Charles-Édouard Jeanneret (6 October 1887 – 27 August 1965), known as Le Corbusier (UK: /lə kɔːrˈbjuːzieɪ/ lə kor-BEW-zee-ay, US: /lə ˌkɔːrbuːˈzjeɪ, -ˈsjeɪ/ lə KOR-boo-ZYAY, -⁠SYAY, French: [lə kɔʁbyzje]), was a Swiss-French architect, designer, painter, urban planner, writer, and one of the pioneers of what is now regarded as modern architecture.

He was born in Switzerland and became a French citizen in 1930. His career spanned five decades, and he designed buildings in Europe, Japan, India, and North and South America.

Dedicated to providing better living conditions for the residents of crowded cities, Le Corbusier was influential in urban planning, and was a founding member of the Congrès International d'Architecture Moderne (CIAM). Le Corbusier prepared the master plan for the city of Chandigarh in India, and contributed specific designs for several buildings there, especially the government buildings.

On 17 July 2016, seventeen projects by Le Corbusier in seven countries were inscribed in the list of UNESCO World Heritage Sites as The Architectural Work of Le Corbusier, an Outstanding Contribution to the Modern Movement.

Le Corbusier remains a controversial figure. Some of his urban planning ideas have been criticized for their indifference to pre-existing cultural sites, societal expression and equality, and his alleged ties with fascism, antisemitism, and eugenics, and the dictator Benito Mussolini have resulted in some continuing contention.

Early life (1887–1904)

Charles-Édouard Jeanneret was born on 6 October 1887 in La Chaux-de-Fonds, a small city in the French-speaking Neuchâtel canton in north-western Switzerland, in the Jura mountains, 5 kilometres (3.1 mi) across the border from France. It was an industrial town, devoted to manufacturing watches. Among the unifying social structures of La Chaux-de-Fonds was the Loge L'Amitié, the Masonic lodge with its francophone moral, social, and philosophical ideas, including the symbolic iconography of the right angle (rectitude) and the compass (exactitude). Le Corbusier would later describe these as "my guide, my choice" and as his "time-honored ideas, ingrained and deep-rooted in the intellect, like entries from a catechism." (He adopted the pseudonym Le Corbusier in 1920.) His father was an artisan who enamelled boxes and watches, and his mother taught piano. His elder brother Albert was an amateur violinist. He attended a kindergarten that used Fröbelian methods.

Like his contemporaries Frank Lloyd Wright and Mies van der Rohe, Le Corbusier lacked formal training as an architect. He was attracted to the visual arts; at the age of fifteen, he entered the municipal art school in La-Chaux-de-Fonds which taught the applied arts connected with watchmaking. Three years later he attended the higher course of decoration, founded by the painter Charles L'Eplattenier, who had studied in Budapest and Paris. Le Corbusier wrote later that L'Eplattenier had made him "a man of the woods" and taught him about painting from nature. His father frequently took him into the mountains around the town. He wrote later, "we were constantly on mountaintops; we grew accustomed to a vast horizon." His architecture teacher in the Art School was architect René Chapallaz, who had a large influence on Le Corbusier's earliest house designs. He reported later that it was the art teacher L'Eplattenier who made him choose architecture. "I had a horror of architecture and architects," he wrote. "...I was sixteen, I accepted the verdict and I obeyed. I moved into architecture."

Travel and first houses (1905–1914)

Le Corbusier began teaching himself by going to the library to read about architecture and philosophy, visiting museums, sketching buildings, and constructing them. In 1905, he and two other students, under the supervision of their teacher, René Chapallaz, designed and built his first house, the Villa Fallet, for the engraver Louis Fallet, a friend of his teacher Charles L'Eplattenier. Located on the forested hillside near Chaux-de-fonds, it was a large chalet with a steep roof in the local alpine style and carefully crafted coloured geometric patterns on the façade. The success of this house led to his construction of two similar houses, the Villas Jacquemet and Stotzer, in the same area.

In September 1907, he made his first trip outside of Switzerland, going to Italy; then that winter travelling through Budapest to Vienna, where he stayed for four months and met Gustav Klimt and tried, without success, to meet Josef Hoffmann. In Florence, he visited the Florence Charterhouse in Galluzzo, which made a lifelong impression on him. "I would have liked to live in one of what they called their cells," he wrote later. "It was the solution for a unique kind of worker's housing, or rather for a terrestrial paradise." He travelled to Paris, and for fourteen months between 1908 and 1910 he worked as a draftsman in the office of the architect Auguste Perret, the pioneer of the use of reinforced concrete in residential construction and the architect of the Art Deco landmark Théâtre des Champs-Élysées. Two years later, between October 1910 and March 1911, he travelled to Germany and worked for four months in the office Peter Behrens, where Mies van der Rohe and Walter Gropius were also working and learning.

In 1911, he travelled again with his friend August Klipstein for five months; this time he journeyed to the Balkans and visited Serbia, Bulgaria, Turkey, Greece, as well as Pompeii and Rome, filling nearly 80 sketchbooks with renderings of what he saw—including many sketches of the Parthenon, whose forms he would later praise in his work Vers une architecture (1923). He spoke of what he saw during this trip in many of his books, and it was the subject of his last book, Le Voyage d'Orient.

In 1912, he began his most ambitious project; a new house for his parents. also located on the forested hillside near La-Chaux-de-Fonds. The Jeanneret-Perret house was larger than the others, and in a more innovative style; the horizontal planes contrasted dramatically with the steep alpine slopes, and the white walls and lack of decoration were in sharp contrast with the other buildings on the hillside. The interior spaces were organized around the four pillars of the salon in the centre, foretelling the open interiors he would create in his later buildings. The project was more expensive to build than he imagined; his parents were forced to move from the house within ten years, and relocate to a more modest house. However, it led to a commission to build an even more imposing villa in the nearby village of Le Locle for a wealthy watch manufacturer, Georges Favre-Jacot. Le Corbusier designed the new house in less than a month. The building was carefully designed to fit its hillside site, and the interior plan was spacious and designed around a courtyard for maximum light, a significant departure from the traditional house.

Dom-ino House and Schwob House (1914–1918)

During World War I, Le Corbusier taught at his old school in La-Chaux-de-Fonds. He concentrated on theoretical architectural studies using modern techniques. In December 1914, along with the engineer Max Dubois, he began a serious study of the use of reinforced concrete as a building material. He had first discovered concrete working in the office of Auguste Perret, the pioneer of reinforced concrete architecture in Paris, but now wanted to use it in new ways.

"Reinforced concrete provided me with incredible resources," he wrote later, "and variety, and a passionate plasticity in which by themselves my structures will be the rhythm of a palace, and a Pompieen tranquillity." This led him to his plan for the Dom-Ino House (1914–15). This model proposed an open floor plan consisting of three concrete slabs supported by six thin reinforced concrete columns, with a stairway providing access to each level on one side of the floor plan. The system was originally designed to provide large numbers of temporary residences after World War I, producing only slabs, columns and stairways, and residents could build exterior walls with the materials around the site. He described it in his patent application as "a juxtiposable system of construction according to an infinite number of combinations of plans. This would permit, he wrote, "the construction of the dividing walls at any point on the façade or the interior."

Under this system, the structure of the house did not have to appear on the outside but could be hidden behind a glass wall, and the interior could be arranged in any way the architect liked.[28] After it was patented, Le Corbusier designed several houses according to the system, which was all white concrete boxes. Although some of these were never built, they illustrated his basic architectural ideas which would dominate his works throughout the 1920s. He refined the idea in his 1927 book on the Five Points of a New Architecture. This design, which called for the disassociation of the structure from the walls, and the freedom of plans and façades, became the foundation for most of his architecture over the next ten years.

In August 1916, Le Corbusier received his largest commission ever, to construct a villa for the Swiss watchmaker Anatole Schwob, for whom he had already completed several small remodelling projects. He was given a large budget and the freedom to design not only the house but also to create the interior decoration and choose the furniture. Following the precepts of Auguste Perret, he built the structure out of reinforced concrete and filled the gaps with brick. The centre of the house is a large concrete box with two semicolumn structures on both sides, which reflects his ideas of pure geometrical forms. A large open hall with a chandelier occupied the centre of the building. "You can see," he wrote to Auguste Perret in July 1916, "that Auguste Perret left more in me than Peter Behrens."

Le Corbusier's grand ambitions collided with the ideas and budget of his client and led to bitter conflicts. Schwob went to court and denied Le Corbusier access to the site, or the right to claim to be the architect. Le Corbusier responded, "Whether you like it or not, my presence is inscribed in every corner of your house." Le Corbusier took great pride in the house and reproduced pictures in several of his books.

Painting, Cubism, Purism and L'Esprit Nouveau (1918–1922)

Le Corbusier moved to Paris definitively in 1917 and began his architectural practise with his cousin, Pierre Jeanneret (1896–1967), a partnership that would last until the 1950s, with an interruption in the World War II years.

In 1918, Le Corbusier met the Cubist painter Amédée Ozenfant, in whom he recognised a kindred spirit. Ozenfant encouraged him to paint, and the two began a period of collaboration. Rejecting Cubism as irrational and "romantic", the pair jointly published their manifesto, Après le cubisme and established a new artistic movement, Purism. Ozenfant and Le Corbusier began writing for a new journal, L'Esprit Nouveau, and promoted with energy and imagination his ideas of architecture.

In the first issue of the journal, in 1920, Charles-Edouard Jeanneret adopted Le Corbusier (an altered form of his maternal grandfather's name, Lecorbésier) as a pseudonym, reflecting his belief that anyone could reinvent themselves. Adopting a single name to identify oneself was in vogue by artists in many fields during that era, especially in Paris.

Between 1918 and 1922, Le Corbusier did not build anything, concentrating his efforts on Purist theory and painting. In 1922, he and his cousin Pierre Jeanneret opened a studio in Paris at 35 rue de Sèvres. They set up an architectural practice together. From 1927 to 1937 they worked together with Charlotte Perriand at the Le Corbusier-Pierre Jeanneret studio. In 1929 the trio prepared the "House fittings" section for the Decorative Artists Exhibition and asked for a group stand, renewing and widening the 1928 avant-garde group idea. This was refused by the Decorative Artists Committee. They resigned and founded the Union of Modern Artists ("Union des artistes modernes": UAM).

His theoretical studies soon advanced into several different single-family house models. Among these, was the Maison "Citrohan." The project's name was a reference to the French Citroën automaker, for the modern industrial methods and materials, Le Corbusier advocated using in the house's construction as well as how he intended the homes would be consumed, similar to other commercial products, like the automobile.

As part of the Maison Citrohan model, Le Corbusier proposed a three-floor structure, with a double-height living room, bedrooms on the second floor, and a kitchen on the third floor. The roof would be occupied by a sun terrace. On the exterior, Le Corbusier installed a stairway to provide second-floor access from the ground level. Here, as in other projects from this period, he also designed the façades to include large uninterrupted banks of windows. The house used a rectangular plan, with exterior walls that were not filled by windows but left as white, stuccoed spaces. Le Corbusier and Jeanneret left the interior aesthetically spare, with any movable furniture made of tubular metal frames. Light fixtures usually comprised single, bare bulbs. Interior walls also were left white.

Toward an Architecture (1920–1923)

In 1922 and 1923, Le Corbusier devoted himself to advocating his new concepts of architecture and urban planning in a series of polemical articles published in L'Esprit Nouveau. At the Paris Salon d'Automne in 1922, he presented his plan for the Ville Contemporaine, a model city for three million people, whose residents would live and work in a group of identical sixty-story tall apartment buildings surrounded by lower zig-zag apartment blocks and a large park. In 1923, he collected his essays from L'Esprit Nouveau published his first and most influential book, Towards an Architecture. He presented his ideas for the future of architecture in a series of maxims, declarations, and exhortations, pronouncing that "a grand epoch has just begun. There exists a new spirit. There already exist a crowd of works in the new spirit, they are found especially in industrial production. Architecture is suffocating in its current uses. "Styles" are a lie. Style is a unity of principles which animates all the work of a period and which result in a characteristic spirit...Our epoch determines each day its style..-Our eyes, unfortunately, don't know how to see it yet," and his most famous maxim, "A house is a machine to live in." Most of the many photographs and drawings in the book came from outside the world of traditional architecture; the cover showed the promenade deck of an ocean liner, while others showed racing cars, aeroplanes, factories, and the huge concrete and steel arches of zeppelin hangars.

L'Esprit Nouveau Pavilion (1925)

An important early work of Le Corbusier was the Esprit Nouveau Pavilion, built for the 1925 Paris International Exhibition of Modern Decorative and Industrial Arts, the event which later gave Art Deco its name. Le Corbusier built the pavilion in collaboration with Amédée Ozenfant and with his cousin Pierre Jeanneret. Le Corbusier and Ozenfant had broken with Cubism and formed the Purism movement in 1918 and in 1920 founded their journal L'Esprit Nouveau. In his new journal, Le Corbusier vividly denounced the decorative arts: "Decorative Art, as opposed to the machine phenomenon, is the final twitch of the old manual modes, a dying thing." To illustrate his ideas, he and Ozenfant decided to create a small pavilion at the Exposition, representing his idea of the future urban housing unit. A house, he wrote, "is a cell within the body of a city. The cell is made up of the vital elements which are the mechanics of a house...Decorative art is antistandarizational. Our pavilion will contain only standard things created by industry in factories and mass-produced, objects truly of the style of today...my pavilion will therefore be a cell extracted from a huge apartment building."

Le Corbusier and his collaborators were given a plot of land located behind the Grand Palais in the centre of the Exposition. The plot was forested, and exhibitors could not cut down trees, so Le Corbusier built his pavilion with a tree in the centre, emerging through a hole in the roof. The building was a stark white box with an interior terrace and square glass windows. The interior was decorated with a few cubist paintings and a few pieces of mass-produced commercially available furniture, entirely different from the expensive one-of-a-kind pieces in the other pavilions. The chief organizers of the Exposition were furious and built a fence to partially hide the pavilion. Le Corbusier had to appeal to the Ministry of Fine Arts, which ordered that fence be taken down.

Besides the furniture, the pavilion exhibited a model of his 'Plan Voisin', his provocative plan for rebuilding a large part of the centre of Paris. He proposed to bulldoze a large area north of the Seine and replace the narrow streets, monuments and houses with giant sixty-story cruciform towers placed within an orthogonal street grid and park-like green space. His scheme was met with criticism and scorn from French politicians and industrialists, although they were favourable to the ideas of Taylorism and Fordism underlying his designs. The plan was never seriously considered, but it provoked discussion concerning how to deal with the overcrowded poor working-class neighbourhoods of Paris, and it later saw the partial realization in the housing developments built in the Paris suburbs in the 1950s and 1960s.

The Pavilion was ridiculed by many critics, but Le Corbusier, undaunted, wrote: "Right now one thing is sure. 1925 marks the decisive turning point in the quarrel between the old and new. After 1925, the antique-lovers will have virtually ended their lives . . . Progress is achieved through experimentation; the decision will be awarded on the field of battle of the 'new'."

The Decorative Art of Today (1925)

In 1925, Le Corbusier combined a series of articles about decorative art from "L'Esprit Nouveau" into a book, L'art décoratif d'aujourd'hui (The Decorative Art of Today). The book was a spirited attack on the very idea of decorative art. His basic premise, repeated throughout the book, was: "Modern decorative art has no decoration." He attacked with enthusiasm the styles presented at the 1925 Exposition of Decorative Arts: "The desire to decorate everything about one is a false spirit and an abominable small perversion....The religion of beautiful materials is in its final death agony...The almost hysterical onrush in recent years toward this quasi-orgy of decor is only the last spasm of a death already predictable." He cited the 1912 book of the Austrian architect Adolf Loos "Ornament and crime", and quoted Loos's dictum, "The more a people are cultivated, the more decor disappears." He attacked the deco revival of classical styles, what he called "Louis Philippe and Louis XVI moderne"; he condemned the "symphony of color" at the Exposition, and called it "the triumph of assemblers of colors and materials. They were swaggering in colors... They were making stews out of fine cuisine." He condemned the exotic styles presented at the Exposition based on the art of China, Japan, India and Persia. "It takes energy today to affirm our western styles." He criticized the "precious and useless objects that accumulated on the shelves" in the new style. He attacked the "rustling silks, the marbles which twist and turn, the vermilion whiplashes, the silver blades of Byzantium and the Orient...Let's be done with it!"

"Why call bottles, chairs, baskets and objects decorative?" Le Corbusier asked. "They are useful tools....The decor is not necessary. Art is necessary." He declared that in the future the decorative arts industry would produce only "objects which are perfectly useful, convenient, and have a true luxury which pleases our spirit by their elegance and the purity of their execution and the efficiency of their services. This rational perfection and precise determinate creates the link sufficient to recognize a style." He described the future of decoration in these terms: "The idea is to go work in the superb office of a modern factory, rectangular and well-lit, painted in white Ripolin (a major French paint manufacturer); where healthy activity and laborious optimism reign." He concluded by repeating "Modern decoration has no decoration".

The book became a manifesto for those who opposed the more traditional styles of the decorative arts; In the 1930s, as Le Corbusier predicted, the modernized versions of Louis Philippe and Louis XVI furniture and the brightly coloured wallpapers of stylized roses were replaced by a more sober, more streamlined style. Gradually the modernism and functionality proposed by Le Corbusier overtook the more ornamental style. The shorthand titles that Le Corbusier used in the book, 1925 Expo: Arts Deco were adapted in 1966 by the art historian Bevis Hillier for a catalogue of an exhibition on the style, and in 1968 in the title of a book, Art Deco of the 20s and 30s. And thereafter the term "Art Deco" was commonly used as the name of the style.

Five Points of Architecture to Villa Savoye (1923–1931)

• The notoriety that Le Corbusier achieved from his writings and the Pavilion at the 1925 Exposition led to commissions to build a dozen residences in Paris and the Paris region in his "purist style." These included the Maison La Roche/Albert Jeanneret (1923–1925), which now houses the Fondation Le Corbusier; the Maison Guiette in Antwerp, Belgium (1926); a residence for Jacques Lipchitz; the Maison Cook, and the Maison Planeix. In 1927, he was invited by the German Werkbund to build three houses in the model city of Weissenhof near Stuttgart, based on the Citroen House and other theoretical models he had published. He described this project in detail in one of his best-known essays, the Five Points of Architecture.

The following year he began the Villa Savoye (1928–1931), which became one of the most famous of Le Corbusier's works, and an icon of modernist architecture. Located in Poissy, in a landscape surrounded by trees and a large lawn, the house is an elegant white box poised on rows of slender pylons, surrounded by a horizontal band of windows which fill the structure with light. The service areas (parking, rooms for servants and laundry room) are located under the house. Visitors enter a vestibule from which a gentle ramp leads to the house itself. The bedrooms and salons of the house are distributed around a suspended garden; the rooms look both out at the landscape and into the garden, which provides additional light and air. Another ramp leads up to the roof, and a stairway leads down to the cellar under the pillars.

Villa Savoye succinctly summed up the five points of architecture that he had elucidated in L'Esprit Nouveau and the book Vers une architecture, which he had been developing throughout the 1920s. First, Le Corbusier lifted the bulk of the structure off the ground, supporting it by pilotis, reinforced concrete stilts. These pilotis, in providing the structural support for the house, allowed him to elucidate his next two points: a free façade, meaning non-supporting walls that could be designed as the architect wished, and an open floor plan, meaning that the floor space was free to be configured into rooms without concern for supporting walls. The second floor of the Villa Savoye includes long strips of ribbon windows that allow unencumbered views of the large surrounding garden, which constitute the fourth point of his system. The fifth point was the roof garden to compensate for the green area consumed by the building and replace it on the roof. A ramp rising from ground level to the third-floor roof terrace allows for a promenade architecturale through the structure. The white tubular railing recalls the industrial "ocean-liner" aesthetic that Le Corbusier much admired.

Le Corbusier was quite rhapsodic when describing the house in Précisions in 1930: "the plan is pure, exactly made for the needs of the house. It has its correct place in the rustic landscape of Poissy. It is Poetry and lyricism, supported by technique." The house had its problems; the roof persistently leaked, due to construction faults; but it became a landmark of modern architecture and one of the best-known works of Le Corbusier.

League of Nations Competition and Pessac Housing Project (1926–1930)

Thanks to his passionate articles in L'Esprit Nouveau, his participation in the 1925 Decorative Arts Exposition and the conferences he gave on the new spirit of architecture, Le Corbusier had become well known in the architectural world, though he had only built residences for wealthy clients. In 1926, he entered the competition for the construction of a headquarters for the League of Nations in Geneva with a plan for an innovative lakeside complex of modernist white concrete office buildings and meeting halls. There were 337 projects in competition. It appeared that the Corbusier's project was the first choice of the architectural jury, but after much behind-the-scenes manoeuvring, the jury declared it was unable to pick a single winner, and the project was given instead to the top five architects, who were all neoclassicists. Le Corbusier was not discouraged; he presented his plans to the public in articles and lectures to show the opportunity that the League of Nations had missed.

In 1926, Le Corbusier received the opportunity he had been looking for; he was commissioned by a Bordeaux industrialist, Henry Frugès, a fervent admirer of his ideas on urban planning, to build a complex of worker housing, the Cité Frugès, at Pessac, a suburb of Bordeaux. Le Corbusier described Pessac as "A little like a Balzac novel", a chance to create a whole community for living and working. The Fruges quarter became his first laboratory for residential housing; a series of rectangular blocks composed of modular housing units located in a garden setting. Like the unit displayed at the 1925 Exposition, each housing unit had its own small terrace. The earlier villas he constructed all had white exterior walls, but for Pessac, at the request of his clients, he added colour; panels of brown, yellow and jade green, coordinated by Le Corbusier. Originally planned to have some two hundred units, it finally contained about fifty to seventy housing units, in eight buildings. Pessac became the model on a small scale for his later and much larger Cité Radieuse projects.

World Heritage Site

In 2016, seventeen of Le Corbusier's buildings spanning seven countries were identified as UNESCO World Heritage Sites, reflecting "outstanding contribution to the Modern Movement".

Memorials

Le Corbusier's portrait was featured on the 10 Swiss francs banknote, pictured with his distinctive eyeglasses.

The following place-names carry his name:

• Place Le Corbusier, Paris, near the site of his atelier on the Rue de Sèvres
• Le Corbusier Boulevard, Laval, Quebec, Canada
• Place Le Corbusier in his hometown of La Chaux-de-Fonds, Switzerland
• Le Corbusier Street in the partido of Malvinas Argentinas, Buenos Aires Province, Argentina
• Le Corbusier Street in Le Village Parisien of Brossard, Quebec, Canada
• Le Corbusier Promenade, a promenade along the water at Roquebrune-Cap-Martin
• Le Corbusier Museum, Sector – 19 Chandigarh, India
• Le Corbusier Museum in Stuttgart am Weissenhof

Works

• 1923: Villa La Roche, Paris, France
• 1925: Villa Jeanneret, Paris, France
• 1926: Cité Frugès, Pessac, France
• 1928: Villa Savoye, Poissy-sur-Seine, France
• 1929: Cité du Refuge, Armée du Salut, Paris, France
• 1931: Palace of the Soviets, Moscow, USSR (project)
• 1931: Immeuble Clarté, Geneva, Switzerland
• 1933: Tsentrosoyuz, Moscow, USSR
• 1947–1952: Unité d'Habitation, Marseille, France
• 1949–1952: United Nations headquarters, New York City, U.S. (Consultant)
• 1949–1953: Curutchet House, La Plata, Argentina (project manager: Amancio Williams)
• 1950–1954: Chapelle Notre Dame du Haut, Ronchamp, France
• 1951: Maisons Jaoul, Neuilly-sur-Seine, France
• 1951: Buildings in Ahmedabad, India
  • 1951: Sanskar Kendra Museum, Ahmedabad
  • 1951: ATMA House
  • 1951: Villa Sarabhai, Ahmedabad
  • 1951: Villa Shodhan, Ahmedabad
  • 1951: Villa of Chinubhai Chimanlal, Ahmedabad
• 1952: Unité d'Habitation of Nantes-Rezé, Nantes, France
• 1952–1959: Buildings in Chandigarh, India
  • 1952: Palace of Justice
  • 1952: Museum and Gallery of Art
  • 1953: Secretariat Building
  • 1953: Governor's Palace
  • 1955: Palace of Assembly
  • 1959: Government College of Art (GCA) and the Chandigarh College of Architecture (CCA)
• 1957: Maison du Brésil, Cité Universitaire, Paris, France
• 1957–1960: Sainte Marie de La Tourette, near Lyon, France (with Iannis Xenakis)
• 1957: Unité d'Habitation of Berlin-Charlottenburg, Flatowallee 16, Berlin, Germany
• 1962: Carpenter Center for the Visual Arts at Harvard University, Cambridge, Massachusetts, U.S.
• 1964–1969: Firminy-Vert, France
  • 1964: Unité d'Habitation of Firminy-Vert
  • 1965: Maison de la Culture de Firminy
• 1967: Heidi Weber Museum (Centre Le Corbusier), Zürich, Switzerland

Books by Le Corbusier

• 1918: Après le cubisme (After Cubism), with Amédée Ozenfant
• 1923: Vers une architecture (Towards an Architecture) (frequently mistranslated as "Towards a New Architecture")
• 1925: Urbanisme (Urbanism)
• 1925: La Peinture moderne (Modern Painting), with Amédée Ozenfant
• 1925: L'Art décoratif d'aujourd'hui (The Decorative Arts of Today)
• 1930: Précisions sur un état présent de l'architecture et de l'urbanisme (Precisions on the present state of architecture and urbanism)
• 1931: Premier clavier de couleurs (First Color Keyboard)
• 1935: Aircraft
• 1935: La Ville radieuse (The Radiant City)
• 1942: Charte d'Athènes (Athens Charter)
• 1943: Entretien avec les étudiants des écoles d'architecture (A Conversation with Architecture Students)
• 1945: Les Trois établissements Humains (The Three Human Establishments)
• 1948: Le Modulor (The Modulor)
• 1953: Le Poeme de l'Angle Droit (The Poem of the Right Angle)
• 1955: Le Modulor 2 (The Modulor 2)
• 1959: Deuxième clavier de couleurs (Second Colour Keyboard)
• 1964: Quand les Cathédrales Etáient Blanches (When the Cathedrals were White)
• 1966: Le Voyage d'Orient (The Voyage to the East)