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Le Corbusier was and remains a highly controversial figure in the history of modern architecture. Widely hailed as a visionary whose imaginative plans for built-up areas and urban spaces radically transformed our understanding of what a city should be and what it might look like, he is also vilified for the soulless monotony that his current of Modernism encouraged and wanton destruction of the urban fabric which it both defended and encouraged among proponents of town planning during the second half of the 20th century.
Le Corbusier is one of the main initiators of the international style, with contemporaries such as Ludwig Mies van der Rohe and Walter Gropius, with whom he previously worked, among others. His work was highlighted in the landmark 1932 exhibition at the Museum of Modern Art in New York - and in the subsequent book - which gave the movement its name.
Le Corbusier's role in the birth of modern architecture is amplified by his ability to elucidate and disseminate his principles in a succinct and energetic manner. His Five Points of a New Architecture, which formed the backbone of his architectural thought in the 1920s, is one of the most direct sets of ideas in architectural theory, which he successfully demonstrated in his many villas. contemporaries of the interwar period.
Le Corbusier's early writings and buildings glorified modernism and modernity as the key to pulling society out of the cataclysm of World War I in the early 1920s, a time when many others shrank from the embrace of the modern life. Indeed, his architecture and his faith in technological progress and heavy industry helped create what many architectural historians would later call "the age of the machine."
Le Corbusier's political and ideological positions remain fraught with complexities and controversies - he could sometimes be characterized as a capitalist, communist or fascist - and his abundant inspirations, voluminous documents and archival documents offer critics and academics a seemingly endless array of interpretive possibilities.
Few architects have a schnauzer which they call "Pinceau" ("brush"). Even fewer use the skin and hair of their deceased schnauzer as the binding for a copy of Don Quixote. And there are few architects who can compare to Le Corbusier's stature. This highly controversial designer emerged from obscurity in the Swiss Jura mountains to become (arguably) the most influential town planner and architect of the 20th century. He was one of the main designers who formulated the ideas of truly modern and avant-garde architecture during the interwar years. Le Corbusier's ideas about huge, rationalized, zoned, and industrially built cities both shocked and captivated a global audience.
More than fifty years after his death, Le Corbusier still manages to exert an influence and to arouse hatred against his ideas and his constructions. Its complex links with politics and the sociological dimensions of architecture - as well as its voluminous dossiers and archives - suggest that it will continue to be the subject of debate for decades to come.
His work as a painter nourished his thinking as an architect and town planner. He has written it himself on several occasions. The links between these two activities are not obvious at first glance, but they do exist. The use of a specific polychromy according to the periods of his life, analogous in his paintings and in his architecture, constitutes an easily identifiable bridge.
It is incorrect, it seems to me, to describe Le Corbusier as an "architect of the straight line and the gray". The richness of its spaces is precisely due to the diversity of sensations it manages to generate among residents, sensations which are exacerbated by the variety of shapes - in particular curves, volumes and colors.
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