Le Corbusier Biography

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Le Corbusier was a Swiss-born French designer who belonged to the very first generation of the so-called International school of architecture.
Run-throughs
Le Corbusier was born Charles-Edouard Jeanneret-Gris in Switzerland on October 6, 1887. In 1917, he relocated to Paris and presumed the pseudonym Le Corbusier. In his architecture, he primarily built with steel and reinforced concrete and worked with essential geometric kinds. Le Corbusier's painting emphasized clear types and structures, which represented his architecture.
Early Years
Born Charles-Edouard Jeanneret-Gris on October 6, 1887, Le Corbusier was the second son of Edouard Jeanneret, an artist who painted dials in the town's distinguished watch market, and Madame Jeannerct-Perrct, an artist and piano teacher. His household's Calvinism, love of the arts and interest for the Jura Mountains, where his family ran away throughout the Albigensian Wars of the 12th century, were all developmental influences on the young Le Corbusier.
At age 13, Le Corbusier left primary school to participate in Arts Décoratifs at La Chaux-de-Fonds, where he would learn the art of enameling and engraving watch deals with, following in the steps of his father.
There, he fell under the tutelage of L'Eplattenier, whom Le Corbusier called "my master" and later on referred to him as his only teacher. L'Eplattenier taught Le Corbusier art history, drawing and the naturalist aesthetics of art nouveau.
After designing his first house, in 1907, at age 20, Le Corbusier took trips through main Europe and the Mediterranean, consisting of Italy, Vienna, Munich and Paris. His journeys included apprenticeships with various architects, the majority of considerably with structural rationalist Auguste Perret, a leader of reinforced concrete building and construction, and later on with prominent architect Peter Behrens, with whom Le Corbusier worked from October 1910 to March 1911, near Berlin.
Early Career
These journeys played a critical function in Le Corbusier's education. He made 3 significant architectural discoveries. In different settings, he experienced and soaked up the significance of (1) the contrast between big cumulative spaces and private compartmentalized spaces, an observation that formed the basis for his vision of residential structures and later became greatly prominent; (2) classical proportion by means of Renaissance architecture; and (3) geometric kinds and using landscape as an architectural tool.
In 1912, Le Corbusier returned to La Chaux-de-Fonds to teach along with L'Eplattenier and to open his own architectural practice. He designed a series of rental properties and began to think on the use of strengthened concrete as a structural frame, a completely modern method.
Le Corbusier began to envisage buildings designed from these concepts as cost effective premade housing that would assist reconstruct cities after World War I pertained to an end. The layout of the proposed housing included open area, leaving out obstructive support poles, releasing outside and interior walls from the typical structural restraints. This design system became the backbone for the majority of Le Corbusier's architecture for the next 10 years.
The Move to Paris
In 1917, Le Corbusier moved to Paris, where he worked as an architect on concrete structures under federal government contracts. He invested the majority of his efforts, nevertheless, on the more influential, and at the time more profitable, discipline of painting.
Then, in 1918, Le Corbusier satisfied Cubist painter Amédée Ozenfant, who motivated Le Corbusier to paint. Kindred spirits, the 2 began a duration of cooperation in which they turned down cubism, an art kind finding its peak at the time, as romantic and illogical.
With these thoughts in mind, the set released the book Après le cubisme (After Cubism), an anti-cubism manifesto, and developed a new artistic motion called purism. In 1920, the set, along with poet Paul Dermée, established the perfectionist journal L'Esprit Nouveau (The New Spirit), an avant-garde evaluation.
In the first problem of the new publication, Charles-Edouard Jeanneret handled the pseudonym Le Corbusier, a modification of his grandpa's last name, to show his belief that anybody could reinvent himself. Embracing a single name to represent oneself artistically was particularly en vogue at the time, specifically in Paris, and Le Corbusier desired to develop a personality that could keep separate his important composing from his work as a painter and designer.
In the pages of L'Esprit Nouveau, the 3 males railed against previous creative and architectural motions, such as those embracing sophisticated nonstructural (that is, nonfunctional) decoration, and defended Le Corbusier's new design of functionalism.
In 1923, Le Corbusier released Vers une Architecture (Toward a New Architecture), which collected his polemical writing from L'Esprit Nouveau. In the book are such popular Le Corbusier statements as "a home is a maker for living in" and "a curved street is a donkey track; a straight street, a roadway for men."
Citrohan and the Contemporary City
Le Corbusier's gathered short articles likewise proposed a brand-new architecture that would please the needs of industry, thus functionalism, and the abiding issues of architectural form, as defined over generations. His propositions included his first city strategy, the Contemporary City, and 2 housing types that were the basis for much of his architecture throughout his life: the Maison Monol and, more famously, the Maison Citrohan, which he also referred to as "the device of living."



Le Corbusier's painting stressed clear types and structures, Villa Savoye which corresponded to his architecture.
L'Eplattenier taught Le Corbusier art history, drawing and the biologist looks of art nouveau. Le Corbusier began to envisage structures designed from these concepts as economical premade real estate that would assist reconstruct cities after World War I came to an end. Quickly Le Corbusier's social ideals and structural style theories ended up being a reality. The Radiant City brought with it some controversy, as all Le Corbusier jobs seemed to.





Le Corbusier visualized premade houses, mimicing the principle of assembly line production of cars, for example. Maison Citrohan showed the qualities by which the architect would later on define contemporary architecture: assistance pillars that raise the house in the air, a roof terrace, an open layout, an ornamentation-free facade and horizontal windows in strips for optimum natural light. The interior featured the normal spatial contrast in between open home and cell-like bedrooms.
In an accompanying diagram to the style, the city in which Citrohan would rest featured green parks and gardens at the feet of clusters of skyscrapers, a concept that would come to define urban planning in years to come.
Soon Le Corbusier's social suitables and structural style theories ended up being a reality. In 1925-1926, he constructed a workers' city of 40 houses in the design of the Citrohan home at Pessac, near Bordeaux. Regrettably, the chosen design and colors provoked hostility on the part of authorities, who declined to route the general public water supply to the complex, and for six years the structures sat unoccupied.
The Radiant City
In the 1930s, Le Corbusier reformulated his theories on urbanism, releasing them in La Ville radieuse (The Radiant City) in 1935. The most evident distinction between the Contemporary City and the Radiant City is that the latter abandoned the class-based system of the former, with housing now designated according to household size, not economic position.
The Radiant City brought with it some debate, as all Le Corbusier tasks appeared to. In explaining Stockholm, for circumstances, a classically rendered city, Le Corbusier saw just "frightening turmoil and saddening monotony." He imagined "cleansing and purging" the city with "a calm and effective architecture"; that is, steel, plate glass and enhanced concrete, what numerous observers might view as a modern-day blight applied to the beautiful city.
At the end of the 1930s and through the end of World War II, Le Corbusier kept hectic with developing such popular projects as the proposed master plans for the cities of Algiers and Buenos Aires, and using government connections to execute his ideas for ultimate restoration, all to no obtain.