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AKNOLEDGEMENT

At the behest, I would like to thank Professors Dr.MUTHU SHOBA,P.VASU


DEVAN,M.MURALI MANOHARAN,BUPATHI, without whom this
dissertation would have been an empty notebook. I would like to thank
them for their support, guidance ans encouragement. They gave me all
the freedom I ever wanted to develop the idea of my thesis from the
very beginning. I would like to take this opportunity to thank him as
well

Special thanks to Ar.Shrey Tiwari, For his help and guidance. His
important hints were the key to the development of this dissertation
and his willingness to discuss the topic in long hour has been
instrumental in shaping this dissertation. I take this opportunity to
thank him as well
Here I also take the opertunity to thank all my friends,especially my
closest,Ubaidhullah and Shameema for my support,Courageand
Encouragement
Conclusion:
It has become evident that many of Le-Corbusiers ideas dont work for instance,
the sun breakers, they are really Dust-catching, pigeon-infested contrivances,
which gather heat all the day and then radiate it back into the building all night,
causing indescribable anguish to the occupants. Neither have the great parasol
roofs.proved much more useful ,was Le-Corbusier perhaps more concerned
with the visual expression of climate control than with its actual effectiveness? In
an y event, his enthusiasm seemed to lie not in solving the problem but in
making the theatrical gesture.
The assembly chamber has been termed by one Indian architect a near
impossible parliament to deliberate in and there is no doubt that it was designed
primarily as a visual dramatic space and only incidentally as a place of debate.
There is virtually no natural light, the only windows being small skylights at the
top of the tower,and no natural ventilation, while microphones are necessary for
all speakersalthough intent may have been to dramatize the activates of the
legislature, the result become a theater in which the actors are overwhelmed by
the setting.
Architects are those who all designed response to climate, tradition and social
customs.as the same way le-Corbusier also designed his carrier by the visual
experience from his childhood and he incorporated those things in his design
such as usage of concrete, and made his iconic philosophies, he is the one who
change the architectural world with his five principles of architecture with the coordinance of industrial revolution

Since many architects follow his Ideas and Philosophies such as B.V.DHOSHI,
who has came and take in charge of le-Corbusier buildings in India, because the
ideas what he has given is reasonable and clear solution for many environmental
aspects at that time and for the future
new things always look strange to the people, if it is reasonable, they
will try to adopt with the new things
Still many architects are following and now most of his ideas become standard
so domino structure, free planning, roof garden, etc. And lot of changes
happened according with the technology and usage
In this modern era, this ides and philosophies will integrate and because now a
days the architecture become stucko architecture by the involvement of irregular
shapes. They get stuck in one point in their design above which they cant
continue with the same elements for that
From this iconic idea the buildings has gone to the next generation by the usage
of steel, concrete and glass.
His one of his ideas is standardization, but now in the modern architectural
world, most of the modern architectural world, most of the modern architects are
going for the irregular forms, shapes to create the plastic effect ex: ZAHA
HADID,DANIEL LIBESKIND,NORMAN FROSTER,STEVEN HOLL,ETC.
Finally I am concluding as per my studies(knowledge),the ideas and philosophies
given by le Corbusier is reasonable and good to the people who all using it. but it
is fully depend on single person knowledge, the peoples are always different
minded and they are easily attracted by the irregular shapes and forms
.architecture has no boundaries and limits, the new ideas always be created
depends on the surrounding environment and climate
standards should be standard, changes is always changes
ABSTRACT
BACKGROUND OF THE TOPIC
ARCHITECTUTRE does not have boundaries and limits;
architecture evolves under the skin of society with its own indigenous
characteristics and space to transform for future social trends.
MODERNISM is a vast term and there are many architects who identify with
this term. Their style and philosophies vary from person to person, climatically,
socially, and contextually.
But in the case of Le Corbusier, His architectural philosophy is divided into
many aspects. His writings are translated to building form .In cases like the Villa
Savoye generated from five points of architecture, and so on. He even
introduced many architectural features and systems after World War I and II

The Domono housing, the Citroen housing, and the apartment with community
facilities are all examples. So as a student of architecture, we must know all his
philosophies.
His work is divided into three categories: CITYPLANNING, URBAN PLANNING,
and ARCHITECTURE.
There is great variation in his work and all his vocabulary is then translated into
architectural language. His work still exerts a major influence on much city
planning and there are many more examples to choose from among the works Le
Corbusier

AIM OF THE STUDY


Le Corbusier = monolithic
Le Corbusier the master architect and one of the pioneers of
MODERN ARCHITECTURE
My aim of study is, to define le Corbusiers understanding of the naturel world,
In an attempt to bring together the different aspects of le Corbusiers concepts in
architecture, theories and philosophies, a way thinking owes about modern
architecture, he made a instrumental aspects between nature and wellbeing of
urban dwellersand le Corbusiers attitude about vernacular architecture, the
dwelling of natural men and the connection between the vernacular and the idea
of standardization.

METHODS TO CONDUCT RESERCH


I am going to start my dissertation with le Corbusier history and
his ideas about forms, functions and philosophy, his vision about the city
planning, architecture around the environment, nature, people, etc. his thinking
about modern architecture and.le Corbusier vision bout Vernacular Architecture,
how he is implementing his theories and philosophies in in Indian architecture
as a comparative study.with some of his buildings case study (Chandigarh) and
I am going to choose some of the Indian architects and general study about their
philosophies.and a comparative result with the le Corbusiers theory and
philosophies.is it guideline for them? And finally I conclude my dissertation
weather his theories and philosophies integrated at this time of modernism or
not?

RESULT..
The ideas around the philosophy of Le Corbusier .and how his theories are
integrated in our modern scenario of architecture in India. Is Le Corbusier's five

points of architecture are guidelines for other architects too. How were his
philosophies integrated at the time of modernism and even today? I would like to
debate whether these theories are appropriate in INDIA's context or not?

INTRODUCTION

Charles-douard Jeanneret, who chose to be known as Le


Corbusier October
6, 1887 August 27, 1965), was a Swiss architect, designer, urbanist,
writer and painter, famous for being one of the pioneers of what now is
called Modern architecture or the International style. He was born in
Switzerland and became a French citizen in his thirties. His career
spanned five decades, with his buildings constructed throughout central
Europe, India, Russia, and one each in North and South America
He was a pioneer in studies of modern high design and was dedicated to
providing better living conditions for the residents of crowded cities. Later
commentators criticized Le Corbusier's plan to raze part of Paris and
replace it with a grid of towers as soulless and arrogant, but his striking
innovations have influenced every generation of architects that followed
him
In his early years he would frequently escape the somewhat provincial
atmosphere of his hometown by traveling around Europe. About 1907, he
traveled to Paris, where he found work in the office of Auguste Perret, the
French pioneer of reinforced concrete. In 1908, He studied architecture in
Vienna with Josef Hoffmann. Between October 1910 and March 1911, he
worked near Berlin for the renowned architect Peter Behrens, where he
might have met Ludwig Mies van der Rohe and Walter Gropius. He
became fluent in German. Both of these experiences proved influential in
his later career

early career (the villas)

Le Corbusier taught at his old school in La-Chaux-de-Fonds during World War I,


not returning to Paris until the war was over. During these four years in
Switzerland, he worked on theoretical architectural studies using modern
techniques.[3] Among these was his project for the "Dom-ino" House (1914
1915). This model proposed an open floor plan consisting of concrete slabs

supported by a minimal number of thin, reinforced concrete columns around the


edges, with a stairway providing access to each level on one side of the floor
plan.
This design became the foundation for most of his architecture for the next ten
years. Soon he would begin his own architectural practice with his cousin, Pierre
Jeanneret (18961967), a partnership that would last until 1940.
In 1918, Le Corbusier met the Cubist painter, Amde Ozenfant, in whom he
recognised a kindred spirit. Ozenfant encouraged him to paint, and the two
began a period of collaboration. Rejecting Cubism as irrational and "romantic,"
the pair jointly published their manifesto, Aprs le cubisme and established a
new artistic movement, Purism. Ozenfant and Le Corbusier established the Purist
journal L'Esprit nouveau. He was good friends with the Cubist artist Fernand
Lger
His theoretical studies soon advanced into several different single-family house
models. Among these was the Maison "Citrohan", a pun on the name of the
French Citron automaker, for the modern industrial methods and materials Le
Corbusier advocated using for the house. Here, Le Corbusier proposed a threefloor structure, with a double-height living room, bedrooms on the second floor,
and a kitchen on the third floor. The roof would be occupied by a sun terrace. On
the exterior Le Corbusier installed a stairway to provide second-floor access from
ground level. Here, as in other projects from this period, he also designed the
faades to include large expanses of uninterrupted banks of windows. The house
used a rectangular plan, with exterior walls that were not filled by windows, left
as white, stuccoed spaces. Le Corbusier and Jeanneret left the interior
aesthetically spare, with any movable furniture made of tubular metal frames.
Light fixtures usually comprised single, bare bulbs. Interior walls also were left
white. Between 1922 and 1927, Le Corbusier and Pierre Jeanneret designed
many of these private houses for clients around Paris. In Boulogne-sur-Seine and
the 16th arrondissement of Paris, Le Corbusier and Pierre Jeanneret designed and
built the Villa Lipschitz, Maison Cook (see William Edwards Cook), Maison Planeix,
and the Maison La Roche/Albert Jeanneret, which now houses the Fondation Le
Corbusier

first step towards urbanism

For a number of years French officials had been unsuccessful in dealing with the
squalor of the growing Parisian slums, and Le Corbusier sought efficient ways to
house large numbers of people in response to the urban housing crisis. He
believed that his new, modern architectural forms would provide a new
organizational solution that would raise the quality of life for the lower classes.
His Immeubles Villas (1922) was such a project that called for large blocks of cell-

like individual apartments stacked one on top of the other, with plans that
included a living room, bedrooms and kitchen, as well as a garden terrace
Not merely content with designs for a few housing blocks, soon Le
Corbusier moved into studies for entire cities. In 1922, he presented his scheme
for a "Contemporary City" for three million inhabitants (Ville Contemporaine). The
centerpiece of this plan was the group of sixty-story, cruciform skyscrapers;
steel-framed office buildings encased in huge curtain walls of glass. These
skyscrapers were set within large, rectangular park-like green spaces. At the
center was a huge transportation hub, that on different levels included depots for
buses and trains, as well as highway intersections, and at the top, an airport. He
had the fanciful notion that commercial airliners would land between the huge
skyscrapers. Le Corbusier segregated pedestrian circulation paths from the
roadways and glorified the use of the automobile as a means of transportation.
As one moved out from the central skyscrapers, smaller low-story, zigzag
apartment blocks (set far back from the street amid green space), housed the
inhabitants

In the 1930s, Le Corbusier expanded and reformulated his ideas on urbanism,


eventually publishing them in La Ville radieuse (The Radiant City) of 1935.
Perhaps the most significant difference between the Contemporary City and the
Radiant City is that the latter abandons the class-based stratification of
the former; housing is now assigned according to family size, not economic
position.[7] Some have read dark overtones into The was Stockholm, for
example, Le Corbusier saw only frightening chaos and saddening monotony.[1]
He dreamed of "cleaning and purging" the city, bringing "a calm and powerful
architecture"referring to steel, plate glass, and reinforced concrete. Though Le
Corbusier's designs for Stockholm did not succeed, later architects took his ideas
and partly "destroyed" the city with them.

After World War II, Le Corbusier attempted to realize his urban planning schemes
on a small scale by constructing a series of "units" (the housing block unit of
the Radiant City) around France. The most famous of these was the Unit
d'Habitation of Marseilles (19461952). In the 1950s, a unique opportunity to
translate the Radiant City on a grand scale presented itself in the construction of
the Union Territory Chandigarh, the new capital for the Indian states of
Punjab and Haryana and the first planned city in India. Le Corbusier designed
many administration buildings including a courthouse, parliment building and
a university. He also designed the general layout of the city dividing it into
sectors. Le Corbusier was brought on to develop the plan of Albert Mayer

five points of architecture


Le Corbusier finally formulated in 1926 included (1) the pilotis elevating the mass
off the ground, (2) the free plan, achieved through the separation of the loadbearing columns from the walls subdividing the space, (3) the free facade, the
corollary of the free plan in the vertical plane, (4) the long horizontal sliding
window and finally (5) the roof garden, restoring, supposedly, the area of ground
covered by the house.

modular sysytem

Le Corbusier explicitly used the golden ratio in his Modulor system for the scale
of architectural proportion. He saw this system as a continuation of the long
tradition of Vitruvius, Leonardo da Vinci's "Vitruvian Man", the work of Leon
Battista Alberti, and others who used the proportions of the human body to
improve the appearance and function of architecture. In addition to the golden
ratio, Le Corbusier based the system on human measurements, Fibonacci
numbers, and the
double unit.He took Leonardo's suggestion of the golden ratio in human
proportions to an extreme: he sectioned his model human body's height at the
navel with the two sections in golden ratio, then s ubdivided those sections in
golden ratio at the knees and throat; he used these golden ratio proportions in
the Modulor system.

Portrait on Swiss ten francs banknote

intersections, and at the top, an airport. He had the fanciful notion that
commercial airliners would land between the huge skyscrapers. Le Corbusier
segregated pedestrian circulation paths from the roadways and glorified the use
of the automobile as a means of transportation. As one moved out from the
central skyscrapers, smaller low-story, zigzag apartment blocks (set far back
from the street amid green space), housed the inhabitants

INTRODUCTION

A man of eighteen century, plunged suddenly into our


civilization, might well have the impression of
something a kind of night mare, a man of the nineties
looking at much of modern European paintings might
well have the impression of something akin to a
nightmare,
Many of our most cherished ideas in regard to
Englishmans castle- the linched tiled roof, the gabled
house, patina- are treated as toys to be discarded and
he offered instead human warrens of sixty stories the
concrete house hard and clean, fittings as coldly
efficient as those a ship cabin or of a motor car and the
standardized product of mass production throughout.
The truth is that a man has an uncanny faculty to
adapting himself to new condition s .he learn to admit
and even, in a sneaking sort of way, to like new and
strange forms the new form is first repugnant ,but fi it
has an any real vitality and justification it becomes a
friend
The modern concrete bridge or dam may be a crude and
ungainly affair, or it may process its own grave and stark
beauty. The structure being equally good and functional
in either case
It is inevitable that the engineer, preoccupied with
function and aiming at an immediate response to new
demands, should produce new and strange forms often
startling at first, bizarre and dis agreeable. Some of
these forms often startling at first ,bizarre and dis
agreeable .some of these forms are not worth constant
repetition and soon dis appear into the limbo of
forgotten things .others stands the test of use and
standardization, become friendly to use and take their
place as part of our general equipment

The modern engineer, then, purses function first and


form second, but it is difficult for him to avoid results
that are plastically good, the good modern painter
pursues, plastic form for its own sake, and if he has the
necessary ability the results are plastically satisfying.
These things are true of the modern engineer and
the painter. Are they true of the architect, who is some
ways combines the function of the both? Le-Corbusier
would emphatically say no his theories and
philosophies is challenge to the members of his own
profession.
He plays his tricks with this or that historical style
and he can turn his attention to order form gothic to
classical to Tudor, byzantine or what not.by
concentrating his training so largely on these superficial
aspects,
The main problem arises out of the vast increased scale
on which modern enterprise is conducted. The trust or
combine has greatly ameliorated in later years, and
seems likely to be permanent features of big
business, the stores has largely replaced the small
shops, urban dwellers are finding themselves more and
more housed in huge block of flats, problem of transport
and traffic will sooner or later demands a radical
transformation of our streets-all these factored mean
fresh problems and fresh solution and it is our business
to use the materials and constructional methods to our
hand, not, of course ,blindly, but with a constant
endeavor to improve them.
And the process is constantly going on, whatever we
may think of the results.an architecture of our age is
slowly but surely shaping itself, its main lines become
more and more evident, the use of steel and reinforced
concrete construction of large areas of plate glass, of
standardized materials and new surface treatments of

metal that machinery has made possible of hints taken


from the airplane, the motorcar or the steamship where
it was never possible ,from the beginning, to attack the
problems from the academic standard point all these
things are helping, at any rate to produce a twenty
century architecture whose lineaments are clearly
traceable
A certain squareness of mass and outline ,a criss-cross
or grid iron treatment with an emphasis on the
horizontals, an extreme bareness of well surface, a
pervading austerity and economy and a minimum of
ornaments, these are among its characteristics. There is
evolving, we may begin to suppose, a grave and
classical architecture whose fully developed expression
should be of Nobel beauty
The 6yarchitects,by the arrangement of forms, realizes
an order which is pure creation of his sprit, by forms
and shapes he affects our sense to an acute degree and
provokes plastic emotion, by the relationships which he
creates he wakes profound echoes in us, he gives us the
measure of an order which he fells to be in accordance
with that of our world, he determines the various
movements of our heart and our understanding.it is
then that we experience the sense of beauty.
1920 Le Corbusier: Towards a new architecture: guiding
principles
Le Corbusier (b. 1887 in La Chau x-deSonds.
Switzerland, d.1965 in Roquebrune. Cap-Martin. France)
was already well known outside France when in 1920-1
those programmatic notes appeared in the periodical L'
Espr it Nouveau which in 1923 he published in book
form under the title Von one Architecture. In 1910 Le
Corbusier had worked for a few months with Peter
Behrens in Berlin. knew the work of the Deutscher
Werkbund (which, against van de Velde's protest - see

page 28 - was already concerning itself with


standardization and the problems of industrialization).
had since 1917 travelled an over Europe and was now.
from 1920, evolving an aesthetic of mass.production
building.
The engineer's aesthetic and architecture The
Engineer's Aesthetic and Architecture are two things
that march together and follow one from the other: the
one being now at its full height, the other in an unhappy
state of retrogression. The Engineer, inspired by the law
of Economy and governed by mathe-matical calculation,
puts us in accord with universal law. He achieves
harmony. The Architect, by his arrangement of forms,
realizes an order which is a pure creation of his spirit;
by forms and shapes he affects our senses to an acute
degree and provokes plastic emotions; by the
relationships which he creates he wakes profound
echoes in us, he gives us the measure of an order which
we feel to be in accordance with that of our world, he
determines the various movements of our heart and of
our understanding; it is then that we experience the
sense of beauty.
Three reminders to architects
Mass Our eyes are constructed to enable us to see forms
in light. Primary forms arc beautiful forms because they
can be clearly appreciated. Architects today no longer
achieve these simple forms. Working by calculation,
engineers employ geometrical forms, satisfying our eyes
by their geometry and our understanding by their
mathematics; their work is on the direct line of good art.
Surface
A mass is enveloped in its surface, a surface which is
divided up according to the directing and generating
lines of the mass; and this gives the mass its

individuality. Architects today are afraid of the


geometrical constituents of surfaces. The great
problems of modern construction must have a
geometrical solution. Forced to work in accordance with
the strict needs of exactly determined
conditions, engineers make use of form-generating and
form-defining ele-ments. They create limpid and moving
plastic facts.
Plan The Plan is the generator. Without a plan. you have
lack of order and wilfulness. The Plan holds in itself the
essence of sensation. The great problems of tomorrow,
dictated by collectise necessities. put the question of
'plan' in a new form. Modern life demands, and is
waiting for, a new kind of plan, both for the house and
for the city.
Regulating lines
An inevitable element of Architecture. The necessity for
order. The regulating line is a guarantee against
willfulness. It brings satisfaction to the understanding.
The regulating line is a means to an end; it is not a
recipe. Its choice and the modalities of expression given
to It are an integral part of architectural creation.
Eyes which do not see . . .
Liners A great epoch has begun. There exists a new
spirit. There exists a mass of work conceived in the new
spirit; it is to be met with particularly in industrial
production. Architecture is stifled by custom. The
'styles' are a lie. Style is a unity of principle animating
all the work of an epoch, the result of a state of mind
which has its own special character. Our own epoch is
determining, day by day, its own style. Our eyes,
unhappily. are unable yet to discern it. Aeroplanes The
aeroplane is the product of close selection. The lesson
of the aeroplane lies in the logic which governed the

statement of the problem and its realization. The


problem of the house has not yet been stated.
Nevertheless there do exist standards for the dwelling
house. Machinery contains in itself the factor of
economy, which makes for selection. The house is a
machine for living in.
Automobiles We must aim at the fixing of standards in
order to face the problem of perfection.
The Parthenon is a product of selection applied to a
standard. Architecture operates in accordance with
standards. Standards are a matter of logic, analysis, and
minute study; they are based on a problem which has
been well 'stated'. A standard is definitely established
by experiment.
Architecture
The lesson of Rome The business of Architecture is to
establish emotional relationships by means of raw
materials. Architecture goes beyond utilitarian needs.
Architecture is a plastic thing. The spirit of order. a
unity of intention. The sense of relationships;
architecture deals with quantities. Passion can create
drama out of inert stone.
The illusion of plans The Plan proceeds from within to
without; the exterior is the result of an interior. The
elements of architecture arc light and shade, walls and
space. Arrangement is the gradation of aims, the
classification of intentions. Man looks at the creation of
architecture with his eyes, which are 5 feet 6 inches
from the ground. One can only deal with aims which the
eye can appreciate, and intentions which take into
account architectural elements. If there come into play
intentions which do not speak the language of
architecture, you arrive at the illusion of plans, you

transgress the rules of the Plan through an error in


conception, or through a leaning towards empty show.
Pure creation of the mind Contour and profile are the
touchstone of the architect. Here he reveals himself as
artist or mere engineer. Contour is free of all constraint.
There is here no longer any question of custom, nor of
tradition, nor of con-struction nor of adaptation to
utilitarian needs. Contour and profile are a pure creation
of the mind; they call for the plastic artist.
Mass-production house: A great epoch has begun. There
exists a new spirit. Industry, overwhelming us like a
flood which rolls on towards its destined ends, has
furnished us with new tools adapted to this new epoch.
animated by the new spirit. Economic law inevitably
governs our acts and our thoughts. The problem of the
house is a problem of the epoch. The equilibrium of
society today depends upon it. Architecture has for its
first duty, in this period of renewal, that of bringing
about a revision of values, a revision of the con-stituent
elements of the house. Mass-production is based on
analysis and experiment. Industry on the grand scale
must occupy itself with building and establish the
elements of the house on a mass-production basis. We
must create the mass-production spirit. The spirit of
constructing mass-production houses. The spirit of
living in mass-production houses. The spirit of
conceiving mass-production houses. If we eliminate
from our hearts and minds all dead concepts in regard
to the house, and look at the question from a critical
and objective point of view, we shall arrive at the
'House-Machine', the mass-production house, healthy
(and morally so too) and beautiful in the same way that
the working tools and instruments which accompany our
existence are beautiful. Beautiful also with all the

animation that the artist's sensibility can add to severe


and pure functioning elements.
Architecture or revolution (excerpt) ... In building and
construction, mass-production has already been begun;
in face of new economic needs, mass-production units
have been created both in mass and detail; and definite
results have been achieved both in detail and in mass. If
this fact be set against the past. then you have
revolution, both in the method employed and in the
large scale on which it has been carried out. ... Our
minds base consciously or unconsciously apprehended
these events and new needs have arisen, consciously or
unconsciously. The machinery of Society, profoundly out
of gear, oscillates between amelioration, of historical
importance, and a catastrophe. The primordial instinct
of every human being is to assure himself of a shelter.
The various classes of workers in society today no
longer hare dwellings adapted to their needs; neither
the earthen nor the intellectual. It is a question of
building which is at the root of the social unrest of
today: architecture or revolution.
Architecture is one of the most urgent need of man, for
the house has always been the indispensable and first
tool that he has forgot himself. Mans stock of tools
mark out the stage of civilization,
The Stone Age,
The Bronze Age,
Iron Age,
Tools are the result of successive improvement, the
efforts of all generation is embodied in them. The tool is
the immediate expression of progress, it gives man
essential assistance and essential freedom also.

But men lived in old houses and they have not yet
thought of building houses adopt to themselves. The liar
has been dear to their hearts since all time.to such a
degree and so strongly that they have established the
cult of home.
Architecture can be found in the telephone and in the
Parthenon, in our houses. Houses make the street and
the street makes the town and the town is a personality
which takes to itself a soul, which can feel, suffer and
wonder.
Architecture, which matters of plastic emotion, should
in its own domain BEGIN AT THE BEGINNING ALSO,AND
SHOULD USE THOSE ELEMENTS WHICH ARE CAPABLE OF
AFFECTING OUR SENSES,AND OF REWARDING THE
DESIRE OF OUR EYE, and should dispose them in such a
way that THE SIGHT OF THEM AFFECT IMMEDIATELY by
their delicacy or their brutality, these elements are
plastic elements, forms which open our eyes see clearly
and our eye which can measure. These forms,
elementary or subtle, tractable or brutal, work
physiologically upon our senses
(SPHERE,CUBE,CYLINDER,HORIZONTAL,VERTICAL,OBLIQ
UE,ETC.) and excite them. Being moved, we are able to
get beyond the cruder sensations, certain relationships
are thus born which work upon our perceptions and put
us into a state of satisfaction

The spectator of the eye find itself looking at a site


composed of streets houses. It receives the impact of
the masses which rise up around it. If these masses are
of a formal kind and have not been spoilt by unseemly
variations, if the disposition of their grouping expresses
a clean rhythm and not in coherence agglomeration, if
the relationship of masses to space is in just proportion,
the mind drives from these satisfactions of a high order.

A plan calls for the most active imagination.it calls for


the most severe discipline also .the plan is what
determine everything, it is the decisive moment. A plan
is not a pretty things to be drawn, like a Madonna face,
it is a austere abstraction, it is nothing more than an
algebrization and a dry looking thing. The work of the
mathematician remains none the less one of the highest
activities of the human sprit
Rhythm is a state of equilibrium which proceeds either
from symmetries, simple or complex or from declare
balancings Rhythm is an equation
,equalization(symmetry repetition)(Egyptian and Hindu
temple),compensation(movement of contrary parts)(the
acropolis and Athens),modulation(the development of
an original plastic invention)(Santa Sophia)so many
reactions, differing in the main foe every individual, in
spite of the utility of aim which gives the Rhythm, and
the spirit of equilibrium.so we get the astonishing
diversity found in the greatest epochs, a diversity which
is the result of architectural principle and not the play
of decoration
The eye observes, in a large interior, the multiple
surfaces of walls and vaults, cupolas determine the
large spaces, the vault display their own surfaces, the
pillars and the wall adjust themselves in accordance
with comprehensible reason, the whole structure rises
from its base and is develop in accordance with a rule
which is written on the ground in the plan, noble forms,
variety of forms, unity of geometric principles. A
profound projection of harmony.
The plan is at its basis. Without plan their can be
neither grandeur of aim and expression, nor rhythm, nor
mass, nor coherence. without plan we have the
sensation, so in supportable of man. of shapelessness,
of poverty, of disorder, of willfulness

LE-CORBUSIER is one of the architect maestro to the


modern architecture, he tends to contribute in
community and give improvement to provide to provide
better living condition
Art nouveau, all curves and sinuous decorations had
burned itself out in a brilliant burst of emberance either
with art deco.
His invention of the golden section ratio in modular
system was widely used for the scale of architectural
proportion. He saw this system as a continuation of the
long tradition of Leonardo da Vinci the Vitruvius
le Corbusier was influenced by the problem, he saw in
the industrial city, he taught that industrial buildings
and housing techniques led to the crowding-dirtiness
and lack of moral landscape so he began to take
physical form mainly as house which he incorporated
his trade mark five points of architecture
He placed system of harmony and proportion at the
center of his design philosophy, he interested in
mathematical order was described to GOLDEN
SECTION and Fibonacci series
This meant a rejection of false aesthetic of decoration
and return to the fundamental principles of architecture
including proportion and compositing
villa schwob is the building in which he applied these
principles for the first time, this building was heavily
barrowed from Palladio with an rhythm and distinctive
Palladian blanck panel of the front elevation. In the
modular, Le-Corbusier claim that it was his search
through painting in the twenties, so called solution of
an place of the right angle, which was to serve,

The modular, which le-Corbusier intended a replacement


for both the metric and imperial system of measurement
was also intended as a synthesis of the two, what is
clear is that his preoccupation with proportion and
regulating lines was to have a reaching impact on many
of his buildings and much of his painting
Regulating lines..
Geometry is a language of man .Axes, circles rectangle
are the geometrical truths and it gives result that our
eyes can measure and recognize,deciding the relative
distance of the various object,that discovers rhythm
The regulating lines is a satisfaction of a spiritual order
which leads to the purist of ingenious and harmonius
relation, it confers on the work of quality of rhythm.
The determined surface of the cathedral is based on the
squares and circle.
The general mass of the faade ,both front and rear,is
based on ihe same angel (A) which determines a
diagonal whose many parallels and their perpendiculars
give the measure for correcting the secondary
elelment,door,windows panels etc, down to the smallest
detail.
This villa dimension,seen in the midestof other buildings
erected without a rule,gives the effect of being more
monumental,and of another order.
The most extreme design of le-Corbusiers late time, at
that time he was interested in machine age
Upturn roof supports on column
Walls and roofs are filled with clerestory window
Further reinforced the sacred nature of the space and
reinforce the relationship of the building with its
surrounding

Roof is insulating and water tight supported by short


struts
Curvilinear forms calculated to provide stability to this
rough masonry
Concrete roof was planned to slope towards 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 into the raised slanted concrete
structure, creating a dramatic natural fountain

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