATION
OF THE SIMPLE RITUAL EXPRESSED
IN THE GESTURE OF HER HANDS
WITH FINGERS INTERWOVEN, THE LOW TABLE
WITH CANDLES AND THE BROAD FORMS OF
HER CHEST AND HEAD FRANKLY STARING AT
THE INVISIBLE OBJECT OF HER FAITH."
CHARACTERISTICS

15. • BUILDING HAS A BASIC GEOMETRICAL DESIGN ,OFTEN A CUBOIDAL SHAPE.
•BUILDING HAVE SHARP ,CLEAN LINES, ENSURING THE BUILDING IS IN VIEW IN PERSPECTIVE
WITH EASE.
SHARP CLEAN
LINE
CUBOIDAL FORM IN
THE FACADE

16. •THE WINDOWS HAVE A CUBE/RECTANGULAR
FORM AND DO NOT NECESSARILY LINE UP WITH
EACH OTHER AS TRADITIONAL/CONVENTIONAL
BUILDING.
•THE LEVEL OF THE WINDOWS ARE NOT AT THE SAME
LEVEL.
•LE CORBUSIER REPORTEDLY INSISTED THAT THE
SHAPES AND PATTERNS WERE NOT ARBITRARY, BUT
DERIVED FROM A PROPORTIONAL SYSTEM BASED ON
THE GOLDEN SECTION
EXTERIOR AND INTERIOR LEVEL OF THE WINDOWS

17. •THE OPENINGS SLANT TOWARDS
THEIR CENTERS AT VARYING DEGREES,
THUS LETTING IN LIGHT AT DIFFERENT
ANGLES.
•THE LIGHTING IN THE INTERIOR IS
SOFT AND INDIRECT, FROM THE
CLERESTORY WINDOWS AND
REFLECTING OFF THE WHITEWASHED
WALLS .
USE OF DIFFERENT
SHADES OF LIGHT AND
PLANES INSIDE THE
STRUCTURE.

18. SUBTLE COLOR DOMINATE THE DESIGN , WITH ONE OR
TWO COLORS PROMINENT LIKE COLOR OF ROOF WHICH
IS THE PROMINENT ONE.
•HE HAS ALSO USED
COLORED GLASSES IN
WINDOWS .
• EACH WALL BECOMES
ILLUMINATED BY THESE
DIFFERING WINDOW
FRAMES.
•THE ENTRANCE DOOR
ITSELF HAS A PAINTING BY
LE CORBUSIER.
•DOOR PANELS CONSIST OF
OPEN HAND,
STAR,PYRAMID,
MEANDERING RIVER,RAINS
AND CLOUDS.

19.  THE CENTRE LE CORBUSIER OR HEIDI WEBER MUSEUM IS AN ART MUSEUM IN ZÜRICH
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.
CENTRE LE CORBUSIER
CLIMATE- MODERATE

20. HISTORY
 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, IN 1962
THE CONCEPT WAS CHANGED TO A STEEL
BUILDING.
 TWO YEARS LATER THE CONSTRUCTION
WAS STARTED, IN 1965 LE CORBUSIER
DIED, AND ON JULY 15, 1967, THE CENTRE
LE CORBUSIER WAS OFFICIALLY
INAUGURATED.

21.  IT IS THE LAST BUILDING DESIGNED BY LE CORBUSIER MARKING A RADICAL
CHANGE OF HIS ACHIEVEMENT OF USING CONCRETE AND STONE, FRAMED IN
STEEL AND GLASS, IN THE 1960S CREATED AS A SIGNPOST FOR THE FUTURE.
 LE CORBUSIER MADE INTENSIVE USE OF PREFABRICATED STEEL ELEMENTS
COMBINED WITH MULTI-COLOURED ENAMELLED PLATES FITTED TO THE CENTRAL
CORE, AND ABOVE THE COMPLEX HE DESIGNED A 'FREE-FLOATING' ROOF TO KEEP
THE HOUSE PROTECTED FROM THE RAIN AND THE SUN.

22.  THE MOST PROMINENT ARCHITECTURAL ELEMENT, THE ROOF, CONSISTS OF TWO
SQUARE PARTS, EACH SIDE HAVING A SURFACE OF 12 X 12 METRES (39 FT).
 THE TOTAL GROUND SURFACE MEASURES 12 X 26.3 METRES (86 FT), CONSISTING
OF WELDED METAL SHEETS AND HAVING A WEIGHT OF 40 TONS.
SQUARE
PARTS OF
THE ROOF

23. • ARCHITECTURAL INTEREST IN CUBISM
CENTRED ON THE DISSOLUTION AND
RECONSTITUTION OF THREE-
DIMENSIONAL FORM, USING SIMPLE
GEOMETRIC SHAPES, JUXTAPOSED
WITHOUT THE ILLUSIONS OF CLASSICAL
PERSPECTIVE.

24.  THE BUILDING FRAME CONSISTS OF CUBES 2.26 X 2.26 METRES (7.4 FT) WHICH
WERE ASSEMBLED ON THE SITE. WALLS, WINDOWS, CEILINGS AND FLOORS WERE
THEN SCREWED ONTO THE STEEL FRAME. THE WALLS CONSIST OF ENAMELLED
PANELS MEASURING 1.13 METRES (3.7 FT) X 2.26 METRES (7.4 FT).

25. CHARACTERISTICS OF CUBISM
EACH BUILDING HAS A BASIC GEOMETRICAL
DESIGN ,OFTEN A CUBOIDAL SHAPE. BUILDINGS
OFTEN HAVE SHARP ,CLEAN LINES, ENSURING
THE BUILDING IS IN VIEW IN PERSPECTIVE WITH
EASE.

26. CUBIST BUILDING ARE OFTEN DESIGNED TO BE A PRE
FABRICATED BUILDING, MOVED FROM FACTORY TO
THE BUILDING SITE WHERE THEY ARE ASSEMBLED.
 THE ROOF WAS PREFABRICATED IN THE STEEL MANUFACTORY AND THEREAFTER,
IN THE BIGGEST POSSIBLE UNITS, TRANSPORTED TO THE BUILDING SITE, WHERE IT
WAS ASSEMBLED ON THE GROUND.
 THE TWO FINALLY WELDED PARTS OF THE ROOF WERE THEN LIFTED TO THEIR
FINAL HEIGHT BY A CRANE AND FIXED ON THE PILLARS.
 THE CUBE FRAMES WERE ASSEMBLED ON THE SITE.
 WALLS, WINDOWS, CEILINGS AND FLOORS WERE THEN SCREWED ON TO THE
STEEL FRAME. THE WALLS CONSISTED OF ENAMELLED PANELS. AFTERWARDS HE
ENTIRE BUILDING COMPLEX WAS PLACED ON A CONCRETE GROUND FLOOR.

27. PREFABRICATED PARTS OF BUILDING

28. SUBTLE COLOR DOMINATE THE DESIGN, WITH ONE
OR TWO COLORS PROMINENT.

29. THE BUILDING HAS TWO FLOORS – FIVE SINGLE-
STORIED AND ONE DOUBLE-STORIED ROOMS.

30. HOUSE OF BLACK MADONNA
 THE HOUSE OF THE BLACK MADONNA IS A CUBIST
BUILDING IN THE OLD TOWN AREA OF PRAGUE.
 IT WAS DESIGNED BY JOSEF GOCAR 1912-1913.
 IT IS CURRENTLY USE AS THE CZECH MUSEUM OF
CUBISM AND INCLUDES THE GRAND CAFÉ ORIENT
RESTAURANT ON THE FIRST FLOOR.
 MADE UP OF REINFORCED CONCRETE.
HOUSE OF THE BLACK MADONNA
GRAND CAFE ORIENT RESTAURANT ON THE FIRST FLOOR
CLIMATE- WARM SUMMERS AND
CHILLY WINTERS.
PRAGUE
CAPITAL OF
CZECH
REPUBLIC

31.  THE INTERESTING THING IS THAT GOCAR'S FIRST
DESIGN WAS REFUSED BY THE PRAGUE CITY HALL DUE
TO A LACK OF HARMONY WITH THE HISTORICAL
NEIGHBOURHOOD.
 INITIALLY, JOSEF GOCAR HAD DESIGNED THE
BUILDING IN A MODERNIST STYLE.
 GOCAR RESPONDED TO THE ALLEGATIONS BY ADDING
FURTHER CUBIST FEATURE.
 EVEN WITHOUT THE HISTORICAL DETAILS OF THE
BAROQUE BUILDING SURROUNDING IT, THE HOUSE OF
BLACK MADONNA MAINTAINS THE ATMOSPHERE OF
THE NEIGHBOURHOOD.
 GOT ITS NAME FROM A SCULPTURE OF
BLACK MADONNA WITH BABY JESUS THAT IS
INSTALLED IN THE CORNER OF THE
BUILDING.
 ODDLY, THE STATUE WAS TAKEN FROM THE
ORIGINAL MORE CLASSICIST STYLE HOUSE
PREVIOUSLY LOCATED THERE.

32.  THE GROUND FLOOR HOUSES THE
INTERESTING KUBISTA (THE CUBIST) GIFT SHOP SELLING
ARCHITECTURE BOOKS ON CUBISM, AND THE MODERN,
JEWELRY AND CUBIST CERAMICS.
 TO UNDERSTAND CZECH CUBISM AND ITS IMPORTANT
PLACE IN ART HISTORY.
 WITH THE HOUSE OF THE BLACK MADONNA BEING AN
ACTUAL CUBIST STRUCTURE.
 THE FIRST FLOOR SHOWCASES THE EXQUISITE GRAND
CAFE ORIENT.
 THE MUSEUM OF CZECH CUBISM IS HOUSED ON THE
2ND, 3RD, AND 4TH FLOORS OF THE CUBIST HOUSE.

33.  BUILDINGS HAVE SHARP ,CLEAN LINES.
 ENSURING THE BUILDING IS IN PERSPECTIVE VIEW WITH EASE.
 DESIGN OF GEOMETRICALLY ENHANCED BUILDING FACADES.
 IN ORDER TO RECONCILE BUILDING WITH ITS SURROUNDINGS, SOME FOREIGN ELEMENTS
WERE INCORPORATED LIKE-
 THE ROOF RESEMBLES BAROQUE DOUBLE ROOF.
 AND THIRD STOREY FEATURES FLAT WINDOWS AND PILASTERS WITH CLASSICAL FLUTING
BETWEEN THEM.

34.  CZECH CUBISTS DISTINGUISH THEIR WORK THROUGH THE CONSTRUCTION OF SHARP POINTS,
SLICING PLANES, AND CRYSTALLINE SHAPES IN THEIR ART WORKS.
 THEY BELIEVED THAT OBJECTS CARRIED THEIR OWN INTER ENERGY WHICH COULD ONLY BE
RELEASED BY SPLITTING THE HORIZONTAL AND VERTICAL SURFACES.
MAIN CUBISM FEATURES IN THE BUILDING.
 THE HOUSE OF THE BLACK MADONNA FEATURES A MASSIVE
CUBIST PORTAL.
 THE ENTRANCE TO THE BUILDING HAS A GRAND PRESENCE LIKE
AN ANCIENT STRUCTURE, ALMOST EVOKING AN EGYPTIAN OR
ANCIENT GREEK PRESENCE AND MONUMENTALITY.
 THE CRYSTALLINE SHAPES.
 CREATING MANY SURFACE.
1.CUBIST PORTAL

35. 2. STAIRCASE
 CUBIST FORMS WERE ALSO ACQUIRED BY THE SPIRAL STAIRCASE INSIDE THE BUILDING.
 WONDERFUL CUBIST SET OF STAIRS THROUGHOUT THE BUILDING
 IT IS NOT SIMPLY
HORIZONTAL OR VERTICAL
RAILING.
 IT IS FORMING
CRYSTALLINE SHAPES WITH
POINTED ANGLES
THE DOMINATING BALCONY IN THE FIRST FLOOR, THE
CUBIST BALCONY RAILINGS.
3. BALCONY

36.  USE OF BAY WINDOWS AGAIN FORMING SUFACES.
 CUBIST CAPITALS TO THE COLUMNS BETWEEN THE WINDOWS.
 CAPITALS FOR THE MULLIONS AND DORMERS IN CUBIST STYLE GIVING THE BUILDING A
RICH ORNAMENTAL LOOK YET IN A SPARELY DESIGNED WAY.
 AND CUBIST FRAMES OF THE ATTIC
WINDOWS. THE SMALL PILLARS BETWEEN
WINDOWS AND USE OF METAL ARE
OTHER CUBIST TRAITS OF THIS
STRUCTURE.
3. WINDOWS
BAY WINDOWS IN BUILDING
CUBIST CAPITALS
CUBIST FRAMES

37. INTERIORS OF THE GRAND CAFÉ ORIENT RESTAURANT
THE USE OF A REINFORCED CONCRETE SKELETON ALLOWED FOR LARGE INTERIOR SPACES WITHOUT
CEILING SUPPORT THAT WERE BETTER SUITED CUBIST AESTHATICS.

38.  THE SECOND FLOOR DISPLAYS SOME PLASTER AND BRONZE
SCULPTURES BY THE FAMOUS OTTO GUTFREUND.
 PAINTINGS BY EMIL FILA AND BOHUMIL KUBISTA (THE CEZANNE
INFLUENCED KISS OF DEATH, 1912), AND CUBIST FURNITURE.
 A LOVELY SOFA AND CHAIR SET, AND GLASS CHANDELIER GREET
YOU ROUND THE CORNER; DESIGNED BY JOSEF GOCAR FOR THE
ACTOR FRANTISEK KYSELA.

39. KISS OF DEATH
CZECH SCULPTURE
 THE THIRD FLOOR DISPLAYS
PAINTINGS BY ANTONIN
PROCHOZKA, COLORFUL CREATIONS
FROM OTAKAR KUBIN, DESIGN
SKETCHES AND BLACK AND WHITE
PHOTOGRAPHS OF FINISHED CUBIST
STRUCTURES AND BUILDINGS BY
THE LEADING ARTISTS OF THE DAY,
EXHIBITION POSTERS AND MORE
INNOVATIVE FURNITURE (THE
DRESSING TABLE BY PAVEL JANAK IS
SIMPLY GORGEOUS).
 THE FORTH AND LAST FLOOR
FEATURES INFORMATION ON THE
LIVES OF THE CZECH CUBISTS,
DRAWINGS, WOODCUTS,
WATERCOLORS, AND CURRENT
TRIBAL MASKS FROM AROUND THE
WORLD, SHOWING THE SIMILARITY
AND WHY PICASSO WAS SO
INSPIRED BY THEM

40.  www.archdaily.com/84988/ad-classics-
ronchamp-le-corbusier/
 https://www.ucviden.dk/student-
portal/files/14465665/Influence_of_Le_Cor
busier_in_modern_architecture.pdf
 www.slideshare.net/uzrman/ronchamp-by-
le-corbusier
 13_DiamondD_ArchLessonCubism.pdf
BIBLIOGRAPHY
 www.prague.com