to celebrate the first birthday our American Catalog materials, ArchDaily this week presents a three-part series on "material Master," showing how certain materials helped inspire some of the greatest architects in the world.
Le Corbusier love affair with concrete, manifest in a number of its nearly 75 projects, started earlier. Having already designed his first house, the Villa Fallet, at the age of only 17, in 107, the young architect undertook a series of journeys through Central Europe on arts education mission. In Paris, he apprenticed at the office of Auguste Perret, a structural rationalist and pioneer of reinforced concrete, followed in 1910 with a brief to the practice of Peter Behrens in Berlin. These training experiences initiated a long exploration of the life of the concrete in the work of Le Corbusier.
Initially, the material was enticing for purely economic purposes - where steel frames architect desired, reinforced concrete still proved less. In collaboration with Max Dubois and Perret in 1915 Le Corbusier developed a theoretical study of the Maison Dom-ino, a structural framework of reinforced concrete. A pun on the Latin word domus , or of the house, and the dominoes, the study aims to find affordable prefabricated system that could solve the housing shortage left by the brutal destruction the First World War, it quickly became fascinated, however, with the remarkable resilience of the concrete, and with its sculptural and structural potential. the concrete ability to take any form and be strengthened by the surfaces of various forms of trance molding Le Corbusier, and its structural promise was fundamental to the formulation of his five points for a new architecture: stilts free facades, open floor plan, ribbon windows, and roof gardens. The most emblematic implementation of these ideas was in the Villa Savoye, a pure embodiment of the Five Points.
Among his many qualities, concrete granted Le Corbusier's ability to achieve its early design ideals, such as the need to link the age of the machine with classical architecture. However, mechanical destruction brought by World War II gave him reason to reconsider critically approval of the machine, and it was at the time of post-war he truly began to explore the significant potential of concrete. Embracing both the language of the vernacular and classical monumentality and mixing romance with sensitivity, Le Corbusier turned his attention to the expressive touch of the concrete, which may evoke both a primitive purity, and allow buildings to be constructed on a much larger scale than before. Concerned about the concept of the architect as "poetic engineer", explorations of Le Corbusier are clearly made in buildings such as the monastery of La Tourette and Ronchamp chapel.
It was during this process that Le Corbusier invented inadvertently a new building material. In a letter to Josep Lluís Sert, May 26, 1962, he wrote: "Beton Gross was born in the Unité d'Habitation in Marseille, where there were 80 contractors and such a massacre of concrete that could be simply not dream of doing useful transtions ... by grouting I decided: let all this brute I called raw concrete [bare concrete] the English immediately jumped on the room and me (Ronchamp and the monastery of Tourette) as "brutal" treated - rough concrete - all things considered, is Corbu gross They called that "the new brutality" My friends and admirers take me for crude brutal concrete "..! The discovery of raw concrete may indeed have added to the list of influences Le Corbusier on the Brutalist movement later, a term coined by Reyner Banham and Peter and Alison Smithson.
The Convent of La Tourette, built simultaneously with the work of Le Corbusier in Chandigarh throughout the 1950s, is mainly built concrete prebricated expressed by the use of raw concrete used to evoke the craft and construction of natural stone. As Nathaniel Coleman explains in his book Utopias and architecture , "La Tourette reveals a debt, in terms of shape and material character in Le Thoronet," a 13th century Cistercian abbey as "although the building is constructed in concrete, it is conceptualized here as a similar stone, a new stone, cheaper to use and easier to handle, perfect for building after the disappearance of craftsmanship. "
Bare and stripped, some of the apparent idiosyncrasies in building are the result of the appreciation of Le Corbusier of the human fallibility of its artisans, and its celebration shuttering scars. While its contractors for the convent were paid in the use of concrete for public infrastructure, by applying it to architecture was a step, resulting in variables finishing concrete skin throughout the building. Some of the exposed mechanical systems were even accidental, although the contrast between the sophisticated and raw is mostly intentional, demonstrated by naked bulbs attached directly into the concrete. The rawness of the material shapes the spiritual nature of space, and works to raise the spirit of the user to view the monastery.
The Chapel of Notre Dame du Haut in Ronchamp embodies experimenting with Le Corbusier to push the limits of the expressive potential of concrete. Although the shape retains the appearance of a solid mass stereotomic, the building is actually composed of tectonic shells and hanging airplanes. Resembling beaten, cave walls are rather like anything but. Three walls are supported by concrete columns embedded in the rubble, and a fourth is a concrete frame sprayed with gunite. The roof, also made of concrete, aside from this strength with a shape similar to a drape fabric, consisting of two thin membranes concrete supported by internal concrete beams and prefabricated girders. According to the building is the use of concrete to surprise permanently.
In many ways, it was the nature of poetic thought, elementary concrete Le Corbusier answered. In Towards a new architecture, He wrote: "You employ stone, wood and concrete, and with these materials you build houses and palaces. This is construction. Ingenuity is at work. But suddenly you touch my heart, you do me good, I am happy and I say, "This is beautiful. This is architecture ... By the use of raw materials and from more or less utilitarian terms, you have established certain relationships which have aroused my emotions. This is architecture. "
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