Le Corbusier (1887-1965), born Charles-Édouard Jeanneret-Gris in La Chaux-de-Fonds (Switzerland), is considered by many to be the most influential architect of the twentieth century. Educated in his hometown in the Arts and Crafts tradition under his mentor Charles L’Éplattenier, his early training included important travels and periods of work in the offices of the Perret Brothers (Paris) and Peter Behrens (Berlin). He settled permanently in Paris in 1917, after which he encountered the modernist painter Amedée Ozenfant who would have a significant influence on his work; together they established Purism and the L’Esprit Nouveau journal. During this period he also took the name Le Corbusier derived from the name of a relative. The 1920s saw Le Corbusier emerge as one of the leading modern architects internationally with his designs for a series of villas and projects for the modern city. His ‘white’ architecture of this period was inspired by modern machines, including early aircraft, automobiles, and ocean liners, along with an abiding interest in architectural history. Many of his ideas were captured in two important publications: Vers une architecture (1923) and Urbanisme (1925). In the early 1930s he sought larger commissions internationally and his architecture evolved away from the Purist work of the 1920s with the adoption of vernacular elements.
As the political climate in Europe changed in the late 1930s Le Corbusier’s career struggled leading him to take desperate measures. For example, during World War II, he attempted unsuccessfully to secure commissions from the Vichy regime controlling southern France. During this period he also began work on his Modulor measurement system. At the end of the work he reestablished his office in Paris and embarked on a creative and productive period that would last until his death by drowning in 1965. Of particular importance was the Unité d’Habitation project in Marseilles, begun in 1946, which allowed him to develop his ideas for collective housing; this project also signaled the emergence of his ‘brutalist’ period. His formal experiments also broadened with works such as the pilgrimage church of Notre Dame-du-Haut at Ronchamp and the monastery of La Tourette. In 1950 he was invited to India, where he was engaged to take over the master plan of the new capital city of the Punjab at Chandigarh. This allowed him to test his urban theories and to develop designs for the Capitol complex. A series of late work demonstrated Le Corbusier’s continuing experiments in architecture. Often unfairly maligned for the failings of modern urbanism, Le Corbusier’s legacy continues to evolve.
This four-volume collection of writings on the career and legacy of Le Corbusier traces the various periods of his life from his early training to his final projects. The writings, by Le Corbusier and leading scholars, also explore important themes and specific buildings. The final volume includes articles, some critical of his ideas, which examine his legacy and impact.
Volume I: Formative Years, 1887-1916
Education, Apprenticeship and Early Travels
1. H. Allen Brooks, ‘Le Corbusier’s Formative Years at La Chaux-de-Fonds’, in H. Allen Brooks (ed.), Le Corbusier, (Princeton: Princeton University Press, 1987), pp. 27-45.
2. Giuliano Gresleri, ‘Home-Ties—Adrift Abroad: The Oriental Journey of CH. Jeanneret’, Daidalos, 15, (March 1986), pp. 102-111.
3. Christoph Schnoor, ‘Munich to Berlin: The Urban Space of German Cities’, in Jean-Louis Cohen, (ed.), Le Corbusier: An Atlas of Modern Landscapes, (London: Thames and Hudson, 2013), pp. 85-90.
4. Le Corbusier, ‘The Parthenon’, in Journey to the East, trans I. Zaknic, (Cambridge, Mass.: MIT Press, 1987), pp. 209-239, 263-266.
Early Projects and Themes
5. Jacques Grubler, ‘From Feeling to Reason: Jeanneret and Regionalism’, in Le Corbusier: Early Works by Charles-Edouard Jeanneret-Gris, (New York: St. Martin’s, 1987), pp. 112-119.
6. Geoffrey Baker, ‘The Early Villas in La Chaux-de-Fonds by Charles-Edouard Jeannneret-Gris’, in Le Corbusier: Early Works by Charles-Edouard Jeanneret-Gris, (New York: St. Martin’s, 1987), pp. 8-24.
7. Peter Serenyi, ‘Le Corbusier, Fourier, and the Monastery of Ema’, Art Bulletin, (Dec. 1967), pp. 277-286.
8. Peter Eisenman, ‘Aspects of Modernism: Maison Dom-ino and the Self-Referential Sign’, Oppositions, no. 15/16, (Winter/Spring 1979), pp. 118-128.
Toward an Architecture 1917-1929
Transitional Years: Amedée Ozenfant, Purism, L’Esprit Nouveau
9. H. Allen Brooks, ‘The Transitional Years: Jeanneret’s Move to Paris 1917-1920’, in Le Corbusier’s Formative Years: Charles-Edouard Jeanneret at La Chaux-de-Fonds, (Chicago: University of Chicago Press, 1997), pp. 471-503.
10. Le Corbusier and Amédée Ozenfant, ‘Purism’, in Robert L. Herbert, (ed.), Modern Artists on Art: Ten Unabridged Essays, (Englewood Cliffs: Prentice-Hall, Inc., 1964), pp. 58-73.
11. M. Christine Boyer, ‘A Method for the Arts of Today: Purism, Après le Cubisme, and L’Esprit Nouveau’, in Le Corbusier, homme de lettres, (New York: Princeton Architectural Press, 2011), pp. 261-276, 725-727.
12. Kenneth E. Silver, ‘Ars Longa’, in Purism and the Spirit of Synthesis, (New York: Barbara Mathes Gallery, 1986).
Vers une architecture, 1923
13. Le Corbusier, ‘Argument’, ‘Three Reminders To Architects: Volume’, and ‘Eyes That Do Not See: Liners’, in Toward an Architecture, trans. J. Goodman, (Los Angeles: Getty Research Institute, 2007), pp. 85-89, 99-106, 145-158, 308-310, 317-319.
14. Frederick Etchells, ‘Introduction’, in Le Corbusier, Towards a New Architecture, trans. F. Etchells, (New York: Payson & Clark, 1927), pp. v-xvii.
15. Peter Collins, ‘The Mechanical Analogy’, in Changing Ideals in Modern Architecture, (Montreal: McGill-Queen’s University Press, 1967), pp. 164-166.
Purist Villas
16. Richard A. Etlin, ‘A paradoxical avant-garde: Le Corbusier’s villas of the 1920s’, Architectural Review, Vol. CLXXXI, No. 1079, (January 1987), pp. 21-26, 31-32.
17. Kurt W. Forster, ‘Antiquity and Modernity in the La Roche-Jeanneret Houses of 1923’, Oppositions, no. 15/16, (Winter/Spring 1979), pp. 131-153.
18. Philippe Boudon, ‘Le Corbusier’s Conception at Pessac’, in Lived-in Architecture: Le Corbusier’s Pessac Revisited, trans. G. Onn, (London: Lund Humphries, 1972), pp. 29-46.
19. Colin Rowe, ‘The Mathematics of the Ideal Villa: Palladio and Le Corbusier Compared’, Architectural Review, 101, (March 1947), pp. 101-104.
20. Tim Benton, ‘Villa Savoye and the Architects’ Practice’, in H. Allen Brooks (ed.), Le Corbusier, (Princeton: Princeton University Press, 1987), pp. 83-105.
21. Richard Meier, ‘’Les Heures Claires’’, in Yukio Futagawa, (ed.), Le Corbusier: Villa Savoye, Poissy, France. 1929-31, (Tokyo: A.D.A. Edita, 1972), pp. 2-7.
Themes: Five Points of a New Architecture, the Architectural Promenade
22. Le Corbusier and Pierre Jeanneret, ‘Five points towards a new architecture’, in Ulrich Conrads, (ed.), Programs and Manifestoes on 20th-Century Architecture, (Cambridge, Mass.: MIT Press, 1970), pp. 99-100.
23. Werner Oechslin, ‘Les Cinqs Points d’une Architecture Nouvelle’, Assemblage, No. 4, (October 1987), pp. 83-93.
24. Bruno Reichlin, ‘The Pros and Cons of the Horizontal Window: The Perret-Le Corbusier Controversy’, Daidalos, 13, (September 1984), pp. 65-78.
25. Flora Samuel, ‘Elements of the Architectural Promenade’, in Le Corbusier and the Architectural Promenade, (Basel: Birkhäuser, 2010), pp. 85-101.
The City of Tomorrow 1920-1933
Urbanisme, 1925
26. Le Corbusier, ‘A Contemporary City’, in The City of Tomorrow, trans. F. Etchells, (New York: Payson & Clarke, 1929), pp. 164-177.
Urban Projects and CIAM
27. Norma Evenson, ‘A City for Three Million People’, and ‘The Voisin Plan’, in Le Corbusier: The Machine and the Grand Design, (New York: George Braziller, 1969), pp. 13-20, 112-114.
28. Kenneth Frampton, ‘The City of Dialectic’, Architectural Design, Vol. XXXIX, (October 1969), pp. 541-546.
29. Sigfried Giedion, ‘The International Congresses for Modern Architecture (CIAM) and the Formation of Contemporary Architecture’, in Space, Time and Architecture: The Growth of a New Tradition, (Cambridge, Mass.: Harvard University Press, 1982), pp. 696-706.
Volume II: Allied Arts, 1925-1937
L’Art décoratif d’aujourd’hui (1925)
30. Le Corbusier, ‘Type-needs. Type-furniture’, in The Decorative Art of Today, trans. J. Dunnett, (Cambridge, Mass.: MIT Press, 1987), pp. 67-79.
Furniture and Interiors
31. Charlotte Benton, ‘Le Corbusier: Furniture and the Interior’, Journal of Design History, 3, no. 2-3 (1990): pp. 103-124.
The Role of Drawing, Painting, Sculpture and Colour
32. Christopher Green, ‘The Architect as Artist’, in Le Corbusier: Architect of the Century, (London: Arts Council of Great Britain, 1987), pp. 110-118.
33. Geoffrey Baker, ‘Le Corbusier: Sketches and Drawings’, Architectural Design, 52, 7/8, (1982), pp. 64-69.
34. Richard Joseph Ingersoll, ‘Le Corbusier: A Marriage of Contours’, in Le Corbusier: A Marriage of Contours, (New York: Princeton Architectural Press, 1990), pp. 7-16.
35. Fernand Leger, ‘Color in Architecture’, in Stamo Papadaki (ed.), Le Corbusier, Architect, Painter, Writer, (New York: Macmillan, 1948), pp. 78-80.
Photography
36. Beatriz Colomina, ‘Le Corbusier and Photography’, Assemblage, 4, (October 1987), pp. 7-23.
37 Thomas L. Schumacher, ‘Deep Space/Shallow Space’, Architectural Review, Vol. CLXXXI, No. 1079, (January 1987), pp. 37-42.
World Architect, 1928-1936
League of Nations and Mundaneum
38. Sigfried Giedion, ‘The League of Nations Competition, 1927: Contemporary Architecture Comes to the Front’, in Space, Time and Architecture: The Growth of a New Tradition, (Cambridge, Mass.: Harvard University Press, 1982), pp. 530-539.
39. Giuliano Gresleri, ‘The Mundaneum Plan’, in Carlo Palazzolo and Riccardo Vio (eds.), In the Footsteps of Le Corbusier, (New York: Rizzoli, 1991), pp. 93-113.
International Encounters: U.S.S.R., Latin America, North Africa and America
40. Jean-Louis Cohen, ‘Le Corbusier and the Mystique of the U.S.S.R.’, Oppositions, no. 23, (Winter 1981), pp. 85-121.
41. Moses Ginzburg, ‘Letter to Le Corbusier’, in A. Kopp, (ed.), Town and Revolution, (London: Thames & Hudson, 1970), pp. 253-254.
42. Fernando Pérez Oyarzun, ‘Le Corbusier in South America: Reinventing the South American City’, in Le Corbusier & The Architecture of Reinvention, (London: AA Publications, 2003), pp. 141-153.
43. Mary McLeod, ‘Le Corbusier and Algiers’, Oppositions, no. 19/20, (Winter/Spring 1980), pp. 54-85.
44. Mardges Bacon, ‘The "Call" to American Industrialists’, in Le Corbusier in America: Travels in the Land of the Timid, (Cambridge, Mass.: MIT Press, 2001), pp. 184-189, 365-368.
45. Le Corbusier, ‘The Skyscrapers Of New York Are Too Small’, in When the Cathedrals Were White: A Journey to the Country of Timid People, trans. F.E. Hyslop, Jr., (New York: McGraw-Hill Book Co., 1964), pp. 51-58.
Housing Projects
46. Brian Brace Taylor, ‘Technology, Society, and Social Control in Le Corbusier’s Cité de Refuge, Paris, 1933’, Oppositions, no. 15/16, (Winter/Spring 1979), pp. 168-185.
47. Shadrach Woods, ‘Why Revisit ‘Le Pavillon Suisse’?’, Architectural Forum, 122, (June 1965), pp. 59-63.
48. Peter Carl, ‘Le Corbusier’s Penthouse in Paris, 24 Rue Nungesser-et-Coli’, Daidalos, 28, (June 1998), pp. 65-75.
49. Christian Sumi, ‘The Immeuble Clarté’, in Carlo Palazzolo and Riccardo Vio (eds.), In the Footsteps of Le Corbusier, (New York: Rizzoli, 1991), pp. 177-187.
Regionalism and Vernacular Forms, 1929-1935
50. Peter Blake, ‘Thirteen’, in Le Corbusier: Architecture and Form, (Baltimore: Penguin Books, 1966), pp. 86-95.
51. Tim Benton, ‘Petite Maison de Weekend (Villa Félix), La Celle-St-Cloud’, in Michael Raeburn and Victoria Wilson (eds.), Le Corbusier: Architect of the Century, (London: Arts Council of Great Britain, 1987), pp. 65-66.
The War Years, 1936-1946
52. Danilo Udovicki-Selb, ‘Le Corbusier and the Paris Exposition of 1937: The Temps Nouveau Pavilion’, Journal of the Society of Architectural Historians, Vol. 56, No. 1, (March 1997), pp. 42-63.
53. Antony Moulis, ‘Forms and techniques: Le Corbusier, the spiral plan and diagram architecture’, ARQ, Vol. 4, Issue 4, (December 2010), pp. 317-326.
54. Kenneth Frampton, ‘The Politics of the Unpolitical: Le Corbusier and Saint-Simonian Technocracy 1923-1947’, in Le Corbusier, (London: Thames & Hudson, 2000), pp. 116-129, 231-232.
55. Robert Fishman, ‘Vichy’, in Urban Utopias in the Twentieth Century: Ebenezer Howard, Frank Lloyd Wright, and Le Corbusier, (New York: Basic Books Inc., 1977), pp. 243-252, 301-302.
Volume III: Post-War Reconstruction, 1946-1964
Ideas and Projects
56. Peter Clericuzio, ‘Le Corbusier and the Reconstruction of Saint-Dié: The debate over Modernism in France, 1944-46’, Chicago Art Journal, 20 (2010), pp. 47-71.
57. Le Corbusier, ‘The Construction of Dwellings’, in Talks with Students from the Schools of Architecture, trans. P. Chase, (New York: Orion Press, 1961), pp. 24-34.
58. Ernesto N. Rogers, ‘Villa, Townhouse’, and ‘Unité: the Utopian Spectrum’, in Four Great Makers of Modern Architecture, (New York: Columbia University School of Architecture, 1961), pp. 205-215.
59. Peter Collins, ‘Modulor’, Architectural Review, 116 (July 1954), pp. 4-8.
60. Lewis Mumford, ‘The Marseille ‘Folly’’, in Highway and the City, (New York: Harcourt, Brace and World, 1963), pp. 68-81.
Brutalism and Spiritual Form 1948-1965
Brutalism
61. Reyner Banham, ‘Les Maisons Jaoul, Neuilly’, in The New Brutalism, (London: Architectural Press, 1966), pp. 85-86, 96-101.
62. Roberto Gargiani and Anna Rosellini, ‘Pisé, concrete with rubble, exposed brick’, in Le Corbusier: Béton Brut and Ineffable Space, 1940-1965, (Lausanne: EPFL Press, 2011), pp.345-354.
63. Anthony Vidler, ‘Troubles in theory V: the brutalist moment(s)’, Architectural review, 235/1404 (Feb 2014), pp. 96-101.
Religious Buildings
64. James Stirling, ‘Ronchamp. Le Corbusier’s Chapel and the Crisis of Rationalism’, Architectural Review, 119, (March 1956), pp. 155-161.
65. Colin Rowe, ‘Dominican Monastery of La Tourette, Eveux-sur-Arbresle, Lyons,’ Architectural Review, 1129, no. 772, (June 1961), pp. 401-410.
66. Peter Buchanan, ‘La Tourette and Le Thoronet,’ Architectural Review, no. 1079, (January, 1987), pp. 48-59.
67. Anthony Eardley, ‘Grandeur is the Intention’, in Le Corbusier’s Firminy Church, (New York: IAUS/Rizzoli, 1981), pp. 4-23.
Art practice: poetry and painting
68. Le Corbusier, ‘Ineffable Space’, in New World of Space, (New York: Reynal & Hitchcock, 1948), pp. 7-9.
69. Richard Allan Moore, ‘Alchemical and mythical themes in the poem of the Right Angle, 1945-65’, Oppositions, no. 19/20, (Winter-Spring 1980), pp. 111-139.
India, 1950-1965
70. Maxwell Fry, ‘Chandigarh: A New Town for India’, Town & Country Planning, 21, (May 1953), pp. 217-221.
71. Charles Correa, ‘The Assembly: Chandigarh’, Architectural Review, 135, (June 1964), pp. 404-412.
72. Norma Evenson, ‘Chapter 6, Le Corbusier: The Master Plan’, Chandigarh, (Berkeley: University of California Press, 1966), pp. 29-39.
73. Allan B. Jacobs, ‘Observations on Chandigarh’, Journal of the American Institute of Planners, 33, no. 1, (January 1967), pp. 18-26.
74. Peter Serenyi, ‘Timeless but of its Time: Le Corbusier's Architecture in India’, Architectural Design 55, no. 7-8 (1985), pp. 55-87.
75. Vikramaditya Prakash, ‘With Open Hands’, in Chandigarh’s Le Corbusier: The Struggle for Modernity in Postcolonial India, (Seattle: University of Washington Press, 2002), pp. 123-145.
76. Madhu Sarin, ‘Socio-Economic Change and the Poor’, in Hasan-Uddin Khan et al (ed.), Le Corbusier: Chandigarh and the modern city: Insights into the iconic city sixty years later, (Ahmedabad: Mapin Publishing, 2009), pp. 108-120.
Last Works/New Beginnings, 1948-1965
77. Alfonso Corona Martínez, 'Le Corbusier's Curutchet House in La Plata', AA Files, 37, (October 1998), pp. 33-39.
78. Marc Treib, ‘The Electronic Pavilion Reconsidered’, in Space Calculated in Seconds: The Philips Pavilion, Le Corbusier, Edgard Varèse, (Princeton: Princeton University Press, 1996), pp. 230-253.
79. Eduard R. Sekler and William J.R. Curtis, ‘The Carpenter Center in Le Corbusier’s oeuvre: An Assessment’, in Le Corbusier at Work: The Genesis of the Carpenter Center for the Visual Arts, (Cambridge, Mass.: Harvard University Press, 1978), pp. 229-258.
80. Peter Eisenman, ‘Textual Heresies: Le Corbusier, Palais des Congrès-Strasbourg, 1962-64,’ in Ten Canonical Buildings, 1950-2000, (New York, Rizzoli, 2008), pp.72-80.
81. Alan Colquhoun, ‘Formal and Functional Interactions: A Study of Two Late Works by Le Corbusier’, Architectural Design, vol. 36, (May 1966), pp. 221-234.
82. Catherine Dumont d’Ayot, ‘The Exhibition Pavilions for Heidi Weber and Theodor Ahrenberg’, in Jean-Louis Cohen (ed.), Le Corbusier’s Secret Laboratory: From Painting to Architecture, (Ostfiildern: Hatje Cantz Verlag, 2013), pp. 285-297.
Volume IV: Legacy and Impact 1960-2016
Processes and Intentions
83. Françoise Choay, ‘Poetry and Aesthetics’, in Masters of World Architecture – Le Corbusier, (New York: George Braziller, 1960), pp. 22-24.
84. José Luis Sert, ‘Le Corbusier and the Image of Man’, in Four Great Makers of Modern Architecture, (New York: Columbia University School of Architecture, 1961), pp. 172-176.
85. Jerzy Soltan, ‘Working with Le Corbusier’, in H, Allen Brooks (ed.), Le Corbusier, (Princeton: Princeton University Press, 1987), pp. 1-16.
86.Judi Loach, ‘Studio as Laboratory’, Architectural Review, Vol. CLXXXI, No. 1079, (January 1987), pp. 73-77.
Appreciations
87. Oscar Niemeyer, ‘Le Corbusier’, in W. Boesiger (ed.), Le Corbusier 1957-1965, (London: Thames & Hudson, 1965), pp. 9-10.
88. Sibyl Moholy-Nagy, ‘The Achievement of Le Corbusier’, Arts Magazine, 40, (November 1965), pp. 40-45.
89. Reyner Banham, ‘Le Corbusier: The Last Formgiver’, Architectural Review, 140, (August 1966), pp. 97-98.
Colleagues and Collaborations
90. Joyce Lowman, ‘Corb as structural rationalist: the formative influence of engineer Max DuBois’, Architectural Review, 160/956 (1976), pp. 229-233.
91. Mary McLeod, ‘Charlotte Perriand: Here First Decade as a Designer’, AA Files, 15, (Summer 1987), pp. 3-13.
92. Charlotte Periand, ‘Le Corbusier and the Pioneering Age’, in A Life of Creation: An Autobigraphy, (New York: Monacelli Press, 2003), pp. 23-36.
93. Maristella Casciato, ‘Introducing Pierre Jeanneret: architect, designer, educator’, Mellon Lecture Canadian Center for Architecture (18 November, 2010).
94. Balkrishna Doshi, ‘Le Corbusier: The Acrobat of Architecture’ (extract) in his Le Corbusier and Louis I Kahn: The Acrobat and the Yogi of Architecture, (Ahmedabad: Vastu-Shilpa Foundation for Studies and Research in Environmental Design, 1986), pp. 8-19.
95. Jane Drew, ‘Le Corbusier as I Knew Him’, in Russell Walden, (ed.), The Open Hand: Essays on Le Corbusier, (Cambridge, Mass.: MIT Press, 1977), pp. 364-373.
96. Iannis Xenakis, Music and Architecture: Architectural Projects, Texts, and Realizations, trans. S. Kanach, (Hillsdale: Pendragon Press, 2008), pp. 120-121.
97. André Wogenscky, ‘History’ and ‘Modulor,’ in Le Corbusier’s Hands, trans. M. Millà Bernad, (Cambridge, Mass.: MIT Press, 2006), pp. 43-44, 69-72.
International reception
98. Adrian Forty, ‘Le Corbusier’s British Reputation’, in Michael Raeburn and Victoria Wilson, (eds.), Le Corbusier: Architect of the Century, (London: Arts Council of Great Britain, 1987), pp. 35-41.
99. Gilbert Herbert, ‘Le Corbusier and the Origins of Modern Architecture in South Africa’, AAQ : Architectural Association Quarterly, 4, no. 1 (01, 1972), pp. 16- 30.
Reassessments
100. Charles Jencks, ‘Charles Jeanneret-Le Corbusier’, Arena: Architectural Association Journal, 82, (May 1967), pp. 299-306.
101. Alan Colquhoun, "Architecture and Engineering: Le Corbusier and the Paradox of Reason", in his Modernity and the Classical Tradition: Architectural Essays 1980-1987 (Cambridge, Massachusetts: MIT Press, 1989), 89-119.
102. Zeynep Celik, ‘Le Corbusier, Orientalism and Colonialism,’ Assemblage, 17 (Apr 1992), pp. 58-77.
103. Beatriz Colomina, ‘Battle lines: E1027’, Renaissance and Modern Studies, 39:1 (1996), pp. 95-105.
104. Francesco Passanti, ‘The Vernacular, Modernism and Le Corbusier’, Journal of the Society of Architectural Historians, Vol. 56, No. 4 (Dec., 1997), pp. 438-451.
105. Adolf Max Vogt, ‘LC in Istanbul (1911): The Oriel Principle (Cikma Construction)’, in Le Corbusier, the Noble Savage, (Cambridge, Mass.: MIT Press, 1998), pp. 32-45.
106. Daniel Naegele, ‘The Image of the Body in the Oeuvre of Le Corbusier’, in Le Corbusier & the Architecture of Reinvention, (London: AA Publications, 2003), pp. 16-39.
107. Simon Richards, ‘The Modulor’ in his Le Corbusier and the Concept of Self, (New Haven: Yale University Press, 2003), pp. 100-111.
108. Mabel O. Wilson, ‘Dancing in the Dark: The Construction of Blackness in Le Corbusier’s Radiant City’, in Andrew Ballantyne, (ed.), Architecture Theory: A Reader in Philosophy and Culture, (London: Continuum, 2005), pp. 212-230.
109. Arthur Rüegg, ‘Autobiographical interiors: Le Corbusier at home’, in Alexander von Vegesack, Stanislaus von Moos, Arthur Rüegg, and Mateo Kries, (eds.), Le Corbusier: The Art of Architecture, (Weil am Rhein: Vitra Museum, 2007), pp. 117-145.
110. Caroline Maniaque, ‘Le Corbusier at the Maisons Jaoul in Neuilly’, Studies in the Decorative Arts, Vol. 16, No. 1 (Fall–Winter 2008–2009), pp. 107-125.
111. Stanislaus von Moos, ‘Chapter VII (extract)’, Le Corbusier: Elements of a Synthesis (revised and expanded), (Rotterdam: 010 Publishers, 2009), pp. 265-285.
112. Catherine de Smet, ‘’Beware Printer!’ Photography and the printed page’, in Nathalie Herschdorfer and Lada Umstätter, (eds.), Le Corbusier and the Power of Photography, (London: Thames & Hudson, 2012), pp. 54-79.
113. Jacques Lucan, ‘Chapter 20, Convex Space: Le Corbusier and the Free Plan’, in Composition, Non-Composition: Architectural Theory in the Nineteenth and Twentieth Centuries, (Lausanne, EPFL Press, 2012), pp. 367-384.
114. Jean-Louis Cohen, ‘In the Cause of Landscape’, in Le Corbusier: An Atlas of Modern Landscapes, (London: Thames & Hudson, 2014), pp. 22-47.
Historiographical overview
115. Graham Livesey and Antony Moulis, "From impact to legacy: Interpreting critical writing and research on Le Corbusier from the 1920s to the present," LC 50 years Later Conference Proceedings, Valencia, 2015.
Biography
Graham Livesey is a Professor in the Master of Architecture Program (Faculty of Environmental Design) at the University of Calgary.
Antony Moulis is Associate Professor and Director of Research in the School of Architecture at the University of Queensland, Australia
