Professional Documents
Culture Documents
diacritics, Volume 33, Number 3/4, Fall-Winter 2003, pp. 93-116 (Article)
M. CHRISTINE BOYER
Aviation and Equipment. A London publishing house, The Studio, Ltd, sent Le Cor-
busier a letter in January 1935, inquiring whether he would be interested in collaborat-
ing on a new series of books to be titled The New Vision. The promoters explained that
each book in the series would be devoted to a unique event in industrial design, with
specic attention paid to the designers, their aims, and the potential these designs held
for social and human development. They would begin the series with a volume on the
airplane. Le Corbusier was asked to write an introductory essay, supply captions for
the images they had already collected, and offer a few suggestions for additional il-
lustrations.1
Accepting the invitation, Le Corbusier in his reply, however, transformed the proj-
ect: instead of the word airplane he preferred aviation, by which he meant all the
prodigious phenomena opening vast new horizons in space and inuencing the future
of equipment in the broadest sense of the word.2 Already in Precisions (1930) he
had written, I replace the word urbanism by the term equipment. I have already
replaced the term furniture by that of equipment. Such stubbornness shows well that
we are purely and simply claiming tools for work, for we do not want to die of hunger
facing the embroidered owerbeds of aesthetic urbanism [143]. To his bag of equip-
ment, Le Corbusier now adds aviation, a tool of modern communication forging new
modes of exchange and new links between nations.3
The material subsequently sent by the publishing house to Le Corbusier also met
with lukewarm reception: he favored more lively documentation such as the view from
an airplane as it ew over citiesvast open terrain, the sea, and the forests. And he
wanted more picturesque treatment of the lives of aviators, their psychological and so-
cial attitudes including analysis of the great aerial routes being drawn between Europe
and America, Africa, or Asia. The publishing house was unable to fulll Le Corbusiers
94
7. Le Corbusier proclaimed that architectural creation concerns both utility and passion.
The creation of an object as an extension of our body answers utilitarian needs. It can be called
living if it moves, hence we approach biology. Such an object involves mechanical functions:
the airplane, the submarine, the dirigible. Our joys are shared among these living beings, which
we can caress with the hand and the eye (the airplane, the race car, the boat) and spiritual crys-
tallizations, which are products of our intellect and our thought. We are proud of and feel affec-
tion for these objects touched by both utility and passion. . . . That is when the word architecture
can be applied, when the spectator reads clearly the intentions and is moved. Even though the
word architecture also involves bidets, central heating and the machine for living in, it must
always understand that its focus is man who has both a head and a heart, and who lives in order
to act [Une Maison-Un Palais 45].
Moscow with its steppes, at the pampa and in Buenos Aires, in the rain forest,
and in Rio, have deeply rooted me in the soil of architecture. Architecture acts
by intellectual construction. It is the mobility of the mind that leads to the far
horizons of great solutions. When the solutions are great and when nature
comes to join them happily, or better still, when nature integrates itself in
them, it is then that one approaches unity. And I believe that unity is that stage
to which the unceasing and penetrating work of mind leads. [245]
Heroics and myth-making. Le Corbusier was spiritually aroused by the feats of the
aviator who was sent out to challenge unchartered realms, to y above the icecaps of
the Poles and across oceans and deserts, and over the highest of mountain ranges. Dur-
ing the 1920s and 1930s, the aviator was laden with dreams of grandeur soaring beyond
96
Waste, that snickering and drunken tyrant, at present claims all our labor, all
our sweat. Waste is strangling us, bewitching us, bogging us down, sucking us
dry of all our substance. . . . Authority, it is up to you to see the truth of things,
to contradict this folly, to stop this insane race into chaos once and for all.
The Plan will kill waste. . . . But at the moment we have the drama of
ghting for subsistence added to our usual ration of emotional drama, and
that is why there are revolutions rumbling underground or exploding all over
the place.
The Plan is revolutionary. We must accept the Plan and make it a real-
ity: city, village, farm. [342]
All of these words appear innocent enough until they are relocated within the neosyn-
dicalist paradigm and its apolitical stance. Neosyndicalism, a loosely dened doctrine
without a coherent ideology, was nevertheless anticapitalist, antistatist, and antidemo-
cratic. In the midst of world depression, not capitalism, nor fascism, nor communism
offered answers. The rst editorial of Plans in January 1931 declared that during these
pressing times, man had been left without a clear set of directives, a precise set of aims,
or a plan. It was the reviews intent to aid in the creation of a new order and to offer man
a general direction.9 Believing that the individual joined collective society through so-
9. La ligne gnrale, Plans 1 (Jan. 1931): 7-9.
98
The world is coming back to life! This is the slogan before the eyes of the
visitor to the Pavilion as he exits from the demonstration of urbanism of the
temps nouveaux. It is necessary to know how to extend contingent miseries, to
be transported above local events, in order to acquire this special viewthis
birds-eye viewfrom on high, which grasps the DIRECTION of masses in
movement. [Des canons 137]
The Airplane Indicts. Every technological invention opens up new routes of discov-
erysuch was the case of the airplane and the aerial view in the twentieth century.
The polar opposite to the microscope, which visually explored the realm of the in-
nitely small, the aerial view revealed space so vast that its comprehension could not
be absorbed in a single glance. It revealed the constant struggle man had made against
nature until he had nally subdued the space of the world and turned it into a gigantic
geometric representation. From the air a new geometry rearranged the image into new
representational forms: boundary lines of elds slashed zigzags across the terrain, lin-
ear traces of canals, roads, and railways left their sharp clear marks; elevated plateaus
and depression stood out in relief, windswept deserts and ice elds appeared as serrated
expanses while mountains turned into heavily creased folds.
Take an airplane. [Le Corbusier commanded in Radiant City.] Fly over our
19th century cities, over those immense sites encrusted with row after row of
houses without hearts, furrowed with their canyons of soulless streets. Look
down and judge for yourself. I say that these things are the signs of a tragic
denaturing of human labor. They are the proof that men, subjugated by the
titanic growth of the machine, have succumbed to the machinations of a world
powered by money. The architects of the past hundred years did not build for
men: they built for money. [341]
Flying across the wild stretches of South America, on his way back to Buenos
Aires in 1929, Le Corbusier observed the settlers farms, then hamlets, villages, small
towns, and nally the capital city [Radiant City 81]. His reactions were guided by a
visual framework he saw from the sky: all South American towns since the conquest
had developed according to a living unit, the cuadra (square) with sides 110 meters in
100
The plane has enlightened us. The plane has seen. The plane had indicted.
We now have a record, aero-photographic plates, which proves that at all
costs we must save our cities. [Routes 81]
With the eye of an eagle, the plane examines cities: London, Paris, Berlin,
New York, Algiers, Buenos Aires, Sao Paulo. Sinister balance sheets! [Routes
81]
The plane exposes the raw fact: cities have been built solely to make money at man-
kinds expense.
And the plane observes, works quickly, sees quickly, never tires. In addition,
the plane plunges deep into realism. Its implacable eye penetrates the misery
of cities and brings back the photographic record for those who lack the cour-
age to go and see for themselvesfrom the air.
Such are the great cities of the nineteenth century, unnished, cruel,
greedy.
The plane inaugurates in a superlative degree a new stage of conscious-
ness, a modern conscience. The cities must be rescued from disaster; their
rotten sections must be destroyed; new cities must be built. [Routes 81]
The aerial photograph tells the spectator exactly and with realistic detail what was the
state of urban existence. From on high, Le Corbusier continued in Des canons, des mu-
nitions? Merci! Des logis . . . s.v.p. (1937), each city appears to have a precise face and
enables the eye of the mind to see clearly, exactly, and completely. Yet town authorities
keep these aerial photographs in their le drawers, not on the walls of their ofces.
They never learn to interpret these views. Faced daily with such scandalous records, or
so Le Corbusier believed, these men would no doubt quickly decide not to tolerate such
leprous and fatal disarticulation and start immediately to work for the transformation of
cities and life [Des canons 7; Home of Man 59].
The Birds-eye View. In Precisions, Le Corbusier began to outline the difference be-
tween the aerial view and that seen by the eyes of man placed one meter, sixty centime-
ters above the ground. He reiterates this position in The Home of Man (1942), a small
book he wrote with Franois de Pierrefeu. Utilizing the eye as a tool of registration, the
man on the ground understands that walking creates diversity in the spectacle before
his eyes. But he has left the ground and own in an airplane. The aerial view offers a
At 500 to 1,000 meters altitude, and at 180 to 200 kilometers an hour, the view
from a plane is not rushed but slow, unbroken, the most precise one can wish:
one can recognize the red or black spots on a cowskin. Everything takes on
the precision of a tracing; the spectacle is not rushed but very slow, unbroken;
along with the plane, it is only the steamer on sea or the feet of the pedestrian
on a road that can give what may be called sight at human scale: one sees, the
eye transmits calmly. Whereas what I call inhuman and hellish are the sights
offered from trains and automobiles, even bicycles. I exist in life only if I can
see.11
The airplane ies over estuaries, along great rivers, high above the savannah, and
it looks down at virgin forests. It presents a new eye: the eye of a bird transplanted
into the head of a man. It enables the eye to perceive immense deltas, the reed beds
of atolls, the slender groups of palm trees, and it reveals the movement of water in the
subsoil and the patterned progression of green veins across the yellow plain [Radiant
City 7879]. This aerial view constitutes a new way of looking and interpreting the im-
ages of space. To rational analysis, comparison, and deduction is added this rsthand
experience of the eye. Perceptionor the interpreted viewLe Corbusier believed,
was more forceful than mere conception. It led to synthesis and action.
The birds-eye view offers a unique observation: it enables the eye to discern the
characteristics of various regions of the world and gauge their diversity. The different
values the eye observes as characters of nature become guides to human creations.
These varied elements combine into clear symphonies: counterpoint and fugue, con-
struction and nature.12 Nature is a thing of mathematical characters and inevitable con-
sequences of purposes. / And the purposes are determined by the characters [Radiant
City 79].
Returning to this theme in the 1940s, Le Corbusier claimed the aerial view enabled
man to see that which hitherto was only seen by the spirit. The whole spirit of our
plans will be illuminated and amplied by this new point of view [Home of Man 125].
The birds eye view has determined that [p]lans are no longer simply a game of the
mind; henceforth they see themselves./ And the spirit proclaims their order and their
grandeur [Home of Man 154]. The birds-eye view, he continued, is an important in-
novation; it enables the mind to see clearly and allows for the development of the third
dimension of height. A great part of the confusion that exists in the reading of plans has
come about because the eyes of man are only one meter, sixty centimeters above the
ground. The aerial view resolves this confusion by allowing a different reexive read-
ing without ambiguity [Trois tablissements 13841].
11. Precisions 7; Home of Man 125. He recounts in The Radiant City that, [s]tanding on
our own two feet, with our eyes a little more than ve feet from the earth, a distance that has
become the basis (the geometricians tool) of all our mesuration, of all the sensations, that affect
us, of all the perceptions that unleash the poetic tide in us, with this human height as a foundation
(feet on the ground, eye such a short distance above it) we have established our accepted scale of
dimensions: all our notions of height and of extent. . . . And on this basis we have observed and
noted the characteristics of the reed, of the tree, of the mountain [79].
12. The music of our constructions [and by music Le Corbusier means the poetic emana-
tions these constructions create] will be produced by the interplay of the characters we have
created. Isnt that how it works in Aeschylus too? [Radiant City 79].
102
The Cartographic View. Aviation, the herald of a new age, forged an indissoluble
bond linking the vast subject of architecture to city planning. From the airplane, the
earth looked different and so must architecture, city plans, and geographical maps.
Maps colonize space by extracting from the ground specic geographical facts and
silencing others. Maps are surfaces on which selected facts are exhibited or as Michel
de Certeau described, they form tables of legible results [121]. Yet maps also enable
a spatial imaginary to play over their surface: one can trace out routes to follow, dream
about places to inhabit, or project specic visions onto the lay of the land.
During his trip to South America in 1929, Le Corbusier poured over the maps of
Argentina blending together regional facts with exotic adventures, a form of erotopog-
raphy.
I . . . measured the lines of the rivers, the great stretches of plains and pla-
teaus, the barrier of the Andes, studied the network of railroads that already
irrigate your country. I knew for the rst time that Argentina is immense, that
it begins at the latitude of the Chaco whose Indians are naked and that it goes
all the way to the icebergs, to the Tierra del Fuego. . . . I ew far over your
country by plane. I saw that it was empty, that there was enormous room for a
fantastic expansion. [Precisions 202]
Sensing that people came to Argentina from all over the world bringing with them an
explosive energy, he imagined that Buenos Aires was predestined for greatness and
consequently Le Corbusier confessed that, like these immigrants, he too was charged
as full of energy as a dynamo [Precisions 202]. Returning to Buenos Aires, this time
on a hydroplane, he saw the city from 500 meters up in the air. It was a bristling tumul-
tuous city, a sign of a prodigious vitality, but also of improvisation, of incoherence.
Against this painful sight his cartographic eye juxtaposed an ordered arrangement of
glass skyscraper prisms on an enormous platform of reinforced concrete jutting out
into the sea. As he imagined, the simple horizontal line where the pampa met the ocean
would be punctuated with crystalline cubes lit up at night.13
His travels took him onward to Rio de Janeiro, a remarkable city that clear-
ly enchanted him. He began his account with a refrain when one is in Rio de
Janeiro . . . and proceeded to describe the blue bays, sky and water, the white quays
and pink beaches, and the successive promontories falling into the sea. Taking on the
mantle of a conquistador, he labeled the terrain a geography map of the time of the
Conquest, with its gulfs, its mountains, its boats; the inscriptions are the lights at night,
on the cliffs. . . . He embellished the site by bestowing metaphors and tropes on the
land. The high plateau and the mountains coming down to meet the sea were like the
back of a hand spread open. A second metaphor found the promontories to be like a
sort of disorderly green ame above the city always, everywhere, and which changes
appearance at ones every step [Precisions 234].
13. Le Corbusier believed the destiny of Buenos Aires lay toward the east. He crossed the
city and arrived at the sea, actually in the Rio, at the very point where the reasons for the citys
existence were crystallized. Where the ground of the pampa met the Rio a steep slope, the Bar-
ranca, fell away, keeping the city behind it. To overcome this shift of levels, Le Corbusier pro-
jected an enormous platform of reinforced concrete over the customs warehouses and the docks,
over the railway lines, out into the sea, sinking great concrete piles into its estuary. Here he laid
the foundations for his skyscraper business district [Precisions 205, 208].
when one has taken a long ight over the city like a bird gliding, ideas attack
you.
Ideas attack you when, for three months, one has been under pressure,
when one has descended into the depths of architecture and planning, when
one is on the way to deductions, when everywhere one envisages, one feels,
one sees consequences.
In the plane I had my sketchbook and as everything became clear to me I
sketched. I expressed the ideas of modern planning. [Precisions 236]
The whole site began to speak, on the water, on earth, in the air; it spoke of
architecture. This discourse was a poem of human geometry and of immense
natural fantasy. The eye saw something, two things: nature and the product of
the work of men. The city announced itself by the only line that can harmonize
with the vehement caprice of the mountains; the horizontal. [Precisions 243]
Next he took a ight over Sao Paulo where he commanded the pilot to y low over
the ground toward the center of the city so he could see its outline, where rises occurred
in the land, and where the business district pushed upward toward the sky, an indisput-
able sign of disease. By automobile, he measured the time it took to travel from point to
point over valleys, contours, and slopes. He grew to understand the general topography
of hills and hollows, and the inadequate network of streets that tried to go straight in a
hilly terrain. And then suddenly he was seized with the solution: he drew a horizontal
line 45 kilometers in length from hill to hill, and then a second line at right angles.
These straight horizontals are the expressways coming into the city, in reality cross-
ing it. You wont y over the city with your autos, but you will drive over it. Do not
104
Your room is installed before the site. The whole sea-landscape enters our
room.
The pact with nature has been sealed! By means available to town plan-
ning it is possible to enter nature into the lease.
Rio de Janeiro is a celebrated site. But Algiers, Marseilles, Oran, Nice
and all the Cote dAzur, Barcelona and many maritime and inland towns can
boast of admirable landscapes. [Home of Man 87]
The calculator and the poet united in the town planner unravel from the tangle
an unexpected solution.
The tracery they create becomes integral with the countryside. The town
lies like a garment upon the body of the site. Architecture attains majesty and
the citizens partake of essential joys.
A pact is signed with nature. [Home of Man 89]
The Lesson of the Desert. In both books Aircraft and The Four Routes, Le Corbusier
described another lesson in town planning that he learned from the aerial view. He tells
a story about a ight from Algiers, south over the Atlas mountains toward the cities of
the Mzab in the desert. This was a land of thirst and deathto which the Mozabites
had been banished a thousand years before when they built seven cities of the Mzab for
winter and laid out seven oases in the desert for summer. These latter cities were lled
with date and apricot trees, the lush foliage of peach or pomegranate trees; they were
each of the gay little houses opened by means of three ample arcades onto
an exquisite garden. . . . Every house of the Mzab, yes, every house without
exception, is a centre of happiness, serenity, is founded upon the solid rock of
fundamental truth. This city exists to serve mankind, to serve both body and
soul. In the Mzab, no single family was allowed to go without its arcade and
its garden. [Routes 110]
Here was the interpretive lesson: a gulf separated these desert tribes from the cruel,
inhuman white civilization. In the latter, a relentless thirst for money destroyed the
sacred rule of nature.
The plane ying over forest, rivers, mountains and seas reveals some funda-
mental laws, simple principles which prevail in nature, and as a result we may
hope that dignity, strength and a proper sense of values will become apparent
in the aspect of our new cities. [Routes 110]
The airplane is the mark of a new age, it is the peak of a huge pyramid of mechanical
progress that rushes forward into a new era on widespread wings. The aeroplane, in
the sky, carries our hearts above the humdrum of daily living. The plane has given us
a birds-eye view. / And when the eye sees clearly, the mind makes wise decisions
[Routes 111].
The Law of the Meander. Le Corbusier noted that [f]rom the plane I saw sights that
one may call cosmic. What an invitation to meditation, what a reminder of the funda-
mental truths of our earth! [Precisions 4]. One of these truths he baptized the law of
the meander. Flying over the great rivers of South Americathe Parana, the Uruguay,
and the Paraguay Rivershe was struck with a revelation. Studying their courses, he
understood how they followed the law of physics on the steepest gradient, but when
they owed across at terrain, erosion caused a meander to appear. Something had
disturbed the law of nature. He found there were parallels between this theorem and
that of creative thinking and human invention. Following the outlines of a meander
from above, I understood the difculties met in human affairs, the dead ends in which
they get stuck and the apparently miraculous solutions that suddenly resolve appar-
ently inextricable situations. The law of the meander quickly became for Le Corbusier
a personal symbol under which he introduced his propositions for reforms in both
architecture and urbanism. He mused, [f]rom the plane, one understands many other
things [Precisions 4].
As the worldwide economic crisis of the 1930s deepened and as Le Corbusier met
constant opposition to his great works of urbanism, he expanded on his theorem of the
106
When the time comes, the meander is dispensed with; the river breaks through
and returns to a straight course once more. Though, even so, this new route
will still be encumbered for a long while with parasites, with evil vapors, with
fevers and rotting decadence.
And so it is also in architecture and city planning; in sociology and eco-
nomics; in politics.15
All of the many city plans that Le Corbusier designed during the 1930s and 1940s
came to naught, blocked by forces standing in the stream of their energetic ow. In
1945 Le Corbusier returned to the law of the meander but with a twist of meaning, for
now he believed the aerial route had denitively surpassed all terrestrial routes and this
had major political consequences. He explained:
The earth is born without political frontiers: it is round and continuous; the
human species has multiplied across the four quarters of the world, following
laws of climate, of water-shed, of winds. . . . Roads follow the shortest routes
compatible with the slopes in their path. Obstacles assert their pressure on
this tracery: rivers, mountains, and the routes establish themselves through-
out millenniums. They are relatively predetermined. . . . The three routes em-
14. Radiant City 79. The ow of water is a function of two constants: size and speed. This
lesson must guide the city planner when he establishes beds for the modern uid of the automo-
bile. Water circulates in an unbroken fashion except where it nds a hole. There it forms a lake
and is stationary. This too must guide the planner: parking is a lake of trafc [80].
15. Radiant City 80. He compares the parable of the meander to mans life and to genera-
tions that follow. Long years of fruitfulness can be followed by decadence and collapse. The
worlds seasons and mans have different scales and do not always coincide. Was he born too
soon or too late or at the right conjunction? / Life pursues a natural impulse toward organiza-
tion. Cells reproduce themselves; they divide, multiply and form amorphous agglomeration. An
intention appears, a direction is apparent and an organism is born and further ramications take
place.
Plans for reconstruction took on great urgency during World War II, consequently Le
Corbusier decided to play the game of the day and to scout out the pathways to
tomorrow [Looking 77]. He intuitively knew that an equation was a tool in nature, al-
lowing diverse elements to be brought together, and that a meander accumulated these
elements, cascading forward and accelerating in speed, until they broke free and owed
in a straight line. On Descartess coordinate space he could visualize these moving ele-
ments across geometricized space [see Latour].
With one line, one sketch, it is possible to lay down on a sheet of paper the
gurative representation of a thought, a cycle, an era, even one still in the
future. The gures form an equation; this graphic algebra has its rules; the
velocity of it lets the explorer take giant steps over the undergrowth and bare
the principle. And so emerge the guidelines of a state already begun but whose
meaning had not been apparent to all. [Looking 77]
If a serious attempt to ponder the problems of aviation had been made fty, or
even just twenty or thirty years ago, couldnt it have guided a whole swarm of
decisions which had, instead to be taken amidst the perilous improvisation of
sentiment or interest or panic? [Looking 78]
But now the hour was striking, the time had come when the world must absolutely look
ahead. The cascade of elements accumulated in the meanders ow must eventually
break free and ow forward in a straight line. Le Corbusier drew a wedge of territory
containing the diversied features of a continent: suggestive of Europe with a sea to the
north and south, an ocean to the west, and another sea to the east. This watershed its
slopes, valleys, and plainsclearly depicted in an aerial view and created natural path-
ways for streams, brooks, and rivers that led man and things down to the sea [Looking
78, 81].
The purpose of our exploration is to discern, from amidst the present confu-
sion, the efcient, economic and elegant process governing the regular acts of
a society extending over a territory. A measuring instrument should be desig-
nated by which to appraise the value of the solutions that are found. . . .
Efciency considered, not in relation to money but in relation to man,
man being installed in his environment, the environment specic to his action,
his existence.
What is actually involved is the occupation of the ground for various pur-
poses: to produce and to trade in order to consume (feed, clothe and amuse).
[Looking 83]
108
The suns kisses are savage at the equator (where they are perpendicular), in-
operative at the poles (where they are tangential) and in between as we move
along every possible variation of temperature and therefore of climate and
topography (customs, races, pigments, temperature, education, industries,
products, morality, etc.). [Radiant City 109]
Consequently Le Corbusier began to reorder this map: the true line of trade must be
longitudinal, not latitudinal as is the common practice. The spread of commerce east-
ward and westward had caused territories to get in each others way, to compete with
each other, and it consequently had ignored all the space of the globe to the north and
south. The world needed new axes of expansion for peoples pressing against political
frontiers, allowing them to leave the frontiers empty, and protect the world from war
between nations [Radiant City 194].
The Vichy government under the leadership of Marshal Ptain, the World War
I hero of Verdun, made its compromise with the German invaders in the summer of
1940. Ptain promised a new order, a National Revolution. His revolution embodied
state the relationship between man and the universe, between the great and
the small nations, between the soil and its boundary.
It is they who must assure the hierarchy of things in the art of building.
Roads, houses, urban equilibrium, rural tracts, geographic boundaries, such
are the elements of their plastic game. [132]
These new lawgivers will become the modelers of towns and the creators of order in
the countryside. At the threshold of the house they will install a vigilant guardian: the
conditions of nature. On their coming, the revolution will be accomplished [132].
Le Corbusier turned to the past for help in achieving this revolution. He recounted
that on the Acropolis of Athens, the lawgiver knew how to place the temples as sound-
ing boards of the surrounding mountains. It was the lawgivers art that enabled him to
discern the spirit of those lines which can fuse the human creation and the natural cre-
ation into one whole [134]. And so it will be with the modeler of contemporary towns,
who gathers within himself the entire countryside and the whole topography. He will
determine the built volumes. / He will distribute them upon the ground of the town. He
will set upon the terrain a statue by which his spirit, through the course of years, will
express itself in architectural manifestations [135].
The airplane with its aerial view has given man a new understanding of geography,
of the importance of the land which has preceded, existed, and remained while many a
civilization has passed with time. Geography speaks, proclaiming certain fundamental
truths. Where men have made contact with each other, established a ow of informa-
tion, and explored new territories, there the discourse of geography has penetrated as
well. The lawgivers will bring the fruits of modern work to everyone.
So that the body of our civilization becomes work itself: the fact work
will be reconsidered, discussed; some new propositions submitted; some re-
straints imposed; some arrangement taken nally to equilibrate the forces of
the world, to make the sap circulate, to expand life, to make it regenerate, to
have the springtime bloom of this second cycle of machine civilization. [Trois
tablissements 132]
Le Corbusier again turns to history to buttress this claim. He notes that ancient Rome,
installed within the heart of the Mediterranean with its empire and its caravans coming
from faraway horizons bearing with them rare and exotic products, has ceased to be
the center of the world. Population has spread over the entire surface of the earth along
with its gigantic powers of production, and means of circulation and transport [Trois
tablissements 132]. When the world returns to peace, new places of production will
be created where primary and secondary materials will be transformed into consumer
products. In the rst machine age, these places were dispersed but in the second ma-
chine age they will be distributed according to the law of the three establishments.
Geography speaks. Here is the rst discourse, a map of the redistribution of in-
dustries on French territory. Traditionally geography has determined that industries
be located close to primary materials, next to sources of power, along transportation
110
Aerial Warfare. While considering plans for the future development of Moscow in
1930, Le Corbusier commented on a formidable menace threatening all urban exis-
tence: that of aerial warfare. Lieutenant Colonel Vauthier had just given Le Corbusier
a copy of his book titled The Aerial Danger and the Future of the Country.16 Now Le
Corbusier understood that the air would be the new theater of military operations and
that threat of aerial warfare emanated not only from explosive projectiles that would de-
stroy a citys built structures but also from poison gas and chemical warfare that would
asphyxiate its inhabitants, and from ammable liquids that would spread a restorm
beyond imagination. A city could be destroyed all at once. But it just so happened, quite
without realizing it, that Le Corbusier had already provided a necessary defense against
this new danger of aerial warfare in his studies for Urbanisme (1925) and in his book
Precisions (1930). He had proposed the construction of housing in reinforced con-
crete, a material strong enough to withstand the impact of bombs and to be reproof.
He had also proposed these structures be isolated in great open spaces, that housing,
commerce, and industry be located in separate zones, and that the entire built surface
of the city be reduced. These were essential conditions needed to lessen the exposure
of built structures to aerial attack but also to contain the spread of any conagration.
To avoid the disaster of poisonous gas, his proposal for suppressing meager courtyards
and narrow corridor streets, along with the provision of wide open spaces and housing
raised on piloti, would allow sufcient wind and water from protected hydrants or large
open-air swimming pools to cleanse the air. Le Corbusier admitted that his housing and
planning schemes had been offered as solutions for the problem of work and leisure in
the rst machine age, but, recently, the French military having studied different plans
for the development of Paris discovered that only Le Corbusiers earlier schemes pro-
vided adequate resistance to the dangers of aerial warfare.17
With Paris under German occupation since July 1940, the question of how to evac-
uate in case of air raids and carpet bombing was raised more and more frequently in the
1940s. Le Corbusier knew what could be expected: bottlenecks at every street corner
and road jams along the routes of exodus. He wrote in Four Routes (1941) that it would
be a stampede, and, in case of machine-gunning, a massacre [44]. Noxious gases
[would] pour into our trench-like streets and into those wells which our courtyards
provide; one cant get rid of them; they achieve a maximum result: the population
is asphyxiated [48]. If only Le Corbusiers scheme, advocated in The Radiant City,
In French this [wall] is called une enceinte, and enceinte means both that
which encloses and the pregnant woman who carries an infant in her womb.
From these images we take the principle of a form deliberately shaped with
the intention of being the vessel containing a city. Within it, a circulation net-
work feeds the soil protected by the walls. Gates are opened in the enclosing
walls from which roads lead away into the countryside. [Looking 83]
Then came a day when offensive weapons made mock of military enclosures,
when the advent of the airplane meant that fortresses no longer had ceilings
a recent event, since it dates from the First World War. [Looking 43]
With aerial warfare, new considerations replaced the old set of tools, and new urban
forms, the linear radiant city, developed for the entire nation.
The Three Establishments. The basic elements of the postwar planning problem in
Le Corbusiers list were the use of machines, new communication devices, information
ows, and administrative requirements. These were the elements in the equation that
would determine the form and location of future settlement patterns around the globe.
Yet productionor work for Le Corbusier was the activating force: it propelled men,
materials, and goods over the four routes of the world, those established on the land and
sea, the railroads, and through the air [Concerning 1112]. The rst two routes had de-
veloped a rational network of roads and ship lanes, while the railroad, followed by the
automobile, sowed disruption and chaos in its wake. Now the fourth route, or aviation,
was a catalyst for great mutations taking place throughout the world. Having taken to
the air, the destiny of man was truly revolutionary.18
Le Corbusier designed three different settlement patterns to shelter this new aerial
civilization: units of agricultural production (food), linear industrial cities (manufactur-
ing), and radio-concentric social cities (government, knowledge, commerce, and distri-
bution). Due to the airplane, population could now be rationally redistributed and land
more efciently utilized. After a general territorial stocktaking, areas beyond the reach
of the four routes would be allowed to sink into an indeterminate state, or possibly
extinction.
For the time of peace, they are preparing vast aerial eets, which will produce
an unimagined upheaval in the transport of men and goods. We need not lose
our heads. The skies of our towns will be full of the roar and the whistling of
aircraft. And if one day the physicists and the mechanics succeed in annulling
the racket the skies of our towns will remain no less encumbered with engines,
far and near, like the monstrous white mice that ll the skies of the fantastic
paintings of Hieronymus Bosch. [Concerning 118, 121]
Since the rst National Congress of French Aviation, in April 1945, aircraft
have been banned from the skies of French towns./ The war has turned a
new page, that of the aircraft, with its extraordinary speeds and its routes as
straight as the trajectories of missiles. Enthusiasm and ingenuity join hands
to prepare splendid berths for these machines: airports. Each town will claim
one, according to its needs and rights./ It is dangerous to prophesy so soon af-
ter the event [of war]. But at least we must try to see whether the three human
establishments of our technical civilization, hitherto founded upon the three
routes of earth, water, and iron, will nd their futures foreclosed or fostered by
the fourth route, that of the air. [Concerning 121]
Measures must be taken within the geography of Europe the effect of which
will be to join and to unite, and not to multiply the gun muzzles along frontiers
which are ready for dissolution before the sap which is thrusting from the
future./ This is the message that France can carry, if need be, to the inter-
national conference tables to assist in the emergence of a harmonious world
from the chaos into which a foolhardy inattention has plunged us. Our snails
shell has become too small, we are left without any real shelter. It is time to
leave it and build another. [Concerning 122]
Conclusion. For thousands of years man lived within a ten- to twelve-mile radius of
his shelter, but now, Le Corbusier noted, man can read about or view the entire world
in dramatic new atlases of aerial photographs or documental lms of innite detail. The
ow of information has exploded, revealing a variety of forms of nature, cultures, and
climates. Sitting in his armchair man has access to
114
The rst reaction to any expansion of horizons, as it has been throughout the his-
tory of mankind, is anxiety, or fear of the new. To nd some assurance, man retreats to
investigate the past. Archaeology [after 1870] was supreme, reigning over all teach-
ing. It was an invitation to a refusal to create, to loss of the taste for creatingtaste for,
joy in the risk of, creating [Looking 12]. Then specialized schools developed to train
engineers in the new sciences; they experimented, followed their curiosity, made pro-
digious leaps forward in the applied sciences. They designed automobiles and airplanes
that realized new speeds; they invented radios that wrapped the earth in countless waves,
picked up and relayed by receiving sets. These became the new vehicles that spread
every kind of thought or slogan around the globe, snowballing to gigantic proportions
as they gathered momentum [Looking 14]. Man was overwhelmed, crushed under all
these new discoveries; as a consequence society was divided into hostile classes, and
individuals were bruised and restricted in their daily endeavors. The human viewpoint
was lost, and the rightful place of machines was denied. If a serious attempt to ponder
the problems of aviation had been made fty, or even just twenty or thirty years ago,
couldnt it have guided a whole swarm of decisions which had, instead, to be taken
amidst the perilous improvisation of sentiment or interest or panic? [Looking 78].
In conclusion, Le Corbusier resorted to his famous refrain the hour is striking:
the time is favorable; now we absolutely must look ahead and plan for a world in which
the aerial route will lie supreme.
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