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1. “The home should be the treasure chest of living”

2. INTRODUCTION
REAL NAME : Charles-Édouard Jeanneret-Gris
BORN : October 6, 1887 - La Chaux-de-Fonds, Switzerland
DIED : August 27, 1965 - Roquebrune-Cap-Martin, France
NATIONALITY : Swiss, French [1930]
OCCUPATION : Architect, Designer, Painter, Urban Planner, Writer, Pioneer
ACCOMPLISHMENT: Honorary degree by University of Cambridge - 1959
AIA gold medal - 1961
Frank P. Brown Medal – 1961
Founding member of Congrès international d'architecture modern
17 of his buildings are inscribed in UNESCO World Heritage Sites
FAMILY : Georges Edouard Jeanneret (Father)
Marie Charlotte Amélie Jeanneret-Perret (Mother)
Yvonne Gallis (Spouse)

3. EARLY LIFE & CAREER
• Attended a kindergarten that used Fröbelian methods
• Attracted to the visual arts and studied at the La-Chaux-de-Fonds Art School under Charles L'Eplattenier
• Architect René Chapallaz – Architecture teacher in school – large influence on Charles’ early works
• In his early years, he travelled around Europe
• Travelled to Paris – worked in the office of Auguste Perret – 1908
• Berlin – worked in the office of Peter Behrens – met Ludwig Mies van der Rohe and Walter Gropius – 1910 ~ 1911
• Visit to the Charterhouse of the Valley of Ema - influenced his architectural philosophy profoundly for the rest of his
life
• Journeyed to the Balkans and visited Serbia, Bulgaria, Turkey, and Greece, filling nearly 80 sketchbooks with
renderings of what he saw – 1911
• During World War I, Charles taught at his old school in La-Chaux-de-Fonds
• These four years in Switzerland, he worked on theoretical architectural studies using modern techniques
• Charles met the Cubist painter Amédée Ozenfant, in whom he recognised a kindred spirit – 1918
• Charles-Edouard Jeanneret adopted Pseudonym - Le Corbusier - 1920

4. IDEAS
• FIVE POINTS OF ARCHITECTURE
2. Pilotis – Replacement of supporting walls by a grid of reinforced concrete columns that bears the structural load is the basis of the new
aesthetic
3. The free designing of the ground plan—the absence of supporting walls—means the house is unrestrained in its internal use
4. The free design of the façade—separating the exterior of the building from its structural function—sets the façade free from structural
constraints.
5. The horizontal window, which cuts the façade along its entire length, lights rooms equally.
6. Roof gardens on a flat roof can serve a domestic purpose while providing essential protection to the concrete roof.
• Most succinctly summed up the five points of architecture – VILLA SAVOYE

5. IDEAS
• MODULOR
• The graphic representation of the Modulor, a stylised human figure with one arm
raised, stands next to two vertical measurements
• Attempts to discover mathematical proportions in the human body and then to
use that knowledge to improve both the appearance and function of architecture
• The system is based on human measurements, the double unit, the Fibonacci
numbers, and the golden ratio
• Le Corbusier described it as a “range of harmonious measurements to suit the
human scale, universally applicable to architecture and to mechanical things”
• Intrigued by ancient civilisations who used measuring systems linked to the human
body: elbow (cubit), finger (digit), thumb (inch) etc.
• A red series based on the figure's navel height (1.08 m in the original version,
1.13 m in the revised version) then segmented according to Phi
• A blue series based on the figure's entire height, double the navel height (2.16 m
in the original version, 2.26 m in the revised), segmented similarly
• A spiral, graphically developed between the red and blue segments, seems to
mimic the volume of the human figure

6. IDEAS
• OPEN HAND
• The Open Hand (La Main Ouverte) is a recurring motif in
Le Corbusier's architecture - a sign for him of "peace and
reconciliation. It is open to give and open to receive”
• The largest of the many Open Hand sculptures that Le
Corbusier created is a 26 meter high version in
Chandigarh, India – known as OPEN HAND MONUMENT
• FURNITURE
• “Chairs are architecture, sofas are bourgeois”
• Le Corbusier and Perriand began to put the expectations
for furniture Le Corbusier outlined in his 1925 book L'Art
Décoratif d'aujourd'hui into practice
• three different furniture
types: type-needs, type-furniture, and human-limb
objects
• Le Corbusier began experimenting with furniture design
in 1928 after inviting the architect, Charlotte Perriand

7. IDEAS

8. FAMOUS WORKS
1. 2. 3. 4.
5. 6. 7. 8.
1. Unité d'habitation
2. Maisons Jaoul
3. Mill Owner’s Association
4. Palace of Justice
5. Sanskar Kendra
6. Villa Shodhan
7. Villa Schwob
8. Maison Guiette/Les Peupliers

9. DOM – INO HOUSE
• A prototype as the physical
platform for the mass
production of housing
• Design idea to manufacture
in series, that combines the
order he discovered in
classical architecture
• The units could be aligned in
a series like dominoes, to
make row house of different
patterns
• This design became the
foundation for most of his
architecture for the next ten
years
Concrete slabs
Stairway providing access to
each level on one side of the
floor plan
Giving freedom to design the
interior configuration
1914
Thin, reinforced concrete columns
- Pilotis
Free facade

10. CHANDIGARH CITY PLANNING 1950-1970
• Located at the picturesque junction of foothills of the Himalayas Mountain range and the Ganges plains
• Total area 114 sqkm & population of 1,054,600 inhabitants
• Sector of size 800 x 1200 meters
• Each SECTOR is a self-sufficient unit having shops, school, health centres and places of recreations and worship
Typical sector plan
800
1200
Sector
Main axis
Green Areas
Road Network

11. • Analogous to human body
• Head (the Capitol Complex,
Sector 1),
• Heart (the City Centre
Sector-17),
• Lungs (the leisure valley,
innumerable open spaces and
sector greens),
• Intellect (the cultural and
educational institutions),
• Circulatory system (the network
of roads, the 7Vs)
• Viscera (the Industrial Area).
CHANDIGARH CITY PLANNING 1950-1970

12. CHANDIGARH CITY PLANNING
1. City Level Public Green
Space with Artificial
Water Body
2. Free- Flowing Green
Space, connecting the
entire site
3. Semi-Private Green
Areas for nearest
pockets
4. Private Green Areas for
Residential Units
• Sector 17- main public
congregation area
• Houses all major
shopping complexes,
sports facilities and
congregation spaces
• Basic Building
Typology - extremely
Rectilinear with
similar proportions
• smaller individual
Residential Units are
arranged around
central common
Green Spaces
1950-1970

13. CAPITOL COMPLEX
1.
2.
3.
4. 5.
6.
1. Palace of Justice
2. Secretariat Building
7.
3. Palace of Assembly
4. Geometric Hill
5. Open Hand Monument
6. Martyr’s Memorial
7. Tower of Shadows
1950-1970

14. CAPITOL COMPLEX 1950-1970
• All the masterpieces stand together,
representing the democratic India
• Also contains Piazzas, Water Pools and Gardens
• Separated by large piazzas
• The open hand stands in centre-emblem of
Chandigarh
• The pools are being constructed in front of the
High Court and the Assembly
• A concrete structure that represents the
monumental character authority of the
government
• Earlier it was designed to be in the centre of
the city as a dominant element, but later on it
was placed from the city as the head – “City
must never be seen”
Palace of Assembly
Tower of
Shadows &
Geometry
Hills
Piazza
Secretariat Building

15. CAPITOL COMPLEX 1950-1970
1. Palace of Justice (1951-1957):
1. The structure has a double roof projecting over the office
block - like a parasol or an inverted umbrella
2. Three vertical piers rising 60 feet from the floor and
painted in bright colors – entrance
3. Gigantic egg-crate screen covers the building façade
4. Woollen tapestries on the rear walls of the courtrooms
2.
3.
1.
4.

16. CAPITOL COMPLEX
2. Palace of Assembly (1955):
1. A large box with the entrance portico on one side
2. Concrete piers on the other, and a repetitive pattern on the façade
3. Sculptural forms on the roof, a dramatic ‘funnel’ top light over the
Assembly, and a tilted pyramid over the Senate chambers
completed the composition
4. The Assembly chamber, in the form of a hyperbolic shell, is
surrounded by ceremonial space
1.
3.
4.
2.
1950-1970

17. 1950-1970
CAPITOL COMPLEX
3. Secretariat (1953-1959):
1. Shaped in the form of an eight-storied concrete slab
2. Sculptured two-storey porticos in the centre
3. The cafeteria - giving a spectacular view of the city
4. The façade - kind of wall of images due to the wall of glass that covers compartmentalized and composed as a
page
5. Roof space - garden terrace - closer to nature as far these huge concrete blocks
6. Exposed concrete ramps - perforated with small square windows dominating the front and rear views
1.
2.
4.
6.

18. 1950-1970
CAPITOL COMPLEX
3. 5.

19. VILLA SAVOYE 1929-1931
• Planned the entire composition as a sequence of spatial
effects
• Arriving by automobile, the visitor drives underneath
the house, circling around to the main entrance
• Stairs and Ramp for circulation - Sheltered by brightly
colored wind screens
• Celebrates Le Corbusier's belief that ideal, universal
forms, although rooted in the classical tradition, were
appropriate to architecture for the machine age
• Houses to be "machines for living in."
• LOCATION : Poissy, France
• MATERIAL : Reinforced Concrete

20. VILLA SAVOYE 1929-1931
• Modulor design : The result of Le Corbusier's researches into mathematics, architecture (the
golden section), and human proportion
• No historical ornament - Abstract sculptural design
• Pure color : White on the outside - newness, purity, simplicity, and health
• Spiral staircases and ramps : Dynamic , non-traditional transitions between floors

21. VILLA SAVOYE 1929-1931
Support of ground-level pilotis
Functional roof Free floor plan
Long horizontal windows
Freely-designed facades
• Five points of architecture

22. CHAPEL OF RONCHAMP 1953-1955
• Upturned roof
• Appears to float above the walls
• The different-sized windows are
scattered in an irregular pattern
across the wall
• A wall starts out as
a point on the east
end, and expands to
up to 10 feet thick
its west side
• The openings slant towards their
centres at varying degrees, thus
letting in light at different angles
• Derived from a proportional system
based on the Golden Section
• LOCATION : Ronchamp, France
• MATERIAL : Reinforced Concrete, Stone
• Singular in Corbusier's work, in that it departs from his principles of standardization and the machine aesthetic
• Giving a site-specific response

23. • The home should be the treasure chest of living.
• A house is a machine for living in.
• I prefer drawing to talking. Drawing is faster, and leaves less room for lies.
• Architecture is the learned game, correct and magnificent, of forms assembled in the light.
• Space and light and order. Those are the things that men need just as much as they need bread or a place
to sleep.
• A hundred times have I thought New York is a catastrophe, and fifty times : It is a beautiful catastrophe.
• To create architecture is to put in order. Put what in order? Function and objects.
• The "styles" are a lie.
• You employ stone, wood and concrete, and with these materials you build houses and palaces. That is
construction. Ingenuity is at work. But suddenly you touch my heart, you do me good, I am happy and I say:
"This is beautiful." That is Architecture. Art enters in.
• It is a question of building which is at the root of the social unrest of today: architecture or revolution.
• Modern life demands, and is waiting for, a new kind of plan, both for the house and the city.
• The age of personal statues is gone.
QUOTES