Introduction by JEAN-LOUIS COHEN Translated by JOHN GOODMAN Texts & Documents, Harry Mallgrave, Series Editor Los Angeles, Getty Research Institute, 2007 347 pages, illustrated $24.95 (paper)
Le Corbusiers seminal work, first published in
October 1923, has been available in English since 1927, but this is the first scholarly edition of the book in English, newly translated by John Goodman, with full academic apparatus and a magisterial seventyeight-page introduction by Jean-Louis Cohen. As such, it is a noble addition to the groundbreaking Texts & Documents series, edited by Harry Mallgrave,
which has made a major contribution to our understanding of architectural theory.
Like most editions of Vers une architecture, this one is based on the second, revised edition of December 1924, in which Le Corbusier broke with his associate Amedee Ozenfant, eliminating him from the authors credit and the books dedication. Le Corbusier made a number of textual and photographic changes at this time, adding more images of his own work and removing some of Perrets work, and these changes are scrupulously noted in this edition, along with the identification of many of the illustrations used in the book. Another major advantage of this edition is that every effort is made to maintain the original page layout and the juxtaposition of text and image. Jean-Louis Cohens introduction sets the book in context, analyzes its arguments, and discusses the foreign editions and the reception of the book worldwide. Part of the context involves Cohen usefully explaining the aims and character of the avantgarde journal LEsprit Nouveau, in which all but one of the chapters of Vers une Architecture were originally published between October 1920 and May 1922. Cohen also demonstrates how Le Corbusier operated as an archivist in the book, bringing together images and documents that summed up ten years of teaching, design, travel, and apprenticeship. Cohens meticulous research has uncovered much information about Le Corbusiers process of collection and collage, illustrating many of the manuscript pages on which changes to the book were made and layouts planned. Le Corbusiers rhetorical power depends in part on shock value, and Cohen takes us into the kitchen of Le Corbusiers rhetorical cuisine, revealing his process of selecting and juxtaposing illustrations and the frequently startling relationship of text and image. This extended to the architects careful editing of the text as well and Cohen reminds us, for example, that the formulation for A house is a machine for living in in the first edition used the word demeurer (reside) instead of the more democratic habiter (live in).
Journal of Architectural Education,
pp. 7480 2008 ACSA
Cohen also demonstrates how Le Corbusier and
Ozenfant manipulated photographs to suit their arguments, painting out, eliminating, and cropping inconvenient elements in images of such iconic buildings as the Parthenon and St. Peters. He reveals the importance of Ozenfants contributions to image choice and aesthetic preferences and documents their disagreement over the second edition. Cohen also brings out the importance of the trip Le Corbusier and Ozenfant made to Rome in August 1921 in converting him to the power of Roman antique architecture and Michelangelos St. Peters. It is even possible that the three essays published between January and May 1922 in LEsprit Nouveau (numbers 1416), forming the section entitled Architecture, were an afterthought and not part of the original plan, although Cohen does not consider this. Of equal importance, Cohen explains how Le Corbusiers arguments are rooted in French and German theories of the nineteenth and early twentieth centuries from Auguste Choisy to Hermann Muthesius. Although he refused to be bound by the theory of structural rationalism as, in his opinion, his master Perret was, the importance of this theoretical work on the architects thinking is now fully evident. Cohen provides us with a detailed and illuminating history of the various international editions, as well as an insightful digest of the fortuna critica. The varied opinions of Frank Lloyd Wright, Sir Edwin Lutyens, Michel Roux-Spitz, Marie Dormoy, Walter Gropius, and Marcello Piacentini locate the book deliciously in the international arena. The sincerest form of flattery is also documented as Cohen shows the debts that Andre Lurcxat and Moisei Ginzburg owe to Vers une architecture in their own books. Towards a New Architecture, translated by Frederick Etchells and published by John Rodker in London in 1927, is roundly criticized, of course. The mistranslation of the title, the misleading new introduction, the omission of certain passages, the
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garbled renderings of certain key words, and the
poetic freedom which Etchells allowed himself are all correctly taken to task. For example, Etchells renders the word volume in French as mass, making nonsense of one of Le Corbusiers most famous slogans: Architecture is the masterful, correct and magnificent play of volumes brought together in light. The cumulative effect of these changes was to contribute to the widespread misunderstanding of Le Corbusiers work in England and the United States in the 1930s. John Goodmans translation is scholarly and well attuned to Le Corbusiers language and its literary sources. In a fine translators introduction, Goodman takes us through some of his translators headaches, such as the words ordonnance and modenature (he finds reasonable solutions to both of these). Those who know the old English edition by heart will mourn some of the panache of the original. For example, where Etchells puts: Our modern life, when we are active and about (leaving out the moments when we fly to gruel and aspirin) has created its own objects, Goodman has: Our modern life, that of all our activities except taking chamomile or linden tea, has created objects. Etchells takes the liberty of translating lheure du tilleul et de la camomille in terms of sickness (gruel and aspirin), whereas any Frenchman would associate drinking a soporific tisane with going to bed. Or again, where Goodman makes us struggle with we are rotten from art confused with respect for decor, Etchells tries to help the reader out with: we are in a diseased state because we mix up art with a respectful attitude towards mere decoration. Goodman is correct, and there is no substitute for presenting the original text as closely as possible to how it is written, but if this edition becomes the English language standard, we will all have to work a little harder to understand it. This new edition renders an invaluable service in bringing renewed and close attention to the book Reyner Banham described as one of the most influential, widely read, and least understood
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of all the architectural writings of the twentieth