He was an architect, designer,  urbanist, writer, and one of the pioneers of what is now called modern architecture. He was a pioneer in studies of modern high design and was dedicated to providing better living conditions for the residents of crowded cities The presentation covers general details about architect , Villa Sovoye, Centre Le Corbusier and few other works

1. Le Corbusier

2. Charles edouard
jeanneret now
popularly known as le
Corbusier
BORN ON 6th OF
OCTOBER’ 1887 AT LA
CHAUX DE FONDS IN
SWISSJURA
MOUNTAINS 4 KMS
FROM FRENCH
BORDER
He started working
under contractor
perret, le corbusier’s so
called master
He as a child prepared
himself for a manual
occupation
He left his school at the
age of 13½ yrs and
joined an art school
later
He was
an architect, designer,
urbanist, writer, and
one of the pioneers of
what is now called
modern architecture.
He was a pioneer in
studies of modern high
design and was
dedicated to providing
better living conditions
for the residents of
crowded cities

3. During these four years of world war in Paris
he was in Switzerland, he worked on
theoretical architectural studies using modern
techniques.
Among these was his project for the Domino
House (1914–1915). This model proposed an
open floor plan consisting of concrete slabs
supported by a minimal number of
thin, reinforced concrete columns around the
edges, with a stairway providing access to
each level on one side of the floor plan.
This design became the foundation for most
of his architecture for the next ten years. Soon
he would begin his own architectural practice
with his cousin, Pierre Jeanneret (1896–1967),
a partnership that would last until the 1950s,
with an interruption in the WWII years.

4. Villa
Sovoye

5. Villa Savoye
His theoretical studies soon advanced into several
different single-family house models.
The Villa Savoye is probably Corbusier's best known
building from the 1950s, it had enormous influence
On international modernism. It was designed
addressing his emblematic "Five Points", the basic
tenets in his new architectural aesthetic:
1. Support of ground-level pilotis, elevating the
building from the earth and allowed an extended
continuity of the garden beneath.
2. Functional roof, serving as a garden and terrace,
reclaiming for nature the land occupied by the
building.
3. Free floor plan, relieved of load-bearing walls,
allowing walls to be placed freely and only where
aesthetically needed.
4. Long horizontal windows, providing illumination
and ventilation.
5. Freely-designed facades, serving only as a skin of
the wall and windows and unconstrained by load-
bearing considerations
Centre Le Corbusier

6. Centre Le Corbusier

7. 1. The Centre Le Corbusier or Heidi
Weber Museum is an art
museum in Switzerland.
Centre Le Corbusier
2. It is the last building
designed by him.
3. He made intensive use of
prefabricated steel elements
combined with multi-
coloured enamelled plates
fitted to the central core,
and above the complex he
designed a 'free-floating'
roof to keep the house
protected from the rain and
the sun.

8. United Nations Headquarters
1. The headquarters of the United
Nations is a complex in New
York City. The complex has
served as the official
headquarters of the United
Nations since its completion in
1952.
2. The United Nations has three
additional, subsidiary, regional
headquarters or headquarter
districts.
3. Many cities vied for the honour of hosting the U.N. Headquarters
site, prior to the selection of New York City. The selection of the
East River site came after over a year of protracted study and
consideration of many sites in the United States.

9. Le Corbusier
after World War
II

10. THE DWELLING UNIT
1959 LECORBUSIER’S PROJECTE FOR 3 DWELLING UNIT ATFIRMINY
1967 THE DWELLING UNIT’S OPENING A VERTICAL GARDEN-CITY OF
400 APARTMENTS FOR UNDERPRIVILEGED PEOPLE AND A SCHOOL
ON THE ROOF
1983 HALF OF THE APARTMENTS WERE VACANT AND THE SCHOOL
WAS CLOSED. INHABITANTS MOBILIZED TO PRESERVE THE UNIT
1984 LISTED AS HISTORICAL MONUMENT
before World War II, reinforced concrete became the material of
choice in Europe. Although the materials were expensive, labor for
the form work was cheap. This meant that many innovative
shapes and textures could be developed easily. The situation in
the United States was the reverse.

11. We must create
the mass-
production spirit.
The spirit of
constructing
mass-production
houses.
The spirit of
living in mass-
production
houses.
The spirit of
conceiving mass-
production
houses.

12. PROJECT FOR DWELLING UNIT’S RENOVATION A NEW ORIGINAL
PROGRAM RENTAL DWELLIGS (60%), CURRENT REMTERS CAN BUY
THEIR APARTMENTS AT ALOW PRICE, SOME APARTMENTS ARE
SOLD TO PRIVATE INVESTORS, HOTEL ROOMS ARE RESERVED FOR
TOURISTS, THE SCHOOL ON THE ROOF IS USED FOR EXHIBITS.

13. • Le Corbusier had belief that world of happiness
and equality could be arrived at through
combination of social progress and reliance on
technology
• United Habitation was Corb’s first major post
war building - anticipates ‘brutalism’ that is
associated with 1950s and 60s modernism.
Became model for urban housing
• Architecture which is arrived at through
scientific, rational approach - analysed needs
and functional requirements to come up with a
solution.
• Communal living
Would have range of carefully considered
socialized functions - kindergarten at ground
level where parents could easily drop off and
pick up children on way to work, shops, social
areas

14. Shopping street in the middle
story of the building

15. Pilgrimage Chapel at Ron champ
The commission for the Pilgrimage Chapel at Ron
champ in eastern France intended to replace an
earlier chapel destroyed by fire. This is one of
Corbusier most surprising designs and caught the
professional public off-guard. The first thing that
Corbu did was to analyze the site by drawing it
from several distant views, such as this one

16. Equally important to Corbu were the views from the site, such
as this one with its sweeping panorama of the nearby regional
landscape.
Axonometric drawing of the chapel from above without its
roof. The sculptural quality is unmistakable, but related to the
phenomenology and symbolism of light.
Plan and elevations
Corbusier said that he wanted to produce an “ineffable” space,
i.e. one that is too overwhelming to be described in words, one
that is inexpressible.
Part of the “ineffability” of the space would be a lack of clear
dimensionality and scale--a theme found frequently in some
modernist thinking, especially where function was not a problem
of daily reutilized activities like cooking.

17. 1. Structurally, the chapel is
constructed of reinforced
concrete, both cast in forms
and applied as gunnite over a
frame.
2. That is how all the curvilinear
forms were built and how the
wall with the apparently
arbitrary arrangement of
windows was constructed.
3. It looks like a solid masonry
wall with deep cuts for the
windows, but it is actually
hollow. Corbu was criticized
for this by purists who argued
that it was not an honest use of
materials.

19. Le Corbusier in
India
“ Today I am accused of being a revolutionary. Yet I
confess of having had only one master – the past;
And only one discipline- the study of the past.”

21. INTRODUCTION
 SINCE PUNJAB WAS DIVIDED INTO TWO PARTS, THE
CAPITAL WAS LEFT IN PAKISTAN THERE FORE PUNJAB
IN INDIA REQUIRED NEW CAPITAL.
 LE CORBUSIER WAS APPROACHED BY PUNJAB
GOVERNMENT AND THE PRIME MINISTER OF INDIA.
 MAXWELL FRY, JANE DREW AND PIERRE JEANNERET
WERE ALSO INVOLVED IN THE TEAM OF ARCHITECTS
 WHEN LE CORBUSIER ASSUMED CONTROL OF THE
CHANDIGARH PROJECT IN 1951, HOWEVER THE DESIGN
OF THE CITY HAD ALREADY BEEN DEVISED BY THE
NEW YORK FIRM OF MAYER, WHITTLESEY, AND GLASS
WHO RECEIVED A CONTRACT FOR THE MASTER PLAN
OF CHANDIGARH IN 1950.
•When le Corbusier went to India in 1951 to design the new city of
Chandigarh, he was faced with difficult problems of cultural & political.
• India had just won independence from the British and was still
recovering
• Chandigarh was centre in drama because it was to be the new capital
of Punjab, a state which had been sliced in two.

22. MASTER PLAN
• THE DEATH OF NOWICKI NECESSITATED THE SELECTION OF A NEW
ARCHITECT FOR CHANDIGARH.
• IT WAS THE MINISTER OF PLANNING WHO SUGGISTED LE-
CORBUISER AND WHO ALSO RECOMMENDED THE INCLUSION OF
PIERRE JEANNERET.
• IN 1951 IT WAS GIVEN TO LE CORBUSIER.
• IN CHANDIGARH LE CORBUSIER SYTEM OF SELF SUPPORTING
• NEIGHBORHOOD UNIT KNOWN AS A SECTOR HAS WORKED
VERY WELL.
• ALL THE HOUSES OPEN UP INSIDE.
• GRID PLANNING IS DONE
• CHANDIGARH PLANNING WAS DONE IN AN MANNER THAT
EVERYTHING WAS EASILY CLEAR ABOUT THE ROUTES AND
SECTORS
• 7 V’S ROAD SYSTEM IS USED
• THE ROADS ARE CLASSIFIED AS V1 ,V2 ,V3………V7
• V1 CONNECTS CHANDIGARH TO OTHER CITIES.
• V2 ARE THE MAJOR AVENUES OF THE CITY E.G MADHYA MARG
ETC.
• V3 ARE THE CORRIDORS STREETS FOR VEHICULAR TRAFFIC ONLY.
• V4…..V7 ARE THE ROADS WITHIN THE SECTORS.

23. PLAN OF THE CITY
CHANDI GARH HAS BEEN PLANNED ON THE SCIENTIFIC PRINCIPLES AND TO APPRISE THE
COMING GENERATION OF THESE PRINCIPLES
THE MAIN FEATURE OF THIS EDICT ARE ITS-
HUMAN SCALE
SELF SUFFICIENT SECTORS
ROADS SYSTEM
AREAS OF SPECIAL INTEREST
 ARCHITECTURAL CONTROL

24. SITE PLAN
SECRETARIAT
ASSEMBLY
HIGH
COURT
GOVERNOR'S
PALACE
OPEN
HAND

25. • HERE THE SECRETARIAT BUILDING IS TREATED
AS A HORIZONTAL PLATFORM LIKE THE PLAIN
OF CHANDIGARH ITSELF,CARRYING ON ITS
ROOF THE PROVINCIAL ASSEMBLY HALL RISING
IN A PARABOLIC ARCH, A FORM ECHOING THE
DISTANT HILLS
THE SECRETARIAT,1958

26. THE SECRETARIAT
• THE SECRETARIAT, THE LONGEST BUILDING IN
CHANDIGARH, 254M LONG,AND 42M HIGHFORMS
THE ADMINSTRATIVE CENTER,WITH MINISTERAL
OFFICES GROUPED IN THE CENTER AND OFFICES
FOR EMPLOYEES ARRANGED ON EITHER SIDE
• THE BUILDING WAS COMPLETED IN 1958.
• THE BUILDING IS COMPOSED OF SIX EIGHT STOREY
BLOCKS SEPARETED BY EXPANSION JOINTS.

27. FREE FACADE
RAMP ENCLOCURE
ROUGH CONCRETE
FINISH
SQUARE WINDOWS
PROJECTED PORTICOS
SMALL ENTRANCE
BIG ENTRANCE

28. • THE ROUGH CONCRETE AGAIN INTERPOSES IN THE FENESTRATION
OF THE TWO MAIN FACADES ; MORE THAN 2000 UNITS OF
UNIQUE DESIGN
• APPRAOCH TO THE BUILDING IS THROUGH ROADWAYS BELOW
GROUND LEVEL TO A LARGE PARKING AREA IN FRONT OF THE
CENTRAL BLOCK, AND A FLOOR IS LEFT OPEN AT THIS LEVEL TO
FORM AN ENTRANCE HALL
• BLOCK 1 AND 2 RISES DIRECTLY FROM THE GROUND
• BLOCK 3,4 AND PART OF 5 FACE ON THE EXCAVATED AREA OF THE
PARKING LOT AND HAVE THE LOWER STOREY OPEN BETWEEN
PILOTIS
• FOR THE REST PART OF BLOCK 5 AND WHOLE OF 6 THE LEVEL
GOES TILL PLAZA HEIGHT, AND LOWER PORTION OF THESE BLOCKS
ARE LEFT OPEN TO A HEIGHT OF TWO STORYES
• THE TOP OF THE BUILDING IS DEVELOPED AS A ROOF GARDEN
CONTAINING THE SERVICE BLOCKS AND CAFETERIA FOR
EMPLOYEES

29. THE HIGH COURT

30. COLOURED MASSIVE PILLARS
PARASOL ROOF
FORMING ARCHES
DOUBLE ROOF
GAP LEFT BETWEEN
TWO ROOFS
FULL HT ENTRANCE
ARCHITECTURAL FEATURES

31. REAR VIEW
ROUGH CONCRETE FINISHED
RAMP
DOUBLE ROOF
APPROACHED THROUGH ROADS

32. • THE ENTRANCE LOBBY IS PAVED WITH
WHITISH FLAG STONE SET IN THE ROWS OF
VARYING WIDTHS
• NEW SCHEME FOR PAINTING THE COLUMNS
AND PORTICO WALLS IN BRIGHT
CONTRASTING COLOURS
• THE INSIDE WALL TO THE LEFT OF THE PIERS
WAS TO BE BLACK
• THE ADJACENT PILLAR PAINTED GREEN
• THE CENTER PIER WOULD BE YELLOW
• THE RIGHT HAND PILLAR IS RED
• AND THE REMAINING PORTICO WALL IS
PRIMARY BLUE
• THE GRAET ENTRANCE HALL OF THE HIGH
COURT IS ALSO BEEN FOUND IN LACKING
PROTECTION DURING THE MONSOON
SEASON
• THE NARROW CURVING RAMP AT THE END
OF THE ENTRANCE HALL,WHICH FORMS THE
MAIN VERTICAL CIRCULATION IS EXPOSED
• THE HORIZONTAL CIRCULATION, CONSISTING
OF POEN CORRIDORS ON THR REAR FACADE
,IS ALSO INEFFECTIVELY SHELTERED

33. THE ASSEMBLY HALL

35. THE ASSEMBLY HALL
• THE ASSEMBLY WAS CONCEIVED AS A
RECTILINEAR STRUCTURE.
• IT IS SQUARE IN PLAN WITH A
MONUMENTAL PORTICO FACING THE MAIN
PLAZA .
• ON THE LATERAL FACADES BOTH THE
PORTICO AND THE OFFICE BLOCK WOULD BE
DEFINED BY SOLID END WALLS.
• THE LARGE CHAMBER IS IN HYPERBOLIC
FORM OF THE COOLING TOWER WITH AN
AVERAGE THICKNESS OF 15 CMS

36. • IN ALL BUILDINGS OF THE
CAPITOL COMPLEX , THE
ASSEMBLY IS THE MOST
INTRICATE IN PLAN
• SEPARATE CIRCULATION
ACCOMMODATION OF ALL
GROUPS IS PROVIDED
• EMPLOYING A SYSTEM OF
INDIVIDUAL ENTRANCES,
STAIRWAYS, LIFTS AND RAMP
A COMPLETE SEGREGATION OF
MEMBERS IS PROVIDED
• THER ARE TWO SEPARATE
GALLERIES FOR MEN AND
WOMEN IN COUNCIL
CHAMBER
INTERIOR
VIEW OF A
CHAMBER
MUSHROOM
COLUMN
SUPPORTING ROOF

37. “ It was originally a part of a large complex
of Cultural Centre of Ahmadabad which had
separate pavilions and areas for different
subjects like anthropology, natural history,
archaeology, monumental sculptures,
workshops and depots, folklores in open air. It
also included a pavilion for theatre
called miracle box. But out of whole planned
cultural centre, only museum was built. Its
foundation stone was laid on 9 April 1954”
The building is designed to protect
against the hot climate. On the roof
there are several large basins
originally intended as planters. One
enters from underneath the building
where there is an open court with a
large pool and a ramp that leads to
the exhibition spaces. The interior
spaces are finished in plaster
a museum
at Ahmadabad, IndiaSanskar Kendra

38. Government Museum and Art Gallery, Chandigarh
The Government Museum and Art Gallery has the following sections other than the gallery
itself:
The National History Museum
The National Gallery of Portraits
The Chandigarh Architecture Museum
each with further sections.
The museum/art gallery exhibits 10,000 mostly Indian artwork such as sculptures and
paintings. The attached Reference library houses approximately 10,000 media. There are two
museum shops and a small cafeteria.

39. Proportional Systems in the Architecture
of Le Corbusier
1. Many of his buildings and paintings are
underlain by hidden grids and geometric
patterns.
2. The fact that Le Corbusier was interested
in proportional systems was not unusual
during the time at which he was
developing.
3. For him, this meant a rejection of the false
aesthetic of decoration and a return to
the fundamental principles of
architecture, including proportion and
composition. Using an illustration of the
Capitol in Rome, he demonstrates how
the rational application of ‘regulating
lines’ gives the building its essential
harmony and order.

40. 1. For a long time the Golden Section does not
occur in architectural theory.
2. In the third and fourth decade of the 20th
century, from which Neufert and Le Corbusier
get to know it.
3. Neufert held out great hopes for a renewal of
architecture through the Golden Mean, but he
soon became sober.
4. After early experiments Le Corbusier uses the
Golden Section to develop his catalogue of
measures, which has — due to roundings and
combinations — not much in common either
with the Golden Mean.
5. In fact, Neufert and Le Corbusier seem to use
the Golden Section as a way to embellish their
own subjective artistic creation by theory and
ratio. however, the Golden Section is simply
absent in written architectural theory.

41. PAINTINGS OF
LE CORBUSIER

43. SUBMITTED BY