Case Study Le Corbusier Works

The Architectural
Work of
Le Corbusier
AN OUTSTANDING CONTRIBUTION
TO THE MODERN MOVEMENT
Nomination to the World Heritage

List presented by Germany,
Argentina, Belgium, France, India,
Japan and Switzerland.
NOMINATION FILE
The Architectural
Work of Le Corbusier
An Outstanding Contribution
to the Modern Movement
NOMINATION FILE FOR THE INSCRIpTION

ON THE WORLD HERITAGE LIST
Argentina
Belgium
France
Germany
India
Japan
Switzerland
JANUARY 2015
Foreword
he nomination file for the inscription on the World Heritage List of a set of buildings
T belonging to the architectural work of Le Corbusier is the result of a joint

undertaking begun more than ten years ago. It has been drawn up by Germany,
Argentina, Belgium, France, India, Japan and Switzerland.
It is an application for Transnational Serial Nomination. The seventeen elements that

make up the proposed series is a relevant group with regard to the influence of
Le Corbusier’s work on a worldwide level. The various constituent elements all contribute
to the Outstanding Universal Value of the series in a clear and specific manner and give
to it its internal coherence.
Identification
Number Chronological list of the components of the Property
1 1923 Maisons La Roche et Jeanneret, Paris Île-de-France France
2 1923 Petite villa au bord du lac Léman, Corseaux Vaud Switzerland
3 1924 Cité Frugès, Pessac Aquitaine France

4 1926 Maison Guiette, Anvers Flanders Belgium
5 1927 Maisons de la Weissenhof-Siedlung, Stuttgart Baden-Wurtemberg Germany
6 1928 Villa Savoye et loge du jardinier, Poissy Île-de-France France
7 1930 Immeuble Clarté Geneva Switzerland
8 1931 Immeuble locatif à la Porte Molitor, Boulogne-Billancourt Île-de-France France

9 1945 Unité d’habitation, Marseille Provence-Alpes-Côte d’Azur France
10 1946 Manufacture à Saint-Dié, Saint-Dié-des-Vosges Lorraine France
11 1949 Maison du Docteur Curutchet, La Plata Province of Buenos-Aires Argentina
12 1950 Chapelle Notre-Dame-du-Haut, Ronchamp Franche-Comté France
13 1951 Cabanon de Le Corbusier, Roquebrune–Cap-Martin Provence-Alpes-Côte d’Azur France
14 1952 Complexe du Capitole, Chandigarh Punjab India
15 1953 Couvent Sainte-Marie-de-la-Tourette, Éveux Rhône-Alpes France
16 1955 Musée National des Beaux-Arts de l’Occident,Taito-Ku Tokyo Japan
17 1955 Maison de la Culture de Firminy, Firminy Rhône-Alpes France
THE ARCHITECTURAL WORK OF LE CORBUSIER An Outstanding Contribution to the Modern Movement

NOMINATION FILE • FOREWORD •
3
1 I Maisons La Roche et Jeanneret 2 I Petite villa au bord du lac Léman
Paris – France Corseaux – Suisse
6 I Villa Savoye et loge du jardinier 7 I Immeuble Clarté 8 I Immeuble locatif à la Porte Molitor
Poissy – France Genève – Suisse Boulogne-Billancourt – France
12 I Chapelle Notre-Dame-du-Haut 13 I Cabanon de Le Corbusier 14 I Complexe du Capitole

Ronchamp – France Roquebrune–Cap-Martin – France Chandigarh – Inde
4 THE ARCHITECTURAL WORK OF LE CORBUSIER An Outstanding Contribution to the Modern Movement

3 I Cité Frugès 4 I Maison Guiette 5 I Maisons de la Weissenhof-Siedlung
Pessac – France Anvers – Belgique, région flamande Stuttgart – Allemagne
9 I Unité d’habitation 10 I Manufacture à Saint-Dié 11 I Maison du Docteur Curutchet

Marseille – France Saint-Dié-des-Vosges – France La Plata – Argentine
15 I Couvent Sainte-Marie-de-la-Tourette 16 I Musée National des Beaux-Arts de l’Occident 17 I Maison de la Culture de Firminy
Eveux – France Tokyo – Japon Firminy – France

5
Table of Contents
FOREWORD...................................................................................................................................................... 3
INTRODUCTION ............................................................................................................................................ 11
CHAPTER I – IDENTIFICATION OF THE PROPERTy

I (a) Country (and State party if different) .............................................................................................. 21
I (b) State, Province or region ................................................................................................................. 21
I (c) Name of Property ............................................................................................................................. 21
I (d) Geographical coordinates to the nearest second .......................................................................... 21
I (e) Maps and plans, showing the boundaries of the nominated property and buffer zone ............ 21
I (f) Area of nominated property (ha.) and proposed buffer zone (ha.) .............................................. 21
• Localisation of the seventeen component parts of the Property in the world ...................................... 22
• Geographical list of the components of the Property ............................................................................. 23
• Identification table of the component parts of the Property ................................................................... 24
• Maps ............................................................................................................................................................ 38
CHAPTER II – DEsCRIPTION OF THE PROPERTy
II (a) / Description of the Property ............................................................................................................. 65

1] Instigate a unique forum of ideas on a world level .................................................................. 67
– A creative production mapped out by iconic works ....................................................... 67
– A Property composed of works revealing a marked influence of
The Architectural Work of Le Corbusier in a given geographical zone ............................ 68
– A creative output combining built work with texts illustrating
new concepts .................................................................................................................... 69
2] Inventing a new architectural language ..................................................................................... 71
– Innovation in shape and form ........................................................................................... 71
– The Five Points for a New Architecture ............................................................................ 72
– Inventing a new modern space ........................................................................................ 72
3] Modernising architectural techniques ........................................................................................ 75
– Technological experimentation and prefabrication ........................................................ 75
– Invention of Typological Standards .................................................................................. 75
– The Modulor ....................................................................................................................... 76
4] Responding to the social and human needs of modern man ................................................. 77
– New life styles ..................................................................................................................... 77
– Minimal Housing ................................................................................................................ 77
– Large scale housing .......................................................................................................... 78
– The Athens Charter ............................................................................................................ 78

NOMINATION FILE • TABLE OF CONTENTS •
II (b) / History and development of the Property ...................................................................................... 79
1] Design and building of The Architectural Work of Le Corbusier .............................................. 79
– The Purist Foundations of The Architectural Work of Le Corbusier ............................... 79
– The internationalisation ofThe Architectural Work of Le Corbusier ............................... 80
– Experimentation in The Architectural Work of Le Corbusier .......................................... 81
2] Developments in The Architectural Work of Le Corbusier since its completion ..................... 82
– The reception of Le Corbusier’s architectural work ........................................................ 82
– The influence of the Architectural Work of Le Corbusier
within the States Parties of the Property ......................................................................... 83
– Protection measures taken at an early date .................................................................... 96
– A living heritage ................................................................................................................ 97
– A heritage at the core of all of today’s debates .............................................................. 97
CHAPTER III – JUsTIFICATION OF THE NOMINATION
III – 1(a) / Brief Outline ................................................................................................................................ 193

a(i) Factual Description .................................................................................................................. 193
a(ii) summary of qualities ............................................................................................................ 194
– Generate a unique forum of ideas on a global level ..................................................... 194
– Invent a new aesthetic and a new architectural language ........................................... 194
– Modernize architectural techniques ............................................................................... 194
– Meet the social and human needs of modern man ...................................................... 194
III – 1(b) / Criteria on which the nomination is proposed (and justification of the Property
according to these criteria) ........................................................................................................... 195
1] Criterion (ii) ................................................................................................................................. 195
2] Criterion (vi) ................................................................................................................................ 195
3] Attributes of Value and justification of the Property according to these criteria ................. 195
– Generate a unique forum of ideas on a global level ..................................................... 195
– Invent a new aesthetic and a new architectural language ........................................... 196
– Modernize architectural techniques ............................................................................... 196
– Meet the social and human needs of modern man ...................................................... 196
4] Contribution of each component part to the justification of the inscription
according to these criteria ........................................................................................................ 196
• Summary of the main contribution of each component to the justification of the Property ..... 197
• Outstanding Universal Value, criteria and attributes ................................................................ 198
III – 1(c) / Integrity of the Property ............................................................................................................ 204

1] Integrity of the Property with regard to the attributes of the OUV ....................................... 204
2] Integrity of the Property with regard to the other representatives
of the Modern Movement ......................................................................................................... 204
III – 1(d) / Authenticity of the Property ..................................................................................................... 205

1] The authenticity of the Property with regard to the signature .............................................. 205
2] The authenticity of the Property with regard to the reference documents .......................... 206
3] The authenticity of the Property with regard to functions, forms, plans,
techniques, materials ................................................................................................................ 206
III – 1(e) / Protection and Management Requirements ............................................................................ 207

1] Protection and Management ..................................................................................................... 207
2] Protection and Management, Long Term Goals ...................................................................... 207
III – 2 / COMPARATIVE ANALysIs .............................................................................................................. 209

1] The place of 20th century architecture on the World Heritage List
and on the Tentative List .......................................................................................................... 209
2] Comparative analysis of the Property proposed as part of the World Heritage List
and Tentative List and of the 20th century architectural heritage ......................................... 211
– Comparative analysis in terms of the attributes of value of the Property ................... 211
1) Generate an outstanding forum of ideas globally ................................................ 211
2) Invent a new architectural language ....................................................................... 215
3) Modernise architectural techniques ........................................................................ 218

7
4) Respond to the social and human needs of modern man ................................... 219
– Comparative analysis with regard to the nature of the series .................................... 220
1) The main founder of the Modern Movement ........................................................ 220
2) A property composed of works by a single architect ........................................... 222
3) A unique serial transnational Property on a global scale .................................... 223
4) A Property composed of learned works: monumental or modest ...................... 224
summary table of the criteria for selection applied to all
of Le Corbusier’s buildings ............................................................................................................ 225
III – 3 / DRAFT sTATEMENT OF OUTsTANDING UNIVERsAL VALUE .................................................... 229
III – 3(a) / Brief Outline ................................................................................................................................ 229

a(i) Factual Description .................................................................................................................. 229
III – 3(b) / Justification of Criteria .............................................................................................................. 230

1] Criterion (ii) ................................................................................................................................. 230
2] Criterion (vi) ................................................................................................................................ 230
III – 3(c) / statement of Integrity ................................................................................................................ 230
III – 3(d) / statement of Authenticity ......................................................................................................... 231
III – 3(e) / Protection and Management Requirements ............................................................................ 231

Protection and management, Long Term Goals ........................................................................... 231
CHAPTER IV – sTATE OF CONsERVATION AND FACTORs AFFECTING THE PROPERTy
IV (a) / Present state of conservation ........................................................................................................ 235

Permanence of the original functions ........................................................................................... 235
Early protection ............................................................................................................................. 235
Efficient systems of protection and conservation ....................................................................... 235
Intense research activity ............................................................................................................... 235
An exceptional resource centre ..................................................................................................... 235
Restoration, conservation, enhancement .................................................................................... 236
General conservation problems .................................................................................................... 238
IV (b) / Factors affecting the property ....................................................................................................... 239

IV (b) i – Development pressures ................................................................................................. 239
IV (b) ii – Environmental pressures .............................................................................................. 240
IV (b) iii – Natural disasters and risk preparedness .................................................................... 240
IV (b) iv – Responsible visitation at World Heritage sites ............................................................ 240
CHAPTER V – PROTECTION AND MANAGEMENT OF THE PROPERTy
V (a) / Ownership ....................................................................................................................................... 243
V (b) / Protective designation ................................................................................................................... 243
V (c) / Means of implementing protective measures ............................................................................. 243

Summary table of property rights, protective listing and
application of measures ............................................................................................................... 244
Organisation Chart of the Transnational management system ............................................................. 250
V (e) / Management plan ......................................................................................................................... 251

V (e.1) International Management Plan ........................................................................................ 251
1 – International Standing Conference ............................................................................. 252
A) Objectives ................................................................................................................. 252
B) Duties and competences ......................................................................................... 252
C) Composition ............................................................................................................. 253
D) Functioning ............................................................................................................... 253
E) Terms of application ................................................................................................. 253

2 – The Fondation Le Corbusier ......................................................................................... 254
3 – Association des sites Le Corbusier .............................................................................. 257
4 – Joint action plan of the Standing Conference ............................................................ 258
V (e.2) National and local management of components parts .................................................. 260
• Summary table of the management plans for all the component parts
of the Property ............................................................................................................................ 270
CHAPTER VI – MONITORING
VI (a) / Key indicators for measuring state of conservation .................................................................... 283

Key indicators directly collectable from the constituent elements of the Property ................ 283
1] Indicators relating to political and financial investment on the site .......................... 283
2] Indicators relating to different projects ........................................................................ 283
3] Indicators relating to the conservation, restoration and maintenance
of the constituent element of the Property.................................................................... 283
4] Indicators relating to the management of the buffer zone ......................................... 284
5] Economic indicators ....................................................................................................... 284
6] Indicators relating to each action .................................................................................. 284
Visuela records: survey photographs ........................................................................................... 284
Key indicators to be verified in records or resource centres ...................................................... 284
setting up records of the restoration and maintenance of buildings by Le Corbusier ............ 284
summary table of the monitoring indicators for the series ...................................................... 285
VI (b) / Administrative provisions for monitoring property .................................................................... 287
VI (c) / Results of previous reporting exercises ....................................................................................... 287
CHAPTER VII – DOCUMENTATION
VII (a) / Photographs and audiovisual image inventory and authorization form .................................. 291
VII (d) / Address where inventory, records and archives are held ............................................................ 301
VII (e) / Bibliography .................................................................................................................................... 302

VII (e.1) Main writings by Le Corbusier ........................................................................................ 302
VII (e.2) General works on the life and work of Le Corbusier ..................................................... 303
VII (e.3) specific works on the selected buildings ....................................................................... 307
VII (e.4) Multimedia aids ................................................................................................................ 314
CHAPTER VIII – CONTACT INFORMATION OF REsPONsIBLE AUTHORITIEs
VIII (a) / Preparer ........................................................................................................................................... 319

VII (a.1) The Institutions ................................................................................................................. 319
VII (a.2) The Experts ........................................................................................................................ 320
VIII (b) /Official Local Institution/Agency ................................................................................................... 322
VIII (c) / Other Local Institutions ................................................................................................................. 324
VIII (d) /Official Web address ....................................................................................................................... 326
CHAPTER IX – sIGNATURE ON BEHALF OF THE sTATE PARTy ............................................................. 327

9
« His logical and ever fresh mind offered India answers similar
to those of any of the great Indian Vastu Shastries (architects)
of the ancient and medieval times. He perhaps was showing
us a new way to see, feel and experience architecture.
An expression and experience he created out of a few base
elements, yet expressing a new vitality challenging the
traditional as well as the modern. He made tangible from
béton-brut, local stone, local crafts and exploited shadows,
patterns, the breeze and the monsoon.
For him discovery had to happen at all scales, simultaneously

and without constraints. References from earlier works
were only references and the thrust was on an approach
suitable to India where the vision had to match not only
aspirations of a free India but also the availability of skills,
techniques, resources and relate harmoniously to the
eternal cosmic cycles, cosmic elements and the resulting
life style that he had witnessed in his journeys.
To the professional fraternity and Indian society at large

Le Corbusier through his works shows us how to rediscover
our own identity, how to reconnect our works and the life
styles and how to integrate natural laws, in our daily life. In
short there is no style, nor time, nor product, it is a creation
similar to nature, which evolves and simultaneously take
roots. All the above signals are our guidelines and if we
follow them we will remain as fresh as our very ancient
monuments that we admire.
We would be privileged if such a way of thinking and

designing enshrined in his buildings should be recognized
not only as our heritage but our inheritance and legacy to
be passed onto from generation to generation. »
Balkrishna Doshi
Mai 2011
Introduction
The Origins of the File

In 2000, in accordance with its support for the global strategy promoted by the World
Heritage Committee for a balanced and representative World Heritage List, France
desired to complete its Tentative List with Properties from the modern Heritage, an
underrepresented category in the List. In 2002, this concern led the French Ministry of
Culture and Communication to propose the idea of an application for inclusion on the
World Heritage List of a significant group of works by Le Corbusier. This proposal
corresponded to the aim of the Le Corbusier Foundation to reinforce the world network
of owners and residents of the works of Le Corbusier.
On 4 March 2003, at the first meeting in Paris of owners and managers of buildings
« L’œuvre de Le Corbusier
constitue la clé de notre mo-
constructed by Le Corbusier, this project was officially launched. dernité. Tout ce qu’il a construit
continue à être une source
Soon afterwards, at a meeting held in Paris on 20 January 2004, Jean Guéguinou, at the d’émotions pour l’ensemble
time French Ambassador and Permanent Delegate to UNESCO, invited the ambassadors des générations et demeure
of eleven countries in which Le Corbusier had built, to participate in the application un objet d’apprentissage
project. The idea of putting forward a worldwide selection of Corbusean buildings for irremplaçable.
inscription on the World Heritage List was enthusiastically welcomed by all the countries Il est indispensable de maintenir
concerned. Seven countries – Germany, Argentina, Belgium, India, Japan, Switzerland son œuvre dans toute sa
and France – finally made a concrete commitment to the venture and subsequently went pluralité, où qu’elle se trouve. »
about drawing up a collective application file. These countries were then encouraged to
Álvaro Siza
complete their Tentative Lists and to appoint an expert in charge of the file.
Porto, avril 2011
Finally, on 18 June 2004, the Le Corbusier Foundation, the French National Commission
for UNESCO, the French Ministry of Culture and Communication and the France –
UNESCO Heritage Convention organized an international seminar on the premises of
the Foundation to formally launch the process of nominating Le Corbusier’s built work
to the UNESCO World Heritage List.
The discussion highlighted the importance of a common transnational approach, in its

final phase taking the form of a single file built on homogeneous criteria and
emphasizing a collective approach for the promotion, enhancement and management
of the work.

NOMINATION FILE • INTRODUCTION •
11
A Joint Undertaking
At that stage, the experts representing the States Parties formed an International
Committee, meeting every three months at the headquarters of the Le Corbusier
Foundation in Paris. It aimed to develop a working method, list the component parts of
the Property to be put forward for nomination and devise a single synopsis for the final
file. France agreed to be responsible for the file on behalf of the partner countries.
Meanwhile, meetings involving all countries interested in Le Corbusier’s built work were
organized by the Permanent Delegation of France to UNESCO. These meetings were
designed to keep all the delegations informed on the progress of the file.
Finally, the experts visited the various sites in order to meet the owners, mobilize the
partners concerned and to verify and enrich the data in their possession.
January 2008
Argentina, Germany, Belgium, Japan, France, and Switzerland (India having at this stage
decided to withdraw) submitted to the World Heritage Centre a file entitled “The
Architectural and Urban Work of Le Corbusier”. The series then consisted of twenty-two
buildings or sites.
Seville - June 2009

The World Heritage Committee, meeting in Seville on the occasion of its 33rd session in
June 2009, decided to refer back the nomination, stating in particular that the proposed
nomination required to be justified in accordance with the criteria put forward by the
Committee (demonstrate the influence of the works of Le Corbusier on the architecture
of the 20th century and the Modern Movement), that it should possibly review the list of
elements comprising the Property and that it should reinforce international coordination
and improve management plans.
(Decision: 33 COM 8B.19)
October 2009
The partner countries decided to pursue the undertaking and to resubmit the application
as soon as possible, incorporating the additional features requested by the World
Heritage Committee. The principle of an extended series was maintained, the list being
reduced however from twenty-two to nineteen elements.
The title, “The Architectural Work of Le Corbusier – An outstanding contribution to the
Modern Movement”, now omitted the reference to urban planning.
The argument was refocused on the works and their contribution to the Modern
Movement and the architecture of the 20th century.
The Management Plan underwent a thorough revision, in which all national and local
key players were involved. Presentation of these was appended to the file, item by item.
The International Association of Le Corbusier Sites held its first meeting in Paris.
June 2011 - Paris

The new file was submitted to the World Heritage Centre in January 2011, for
consideration by the World Heritage Committee at its 35th session in Paris in June 2011.
The file, redesigned and rewritten, maintained the essential principles of the project
adopted from the start by the State Parties, including the transnational and transcontinental
nature of the project.
Based on a series of nineteen buildings, it aimed to show - through their diversity – the
value of the contribution made to the Modern Movement by the works of Le Corbusier
and the revolution they brought to the world’s architectural production in the 20th century.

The ICOMOS evaluation report recommended the “non-inscription of the Property”
proposed as a series by the six countries. It showed itself open, however, to the idea of
a “separate” inscription of “three masterpieces” located in France (Unité d’habitation
de Marseille, Chapelle de Ronchamp and Villa Savoye).
The World Heritage Committee took the decision to “defer” the file. It commended “the
efforts to date by the State Parties for improving the protection of the settings, the
management of the individual sites and the coordination of the overall series.” Noting
the “manifested divergence regarding the recognition of the Outstanding Universal Value
of the proposed series as such”, it invited the States parties to develop, “through a
constructive dialogue with the World Heritage Centre in conjunction with the Advisory
Bodies, (…) a common notion of Outstanding Universal Value of the site”.
(Decision: 35 COM 8B.40)
2011 – 2014
The States Parties, remaining convinced of the importance and relevance of a serial
nomination of Le Corbusier’s built work, confident at the same time in the results
achieved by ten years of joint effort and by the ongoing collaboration developed between
States and experts, and motivated equally by the enthusiasm of the owners and
residents, decided to implement a new application based on the original principles but
taking into account the recommendations of the World Heritage Committee.
Encouraged by the decision of the States to maintain joint action, the International
Committee of experts appointed by the different countries continued to give careful
thought to the drawing up of a new file. The owners of Le Corbusier buildings worldwide
were invited by the Le Corbusier Foundation in June 2012 to attend an information day
on the present state of the file and take part in a discussion on the problems of
conservation and restoration of the buildings.
In accordance with the decision of the World Heritage Committee, the representatives
of the States Parties engaged in a dialogue with ICOMOS and held regular meetings with
experts to examine the basis on which a new file could be submitted to the next meeting
of the World Heritage Committee. These meetings involved all the participating States,
the Le Corbusier Foundation and the International Association of Le Corbusier Sites.
Attending the meeting of the ICOMOS International Scientific Committee on 20th Century
Heritage held in Chandigarh from 2 to 5 October 2013, representatives of the French
Ministry of Culture and Communication and the Le Corbusier Foundation were invited
to present the new file.
It appeared from these discussions that ICOMOS had recognized as acceptable the
principle of a serial nomination of a selection of buildings situated in different countries.
Accordingly, on December 2, 2013 it forwarded the following message to the States
parties “ICOMOS recognizes that the participating States Parties have made a significant
investment of time, resources and cooperative activity over the past 18 months. Based
on the work that has been produced, ICOMOS considers that the process of
resubmission of the nomination planned for 2015 should not be further delayed, and
thanks all participating States Parties for the collaborative process.”
In parallel with these discussions, India decided to join the six other countries by
proposing to nominate the buildings of the Capitol complex in Chandigarh in the Series
proposed to UNESCO. The Series, reduced in comparison to the file submitted in 2011,
now comprised 17 components.
The commitment of the States parties was officially registered at a meeting held on
11 February 2014 at the Permanent Delegation of France to UNESCO attended by the
ambassadors and permanent delegates of Germany, Argentina, Belgium, India, Japan,
France and Switzerland. Confirming their commitment, they asked France to submit the
file as soon as possible, namely in January 2015.

13
Present State and Complexity of the Work
The corporate solidarity expressed by the stakeholders of the project reflects the reality of
Le Corbusier’s work, the force and intelligence of which rest upon the cohesion between
all the parts. These demonstrate the “unity of thought” that, despite the contradictions
inherent in any creative work, governs the various aspects of their creator’s work.
With about 65 buildings or groups of buildings surviving today, the architectural work is
relatively modest in quantity. It presents in addition the following characteristics:
• it is highly extensive in spatial terms, distributed in eleven countries on four
continents. While the majority of the works are situated in Europe, particularly
in France and Switzerland, some of the buildings – and not the least among them
– are located in India, Tunisia, Japan, Iraq, Argentina and the United States;
• these buildings differ greatly in nature and size: villas and individual houses,
places of worship, multi-dwelling units, office buildings, a gymnasium,a stadium,
etc. The status of the owners also differs greatly: public authorities, associations,
private owners, joint ownerships, etc.;
• legislation or practices on heritage protection are known to differ greatly between
the various countries.
Each building is a prototype, a unique experiment, a link in the creative process as well
as a link in the time frame of restoration projects. Each of the buildings comprising the
series is a work of art in itself and represents an outstanding performance in the field
of architecture. These are moreover “high risk” performances, whether we consider
the interpretation of the programmes or the design of these buildings, which is both
architecturally and technically experimental.
An International Management Plan

This complexity is at the heart of the work’s richness. It is what largely justifies the
proposal for a serial inscription. It also justifies the establishment of an International
Management System which, like the working method that has served for ten years in
preparing the file, will enable monitoring of the works’ conservation and the sharing of
best practices. It will likewise enable proposals for extensions to the series, to
accommodate buildings that it has not been opportune to include in the present file.
The Standing Conference

Management and monitoring of the constituent elements of the series of Le Corbusier’s
architectural works will be ensured by the Heritage Authorities of each State Party. To
ensure consistency and transnational monitoring of selected components of the Property
without supplanting the prerogatives of each signatory State, the International Committee
has proposed the setting up of a Standing Conference. This principle has been adopted
by the seven States Parties and the first meeting of the Conference will be held in Paris
in the first half of 2015. This meeting is a continuation of all the meetings held since the
file was launched in 2012 (ten international meetings per year, in addition to the regional
or local meetings).
The Standing Conference coordinates the management of the Property, advises States
Parties and implements actions for promotion and enhancement of the Property.
The experience of the International Committee, set up at the launching of the proposed
candidature, guarantees the quality of work undertaken by the Standing Conference.
Despite the vicissitudes of the application, solidarity and cooperation among the members
have never been put in question, and the countries that were present in 2003 are all
involved in this new application, thus demonstrating exceptional solidarity around the
work of an architect.

The network of cities
To promote overall coordination among Le Corbusier sites, the local authorities on
whose territory a proposed work is situated decided to unite in order to cooperate on
issues of protection and promotion of the Corbusean heritage. They have involved in the
undertaking the towns and communities whose works by Le Corbusier are not included
in this file, together with the associations representing the owners and residents. The
constituent meeting of the Association of Le Corbusier Sites was held in Ronchamp on
January 27, 2010. Its main objectives are as follows: (i) to coordinate the network, which
is responsible for preserving Le Corbusier sites and raising public awareness of them,
(ii) to share the experience acquired in the fields of conservation, protection,
development, coordination and management of the Le Corbusier heritage and (iii) to
initiate the implementation of management plans for each of the component parts of
the property. In connection with the preparation of the application, most of the
authorities have revised their urban planning regulations, in order to reinforce protective
measures for Le Corbusier’s works.
Since being set up, the Association has met regularly in each of the towns associated « Le Corbusier a posé les fonda-
with the application, thus promoting a dialogue between the political partners and the tions du Mouvement Moderne
technicians reponsible for the file as well as demonstrating its commitment to au cours de la première moitié
monitoring the management plans for the buildings. Its members have been particularly de sa vie, en construisant les
careful that the local communities concerned are involved in the process. maisons de la période dite
« blanche » et en réalisant
les éléments d’urbanisme
comme l’Unité d’habitation de
The Le Corbusier Foundation Marseille. Après la Seconde
As Le Corbusier’s universal legatee, the owner of three of the buildings and the custodian Guerre mondiale, pendant sa
période de maturité, sa créati-
of all of his records, the Foundation has coordinated the preparatory work for the
vité sans limites explosa totale-
submission of the application. At the request of all the partners, it has assumed material ment et produisit des objets
responsibility as prime contractor for the file. It was given responsibility for the extraordinaires comme la
Secretariat of the Standing Conference by the countries involved in the project. Chapelle Notre-Dame du Haut
As the holder under French law of the moral rights over the works of Le Corbusier, the de Ronchamp, démonstration
exemplaire des possibilités
Foundation’s contribution is mainly justified by its mission to preserve for future
infinies de l’architecture
generations all the buildings built by Le Corbusier and his collaborators worldwide. It is
moderne.
in constant contact with the owners and residents of buildings by Le Corbusier: three
Vivre c’est créer, et créer
owners and residents are members of its board of directors, including the representative
c’est prendre des risques. »
of the European Federation of the inhabitants of residential units and communal housing
built by Le Corbusier. Ando Tadao
The Foundation has developed an ongoing optimal information channel on the current Tokyo, mai 2011
situation of buildings and possible changes affecting them. This involves in particular
the network of owners of buildings, with which it is in regular contact. It also has at its
disposal in all the countries concerned a spontaneous network of correspondents that
do not fail to inform it of possible threats to the integrity of the buildings. In coordination
with the Heritage Department of each State, it mediates with the owners and managers
of sites on all matters concerning the conservation of buildings by Le Corbusier. The
Foundation has set up a committee of experts to examine all projects for restoration of
the buildings. It has placed at the disposal of owners and prime contractors an architect
responsible for consulting the Le Corbusier Archives and for monitoring all renovation
and restoration work. Over the last ten years the Foundation has been building up a set
of records of all restoration work: preliminary studies, restoration projects and creation
of material archives.

15
Archive FLC E2(17)36

Conservation / Restoration
In 1990, the Le Corbusier Foundation organized in Maison La Roche a Conference
entitled: “Conservation of the Built Work of Le Corbusier”, thereby indicating, three years
after the centenary of Le Corbusier’s birth, the importance of mobilizing the authorities,
owners and project managers on questions specific to the restoration and preservation
of modern heritage. In April 2015, on the fiftieth anniversary of Le Corbusier’s death, the
Foundation will be organizing – in partnership with the French National Institute of Art
History, the French National Institute of Heritage and ICOMOS France – a new international
Conference dealing with the restoration of the built work. The aim will be to draw lessons
from the large-scale restorations conducted over the last twenty years (Couvent de La
Tourette at Éveux, Maisons La Roche et Jeanneret in Paris, Unité d’habitation de
Marseille, Maisons Doubles de la Weissenhof-Siedlung in Stuttgart, Immeuble Clarté in
Geneva, Maison Jeanneret-Perret at La Chaux-de-Fonds, Cité de Refuge de l’Armée du
Salut in Paris, Centre civique de Firminy, etc.) and to reinforce cooperation among all
stakeholders so as to add value to these undertakings and help not only the Corbusean
community to benefit from them but also all those who contribute to safeguarding the
20th century heritage.
Towards a New Architecture

Finally, it should be noted that the joint serial application, undertaken of necessity by
the seven partner countries, has led to an unprecedented realization of the work’s
importance as a theoretical and artistic benchmark for 20th and 21st century architecture
and equally to the realization that its representation on the UNESCO World Heritage List
as a concrete, material achievement was a matter of urgency, this being in their eyes the
best guarantee of its preservation over the long term.
The pursuit of this objective has enabled the stakeholders directly involved in the
application to further their knowledge and requirements in respect of buildings under
their responsibility, by sharing information and experience and discovering evaluations
by experts. The immediately perceived educational and social ambition of the
undertaking has also proved an effective motivation for those owners or managers of
Le Corbusier’s architectural works not appearing on the list submitted to the World
Heritage Committee but expressing their continuing support for the project. Lastly,
beyond this inner circle of stakeholders, it has contributed to raising the awareness and
interest of many partners with initially limited concern for Le Corbusier’s work, or to
changing the merely stereotyped image held by others
It has facilitated relations between the countries concerned, federated initiatives within
the countries themselves, brought together the men and women who are daily involved
in it, the owners and managers and all those, whether specialists or enthusiasts of this
living work, who are eager to share their knowledge and enthusiasm.

17
CHAPTER I
> Identification
of the
property

NOMINATION FILE • CHAPTER I • Identification of the Property
19
I (a) Country (and State party if different)
The proposed property is a serial transnational property, made up of 17 works
in 7 countries, located on 3 continents: Argentina, Belgium, France, Germany,
India, Japan and switzerland.
I (b) State, Province or region

See tables on page 24 and following.
I (c) Name of Property

The Architectural Work of Le Corbusier
An Outstanding Contribution to the Modern Movement.
I (d) Geographical coordinates

to the nearest second
I (e) Maps and plans, showing the boundaries

of the nominated property and buffer zone
See maps on page 38 and following.
The full cartography is presented in a separate A3 binder.
I (f) Area of nominated property (ha.)

and proposed buffer zone (ha.)
• Area of nominated property: 33,8708 ha
• Buffer zone: 1 498,4294 ha
• Total: 1 532,3002 ha
Tables discussing the individual component parts from page 24 onwards.

21
Identification
Number Geographical list of the components of the Property
GERMANy
5 1927 Maisons de la Weissenhof–Siedlung Stuttgart Baden-Wurtemberg
ARGENTINA
11 1949 Maison du Docteur Curutchet La Plata Province of Buenos-Aires
BELGIUM – FLANDERs
4 1926 Maison Guiette Antwerp Flanders
FRANCE
1 1923 Maisons La Roche et Jeanneret Paris Île-de-France
6 1928 Villa Savoye et loge du jardinier Poissy Île-de-France
8 1931 Immeuble locatif à la Porte Molitor Boulogne-Billancourt Île-de-France
3 1924 Cité Frugès Pessac Aquitaine
9 1945 Unité d’habitation Marseille Provence-Alpes-Côte d’Azur
13 1951 Cabanon de Le Corbusier Roquebrune-Cap-Martin Provence-Alpes-Côte d’Azur
10 1946 Manufacture à Saint-Dié Saint-Dié-des Vosges Lorraine
12 1950 Chapelle Notre-Dame-du-Haut Ronchamp Franche-Comté
15 1953 Couvent Sainte-Marie-de-la-Tourette Eveux Rhône-Alpes
17 1955 Maison de la Culture de Firminy Firminy Rhône-Alpes
INDIA
14 1952 Complexe du Capitole Chandigarh Punjab
JAPAN
16 1955 Musée National des Beaux-Arts de l’Occident Taito-Ku Tokyo
sWITZERLAND
2 1923 Petite villa au bord du lac Léman Corseaux Vaud
7 1930 Immeuble Clarté Geneva Geneva

23
Identification table of the component parts of the Property
Name of the Property:
The Architectural Work of Le Corbusier – an Outstanding Contribution to the Modern Movement.
Numéro 1 2 3 4 5
d’identification
de l’élément
I (a) PAYS FRANCE SUISSE FRANCE BELGIQUE ALLEMAGNE
I (b) État, province ILE-DE-FRANCE RÉPUBLIQUE ET AQUITAINE REGION LAND DU

ou région/ Paris CANTON DE VAUD Gironde FLAMANDE BADE- WURTEMBERG
département
Commune PARIS XVI CORSEAUX PESSAC ANVERS STUTTGART

Adresse n° 8 et 10 Square Route de Lavaux, 21 Avenue Henry-Frugès, Populierenlaan 32, - Maison individuelle :
du Dr Blanche 1802 Corseaux rue Le Corbusier, B-2020 Antwerpen Bruckmannweg 2,
rue Xavier Arozan, - Maisons jumelées :
et rue des Arcades Rathenaustrasse 1-3,
70191 Stuttgart
I (c) Nom Maisons La Roche Petite villa au bord Cité Frugès Maison Guiette Maisons de la
de l’élément et Jeanneret du lac Léman Weissenhof-Siedlung
constitutif du Bien
I (d) Coordonnées
du point central
X = 646 092 m X = 146 525 m X = 411 620 m X = 651 707,7 m E 32513036.86
• Cartographiques Y = 6 861 564 m Y = 553 200 m Y = 6 417 745 m Y = 708 186,6 m N 5405221.69
(Lambert 93) SWISSGRID (CH1903) (Lambert 93) (Lambert 2008) (UTM)
• Géographiques 48.85186° (N) 46.468414° (N) 44.79889° (N) 51.183667° (N) 48.799850° (N)
(WGS 84) 2.26535° (E) 6.829336° (E) 0.64788° (O) 4.393250° (E) 9.177529° (E)
I (f) Surfaces
• Élément constitutif
du Bien proposé 0,041 ha 0,04 ha 2,179 ha 0,0103 ha 0,1165 ha
pour inscription
• Zone tampon 1,105 ha 5,8 ha 26,475 ha 6,7531 ha 33,6213 ha

proposée
• Surface totale 1,146 ha 5,84 ha 28,654 ha 6,7634 ha 33,7378 ha
Carte N° 1 2 3 4 5

Name of the Property: The Architectural Work of Le Corbusier
– an Outstanding Contribution to the Modern Movement.
Numéro 6 7 8 9
d’identification
de l’élément
I (a) PAYS FRANCE SUISSE FRANCE FRANCE
I (b) État, province ILE-DE-FRANCE RÉPUBLIQUE ET ILE-DE-FRANCE PROVENCE-ALPES-

ou région/ Yvelines CANTON DE GENEVE Boulogne-Billancourt COTE D’AZUR (PACA)
département Bouches-du-Rhône
Commune POISSY GENÈVE BOULOGNE- MARSEILLE

Adresse 82 chemin de Villiers 2 et 4 BILLANCOURT 280 bd Michelet
rue Saint-Laurent 23 rue de la Tourelle
1207 Genève et 24 rue Nungesser
et Coli
(Paris XVI)
I (c) Nom Villa Savoye Immeuble Clarté Immeuble locatif Unité d’habitation
de l’élément et loge du jardinier à la Porte Molitor à Marseille
constitutif du Bien
I (d) Coordonnées
du point central
X = 628 813 m X = 117 195 87 m X = 645 051 m X = 894 650 m
• Cartographiques Y = 6 869 805 m Y = 500 968 08 m Y = 6 860 632 m Y = 6 243 196 m
(Lambert 93) SWISSGRID (CH1903) (Lambert 93) (Lambert 93)
• Géographiques 48.92429° (N) 46.20016° (N) 48.84339° (N) 43.26137° (N)

(WGS 84) 2.02852° (E) 6.156409° (E) 2.25129° (E) 5.39618° (E)
I (f) Surfaces
du Bien proposé 1,036 ha 0,15 ha 0,0323 ha 3,697 ha
pour inscription
• Zone tampon 128,167 ha 1,8 ha 47,916 ha 119,874 ha

proposée
• Surface totale 129,203 ha 1,95 ha 47,948 ha 123,571 ha
Carte N° 6 7 8 9

25
Numéro 10 11 12 13
d’identification
de l’élément
I (a) PAYS FRANCE ARGENTINE FRANCE FRANCE
I (b) État, province LORRAINE PROVINCE FRANCHE-COMTE PROVENCE-ALPES-

ou région/ Vosges DE BUENOS AIRES Haute-Saône COTE D’AZUR (PACA)
département Alpes-Maritimes
Commune SAINT-DIÉ LA PLATA RONCHAMP ROQUEBRUNE-

Adresse 1 avenue de Robache n° 320 avenue 53 Colline de Bourlémont CAP-MARTIN
Promenade
Le Corbusier
I (c) Nom La Manufacture Maison du Docteur Chapelle Cabanon

de l’élément à Saint-Dié Curutchet Notre-Dame-du-Haut de Le Corbusier
constitutif du Bien
I (d) Coordonnées
du point central
X = 992 869 m X = 971 447 m X = 1 059 310 m
• Cartographiques Y = 6 806 270 m Y = 6 740 014 m Y = 6 305 791 m
(Lambert 93) (Lambert 93) (Lambert 93)
• Géographiques 48.29082° (N) 34º 54’ 40.83” (S) 47.70449° (N) 43.75972° (N)
(WGS 84) 6.95025° (E) 57º 56’ 30.57’’ (O) 6.62078° (E) 7.46340° (E)
I (f) Surfaces
du Bien proposé 0,762 ha 0,027 ha 2,745 ha 0,198 ha
pour inscription
• Zone tampon 64,912 ha 6,965 ha 215,922 ha 169,759 ha

proposée
• Surface totale 65,674 ha 6,992 ha 218,967 ha 169,957 ha
Carte N° 10 11 12 13

Numéro 14 15 16 17
d’identification
de l’élément
I (a) PAYS INDE FRANCE JAPON FRANCE
I (b) État, province PENDJAB RHONE-ALPES TOKYO RHONE-ALPES

ou région/ Chandigarh Rhône Loire
département
Commune The Capitol Complex EVEUX 7-7 Ueno-Koen FIRMINY

Adresse Sector 1 BP 105 Eveux, Taito-Ku, Tokyo route de
Chandigarh 69591 Eveux Cedex Saint-Just-Malmont,
lieu-dit « Le razes »
I (c) Nom Complexe Couvent Sainte- Musée National Maison de la Culture

de l’élément du Capitole Marie-de-la-Tourette des Beaux-Arts
constitutif du Bien de l’Occident
I (d) Coordonnées
du point central
X = 826 052 m X = -31579.048 m X = 800 857 m
• Cartographiques Y = 6 525 725 m Y = -5200.700 m Y = 6 476 799 m
(Lambert 93) (JGD2011/9) (Lambert 93)
• Géographiques 30° 44’ 25” (N) 45.81963° (N) 35° 42’ 55” (N) 45.38319° (N)
(WGS 84) 76° 48’ 30” (E) 4.623531° (E) 139° 46’ 33” (E) 4.28879° (E)
I (f) Surfaces
• Élément constitutif 50 ha 17,923 ha 0,93 ha 5,091 ha

du Bien proposé
pour inscription
• Zone tampon 195 ha 99,872 ha 116,17 ha 90,008 ha

proposée
• Surface totale 245 ha 117,795 ha 117,1 ha 95,099 ha
Carte N° 14 15 16 17

27
Le Corbusier, projet de l’UNESCO – 1950
Archive FLC L4(7)30

Numéro 1 2
d’identification
de l’élément
I (a) PAYS FRANCE SUISSE
I (c) Nom Maisons La Roche et Jeanneret Petite villa au bord du lac Léman
de l’élément
constitutif du Bien
I (e) Cartes et Les limites de l’élément constitutif du Bien proposé pour La zone proposée pour inscription consiste en la parcelle de
plans indiquant les inscription ont été établies selon une logique foncière et l’élément constitutif du Bien.
limites de l’élément correspondent aux limites des parcelles cadastrales de la
constitutif du Bien propriété, soit celles des deux maisons mitoyennes : La zone tampon a été établie sur la base des relations
proposé pour parcelles cadastrales n° 93 et n° 95 – section 16-01 BS – visuelles et morphologiques de l’élément constitutif du Bien
inscription et celles commune de Paris. avec ses abords, prenant particulièrement en compte l’échelle
de la zone tampon de l’édifice, son rapport avec le lac et son arrière-fond en
Au-delà du champ de visibilité légal de 500 mètres autour de amont de la rive. Il en résulte une zone tampon qui comprend
ces deux maisons classées parmi les Monuments historiques la zone derrière la Petite villa jusqu’à la limite établie par la
par l’État, la Ville s’est dotée d’outils de protection patrimo- ligne de chemins de fer et une partie plutôt large de la rive à
niale spécifiques, grâce à son Plan Local d’Urbanisme. l’ouest et à l’est de l’élément constitutif du Bien. Les règles
Ainsi le square du Docteur Blanche dans lequel se trouve cet couvrant la zone tampon sont stipulées dans le règlement
élément constitutif du Bien, fait l’objet d’une protection parti- général d’affectation de la Commune de Corseaux du 23 mars
culière en tant que « secteur de maisons et villas ». De plus, 1992 qui détaille les prescriptions de construction générales
les bâtiments qui cantonnent le square sont soumis à des et spécifiques aux différentes zones (approuvé par le canton
règles de construction tendant à en protéger la morphologie de Vaud le 25 juin 1993. Ainsi, d’un point de vue juridique, des
urbaine. La zone tampon proposée est donc étendue à celle constructions dépassant l’échelle des constructions déjà
de l’îlot urbain contenant les maisons. existantes sont impossibles à la rive à l’ouest (zone de verdure
inconstructible respectivement zone de villas avec coefficient
d’occupation limité à 0,17 maximum deux niveaux visibles
sous corniche, minimum 6 mètres de distance avec la limite
de la parcelle voisine). Les interventions sur la rive à l’est
seraient soumises à l’exigence d’un intérêt public et couvert
par contraintes spécifiques concernant la protection des rives
du lac. L’arrière-fond de la Petite villa fait partie d’une zone à
aménager par plans spéciaux, où toute nouvelle construction
est soumise à l’adoption préalable d’un plan de quartier tenant
compte des caractéristiques particulières du secteur dont fait
partie la protection des abords de la maison classée.
Carte N° 1 2

29
Numéro 3 4
d’identification
de l’élément
I (a) PAYS FRANCE BELGIQUE
I (c) Nom Cité Frugès Maison Guiette

de l’élément
constitutif du Bien
I (e) Cartes et Les limites de l’élément constitutif du Bien proposé pour Les limites de l’élément constitutif du Bien proposé pour ins-
plans indiquant les inscription sont celles de la Cité Frugès et correspondent aux cription ont été établies selon une logique foncière et corres-
limites de l’élément limites du site inscrit (depuis 1976) au titre de la loi française pondent aux limites de la parcelle cadastrale de la maison,
constitutif du Bien sur les Sites et monuments naturels de 1930, bordé par l’avenue c’est-à-dire la parcelle cadastrale : Anvers, Section I, 2313x.
proposé pour Henry-Frugès, les rues Le Corbusier, Xavier-Arnozan et des
inscription et celles Arcades.Dix-huit maisons ont été inscrites (douze) ou clas- La Maison Guiette se trouve aux abords d’un quartier résiden-
de la zone tampon sées (six) monuments historiques depuis 2009. Ces protections tiel. La maison est en fait la dernière construction d’un îlot in-
sont venues compléter celle de la maison située 3 rue des Ar- complet. À l’ouest de la maison, on retrouve un terrain
cades, classée en 1980. non-construit, longeant une autoroute urbaine avec des
grands bâtiments. Sur ce terrain, un parc de stationnement
La zone tampon a été déterminée dans un souci de protection vert « park & ride » a été implanté. Au sud de la Maison
des qualités paysagères et urbaines du site et s’appuie donc Guiette, trois immeubles de plusieurs étages ont été
sur le périmètre de la Zone de Protection du Patrimoine construits. Au nord de la maison, l’autoroute qui passe dans
Architectural, Urbain et Paysager, créée par arrêté préfectoral un tunnel, à côté de la maison, réapparaît dans un talus.
du 27 octobre 1998. La ZPPAUP protège la cité au-delà de ses Finalement, à l’est, le quartier résidentiel avec des maisons
limites afin d’assurer la préservation de son environnement. mitoyennes.
Sa zone tampon intègre notamment la propriété boisée joux-
tant le site. Le règlement de la zone définit avec précision les La zone tampon autour de la Maison Guiette comprend les
dispositions particulières applicables au site en matière de abords visuels aux alentours de l’élément constitutif du Bien.
restauration des immeubles existants mais aussi, au-delà de Celle-ci sert à renforcer le contrôle sur les interventions
la cité, précise les règles de construction permettant la mise spatiales aux environs de la Maison.
en valeur de l’ensemble. Elle permet ainsi à la cité de se rat-
tacher physiquement à son environnement tout en évitant des
agressions visuelles intempestives.
Carte N° 3 4

Numéro 5 6
d’identification
de l’élément
I (a) PAYS ALLEMAGNE FRANCE
I (c) Nom Maisons de la Weissenhof-Siedlung Villa Savoye et loge du jardinier

de l’élément
constitutif du Bien
I (e) Cartes et Les limites de l’élément constitutif du Bien proposé corres- Les limites de l’élément constitutif du Bien proposé pour ins-
plans indiquant les pondent à celles des terrains Bruckmannweg 2 et Rathenaus- cription ont été établies selon une logique foncière et corres-
limites de l’élément traße 1-3. pondent aux limites de la parcelle cadastrale de la propriété
constitutif du Bien qui comprend la maison de maître, la loge du jardinier et le
proposé pour La zone tampon englobe les zones d’habitation environnantes. parc : parcelle cadastrale n° 4 – section AR – commune de
inscription et celles En raison de la situation topographique particulière de ce site Poissy.
de la zone tampon à flanc de coteau, des relations visuelles avec l’élément
constitutif du Bien ont été prises en considération lors de la La zone tampon correspond à un projet de Périmètre de
délimitation de la zone tampon. Protection Modifié de la villa, servitude légale de champ de
visibilité (qui se substitue au rayon de 500 mètres), destiné à
assurer une meilleure protection du site ; les cônes de vue
depuis la Villa Savoye ont été pris en compte dans la réflexion
préalable à l’établissement de ce périmètre. Plusieurs outils
nationaux et locaux de protection, partiellement extérieurs à
la zone tampon viennent la compléter et permettent d’assurer
la maîtrise du cadre paysager dans lequel s’inscrit la villa :
champ de visibilité légal des Monuments historiques et des
Sites protégés au titre de la loi française sur les Sites et
monuments naturels (Code du patrimoine français et Loi de
1930) de Poissy et de Villennes. Par ailleurs, la zone tampon
intègre d’autres servitudes et outils divers (zone du Plan de
Prévention du Risque Inondation de Poissy, zone du Plan Local
d’Urbanisme).
Carte N° 5 6

31
Numéro 7 8
d’identification
de l’élément
I (a) PAYS SUISSE FRANCE
I (c) Nom Immeuble Clarté Immeuble locatif à la Porte Molitor

de l’élément
constitutif du Bien
I (e) Cartes et La zone proposée pour inscription consiste en la parcelle de Les limites de l’élément constitutif du Bien proposé pour ins-
plans indiquant les l’élément constitutif du Bien. cription ont été établies selon une logique foncière et corres-
limites de l’élément pondent aux limites de la parcelle cadastrale de l’immeuble :
constitutif du Bien La zone tampon a été établie sur la base des relations parcelle n° 46, section U – commune de Boulogne-Billancourt.
proposé pour visuelles et morphologiques de l’Immeuble Clarté avec le tissu La parcelle se trouve sur le plan cadastral de la commune de
inscription et celles urbanisé environnant de haute densité, mais d’une morpholo- Boulogne-Billancourt.
de la zone tampon gie hétérogène. L’Immeuble Clarté occupe une position parti-
culière et significative dans l’îlot définissant la zone tampon. La zone tampon se situe à la fois sur les communes de Paris
La zone tampon doit par conséquent garantir la protection de et Boulogne-Billancourt, comprennant de nombreux édifices
l’intégrité visuelle et structurelle de l’Immeuble Clarté en cas protégés au titre des Monuments historiques et côté Paris un
d’éventuelles – actuellement peu probables – démolitions et site inscrit au titre de la protection française sur les Sites et
de nouvelles constructions dans ses abords. Les règles de Monuments naturels, donc une zone de grande vigilance en
construction couvrant la zone tampon sont stipulées dans la matière de suivi et de contrôle des interventions sur les exté-
Loi sur les constructions et les installations diverses du 14 avril rieurs du bâti. La zone tampon est limitée à l’est par la rue
1988 (LCI ; L 5 05). La zone tampon fait partie de la 2e zone de Denfert-Rochereau.
construction, où en règle générale les constructions ne doi-
vent en aucun cas dépasser un gabarit limité par un alignement L’Immeuble Molitor appartient à un front bâti continu et homo-
et une ligne verticale de façade de 24 m ; une augmentation gène marquant la limite communale entre Boulogne-Billancourt
de gabarit de 6 m au maximum peut être autorisée, pour autant et Paris. En vis-à-vis, se trouve un ensemble très cohérent de
que les immeubles concernés figurent sur la carte indicative du HBM (ceinture d’immeubles de logements qui s’est histori-
quartier adoptée par le Conseil d’État ; aux abords de l’Immeu- quement constituée entre la limite des anciennes fortifications
ble Clarté, une telle augmentation n’est pas admise. Dans la et les premiers boulevards intérieurs). Il s’agit d’un vaste
partie nord de la zone tampon, comprenant une partie du quar- espace urbain aménagé dans l’entre-deux-guerres pour
tier de la Terrassière, des constructions historiques de l’an- recevoir toutes sortes d’équipements (sportifs notamment) et
cien faubourg ont été mises à l’inventaire cantonal en 2010, répondre aux nouveaux enjeux de développement de la ville.
assurant leur sauvegarde et ainsi la volumétrie du bâti de la La zone tampon s’appuie à la fois sur les éléments patrimo-
zone tampon. Dans les parties est et sud, la hauteur au- niaux identifiés dans le Plan Local d’Urbanisme de Boulogne-
jourd’hui légalement autorisée pour des nouvelles construc- Billancourt et sur les servitudes légales de champ de visibilité
tions pourrait être réduite dans le cadre d’une procédure de générés par l’Immeuble Molitor et la Maison Cook, également
demande de construction, basée sur la protection fédérale de de Le Corbusier, mais extérieure à la zone tampon.
l’élément constitutif du bien et ses abords selon la Loi fédérale
sur la protection de la nature et du paysage du 1er juillet 1966
(LPN ; RS 451). L’élaboration d’un plan de site a été écartée en
2010 au profit de l’inscription à l’inventaire des bâtiments
dignes de protection,dans la zone tampon de Clarté. Si la me-
sure se révélait insuffisante, une procédure d’élaboration d’un
plan de site serait alors enclenchée dans le futur, afin de dé-
finir légalement de manière anticipée et précise les gabarits
autorisés en cas d’éventuelles reconstructions.
Carte N° 7 8

Numéro 9 10
d’identification
de l’élément
I (a) PAYS FRANCE FRANCE
I (c) Nom Unité d’habitation à Marseille La Manufacture à Saint-Dié

de l’élément
constitutif du Bien
I (e) Cartes et Les limites de l’élément constitutif du Bien proposé pour ins- Les limites de l’élément constitutif du Bien proposé pour ins-
plans indiquant les cription ont été établies selon une logique foncière et corres- cription ont été établies selon une logique foncière et corres-
limites de l’élément pondent aux limites de la parcelle cadastrale de l’immeuble : pondent aux limites de la parcelle cadastrale de l’immeuble :
constitutif du Bien parcelle n° 4 section C – commune de Marseille. parcelle n° 20 – section AH – commune de Saint-Dié-des-
proposé pour Vosges. Ce secteur de la ville comprend plusieurs édifices
inscription et celles Une zone tampon a été établie afin d’assurer la protection et protégés au titre des Monuments historiques.
de la zone tampon la gestion de l’environnement proche et plus lointain de l’Unité
d’Habitation. Elle s’appuie pour sa plus grande partie sur les La zone tampon reprend en grande partie la servitude légale
servitudes de champs de visibilité des Monuments historiques de champ de visibilité (rayon de 500 mètres) générée par la
(rayons de 500 mètres) de l’Unité d’habitation et de la villa manufacture, en affinant cependant ce périmètre en fonction
Magalone également protégée au titre des Monuments His- de la topographie, de la nature du tissu urbain environnant
toriques et située sur l’autre rive du boulevard Michelet. Les l’élément constitutif du Bien et des perspectives visuelles sur
dispositions du Plan Local d’Urbanisme de la ville de Marseille celui-ci, en particulier depuis l’axe « gare-cathédrale », axe
s’appliquent seules à l’extérieur de ces servitudes. majeur de la ville qui présente une vue directe sur la manu-
facture. L’intégration de nouvelles dispositions dans le Plan
La zone tampon a été définie pour préserver le paysage offert Local d’Urbanisme de la commune est en cours de réflexion
par la grande perspective du boulevard Michelet. En effet, à pour améliorer la préservation du cadre paysager dans lequel
la différence des autres grands immeubles d’habitat collectif s’inscrit la manufacture (affiner la règle de hauteur pour les
de la zone (à l’exception du stade vélodrome, situé à environ nouvelles constructions, mettre en place des prescriptions ar-
un kilomètre de l’unité et hors de la zone tampon), l’Unité d’ha- chitecturales)
bitation émerge des alignements d’arbres du boulevard. Tou-
jours dans cette logique de prise en compte des perspectives
visuelles sur l’édifice, la zone tampon s’étend sur l’avenue de
Mazargues à l’Ouest, jusqu’au pont de l’Huveaune.
A l’immédiate proximité de l’élément constitutif du Bien, la

zone tampon comprend les îlots peu denses qui correspon-
dent à d’anciennes bastides et villas dont les parcs ont été
partiellement urbanisés.
Au nord, la zone tampon intègre les îlots « industriels » ac-

cueillant des édifices de faible hauteur ménageant des vues
sur l’unité d’habitation. L’évolution des îlots, compris dans les
servitudes de protection des Monuments historiques, est à
encadrer afin de conserver ces perceptives visuelles.
A l’est du boulevard, les îlots accueillant des immeubles col-

lectifs sont peu susceptibles d’évoluer.
Carte N° 9 10

33
Numéro 11 12
d’identification
de l’élément
I (a) PAYS ARGENTINE FRANCE
I (c) Nom Maison du Docteur Curutchet Chapelle Notre-Dame-du-Haut

de l’élément
constitutif du Bien
I (e) Cartes et L’élément constitutif du Bien comprend la parcelle contenant Les limites de l’élément constitutif du Bien proposé corres-
plans indiquant les la Maison du Docteur Curutchet. La zone tampon proposée in- pondent à l’édifice et à une partie de son pourtour incluant la
limites de l’élément clut l’îlot urbain où se trouve le bâtiment, les espaces verts maison du gardien, la maison du pèlerin et la pyramide à
constitutif du Bien autour de cet îlot (les places et petites places en face de la degrés dédiée aux victimes du bombardement de 1944, soit
proposé pour maison et une partie du parc urbain voisin) et les parties des les parcelles cadastrales n° 260, 261, 264, 488, 490 et partie de
inscription et celles îlots urbains voisins de celui de la Maison Curutchet. La zone la parcelle 430 – section F – commune de Ronchamp. Toutes
de la zone tampon tampon a été délimitée en tenant compte des abords de la ces parcelles appartiennent à l’association propriétaire de la
Maison Curutchet et des vues à partir et vers le bâtiment. chapelle, à l’exception de la parcelle n° 490.
La zone tampon est définie en fonction de l’orographie et du

site. Cette zone tampon reprend essentiellement les limites de
la colline sur laquelle s’élève la chapelle. Ce premier périmè-
tre de protection est complété par une zone de vigilance plus
large permettant de renforcer la maîtrise du développement
du village de Ronchamp, de ses hameaux et de l’ensemble du
bassin visuel qui entoure, sur une superficie importante, l’élé-
ment constitutif du Bien. Ce deuxième périmètre renforce le
système de protection autour de la chapelle mais ne fait pas
partie de la zone tampon.
Carte N° 11 12

Numéro 13 14
d’identification
de l’élément
I (a) PAYS FRANCE INDE
I (c) Nom Cabanon de Le Corbusier Complexe du Capitole

de l’élément
constitutif du Bien
I (e) Cartes et Les limites de l’élément constitutif du Bien proposé pour ins- Le Complexe du Capitole occupe géographiquement et sym-
plans indiquant les cription ont été établies selon une logique foncière et corres- boliquement le sommet de la composition du plan de Chandi-
limites de l’élément pondent aux limites des parcelles cadastrales de la propriété garh, aux pieds des collines de Shivalik située au nord. Le
constitutif du Bien qui comprend : le Cabanon, la guinguette l’Étoile de mer, l’ate- Complexe du Capitole, le Rajendra Park, à l’ouest et le lac
proposé pour lier, les Unités de camping : parcelles cadastrales n° 298 et Sukhna à l’Est, constituent le Capitole Parc, qui s’étend sur
inscription et celles 299 – section AN – commune de Roquebrune-Cap-Martin. toute la largeur de la ville. Le Complexe du Capitole est relié à
de la zone tampon la ville par la voie monumentale Jan Marg (voie V2 dans la
Le vaste périmètre de la zone tampon a été défini selon une nomenclature corbuséenne). La limite sud du site proposée
logique de valorisation et de préservation du cheminement est constitué par le Uttar Marg (V3), qui longe le Complexe du
entre le Cap-Martin et la gare de Roquebrune-Cap-Martin et des Capitole au sud et conduit vers le Rock Garden et le lac Sukhna.
perspectives visuelles sur le littoral et les Monuments histo-
riques, dont le Cabanon de Le Corbusier. Elle intègre donc la Les limites de la zone tampon ont été arrêtée en vue de pro-
gare SNCF et les secteurs qui se développent le long du littoral téger et d’assurer la sauvegarde des attributs de valeurs du
(avenue Paul-Doumer : D52). Plusieurs dispositifs permettent site proposé. Au nord du Complexe du Capitole, la zone tam-
de préserver ces espaces. Le paysage proche du Cabanon est pon s’étend jusqu’à la ceinture de manguiers retenue comme
protégé depuis 1974 par le vaste site classé du Cap-Martin et, limite pour constituer un écran visuel au développement qui
au-delà, un site inscrit couvre depuis 1973 l’ensemble du aura lieu au-delà. Au sud, la zone tampon comprend les sec-
littoral de Nice à Menton sur plus de 94 km2. La zone tampon teurs résidentiels 2-5, dont la faible densité permet de mettre
s’appuie également sur les servitudes de champs de visibilité en valeur et de respecter les principes urbains qui avaient
(rayon de 500 mètres) de plusieurs Monuments historiques prévalus lorsque Corbusier avait imaginé le Complexe du
compris dans le périmètre (Villa E-1027 d’Eileen Gray, villa Capitole.
Cypris, Villa Torre-Clementina...).
A l’est, la zone tampon s’arrête à la lisière du Parc Rajindra
qui est aussi la limite du Capitole Parc, car le Parc Rajindra
assure la protection du site proposé et sa connexion visuelle
avec la ville.
Enfin, à l’ouest, la route qui longe le Rock Garden ; elle marque

la limite de la réserve protégée de la forêt du lac Sukhna qui
assure une protection naturelle au site.
Liste des plans en annexe :

• Carte politique de l’Inde indiquant la situation
de Chandigarh, des États du Pendjab et de l’Haryana.
• Carte topographique de Chandigarh et de ses environs.
• Plan de la zone de bien de l’élément proposé
et de sa zone tampon.
• Plan masse du Complexe du Capitole
et de ses composantes (édifices, monuments).
Carte N° 13 14

35
Numéro 15 16
d’identification
de l’élément
I (a) PAYS FRANCE JAPON
I (c) Nom Couvent Sainte-Marie-de-la-Tourette Musée National des Beaux-Arts de l’Occident

de l’élément
constitutif du Bien
I (e) Cartes et Les limites de l’élément constitutif du Bien proposé pour L’élément constitutif du Bien proposé est constitué d’un
plans indiquant les inscription ont été établies selon une logique foncière et musée d'art situé dans le Parc de Ueno (don impérial) géré
limites de l’élément paysagère et incluent l’assiette de l’édifice et une partie par la Métropole de Tokyo. Unique œuvre de Le Corbusier au
constitutif du Bien des terrains environnants afin de prendre en compte l’édifice Japon, il est aussi le premier prototype complet réalisé de son
proposé pour dans son cadre vallonné et boisé : parcelles cadastrales n° 1, concept de « Musée d’art à croissance illimitée » et a été
inscription et celles 2 et partiellement n° 17 – section AH –, et partiellement n° 3 – classé Bien culturel important en vertu de la Loi sur la Pro-
de la zone tampon section AI – commune d’Eveux. Les limites de l’élément consti- tection des Biens Culturels en tant qu’œuvre ayant exercé par
tutif du Bien sont largement en deçà de la limite de la propriété la suite une grande influence sur l’orientation de l’architecture
et ce, selon les souhaits des propriétaires. moderne au Japon. Le site du Bien est protégé en tant que
Monument inscrit (site).
Elles sont pour partie matérialisées par un segment de l’an- La Loi sur les Parcs Urbains et l’Arrêté sur les Parcs de la
cien mur de clôture du domaine de la Tourette. Le périmètre Métropole de Tokyo appliquant des règles de limitation sur les
de l’élément constitutif du Bien comprend un espace d’inhu- constructions au Parc de Ueno en tant que parc de la Métro-
mation privé pour les dominicains (50 frères y reposent). pole de Tokyo, le parc jouit d’un environnement favorable en
tant que zone tampon du bien. Par ailleurs, cette zone tampon
La zone tampon correspond à un Périmètre de Protection ainsi que ses alentours ont également été inscrits en tant que
Modifié du couvent, servitude légale de champs de visibilité Parc d’urbanisme en vertu de la Loi sur l’Urbanisme et le Quar-
(qui se substitue au rayon de 500 mètres), établie autour de tier Paysager (Fuchichiku) en vertu de l’Arrêté sur le Quartier
l’édifice protégé. Ce périmètre, adapté à l’histoire et à la Paysager de la Ville de Taito. Les travaux de construction sont
topographie du site permet de mieux prendre en compte le donc soumis à des restrictions relevant de ces lois et régle-
cadre paysager dans lequel s’inscrit le couvent et d’assurer mentations.
une meilleure gestion des autres éléments patrimoniaux de
l’ancien domaine de la Tourette (glacières, mur de clôture du La zone tampon a été délimitée sur la base des délimitations
domaine, espace boisé…). des Zones Spéciales Paysagées du Parc de Ueno et de ses
environs, dans le cadre du Plan Paysager de la Ville de Taito
issu de la Loi sur la Mise en Valeur des Paysages. Les direc-
tives ou les critères pour cette zone, tout en mettant en valeur
les ressources paysagères présentes dans le parc, cherchent
à former des paysages attrayants. Une attention particulière
est accordée aux vues depuis le Musée National des Beaux-
Arts de l’Occident et de ses alentours en tant qu’établisse-
ment culturel majeur du Parc de Ueno. Afin de vérifier la
conformité avec ces critères, la Loi de Mise en Valeur des
Paysages exige la déposition d’une déclaration préalablement
à toute demande de permis de construire.
Aussi, pour s’harmoniser avec le paysage alentour, la
construction des grands bâtiments qui sont planifiées en
faisant appel à divers zonages de développement urbain est
soumise à la consultation préalable du Gouverneur de la
Métropole de Tokyo avant toute procédure notamment de
planification urbaine en vertu de l’Arrêté sur les Paysages de
la Métropole de Tokyo et du Plan Paysager issus de la Loi sur
la Mise en Valeur des Paysages.
Ainsi, le Bien est situé dans une zone offrant la possibilité au
développement urbain et aux biens culturels de coexister et
dont l’environnement alentour jouit de mesures de conservation
optimales grâce à l’application de divers lois et règlements.
Carte N° 15 16

Numéro 17
d’identification
de l’élément
I (a) PAYS FRANCE
I (c) Nom Maison de la Culture

de l’élément
constitutif du Bien
I (e) Cartes et L’élément constitutif du Bien est délimité par la parcelle sur laquelle est sise la Maison de la Culture et qui comprend, outre cet
plans indiquant les édifice, l’essentiel du stade municipal également construit par Le Corbusier : parcelle cadastrale n° 301 – section AO –.
limites de l’élément
constitutif du Bien Les limites de la zone tampon ont été déterminées dans un souci de protection des qualités paysagère et urbaine du site.
proposé pour Elle se superpose au périmètre de la Zone de Protection du Patrimoine Architectural, Urbain et Paysager, établie par arrêté du
inscription et celles préfet de région du 27 janvier 2006. La zone couvre le quartier d’habitat collectif de Firminy-Vert, au cœur duquel se trouve la
de la zone tampon Maison de la Culture. Elle fixe les règles précises de nature à assurer la conservation du paysage urbain du quartier.
La zone tampon a été sensiblement étendue, hors de la ZPPAUP, pour mieux protéger le paysage du site et faire le lien entre le
quartier et le tissu de faubourg XIXe et XXe du centre-ville. Les études préalables à la transformation de la ZPPAUP en Aire de
Mise en Valeur de l’Architecture et du Patrimoine (AVAP) sont engagées depuis 2013. L’AVAP couvrira la totalité de la zone
tampon.
Carte N° 17

37
39
41
43
L’atelier de Le Corbusier en 1954 :
1er rang, de la gauche vers la droite : Iannis Xenakis, Olek Kujawski, Jeannette Gabillard, Jeannine Dargent, Balkrishna
Doshi, Jeanne Heilbuth, Le Corbusier.
2e rang, de la gauche vers la droite : Jacques Michel, Georges Sachinidis, Jacques Mériot, Kim Chun-Up, Augusto
Tobito, Henri Bruaux,, Roggio Andreini, Jacques Masson, André Maissonnier, Fernand Gardien.
Photo Willy Rizzo

45
47
49
51
53
55
14/

57
Musée National des Beaux-Arts de l’Occident
Localisation de l’élément constitutif n° 16 du Bien :
(Japon)
Latitude Nord 35° 42’ 55”

Longitude Est 139° 46’ 33”

59
61
CHAPTER II
> Description
of the
Property

NOMINATION FILE • CHAPTER II • Description of the Property
63
II (a) / Description of the Property
The Property known as The Architectural Work of Le Corbusier is a transnational serial Property, consisting
of built projects of different types, chosen because together they represent an outstanding response to
some of the fundamental issues of architecture and society in the 20th century. They were implemented
over a period of half a century, in the course of what Le Corbusier himself described as “patient research”.
Spread out over a period of time, situated in seven countries and on three continents, they attest, for the first
time in the history of architecture, to the internationalization of architectural practice across the entire planet.
It is comprised of seventeen components situated in seven countries and on three continents: Germany,
Argentina, Belgium, France, India, Japan and Switzerland.
Geographical list of the components of the Property

GERMANY
1927 Maisons de la Weissenhof-Siedlung, Stuttgart – Baden-Wurtemberg
ARGENTINA
1949 Maison du Docteur Curutchet, La Plata – Province of Buenos-Aires
BELGIUM
1926 Maison Guiette, Anvers – Flanders
FRANCE
1923 Maisons La Roche et Jeanneret, Paris – Ile-de-France
1928 Villa Savoye et loge du jardinier, Poissy – Ile-de-France
1931 Immeuble locatif à la Porte Molitor, Boulogne-Billancourt – Ile-de-France
1924 Cité Frugès, Pessac – Aquitaine
1945 Unité d’habitation, Marseille – Provence-Alpes-Côte d’Azur
1951 Cabanon de Le Corbusier, Roquebrune-Cap-Martin – Provence-Alpes-Côte d’Azur
1946 Manufacture à Saint-Dié, Saint-Dié-des Vosges – Lorraine
1950 Chapelle Notre-Dame-du-Haut, Ronchamp – Franche-Comté
1953 Couvent Sainte-Marie-de-la-Tourette, Eveux – Rhône-Alpes
1955 Maison de la Culture de Firminy, Firminy – Rhône-Alpes
INDIA
1952 Complexe du Capitole, Chandigarh – Punjab
JAPAN
1955 Musée National des Beaux-Arts de l’Occident,Taito-Ku – Tokyo
SWITZERLAND
1923 Petite villa au bord du lac Léman, Corseaux – Vaud
1930 Immeuble Clarté – Geneva

65
Identification
Chapelle Notre-Dame-du-Haut, The task of describing the Property The Architectural Work of Le Corbusier: An outstanding
Ronchamp et, en contrebas, contribution to the Modern Movement is not simply one of enumerating descriptions of
la maison des pèlerins. the elements that go to make up the Series. To begin with, it involves describing the
Ph. Cemal Emden, 2013. Attributes of Value underlying the Series and legitimating the choice of each item. The
Property proposed is an outstanding contribution to the Modern Movement. Despite its
diversity, the Modern Movement is a major and essential socio-cultural and historical
entity of the 20th century. It has moreover in large part remained the basis of the
architectural culture of the architects of the 21st century.
From the 1910s to the 1960s, the Modern Movement met the challenges of contemporary
society.The Modern Movement and, in the forefront,The Architectural Work of Le Corbusier,
aimed to:
• instigate a unique forum of ideas on a world level;
• invent a new architectural language;
• modernize architectural techniques;
• meet the social and human needs of modern man.
The Architectural Work of Le Corbusier has provided outstanding responses to these

challenges in the face of all forms of academicism and cultural, artistic, technical or social
routine. These concerns constitute the four Attributes of Value of The Architectural Work
of Le Corbusier.

1] Instigate a unique forum of ideas on a world level
The status of The Architectural Work of Le Corbusier is reinforced by the fact of
Le Corbusier having assumed the role of the spokesman of modernity, publishing as he
did some fifty books, translated into numerous languages, and engaging in tireless
activity as a lecturer worldwide. The Work has had a major influence on the development
of the ideas of modern architecture in artistic, human and social terms.
It is composed of iconic creations, creations encountering a significant reception in a
given geographical area and creations illustrating new concepts. This unique combination
of production and publication has ensured The Architectural Work of Le Corbusier an
exceptional and even a unique role as the disseminator of the ideas of the Modern
Movement throughout the world.
> A creative production mapped out by iconic works

Among Le Corbusier’s works, some have acquired “iconic” status. The Villa Savoye is
the ultimate icon of the Modern Movement, immediately recognized as such.
The Unité d’habitation in Marseille, the founding work of architectural Brutalism, is the
major prototype of a new housing model based on the balance between the individual
and the collective.
The Chapelle Notre-Dame du Haut de Ronchamp is an icon of Christian sacred architecture
revolutionizing religious architecture in the 20th century.
The Cabanon de Le Corbusier is both a total work of art and an archetypal minimum cell
based on an absolutely ergonomic and functionalist approach. The Architectural Work Visite scolaire à
of Le Corbusier shows that the iconic value of a work does not depend on its monumentality, la Villa Savoye, Poissy.
nor on the extent of the means used. La villa est l’expression
iconique du manifeste des
The Complexe du Capitole is a masterpiece of monumental and sculptural architecture Cinq points pour une architec-
celebrating the independence of a nation and opening up the road to freedom and ture nouvelle énoncé en 1927.
modernity. Ph. Cemal Emden, 2014.

67
Chapelle Notre-Dame- > A Property composed of works revealing a marked influence of The
du-Haut, Ronchamp.
Avant même la tenue Architectural Work of Le Corbusier in a given geographical zone
du Concile de Vatican II Le Corbusier drew up projects in 22 countries and built his works in 11 countries on
(1962-1965) la Chapelle de
Ronchamp révolutionne
4 different continents. No other architect before him had experienced a global dimension
les formes architecturales on such a scale. The Architectural Work of Le Corbusier exhibits a hitherto unmatched
de la liturgie chrétienne. globalization of cultural exchanges. Certain works, while evidencing this global
Ph. Lucien Hervé. recognition, are at the same time veritable door openers for modern architecture to
certain countries or continents.
Already in 1926, Maison Guiette, the first commission received by Le Corbusier abroad
(exclusive of his native and adopted countries), gave The Architectural Work of Le
Corbusier an international dimension. It was a sign of his early recognition at European
level and contributed to the birth of modern architecture in Belgium and the Netherlands,
two countries that were to play an important role in the development of the Modern
Movement (involving, among others, Victor Bourgeois, Huib Hoste, Gerrit Rietveld and
Mart Stam, founder members of CIAM).
Similarly, the Maisons de la Weissenhof-Siedlung became known worldwide, thanks to

the resounding critical success of the Werkbund exhibition.
The Maison du docteur Curutchet, built in La Plata in 1949, reflects the global influence
of The Architectural Work of Le Corbusier and demonstrates the internationalization of
the Modern Movement after the Second World War, in a country where the Work exerted
a fundamental influence on contemporary architecture, and continues to do so.
In 1955, the Musée National des Beaux-Arts de l’Occident in Tokyo, the prototype of the
globally transposable Museum of Unlimited Growth attested to the longstanding
reception of The Architectural Work of Le Corbusier in Japan and to the universalization
of the Modern Movement.
The Complexe du Capitole, which marked the impact of The Architectural Work of
Le Corbusier throughout the world, had a decisive influence across the Indian
subcontinent, where it symbolized the country’s accession to modernity.

> A creative output combining built work with texts illustrating
new concepts
The Architectural Work of Le Corbusier is a continual series of exchanges between the
Built Work and publications defining new artistic currents of thought.
The Maisons La Roche and Jeanneret are the first expression of Purism in architecture.Two
decades later, the Unité d’habitation is a founding work of Brutalism. The Architectural Work
of Le Corbusier is also rich in the prototypes and basic concepts of the new architecture:
• the minimum house, defended by CIAM, finds early and accomplished expression
in the Petite villa au bord du Léman of 1923;
• the minimum living cell is crystallized in the Cabanon de Le Corbusier;
• the five points for a new architecture are iconically transcribed in Villa Savoye;
• the glass-walled apartment building has as its prototype the Immeuble Molitor;
• the concept of balance between the collective and the individual, taken up in the
Athens Charter, has as its prototype the Unité d’habitation.
The Architectural Work of Le Corbusier contains typological standards that have become
essential references for modern architecture:
• the principles of the maison Citrohan, illustrating the “concept of a machine for
living”, inspired construction of the Maison Guiette. These principles found their
purest illustration in the individual house in the Maisons de la Weissenhof-
Siedlung;
• the concept of a green factory was given shape for the first time in the Manufacture
à Saint-Die;
• the unlimited growth museum was wholly implemented for the first time at the
Musée National des Beaux-Arts de l’Occident;
• the civic centre, derived from the theoretical principles of the Radiant City and
the Athens Charter, found exemplary expression for the first time in the Complexe
du Capitole.
The Architectural Work of Le Corbusier finally crystallizes innovative technical features

of the new architecture, such as Taylorisation and standardization of the construction
site at the Cité Frugès, and prefabrication in Immeuble Clarté.
An unusual case is the Couvent Sainte-Marie de La Tourette, a unique synthesis of the

attainments of the Modern Movement, combining Purist forms, Brutalist textures and
revolutionary solutions for living quarters.
Maisons doubles de la
Weissenhof-Siedlung, Stuttgart.
A l’extérieur et à l’intérieur, la
couleur est utilisée comme un
matériau à part entière pour
structurer les espaces et en
renforcer la dimension plastique
primaire.
Ph. Cemal Emden, 2013.

69
2] Inventing a new architectural language
The Architectural Work of Le Corbusier has made an outstanding contribution to the
invention and renewal of a new aesthetic and a new architectural language, both of them
revolutionary.
> Innovation in shape and form

The Architectural Work of Le Corbusier created two major trends in the Modern
Movement – Purism and Brutalism – while at the same time initiating a move towards a
sculptural form of architecture which is still influential in the early 21st century.
Beginning in 1919, Le Corbusier and Amédée Ozenfant invented Purism, a new trend in
painting whose basic principles Le Corbusier subsequently applied to architecture. The
Architectural Work of Le Corbusier marks a rejection of the notion of style, replaced by
a use of pure primary colours to create a universal language.
The Maisons La Roche et Jeanneret are the first examples of Purism in architecture. They
represent the inaugural use of Purist forms and colours as a means of structuring interior
space.
In the Cité Frugès, the shapes and colours of Purism become a tool in urban composition.
Maison Guiette blends to a high degree a Purist design and a sculptural approach to
space.
Brutalism was a term used by critics in British architectural circles to refer to a trend in Complexe du Capitole,
the 1950s and 1960s which renewed the language of modern architecture. While the Chandigarh, 1952 : vue partielle
quest for rationality and the use of simple geometrical shapes were still essential, this de la Haute-cour de justice.
trend went back to natural materials like brick and wood, as well as using new rougher La dimension monumentale et
textures in the treatment of concrete and favouring rough pre-cast concrete. The sculpturale des trois édifices
majeurs du Capitole illustre
structures, and the technical dimension of the building in general, are more forcefully
pleinement la définition de
revealed. l’architecture que Le Corbusier
The English architect, Peter Smithson, who coined the term ‘Brutalism’ in the journal livrait dès 1923 : « L’Architecture
Architectural Design in 1953, stressed the pioneering role played by the Unité d’Habitation. est le jeu correct, savant, et
The monumentality of the work, the imposing sculpted presence of this mass of pre-cast magnifique des volumes
assemblés sous la lumière ».
concrete, the stark relationship between the volumes of the massive pillars, the deep
Ph. Lucien Hervé.
loggias, the evocative shapes of the chimneys, the gymnasium and the school on the
terrace-roof and finally, the range of primary colours which clash violently with one another
under the Mediterranean sun, are an endless source of inspiration for this new Brutalist
trend in modern architecture. At the age of sixty, Le Corbusier here set the tone for a new
generation of anti-establishment architects.
After the Second World War, modern architecture prevailed and became a standard
feature of the urban landscape at the international level. However, from this period on,
the conditions for its renewal were already being established. The Architectural Work of
Le Corbusier was in the forefront of this research, through its outstanding contribution
to inventing a more sculptural form of architecture with more complex shapes, no longer
subject to the laws of Euclidean geometry.
The Chapelle Notre-Dame-du-Haut revolutionized forms in Christian sacred architecture.
The Maison de la Culture in Firminy inaugurated new fields of formal investigation, in
particular with its sloped façades and its curved roof resting on an original system of
tensioned cables.
The Complexe du Capitole is a masterpiece of monumental sculptural architecture, in
keeping with the outstanding site, seen against the foothills of the Himalayas. The
renewal of form is particularly innovative in the hyperbolic paraboloid roof of the Palais
de l’Assemblée.
These works are evidence of a rare capacity for renewal lasting over half a century.

71
> The Five Points for a New Architecture
In 1927, Le Corbusier published in Germany the Five Points for a New Architecture: pilotis,
roof garden, open plan, ribbon window and free façade. This short manifesto was
adopted throughout the world as a universal key for understanding the Modern
Movement.
Whether monumental or small-scale, the majority of the objects making up the Property
The Architectural Work of Le Corbusier are applications of this manifesto, in the service
of a universal language, taken in the geographical or social meaning of the term.
As early as 1923, the Villas La Roche and Jeanneret were the forerunners of the Five Points.
The Villa Savoye is considered as the built manifesto of the Five Points.
The Immeuble Molitor is an example of the application of these principles to a residential
block.
The Five Points also apply to minimal houses, such as the Cité Frugès or the loge du
jardinier in the Villa Savoye.
After the Second World War, it was this universal image of the Five Points which Le
Corbusier chose to impose and re-interpret with more maturity in his only work in Latin
America, Maison Curutchet, but also for large-scale public building programmes such
as the Couvent Sainte-Marie-de-la-Tourette or the Musée National des Beaux-Arts de
l’Occident.
Petite villa au bord du Lac Léman,

Corseaux.
Au-delà de ses qualités d’éclairage,
la fenêtre en longueur – l’un des
Cinq points du manifeste pour une
architecture nouvelle – est dessinée
et positionnée pour offrir et
encadrer, tel un tableau, des vues
sélectionnées sur le paysage.
> Inventing a new modern space

The Architectural Work of Le Corbusier reinvents the concept of space in architecture,
ranging from the primitive cabin to the luxury villa and from the public sphere to the private.
In modern architecture, luxury ‘consists in a luxury of space which, by its harmony,

implements the new design’ wrote the well-known critic, Sigfried Giedion with reference to
Le Corbusier. His work revolutionized the concept of space more than any other work in the
Modern Movement.
Le Corbusier created modern space. It was open, seamless, decompartmentalized and

independent of the structural system. Into this fluid space, he set the ‘architectural
promenade’, a poetic metaphor which designates what other theoreticians like Théo Van
Doesburg call the fourth dimension of space, that of ‘space/time’. Space is no longer
viewed from the perspective of a particular, fixed viewpoint, a concept originating in the
Renaissance, but in movement and in time, in a succession of sequences setting it in
context and enriching its perception.
Le Corbusier first mentioned the ‘architectural promenade’ when referring to Maisons
La Roche et Jeanneret. Progress from the pilotis below to the roof terrace above is
‘staged’ in the form of an uninterrupted cinematic sequence shot. Numerous viewpoints

open on to a single central space, empty and open on three levels. Emptiness becomes
an architectural feature.
One of Le Corbusier’s major contributions is to open up the different levels to each other
by using numerous open shafts. Perception of the traditional domestic interior is
disrupted, as are the occupants’ life-styles. The Maison Guiette, in which an exceptional
sculptural conception of space is developed, is an example.
The Maison Curutchet is an example of the deconstruction of traditional space, in which
the ramp, the openings, the dual level and the terrace all lead into one another and form
a continuous innovative space.
The Architectural Work of Le Corbusier is a brilliant demonstration of the application of

these principles in restricted situations of minimal housing, with the aim of providing
working-class housing with modern spatial qualities. The Petite Villa au bord du Lac
Léman is an example, as is the Cité Frugès where Le Corbusier combined economy of
means and spatial innovation.
This research is also applied in apartments in multi-dwelling apartment buildings, where

Le Corbusier renewed the distribution and conception of space, by imposing split-level,
dual exposure apartments on two floors with a mezzanine. His innovative typologies
were numerous, in particular in the Immeuble Clarté and in the prototype of the Unité
d’Habitation.
The Architectural Work of Le Corbusier also revolutionised modern sacred space in the
Chapelle-Notre-Dame-du-Haut.
In the Couvent de La Tourette, natural light is used in the construction of space as a
material in its own right, thanks to a unique system for harnessing or transmitting light:
undulating glazing, loggias, light ‘cannons’ and light ‘machine guns’, vertical light slits, etc. Immeuble Clarté, Genève.
Le rythme de la composition
Another reinvention in The Architectural Work of Le Corbusier is museum space, with
de la façade formalise la
the concept of a continually expanding space applied for the first time in the Musée double hauteur vitrée des
National des Beaux-Arts de l’Occident. appartements en duplex et
Finally, The Architectural Work of Le Corbusier redefined the basic housing unit in Le traversants, dispositifs qui
Cabanon de Le Corbusier. garantissent l’ensoleillement
permanent de ces logements
modernes.
But space is also a concept which extends to the public sphere in the empty spaces
located between buildings: in The Architectural Work of Le Corbusier the Complexe du
Capitole demonstrates this on a monumental scale.

73
Couvent Sainte-Marie-
de-la-Tourette, Eveux.
Avant restauration.
Le couvent est tout à la fois
l’archétype de l’équilibre
entre l’individuel et le collectif,
une synthèse des recherches
plastiques corbuséennes et le
lieu de la première application
pionnière du béton précontraint
en dehors des ouvrages d’art.

3] Modernising architectural techniques
Addressing the issues of modelling, standardisation and the industrialisation of
contemporary architecture in the development of the project.
> Technological experimentation and prefabrication

The Architectural Work of Le Corbusier demonstrates an exceptional capacity for
experimentation in materials and in technical processes: the independence of the
structure, free facades or curtain walls, the use of standardised modules, mechanized
finishing work, glass panels, double skin walls, air-conditioning, dry mounting, pre-
stressed concrete; etc. The Maisons de la Weissenhof-Siedlung demonstrate the
architectural and spatial capacities generated by the independent structure of the
concrete supports or beams in the Dom-Ino structural plan (1914). This plan is an iconic
figure in the Modern Movement.
In the Immeuble Clarté, arc welding was used to assemble the metal structure for the
first time in a residential building.
The Architectural Work of Le Corbusier pioneered the experimental use of the cement
gun in housing in the Cité Frugès, pre-stressed reinforced concrete in the Couvent de La
Tourette, standardized ribbon windows in the Petite Villa au bord du Lac Léman and a
curved roof resting on steel cables in the Maison de la Culture.
In the Complexe du Capitole, The Architectural Work of Le Corbusier is revealed as a
forerunner of our 21st century concern for natural air-conditioning and energy saving,
through the use of innovative bio-climate solutions: sunscreens, double-skinned roofs,
the orientation and design of openings for transversal ventilation, reflecting pools for
the catchment of rainwater and air cooling, or again terraced gardens.
> Invention of Typological Standards

The search for standardisation is central to the Modern Movement and to The Architectural
Work of Le Corbusier: standardisation of programmes, materials and technical building
components but also the overall standardisation of buildings to ensure the best possible
response to a question posed. Standardisation is not a search for banality, but the
outcome of a search for perfection. This approach is the contrary of the academic
reproduction of established knowledge.
Several of Le Corbusier’s architectural Works are standard types in modern architecture:

• the maison individuelle de la Weissenhof-Siedlung is an example of the perfect
application of the Citrohan standard, the name being a deformation of the major
French car firm, Citroën;
• the Unité d’Habitation de Marseille is the prototype of the unité d’habitation
grandeur conforme intended for mass production;
• in the 1920s, the Petite villa au bord du Lac Léman created the standard of the single
span minimal house, regularly adopted since then by the avant-garde;
• the Usine à Saint-Dié is the only example of the concept of a green factory invented
by Le Corbusier. It is a model of functionalist architecture based on the ambition
to transform completely the architectural environment of production sites;
• the Cabanon de Le Corbusier is the outcome of exceptional consideration being
given to the concept of a standard, minimum unit for living;
• the Musée National Museum des Arts de l’Occident is the prototype of a new
typology, that of a museum of unlimited growth.
We should add that, in The Architectural Work of Le Corbusier, the invention of standards
applies equally to architectural types and to technical components and fixed or movable
furniture. For each of his creations, Le Corbusier defined standard furniture and/or types
of objects.

75
Le Corbusier devant le > The Modulor
relief du Modulor moulé
dans le béton brut de Le Corbusier considered that the standardisation of architecture also involved the correct
l’Unité d’habitation de sizing of the component elements and the definition of a new tool for universal
Marseille, 1945. measurement, capable of replacing the thousands of systems existing all over the world.
La totalité de l’édifice
The Modulor is a harmonic system on a human scale, designed by Le Corbusier and
et de ses équipements
est proportionnée selon universally applicable to architecture, as well as to the associated amenities and
ce système de mesure furnishings. Le Corbusier published its principles in Le Modulor in 1950. This book has
harmonique. since been translated into all languages.
Ph. Lucien Hervé.
From 1945 onwards, all the creations belonging to The Architectural Work of Le Corbusier
were drawn on the proportions of the Modulor, from the minimal unit of the Cabanon
to the composite whole of the Unité d’Habitation, the religious buildings of the Couvent
de la Tourette or those with a cultural vocation in the Maison de la Culture.
The Modulor was also used as a measuring tool in the public sphere. The whole of the
urban composition of the Complexe du Capitole falls perfectly within the Modulor
silhouette of the man with the raised arm.
Its propagation and its influence were international; it can be found in India as well as
Argentina, in the Maison Curutchet, or again in Japan, in the Musée National des Arts
de l’Occident.

4] Responding to the social and human needs
of modern man
The Architectural Work of Le Corbusier is a response to the issues posed by shelter and
comfort for modern man and the quest for a harmony between individual needs and
those of society.
> New life styles

The Architectural Work of Le Corbusier places man at the centre of urban and
architectural production. Taking into consideration the individual’s existence throughout
the solar day, it uses a complete rethinking of human lifestyles to propose an architecture « Juxtaposées à l’économique,
in keeping with the new living conditions of modern man in the machine age. The au social et au politique, les
question of a balance between the individual aspirations of private life and the valeurs d’ordre psychologique
constraints imposed or services required by collective living is a central theme, et physiologique attachées à la
illustrating fully Article 2 of the Athens Charter. The specialisation and traditional personne humaine introduisent
compartmentalization of rooms are replaced by fluid, open spaces, sometimes on two dans le débat des préoccupa-
tions d’ordre individuel et
levels, or with double-height spaces or dual exposure, thereby inducing new types of
collectif. La vie ne s’épanouit
behaviour. The typology of the studio/house, as in the Maison Guiette, constitutes an
que dans la mesure où s’accor-
outstanding experiment for this open conception of space generating new life-styles.
dent les deux principes qui
This invention was not intended only for a tiny fraction of society but for the population régissent la personnalité
as a whole, including mass-produced housing: the Cité Frugès is avant-garde housing humaine : l’individuel et
for workers which questions the traditional life-style of the working-classes. le collectif. »
This research, combining the adaptation of space to new lifestyles and a concern for Charte d’Athènes
economy, denotes a functionalist approach. Examples are the Petite Villa au bord du Lac Article 2
Leman in 1923 where each element is conceived in terms of rethinking all the functions,
and the Cabanon de Le Corbusier, where everything is contained in a minimal cell.
The innovative solutions also included the modulation of space.The semi-detached houses
in the Maisons de la Weissenhof-Siedlung are examples of this. The sliding doors and the
movable furniture enable the living space to be arranged for day and night activities in turn
(“transformable housing”).
The Unité d’Habitation is the archetypal example of the principle of equilibrium between
the individual and the collective. Individual occupants have their own high-quality
apartments In the private sphere while, in the public sphere, there are a considerable
number of shared services, within what Le Corbusier still referred to as a ‘vertical village’.
The transformation of the lifestyle of modern man also applies to programmes other than
housing. Thus the Chapelle Notre-Dame-du-Haut establishes a new relationship between
the individual and the sacred and the Manufacture à Saint-Dié creates new workspaces
contrasting with the dark and alienating image of the traditional factory.
> Minimal Housing

As early as the 1920s, the concept of minimum habitat was central to the research of
Modern Movement architects. It was the theme of the second congress of the CIAM
(International Congress for Modern Architecture) in Frankfurt in 1929.
The Architectural Work of Le Corbusier made an outstanding contribution to this question

with the Loge du jardinier in the Villa Savoye, a precise and unique application of Le
Corbusier and Pierre Jeanneret’s proposal to the CIAM congress in Frankfurt.
In the Maisons de la Weissenhof-Siedlung, Le Corbusier used two different models: the

individual house which is the exact application of the iconic Citrohan model, while the
terrace houses are an example of the ‘transformable house’. The Cité Frugès, an
unprecedented idea in the 1920s, illustrates, on the scale of a small estate, how a minimal
dwelling can be created from an archetypal unit. The Architectural Work of Le Corbusier,
from the Petite Villa au bord du Lac Léman to the Cabanon de Le Corbusier, exemplifies
the outstanding and constant conception of solutions for establishing a maximum
number of functions in a minimal space by adopting a rigorous functionalist approach.

77
> Large scale housing
The question of large scale housing was a major issue in contemporary societies in the
20th century and remains so in the 21st. All over the world, there are numerous answers
to this but these are often extremely mediocre in architectural terms. The Architectural
Work of Le Corbusier provides an outstanding set of solutions for both individual and
collective housing, whether on a working-class or luxury level.
The Maisons de la Weissenhof-Siedlung are housing models intended for reproduction

for the greatest number. They had an international impact because of their avant-garde
design and the unprecedented publicity afforded to them by the exhibition organized
around this central issue by the German Werkbund in 1927.
The Cité Frugès was the first housing estate to completely re-think the concept of
individual workers’ dwellings in an urban setting from a number of different angles:
formal, technical, social, spatial and distributive.
As the name indicates, the Unité d’Habitation is conceived as a basic unit in a larger
urban complex, thus enabling the issue of housing to be linked to that of urban planning,
a central question in the 20th century.
The Architectural Work of Le Corbusier also provides new solutions in the sphere of
luxury housing: the Immeuble Clarté provides examples of innovative avant-garde
typologies, with split-level dual exposure apartments, intended to revolutionize middle-
class housing.
Unité d’habitation,
Marseille.
Sur le toit-terrasse > The Athens Charter
de cette Cité radieuse
Le Corbusier dispose
The Athens Charter is a collective document drawn up by the CIAM in 1933 and revised
plusieurs équipements and published by Le Corbusier in 1943. This charter for reformed urban planning is wholly
accessibles à tous les inspired by the content of the book La Ville Radieuse which Le Corbusier worked on from
habitants, dont un 1932. As soon as it was published, the Athens Charter was translated throughout the
gymnase. world and became known as a book responsible for revolutionising thinking on
Ph. Cemal Emden, 2013. architecture and urban planning in the second half of the 20th century.
The fundamental principle of the Charter is the association of housing with standardized
amenities, which, to observe a proper balance between the individual and the
community, must be accessible at the foot of buildings.
The Complexe du Capitole, the focal point of the plan for Chandigarh, is the most
complete contribution to the principles of the Radiant City and the Athens Charter. The
Architectural Work of Le Corbusier is a unique repertory of prototypes for the following
standard types of building construction: the Unité d’Habitation in Marseille, the Usine
Verte in Saint-Dié, the museum of unlimited growth in Tokyo and the Maison de la
Culture in Firminy.

II (b) / History and development of the Property
1] Design and building

of The Architectural Work of Le Corbusier
After four centuries of an architecture based on the imitation and interpretation of
architectural styles inherited from the Greco-Roman past and a century of historical
revivals, avant-garde architects in the 20th century West made a complete break with the
styles inherited from the past. They rejected their architectural vocabulary, rules of
composition, decorative principles, design methods and on-site practices. In short, they
invented modern architecture.
The Architectural Work of Le Corbusier, its impact amplified by Le Corbusier’s
publications and lectures, represents a fundamental contribution to the invention of
modern architecture, and one of unique scope.
Charles-Édouard Jeanneret-Gris was born in Switzerland in La Chaux-de-Fonds, on
6 October 1887, and is universally known by the name Le Corbusier, an author’s, artist’s
and architect’s pseudonym used for the first time in 1920. Before becoming Le Corbusier,
Charles-Édouard Jeanneret received a firm grounding in the arts in his native town,
complemented through study trips to Central Europe, Italy, Greece and Turkey and
meetings with major avant-garde personalities of the time like Tony Garnier (1869-1948),
Henri Sauvage (1873-1932), Josef Hoffmann (1870-1956) and Heinrich Tessenow (1876-
1950). He completed his training by working in the agency of Auguste Perret (1874-1954)
for sixteen months (1908-1909) and briefly in 1910 with Peter Behrens (1868-1940). From
the outset, his career had taken on an international scope.
From 1909 to 1917, during his stays in La Chaux du Fonds, Charles-Édouard Jeanneret
had numerous opportunities to teach and work as an architect. This first period in
Switzerland, during which he built a cinema and several houses, remains characterised
by regionalist or ‘classical’ architecture.
When Jeanneret became ‘Le Corbusier’ in 1920, he was 33 years old and perfectly
cognizant of all the artistic advances in Europe in the spheres of architecture, painting
or furnishings. For him, there was clearly a need for a new architecture. With his
theoretical credentials, he was ready to produce an outstanding contribution to the
modern architecture then emerging.
> The Purist Foundations of The Architectural Work of Le Corbusier

The first stone for The Architectural Work of Le Corbusier was laid in 1920, when, using
a pseudonym, he published his first architectural article in the avant-garde journal,
L’Esprit Nouveau, which he had just founded with his friend, Amédée Ozenfant (1886-
1966), and the poet, Paul Dermée (1886-1951). His first articles were later republished in
his first books, Vers une architecture (1923), Urbanisme (1925) and L’Art décoratif
d’aujourd’hui (1925). Immediately translated into all languages, this triptych became a
bible for modern architects and contributed immediately to giving an international
dimension to The Architectural Work of Le Corbusier.
In 1922, in Paris, Le Corbusier set up an architectural studio with his cousin from Geneva,
the architect Pierre Jeanneret (1896 – 1967). The first decade of The Architectural Work
of Le Corbusier was, in his own words, a period of ‘patient research’. Through work on a
series of ten major buildings, it led him to devise the new aesthetic of Purism, which
was to propel his work to the avant-garde of architectural creation.
Purism was a movement in painting invented by Charles-Édouard Jeanneret (Le
Corbusier) and Amédée Ozenfant and subsequently adapted to architecture by Le
Corbusier. Thus, Le Corbusier was to fundamentally transform academic architectural
practice by incorporating to it the attainments of contemporary painting. Purism refused
any notion of individual sensibility and pursued the quest for a new and shared
language. ‘Only the general is of any worth, only the transmissible is of any value’ wrote
Le Corbusier in January 1921 in Après le Cubisme, a document that amounted to a Purist
manifesto. This was a condemnation of ‘individualist’ art in favour of ‘universal’ art.

79
Not only is The Architectural Work of Le Corbusier an outstanding universal legacy of
modern architecture, the thinking which underlies it is itself universalist. The idea is to use
‘primary elements’ which, when co-ordinated according to certain rules, will arouse the same
emotions in all, whatever their origin, culture, age or religion.This was, of course, a utopian
dream but, in this case, it was the Modern Movement’s prime utopia in the 20th century.
Purism was based on the use of primary forms and colours: the cube, the parallelepiped,
the pyramid, the cylinder, the sphere and the geometrical figures which produce them.
Le Corbusier shared with his avant-garde colleagues these ideas on simplifying and
geometrising architectural language but few, apart from Adolf Loos, went as far as he did.
In less than ten years, Le Corbusier drew up the Purist manifestos of the Modern
Movement with his associate Pierre Jeanneret. These centred around a programme that
focused primarily on a fundamental issue in modern 20th century society, that of housing:
middle class housing or artist’s studios – the Maisons La Roche et Jeanneret, the Petite
Villa au bord du Lac Léman, Maison Guiette, Villa Savoye, Immeuble Clarté, Immeuble
locatif à Porte Molitor – but also multi-housing projects for large numbers of people:
Cité Frugès, Maisons de la Weissenhof-Siedlung, Loge du jardinier de la Villa Savoye.
In 1923, Le Corbusier ended his book Vers une architecture with a chapter provocatively
entitled ‘Architecture or revolution?’, in which he stated that the social revolution can be
avoided precisely by turning to an architecture of quality, whether it be for a ‘maison
bourgeoise’ (middle-class house) or a ‘maison ouvrière’ (working-class dwelling). This
position is the basis of the Modern Movement’s redeeming utopia, as it is of The
Architectural Work of Le Corbusier.
All the buildings in the first decade of The Architectural Work of Le Corbusier thus belong
to the same Purist aesthetic, universal in the cultural and social meaning of the term.
The Architectural Work of Le Corbusier was born from a constant to-and-fro movement
between built and written manifestoes.
Le Corbusier and Pierre Jeanneret also experimented with reinforced concrete and
techniques for standardizing and industrializing both structural works and finishing
works. They developed new ‘open plan’ solutions for the floor plan, creating space
through the use of open shafts and eliminating where possible walls and doors which
hinder free movement within the building.
During this period of ‘patient research’, Le Corbusier’s architectural work was mainly
built owing to the confidence and intrepidity of patrons. Raoul La Roche, Henri Frugès,
M. and Mme Savoye; artists like René Guiette; relatives including his father and his
mother, but also his brother, Albert Jeanneret. Large public commissions came only after
World War Two.
> The internationalisation of The Architectural Work of Le Corbusier

The Architectural Work of Le Corbusier rapidly became known beyond the frontiers of
his native Switzerland and of his chosen homeland France (he acquired French
nationality in 1930), and became international. As early as 1926, the Maison Guiette in
Belgium, then the Maisons de la Weissenhof-Siedlung were evidence of the international
recognition that his work had already received. These creations, like the later
constructions in Tunisia, Russia, Argentina (Maison Curutchet, 1949), India (The
Complexe du Capitole in Chandigarh, 1952), in Japan (Musée National des Beaux-Arts
de l’Occident, 1955), and further in the United States and Iraq, were in their turn to have
a profound influence on national architecture in these countries.
The importance of Le Corbusier’s architectural work resulted in his becoming a founding
member of the CIAM – (International Congresses of Modern Architecture), whose work
was hugely influential in determining 20th century architecture. He participated in their
meetings until their dissolution in 1959. During the fourth congress in Athens in 1933,
he made an essential contribution to the drafting of an important urban planning
manifesto entitled The Athens Charter, which he published for the first time in 1943.
In 1936, the international influence of The Architectural Work of Le Corbusier led the
Brazilian government to engage the architect as a consultant for the National Ministry
of Education project in Rio, the implementation of which was entrusted to a young
Brazilian team led by Lucio Costa and Oscar Niemeyer. This major undertaking has since
been considered to be the beginning of the modern Brazilian School (it has been listed
since 1996 on the Tentative List for Brazil).

> Experimentation in The Architectural Work of Le Corbusier
The architects of the Modern Movement who broke with traditional practice favoured a
more scientific and rational approach. This architectural rationalism, which had its origins
in the Enlightenment, advocated a programmatic method giving preference to reason
over the imitation, idealism and the empiricism which had prevailed in the preceding
centuries. The new approach consisted in resolving constraints in a way that was, if not
mathematical, at least logical. Modern Movement architects approached each project
free of pre-conceptions, engaged as they were in a process of permanent research
correspondng to the technical and social expectations of a constantly developing
industrialised society.
Le Corbusier was constantly working on the development of his own aesthetic and
formal practice. Comparable in this respect to his illustrious Spanish contemporary,
Antoni Gaudi, architectural creation at world level is not the same before and after
Le Corbusier.
This capacity for questioning and challenging is not confined purely to the formal and
aesthetic sphere. The development of The Architectural Work of Le Corbusier is part of
an ongoing process of research and innovation. His work remains experimental, from
the Maisons La Roche et Jeanneret built in 1923 to the Maison de la Culture de Firminy
finished shortly before the architect’s death. It illustrates a constant concern for the
renewal not only of forms, but also of concepts and techniques. Thus The Architectural
Work of Le Corbusier takes shape in time and in its diversity and is to be understood in
this way.
The influence of Purism is the first major aesthetic contribution made by The
Architectural Work of Le Corbusier to the Modern Movement. However, since the concept
of modernity rests on a perpetual challenge to the status quo, The Architectural Work of
Le Corbusier exists in a spirit of permanent experiment. In this respect, it is comparable
to Picasso’s painting and sculpture.
Mixing artificial and natural materials, smooth and rough surfaces which catch the light
differently, experimenting with new textures, The Architectural Work of Le Corbusier
reveals a fundamental contribution to the emergence in the 1950s of a trend in the
Modern Movement nicknamed ‘Brutalism’ by critics and attributed by them to Le
Corbusier. An exhibition on ‘Le Corbusier and the Question of Brutalism’, presented in
Marseilles in 2014, highlighted the primacy of The Architectural Work of Le Corbusier in
the emergence of Brutalism.
The Unité d’habitation in Marseilles, the Manufacture à Saint-Dié, the Cabanon de Le
Corbusier at Roquebrune-Cap-Martin, the Complexe du Capitole, the Musée National
des Beaux-Arts de l’Occident, all are part of this Brutalist approach, which represents a
major evolution in the aesthetic of the Modern Movement. A young school of architects,
British to begin with and later international, adopted this trend, in particular in the work
of Peter and Alison Smithson and James Stirling.
The formal principles of modern architecture were not questioned in their essential
features; Brutalism is an architecture of simple, geometrical forms, ruling out any notion
of decoration and with a preference for terrace roofs rather than sloping roofs. But, like
some of his colleagues, Le Corbusier introduced new materials including bricks, stone
and wood and abandoned the aesthetics of smooth surfaces in favour of rough pre-cast
concrete. He favoured textures that caught the light more vividly and in which formal
organization, or the contrasts of light and shade, were more clear-cut.
By the mid-1950s, The Architectural Work of Le Corbusier, present on four continents,
had definitively achieved a planetary dimension unprecedented in the history of
architecture; this was summed up in the title of Jean-Louis Cohen’s book, ‘Le Corbusier.
La Planète comme Chantier’ (The World as Construction Site). After the Second World
War, Le Corbusier was in demand all over the world for projects, lectures or
consultations. In 1946-47, he travelled to the United States where he led a study mission
and participated in the choice of a location for UNO headquarters. His international
recognition extended far beyond avant-garde circles. He had become a leading figure in
international architecture with a high media coverage.
At this point, late in the day, he received a number of large-scale commissions. While
not all of these could be completed before his death, some mark a new turn taken by
the Modern Movement towards a sculptural approach, a decisive step that has remained
influential in the early 21st century. The 1950s and 1960s witnessed the architectural work
of Le Corbusier adopting complex forms which, while still originating in the Modern

81
Movement, now benefited from new advances in mathematics. The Chapelle Notre-
Dame-du-Haut, the Complexe du Capitole, the Couvent Sainte-Marie de-la-Tourette, and
the Maison de la Culture de Firminy are all evidence of this formal renewal of the Modern
Movement. The curves, the ungainly surfaces and the hyperbolic paraboloids are all
introduced, not to replace previous principles, but to enrich them. Young architects or
engineers like Oscar Niemeyer in Brazil, Eero Saarinen in the United States, Jørn Utzon
in Australia, Luigi Nervi in Italy, or KenzōTange in Japan, also explored these directions,
to which Le Corbusier had turned when already in his sixties.
The Architectural Work of Le Corbusier was thus enriched by more sculptural edifices,
while still remaining faithful to the architect’s well-known definition of architecture, given
in the early 1920s, ‘Architecture is the masterly, correct and magnificent play of volumes
brought together in light.’
Thus The Architectural Work of Le Corbusier, built through half a century, became an
outstanding testimony to all the phases of the Modern Movement’s development.
2] Developments in The Architectural Work of Le Corbusier

since its completion
> The reception of Le Corbusier’s architectural work
When Le Corbusier died in 1965, his architectural work was undeniably considered by
critics and by his peers as a reference for contemporary creation. France honoured him
with a national funeral attended by architects from all over the world. All, including his
rivals, stressed how his work had revolutionized the traditional vision of architecture.
Le Corbusier’s architectural work immediately became part of the syllabus of schools of
art and architecture throughout the world. At the same time, there appeared several
monographs which attempted to give an overall idea of his output, in particular Maurice
Besset’s Qui était Le Corbusier? and Stanislaus von Moos’, Le Corbusier. L’architecte et
son mythe.
In 1968, the Fondation Le Corbusier, which the architect had hoped to see during his
lifetime, was finally set up; gradually all of his archives became available to researchers
from all over the world, giving access to a wealth of documents. In the 20th century
probably only Frank Lloyd Wright has been the subject of a comparable number of
publications. No statistical figures are available on this point, but consultation of the
BHA (Bibliography of the History of Art) and the RILA (Répertoire international de la
littérature de l’art) catalogues, as well as the files of the two richest architectural libraries
in the world, can give us some idea.
But, at the height of the post-modern crisis, this interest on the part of academics and
Tableau des occurrences
des noms d’architectes dans le architects has not prevented Le Corbusier from suffering the fate of all the Moderns, his
répertoire commun BHA & RILA et ideas being fiercely challenged and the heritage significance of his achievements largely
des catalogues des bibliothèques neglected.
du CCA et du Getty Research
Institute (juillet 2014)
Attacks on his works had already begun in the architect’s lifetime, and he reacted
regularly and sometimes violently. This was the case with the Villa Jeanneret-Perret in
La Chaux-de-Fonds, but also when the Villa Savoye was
Architectes BHA & RILA Getty CCA threatened with destruction in 1964. The Immeuble Clarté
Le Corbusier 1 013 774 1 037 and the Maison Guiette in 1978 were also threatened with
Frank Lloyd Wright 606 573 1 399 abandon or destruction, the former in 1970 and the latter
in 1978. In Argentina, the Maison du Docteur Curutchet
Mies van der Rohe 359 257 441
gradually deteriorated, remaining empty for almost 30
Walter Gropius 259 204 227 years. The two standardised housing estates in Pessac and
Alvar Aalto 177 212 249 Stuttgart started to deteriorate as soon as they were built,
Peter Behrens 134 74 63 subsequently undergoing radical alterations due to the
Gerrit Rietveld 101 65 62 occupants’ failure to appreciate the innovative qualities of
this architecture. Threatened with destruction by the Nazi
Hors XXe siècle
regime, the Weissenhof estate in Stuttgart, including Le
Le Bernin 972 238 160 Corbusier’s two houses, suffered the same disregard or
Andréa Palladio 916 448 491 contempt until the 1980s, despite having officially been
Karl-F. Schinkel 480 196 205 protected as far back as 1958.
E. Viollet-Le-Duc 341 115 149

The influence of the Architectural Work of Le Corbusier
within the States Parties of the Property
The international influence of the architectural work of Le Corbusier is unrivalled, both in the eleven
countries in which he built and in those all over the world for which he had projects and, particularly
through his publications and lectures. There is no point in attempting to draw up an exhaustive list. We
shall limit ourselves here to recalling the influence that this work has had in the States Parties participant
to this nomination.
It may however be claimed that the influence of his work is perceptible in the everyday architecture of the
second half of the 20th century, in its construction methods and in the development of the architectural
profession and its internationalisation.
Germany
Le Corbusier’s work is closely associated with the Neues Bauen movement – a new
building style that emerging in Germany after 1900 – and with the development of the
Modern Movement after the Second World War. The first third of the 20th century in
particular witnessed powerful and fruitful interaction between Le Corbusier and modern
trends in Germany, despite this interaction being subject to antagonisms and radical
breaks.
Le Corbusier’s stays in Germany had already proved a rich source of inspiration before
the First World War. In turn, his written and built work had been known in Germany since
the 1920s, and was the subject of lively discussions, characterized by both admiration
and rejection, traces of which are still with us today. These have recently been
documented by important exhibitions in Weil am Rhein (2007) and Berlin (2009) covering
all his architectural and artistic work and visited by large numbers of people.
Long before he was known as Le Corbusier, Charles-Edouard Jeanneret had taken an

intense interest in the Modern Movement emerging in Germany and in Austria. During
an extended stay in Germany from April 1910 to April 1911, he visited various cities to Couverture de la publication
d’Alfred Roth consacrée en 1927
inquire into the Deutscher Werkbund, founded in 1907, a movement which had rapidly
aux deux maisons de Le Corbusier
become the driving force in German cultural renewal. Jeanneret met representatives of et Pierre Jeanneret à Stuttgart,
the Deutscher Werkbund, including Peter Behrens, Heinrich Tessenow and Karl Ernst où, pour la première fois, sont
Osthaus. In Berlin he worked for several months in the studio of Peter Behrens, who not énoncés les Cinq points pour une
long before had also played host to Walter Gropius and Ludwig Mies van der Rohe. architecture nouvelle.
Archives FLC.
The importance of Le Corbusier for the Modern Movement in Germany can be seen
above all in his participation in its two biggest architectural exhibitions: those of the
Werkbund in Stuttgart in 1927 and the Interbau in Berlin in 1957.
It was a very self-assured Modern Movement that was on view in 1927 at the Weissenhof
in Stuttgart. It was led by German architects most of whom were members of the ‘Ring’,
a group of Neues Bauen architects founded by Ludwig Mies van der Rohe. The Deutscher
Werkbund, open to foreign influences, also invited the most important representatives
of the Modern Movement in Europe, with whom it was in close contact.
At this time, Le Corbusier was an independent figure in architecture and an influential

theoretician in Modern Movement circles in Germany. In 1923, he participated in the
large Bauhaus exhibition in Weimar. In 1926, Vers une architecture, his first collection of
critical essays, was translated and published in Stuttgart under the title Kommende
Baukunst, arousing considerable interest within the Movement. As the exhibition’s
artistic director, Mies van der Rohe resisted all attempts to exclude Le Corbusier from
the 1927 Werkbund Exhibition in Stuttgart, considering that this outstanding event in
modern architecture could not forgo the presence of an ‘esprit français’ amidst the new
trends in Germany. The atmosphere of renewal in Stuttgart created a favourable
background for the creation of the CIAM congresses in La Sarraz in 1928. Their second
policy congress was held in Frankfurt in 1929.

83
With the rise of National Socialism, modern experiments were subjected to increasing
political repression. Already in 1925, nationalist attacks forced the Bauhaus to leave
Weimar and move to Dessau. In 1929, the Great Depression resulted in almost total
paralysis of the building industry. Although the new architecture, known since 1932 as
the ‘international style’, was predominantly the work of German architects, it almost
disappeared in Germany itself, being at best relegated to specific markets in the war
economy until 1945.
In fact, the situation in 1957 was totally different from that of 1927. 1957, the year of the
Interbau exhibition in West Berlin, signalled West Germany’s attempt to reconnect with
the international architectural scene through a new vision, resolutely opposed to the
classically inspired reconstruction style initially implemented in East Berlin. In the
context of this international exhibition, the Hansaviertel, a middle-class area in West
Berlin, originally of a block perimeter development type ("Blockrandbebauung") but
destroyed during the war, was entirely rebuilt on modern architectural principles. Le
Corbusier was of course invited to participate in the exhibition. This gave him the
opportunity to build in Berlin the only Unité d’Habitation existing outside France. A few
steps away from the Stadium that housed the 1936 Olympic Games, the site constitutes
a resolutely Modernist response to the brash monumentalism of National Socialist
architecture.
The reconstruction of Berlin and the development of architecture in all West German
cities after the war are a clear expression of the ideas put forward in the Charter of
Athens. This Charter however, drawn up by Le Corbusier in occupied France in 1943, ten
years after the 4th CIAM Congress, was translated and published in Germany for the first
time in 1962, at a time when many of the decisions relating to reconstruction had long
since been taken and when they were already being subjected to criticism. It was
therefore not so much the Charter itself which was implemented in post-war Germany,
as the programme contained within it, a programme which had influenced urban
planning designs since the 1920s and the CIAM Congresses held before the Second
World War.
In the French occupation zone in particular, the first plans for the rebuilding of
Saarbrücken, Saarlouis and Mainz constituted a faithful transposition of the theories of
the ‘functional city’ formulated in the Athens Charter. In Mainz, a reconstruction plan in
keeping with Le Corbusier’s plan for the reconstruction of Saint-Dié was drawn up by
Marcel Lods at the request of the French occupying force. The Germans preferred a
traditionalist plan by Paul Schmitthenner, who was one of Le Corbusier’s detractors when
Unité d’habitation, Berlin. the Weissenhof housing estate was being designed in 1927.
Archives FLC.
The concept of a ‘grande unité d’habitation’ as set out by Le Corbusier in La Ville Radieuse
and implemented in the Unité d’habitation has become the reference in West Germany
– and, in a different context, also in East Germany– as a determining characteristic of
modern urban planning. The social aspects of Le Corbusier’s concept of a ‘vertical city’
were however not adopted. This is why the post war construction of mass housing
rapidly acquired connotations of anonymity and inhospitality, reagarded as being specific
to modernity.
Today the reception of Le Corbusier’s work in Germany and in Europe tends more and
more to stress the pivotal idea of a ‘synthesis of the arts’, appearing in in the correlation
between numerous disciplines including architecture, urban planning, painting and
design. The global, universal nature of Le Corbusier’s work and his artistic approach,
which are modern both in expression and in the media used, has found recognition.

Argentina
The relationship between Le Corbusier and Latin America developed over a period of
40 years. At the beginning of the 1920s the main Latin American cultural centres followed
the international avant-garde movement very closely; a few artists were in continuous
contact with the European avant-garde. Apparently it was Blaise Cendrars, also a native
of La Chaux-de-Fonds, who aroused Le Corbusier’s interest in Latin America. Le Corbusier
had developed personal and professional contacts with eminent figures like the Brazilian
writer Paulo Prado, or the Chilian Sergio Larrain.
In 1929, Le Corbusier’s journey to South America marked the first direct contact between
Le Corbusier and this part of the world; the influence was reciprocal and quite remarkable.
Le Corbusier was invited to Buenos Aires by the Society of the Friends of Art to give a series
of ten lectures. These were promoted and organised by Victoria Ocampo. Le Corbusier
also went to Brazil.
The contacts with Victoria Ocampo led to a few projects, including the Villa Ocampo (1928)
and a small sky-scraper in Palermo, but none of these were carried out. Nor were other
projects originating in his trips to Latin America, particularly the Villa Martinez de Hoz (1930,
Buenos Aires) and the Villa Errazuriz (1930, Chili).
In 1936, seven years after his first journey, Le Corbusier returned to Brazil as a consultant
for a project to build the Ministry for National Education in Rio (1936-1945), which was
assigned to a team directed by Lucio Costa. This building is now considered to be the
starting point of modern architecture in Brazil.
In October 1937, two young architects from Argentina who were just finishing their studies
visited Le Corbusier: Juan Kurchan and Jorge Ferrai Hardoy. Both wanted to work with
him. He gave them the task of drawing up an urban development plan for Buenos-Aires
but, despite official contacts, the project came to nothing.
Le Corbusier à Bogotá, 1950.
Le Corbusier also considered studies for the towns of Chillán (1939) and Santiago de Chili,
Avec J.L. Sert et P.L. Wiener.
as well as designing an urban plan for Bogotá, the capital of Colombia (1947). But none of FLC L4-4-16-001 ; FLC L4-4-19-001
these projects came to fruition.
Twenty years elapsed between Le Corbusier’s stay in Argentina and the commission for
what was to constitute his only built work in Latin America, the Maison du Docteur
Curutchet in La Plata. His later projects were all associated with Brazil: the Maison du Brésil
at the Cité Universitaire Internationale in Paris, and later the French Embassy in Brasilia.
This last project, designed in 1964, was never built.
Le Corbusier’s influence on the development of architecture and urban planning in Latin

America is distinctly superior to that of the other members of the Modern Movement. The
explanation for this can perhaps be found in his early contacts, numerous journeys and
projects for the region. Audiences were won over by the strength and charisma of his
personality, an effect consolidated by the spread of his writings and his work. We have
only to list the names of the Latin American architects who worked with him in the studio
in the rue de Sèvres: Juan Kurchan and Jorge Ferrari from Argentina, German Samper
and Rogelio Salmona from Colombia, Carlos Gomez Gavazzo and Justino Serralta from
Uruguay and from Chili, Roberto Dávila, Roberto Matta, Emilio Duhart and Guillermo
Jullian de la Fuente.
Brazil was perhaps the earliest to country feel the influence of Le Corbusier. In the wake
of their experience with Le Corbusier during his stay in 1936, Brazilian architects were to
develop their own specific architectural style, the first manifestations of which appeared
in the 1940s with Oscar Niemeyer’s buildings in Pampulha. But it was in Brasilia (LPM),
the new capital of the country and the most outstanding creation of Latin American urban
planning in the 20th century, that the two main figures of Brazilian architecture, Lucio Costa
and Oscar Niemeyer, were to give the teaching and theory of Le Corbusier and the CIAM
its most successful expression.
In Argentina, the direct influence of Le Corbusier was clearly apparent in the work of the
Austral Group, formed in 1939. Juan Kurchan and Jorge Ferrari Hardoy – who had
previously had the opportunity of working with Le Corbusier on the Plan for Buenos Aires
– and the Catalan Antoni Bonet – who had worked for a while in the Rue de Sèvres before
settling in Argentina – were its main proponents. Bonet’s work gave new life to architecture

85
in Argentina. The first modern architecture in the country had developed in the 1930s
mainly under German influence. Bonet in contrast, with his building in Buenos Aires in
1939, developed a more comprehensive concept and a more innovative aesthetic,
including some of Le Corbusier’s Five Points. Kurchan and Ferrari adapted Le Corbusier’s
principles to multi-dwelling buildings, introducing innovation at local level, in their 1942
building located in Rua Virrey del Pino in Buenos Aires. Amancio Williams, who in spite of
his limited output was one of the great inventors of Latin-American architecture,
incorporated elements of Le Corbusier’s language into a number of his projects, as for
example in the Casa del Puente (House of the Bridge) in 1942. In Argentina, some of the
buildings of the 1950s also show the influence of Le Corbusier’s Brutalist period, examples
being the work of the SEPRA Studio (Sánchez Elía, Peralta Ramos and Agostini), of
Clorindo Testa and certain buildings in the north-eastern region by the architects Soto and
Rivarola. The buildings constructed by the postal services in several cities in Argentina at
the beginning of the 1950s also show Le Corbusier’s influence.
In Chili, it was the work of Emilio Duhart which most clearly showed Le Corbusier’s
influence. In his 1960 building for the United Nations in Santiago, Duhart displayed the
experience acquired with Le Corbusier by endeavouring to link the language and principles
of modern architecture with local traditions and the geographical situation. In Mexico, the
influence of Le Corbusier was apparent in Juan O’Gorman’s 1930 design for the houses
for the painters Diego Rivera and Frida Kahlo in a residential area in Mexico City. The
influence of Purism is clear in Diego Rivera’s house, which is very similar to Ozenfant’s
studio-house.
The exchanges between Le Corbusier and Latin America were intense and reciprocal and
have left their mark on both sides. In return, it is possible that the landscape, the sky and
the enthusiasm of his Latin American disciples were a source of inspiration for the
Le Corbusier’s poetics. For Latin America, despite the fact that most of his projects were
not built, the contact with Le Corbusier served to stimulate a spirit of innovation,
Esquisse vue d’avion pour experimentation and discovery of new possibilities for the improvement of people’s lives
l’aménagement de Rio-de-Janeiro, by associating innovation with tradition.
présentée pour la première fois
lors d’une conférence donnée
à Rio le 9 décembre 1929, puis
L’HÉRITAGE ET L’INFLUENCE DE LE CORBUSIER À LA PLATA
publiée en 1930 dans Précisions
sur un état présent de l’architecture Modern architecture began to develop in La Plata in the 1930s through German
et de l’urbanisme. FLC 32091 academic journals. One of those who introduced modern architecture to Argentina
was the engineer Antonio Vilar. His meeting with Le Corbusier during his stay in 1929
had an important influence on the process of transition towards modern architecture.
Le Corbusier’s work was known in La Plata before the construction of the Maison du
Docteur Curutchet.
However, the construction of this house was an exceptional event which attracted
the attention of architects and students in architecture. As soon as it was built, the
house became a place of pilgrimage for professionals and students alike, not only
from La Plata but also from Buenos Aires and other cities in Argentina.
In La Plata, several buildings bear witness to this influence, in particular, the Ministry
for Public Works in the province of Buenos Aires at the beginning of the 1950s, the
extension to the Bank of the Province of Buenos Aires at the end of the 1960s, built
in the spirit of Brutalism, and the house of the architect Ruben Pesci (1970).
The restoration and opening to the public of the Maison du Docteur Curutchet in 1997
renewed interest in this unique example of modern architecture in Latin America.
Architects, students and amateurs of modern architecture came from all over the
world to visit the house, which has become a permanent source of inspiration for
understanding not only Le Corbusier’s thinking and architectural practice, but also
for the question of integrating modern architecture into a traditional urban
environment.

Belgium
Despite the very limited number of works built on Belgian soil (only one has survived),
the influence of L’Œuvre Architecturale de Le Corbusier on 20th century Belgian architecture
is undeniable.
This influence was particularly felt through his written contributions and publications,
beginning with the review L’Esprit Nouveau in 1920. The earliest subscribers to this journal
included the Belgian painters René Magritte and René Guiette. As well as Le Corbusier and
Ozenfant, the co-founders of L’Esprit Nouveau included the Belgian poet Paul Dermée, who
had settled in Paris and was responsible for the journal’s title. Dermée’s participation,
however, was brief and he left the magazine in late 1920 following disagreements.
Vers une architecture, published in 1923, did not go unnoticed in the avant-garde press
and indeed reached its target audience. Le Corbusier’s publications were the only ones
by an architect to be advertised in Belgian journals. Le Corbusier’s influence is also
apparent in the many lectures he was invited to give in Brussels and Antwerp between
1926 and 1933. He was even asked to give interviews on Belgian radio as early as the
1920s.
At the 1925 International Exposition of Modern Decorative and Industrial Arts in Paris, it
was particularly the Pavillon de l’Esprit Nouveau that impressed the Belgian Modernist
artists and architects who had come to Paris. They included Gaston Eysselinck and Leon
Stynen, as well as René Guiette. Soon afterwards Guiette commissioned the young
Le Corbusier to build him a studio-residence in a new district in Antwerp. At that time,
Guiette entertained the illusion that his modern home would help to make of this new
district a true manifesto of modern architecture. This was not to be the case and,
following the destruction of the Pavillon Philips in 1958, Maison Guiette has remained
the only surviving building by Le Corbusier in Belgium. With the exception of his
homeland, Switzerland, it was also the first of Le Corbusier’s works to be built outside Pavillon de L’Esprit Nouveau, Paris,
France. Exposition des Arts Décoratifs, 1925
FLC L2(13)18
Maison Guiette belongs to the series of “purist” dwellings to which in the 1920s
Le Corbusier applied the Five points of a new architecture, of great interest to the avant-
garde Belgian architects of the 1920s and 1930s. Among these, Louis-Herman De Koninck,
Huib Hoste, Stynen and the Équerre group clearly showed interest in Corbusian
principles. Between 1930 and 1936, Gaston Eysselinck designed several “machines for
living in”, while Paul-Amaury Michel developed the Citrohan principle. It was at this time
that the La Cambre Higher Institute for Decorative Arts was set up. Under the direction
of Henry Van de Velde and with many Belgian Modernists among its teachers, it was a
school that offered an alternative to the so-called “academic” teaching then prevailing
in Belgium.
Le Corbusier had personal relationships with many of his Belgian colleagues among
whom were Victor Bourgeois and Hoste, founding members of CIAM in 1928. These
architects and other Belgian artists were to act as intermediaries in promoting the work
of Le Corbusier in Belgium.
Thanks to the CIAM Congresses, Le Corbusier’s ideas entered the debate on urban
planning and modern architecture in Belgium. In 1932 the third CIAM Congress was Paul-Amaury Michel,
devoted to rational land development (“Rationale Bebauungsweisen”) and took place Maison-de-Verre, Bruxelles, 1936.
in Brussels in Victor Horta’s Palais des Beaux-Arts.
In the 1930s, Le Corbusier took part in the competition to build a new district of more
than 100,000 inhabitants on the left bank of the Scheldt in Antwerp (the historic city
having developed entirely on the right bank). Paul Otlet, the promoter of the Mundaneum
proposal, encouraged Le Corbusier to participate in this Linkeroever (Left Bank) Project,
suggesting a partnership with a local team including Huib Hoste and Fe Loquet. The
competition was a huge success, with more than 300 entries from all over the world.
The project by Le Corbusier, Hoste, Loquet and Otlet was a perfect illustration of the Ville
Radieuse, but in the end no project in the competition won first prize and the civil
engineer and city architect were given the task of establishing a new development plan
for the Left Bank. This plan was approved in April 1934 but strongly criticised by Le
Corbusier, who in 1936 was to repeat and sharpen his criticisms. These criticisms, among
others, probably played an important role in the revision of the plan. Le Corbusier and
Hoste proposed a project based on the official plan but completely reworked. Despite
being more realistic and pragmatic, Le Corbusier’s new project was to have no influence
on future urbanization of the left bank of the Scheldt.

87
Despite the failure of his Linkeroever project, Le Corbusier’s influence in the world of
Belgian architecture and urbanism became definitively established in the years following
the Second World War. His views were echoed by a generation of teachers and
professors, who presented them as the foundations of the project. This modern
architecture fitted well with the faith in technology characteristic of the 1950s and 1960s
and illustrated by the Brussels Universal Exhibition of 1958. At this exhibition, the first
to take place after the Second World War, the design of the participants’ pavilions vied
with each other in ingenuity and innovation. The one designed for Philips by Le Corbusier
and Iannis Xenakis attracted particular attention. Unfortunately, like most of the
buildings, this pavilion was dismantled at the close of the exhibition.
For Pierre Puttemans, a teacher at the La Cambre Institute, the influence of Le Corbusier’s
work on architectural theory and practice in Belgium from 1945 to 1970 showed itself in
a number of ways:
• imitations of several key works;
• interpreting and continuing his research in architecture and urban planning, notably
in the work of Willy Van der Meeren, or René Braem’s collective realizations;
• in one form or another, commercial and populist trivialization of Le Corbusier’s
Le Corbusier et Iannis Xenakis, ideas and aesthetics;
Pavillon Philips, Bruxelles, • the search for a compromise, especially in the case of certain “early Modernists”
1958 (détruit). like Victor Bourgeois, Louis Herman De Koninck or Leon Stynen;
• proclaiming and circulating functionalism and a modern aesthetic largely inspired
by Le Corbusier, but also by other leading lights of contemporary architecture;
• Corbusian inspiration of Belgian Brutalism;
• a major contribution to the body of ideas in the inter-war period.
According to René Braem, a former trainee with Le Corbusier, and major representative
of modern architecture in Belgium, Le Corbusier was the first to take the measure of the
technological potential of concrete and steel. In his view, Le Corbusier was a great artist
who deserves an important and permanent place in the history of architecture.
France
The historian Jacques Lucan began his study of French architecture in the late twentieth
century with the death of Le Corbusier in August 1965, in a chapter entitled “Demise of
Le Corbusier avec André Malraux the Master”. In the same year, the subject of the Institut de France’s 1965 Rome
sur le site de Chandigarh. Competition was a Foundation for the study of Modern Architecture, a tribute to
FLC L4(3)12 Le Corbusier, described as “one of the greatest architects of our time”, he who had
already pronounced the demise of the loathed Academy in the twenties. Yet this
apparent consensus, amazing as it was (and indeed described by Beaux-Arts students
as “necrophagous”) cannot hide a much more complex and often conflictual view of
Le Corbusier’s influence in France, where he had settled in 1917.
Unknown on his arrival, in the following decade Charles-Édouard Jeanneret, now known
as Le Corbusier, established himself as the key figure in architecture in both France and
the rest of the world. This sudden fame was due to the publication of his first articles
in the avant-garde journal L’Esprit Nouveau, and his early manifesto works including
Maisons La Roche et Jeanneret, Cité Frugès de Pessac or Villa Savoye, all built between
1923 and 1930. During the same period, he published no less than seven books proposing
a new approach to architecture through a fruitful interchange between architectural
theory and practice. The built work fed the written work, itself fed by many unrealized
and sometimes controversial projects. From the 1920s, Le Corbusier fully occupied the
forefront of the French architectural scene and whether it was his built work, his projects,
his writings or his lectures, all were the subject of heated debates. More than any other
modern architect, Le Corbusier put himself at risk. In 1931, Raymond Fischer, a former
colleague of Adolf Loos and an important figure in French modernity, unambiguously
expressed the general feeling: “We must pay tribute where tribute is due. M. Le Corbusier
has formulated in clear language the laws of architecture to come. He is the surest guide
for the new generation”.

The context in which the Modern Movement developed in France in the interwar period
was very different from that of Germany, Belgium, the Netherlands or the USSR, the
main centres of this radical avant-garde. There was no school in France comparable to
the Bauhaus school in Germany, no professional association such as the Deutscher
Werkbund, no organized movement like De Stijl in the Netherlands or Russian
Constructivism. The individualism of French architects had promoted the emergence of
master figures, at one point embodied by Auguste Perret, however rapidly overtaken by
Le Corbusier’s militancy, creativity and aura. The critical violence then directed at him
was a measure of his unique place in the forefront of the scene. In the early thirties, this
criticism was sharpened by the global economic crisis and the rise in unemployment
and the moderns were accused of being responsible for unemployment in the building
industry. These attacks, confusedly mingling anti-Germanism and anti-Bolshevism,
focused on three points (i) the formal question, (ii) the economic situation and (iii) the
political and social aspect.
Le Corbusier’s work in the thirties was nevertheless observed, analysed and commented
on by all young architects, as well as students of the School of Fine Arts, where the name
of Le Corbusier was banned. While avoiding mere imitating, many architects borrowed
Le Corbusier’s formal, distributional or spatial principles. This applied to major architects
like Jean Ginsberg, Eugène Beaudouin and Marcel Lods, Jean Badovici and Eileen Gray,
Jean-Charles Moreux, etc.
Although Le Corbusier did not teach, he gained a following through media coverage of
his works and his ceaseless activity as a propagator of modern thinking. His studio
attracted many French trainees. Of Le Corbusier’s approximately three hundred known
co-workers, more than sixty were French. They formed the main group, which may seem
natural, but it should be noted that the vast majority of them were to join the workshop
after the Second World War, a sign that going to work for Le Corbusier was not advisable
for a Beaux Arts student between the wars. They then emerged as advocates and
effective spokespersons for the thought and work of the “boss”. Among the best known
were André Wogenscky, Vladimir Bodiansky Gerald Hanning, Claude Parent, Roger
Aujame, Ionel Schein, André Roux and José Oubrerie.
Les obsèques nationales de
After 1945, although Le Corbusier finally obtained several important commissions in Le Corbusier, le 2 septembre 1965,
France, he was nonetheless bypassed for the two main postwar French building projects: avec un hommage solennel dans la
those of Reconstruction and mass housing, known in France as “grands ensembles”. Cour carrée du Louvre à Paris.
Except for the building of four residential units representing a total of less than 2,000 FLC L4(1)150
social dwellings out of 4 million built between 1945 and 1965, Le Corbusier was ignored
in these two phases of mass housing construction. Despite his non-participation, it was
the principles of the Charter of Athens and the formal principles of the Modern
Movement, albeit simplified, travestied and emptied of their spatial, distributive and
social qualities, that were adopted for the construction of these “grands ensembles”.
The ideas of the Modern Movement and of Le Corbusier were thus steadily plundered
and subjected to the logic of state funding, with no other urban or architectural ambition
than to quantitatively solve a real housing shortage problem. They were also subjected
to institutional pillaging by the École des Beaux-Arts, which made superficial use of their
forms to renew its compositional vocabulary. As Philippe Panerai emphasized, “in this
way the ‘Academy’ won on two fronts: it renewed a formal repertory that was wearing
thin and it destabilized those who, using Corbu's example, were trying to make things
happen from within the École”.
Le Corbusier’s post-war buildings in France, the Unité d’habitation de Marseilles, the

Chapelle de Ronchamp, Couvent de la Tourette, or the Maison de la Culture de Firminy,
have continued to have a major impact on production in France. Like Fischer in 1931,
Candilis could still say in 1964: “He is the big boss, the only one”.
Now, in the early twenty-first century, French architecture is still deeply marked by the
principles of the Modern Movement, in which Le Corbusier’s work plays a major role.
In all surveys made of architects’ reputations, his name is always the first to be
mentioned. He continues to be taught in all national schools of architecture as an
indispensable reference for understanding today's architecture.

89
Inde
It was in India that Le Corbusier found his only opportunity to give shape to his ideas on
urban planning. But his influence in this country comes not only from the realization of
the Chandigarh plan, but also from a series of outstanding works, the monumental
buildings of the Capitol Complex in the capital of the Punjab, together with the Palais
des Filateurs and individual houses in Ahmedabad, Gujarat State.
Le Corbusier was invited to carry out the Chandigarh development plan at a time when
the nation, recovering from the long struggle for its hard-won freedom, wished to assert
its identity and its place within the family of the developed nations.
After independence, views on the future of Indian architecture diverged. One part of
Indian society,campaigning to revive the prestige of ancient India, opposed the other,
made up of progressives like Jawaharlal Nehru, who advocated the country’s
modernization. In the context of this debate between tradition and modernity, the
creation of Chandigarh by Le Corbusier was a turning point in the emergence of modern
architecture in India. Chandigarh “released India from its torpor” and definitively settled
the dispute between revivalists and modernists.
Nehru’s wish – “That [Chandigarh] should be a new city, a symbol of India’s freedom,
unfettered by the traditions of the past ... an expression of the nation’s faith in the future”
– found tangible expression in Le Corbusier’s seminal works, sources of a unique
modern heritage in India and throughout the world.
The city of Chandigarh was the first holistic expression of modern urban planning in
India. It implemented urban principles like multilayered circulation systems, residential
sectors, landscaping and tree planting, pedestrian walkways, etc. Going far beyond the
piecemeal attempts made previously, all of these components were assembled here in
an unprecedented model for a modern city designed around Le Corbusier’s four main
concerns: comfortable, rational living, work activity, the circulation of the inhabitants
and care for the body and the mind.
Le Corbusier et Jawaharlal Nehru Thus, Chandigarh is not just a city, but a system of thought symbolizing modernity. It
(1889-1964), Premier ministre de opened up the path to modernization that was at once social, economic and cultural.
l’Inde (1947-1964) à l’initiative de la Chandigarh formalizes Nehru’s aspiration for a modern, secular state and a bedrock for
fondation de Chandigarh.
FLC L4(3)2
modern urbanism in India. The capitals of the State of Bhubaneswar and Gandhinagar
were greatly inspired by this application of Le Corbusier’s principles of scientific
rationalism, efficiency and social progress to the design of urban forms. The use of
concrete to create monumental and civic architecture is fully expressed in these cities.
Le Corbusier’s architectural works in Chandigarh and Ahmedabad were not created for
India as it was at the time, but for what it aspired to be. Almost all the first generation
Indian architects in the wake of Independence, men like Achyut Kanvinde, Balkrishna
Doshi and Charles Correa, were heavily influenced by his unique architectural vocabulary
and progressive vision of an environment designed to create a modern society. His work
defines the precepts of the modern movement as a break with the past, an entry into a
new future, a harbinger of change introducing a new aesthetic in Indian architecture.
Paradoxically, the resulting work is contextualized, seemingly timeless and of unlimited
scope. The aesthetic thus created, derived from a universalist approach to space, shapes,
light and colour, is still relevant in our contemporary context. It is scarcely surprising
that generations of Indian architects continue to be inspired by Le Corbusier’s theories
and works.
After Independence, the decline of the colonial influence in India was reflected in the
creation of government administrative services, banks, industrialized housing, cinemas,
clubs and public buildings, all programmes of a new type, requiring their own
architectural vocabulary to represent a changing society and new cultural aspirations.
This unprecedented application of CIAM’s Corbusian principles, in phase with budding
democratic aspirations, led to the creation of prototypes that continue to affect
profoundly the development of architecture and urban planning in India.

The Capitol Complex in Chandigarh is a unique and outstanding example of Le
Corbusier’s contribution to the creation of new types of public building. This is one of
the most monumental compositions of modern town planning, a major contribution to
the Corbusian heritage resulting from a unique geopolitical and cultural context. The
three buildings of the Capitol Complex are considered the most accomplished plastic
ensemble in the Œuvre de Le Corbusier, one in which he is at the same time architect,
artist and sculptor. His aesthetic designs derive from a unique synthesis of Purist and
Brutalist elements combined with a sculptural and landscaping approach that is in total
harmony with the site layout. The Complex is characterized by the extensive use of
exposed concrete, thus creating one of the most spectacular examples of monumental
architecture as the symbol of a nation's freedom. The focus on the masses and the
sculptural forms generates a unique aesthetic that transcends the limits of Purism and
Brutalism. The use of primary colours on the monumental doors, in the tapestries and
on the pylons and joinery balances the effect produced by the monochrome concrete
Palais des Filateurs, Ahmedabad
wholly integrated into a Brutalist architectural design.
Ph. Olivier Martin-Gambier, 2014.
Le Corbusier’s works in India, particularly the Complexe du Capitole, provide breakthrough

innovations in the fields of the urban project, architectural theory and practice and the
use of materials and techniques for implementation. They also successfully demonstrate
that it is possible to create modern architecture in reduced economic circumstances,
when mechanical resources are almost totally lacking, and to meet the constraints of a
harsh climate, thereby favouring the spread in India of constructions based on these
innovative principles.
The qualities displayed by Le Corbusier’s buildings, both in the design of forms and
details and in their execution, helped liberate modern architectural creation in India. This
contribution was of major importance, given that these works have revolutionized local
construction practice, paving the way for the widespread use of concrete in new
buildings.
The intensive use of brise-soleils and double-skin roofs to control the effects of solar
radiation, the care given to the orientation and design of openings to create natural
ventilation, the use of reflecting pools for recovery of rainwater and better thermal
control, of terraced gardens, etc., all are technical choices in line with an environmentally
responsible approach to architecture. In this respect, Le Corbusier's achievements
announce present-day principles of passive architecture. Reducing dependence on fossil
fuels, he limited the burden of already limited resources, and reduced future operating
costs, while providing real thermal comfort.
Creating complex forms based on a simple structural system despite limited time,
money and manpower resources was a major event in the development of architectural
techniques in Chandigarh, India and the world in general. The construction of the thin
hyperbolic shell that covers the vast circular hall of the Palace of the Assembly, devoid
of pillars, was an exemplary technical achievement demonstrating the full sculptural and
structural potential of reinforced concrete.
Le Corbusier left an indelible mark on urban planning and architectural design in India.
He helped this developing country to join the forerunners of modern architecture and
urban planning worldwide.

91
Japon
Since the 1920s, the history of architecture and of the city in Japan have remained closely
linked to Le Corbusier’s work and thought. The first article on Le Corbusier to appear
was written by the architect Kazue Yakushiji for the journal Kenchiku Sekai (The World of
Architecture) in August 1923.
When Tokyo was devastated by the great earthquake of 1 September 1923, it was in
Le Corbusier’s precepts that inspiration for solutions to urban reconstruction issues was
sought. Thus, in 1924, the architect Junpei Nakamura published the book Tokyo
Reconstruction Plan 1924 as well as articles in which he presented Le Corbusier’s Plan
for a Contemporary City of 3 Million Inhabitants and some of the ideas from his book
Towards an architecture.
After reading the book Towards an architecture in 1924, another architect, Kenji Imai in
1926 undertook a trip to Europe, where he visited Gropius in Germany and Le Corbusier
in Paris. Seigo Motono (1882-1944), an architect and founder in 1927 of the the International
Architectural Association of Japan, had in 1923 already learned of Le Corbusier’s Plan
for a Contemporary City Of 3 Million Inhabitants.
But above all it was Hideto Kishida, a lecturer at Tokyo University Department of
Architecture, who lectured on Le Corbusier and lent works by Le Corbusier he had
brought back from Europe in 1926 to a student of his who knew French, Kunio Mayekawa
(1905-1986).
The first Japanese translations of Le Corbusier appeared between 1928 and 1929 in the
journal Kokusai Kenchiku. The journal devoted two special issues to Le Corbusier
expressing all-out enthusiasm.
In 1929 the publisher Koseisha Shobo published in Japanese the complete texts of
Towards an Architecture and in 1931 Today's Decorative Art.
In the 1930s, Japanese architects, whose enthusiasm for Le Corbusier was to continue,
erected a large number of buildings on the lines of Le Corbusier’s precepts. More than
a hundred of these realizations can be found presented in Japanese architecture
magazines of the 1930s. In an article published in a French magazine, Bruno Taut, invited
to Japan in 1932 by the “International Architectural Association of Japan” emphasized
how Le Corbusier fascinated Japan, even eclipsing the influence of Frank Lloyd Wright.
He gave as examples the architects Antonin Raymond and Kameki Tsuchiura.
Until World War II, there were no less than four Japanese co-workers in the studio in rue
de Sèvres.
The first of these, Kunio Mayekawa, much impressed by Le Corbusier’s texts, presented
a dissertation on Le Corbusier for his degree in architecture. Upon graduating in 1928,
Première publication de
he was to work for two years in the Paris studio, becoming Le Corbusier’s first Japanese
Vers une architecture en japonais, colleague.
septembre 1929. On his return to Japan in April 1930, Mayekawa joined Antonin Raymond’s studio in
August 1930 and continued to spread Le Corbusier’s ideas,translating into Japanese
excerpts from Today’s Decorative Art. In 1932 Mayekawa in a personal capacity executed
a building for the Kimura industrial laboratories, a work directly inspired by Le Corbusier.
In 1935 he opened his own agency which was to produce other important architects of
the modern Japanese movement such as: Kenzo Tange, Masato Ohtaka, Toshihiko Kimura
and Azusa Kitou.
Arriving a month and a half after Mayekawa at the studio in rue de Sèvres, another pupil
of Hideto Kishida, Kikunosuke Makino (1903-1983), who had graduated in 1927, stayed
for only eight months. On his return to Japan, he published articles and translations
describing life in Le Corbusier’s studio.
Nagatoshi Tsuchihashi was the third Japanese architect to work with Le Corbusier. He
entered the studio in 1929 but for health reasons was obliged to return to Japan in
February 1930. He nonetheless published articles in Japanese journals describing life in
Le Corbusier’s studio.
Lastly, Junzo Sakakura (1904-1969), who graduated in 1927, met Le Corbusier in 1929 and
joined his studio in 1931. Sakakura remained there for five years, reaching the position
of Head of Agency. Returning to Japan in 1936, he was chosen to be the architect of the
Japan Pavilion for the 1937 International Exhibition in Paris. This pavilion directly
incorporated the principles developed in Le Corbusier's “Museum of Unlimited Growth”.
Sakakura extended his stay in Paris and resumed collaboration with Le Corbusier,

participating in the fifth CIAM Congress. Back in Japan in 1939, he set up his own agency. In 1940, he invited Charlotte
Perriand to Japan and organized a furniture design exhibition.
Publications dealing with Le Corbusier diminished during the war years, but their number still remained significant.
The competition in 1942 for the “Greater East Asia Co-Prosperity Sphere Memorial Hall” showed Le Corbusier’s
influence, several of the proposals resembling his project for the Mundaneum (1929).
Kenzo Tange (1913-2005) a major figure in the world of Japanese architecture, was one of the architects who, without
having worked directly with Le Corbusier, were largely inspired by his works. As is known, his vocation was revealed
to him by reading Le Corbusier’s writings. The urban development projects for Tokyo proposed by Tange between 1959
and 1961 are representative of this influence. It was as a professor in the Department of Architecture at the University
of Tokyo that he was to create the Department of Urbanism. He transmitted Le Corbusier’s ideas to his students, the
best known of whom were Sachio Ohtani, Fumihiko Maki, Kisho Kurokawa and Arata Isozaki. In 1955, he designed the
Peace Centre in Hiroshima, which is clearly inspired by Le Corbusier. Most of Tange’s projects show the influence of
Le Corbusier and of the CIAM Congresses, including the projects for the Prefecture of Tokyo Metropolis (1957) and the
Kagawa Prefecture (1958), which were the models for all public administrative buildings built in Japan after the war.
The spread of Le Corbusier’s ideas in postwar Japan was favoured by Junzo Sakakura who in 1955 organized the
exhibition “Proposal for a synthesis of the arts, Paris 1955: Le Corbusier, Fernand Léger, Charlotte Perriand”. In 1956 he
made a stage curtain for the Tokyu Bunkakaikan (Tokyo Cultural Centre) from an original cartoon by Le Corbusier and
published translations of L’Unité d’habitation de Marseille and Manières de penser l’urbanisme. In 1964, he published
the critical biography Le Corbusier, a Precursor of Modern Art.
From 1950 to 1952, another Japanese architect Takamasa Yoshizaka, a lecturer at Waseda University, worked in Paris
with Le Corbusier on various projects. A fluent French speaker, he translated important works such as La Charte
d’Athènes in 1953, Le Modulor, Vers une architecture, and finally in 1978 he completed the translation of the Complete
Works.
If the work of Mayekawa always reflects the influence of Le Corbusier’s 1920s period, after the war the industrialization
of construction methods and materials was to be an omnipresent concern in his work. As for Sakakura, Le Corbusier’s
influence can be seen in major postwar work such as the Kamakura Museum (1951) which, down to the the building
methods adopted, incorporates the ideas of the “Museum of Unlimited Growth”, developed by Le Corbusier in the
1930s.
The Musée National des Beaux-Arts de l’Occident was executed, with the assistance of Yoshizaka, Mayekawa and
Sakakura, according to the same principles of construction. This is the iconic symbol of Le Corbusier’s influence in
Japan. In 1961, the Tokyo theatre (Tokyo Bunka Kaikan) built by Mayekawa just opposite the Musée National des Beaux-
Arts de l’Occident, put the finishing touch to this series of buildings reflecting Le Corbusier’s influence in Japan.
We may say that the continuing fascination exercised by Le Corbusier in Japan from the beginning of the 1920s was
not only aesthetic, but changed lifestyles and particularly research in the fields of the industrialization of housing and
urbanism.
Hiroshima Peace Memorial Museum

TANGE Kenzo, architecte.
Ph. Satoshi Nishioka, 2009

93
Suisse
Le Corbusier’s influence in Switzerland was considerable but difficult to define, his
complex relationship with his native country being a mixture of love, disappointment,
rejection, expectation, misunderstanding or frustration. In 1937, when he was already 50
years old and recognized the world over, Le Corbusier wrote at the request of Sigfried
Giedion, the historian and CIAM spokesman, a text entitled “My relations with
Switzerland”. In the end Giedion found the text too negative, and it remained
unpublished.
Le Corbusier settled permanently in France in 1917 after building in Switzerland six

private homes and a cinema, and participating in the creation of a short-lived new
department at the Art School in La Chaux-de-Fonds. Despite the quality of his buildings
and the avant-gardism of two of them in particular, Villa Jeanneret-Perret and Villa
Schwob, Le Corbusier’s reputation in Switzerland and in the rest of Europe remained
low-key, if it existed at all. It was only once he had settled in Paris, and in 1920 changed
his name to Le Corbusier, that Charles-Édouard Jeanneret was to build up his
international reputation within only a few years. Recognition from his compatriots was
slow to follow, as confirmed by the architect himself in a letter addressed to William
Ritter in 1925: “If I am susceptible with regard to my native country, it is because it has
never shown any confidence in me, because my friends there have tended to keep their
distance, because the local paper has never published that decisive ‘a child of La Chaux-
de-Fonds’ article which would (at last!) have given my parents such satisfation, all this
while I was being heavily soft-soaped in the journals of both continents, everything
needed to make a conceited ass burst with self-satisfaction”.
The work done in Switzerland in the 1920s and 1930s, and his unsuccessful participation
in the League of Nations competition (1925) gave rise to incomprehension, if not conflict.
The radicalism of his language, seen both in Switzerland and in other countries as
“Bolshevist”, often aroused mistrust rather than support. Mistrust and even rejection of
Le Corbusier were part of the broader context of the slow, difficult reception of modernity
Le Corbusier, Une petite maison, in Switzerland. Yet, despite a strong attachment to the picturesque image of Switzerland
1954. Monographie consacrée à propagated by the Schweizer Heimatschutz (Swiss Heritage Society), Switzerland's
la maison du Corseaux construite contribution to the emergence of the Modern Movement was not insignificant. Karl
en 1923. Moser (1860-1936) was one of its precursors, especially through his teaching at the
Polytechnic in Zurich, where he trained a whole generation of young architects who were
to find in Le Corbusier an essential point of reference. Among them, his son Werner
Moser, the brothers Emil and Alfred Roth, Max Ernst Haefeli, Carl Hubacher and Rudolf
Steiger joined together in 1930 to build the Neubühl model housing development in
Zürich. This estate, inspired by the Weissenhofsiedlung in Stuttgart, where Alfred Roth
worked in 1927 on behalf of the Le Corbusier studio, is widely regarded as marking the
emergence of architectural modernity in Switzerland. Robert Maillart (1872-1940), the
builder of many concrete bridges in a spirit of pure rationalist logic, as well as Max Bill
(1908-1994), and Hannes Meyer (1889-1954), director of the Bauhaus from 1928 to 1930,
were other pioneering figures of modern Swiss architecture.
The short-lived ABC magazine, published in Basel between 1924 and 1928, was another
major source of theoretical underpinning for this movement and for Functionalism. And
it was of course Switzerland that hosted the founding CIAM Congress meeting on
Le Corbusier’s initiative at La Sarraz in 1928. Its first president from 1928 to 1930 was
Karl Moser, and its spokesman the active and talented Swiss historian Sigfried Giedion.
The latter was in fact one of Le Corbusier’s discoverers and a propagator of his thought
and his work, not only in Switzerland but also throughout the world, especially with the
publication of Espace temps architecture, one of the most widely read books on
architecture in the world. Switzerland also contributed greatly to the knowledge of
Le Corbusier’s work through the publication of the series of the Complete Works, the
first of the eight volumes being published in Zürich in 1929 by Girsberger editions and
edited by Willy Boesiger, a colleague of Le Corbusier in 1940, and Oscar Stonorov. In 1938
Max Bill, already mentioned, edited the third volume covering the period from 1934 to 1938.
Le Corbusier’s work was furthermore widely and lastingly circulated by some thirty-five
co-workers from Switzerland who worked in the studio on rue de Sèvres in Paris from
1924 to 1954. As well as Roth and Boesiger, already mentioned, these included Pierre
André Emery (1924-1926), Denis Honegger (1926), Albert Frey (1929), Otto Senn (1931),
Oscar Burri (1939) and André Studer (1954) .

While recognition of Le Corbusier’s work largely came to the Swiss architectural world
in the inter-war period, his impact, much as that of the Modern Movement as a whole,
remained limited in terms of production, there being much Swiss opposition – albeit on
aesthetically questionable pretexts – to the urbanization of the large cities and the
expansion of socialism and social conflict (12). The influence of Le Corbusier is
perceptible in certain buildings by two former co-workers in the Rue de Sevres: Hans
Brechbühler (School of Arts and Crafts of the city of Bern, 1937-1939) and Denis
Honegger, and also in the work of Jacques Favarger (1889-1967), who executed several
administrative buildings and villas in Lausanne, implementing a modern vocabulary
clearly inspired by Le Corbusier.
As in other European countries and indeed the rest of the world, this situation changed
fundamentally after the Second World War, with the triumph of the ideas of the Modern
Movement and in the forefront Le Corbusier's contribution.
« L’Engadine est une région que
beaucoup apprécient. C’est
This change of outlook in the post-war period was particularly illustrated by the work of
une haute vallée alpine avec
Denis Honegger and Jean-Marc Lamunière, who sought to combine the Corbusian
des vieux villages d’une beauté
legacy with that of Louis Kahn. Several of the most prominent Swiss agencies of the
exceptionnelle et un ciel serein ;
1950s and 1960s based their work on Le Corbusier’s legacy, adopting for example
à en croire la légende locale,
established Brutalist concepts. The architects’ collective known as Atelier 5, active in
les fermes baroques décorées
Switzerland and Germany since 1959, is among the most representative of this new
de sgraffites et leurs fenêtres
modern architecture. It has borrowed Le Corbusier’s béton brut Brutalist aesthetic and
aux embrasures en forme
also developed certain Corbusian typologies such as terraced construction, derived from
d’entonnoir auraient inspiré
the “Roq” and “Rob” models. An example is Siedlung Halen in Herrenschwanden near
Le Corbusier lors de la
Bern (1959-1961), one that was in turn to serve as a model for many other examples of
conception de la chapelle à
terraced building, particularly adapted to the mountainous Swiss terrain. Architects like
Ronchamp. »
Stucky and Meuli, C. Paillard, Peter Leeman and Scherer, or Strickler and Weber
continued in this direction. Flora Ruchat-Roncati (1937), as well as Georges Brera and
Peter Zumthor, 1998-2001,
Paul Waltenspuhl (1919 and 1917), were also close to this Corbusian Brutalist vein.
Réalisations et projets, tome 3,
Scheidegger & Spiess, 2014,
Le Corbusier’s influence was not limited to the work of these architects already won over
page 57
to the modern cause. It even played a role in the emergence of new directions in Swiss
architecture such as the “Ticino School”, despite its special relationship with the
geography of place. It also appears in the work of major architects like Mario Botta, who
acknowledges Kahn and Le Corbusier as his two mentors.
Since the 1980s, Swiss architecture has gained international recognition through the
work of several first-class agencies, particularly those of Diener & Diener and Herzog
and de Meuron. This is not to suggest any direct derivation between them and
Le Corbusier, simply to note that he helped to bring about a profound change in the
Swiss approach to architecture and to open it up towards the international style.
Finally, in the wake of Sigfried Giedion, Switzerland today has some of the most
outstanding historians of Le Corbusier's work. Specialists such as Stanislaus von Moos,
Arthur Rüegg or Bruno Reichlin have brought knowledge of the work of Le Corbusier
and its impact in Switzerland and throughout the world to their highest level.

95
> Protection measures taken at an early date
The components of the Property proposed for nomination to the World Heritage List
received early protection in their respective countries, mostly in the two decades following
Le Corbusier’s death. Some, like the Maisons de la Weissenhof-Siedlung in Stuttgart and
the Unité d’habitation in Marseilles, were actually given protection during Le Corbusier’s
lifetime.
The fact that protective measures in respect of The Architectural Work of Le Corbusier
were taken at an early date confirms the interest given to this contemporary heritage
and underlines its exemplary value. This recognition, reflecting the official protection
afforded by a state or nation, was international.
In most cases, restoration campaigns were initiated following protective measures, but
they were often conducted piecemeal.
In recent years, particularly since the launching of international mobilization for the
preparation of this nomination to the World Heritage List, restoration campaigns have
been preceded by high-quality technical studies. This is particularly true of the Maisons
du Weissenhof (2002-2006), the Immeuble Clarté (2007-2008), Maison La Roche (2008-
2009 and 2014), the Couvent de la Tourette (2006-2012), the Unité d’habitation de
Marseille (2006-2014) and the Maison de la Culture de Firminy in the Centre de recréation
du corps et de l’esprit (2009-2010).
Date de la Date de la
NAMES OF THE COMPONENTS MAKING UP THE PROPERTY 1ère mesure 1ère restauration
de protection importante
Maisons de la Weissenhof-Siedlung – Stuttgart, Allemagne, 1927 1958 1982-1984

Unité d’habitation – Marseille, France, 1945 1964 1965
DEATH OF LE CORBUSIER IN AUGUST 1965
Maisons La Roche et Jeanneret – Paris, France, 1923 1965 1970
Villa Savoye et loge du jardinier – Poissy, France, 1928 1965 1964
Chapelle Notre-Dame-du-Haut – Ronchamp, France, 1950 1967 -
ESTABLISHMENT OF THE FONDATION LE CORBUSIER IN 1968
Immeuble locatif à la Porte Molitor – Boulogne-Billancourt, France, 1931 1972 1962
Petite villa au bord du lac Léman – Corseaux, Suisse, 1923 1976 vers 1950
Maison Guiette – Anvers, Belgique, 1926 1978 1987
Couvent Sainte-Marie-de-la-Tourette – Éveux, France, 1953 1979 1980
Cité Frugès – Pessac, France, 1924 1980 à partir de 1987
Maison de la Culture de Firminy, 1955-1969 à partir de 1984 1990
Immeuble Clarté – Genève, Suisse, 1930 1986 1975
CENTENARY OF LE CORBUSIER IN 1987
Maison du Docteur Curutchet – La Plata, Argentine, 1949 1987 1987
Manufacture à Saint-Dié-des-Vosges – France, 1946 1988 -
ESTABLISHMENT OF DOCOMOMO INTERNATIONAL IN 1990
Cabanon de Le Corbusier – Roquebrune-Cap-Martin, France, 1951 1994 -
LAUNCHING OF THE NOMINATION PROJECT TO THE WORLD HERITAGE LIST IN 2003
Musée National des Beaux-Arts de l’Occident – Tokyo, Japon 1955 2007 1994
Complexe du Capitole de Chandigarh, 1952-1955 1952 -

Chapelle Notre-Dame-du-Haut,
Ronchamp. Intérieurs.
La chapelle demeure aujourd’hui
un lieu de culte et de pèlerinage.
> A living heritage

The vast majority of the implementations making up the Property have retained their
original use.
Only six implementations have seen their initial programme change: Maisons La Roche
et Jeanneret, Villa Savoye, the double house in the Maisons du Weissenhof, Maison du
Docteur Curutchet, the Petite villa au bord du lac Léman, and the Cabanon de Le
Corbusier. However, all are now sites devoted to the preservation and dissemination of
the work and life of Le Corbusier and are being preserved with the greatest respect for
their present state and their original programme. Over and above their qualities with
regard to the OUV, they are important memorial sites.
Thus, the Property The Architectural Work of Le Corbusier remains essentially a living
heritage.
> A heritage at the core of all of today’s debates

There is not a university, not a school of architecture in the world where the architectural
work of Le Corbusier is not a subject for teaching, academic visits or research. Every
year, doctoral theses on this work and its influence appear all over the world; dozens of
articles and books are published on it and seminars devoted to it. This multiform work
has inspired songs, plays, novels and films. Practitioners of the visual arts have taken it
up in an effort to reinterpret it and give it a place in contemporary creation. The work
remains a model for numerous architects who are active today, yet still remains a subject
of debate.
The name of Le Corbusier has been invoked worldwide in discussions on urban renewal,
urban diversity or the future of the large housing estates of the fifties and sixties. His
principles are being reassessed in the current debates on high-rise densification or on
the need to consider architecture and the city on a global level.
Whether meeting with support or rejection, the Work constitutes an essential reference.
It embodies the Modern Movement in outstanding fashion, without claiming to be its
sole representative.

97
Maisons La Roche et Jeanneret – Paris, France, 1923

Maisons La Roche et Jeanneret, Paris, 2015. En 2014, les deux maisons ont fait l’objet d’une restitution des couleurs d’origine à l’issue d’une étude
poussée à partir des archives et de l’œuvre elle-même. Ph. cemal Emden, 2015.

99
Maisons La Roche et Jeanneret, Paris, 1923. Premières applications d’une volumétrie puriste.
Haut : Ph. Olivier Martin-Gambier, 2010. Bas : Photo en 1926.
Chantier de la maison La Roche et Jeanneret,
vue sur la grande baie (façade nord est), 1925.
« L’Architecture vivante »,
automne MCMXXVI, édition Albert Morancé,
Paris 1926.
Photo de chantier des façades, restitution de l’enduit d’origine « ton pierre ».

Ph. Bénédicte Gandini, octobre 2014.
Hall de la Maison La Roche, Paris, état actuel après la restauration des intérieurs de la maison (2008/2009). Autour du vide du hall ouvert sur trois
niveaux, la passerelle, le balcon, les ouvertures intérieures et les escaliers sont les moyens mis en œuvre pour formaliser la notion de quatrième di-
mension de l’espace : celle du temps. Ph. Olivier Martin-Gambier, 2010.

101
De haut en bas.
Livre d’or de Raoul La Roche, 1929.
Archives FLC
Photographie du séjour/salle à
manger de la Maison Jeanneret
colorisée publiée dans L’Architec-
ture Vivante, automne M CM XXVII,
éditions Albert Morancé.
Plan du 2e étage des deux maisons
La Roche et Jeanneret. FLC 15175.
Elévation des façades nord-est
des maisons La Roche et Jenneret.
Archives FLC
Lettre de La Roche à Le Corbusier, Nouvel an 1927 – FLC P5(1)151

103
Petite villa au bord du lac Léman – Corseaux, Suisse, 1923
Petite villa au bord du Lac, Corseaux. En 1951, Le Corbusier revêt lui-même le mur sud d’un bardage en aluminium. La dimension puriste en est affectée,
mais le revêtement ordinaire conserve à l’œuvre sa simplicité initiale et l’inscrit dans les recherches contemporaines des Case study houses
américaines. Ph. Patrick Moser, 2014.
Petite villa au bord du Lac, Corseaux. Publiée dans l’Architecture Vivante, 1925.
La fenêtre extérieure du mur du jardin comme la fenêtre en longueur de la maison cadrent des vues privilégiées sur le lac et le paysage alpin environnant.
Détail de la façade nord avec le bardage métallique posé Intérieurs. Ph. Olivier Martin-Gambier, 2011.
en 1931. Ph. Cemal Emden, 2012.
Le tableau naturel cadré dans le mur du jardin et l’entrée de la maison en façade est. Après la restauration des extérieurs et du jardin en
2013/2014. Ph. Patrick Moser, 2014.

105
Dessin du jardin, Le Corbusier.
Carnet FLC_C_RECTO-12
Détail de la façade modifiée par

Le Corbusier avec le bardage
métallique en 1951, après la restau-
ration du jardin et des extérieurs.
Ph. Bénédicte Gandini,
octobre 2014.
Ci-dessous :
Petite villa au bord du Lac,
Corseaux. Elévation sur le Lac
et plan. FLC 9419.
Ci-contre :
Coupe longitudinale, FLC 9368.
Plan du rez-de-chaussée, FLC 9365.
Élévation des façades sud et nord,
FLC 9367.
107
Cité Frugès – Pessac, France, 1924
Cité Frugès, Pessac, 1924. En haut, les maisons gratte-ciel à l’extrémité de la rue Le Corbusier. La remise en état des couleurs d’origine est progressive
grâce à la règlementation mise en place depuis 1998 à l’échelle du lotissement (ZPPAUP). Ph. haut : Nikolas Ernult, 2014 – Ph. bas : B. Gandini, 2011.
Cité Frugès, Pessac, 1924. La rue des gratte-ciel, actuelle rue Le Corbusier, mise en couleur peu avant l’inauguration officielle. Archives FLC
Cité Frugès, Pessac, 1924.

Maisons Gratte-ciel et maisons en
quinconce : vues anciennes peu
après leur achèvement en 1927.
Archives FLC

109
L’arrière des maisons gratte-ciel vue depuis le toit terrasse de la maison double dite Maison Vrinat. La polychromie tranchée dématérialise les parois
en gommant leur matérialité, et accuse la perception de la volumétrie primaire. Ph. B. Gandini, 2011.
Cité Frugès, Pessac, 1924. Maisons en quinconce. Ph. Bénédicte Gandini, 2011.
Cité Frugès, Pessac, 1924. Ci-dessus : maison gratte-ciel ; Ci-dessous : l’arrière des maisons gratte-ciel. Le règlement de la ZPPAUP et les nombreuses
protections récentes au titre des monuments historiques permettent un retour progressif à la restauration des couleurs et des volumes d’origine.
Ph. Bénédicte Gandini, 2011.

111
Détail de la maquette de la
Cité Frugès, conservée sur place.
FLC L2(15)7
Cité Frugès, Pessac, 1924.

Vue arienne sur les maisons
en quinconce, FLC 19879.
Planche de présentation d’une
maison double, FLC 19815.
Ci-dessus : Cité Frugès, Pessac, 1924. Etude de mise en couleur pour une maison double. FLC 19809.
Ci-dessous : Cité Frugès, Pessac, 1924. Etude de mise en couleur pour les maisons à arcades et les
maisons gratte-ciel. FLC 19898.

113
Maison Guiette – Anvers, Belgique, 1926
Maison Guiette, Anvers.

Vue actuelle.
Depuis 1926, la maison
a gardé un très haut
niveau d’intégrité et
d’authenticité.
Ph. P. De Prins, 1988.
Maison Guiette, Anvers.

Vue de l’atelier du dernier
niveau. Le volume sur
deux niveaux et le grand
mur vitré s’inspirent du
modèle Citrohan.
Etat actuel, maison
habitée par un privé.
Ph. Kris Vandevorst,
octobre 2014.
Maison Guiette, Anvers. Vue actuelle. Ph. P. De Prins, 1988.

115
Intérieurs, état actuel.
Vue sur les cloisons courbes en
queue de piano qui donnent de la
souplesse et de la fluidité aux
espaces du deuxième étage.
Ph. Kris Vandevorst, octobre 2014.
Maison Guiette, grande salle de séjour au rez-de-chaussée. Etat actuel. Ph. Kris Vandevorst, octobre 2014.
Maison Guiette. La salle à manger, la cuisine et la salle-de-bains. Les cloisons courbes sont très nombreuses dans les réalisations de Le Corbusier.
Elles sont souvent associées de manière organique aux pièces d’eau et à l’hygiène du corps : salles de bains, salles d’eau, toilettes. Elles épousent
les formes courbes des baignoires, bidets et lavabos. Ph. Kris Vandevorst, octobre 2014.

117
Vue de la façade à l’origine.
Archive FLC
Maison Guiette.
Elévation de la façade principale.
FLC 8613.
Maison Guiette.
Etude de mise en couleurs
– non réalisée – des façades.
LC 636 du 10 mars 1926.
FLC 8607.
Maison Guiette. Coupe longitudinale et façade latérale. LC 717 du 13 juillet 1926. FLC 8612.
Maison Guiette. Plan des quatre niveaux. LC 720 du 13 juillet 1926. FLC 8622.

119
Maisons de la Weissenhof-Siedlung – Stuttgart, Allemagne, 1927
Maisons de
la Weissenhof-
Siedlung,
Stuttgart.
En haut :
les Maisons
jumelées ; en
bas : la Maison
individuelle,
application
exacte du mo-
dèle Citrohan.
Ph. Cemal
Emden, 2013.
Les Maisons jumelées où sont
appliqués très clairement les
Cinq points d’une architecture
nouvelle : pilotis, toits-jardins,
plan libre, fenêtre en longueur,
façade libre.
Maisons jumelées : vues anciennes.

La restauration de 2006 a permis de
remettre l’un des deux logements dans
son état d’origine et de dédier le
second à un centre d’interprétation.
Archives FLC

121
Maisons de la Weissenhof-Siedlung, Stuttgart.
Maisons jumelées : vues du toit-terrasse jardin, et d’une chambre où le mobilier intégré et modulable sert à la construction de l’espace intérieur au
même titre que la couleur. Ph. Cemal Emdel, 2013.
Maisons jumelées : vues anciennes. La restauration de 2006 a permis de remettre l’un des deux logements dans son état d’origine et de dédier le
second à un centre d’interprétation. Archives FLC
Vue des deux maisons au moment de l’inauguration de la Cité en 1927. Au premier plan la maison individuelle type CITROHAN. Archives FLC

123
Maison CITROHAN,
FLC 20710
Maisons de la
Weissenhof-Siedlung.
Planche de présen-
tation : plan et éléva-
tions des deux
maisons. FLC 7650.
Maisons de la Weissenhof-Siedlung. En haut : élévation des façades est, FLC 7673. En bas : vue en perspective axonométrique, FLC 7784.

125
Villa Savoye et loge du jardinier – Poissy, France, 1928
Villa Savoye, façade sud. Le principe de la pureté de la forme primaire atteint ici son expression la plus accomplie avec la répétition des façades
identiques. Ph. Cemal Emden, 2014.
Villa Savoye. À l’intérieur du prisme pur, le plan s’articule en U autour d’un terrasse-jardin. Ph. Cemal Emden , 2014.

127
Loge du jardinier
de la Villa Savoye.
Vues de la loge du jardinier
située à l’entrée de la
propriété. Elle est l’exacte
application des plans de la
maison minimum proposée
par Le Corbusier et Pierre
Jeanneret au congrès des
CIAM à Francfort en 1929.
En haut : Ph. Cemal Emden,
2014.
En bas photo de l’état
d’origine : Ph. Giedion
Villa Savoye, première étage. Au fil de l’escalier hélicoïdal et de la rampe qui traverse la maison de bas en haut comme des organes autonomes
se développe l’idée de la promenade architecturale. Ph. Cemal Emden, 2014.
Villa Savoye. La salle de bain

communique directement avec
la chambre des parents illustrant
ainsi pleinement l’idée de la conti-
nuité spatiale et du plan libre
recherchée par Le Corbusier.

129
Photographies de S. Giedion du chantier
de la Villa Savoye, janvier 1930, et à la fin
du chantier en avril-mai 1930 l’une des
seules vues connues des intérieurs de la
loge du jardinier montrant la paroi
coulissante pour séparer les espaces
de vie de la cuisine.
Ph. S. Giedion, Gta Archiv/ETH Zurich,
succession Sigfried Giedion.
Villa Savoye.
Plan du rez-de-chaussée
avec le parcours de
la voiture.
FLC 19414.
Villa Savoye. Planches de conférences mettant en parallèle la petite maison du Lac Léman (1923), la mosquée verte de Brousse et la villa Savoye.
Ces deux planches, publiées en 1930 dans Précisions sur un état présent de l’architecture et de l’urbanisme, illustraient la conférence du 11 octobre 1929
donnée en Argentine sous le titre « Le plan de la maison moderne ».

131
Immeuble Clarté – Genève, Suisse, 1930
Immeuble Clarté, Genève.

Au sein d’une structure métallique, l’immeuble offre un emboî-
tement de logements modernes en duplex et traversants,
entièrement vitrés en façade. Il propose à ses habitants un
nouveau mode de vie.
Haut : Ph. J.J. De Chambrier, 2010.
Bas : Ph. Cemal Emden, 2011.
Vues d’un séjour et de la façade de verre où
alternent verre dépoli transparent et verre armé
translucide. A travers le mur de verre, l’homme
moderne jouit, selon Le Corbusier des trois joies
essentielles : l’air, la lumière et la vue.
Droite : Ph. J.J. De Chambrier, 2010.
Bas : Ph. E. Perroud, 2009.

Vue ancienne de la façade de verre.
Archives FLC
Immeuble Clarté. Au rez-de-chaussée, quelques boutiques illustrent la dimen-

sion urbaine et l’équilibre entre services et logements que les architectes
souhaitent associer à l’habitat moderne. Ph. Cemal Emden, 2011.

133
Vue ancienne des balcons filants
qui jouent également le rôle de Immeuble Clarté. Vue ancienne du mur pignon, et axonométrie de l’ensemble de l’édifice avec les commerces au rez-
brise-soleil. Archives FLC de-chaussée. FLC 9196.
Immeuble Clarté.
Coupe illustrant parfaitement
le caractère traversant des
appartements en duplex.
FLC 9204.
Plan partiel des appartements
types au 2e et 4e étages.
FLC 9095.

135
Immeuble locatif à la Porte Molitor – Boulogne-Billancourt, France, 1931
Brochure publicitaire pour la vente

des appartements.
Archives FLC
Immeuble locatif à la Porte Molitor,

vues récentes et anciennes de la façade
ouvrant sur Boulogne-Billancourt.
Immeuble locatif à la Porte Molitor, Boulogne-Billancourt. Façade principale, entièrement en verre,
ouverte sur la ville de Paris. Ph. Cemal Emden, 2014.
Immeuble locatif à la Porte Molitor, appartement–atelier de Le Corbusier, situé au 7e étage : hall d’entrée et escalier menant au dernier niveau avec la
chambre d’amis et la terrasse. Ph. Olivier Martin-Gambier, 2012.
Immeuble locatif à la Porte Molitor, Boulogne-Billancourt, 1931. Vue ancienne de la chambre à coucher de Le Corbusier. Archives FLC

137
Immeuble locatif à la Porte Molitor.
De haut en bas.
Projet d’aménagement et mobilier.
FLC 13562.
Plan du 7e étage correspondant
à l’appartement de Le Corbusier.
Plan type des appartements
du 1er, 2e et 3e étage. FLC 13368.
Immeuble locatif à la Porte Molitor.
Coupe longitudinale sur les 7e et 8e étages
(appartement de Le Corbusier et
toit-terrasse). FLC 13526.
« Les arts primitifs dans la maison d’aujourd’hui », 1935, exposition avec le galeriste Louis Carré. FLC L2(10)83

139
Unité d’habitation – Marseille, France, 1945
Unité d’habitation, Marseille. Monumentalité affirmée, effets de béton brut de décoffrage, polychromie franche : la Cité radieuse
est un chef d’œuvre précoce et fondateur du courant brutaliste. Ph. Cemal Emden, 2013.
Unité d’habitation, Marseille. Escalier de secours extérieur et d’accès à la rue commerçante de l’édifice. Ph. Cemal Emdel, 2013.

141
Unité d’habitation, Marseille, 1945.
La séquence d’entrée dans
l’immeuble est théâtralisée et mise
en scène au long d’une succession
d’espaces architecturés comme
dans un grand hôtel.
L’Unité d’habitation de Marseille peu après son achèvement en 1952 : sur le toit traité tel une Acropole moderne et laïque, Le Corbusier dispose un
fronton de théâtre, un gymnase, une école et sa cour de récréation qui s’adressent au corps, à l’esprit et à la culture de l’homme moderne. Archives FLC
Unité d’habitation, Marseille. L’auvent majestueux de l’immeuble
(Ph. Cemal Emden, 2013.), une famille en situation dans la
loggia qui prolonge le séjour (archives FLC), et la cuisine équipée
et pensée selon les règles de l’ergonomie et du fonctionnalisme
(Ph. Bénédicte Gandini, 2013).

143
Unité d’habitation, Marseille, 1945.
Les enfants de la maternelle sur le
toit de l’Unité d’habitation au milieu
des années cinquante.
Archives FLC
Unité d’habitation de Marseille.

Etude pour la représentation du
Modulor en façade. FLC 25217.
Etude d’aménagement de la cuisine.

FLC 20564.
De gauche à droite et de haut en bas.
Coupe sur l’unité montrant le principe d’encastrement des appartements traversants et en duplex,
au-dessus ou en dessous des rues intérieures. FLC 25367.
Schémas de combinaisons des cellules types permettant la conception d’appartement de tailles
différentes. FLC 26294.
Coupe de principe sur deux appartements : l’un « montant » où l’entrée est située au niveau
inférieur du duplex ; le second « descendant » où l’entrée est située à l’étage du duplex au
niveau des chambres. FLC 26827.
Etude en axonométrie pour la mise en couleur des loggias. FLC 27099.

145
Manufacture à Saint-Dié – Saint-Dié-des-Vosges, France, 1946
Manufacture à Saint-Dié, Saint-Dié-des-Vosges. Mise en couleur dans les ateliers de confection largement éclairés par un mur de verre
protégé par un brise-soleil. Ph. Olivier Martin-Gambier, 2005.
Manufacture à Saint-Dié, Saint-Dié-des-Vosges. Façade principale de l’usine. Le brise-soleil que Le Corbusier met au point au début des années
trente trouve ici sa première expression en Europe. Ph. Olivier Martin-Gambier, 2005.
De haut en bas et de gauche à droite : détail des voiles en béton du brise-soleil. Façade principale. Les bureaux de la direction sur le toit de la ma-
nufacture. Ph. Olivier Martin-Gambier, 2005.
Vue ancienne de la manufacture qui atteste du haut degré d’authenticité et d’intégrité de l’édifice qui a gardé sa fonction d’origine et demeure au-
jourd’hui dans la famille du commanditaire. Archives FLC

147
Manufacture à Saint-Dié,
Saint-Dié des Vosges.
Vue des bureaux de la direction sur
le toit-terrasse,
Ph. Olivier martin-Gambier, 2005.
Elévation façade sud-est sur la rue,
et coupe transversale.
FLC 9450, FLC 9508.
Manufacture à Saint-Dié, Saint-Dié des Vosges.
De haut en bas et de gauche à droite.
Détail du brise-soleil de la façade,
Plan du dernier niveau : bureaux de la direction et
terrasses. FLC 9461.
Elévation de la façade nord-ouest et coupe sur le bloc
des circulations verticales. FLC 9612.

149
Maison du Docteur Curutchet – La Plata, Argentine, 1949
Toute la maison décline des solutions originales pour créer une relation exceptionnellement riche entre intérieur et extérieur : pilotis,
rampe, jardin intégré à la construction, brise-soleil, terrasse en partie couverte, vastes baies vitrées. L’ensemble réinterprète les
canons puristes des années vingt en les adaptant aux conditions locales de l’Argentine. Ph. Olivier Martin-Gambier, 2005.
Maison du Docteur Curutchet, La Plata. Vue partielle de la façade du deuxième et du troisième niveau sur la terrasse, en arrière de la façade sur rue.
Toute la maison décline des solutions originales pour créer une relation exceptionnellement riche entre intérieur et extérieur : pilotis, rampe, jardin
intégré à la construction, brise-soleil, terrasse en partie couverte, vastes baies vitrées. L’ensemble réinterprète les canons puristes des années vingt
en les adaptant aux conditions locales de l’Argentine. Ph. Olivier Martin-Gambier, 2005. Ph NB : archives FLC.

151
Maison du Docteur Curutchet,
La Plata.
Coupes sur la maison : les coupes
mettent en évidence la complexité
spatiale de la maison découpée en
deux blocs reliés par une rampe et
une terrasse le long desquels se
développent les qualités de la
promenade architecturale.
FLC 12105.
Maison du Docteur Curutchet,

La Plata.
Le prisme de base des maisons
puristes des années vingt est ici
déconstruit en plusieurs blocs. Les
brise-soleil assurent la continuité
et la cohérence visuelle de
l’ensemble.
FLC 12110.
Maison du Docteur Curutchet, La Plata. De haut en bas.
Perspective : comme la coupe, la perspective permet d’apprécier la profondeur de la composition, ses désaxements, et sa dimension sculpturale. FLC 12111.
Plans du niveau des chambres et du rez-de-chaussée : le plan libre confine ici à l’exercice de style. Dans la grille de l’ossature, les différents éléments sont
disposés comme des cellules vivantes et autonomes. FLC 12101 et 12098.

153
Chapelle Notre-Dame-du-Haut – Ronchamp, France, 1950
Chapelle Notre-Dame-du-Haut, Ronchamp. Façades nord et est de la chapelle.

En façade orientale, Le Corbusier dispose une chaire et un autel pour les cérémonies du pèlerinage en l’honneur de la Vierge Marie au mois de
septembre. Ph. Cemal Emden, 2013.
Chapelle Notre-Dame-du-Haut, détail de la façade de l’entrée principale au sud illustrant la dimension sculpturale de la composition volumétrique
de la chapelle. Ph. Cemal Emden, 2013.

155
Chapelle Notre-Dame-du-Haut, Ronchamp. Les formes rectilignes de la maison des pèlerins – au premier plan – se combinent avec les courbes
sculpturales de la toiture de la chapelle. Ph. Cemal Emden, 2013.
De haut en bas
À l’intérieur de la chapelle l’espace
complexe se transforme au fil de la
course du soleil qui filtre à travers
les claustras colorés de la façade
sud et à travers le liseré de lumière
ménagé sous la coque de la
toiture. Un autel est aménagé
dans chacune des trois chapelles
secondaires surmontées d’une tour
d’où descend un filet de lumière
zénithale.

157
De haut en bas :
Chapelle Notre-Dame-du-Haut,
Ronchamp.
Premiers croquis d’intention réalisés
en mai 1950 lors de la première
visite sur le site (FLC_CA_E18_2
et FLC_CA_D17_13).
Coupe axonométrique de la
chapelle. FLC 7191.
Elévation de la façade sud,
FLC 7371.
Ci-dessus : Chapelle Notre-Dame-du-Haut, 1950.
Les niches du claustra du mur sud sont fermées de verres peints par
Le Corbusier. Maquette structurelle de principe en fil de fer habillé de
papier (maquette originale). Archives FLC
Ci-dessous : cérémonie religieuse lors du pèlerinage dédié à la Vierge Marie

à la Chapelle Notre-Dame-du-Haut, Ronchamp. Ph. Lucien Hervé.
Ci-dessus : vue du chantier montrant l’ossature de béton et le remplissage

exécuté avec les pierres de l’ancienne chapelle détruite lors des combats
de la Seconde Guerre mondiale. Les murs ont ensuite été recouverts d’un
enduit rugueux projeté au canon à ciment. Archives FLC
Ci-dessous : élévation partielle des claustras du mur sud. FLC 7427.

159
Cabanon de Le Corbusier – Roquebrune-Cap-Martin, France, 1951
Cabanon de Le Corbusier, Roquebrune-Cap-Martin. Haut : vue du Cabanon, en dosses de pins, en direction de la guinguette, l’Étoile de mer.
Bas : vue de l’intérieur du Cabanon, entièrement dessiné au Modulor : espace de vie ergonomique conçu comme l’aboutissement des recherches
sur la notion d’espace minimal et comme œuvre d’art total. Ph. Olivier Martin-Gambier, 2005.
Cabanon de Le Corbusier,
Roquebrune-Cap-Martin.
A l’extrémité est du site où
Le Corbusier passe ses vacances
estivales après la Seconde Guerre
mondiale, l’architecte installe une
cabane de chantier qui lui sert de
bureau et d’atelier face à la mer.
Cabanon de Le Corbusier, dans l’encadrement de la fenêtre : deux peintures de Le Corbusier qui se substituent à la vue sur la méditerranée lorsque
les volets sont fermés. Une restauration en conservation de ces peintures sur bois est programmée en 2015. Ph. Olivier Martin-Gambier, 2005.
Cabanon de Le Corbusier, panneau mural peint en 1952 (et remanié en 1956) sur le mur mitoyen avec l’Étoile de mer.
Le mobilier spartiate du Cabanon est dessiné par l’architecte. Ph. Olivier Martin-Gambier, 2005.

161
Lettre de Le Corbusier à sa famille,
écrite au Cabanon. 31 août 1955
le chat et le chien se livrent tous les matins
FLC R2(2)130. A = le cabanon 3m66x3.66

B = mon bureau 180x380 (en plan)
Bien chers C = Chateau de “Roquebrune village”
mercredi matin 8 heures.
D = la Tête du chien
Bonjour ! Monsieur et dame !
E = Monaco
Une nouvelle journée devant soi.
F = le bananier
Je pense que vos Vignerons Festival sont déblayés.
G = Domino le chat
à des jeux homériques
Vous avez dû en prendre une purge !

H = Yuki le chien
Les journaux en ont beaucoup parlé, en bien.
M = Corbu écrivant et
Demain jeudi puis
après demain vendredi “Train Bleu” à 19h à Monte Carlo Yvonne à son ménage
Paris samedi matin 8h55. vous embrassant bien affectueusement
Et ça recommencera ! A
Plan de situation, plan coupe et élévations sommaires du Cabanon. FLC 24334.
Études pour le Cabanon extraites des carnets de croquis de Le Corbusier (FLC_CA_E22_46 ; FLC_CA_F26_41 ; FLC_CA_E22_48 ; FLC_CA_P61_34)

163
Complexe du Capitole – Chandigarh, Inde, 1952
Complexe du Capitole, Chandigarh. Façade principale, sur l’esplanade, de la Haute-Cour de justice. Ph. Cemal Emden, 2012.
Complexe du Capitole, Chandigarh. La Haute-Cour de justice : vues de détails de la conception sculpturale et monumentale de la rampe et du brise-
soleil de la grande salle. Ph. Cemal Emden, 2012.
Complexe du Capitole, Chandigarh. Vue de détail des pilotis géants de la salle des pas perdus de la Haute cour de justice. Au loin, on aperçoit le
Palais de l’assemblée et en arrière-plan le Secrétariat. Ph. Cemal Emden, 2012.
Complexe du Capitole, Chandigarh.

Palais de l’Assemblée.
Portail monumental émaillé
dessiné par Le Corbusier.
Complexe du Capitole, Chandigarh. Rampe monumentale de la Haute- Cour de justice, détail.


165
Complexe du Capitole,
Chandigarh. Secrétariat.
Détail de la façade.
La totalité de la façade
est conçue comme une
sculpture abstraite.
Le Corbusier trouve la
juste échelle pour compo-
ser avec les dimensions
monumentales du site du
Complexe du Capitole.
Complexe du Capitole, Chandigarh. Haute-Cour de justice : la rampe monumentale située au fond de la salle des pas perdus et l’aile en retour sur
la façade arrière. Ph. Cemal Emden, 2012.
Complexe du Capitole. Le monument de la main ouverte est
conçu par Le Corbusier et réalisé fidèlement après son décès
en 1965. Ph. Cemal Emden, 2012.
Complexe du Capitole, Chandigarh. Haute-Cour de justice : com-

position sculpturale et monumentale du brise-soleil de la façade
sur l’esplanade. Ph. Cemal Emden, 2012.
Intérieur du Palais de l’Assemblée. Ph. Michel Richard, 2007.

167
Complexe du Capitole, Chandigarh. Palais de l’Assemblée : détail de la couverture retournée qui surplombe l’entrée principale réservée aux cérémonies
officielles. La forme de cette couverture fut par la suite souvent imitée dans des bâtiments publics dans le monde entier. Ph. Bénédicte Gandini, 2014.
Complexe du Capitole, Chandigarh. Palais de l’Assemblée. Façade principale. Sous cette version moderne du péristyle se trouve la porte monumentale
décorée par Le Corbusier. Ph. Bénédicte Gandini, 2014.

169
Complexe du Capitole,
Chandigarh.
Ci-contre :
Plan de masse du capitole,
FLC 05151.
Ci-dessous :
Profil en long sur l’ensemble du
site du complexe du capitole ; de
gauche à droite la silhouette : du
Secrétariat, du Palais de l’assem-
blée, du Palais du gouverneur (non
réalisé), de la Main ouverte, et de
la Haute-Cour de justrice.
FLC 29052A, FLC 05160.
Plan schématique de l’ensemble de
Chandigarh ; d’un secteur et du
principe de plantation le long des
voies de circulation. FLC 5201.
Ci-dessus : étude/collage pour la

porte émaillée monumentale du
Palais de l’Assemblée.
FLC_D_6016.
Ci-contre : étude et dessin pour
une tapisserie de la Haute-Cour.
FLC_D_6066-R
Ci-dessous : coupe sur le Palais
de l’Assemblée. FLC 3032.

171
Couvent Sainte-Marie-de-La-Tourette – Éveux, France, 1953
Couvent Sainte-Marie-de-la-Tourette, Éveux. Vue de la façade sud du Couvent (Ph. Cemal Emden) et vue aérienne : au nord le bloc compact de l’église,
à l’est l’aile d’entrée, à l’ouest l’aile du réfectoire et des salles communes. Les cellules sont réparties sur trois côtés : à l’est, au sud et à l’ouest.
Archives FLC
Couvent Sainte-Marie-de-la-Tourette.
Détail de l’aile est où apparaissent
les formes courbes de la loge du
portier.
Dans la cour intérieure, détail de la galerie en forme de croix qui se substitue au déambulatoire. Les branches, baptisées grand ou petit « conduits »
sont éclairées par des pans ondulatoires mis au point par Iannis Xénakis. Ph. Cemal Emden, 2013.

173
L’église du Couvent : vue intérieure. Ph. Cemal Emden, 2013.
L’église du Couvent : le pignon est et les autels de la chapelle latérale au nord
éclairés par des canons à lumière. Ph. Cemal Emden, 2013.
Vue partielle des façades ouest et sud. Les pilotis en forme de voiles permet-
tent d’absorber la déclivité du site et de rétablir une assiette horizontale.
Archives FLC

175
De haut en bas.
Couvent Sainte-Marie-de-la-
Tourette.
Coupe et études des façades
(des cellules, brise-soleil, pans de
verre ondulatoires…).
FLC 1312, FLC 30507, FLC 31593.
En bas : détails des ouvrants des
pans ondulatoires. FLC 1011.
Page ci-contre, de haut en bas.

Couvent Sainte-Marie-de-la-Tou-
rette, Éveux. Croquis initial de mai
1954 pour le Couvent, le petit
croquis évoque les monastères
des Mont Athos que Le Corbusier
visita lors de son voyage en 1911.
FLC 1234.
Couvent Sainte-Marie-de-la-Tou-
rette, Éveux. Projet intermédiaire
dans lequel Le Corbusier explore la
possibilité d’une rampe permettant
de monter directement sur le toit et
d’une déambulation ininterrompue.
Cette solution fut abandonnée.
FLC 1244.

177
Musée National des Beaux-Arts de l’Occident – Tokyo, Japon, 1955
Musée National des Beaux-Arts de l’Occident Taito-Ku, Tokyo. Façade principale de l’entrée du musée, récente (2007) et ancienne, qui montre le
haut degré d’authenticité et d’intégrité de l’édifice.
>
Vue intérieure du musée. Ph. Cemal Emden, 2014.

179
Musée National des Beaux-Arts de l’Occident. Façade principale et son parvis.
Musée National des Beaux-Arts
de l’Occident, Taito-Ku, Tokyo.
Dérivé du principe du Musée à
croissance illimitée, le parcours
s’articule à partir d’une salle
centrale éclairée zénithalement
autour de laquelle tournent en
spirale les autres salles
d’exposition.

181
Planche de plans du Musée Natio-
nal des Beaux-Arts de l’Occident
et planche du Musée mondial de
Genève (1929), projet non réalisé
de Musée à croissance illimitée.
FLC 24616 et FLC 24510.
Musée National des Beaux-
Arts de l’Occident.
De haut en bas :
Coupes transversale et lon-
gitudinale. FLC 24617.
Plan de masse : initiale-
ment, le projet prévoyait
des équipements complé-
mentaires comme
un théâtre baptisé
« La boîte à miracles ».
FLC 24615.
Elévation principale du
musée. FLC 24623.

183
Maison de la Culture de Firminy – Firminy, France, 1955
Maison de la Culture de Firminy. Façade est à pans ondulatoires et façade pignon agrémentée d’un bas-relief. Ph. Olivier Martin-Gambier, 2008.
Vue aérienne du site de Firminy-Vert, le nouveau quartier d’habitation voulu par le maire, Eugène Claudius-Petit, ancien Ministre de la reconstruction
de 1948 à 1953. Le nouveau quartier conçu par des émules de Le Corbusier et du Mouvement Moderne est surplombé par une Unité d’habitation réa-
lisée à titre posthume. Dans la cuvette du site, inscrit dans une voie en anneau, le Centre de recréation du corps et de l’esprit, voulu par le maire et
Le Corbusier comme le complément indispensable aux logements. C’est là qu’est implantée la Maison de la Culture, réalisée à proximité d’un stade
et d’une église – œuvres posthumes de Le Corbusier – et d’une piscine, œuvre d’André Wogenscky. L’ensemble illustre l’article 2 de la Charte d’Athènes
dédié à l’équilibre entre l’indiviuel – les logements – et le collectif – les services.
Maison de la Culture de Firminy, détail de la façade. Ph. Olivier Martin-Gambier, 2008.

185
Maison de la Culture de Firminy. Façade ouest. L’effet produit par l’inclinaison de la façade est amplifié par la falaise qu’elle surplombe. La courbe
de la toiture épouse exactement celle des câbles d’acier qui la supportent. Ph. Olivier Martin-Gambier, 2008.
Maison de la Culture de Firminy. Façade ouest : la Maison de la Culture domine l’ancienne carrière où est implanté le stade. Deux escaliers monu-
mentaux relient le petit foyer à un théâtre en plein air dont les gradins sont creusés dans la pente du terrain. Ph. Olivier Martin-Gambier, 2008.
Maison de la Culture de Firminy. L’espace ouvert sur deux niveaux du foyer. La cheminée en métal est dessinée par le décorateur Pierre Gariche sur
la base d’indications sommaires laissées par le Corbusier. La salle de spectacle se situe à l’étage. Les portes colorées donnent sur les anciennes
loges d’artiste. Ph. Olivier Martin-Gambier, 2008.

187
Maison de la Culture de Firminy. De haut en bas : Rue intérieure du premier étage de la maison. Le mobilier original est de Pierre Guariche.
Le sas d’entrée vitré situé en haut de la rampe extérieure d’accès. Ph. Olivier Martin-Gambier, 2008.
Maison de la Culture de Firminy. De haut en bas.
Premier projet pour la Maison de la Culture. A l’origine l’édifice était prévu sur le flanc ouest de la carrière au-dessus des tribunes du stade. FLC 16811.
Profil en travers du site : de gauche à droite l’église Saint-Pierre, les tribunes du stade, le terrain de sport, la Maison de la Culture déplacée sur le
flanc est de l’ancienne carrière. FLC 32237.
Planche de l’avant-dernier projet de la Maison de la Culture : les coupes montrent encore un toit incliné mais plat sur poutres qui sera finalement
remplacé par une toiture courbe sur câbles d’acier beaucoup plus sculpturale. FLC 16847.

189
CHAPTER III
> Justification
for Inscription

NOMINATION FILE • CHAPTER III • Justification for Inscription
191
III – 1(a) / Brief Outline
Visite de Picasso sur le
chantier de l’Unité d’habi-
tation de Marseile,
a (i) Factual Description en 1951. FLC L4(2)67.
The Architectural Work of Le Corbusier was designed and built between a pioneering
period in the birth of the Modern Movement – the early 1920s – and the mid 1960s, when
this architecture had begun to be challenged, having passed from avant-garde status to
that of a globally dominant architectural style. The Architectural Work of Le Corbusier
reflects the history of the Modern Movement through half a century. It demonstrates a
radical break with the styles, design methods, technologies, and construction practices
of previous centuries.
The Architectural Work of Le Corbusier is a Serial Property, as defined by Article 137 of

the guidelines of the World Heritage Convention.
It comprises 17 component parts, distributed among seven countries on three continents:
Germany, Argentina, Belgium, France, India, Japan and Switzerland.The Property has been
part of a globalized geographical zone since 1972, a unique situation, which illustrates
the profound transformation of contemporary architecture and the architectural
profession in the twentieth century. The constituent parts ofThe Architectural Work of
Le Corbusier belong to the same historico-cultural group, that of the Modern Movement.
Identification
Number Chronological list of the component parts

193
a (ii) Summary of qualities
The Architectural Work of Le Corbusier is directly associated with the revolution in ideas
involving forms, spaces and technologies that transformed the architecture of the 20th
century. It thus meets criterion (ii), namely to “exhibit an important interchange of human
values over a span of time or within a cultural area of the world, on developments in
architecture…” It also meets criterion (vi) in providing “an outstanding example [...] of
an architectural group [...] illustrating a [...] significant period in human history”, in this
case, the Modern Movement.
The attributes that convey the OUV of the Property illustrate these two criteria and attest
to the outstanding responses made by The Architectural Work of Le Corbusier to the
fundamental issues of society in the 20th century, issues that formed the basis of the
Modern Movement.
These attributes are:
> Generate a unique forum of ideas on a global level

The Architectural Work of Le Corbusier, published and disseminated worldwide, was a
medium for exchanges and a debate of ideas on a global scale, relayed by the architect’s
numerous publications translated worldwide. The Architectural Work of Le Corbusier
crystallized some of the major concepts of modern architecture for the first time or even,
in some cases, on a global level: a new architectural language, the free plan, free façade
and roof terrace, the concept of space/time, the industrialization and standardization of
building, the democratization of architecture.
> Invent a new aesthetic and a new architectural language

The Architectural Work of Le Corbusier is made up of built projects that laid the
foundations of architectural Purism and Brutalism, two major aesthetic components of
the Modern Movement. The proposed Property equally makes a fundamental contribution
to the break with the historicist tradition. The Property displays constant sculptural
inventiveness, presaging the beginnings of sculptural architecture.
> Modernize architectural techniques

The industrialization and standardization of building techniques are tools serving to
reduce costs and cater to the needs of the many. “Industry must take possession of
building,” said Le Corbusier. The Architectural Work of Le Corbusier illustrates this
proposition and attests to a strategy of research and constant experimentation with
materials - including concrete and glass -, standardization of both the shell and the
finishing, and the industrialization of building techniques. Finally, it includes several
standard type programmes designed to be mass-produced.
> Meet the social and human needs of modern man

The Utopianism of the Modern Movement consisted in imagining that it is possible to
tend the ills of society simply through the virtues of quality architecture. The Moderns
placed man at the heart of their concerns and endeavoured to provide for him a new
lifestyle based on the balance between respect for individual freedom and the services
the community could offer him. The Architectural Work of Le Corbusier agve new and
radical answers to the essential questions posed by housing, work, and the regeneration
of body and mind.
III – 1(b) / Criteria on which the nomination is proposed
(and justification of the Property according to these criteria)
1] Criterion (ii)
The Architectural Work of Le Corbusier exhibits an unprecedented interchange of human
values and a remarkable debate of ideas, on a worldwide scale lasting half a century, on
the birth and development of the Modern Movement. Faced with a world dominated by
academicism, The Architectural Work of Le Corbusier revolutionized architecture by
demonstrating, in an exceptional and pioneering manner, the invention of a new
architectural language that made a break with the past. The Architectural Work of Le
Corbusier marks the birth of three major trends in modern architecture: Purism, Brutalism
and sculptural architecture. The global influence reached by The Architectural Work of
Le Corbusier on four continents is a new phenomenon in the history of architecture and
demonstrates its unprecedented impact. The influence of the buildings comprising this
series is all the more powerful as The Architectural Work of Le Corbusier was further
propagated by the architect’s many writings, immediately disseminated and translated
throughout the world. This unique complementarity between the built work and the
publications made Le Corbusier the main spokesman for the new architecture and The
Architectural Work of Le Corbusier a subject of endless observation, analysis and
commentary as well as a worldwide source of either inspiration or constant opposition.
2] Criterion (vi)
The Architectural Work of Le Corbusier is directly and materially associated with the ideas
of the Modern Movement, of which the theories and works possessed outstanding
universal significance in the twentieth century. The Property proposed represented a
“New Spirit” and tended towards a synthesis of the arts that was at a crossroads
between architecture, painting and sculpture. The Architectural Work of Le Corbusier is
an outstanding contribution to the solutions that the Modern Movement sought to apply
to the major challenges of the twentieth century:
> invent a new architectural language;
> modernize architectural techniques;
> respond to the social and human needs of modern man.
The Architectural Work of Le Corbusier materializes Le Corbusier’s ideas, powerfully
relayed by the International Congress of Modern Architecture (CIAM) from 1928. The
contribution made by The Architectural Work of Le Corbusier to these major challenges
of the twentieth century is not merely the result of an exemplary achievement at a given
moment, but the outstanding sum of built and written proposals steadfastly
disseminated worldwide through half a century.
3] Attributes of Value and justification of the Property

according to these criteria
The Architectural Work of Le Corbusier is directly associated with the revolution of ideas
involving forms, spaces and technologies that occasioned an upheaval in the architecture
of the 20th century.The attributes that convey the OUV of the Property address fundamental
issues in architecture but more broadly in society as a whole in the twentieth century.
> Generate a unique forum of ideas on a global level

The Architectural Work of The Corbusier was a medium for exchanges and a debate of
ideas on a global scale, relayed by the architect's numerous publications translated
worldwide. The unique complementarity of the built work and the theoretical work
represents a major influence in the development of ideas on modern architecture and
its human and social dimension. Several built works in this series have gained the status
of icons of the Modern Movement. Others attest to the exceptional influence of the works
of Le Corbusier throughout the world and to the internationalization of the Modern
Movement on all continents. Most of the built works in The Architectural Work of
Le Corbusier crystallized some of the major concepts of modern architecture for the first
time or even, in some cases, on a global level.

195
Villa Savoye à Poissy, France. > Invent a new aesthetic and a new architectural language
Vue depuis le séjour vers la
The Architectural Work of Le Corbusier contributed exceptionally to the invention of a
terrasse et la rampe menant au
solarium. Espace ouvert où se new aesthetic and a new architectural language that broke with all forms of academicism.
développe la promenade In terms of the visual arts, his work was innovative in its invention of Purism, Brutalism
architecturale. and sculptural architecture, in its invention and application of the “five points for a new
Ph. Cemal Emden, 2014. architecture,” and in its use of colour and light as materials in their own right.
It was also innovative in terms of space, through its total deconstruction of traditional
partitioned space, which was replaced by an open, fluid space in which the revolutionary
concept of space-time was materialized.
> Modernize architectural techniques

Innovation and research are at the heart ofThe Architectural Work of Le Corbusier; these
include not only the formal and spatial innovations already mentioned, but also technical
innovation. The Architectural Work of Le Corbusier meets the challenges of
standardization, and of the modelling and industrialization of building work. Not all
solutions are successful, but most of the components of the series testify to exceptional
ambition in these fields. These include the use of shotcrete, pre-stressed concrete, arc
welding, cable roofs, glass facades, techniques that anticipate “bio-conditioning”, the
prefabrication of finishing work and experimentation with artificial materials.
The Architectural Work of Le Corbusier also comprises typological standards that are
unique on a global level; they are derived from research for the Radiant City and the
Athens Charter. If they have not all been copied, they have been, and still are, an
exceptional source of inspiration for architects worldwide.
> Meet the social and human needs of modern man

The Architectural Work of Le Corbusier met the challenges posed by housing and comfort
for modern man in terms of the search for balance and harmony between the individual
and collective needs of society. The Architectural Work of Le Corbusier invented new
lifestyles derived from the machine revolution. Not only living spaces, work spaces and
recreational spaces, but also sacred spaces were fundamentally transformed.
The Architectural Work of The Corbusier is an authentic entity displaying an inventiveness
and an intellectual and artistic coherence that are rare and remarkable in the history of
modern architecture. It illustrates in an exceptional manner the Utopian aspirations of
the Modern Movement towards improving the human condition, solely through the
virtues of a new and universal architecture.
4] Contribution of each component part to the justification

of the inscription according to these critèria
Each component of The Architectural Work of le Corbusier gives evidence of exceptional
creativity and contributes to the justification of the Property on the basis of several
attributes of value coming under one or both of the chosen criteria. Here, the essential
contribution of each component has been summarised in one sentence only. The full set
of attributes on which the selection of buildings has been based is given in table form
on the following pages.
Summary of the main contribution of each component to the justification of the Property
1 Maisons La Roche et Jeanneret (Paris, France, 1923)

The first architectural expression of Purism. (Criterion ii, attribute A)
2 Petite villa au bord du lac Léman (Corseaux, Suisse, 1923)

The archetype of Minimum Housing. (Criterion ii, attribute A)
Cité Frugès (Pessac, France, 1924)

3 The prototype of standardized city in the 20ties, an unmatched challenge for that period.
(Criterion vi, attribute D)
Maison Guiette (Liège, Belgique-Région flamande, 1926)

4 Refering to the Pavillon de l’Esprit Nouveau, LC’s first commission abroad.
It symbolizes the early recognition of Le Corbusier in Europe. (Criterion ii, attribute A)
Maisons de la Weissenhof-Siedlung (Stuttgart, Allemagne, 1927)

5 Exceptional models of standard housing for masses, they caused a worldwide shock due to
the international success of the fair. (Criterion vi, attribute D)
Villa Savoye et loge du jardinier (Poissy, France, 1928)

6 The absolute icon of Modern Movement. Was immediately acknowledged as such.
(Criterion ii, attribute A)
Immeuble Clarté (Genève, Suisse, 1930)

7 Derived from the prototype of Villas-apartment-block, the prototype of prefabricated selected
modern housing. (Criterion ii, attribute A)
8 Immeuble locatif à la Porte Molitor (Boulogne-Billancourt, France, 1931)

The first appartment block with glazed façades. (Criterion vi, attribute C)
Unité d’habitation de Marseille (Marseille, France, 1945)

9 Founding work of architectural Brutalism, a major experiment of a new way of housing based
on the balance between individual and collective needs. (Criterion ii, attribute A)
Manufacture à Saint-Dié (Saint-Dié des Vosges, France, 1946)

10 Born from the standards of the Radiant City and the Charte d'Athènes, the Green Factory
prototype which basically changes the labour conditions. (Criterion ii, attribute A)
Maison du Docteur Curutchet (La Plata, Argentine, 1949)

11 Expresses LC's work influence on a worldwide dimension and proves the extension of the
Modern Movement after the Second World War. (Criterion ii, attribute A)
Chapelle Notre-Dame-du-Haut de Ronchamp (Ronchamp, France, 1950)

12 The iconic work for sacred architecture, a revolution in Christian architecture of the XXth Century.
(Criterion ii, attribute A)
Cabanon de Le Corbusier (Roquebrune Cap-Martin, France, 1951)

13 Altogether a total art masterpiece and the archetype of the minimum cell based on an absolute
ergonomic and functionalist system. (Criterion ii, attribute A)
Complexe du Capitole de Chandigarh (Chandigarh, Inde, 1952)

14 Masterpiece of monumental and sculptural architecture celebrating the independence of a
nation open to liberty and modernity. (Criterion ii, attribute A)
Couvent Sainte-Marie-de-la-Tourette (Eveux, France, 1953)

15 A unique synthesis of the attainments of the Modern Movement, a combination of purist lines,
brutalist surfaces and of exceptional constructive solutions. (Criterion ii, attribute A)
Musée National des Beaux-Arts de l’Occident (Tokyo, Japon, 1955)

16 Prototype of the Unlimited development Museum, a demonstration of the early reception of
LC’s work in Japan and of the universality of the Modern Movement. (Criterion ii, attribute A)
Maison de la Culture de Firminy (Firminy, France, 1955)

17 An innovating program based on the concepts of the Radiant City and the Charte d'Athènes,
anticipation of modern sculptural forms in architecture. (Criterion ii, attribute A)

197
Outstanding Universal Value, criteria and attributes
COMPONENT CRITERION ii CRITERION vi

PARTS OF THE “How the buildings collectively had an exceptional global “How the buildings reflect ideas”
SERIAL influence”
NOMINATION
In chronological Important interchange of human values over a span of time: Intellectually or tangibly, Le Corbusier’s work is strongly
order Le Corbusier introduced new architectural and urban concepts connected to the Modern Movement.
which influenced the architectural discourse of the 20th
Century worldwide. The transnational serial nomination is a built
manifest of these new approaches and architectural concepts.
Attribute A Attribute B
An exceptional interchange of ideas in a global context. Inventing a new aesthetic approach and a new architectural
Global influence in the development of architecture, planning language, including the use of light, colour and space.
and their social concepts.
Outstanding global Strong influence Crystallization of Plastic innovation Five Points of a Spatial innovation
Influence as and relation with ideas that had an New Architecture
a “masterpiece” a part of the world exceptional global
influence: prototype
1 – Maisons Worldwide The first expression First use of purist First use of the Introduction of
La Roche et influence, due to of Purism in polychrome in the Five Points before the concept of
Jeanneret, Paris, publications architecture interior and the being published Promenade
France, 1923 exterior architecturale
2 – Petite villa au The archetype of Ergonomic and

bord du lac Léman, the ‘minimal house’ functionalist
Corseaux, conception of
Suisse, 1923 space
3 – Cité Frugès Worker’s houses Attempt at Use of purist Spatial innovations

Pessac, designed as works Taylorism and polychrome at an in minimal spaces
France, 1924 of art industrialisation urban level
4 – Maison Guiette Le Corbusier’s first Purism: sculptural Promenade

Anvers, commission abroad, approach of space architecturale,
Belgique, 1926 based on the or 4th dimension
Pavillon de L’Esprit of space
Nouveau
5 – Maisons de la Iconic images of Located in the First application First publication of Flexible and
Weissenhof- a new residential Weissenhof-Siedlung of the theoretical the Five points modular spaces
Siedlung, Stuttgart, architecture in Stuttgart, where model of the
Allemagne, 1927 the confrontation Maison Citrohan
between modernity
and tradition culmi-
nates, observed by
the whole world
6 – Villa Savoye et The absolute Icon Manifesto, based Masterpiece of Principles of the Ramps, architectural
loge du jardinier, of Modern on the Five points Purism. Sculptural Five points applied promenade, solar
Poissy, Movement design of the at an extremely roof-terrace
France, 1928 roof-terrace high level
Main contribution Secondary attribute Other attribute
CRITERION vi
“How the buildings reflect ideas”
Intellectually or tangibly, Le Corbusier’s work is strongly connected to the Modern Movement.
COMPONENT Attribute C Attribute D

PARTS OF THE Taking up the challenges of replicability: standardization, Answering the question of housing for modern man through
SERIAL modelling and industrialization. ensuring a balance between the individual and the community,
NOMINATION aiming at better spaces for a better common life in society.
Testing of Research on Modulor New living Minimum Large-scale Athens

technology and typological concepts housing housing Charter
prefabrication standards
1 – Maisons System with Research on House of an

La Roche et concrete beams & standard furniture art collector:
Jeanneret, Paris, columns open-space
France, 1923
2 – Petite villa au Horizontal windows Experiments in One-bay Research on

bord du lac Léman, (fenêtre en standards for a single-family the maximal
Corseaux, longueur) one-bay ‘minimal house. space for a
Suisse, 1923 house’ Integration of minimal
the landscape surface
through hori-
zontal windows
3 – Cité Frugès Free design of Prototype of Typological Research on

Pessac, façade. the standard- variations on minimal
France, 1924 Standardisation of ised city in the the basis of a housing at a
the sub trade. Use 1920’s module larger scale
of the cement gun
4 – Maison Guiette Individual house Typology

Anvers, inspired by the of the house-
Belgique, 1926 principles of the workshop,
Machine à habiter open at
of the Maison several levels
Citrohan-model
5 – Maisons de la Clear application Participant in the Modular Citrohan Exceptional

Weissenhof- of the Dom-ino experimental house model models of
Siedlung, Stuttgart, scheme residential quarter (day/night) standardised
Allemagne, 1927 (Werkbund) housing
6 – Villa Savoye et Open plan Gardener’s

loge du jardinier, lodge: unique
Poissy, example of the
France, 1928 CIAM 1929
minimal house

199
COMPONENT CRITERION ii CRITERION vi

PARTS OF THE “How the buildings collectively had an exceptional global “How the buildings reflect ideas”
SERIAL influence”
NOMINATION
In chronological Important interchange of human values over a span of time: Intellectually or tangibly, Le Corbusier’s work is strongly
order Le Corbusier introduced new architectural and urban concepts connected to the Modern Movement.
which influenced the architectural discourse of the 20th
Century worldwide. The transnational serial nomination is a built
manifest of these new approaches and architectural concepts.
7 – Immeuble The prototype of Façade-to-façade

Clarté Genève, selected modern duplex apartments
Suisse, 1930 housing, derived
from the typology of
the high-rise urban
villa
8 – Immeuble Crystallization of the Open plan in the

locatif à la Porte glazed apartment context of an
Molitor, Boulogne- building apartment building
Billancourt,
France,1931
9 – Unité A major experiment Iconic example One of the earliest Façade-to-façade

d’habitation of a new way of of the balance examples of duplex apartments
de Marseille, housing based on between the brutalist stacked around the
France, 1945 the balance between individual and the architecture transversal internal
individual and collective street
collective needs
10 – Manufacture The prototype of the One of the earliest

à Saint-Dié, Green factory examples of brutalist
France, 1946 architecture
11 – Maison du Evidence of the Redefinition of the Architectural

docteur Curutchet, international Five points promenade, crea-
La Plata, expansion of ting an exceptional
Argentine, 1949 modern architecture succession of
after the 2nd World perspectives and a
War dynamic vision of
space
12 – Chapelle Icon of sacred Model of

Notre-Dame-du- Christian architecture/
Haut Ronchamp, architecture sculpture
France, 1950
CRITERION vi


7 – Immeuble Steel frame, Typology of the Duplex Model for

Clarté Genève, assembled by high-rise urban villa apartments in middle-class
Suisse, 1930 metal arc welding a collective apartment
building building with
collective
services
8 – Immeuble The first apartment New concept Standard-type

locatif à la Porte building in the world of apartment residential
Molitor, Boulogne- with fully glazed building with apartment
Billancourt, façades glazed façade; building of the
France,1931 offering the Radiant City
essential and the
pleasures: air, Athens
light, sun and Charter
views
9 – Unité Double concrete Prototype of the Designed and built Integrated Collective Standard-type
d’habitation and steel frame Unité d’habitation based on the furniture and services apartment
de Marseille, Modulor collective building in line
France, 1945 services with the
Athens
Charter
10 – Manufacture First application in Model of the Standard-type

à Saint-Dié, Europe of the Green factory, building in line
France, 1946 brise-soleil improving with the
labour Athens
conditions Charter
11 – Maison du Innovating systems Use of the Modulor

docteur Curutchet, of ventilation and in the whole house
La Plata, natural lighting
Argentine, 1949
12 – Chapelle Light double-shell New relation-

Notre-Dame-du- roof in concrete ship between
Haut Ronchamp, the body and
France, 1950 the sacred

201
COMPONENT CRITÈRE ii CRITERION vi

PARTS OF THE « Comment la série, prise dans son ensemble, a une influence “How the buildings reflect ideas”
SERIAL exceptionnelle »
NOMINATION
In chronological Echange exceptionnel d’idées et de valeurs humaines sur une Intellectually or tangibly, Le Corbusier’s work is strongly
order large période de temps : Le Corbusier introduit de nouveaux connected to the Modern Movement.
concepts architecturaux et urbains qui influencent la création
architecturale mondiale pendant le XXe siècle.
La série transnationale représente le manifeste construit de ces
nouvelles orientations et de ces nouveaux concepts architecturaux.
13 – Cabanon, Total work of art Crystallization of Application of Functional and

Roquebrune- and archetype of the idea of the the concept of ergonomic
Cap-Martin, the minimum cell minimum cell Synthesis of the approach of the
France, 1951 arts minimum space
14 – Complexe Masterpiece of Determining Prototype of the Masterpiece Exceptional spatial

du Capitole monumental and influence in the modern civic centre, of sculptural urban design, at the
de Chandigarh, sculptural architec- Indian subcontinent, crystallizing 25 years architecture at the scale of the site
Inde, 1952 ture, celebrating where its symbolizes of research scale of the site
the newfound the entry into
independence of a modernity
nation
15 – Couvent Synthesis of the Crystallization of the Brutalist building: Redefinition of the Exceptional use
Sainte-Marie- Modern Movement concept of balance aesthetics of raw Five points of light as an
de-la-Tourette, between the concrete instrument to
Eveux, France, individual and the construct space
1953 collective in housing
16 – Musée Testimony to the Prototype of the New concepts for

national des longstanding Museum of museum spaces
Beaux-Arts reception of the Unlimited Growth
de l’Occident, architectural work
Tokyo, of Le Corbusier in
Japon, 1955 Japan, and of the
globalization of the
Modern Movement
17 – Maison An innovating An anticipation of Complex internal

de la Culture, programme based modern sculptural spaces due to the
Firminy, on the concepts of shapes and curved lines of the
France, 1955 the Radiant City and architecture roof and the
the Athens Charter inclined walls
CRITERION vi


13 – Cabanon, Integrated Entirely based Research on Research on

Roquebrune- equipment on the Modulor a standard for the definition
Cap-Martin, a holiday unit of a minimum
France, 1951 cell
14 – Complexe Early experiments Architectural and Most complete

du Capitole with bioclimatic urban design, based application of
de Chandigarh, solutions on the Modulor the principles
Inde, 1952 of the Radiant
City and the
Athens
Charter
15 – Couvent Early use of Entirely designed

Sainte-Marie- pre-stressed based on the
de-la-Tourette, concrete in a Modulor
Eveux, France, residential and
1953 sacred building
16 – Musée Standard for a Entirely designed Standard-type

national des new typology of based on the building in line
Beaux-Arts museums Modulor with the
de l’Occident, Athens
Tokyo, Charter
Japon, 1955
17 – Maison Innovative Spaces Standard-type

de la Culture, roof-structure on providing building in line
Firminy, steel cables access to a with the
France, 1955 new democra- Athens
tic approach Charter
to art

203
III – 1(c) / Integrity of the Property
The task of selecting the component parts of The Architectural Work of Le Corbusier has
led to retaining those which, taken together as a group, contribute significantly to the
attributes that convey the OUV of the Property. The Architectural Work of Le Corbusier
provides a unique set of answers to the major questions that preoccupied the Modern
Movement for half a century.
Some of these built projects are unique in terms of form; others, in contrast, reveal
through their modesty modern architecture's concern with the interests of the greatest
number; some are aimed at standardizing architecture; others are works of synthesis or
prototypes. The diversity and heterogeneity of the series cannot be interpreted as a
weakness, as these qualities are an integral part of the architectural revolution of the 20th
century. This orientated creation on an international level not only towards the traditional
area of large public or private commissions, but also to an architecture for the daily life
of modern man. The exceptional nature of this architecture lies precisely in this revolution
of values. This is a world heritage entity which is of a radically new type and enshrined
in a long-term perspective.
In this respect, with its exceptional level of integrity and authenticity, The Architectural
Work of Le Corbusier reflects much more effectively the profound changes marking 20th
century architectural design than the elitist, aestheticising approach consisting in merely
adding together iconic achievements by the key names of 20th century architecture.
1] Integrity of the Property with regard to the attributes

of the OUV
As demonstrated by the justification of the Property in its current configuration, the
seventeen items selected reflect different attributes of value that make the series an
outstanding contribution to the Modern Movement:
• Generate a unique forum of ideas on a global level;
• Invent a new architectural language;
• Modernize architectural techniques;
• Respond to the social and human needs of modern man.
The global dimension of the development of the Modern Movement, described in 1932 by
Henry Russell Hitchcock and Philip Johnson as the International Style, is moreover well
represented by the number of States Parties present in this proposed transnational nomination.
The Architectural Work of Le Corbusier does not claim to alone represent the Modern
Movement, but it possesses sufficient integrity to embody an outstanding contribution
over nearly half a century of its existence.
2] Integrity of the Property with regard to the other

representatives of the Modern Movement
Can we imagine the setting up of a Transnational Serial Property thematizing the Modern
Movement, yet made up of works by several major architects and not the work of a single
architect, such as Le Corbusier?
Intellectually the answer is yes, and the work of historians around the world, including
the important work carried on since 1990 by DoCoMoMo International, confirms this.
Would such a list have a higher degree of integrity than The Architectural Work of
Le Corbusier? From the heritage point of view the answer is no, for three reasons:
1] No heritage claim exists that has been put forward for such a body of buildings by a
social group. In contrast, the file The Architectural Work of Le Corbusier federates an
international association – the Association of Le Corbusier sites – around the
Le Corbusier Foundation. This is a group of users, owners, occupants and managers
who recognize and identify themselves largely through the selection of the seventeen
items in question.
2] Without heritage claims, without there being a human group identified with such an
entity, and without a resource organization such as the Le Corbusier Foundation, the
“excessive fragmentation” of such a Property, made up of works by different
architects across the globe, would certainly be incompatible with Article 137 (c) of
the Guidelines which requires ensuring “the overall manageability and coherence of
the property.”
3] Such a list would also tend to favour exclusively achievements that are formally
outstanding, thus not allowing integrity to be ensured with regard to the four
attributes of value adopted for the OUV declaration.
The Architectural Work of Le Corbusier is a heterogeneous group, but this heterogeneity

is a fundamental aspect of modern architecture and does not detract from the work’s
integrity. To reduce the series to a few monumental works would be to diminish the
identity and integrity of the Property.
III – 1(d) / Authenticity of the Property
The authenticity of the Serial Property The Architectural Work of Le Corbusier hinges on
its capacity to express its universal value when seen as a group. The series comprises
pioneering and forward-thinking solutions to the major challenges of architecture and
society, put forward on a global scale through half a century with energy and fortitude.
For a period of this length, and on such a historically unparalleled scale, the series is
unquestionably of outstanding universal impact. Within the group, each construction
makes a powerful and exemplary contribution. Their being brought together in a
complementary relationship amounts to an exceptional testimony to the development
All the component parts of the Property are constructions by Le Corbusier, designed and
completed during his lifetime in his studio.
At the present time, they all display a high level of internal and external conservation.
The forms, distribution, spatial composition, colour and materiality of the works present
a high level of fidelity. Moreover, with few exceptions, these constructions have retained
their original use, thereby favouring the proper care and maintenance of both the interior
spaces and the facades. Many have recently undergone restoration campaigns based
on extensive preliminary studies: these are Maisons La Roche et Jeanneret, Maisons de
la Weissenhof-Siedlung, Immeuble Clarté, Unité d’habitation de Marseille, Couvent
Sainte-Marie-de-la-Tourette, Maison de la Culture de Firminy. The environment of some
elements in the series has changed since their construction but, on most sites, urban
and landscape control procedures have been implemented or are under consideration.
1] The authenticity of the Property

with regard to the signature
Of the 17 items selected, 9 were realized in association with Pierre Jeanneret (1896-1967),
an architect and cousin of Le Corbusier. This partnership covered two periods that were
distinct in time and in space: from 1923 to 1940, the two cousins worked together in Paris
on all the studio projects; from 1950 to 1965 Le Corbusier and Pierre Jeanneret were
again associated, but only for the Chandigarh project in India, where Jeanneret settled
until 1965.
Jeanneret’s contribution to these projects was important, but as he himself put it,
Le Corbusier remained the sole master of all his work: “Our cooperation was possible
because I remained very flexible with Le Corbusier, who saw himself as an absolute
master ... / ... my attitude towards him necessarily entailed constant hypocrisy; given his
personality, I submitted to his authority as a matter of course.”
Le Corbusier defined his concepts in a process of constant interaction between his
theoretical research, his writings and concrete projects. The complementarity between

205
the two men was total and fruitful during these periods of association. None of the
studies published so far, nor the many eye-witness accounts, have ever questioned the
preeminence of Le Corbusier over his cousin in designing projects. While it is appropriate
to assocaite the two names during the periods when the two men collaborated, the
authorship of the works selected and therefore the degree of authenticity in terms of the
signature cannot be questioned.
Le Corbusier had almost 300 associates representing 35 different nationalities from
Europe, North America, South America, and Asia. The aura and authority to which Pierre
Jeanneret admitted bowing down were no less forceful for these young associates, who
sometimes came from far away to work in the rue de Sèvres studio, most of them with
trainee status and little hope of substantial remuneration. The Chilean Guillermo Jullian
de la Fuente has described Le Corbusier’s definition of everyone’s role: “I am here to
give you guidelines on creating things. You are old enough to take any useful initiatives
within the ideas given to you by me, or that you have helped to discover.” These
associates had a certain creative freedom when working on projects, but this was within
the framework set by Le Corbusier and always under his control. This was definitively
attested by André Wogenscky, who was the head of his agency from 1936 to 1956:
“Nothing was to be created, only developed. Le Corbusier was the sole designer of
everything that came out of the studio.”
2] The authenticity of the Property

with regard to the reference documents
Since authenticity and integrity are measured particularly in the light of documentary
records, drawings and original photographs, descriptions and project reports, the
Le Corbusier Foundation represents an exceptional tool for the assessment of The
Architectural Work of Le Corbusier.The authenticity of the entire series has been verified
by consulting the 35,000 plans and 500,000 written documents contained in the
architect’s archives preserved by the Le Corbusier Foundation since its creation in 1968
- drawings, writings, professional correspondence, photographs, etc. All the written and
graphic documents have now been scanned.
These substantial archives are supplemented by documents kept on the sites of the
components selected for the Property. The numerous studies on the work of Le Corbusier
have helped to update and inventory this documentation, as well as to publish accounts
of it. The background material available for assessing the authenticity of the entire
Property is exceptionally rich.
3] The authenticity of the Property with regard to

functions, forms, plans, techniques, materials
Of the 17 components comprising the Property,11 still have their original function. This
permanence of use has been conducive to the proper care of the majority of buildings,
and to the respect of their authenticity. The other six components selected are works that
have been preserved in their original state and given the role of promoting Le Corbusier’s
work. Three of them belong to the Le Corbusier Foundation, which has scrupulously
ensured their authenticity. None of the buildings selected has undergone invasive or
irreversible modification.
Finally, following the original restoration campaigns in the sixties, some of which were
lacking in thoroughness, the latest surveys have been conducted on the basis of high
quality historical and heritage studies that have helped to guarantee the buildings’ level
of authenticity. This is particularly the case for Maisons La Roche et Jeanneret, Maison
Guiette, the Maisons de la Weissenhof-Siedlung, Immeuble Clarté, the Unité d’habitation
de Marseille and the Petite villa au bord du lac Léman.
III – 1 (e) / Protection and Management Requirements
1] Protection and Management

All the component parts of the Property were at an early date afforded protection under
the national legislation of the countries in which they are situated; an exceptional fact is
that some were actually given protection during the architect’s lifetime. Some benefit
from several levels of protection. The majority of them belong to private owners and
have retained their original function, this being in many cases a guarantee of good
management. Most have already undergone restoration campaigns under the
supervision of the authorities for the protection of Historic Monuments in their respective
countries.
Finally, in each country, preparation of the nomination file for The Architectural Work of
Le Corbusier has led to reinforcement of the level of protection and monitoring of
Le Corbusier’s works and the drawing up of local management plans. These have been
implemented on a partnership basis between owners and the cultural, heritage and
planning departments of the local authorities on whose land the works are situated.
2] Protection and Management, Long Term Goals

The task of preparing the nomination file of The Architectural Work of Le Corbusier has
greatly strengthened links between public and private owners and managers of the
constituent parts of the Property, but also with those of buildings not selected. Key players
in this continuing process are the Le Corbusier Foundation, the Association of Le Corbusier
Sites and the Standing Conference. Since 1968, the date of its creation, the Fondation
Le Corbusier, an organization wished for by the architect himself, constitutes not only a
well stocked resource centre that is indispensable for the knowledge and management
of the Property, but also an efficient network connecting up the various sites containing
works by Le Corbusier.
As part of the preparation for this application, the network was considerably reinforced
by the creation in 2009 of the International Association of Le Corbusier Sites, comprised
of local authorities on whose land are situated the component parts of the Property and
whose primary objective has been to facilitate the coordinated implementation of local
management plans.
Finally, with a view to better management of the Property, a Standing Conference
between the seven States Parties has been set up to ensure efficient management
coordination of the different parts making up the series, while at the same time showing
all respect for the prerogatives of each country in terms of protection, conservation and
heritage management. The work group set up to prepare this nomination in 2003
prefigured the Standing Conference.

207
Lettre de Le Corbusier à André Malraux pour la protection de l’unité d’habitation de Marseille et de l’immeuble Molitor. FLC E2(14)309
III – 2 / Comparative analysis
Comparative analysis should help to determine whether such a combination of values and attributes is already
represented on the World Heritage List, and whether a comparable series may be proposed for inclusion in
the future. As a serial nomination, it must also justify the selection of sites.
The comparative analysis of the proposed Property is conducted in three stages:
1] A reminder of the place occupied by twentieth century architecture on the World Heritage List
and on the Tentative List (as of 1 January 2015);
2] A comparative analysis of the Properties proposed in these two lists and of the 20th century
architectural heritage in general;
3] A comparative analysis of the components selected from the work of Le Corbusier, allowing
clarification of the selection process used for the proposed Property.
1] The place of 20th century architecture on the World

Heritage List and on the Tentative List
(as of 1 January 2015)
In 2015, the World Heritage List includes 35 properties as part of 20th century World Heritage,
but almost a third of these are listed for reasons other than their architectural qualities.
Thus, only 22 properties are listed for their outstanding contributions to the development
of 20th century architecture and urbanism:
• L’œuvre architecturale d’Antoni Gaudí [LPM 1984 et 2005 i, ii, iv]

• Brasilia [LPM 1986, i, iv]
• Le Bauhaus et ses sites majeurs à Weimar et Dessau [LPM 1994, ii, iv, vi]
• Skogskyrkogarden, en Suède, de Gunnar Asplund [LPM 1994, ii,iv]
• L’œuvre architecturale de Domènech i Montaner à Barcelone [LPM 1996, i, ii, iv]
• Le centre historique de Riga [LPM 1997, i, ii]
• Quatre habitations majeures de Victor Horta à Bruxelles [LPM 1999, i, ii, iv]
• La Maison Schröder de Gerrit Rietveld à Utrecht en 1924 [LPM 1999, i, ii, vi]
• La Maison Tugendhat de Mies van der Rohe à Brno [LPM 2000, i, ii, iv]
• La Cité universitaire de Caracas [LPM 2000, i, iv]
• La Ville blanche de Tel Aviv [LPM 2002, ii, iv]
• La Maison atelier de Luis Barragan à Mexico de 1948 [LPM 2003, i, ii]
• Le Centre-ville reconstruit de la ville du Havre par Auguste Perret [LPM 2005, ii, iv]
• La Halle du centenaire de Wroclaw [LPM 2006, i, ii, iv] construite par Max Berg
• L’Opéra de Sydney de Jørn Utzon [LPM 2007, i]
• Le Campus central de l’université de Mexico [LPM 2007, i, ii, iv]
• Les Cités de logements sociaux de Berlin, |LPM 2008, ii, iv]
• Le Palais Stoclet, Belgique [LPM 2009, i, ii].
• Usine Fagus, Allemagne [LPM 2011, i, iv].
• Rabat capitale moderne et ville historique : un patrimoine en partage, Maroc
[LPM 2012, iii, iv].
• Ville historique de Grand Bassam, Cote d’Ivoire [LPM 2012, iii, iv]
• Usine Van Nelle, Pays Bas [LPM 2014, ii, iv].

209
Le Ministère de l’Education As of June 2015, the 21 proposals involving 20th century architecture on the Indicative
Nationale à Rio. Lists are as follows:
Le Corbusier et L. Costa,
O. Niemeyer, J.-M. Moreira, • Bélarus : Architectural ensemble of Francysk Scaryna avenue in Minsk (1940-1950)
C. Léao, A. Reidy et E. Vasconcelos : [i, enregistrée en 2004]
vues des pilotis au rez-de-chaussée
et de la façade nord équipée d’un • Belgique : L’œuvre architecturale d’Henry van de Velde [i,ii, enregistrée en 2008]
brise-soleil inventé par Le Corbusier.
Le Corbusier est architecte conseil • Brésil : Ensemble architectonique de tourisme et loisir au bord du lac de Pampulha
sur l’avant-projet. L’édifice réalisé d’Oscar Niemeyer [i, ii, enregistrée en 1996]
par l’équipe d’architectes brésiliens
sous la direction de L. Costa reste
• Brésil : Palais de la Culture, ancien siège du ministère de l’Éducation et de la Santé,
fidèle aux principes apportés par Rio de Janeiro [i, ii, iv, enregistrée en 1996]
Le Corbusier. L’édifice est aujourd’hui
• Colombie : University City of Bogotá [i, iV, enregistrée en 2012]
présent sur la liste indicative du
Brésil [i, ii, iv, enregistrée en 1996]. • Colombie : Virgilio Barco Library [i, enregistrée en 2012]
Archives FLC
• Cuba : National Schools of Art, Cubanacan [i, ii, iii, iv, v, enregistrée en 2003]
• Erythrée : The historic perimeter of Asmara and its Modernist architecture [i, ii, iii, iv,
enregistrée en 2005]
• États-Unis d’Amérique : Frank Lloyd Wright’s buildings [i, ii, enregistrée en 2008]
• Finlande : Paimio Hospital (formerly Paimio sanatorium) [i, ii, iv, enregistrée en 2004]
• Inde : The Victorian and Art Deco Ensemble of Mumbai [ii, iv, enregistrée en 2012]
• Italie : Ivrea industrial City of the 20th Century [ii, iv, vi, enregistrée en 2012]
• Maroc : Casablanca, Ville du XXe siècle, Carrefour d’influences [ii, iv, enregistrée
en 2013]
• Mexique : Ludwig Mies van der Rohe and Felix Candela industrial buildings [i, ii, iv,
• Nouvelle Zélande : Napier Art Déco historic precinct [ii, iv, vi, enregistrée en 2007]
• Pays-Bas : Voormalige Nazorgkolonie en Sanatorium “Zonnestraal” (former Aftercare
Colony and “Sunray” Sanatorium) [ii, iv, vi, enregistré en 1995]
• République tchèque : Mountain-top and television Transmitter Jested [i, ii, iv,
• Royaume Uni de Grande Bretagne et d’Irlande du Nord : Jodrell Bank Observatory
[i, ii, iv, vi, enregistrée en 2012]
2] Comparative analysis of the Property proposed
as part of the World Heritage List and Tentative List
and of the 20th century architectural heritage
According to Article 137 of the Operational Guidelines for the implementation of the
Heritage Convention, which specify that a body of works is considered as a series,
provided “…it is the series as a whole – and not necessarily the individual parts of it –
which are of Outstanding Universal Value”, and having demonstrated in Chapter III (b) 2,
also in accordance with Article 137, that each component part should contribute “to the
Outstanding Universal Value of the Property as a whole in a substantial, scientific …
way”, this comparative analysis is conducted by considering priority the Property as a
whole and not item by item.
This analysis has been established on two levels:

1] in terms of the attributes of value of the series;
2] in terms of the nature of the series.
> Comparative analysis in terms of the attributes of value

of the Property
1] Generate an outstanding forum of ideas globally
Since the Italian Renaissance, the publication of architectural treatises has helped to
sustain architectural production at the same time as providing keys for analysis and
understanding.
Thus the fascination exercised by Andrea Palladio [LPM, 1994, 1996, i, ii], is due as much
to the universal impact of his writings, for example the Quattro Libri (1570), as to the
qualities of his works.
Similarly, the Work of Vauban [LPM 2008, i, ii, iv] is inseparable from his military treatises:
the Treatise on Attacking Strongholds and the Treatise on Defending Strongholds,
published in 1706.
From the sixteenth to the eighteenth century, architectural treatises were numerous and
formed a basis for classical culture, but it was with nineteenth century advances in
publishing, a renewal of awareness and the creation of the first architectural journals
that architecture became fully involved in fruitful interchanges between theory and
practice. Eugene Viollet-Le-Duc in France, Karl Friedreich Schinkel in Germany and
Augustus Welby Pugin in England were the leading figures in these developments.
Architectural manifestos and programmes rapidly increased in number with the

beginning of the 20th century. Adolf Loos and Frank Lloyd Wright launched this renewal
of architectural thought; the former published his essay “Ornament and Crime” in 1908,
the latter Organic Architecture in 1910, soon followed by the Futurist manifesto (1914),
the five different versions of the manifesto of the De Stijl movement (1918-1923), the
basic principles of Constructivism (1920) the manifesto of Suprematism (1924), etc. In
the early twenties, Bruno Taut, Walter Gropius, Adolf Behne and other German architects
and theorists set out the principles of the Neue Baukunst and the Bauhaus teaching
program. Ludwig Mies van der Rohe published several major articles, but devoted little
time to putting his ideas into writing.
All of these were closely related to avant-garde production. Gerrit Rietveld’s Schröder
House in Utrecht in 1924 [LPM 1999 i, ii, vi] is a built image of the De Stijl manifesto. The
Tugendhat House in Brno [LPM, 2000 i, ii, iv], a masterpiece of minimalist architecture,
deeply echoes the few texts left by Mies van der Rohe like his Working Theories,
published in 1923, in which he claimed to be aiming at a “maximum of effect with a
minimum of means.” Similarly, it is impossible to separate the writings and the teaching
of Gropius and his colleagues at the prestigious Bauhaus [LPM 1994 ii, iv, vi]; the
difficulty is the same for the architectural work of Henry Van de Velde [i, ii, registered on
the Tentative List of Belgium in 2008] inseparable from his writing, his teaching and his
memoirs. And lastly, how can we consider the United States proposal – the Frank Lloyd
Wright buildings [i, ii, registered in 2008] – without taking the architect’s writings into
account, in particular Organic Architecture published in 1910?

211
Unquestionably, it was then Le Corbusier who was already established as the main
theoretical contributor and disseminator of this new architectural thinking. More than
any other theoretical studies, his major contributions to the avant-garde magazine
L’Esprit Nouveau, the incisive style and definitive pronouncements of his early books –
Après le Cubisme (1918), Vers une architecture (1923), L’Art décoratif d’aujourd’hui (1925),
Urbanisme (1925), L’Almanach d’Architecture moderne (1925), Précisions sur un état
présent de l’architecture et de l’urbanisme (1929) - all these pose the founding principles
of the Modern Movement, both in architectural and urban terms and those of interior
design and furniture. With these six initial books published in just a decade, Le Corbusier
made a decisive contribution to defining the Modern Movement. He afterwards continued
publishing major works, including the Athens Charter in 1943.
More than any other work by a twentieth century architect, Le Corbusier spread his ideas
in countless articles appearing all over the world, countless lectures on every continent,
and nearly fifty books published from 1923 to 1965. He is the only architect in the history
of architecture to have published as much.
But the impact of these works would not have been the same if Le Corbusier had merely
been a theoretician. Each of these works preceded or drew lessons from his built projects,
which immediately became the subject of numerous articles worldwide.
Le Corbusier, La Charte d’Athènes, Maisons la Roche et Jeanneret and Maison Guiette materialized the principles of a new
rédigée par les CIAM en 1933,
réécrite et publiée par Le Corbusier
architectural language put forward in Towards an Architecture, published concurrently
en 1943. (1923); the Maisons de la Weissenhof-Siedlung in Stuttgart, Villa Savoye, the Immeuble
locatif à la Porte Molitor and Maison Curutchet are the built manifestos of the Five Points
for a New Architecture published in 1927.
How are we to interpret the Unité d’habitation de Marseille, the Complexe du Capitole
de Chandigarh, or the Maison de la Culture de Firminy, without referring to the Radiant
City, published in 1934 or the Athens Charter, in 1943?
Each of the works belonging to The Architectural Work of Le Corbusier is thus evidence
of a system of thought in action.
The works of Le Corbusier, translated and disseminated throughout the world at a very
early date, sparked off debate and controversy and maintained a passionate interest in
his works. Each component part of the Property had an exceptional impact on the
international development of the Modern Movement and this impact often went beyond
Le Corbusier, La Ville Radieuse, mere questions of form or material , even when these were apparently modest, as with
publiée en 1935.
the Cité Frugès in Pessac or Cabanon de Le Corbusier at Roquebrune-Cap-Martin.
The proposed Property therefore fully meets criteria (ii) and (vi). It occupies a unique
place, both in the history of the Modern Movement in general and among the properties
already inscribed or liable to be so, since, with the support of Le Corbusier’s own
publications, it fully illustrates contemporary debates. Finally, it should be emphasized
that the role played by the regular publication of the eight volumes of the Complete Work
beginning in 1929 and making known the works of Le Corbusier worldwide, was an
exceptional and probably unique event in the history of twentieth century architecture.
In 1910, Frank Lloyd Wright had widely publicised the first part of his work in the famous
Wasmuth edition in Berlin. Perhaps inspired by the example of his American elder,
Le Corbusier was the first to understand the importance of giving media coverage to his
achievements and his projects. He published them regularly, on average a volume every
four to five years. Translated and disseminated around the world, this remarkable tool
is a constant source of inspiration for architects. It gives an incomparable echo to his
achievements.
The impact on contemporary architecture was all the more strong and lasting in that Le
Corbusier was called on to work in many countries outside his native country of Switzerland
and his adopted country, France. Several works attest to the unique international dimension
already being taken by Le Corbusier’s architectural activity. To begin with, Maison Guiette
built in Antwerp, Belgium, in 1926, showed his growing influence abroad. This influence
was then constantly expanded and amplified: in Germany, with the Maisons de la
Weissenhof-Siedlung in Stuttgart (1927); then in Tunisia, with Maison Baizeau in Carthage
(1928); in the USSR, with Centrosoyuz in Moscow (1929). There was also the Brazilian
National Ministry of Education in Rio – he participated on the draft project in 1936 with
Lucio Costa, Niemeyer, Moreira, Leao, Reidy and Vasconcelos – or the projects for Algeria
that were to have a lasting impact throughout North Africa. By the inter-war period,
Le Corbusier had already built or projected in fourteen countries on three continents. After
the Second World War, Maison du Docteur Curutchet (1949) in Argentina, the Chandigarh
Complexe du Capitole (1952), and the Musée National des Beaux-Arts de l’Occident inTokyo
(1955) mark the global extent of his unique sphere of influence.
By the late twenties, no work as a whole had yet had such an international impact, or
was found in so many countries, other than that in which the architect lived. Before
leaving for the United States, Gropius had worked only in Germany and Mies van der
Rohe in Germany, Spain and Czechoslovakia. As for Oud, apart from his contribution to
the Weissenhof-Siedlung in Stuttgart, all his activity was confined to his native country,
the Netherlands. Adolf Loos (d. 1933), born in what was then the Austro-Hungarian
Empire, built in Austria and Czechoslovakia, except for one of his last works, Maison
Tzara in Paris (1926-1927). From now on, The Architectural Work of Le Corbusier
consisted of works that were all applications of a corpus of theoretical texts, texts that
founded the Modern Movement and benefited from immediate international publicity.
It thus occupied a special place in the architectural community of the modern avant-garde.
Catalogue de l’exposition
“Le Corbusier: An Atlas of Modern
This extraordinary debate of ideas was underpinned by works which in some cases have
Landscapes” (juin /septembre
become undisputed iconic works of the modern movement, while others have had a 2013) au MoMA, New York, puis
decisive influence in a given geographical area and still others have crystallized ideas à Barcelone et à Madrid (2014).
having an exceptional impact as prototypes.
The Villa Savoye was an absolute icon of the Modern Movement, so much so that it was
used for the catalogue cover of the MoMA exhibition devoted to the International Style
in 1932. It is matched only by Gerrit Rietveld’s Schröder House [LPM 1999 i, ii, vi], the
Tugendhat House by Mies van der Rohe [LPM 2000; i, ii, iv], or the Bauhaus school in
Dessau [LPM 1994 ii, iv, vi]. Published throughout the world, it is the archetype of an
architecture based on sculptural forms and the “play of volumes assembled under light.”
In addition, the loge du jardinier, situated at the entrance to the property, is itself the
archetype of minimal housing presented at the second CIAM congress in Frankfurt in
1929 by Le Corbusier and Pierre Jeanneret. This site is thus unique in bringing together
the two poles of modern research, luxury housing and housing for the people.
The Unité d’habitation de Marseille was the icon of the Modern Movement for a new
mode of community housing, a true vertical village based on the balance between the
individual and the collective. It found one of the sources of its inspiration in the
Narkomfin building in Moscow by Moisei Ginzsburg (1929), the authenticity and integrity
of which are unfortunately no longer assured today. The Unité d’habitation de Marseille
(1945-1952) is also a founding work of architectural Brutalism, together with Hunstanton
Secondary School (1954) by Peter and Alison Smithson.
The Chapelle Notre-Dame-du-Haut de Ronchamp is the icon of Christian sacred

architecture that revolutionized religious architecture in the twentieth century prior to
the holding of Vatican Council II. To date, no example of this revolution in Christianity’s
religious practices has been certified as a World Heritage site. As stated by the
architecture historian Jean-Louis Cohen, “there is a ‘before Ronchamp’ and an ‘after
Ronchamp’.” In this respect, this chapel is unique in the twentieth century.
As a masterpiece of monumental and sculptural architecture celebrating the

independence of a nation simultaneously opening up to freedom and to modernity, the
Complexe du Capitole in Chandigarh, directly derived from Le Corbusier’s reflections on Le Corbusier, Ronchamp, Les
the Radiant City (1935), foreshadowed and inspired a series of major works: Lucio Costa’s cahiers de la recherche patiente,
Brasilia (1956-1960) (LPM 1986, i, iv]; Islamabad, Pakistan designed by Konstantinos 1957.
Apostolos Doxiadis (1959-1967); the Capitol at Dhaka in Bangladesh by Louis Kahn
(1962); Tanzania’s capital, Dodoma, designed by James Rossant (1986).
Some of the works that make up The Architectural Work of Le Corbusier also testify
strongly to the outstanding role played by this architect and his work in the worldwide
debate. Thus Maison Guiette (1926) in Belgium, Maison du Docteur Curutchet in
Argentina (1949) and the Complexe du Capitole in Chandigarh in India (1952-1955) are
signs, not only of the international recognition of Le Corbusier’s work in these countries,
but also of the emergence of the Modern Movement in these geographical zones. Few
works have this force, except no doubt the Ministry of Education (1936-43) in Rio de
Janeiro, Brazil, built by Lucio Costa and his associates, Le Corbusier being a consultant
(included on the Tentative List of Brazil since 1996); in Australia, the Sydney Opera House
by the Danish architect Jorn Utzon [LPM 2007, i]; and the entire historic centre of Tel Aviv
in Israel, built by various modern architects from Europe [LPM, 2002, ii, iv].

213
Finally, other works played a major role in this unique exchange of ideas, crystallizing
concepts that had a major influence on the emergence of the Modern Movement.
Thus, in 1923, Maisons La Roche et Jeanneret were the first expression of Purism in
architecture, just four years after the publication of After Cubism (1919), the manifesto
of Purism co-authored by Le Corbusier and the painter Amédée Ozenfant. No work in
the world crystallizes at this level the ideas of architectural Purism, which was to have a
fundamental impact.
In the same year,1923, the simplicity of the Petite maison au bord du Lac Léman in the
same Purist language established it as the archetype of the minimum house. It preceded
the research of German, Dutch and Russian architects, including Gropius and Oud, and
foreshadowed the theme of the first CIAM Congress, devoted in 1929 to minimum
housing. No built work among the houses currently listed on the World Heritage List
testifies to this profound change in architectural practice.
Immeuble Clarté (1931) is the prototype of the prefabrication techniques used in modern
luxury housing. It offers apartment typologies directly derived from the iconic theoretical
project of the apartment-villa. The building renews traditional lifestyles. Contemporary
with Moisei Ginzsburg’s Narkomfin building in Moscow (1929), it has comparable
qualities. The contemporary buildings of the social housing estates in Berlin [LPM 2008,
ii, iv], are lacking in these qualities and typologies, which were not developed on a large
scale until after World War II.
Amédée Ozenfant et Charles-Edouard
Jeanneret, Après le cubisme, 1919. The Manufacture à Saint-Dié (1947) revolutionized the traditional image of the factory and
Les principes puristes énoncés of work conditions. For this reason, it is comparable to the Fagus [2011 LPM, ii, iv] and
dans ce manifeste pictural sont Van Nelle [LPM 2014, ii, iv] factories. It is, however, the only existing prototype of the
ensuite adaptés à l’architecture Green Factory, derived from the standards of the Radiant City and the Athens Charter.
par Le Corbusier.
The Cabanon de Le Corbusier (1951) is both a total work of art and the archetype of the
minimum cell, based on an absolutely ergonomic and functionalist approach. It goes
back to the myth of the primitive hut and opens up a universal and timeless field of
reflection on the concept of the minimum living cell; it is still observed today by
contemporary architects as a basic architectural model for dealing with minimal survival
conditions or crises. It is for this reason both archetypal and an iconic work of art despite,
or because of, its modesty. It is without an equivalent either on the World Heritage List
or in the history of twentieth century architecture.
Twenty-two convents and monasteries appear on the current World Heritage List, all in
Europe except for one example in Mexico. They were set up between the eleventh and the
nineteenth centuries but until now, no contemporary example has appeared on the List.
The Couvent Sainte-Marie-de-la-Tourette (1953), is a rare example of a modern convent
as well as a unique synthesis of the achievements of the Modern Movement, combining
Purist forms and Brutalist textures.
All of the five museums on Berlin’s Museuminsel [LPM, 1999, ii, iv], the only museum
complex inscribed on the World Heritage List, are the realization of a visionary project
based on a typology and a concept dating back essentially to the 18th century
Enlightenment. Le Corbusier’s “museum of unlimited growth” challenges this eighteenth
and nineteenth century museum concept. Starting from the postulate of the collections’
unlimited growth, he revolutionizes the concepts of visiting the museum and the visitor’s
relationship to the works. The Musée National des Beaux-Arts de l’Occident in Tokyo is
the prototype of this new concept, developed from 1926.
2] Invent a new architectural language
From the Purism of the twenties to the sculptural forms of the sixties via Brutalism, the
Property illustrates the development of modern architecture over the best part of half a
century and testifies to Le Corbusier’s fantastic ability to renew the aesthetics of
contemporary architecture.
At the close of the previous decade and continuing into the 1920s, the Modern
Movement confirmed its avant-garde status. In 1910, Loos’ Scheu House in Vienna had
already reached a high degree of radicalism. The shapes are geometrical, devoid of any
decoration, covered by a smooth, uniform render. The traditional space of the interior
has been radically transformed. In 1923, Gerrit Rietveld built the Schröder House [LPM
2000 i, ii, vi] the manifesto of the De Stijl movement, which brought to the Modern
Movement geometrical abstraction and colour as a constructive force.
Gropius’s Bauhaus school (1925) [LPM 1994 ii, iv, vi] represented the archetype of
functionalist architecture derived from the Modern Movement. The organization of the
plan, breaking with all references to classical composition, geometric massing,
construction principles, the large glass wall and refined aesthetics summarise Gropius'
ideas and the principles of the Modern Movement.
Mies van der Rohe built minimalist works that were exceptional in their simplifying of
forms and construction principles, paying special attention to details. An example is the
stylistic composition of the German Pavilion at the Barcelona International Exhibition in
1929, and its application to a bourgeois luxury villa, the Tugendhat House in Brno in 1929-
30 [LPM 2000 i, ii, iv]. In 1927 the German Werkbund Exhibition in the Weissenhof
housing estate in Stuttgart gave twenty of these avant-garde European architects a
chance to confront their proposals and demonstrate to the public the existence of an
international trend in modern architecture. Those who joined Mme Mandrot and Le
Corbusier a year later at the founding congress of the CIAM in in La Sarraz, Switzerland,
were still substantially the same people.
The Architectural Work of Le Corbusier figures prominently in this invention of a new

formal language during the 1920s. Invited to Stuttgart and a co-founder of CIAM, Le
Corbusier had at that time acquired through his built work and publications an
international dimension of the first order. This was recognized by MoMA’s so-called
“International Style” exhibition in New York in1932, which presented four European
architects, Mies van der Rohe, Oud, Gropius and Le Corbusier. Alvar Aalto, whose first
major work, the Paimio Sanatorium [i, ii, iv, registered on the Finland Indicative List in
2004] was then under construction, had not yet acquired a comparable international
reputation.
Le Corbusier himself described the 1920s as a period of “patient research” leading,

through a dozen major works constantly relayed by publications, to the development of
a new Purist visual language which propelled him to the forefront of architectural
creation.
These works included Maisons La Roche et Jeanneret, Paris (1923) ; the Petite villa au Le Corbusier, L’atelier de la recherche
bord du lac Léman, Corseaux (1923) ; Maison Guiette, Antwerp (1926) ; the Villa Savoye patiente, 1960.
and loge du jardinier, Poissy, (1928).
The revolution of forms also affected social and communal housing, categories not
represented on the World Heritage List apart from the social housing estates in Berlin
[LPM 2008, ii, iv]. The contribution of The Architectural Work of Le Corbusier was also
fundamental in the field of housing, through Cité Frugès, Pessac (1924); the Maisons de
la Weissenhof-Siedlung, Stuttgart (1927); Immeuble Clarté, Geneva (1930); the Immeuble
locatif à la Porte Molitor, Boulogne-Billancourt (1931). Although built later (1949), Maison
du Docteur Curutchet in La Plata also shares in this formal approach.
Thanks to this body of built work, by the late 1930s The Architectural Work of Le Corbusier
already occupied a prominent place in the aesthetic revolution of the first half of the
century. These works contributed fundamentally to the invention of a new formal
language mingling the pictorial experiments of Purism and Cubism.
While the Modern Movement at that time still occupied a relatively marginal place in
international architectural production, Art Deco architecture in contrast was triumphing
all over the world; being closer to a dominant culture that was strongly committed to
classicism, its version of modernity was seen as more acceptable.

215
Like his avant-garde colleagues, Le Corbusier was fiercely opposed to Art Deco. Thus, The
Architectural Work of Le Corbusier is not in competition with current proposals on Art Deco
architecture: the historic perimeter of Asmara and its Modernist architecture [i, ii, iii, iv]; the
Napier Art Deco historic precinct [ii, iv, vi]; the Victorian and Art Deco Ensemble of Mumbai
[ii, iv]; recorded respectively on theTentative Lists of these countries in 2005, 2007 and 2012.
The rise of totalitarian regimes in the Europe of the 1930s signalled the departure of
many avant-garde architects, especially Germans, to the United States where they
pursued their careers and some were entrusted with prestigious professorships. The
United States was then opening up more widely and more lastingly to this architecture
of mainly European origin. As Europe plunged into an economic crisis followed by five
years of devastating conflicts, modern architecture became internationalized not only in
North America but also in South America, where Le Corbusier’s writings and lectures
largely contributed to the spread of modernity.
In Brazil, the Ministry of Education in Rio (1936), which owes much to the ideas of Le
Corbusier, was considered as the founding edfice of the young Brazilian modern
architectural school, in which Lucio Costa and Oscar Niemeyer, two fervent admirers as
well as employees of Le Corbusier, built some of the finest works. This work has been
on the Brazil Tentative List since 1996 [i, ii, iv, 1996] together with the architectural tourism
and leisure complex on the shores of Lake Pampulha [i, ii, 1996], where Oscar Niemeyer
extended and renewed the lessons learnt from Corbusian architecture, as he later did
again in Brasilia [LPM 1986 i, iv].
Under the decisive influence of Le Corbusier, the Modern Movement also acquired
footholds in Israel with the White City of Tel Aviv [LPM, 2002, ii, iv], in Mexico with Luis
Barragán and in Japan with Kenzo Tange. Le Corbusier’s work was recognized in the
thirties by the Swiss critic Sigfried Giedion. The Luis Barragán house in Mexico [LPM
2003 i, ii], the University Halls of Residence in Caracas [LPM 2000 i, iv] and the Central
Campus of the University of Mexico [LPM 2007, i, ii, iv], already reflected this
internationalization on the South American continent. As one of essential references of
these architect’s work, the nomination of The Architectural Work of Le Corbusier forms a
wholly coherent complement to this process.
J.L. Cohen, « Le Corbusier Following the Second World War, the Modern Movement moved from an avant-garde
La planète comme chantier » status to that of a dominant model. The need to reconstruct thousands of towns disposed
Ed. Textuel, 2005. politicians more favourably towards the ideas of the Modern Movement’s architects.
Reconstruction in France also led the government to finally take into account the
question of housing the greatest number and to launch major social housing
programmes inspired by the models created by the moderns in the 1920s. Only one
Property currently registered on the World Heritage List reflects this growing importance
of the ideas of modernity during Reconstruction. This was the centre of Le Havre rebuilt
by Auguste Perret [LPM 2005 ii, iv].
The Architectural Work of Le Corbusier made a major contribution to this key phase in the
development of the Modern Movement and to the triumph of this new aesthetic in the
field of social housing, especially through the presence in this series of the Unité
d’habitation de Marseille - without however competing in any way with the proposal of
Belarus, whose “Architectural ensemble of Francysk Scaryna Avenue in Minsk” (1940-
1950) [i], inscribed on the Tentative List in 2004, belongs to another social, political and
aesthetic context.
It took the Modern Movement just a decade to become established as the dominant
ideology in twentieth century architecture, but often at the cost of poor quality
construction, especially in large social housing estates where the ideas of the Athens
Charter became caricatured by a purely financial logic based on the construction of the
largest number of square meters at the lowest cost. Mies van der Rohe and Gropius built
several major works, mainly in the United States, that were in line with the principles
developed in Germany in the twenties. In the same spirit, Mies van der Rohe also built
the Bacardi office building in Mexico City (1958-1961), a work which is on the Mexico
Tentative List [i, ii, iv, 2001]. After the war, other major figures such as Oud or Rietveld
no longer occupied the forefront of the international stage as conspicuously as before.
A second generation of architects was to give a new impetus to the Modern Movement in
England, the United States, South America, Japan and the Netherlands. Its main
representatives were: Smithon, Saarinen, Utzon, Stirling, Eames, Kahn, Van Eyk, etc. For
them, Le Corbusier was an essential reference figure. Now aged over sixty, he was still
innovating and accompanying – or even preceding – this generation in renewing the canons
of the Modern Movement. At a point when the Modern Movement was triumphing, even
at times being trivialized,The Architectural Work of Le Corbusier continued to occupy a
unique place throughout the world.
The architect invented what the English critic Reyner Banham called Brutalism. Le Corbusier
still had some surprises up his sleeve: in the forties and fifties he turned to new formal
solutions in which the simplicity of flat-surfaced volumes gave way to rugged forms and
violent contrasts of surfaces, textures and materials. The Architectural Work of Le Corbusier
thus made a significant contribution to renewing Modernism, thanks to such works as the
Unité d’habitation de Marseille, (1945); the Manufacture à Saint-Dié, (1946) ; the Cabanon
de Le Corbusier, (1951). Like Peter and Alison Smithon’s Hunstanton Secondary School, the
Unité d’habitation de Marseille was considered as a manifesto of this trend, followers of
which included James Stirling in the United Kingdom, Kunio Mayekawa in Japan (a former
collaborator of Le Corbusier in the thirties) as well as Workshop 5 in Switzerland. Currently,
no Property registered or recorded on theTentative Lists records this important stage in the
history of the Modern Movement.
Following World War II, the reputation and extent of Le Corbusier’s architectural activity
reached global proportions. His work now extended to: the United States, with the
Carpenter Center for the Visual Arts in Cambridge, Massachusetts (1960-63); India, in
Ahmedabad and Chandigarh, in particular the Complexe du Capitole (1952-1955); Iraq,
in Baghdad; Argentina, with the Maison Curutchet in La Plata (1949); Japan, with the
Musée National des Beaux-Arts de l’Occident (1955) in Tokyo.
International recognition of this work went beyond avant-garde circles. In France, the
work was now enriched by large-scale commissions, some arriving too late to be
completed before his death. These included major projects such as the Chapelle-Notre-
Dame-du-Haut at Ronchamp (1950), the Couvent Sainte-Marie-de-la-Tourette (1953), and
the Maison de la Culture de Firminy (1955-1969), and represented a new opportunity to
enrich and renew the forms of the Modern Movement. They introduced a new sculptural
dimension previously neglected by Le Corbusier and his contemporaries. The German
Expressionist architects of the twenties were an exception, but their production, like their
place in the history of architecture, was limited .
The Architectural Work of Le Corbusier is in this respect comparable to the work of Eero
Saarinen (1910-1961), or that of the Danish architect Jørn Utzon (1918-2008) for the
Sydney Opera House [LPM 2007, i]. Like Utzon and Niemeyer, Saarinen was younger
than Le Corbusier and was able to draw on his legacy. Among Le Corbusier’s
contemporaries, only Frank Lloyd Wright had the same power of renewal and formal
invention; his substantial work however was developed almost exclusively in the United
States. Within the series proposed as the Frank Lloyd Wright Buildings [i, ii] and recorded
on the the United States Tentative List in 2008, the ten projects selected between 1905
and 1959 attest to this powerful creative ability. The Guggenheim Museum in New York
(1943-1959) and the Marin County Civic Centre, California (1957-1962) belong, like the
Complexe du Capitole in Chandigarh, the Chapelle Notre-Dame-du-Haut at Ronchamp,
or the Maison de la Culture de Firminy, to this ultimate renewal of principles created half
a century earlier.
Suspended between two points of reference, that of monumental architecture with

exceptional forms on the one hand and, on the other, an architecture of standards, at
times modest in size, but learned and with an exemplary desire to offer quality
architecture to the greatest number, The Architectural Work of Le Corbusier fully
represented all the issues of the Modern Movement and its internationalization. It was
conceived on a long-term basis of research and innovation that lasted for the best part
of fifty years.

217
3] Modernise architectural techniques
Since the nineteenth century, standardization and industrialization have been at the
heart of the work of avant-garde architects seeking to adapt architecture to the new
opportunities offered by the industrial revolution, principally in Europe and North
America.
Walter Gropius’s Fagus Factory, produced in 1911-1912 [LPM 2011 i, iv], was a work that
held the promise of a merger between artistic and industrial concerns – thus confirming
the commitments made in the Bauhaus school – but this development remained
theoretical rather than practical. Neither Mies van der Rohe, Oud nor Aalto were to
prioritize this issue of the standardization and industrialization of construction. The built
work of modern architects was marked by a concern for technical innovation and the
use of materials such as concrete, metal, glass or aluminum, but standardization and
industrialization were less of a reality than a watchword, at least until the Second World
War. Avant-garde architects were more concerned with the image of industrialized and
modern architecture than the real transformation of construction methods. This was true
of the Bauhaus and its major sites in Weimar and Dessau [LPM 1994 ii, iv, vi], the Fagus
Factory already referred to, and the Van Nelle Factory [LPM 2014, ii, iv].
Le Corbusier’s approach was essentially the same as that of his colleagues. He has been
described as a “mechanist” and it is no surprise that industrialization forms a leitmotif
in his work, but as a source of inspiration this is often more conceptual and formal than
real. However, The Architectural Work of Le Corbusier reflects this obsession and his
renewed endeavours. The rebuilt city centre of Le Havre by Auguste Perret [LPM 2005,
ii, iv] and the social housing estates in Berlin [LPM 2008, ii, iv] are as yet the only World
Heritage Sites addressing this issue.
Le Corbusier also aimed to define standard type projects and his career was studded
with these: the minimum house, the apartment-villa, the luxury blocks, the Cartesian
skyscraper, the housing unit, the camping unit, the recreational unit, the green plant,
the museum of unlimited growth, the spontaneous theater, etc. This search for standards
is an approach currently absent from the World Heritage List, especially in the case
of twentieth century works, where unique and singular works have been preferred
to reproducible models. In this sense, the inscription of The Architectural Work of
Le Corbusier would significantly enrich the World Heritage List by the addition of what
was a major dimension of twentieth – or even nineteenth – century architecture.
In terms of technical innovation, The Architectural Work of Le Corbusier reflects a

constant desire to experiment. But, once again, it is the architect’s surprising ability to
systematically propose new materials or technical processes, and his permanent desire
to experiment, that make this Property an exceptional series, fully reflecting a new
mindset and a new approach to architecture, perhaps indeed more so than finite and
one-time works like Max Berg’s Centennial Hall in Wroclaw [LPM 2006, i, ii, iv] or Jørn
Utzon’s daring Sydney Opera House [LPM2007 i]. The Architectural Work of Le Corbusier
outstandingly demonstrates constantly renewed thinking including proposals enabling
an independent skeleton – in concrete or metal – free facades or curtain walls,the use of
industrialized standardized modules for the shell and finishing work, glass walls, double-
skin facades, dry mounting, etc.
Among these experiments, the Immeuble locatif à la Porte Molitor (1931), its facades
built entirely in glass – using single glazing, wired glass or glass blocks, was at the time
a unique example, not excepting works already approved for World heritage lisiting, like
the Fagus Factory [LPM 2011 i, iv], the Bauhaus School [LPM 1994 ii, iv, vi] or the
Tugendhat House [LPM 2000 i, ii, iv], in which dematerialization of the facades was
considerable, but remained incomplete.
4] Respond to the social and human needs of modern man
The issues of housing for modern man and housing for the greatest number constituted
the major challenge facing twentieth century societies in general and modern
architecture in particular. The experiments made before the Second World War were
numerous and at times innovative, not only in Germany, Belgium and the Netherlands
but also the United States. After the Second World War, mass produced social housing
spread to many countries, too often at the cost of mediocre solutions without
architectural interest.
The examples of twentieth century housing already on the World Heritage List are
outstanding works, but do not address the issue of housing for the greatest number.
Thus, Gerrit Rietveld’s Schröder House [LPM 1999 i, ii, vi] the Tugendhat House by Mies
van der Rohe [LPM 2000 i, ii, iv], that of Luis Barragán [LPM 2003 i, ii], the Stoclet Palace
by Josef Hoffmann [2009 LPM, i, ii] and the Art Nouveau houses by Gaudí and Horta
already mentioned tell us about a new art of living in the twentieth century, but are not
studies for low cost housing models. No proposal currently recorded on theTentative
Lists fills this gap. The only housing proposals contained in the indicative list of the work
of Frank Lloyd Wright are outstanding luxury constructions such as the Chicago House
of 1906. Only the recent inscription of the social housing estates in Berlin | LPM 2008, ii, iv]
and to a lesser extent the earlier inscriptions of the rebuilt city centre of Le Havre [LPM 2005,
ii, iv] and of the White City of Tel Aviv [LPM, 2002, ii, iv] give recognition to this heritage,
which is perhaps idosyncratic, yet strongly representative of society’s aspirations in the
twentieth century.
In this context, The Architectural Work of Le Corbusier represents a particularly important
proposal, since the question of housing for the many is central to the architect’s work.
The dwelling houses in the series The Architectural Work of Le Corbusier also mark the
emergence of a new art of living. Le Corbusier made them into experimental laboratories
of housing for the many. The Cité Frugès, the Maisons de la Weissenhof-Siedlung, the
Unité d’habitation de Marseille, the Cabanon de Le Corbusier are the concrete outcomes
of this research. The two communal residential buildings retained in this series – the
Immeuble Clarté and Immeuble locatif à la Porte Molitor – are also major works in this
search for a harmony between the individual and the collective.
The Unité d’habitation de Marseille is the outcome of this search and at the same time
a prototype for widespread reproduction. Four other housing units were built on this
model in France and Germany.
The Architectural Work of Le Corbusier reveals itself to be both a precursor and a source
of inspiration for the century, especially in its pursuit of a synthesis between the respect
for individual freedom and the benefits of community living.
Promulgated in Article 2 of the Athens Charter drafted by the CIAM in 1933 and published
by Le Corbusier in 1943, the principle of a balance between individual man and the
community of men is central to the thinking of modern planners and architects. The twin
phenomena of the present population boom and the urbanization of the planet make Unité d’habitation, Marseille, 1945.
this a burning issue. Coupe de principe de l’Unité
d’habitation montrant notamment
Le Corbusier continued to develop this principle, and it is found in many of the
l’encastrement des appartements
components making up The Architectural Work of Le Corbusier: the Immeuble locatif à traversants au-dessus et au-dessous
la Porte Molitor, the Unité d’habitation de Marseille, the Manufacture à Saint-Dié, the des rues intérieures.
Couvent Sainte-Marie-de-la-Tourette, the Complexe du Capitole in Chandigarh, the Archives FLC 20575.
Musée National des Beaux-Arts de l’Occident in Tokyo, and the Maison de la Culture de
Firminy.
This dual concern is currently wholly absent both from the twentieth century properties
inscribed on the World Heritage List and the proposals recorded on the Indicative Lists,
with the possible exception of the university campuses of Caracas [LPM 2000 i, iv] and
Mexico City [LPM 2007, i, ii, iv], and that of Bogota inscribed on the Bolivian Tentative
List in 2012 [i, iv] which meet these humanist goals in their design and in their
programme.
In this regard, The Architectural Work of Le Corbusier represents an outstanding
contribution to the Modern Movement and the World Heritage List.
In this respect, the Cité Frugès in Pessac (1924) is an essential contribution to The
Architectural Work of Le Corbusier. In 1924, J.-J.-P. Oud had already constructed a
housing estate of 343 terraced houses in Oud-Mathenesse (1922-1924), but this was semi-
permanent accomodation and still belonged largely to a traditional architectural style.
The workers’ housing estate in Hoek van Holland, marking the point when Oud
definitively joined the avant-garde, comprises 41 apartments on two levels in two
continuous wings; it dates from 1924, but actual work began only in May 1927, a year

219
after the official opening of Cité Frugès. In Germany, where many apartment buildings
were entrusted to modern architects, estates of individual workers’ houses or
experimental ones comparable to those in Pessac did not appear before 1928 at the
earliest. An exampe is the famous Siedlung Törten built in Dessau by Walter Gropius
between 1926 and 1928. Only Victor Bourgeois’ Cité Moderne in Berchem-Sainte-Agathe
(Brussels) somewhat precedes that of Le Corbusier near Bordeaux. Built between 1922
and 1925, it comprises 275 apartments divided into 15 types of single family homes, its
aesthetics however still retaining certain features of traditional architecture. Thus, none
of these bring together as many challenges and as much risk-taking as Cité Frugès, which
combines technical experimentation, formal radicalism, distributive and spatial
innovation, the innovative use of colour, all in the service of a stated social goal.
> Comparative analysis with regard to the nature of the series

1] The main founder of the Modern Movement
There is neither a founding date nor a single founder of the Modern Movement.
In its diversity, the birth of the Modern Movement was a long process that had its roots in
the late nineteenth century and acquired its attributes, described above, in the second half
of the 1910s and during the 1920s. But as an approach to architecture based on research
and innovation, the movement continued to evolve and diversify into the 1970s. The
Architectural Work of Le Corbusier coincided with this evolution for practically half a century.
Among the founding fathers of this major movement of the twentieth century are several
architects. With the exception of the Americans Frank Lloyd Wright (1869-1959), Rudolf
Schindler (1887-1953) and Richard Neutra (1892-1970), they are mainly European.
Without going back to the pioneering figures of the nineteenth century, we can mention
a number of key figures. These are, in the order of their date of birth: Peter Behrens (1868-
1940), Adolf Loos (1870- 1933), Auguste Perret (1874-1954), Otakar Novotny (1880-1959),
Alexander Vesnin (1883-1959), Theo van Doesburg (1883-1931), Walter Gropius (1883-
1969), Willem Marinus Dudok (1884-1974), Gunnar Asplund (1885-1940), Ludwig Mies
van der Rohe (1886-1969), Le Corbusier (1887-1965), Gerrit Thomas Rietveld (1888-1964),
Hannes Meyer (1889-1954), Jacobus Johannes Pieter Oud (1890-1963), El Lissitzky (1890-
1941), Moses Ginzburg (1890-1946), Konstantin Melnikov (1890-1974), Alois Balan
(1891-1960), Andre Lurcat (1894-1970), Fernando Garcia Mercadal (1896-1985), Victor
Bourgeois (1897-1962), Alvar Aalto (1898-1976) and Arne Jacobsen (1902-1971).
With the exception of the Austrian Adolf Loos who was among the pioneers, and the
Finn Alvar Aalto who was more than a decade younger, the major founding figures of
the Modern Movement were all born between 1880 and 1890. Le Corbusier was among
them. Among these architects, historians worldwide agree on six major founding figures;
in the order of their appearance on the international architectural scene, these are: Frank
Lloyd Wright, Adolf Loos, Walter Gropius, Le Corbusier, Ludwig Mies van der Rohe and
Alvar Aalto.
At an early stage, the Dutch group De Stijl produced several major works and written
manifestos. Their impact in Russia, Germany and France was decisive. Adolf Loos was
the first to establish the principles of a geometric language purged of all decorative
features. His works before World War II, like his famous text “Ornament and Crime”
(1908), represented a decisive impetus for the launching of the Modern Movement.
In the 1910s, Walter Gropius played an important part in the birth of this new architecture
through pioneering works such as the Fagus Factory (1911-1912) [2011 LPM, i, iv] and
also in his teaching at the prestigious Bauhaus School from 1925-1933 [LPM 1994 ii, iv,
vi]. The last director of the School, Ludwig Mies van der Rohe, built several works that
are minimalist icons in modern architecture, especially in Barcelona (German Pavilion
in 1929) and Brno where he built the Villa Tugendhat in 1929-1930 [LPM 2000 i, ii, iv]. He
then contributed greatly to the spread of this architectural culture in the United States,
to which, like Gropius, he emigrated, and where he worked and taught from the 1930s.
Alvar Aalto was younger and adopted the ideas of the Modern Movement when they
were already well established in the mid1920s. From 1929, however, his contribution to
the evolution of this new architecture was essential, his approach to it being more
organic.
Among these founding personalities, Charles-Edouard Jeanneret, known from 1920 as
Le Corbusier, occupied a unique and central position.
Born in Switzerland, a tireless traveller, observer and draughtsman as well as an avid
reader, Le Corbusier laid the foundations of his life and art on an international basis
from which he never strayed.
He travelled the world ceaselessly, from Italy, in 1907, to India for the last fifteen years of
his life; in between he visited Vienna (1907), Paris in 1908, Germany (1910-1911), Greece,
the Balkans and Turkey during his Near Eastern travels (1911); Moscow (1928), Uruguay,
Argentina and Brazil (1929); Algeria (1931-1939), Spain and Morocco (1931), Italy (1934),
the United States in 1935 and later in 1945, 1946 and 1947, not to mention Colombia,
Egypt, Sweden, Britain, Iraq, etc.
From his many travels, Le Corbusier drew the conviction that “the world is small” and
that it was best to think in these terms, with the help of universal solutions.
From the outset of the twentieth century, he was aware of all the major European
experiments. He had read Loos, knew the work of Wright, had visited the works of
Hoffmann and Wagner, worked with Behrens and Perret and met Tony Garnier.
Based in France from the end of the 1910s, Le Corbusier belonged to no established
group, in the sense of the De Stijl group in the Netherlands, or the Russian
Constructivists. He was not the recognized master of a prestigious school like the
Bauhaus, but practically 300 young people from 35 countries were to come to work and
train in his Paris studio. Among them were George Candilis from Greece, Balkrishna
Doshi from India, Albert Frey and Alfred Roth from Switzerland, Kunio Mayekawa, Junzo
Sakakura and Takamasa Yoshizaka from Japan, Guillermo Jullian de la Fuente from Chile,
Josep Lluís Sert from Spain and Shadrach Woods from the United States.
Le Corbusier was a strong personality, an uncompromising artist provoking both
rejection and fervour. But the modestly housed architect's studio he founded in Paris in
the early twenties was to be a meeting place for these hundreds of young associates, at
the same time welcoming great contemporary artists, architects and leading politicians
until his death in 1965.
Each of them, after a stay in Le Corbusier’s studio ranging from a few months to a few
years, became a spokesman in his own country for Corbusian thought and promoted
the international circulation of the architect’s work.
Singly, or with his cousin Pierre Jeanneret (from 1923 to 1940 and again from 1950 to
1965), Le Corbusier designed 293 architectural and urban planning projects, building
nearly eighty of them; singly or with Charlotte Perriand (1903-1999) and P. Jeanneret
(1896-1967), he created furniture models that have become icons of contemporary Le Corbusier, Précisions sur un
design. Imposing his ideas on his customers, Le Corbusier built little, but on each état présent de l’architecture et
occasion his works were powerful and radical. de l’urbanisme, 1930.
Dans cet ouvrage Le Corbusier
publie les conférences qu’il a
His creations, whether monumental or not, were commented on worldwide because données en 1929 en Argentine
they were often manifestos in which Le Corbusier applied the theoretical principles he et au Brésil.
expressed through his own publications. He left to posterity forty books, numerous
brochures and hundreds of articles in French and foreign magazines. No architect before
him in the history of architecture wrote as much as Le Corbusier. Most of his works have
been translated worldwide, regularly reissued and are always available in bookshops;
they reflect the universal interest for Corbusian thought, its role in the recognition of a
new global trend in architectural thought and the attention given worldwide to his built
work.
The impact of his works was also increased bythe innumerable lectures he gave
worldwide, from individual sessions to cycles lasting several weeks. Among the most
famous, the series of lectures given in South America in 1929 was published on his return
under the title Precisions on the Present State of Architecture and City Planning. In 1924,
he lectured in Geneva, Lausanne and Prague, in 1928 in Moscow and in 1933 in the
Scandinavian countries, as well as in Algiers. In 1936, American universities were his
hosts for what amounted to a full-scale lecture tour. These lectures led to many
vocations. Each of them drew an unrivalled response to the creations that make up his
Work.
He was the only architect working in France to be invited to the Stuttgart Weissenhof-
Siedlung exhibition in 1927, just a decade after World War II. He was regularly invited to the
Soviet Union in the twenties by the Russian avant-garde and lectured to full houses in
Argentina and Brazil during his 1929 cycles. He was one of the founding members of the
CIAM (International Congresses of Modern Architecture), which until 1959 set the tone in
the worldwide architectural and urban avant-garde. Le Corbusier became the flag bearer

221
of the Modern Movement; he put himself at risk, fascinated people, challenged accepted
ideas, was admired or hated but, through his works and the stands he took, built himself a
unique place occupied by no other architect within the small circle of the founders of the
Modern Movement.
Origine
géographique
des collaborateurs
de Le Corbusier
2] A property composed of works by a single architect

The Architectural Work of Le Corbusier is not the first serial nomination to have been
compiled from works designed by a single architect.
The current World Heritage List already includes several series exclusively devoted to
the work of an architect or an engineer:
• Works of Antoni Gaudí [LPM 1984, 2005, i, ii, iv]
• City of Vicenza and the Palladian Villas of the Veneto [LPM 1994 i, ii]
• The Architectural Work of Domènech i Montaner in Barcelona [LMP, 1996, i, ii, iv]
• Major Town Houses of the Architect Victor Horta (Brussels) [2000, i, ii, iv]
• Fortifications of Vauban [LPM 2008, i, ii, iv].
These Properties reflect not only the outstanding universal significance of the series in
question, but also the creative genius of their authors: Gaudí, Palladio or Vauban.
Moreover, the outstanding universal value of each property is inseparable from the
personality of each of their creators and cannot be properly understood without taking
into account their respective cultural worlds. Each demonstrates the ability of a man to
globally design a universally outstanding work.
Also On the Tentative List are two proposals based on a major architect’s entire work.
These are:
• Belgium: The Architectural Work of Henry van de Velde [i, ii, registered in 2008]
• United States of America: The Frank Lloyd Wright Buildings [i, ii, registered in 2008]
Beyond their undeniable qualities, these major works also reflect a profound change in
the place of the architect in contemporary society. The increasing part played by
twentieth century architectural journals, and later by the media in general, has gradually
exposed architects more and more to the general public. From the outset of the 20th
century, the world of architecture was equally affected by a growing customisation of
architecture in parallel with other artistic professions like painting, film, music and
literature. This development, which has intensified in recent decades, legitimates the
status now given to series of works designed by the same architect.
From this point of view, The Architectural Work of Le Corbusier is exceptional, given the
extent to which Le Corbusier stands out as one of the staunchest defenders of modernity.
Most of his colleagues,as well as critics and historians generally, concede his privileged
place as a spokesman, and even as a guide or a master.
3] A unique serial transnational Property on a global scale
The World Heritage List already comprises 24 transboundary Properties, almost all of
which (22 out of 24), bring together a heritage that is common to two adjoining countries.
But, apart from the Struve Geodetic Arc involving ten adjoining states [LPM 2005], these
transboundary Properties are confined to relatively small territories, their “regional”
status (from a global point of view) reflecting what was the limited extent of many
cultural exchanges over the millenia.
The Architectural Work of Le Corbusier is the first transnational file involving seven
countries and three continents: Europe, Asia and America.
This series is the result of a selection made from eleven countries on the four continents
in which Le Corbusier built. The fact of compiling such a file is in itself significant, because
it reflects, from the beginning of the twentieth century, a hitherto unprecedented
globalization of cultural exchanges and, at the same time, the evolution of architectural
creation from a local or national to an international status.
The Architectural Work of Le Corbusier is the

first Property of this kind, because Le Corbusier Tableau comparatif de Nombre de pays où ces architectes
is the first architect in the history of mankind l’internationalisation de la ont construit ou projeté
to have acquired this global importance. His pratique architecturale
contribution to architecture can only be au XXe siècle. réalisations projets
understood at this level.
From this point of view, The Architectural Work Le Corbusier 11 11
of Le Corbusier is a Property without parallel
in the current World Heritage List, but also Alvar Aalto 10 3
without any possible equivalent in the future, Walter Gropius 7 6
supposing that a serial file were to be proposed
Ludwig Mies van der Rohe 6 3
on the work of his principal contemporaries:
Walter Gropius, Alvar Aalto, Mies van der Rohe Adolf Loos 5 6
and Frank Lloyd Wright, to name but a few. Franck-Lloyd Wright 5 –
Before Le Corbusier, no architect had built in as
many countries and continents. Since then, the Gerrit Rietveld 4 3
internationalization of architectural practice has Louis Khan 4 3
become a characteristic of contemporary
Johannes Jacobus Peter Oud 2 2
creation.

223
4] A Property composed of learned works: monumental or modest
Since their completion, certain of the seventeen elements making up the Nomination
have acquired the status of “sublime” or “iconic” works, whether through their formal
qualities, through the immediate impact they have had in the architectural output of the
Modern Movement, or in the artistic and intellectual debates underpinning it. These
constructions possess outstanding expressive power and display an extremely high level
of invention, whether in formal, spatial, technical or sociological terms.
Other buildings are major proposals in terms of the industrialization of building practice
or the definition of design types, or they cater to a population that until the twentieth
century was denied access to buildings designed by architects. Some are of modest size.
Their formal qualities, often innovative beyond their artistic value,are evidence of a
marked change from nineteenth century architectural practice. Now, even leading
international architects were increasingly turning way from prestige commissions
towards quality solutions for standard production.
Monumental or not, they are all learned and indissociable. Brought together in this
Nomination, they are all outstanding examples of the evolution of the Modern
Movement on the one hand and, on the other hand, the irreversible revolution in
twentieth century architecture, abandoning an elitist and essentially artistic practice
for a form of social vocation turned towards the community of men and women.
Le Corbusier himself announced this in his early twenties:
* Vers une architecture, “Today, architecture is concerned with the house, with the ordinary, everyday house for
Le Corbusier, dans l’introduction normal, everyday people. It is no longer preoccupied with palaces. This is a sign of the
de la seconde édition de 1924. times.”*
As a result, our view of heritage is transformed. The Property proposed here, seen as a
whole, attests to this.
Among the Properties already on the World Heritage List, certain series come within a
comparable heritage approach. This is particularly true of the Frontiers of the Roman
Empire [LPM 1987, 2005, 2008, ii, iii, iv], or the Routes of Santiago di Compostela in
France and Spain [LPM 1993, 1998, ii, iv, vi]; not all the defensive sections of the former,
nor all the little chapels of the latter, are necessarily works of outstanding universal value
when each is seen individually. But it is precisely their belonging to a group which also
includes prestigious creations in terms of art history, and their ability to reflect an
essential period or phenomenon in human history, that legitimize their existence in these
Serial Properties. This is also the case of the Wooden Churches of Southern Małopolska
[LMP 2003 iii, iv], or the Rock Sites of Cappadocia [LPM 1985 i, iii, v, vii] and, naturally,
of the Prehistoric Pile Dwellings around the Alps [LPM, 2011, iv, v].
In the twentieth century, the Berlin Modernism Housing Estates | LPM 2008, ii, iv], and
certain objects making up the Serial Properties of the City of Le Havre rebuilt by Auguste
Perret [LPM2005, ii, iv] or the White City of Tel Aviv [LPM2002, ii, iv] also already
correspond to this approach. These are complex urban ensembles, whose richness
derives from their heterogeneity.
Seen in this way, the seventeen elements that constitute The Architectural Work of Le
Corbusier are exemplary of an architect who enshrined this human and social dimension
in his practice and his theoretical discourse.
Summary table of the criteria of selection applied to all of Le Corbusier’s buildings
Significant Satisfactory Satisfactory Protected

component in degree of state of under national
Name of the work terms of the OUV authenticity conservation law
of the Property
1905-1907
Villa Fallet NO NO YES YES
La Chaux-de-Fonds ; Suisse
1908-1909 YES
Villa Stotzer NO NO YES uniquement
La Chaux-de-Fonds ; Suisse les extérieurs
1908-1909 YES
Villa Jacquemet NO NO YES uniquement
La Chaux-de-Fonds ; Suisse les extérieurs
1912 YES
Villa Favre-Jacot NO YES YES uniquement
Le Locle ; Suisse les extérieurs
1912
Villa Jeanneret-Perret NO YES YES YES
1916
Maison Schwob NO YES YES YES
1916 YES
Cinéma La Scala NO NO NO façade arrière
La Chaux-de-Fonds ; Suisse uniquement
1917
Château d’eau de Podensac NO NO NO YES
France
1917
Cité ouvrière de Saint-Nicolas NO NO NO YES
d’Aliermont ; France
1922-1923
Villa Besnus NO NO NO NO
Vaucresson ; France
1923
Maisons La Roche et Jeanneret YES YES YES YES
Paris ; France
1923
Petite villa au bord du lac Léman YES YES YES YES
Suisse
1923-1924
Résidence-atelier Ozenfant NO YES YES YES
Paris ; France
1923-1925
Résidence-atelier Lipchitz NO YES YES YES
Boulogne Billancourt ; France
1923-1925
Cité ouvrière de Lège NO YES NO YES
France
1923-1926
Résidence-atelier Miestchaninoff NO YES YES YES

225
Name of the work component in degree of state of under national
terms of the OUV authenticity conservation law
of the Property
1924
Cité Frugès YES YES YES YES
Pessac ; France
1924-1928
Villa Planeix NO YES YES YES
Paris ; France
1926
Maison Guiette YES YES YES YES
Anvers ; Belgique
1926
Maison Cook NO NO YES YES
1926-1928
Villa Stein et de Monzie YES NO NO YES
Garches ; France
1927
Maisons de la Weissenhof-Siedlung YES YES YES YES
de Stuttgart ; Allemagne
1928-1931
Villa Savoye et loge du jardinier YES YES YES YES
Poissy ; France
1928-1931
Villa Baizeau NO YES NO NO
Carthage ; Tunisie
1929
Cité de Refuge de l’Armée du Salut NO NO NO YES
Paris ; France
1929
Asile flottant de l’Armée du Salut NO NO NO YES
Paris ; France
* 1929-1935
Centrosoyuz YES YES NO NO
Moscou ; Russie
1930
Immeuble Clarté YES YES YES YES
Genève ; Suisse
1930
** Pavillon suisse à la Cité YES YES YES YES
universitaire de Paris ; France
1931
Immeuble locatif à la Porte Molitor YES YES YES YES
Paris ; France
1929-1931
Villa de Mme de Mandrot NO YES YES YES
Le Pradet ; France
1934-1935
Villa Henfel NO NO NO NO
La Celle Saint-Cloud ; France
* Œuvre se trouvant dans des États parties ou appartenant à des propriétaires n’ayant pas souhaité participer à ce dossier de candidature.
** Élément signifiant au regard de la VUE mais dont les qualités sont déjà présentes dans d’autres éléments retenus.
Name of the work component in degree of state of under national
terms of the OUV authenticity conservation law
of the Property
1935
Villa Le Sextant NO YES YES NO
La Palmyre ; France
1945
Unité d’habitation YES YES YES YES
Marseille ; France
1946
Manufacture à Saint-Dié YES YES YES YES
Saint-Dié-des-Vosges ; France
1948-1953
Unité d’habitation NO YES YES YES
Rezé-les-Nantes ; France
1949
Maison du Docteur Curutchet YES YES YES YES
La Plata ; Argentine
1950
Chapelle Notre-Dame-du-Haut YES YES YES YES
Ronchamp ; France
1951
** Maisons Jaoul YES YES YES YES
Neuilly ; France
1951
Cabanon de Le Corbusier YES YES YES YES
Roquebrune-Cap-Martin ; France
1952
Complexe du Capitole YES YES YES YES
Chandigarh ; Inde
1950-1965
Autres œuvres de Le Corbusier YES NO YES NO
Chandigarh ; Inde
1953
Couvent Ste-Marie-de-la-Tourette YES YES YES YES
Éveux ; France
1953-1959
Pavillon du Brésil NO NO YES YES
Paris ; France
1953-1973
Gymnase NO NO YES NO
Bagdad ; Irak
* 1954
Palais des filateurs YES YES YES NO
Ahmedabad ; Inde
1955
Musée National des Beaux-Arts YES YES YES YES
de l’Occident
Tokyo ; Japon

227
component in degree of state of under national
Name of the work terms of the OUV authenticity conservation law
of the Property
1955
Maison de la Culture de Firminy YES YES YES YES
Firminy ; France
1953-1969
Centre de recréation du corps YES NO YES YES
et de l’esprit de Firminy – France
1955-1965
Barrage NO NO YES NO
Bhakra ; Inde
* 1956
Villa Sarabhaï YES YES YES NO
Ahmedabad ; Inde
* 1956
Villa Shodan YES YES YES NO
Ahmedabad ; Inde
1956-1958
Berlin ; Allemagne
1956-1963
Briey-en-Forêt ; France
* 1958
Musée Sanskar Kendra YES YES YES NO
Ahmedabad ; Inde
1959-1969
Unité d’habitation YES NO NO YES
Firminy ; France
1960-1962
Écluse NO YES YES YES
Kembs Nifer ; France
* 1960-1963
Carpenter center for visual Arts YES YES YES NO
Cambridge, États-Unis
1964-1967
Centre Le Corbusier
NO NO
« Pavillon de l’Homme » YES YES
Zürich ; Suisse
228 L’ŒUVRE ARCHITECTURALE DE LE CORBUSIER Une contribution exceptionnelle au Mouvement Moderne

DOSSIER DE CANDIDATURE • CHAPITRE III • Justification de l’inscription
III – 3 / Draft Statement of Outstanding Universal Value
III – 3(a) / Brief Outline
a (i) Factual Description

The Architectural Work of Le Corbusier was designed and built between a pioneering
period in the birth of the Modern Movement – the early 1920s – and the mid 1960s, when
this architecture had begun to be challenged, having passed from avant-garde status to
that of a globally dominant architectural style. The Architectural Work of Le Corbusier
reflects the history of the Modern Movement through half a century. It demonstrates a
radical break with the styles, design methods, technologies, and construction practices
of previous centuries.
The Architectural Work of Le Corbusier is a Serial Property, as defined by Article 137 of

the guidelines of the World Heritage Convention.
It comprises 17 component parts, distributed among seven countries on three continents:
Germany, Argentina, Belgium, France, India, Japan and Switzerland.The Property has been
part of a globalized geographical zone since 1972, a unique situation, which illustrates
the profound transformation of contemporary architecture and the architectural
profession in the twentieth century. The constituent parts ofThe Architectural Work of
Le Corbusier belong to the same historico-cultural group, that of the Modern Movement.
Identification



229
III – 3(b) / Justification of Criteria
1] Criterion (ii)
The Architectural Work of Le Corbusier exhibits an unprecedented interchange of human
values and a remarkable debate of ideas, on a worldwide scale lasting half a century, on
the birth and development of the Modern Movement. Faced with a world dominated by
academicism, The Architectural Work of Le Corbusier revolutionized architecture by
demonstrating, in an exceptional and pioneering manner, the invention of a new
architectural language that made a break with the past. The Architectural Work of
Le Corbusier marks the birth of three major trends in modern architecture: Purism, Brutalism
and sculptural architecture. The global influence reached by The Architectural Work of
Le Corbusier on four continents is a new phenomenon in the history of architecture and
demonstrates its unprecedented impact. The influence of the buildings comprising this
series is all the more powerful as The Architectural Work of Le Corbusier was further
propagated by the architect’s many writings, immediately disseminated and translated
throughout the world. This unique complementarity between the built work and the
publications made Le Corbusier the main spokesman for the new architecture and The
Architectural Work of Le Corbusier a subject of endless observation, analysis and
commentary as well as a worldwide source of either inspiration or constant opposition.
2] Criterion (vi)
The Architectural Work of Le Corbusier is directly and materially associated with the ideas
of the Modern Movement, of which the theories and works possessed outstanding
universal significance in the twentieth century. The Property proposed represented a
“New Spirit” and tended towards a synthesis of the arts that was at a crossroads
between architecture, painting and sculpture. The Architectural Work of Le Corbusier is
an outstanding contribution to the solutions that the Modern Movement sought to apply
to the major challenges of the twentieth century:
> invent a new architectural language;
> modernize architectural techniques;
> respond to the social and human needs of modern man.
The Architectural Work of Le Corbusier materializes Le Corbusier’s ideas, powerfully
relayed by the International Congress of Modern Architecture (CIAM) from 1928. The
contribution made by The Architectural Work of Le Corbusier to these major challenges
of the twentieth century is not merely the result of an exemplary achievement at a given
moment, but the outstanding sum of built and written proposals steadfastly
disseminated worldwide through half a century.
III – 3(c) / Statement of Integrity

The task of selecting the parts making up The Architectural Work of Le Corbusier led to
retaining those which, taken together as a group, contribute significantly to the attributes
that constitute the O.U.V. of the Property. The Architectural Work of Le Corbusier supplies
a unique set of responses to the major issues addressed by the Modern Movement over
a period of half a century.
Some of these constructions are formally unique while others, in contrast, show by their
modesty the preoccupations of modern architecture with the question of the greatest
number; some are aimed at standardized type of architecture, others are works of
synthesis or prototypes. The diversity and heterogeneity of the series cannot be
interpreted as a weakness, since these qualities are intrinsic to the architectural
revolution of the twentieth century. On the international level, this architectural
revolution was creatively orientated as much toward the everyday life of modern man
as to the traditional sphere of large public or private commissions. The uniqueness of
this architecture lies precisely in this revolution of values. This is a world heritage of a
radically new kind, which has acquired a long term character.
In this respect, The Architectural Work of Le Corbusier, with its exceptional level of
integrity and authenticity, reflects much better the profound changes in twentieth century
architectural creation than a mere adding-up of iconic achievements by great names of
twentieth century architecture, with the elitist aesthetical approach that this implies.
III – 3(d) / Statement of Authenticity

The authenticity of the Serial Property The Architectural Work of Le Corbusier hinges on
its capacity to express its universal value when seen as a group. The series comprises
pioneering and forward-thinking solutions to the major challenges of architecture and
society, put forward on a global scale through half a century with energy and fortitude.
For a period of this length, and on such a historically unparalleled scale, the series is
unquestionably of outstanding universal impact. Within the group, each construction
makes a powerful and exemplary contribution. Their being brought together in a
complementary relationship amounts to an exceptional testimony to the development
All the component parts of the Property are constructions by Le Corbusier, designed and
completed during his lifetime in his studio.
At the present time, they all display a high level of internal and external conservation.
The forms, distribution, spatial composition, colour and materiality of the works present
a high level of fidelity. Moreover, with few exceptions, these constructions have retained
their original use, thereby favouring the proper care and maintenance of both the interior
spaces and the facades. Many have recently undergone restoration campaigns based
on extensive preliminary studies: these are Maisons La Roche et Jeanneret, Maisons de
la Weissenhof-Siedlung, Immeuble Clarté, Unité d’habitation de Marseille, Couvent
Sainte-Marie-de-la-Tourette, Maison de la Culture de Firminy. The environment of some
elements in the series has changed since their construction but, on most sites, urban
and landscape control procedures have been implemented or are under consideration.
III – 3 (e) / Protection and Management

Requirements
All the component parts of the Property were at an early date afforded protection under
the national legislation of the countries in which they are situated; an exceptional fact is
that some were actually given protection during the architect’s lifetime. Some benefit
from several levels of protection. The majority of them belong to private owners and
have retained their original function, this being in many cases a guarantee of good
management. Most have already undergone restoration campaigns under the
supervision of the authorities for the protection of Historic Monuments in their respective
countries.
Finally, in each country, preparation of the nomination file for The Architectural Work of
Le Corbusier has led to reinforcement of the level of protection and monitoring of
Le Corbusier’s works and the drawing up of local management plans. These have been
implemented on a partnership basis between owners and the cultural, heritage and
planning departments of the local authorities on whose land the works are situated.
Protection and Management, Long Term Goals

The task of preparing the nomination file of The Architectural Work of Le Corbusier has
greatly strengthened links between public and private owners and managers of the
constituent parts of the Property, but also with those of buildings not selected. Key players
in this continuing process are the Le Corbusier Foundation, the Association of
Le Corbusier Sites and the Standing Conference. Since 1968, the date of its creation, the
Fondation Le Corbusier, an organization wished for by the architect himself, constitutes
not only a well stocked resource centre that is indispensable for the knowledge and
management of the Property, but also an efficient network connecting up the various
sites containing works by Le Corbusier.

231
As part of the preparation for this application, the network was considerably reinforced
by the creation in 2009 of the International Association of Le Corbusier Sites, comprised
of local authorities on whose land are situated the component parts of the Property and
whose primary objective has been to facilitate the coordinated implementation of local
management plans.
Finally, with a view to better management of the Property, a Standing Conference

between the seven States Parties has been set up to ensure efficient management
coordination of the different parts making up the series, while at the same time showing
all respect for the prerogatives of each country in terms of protection, conservation and
heritage management. The work group set up to prepare this nomination in 2003
prefigured the Standing Conference.
Textures rugueuses et brutalistes

à l’Unité d’habitation de Marseille,
France, à la Chapelle Notre-Dame-
du-Haut de Ronchamp, France,
intérieurs et extérieurs, et à la
Haute-Cour de Chandigarh, Inde.
CHAPTER IV
> State of
Conservation
and factors
affecting the
Property

NOMINATION FILE • CHAPTER IV • State of Conservation and factors affecting the Property
233
IV (a) / Present state of conservation of the Property
One of the essential criteria used in selecting the seventeen elements of the series The Architectural Work
of Le Corbusier was that of their current state of conservation. Only buildings in a very good state of
conservation were chosen.
Since the nomination procedure was implemented, meetings of experts from seven countries have facili-
tated a fruitful exchange on techniques for the restoration and maintenance of this heritage at an interna-
tional level. These exchanges foreshadow some of the issues to be addressed by the future permanent
conference to coordinate management of the Property.
Preparation of the file also helped to encourage an exchange of views and experience in France, bringing
together the different Historical Monuments services concerned. Discussions focused on roof terraces, the
maintenance of concrete, façades, the finishing work and polychrome.
Other criteria also explain the present very good state of the Property.
Permanence of the original functions

All the components of The Architectural Work of Le Corbusier have benefited and still
benefit from uses consistent with their original functions, this being a major conservation
factor. Only six components have not kept their original function, but they are all
preserved in their original state. Devoted to promoting Le Corbusier’s work and open to
the public, they are the object of special attention on the part of their managers.
Early protection
All the component parts of The Architectural Work of Le Corbusier received early protection
under the regulations on historic monuments in their respective countries. This quite
exceptional interest, expressed in France as early as 1964, enabled sustained quality
maintenance, which also explains the very good state of conservation of the Property.
Efficient systems of protection and conservation

The Property is presented by States parties in which heritage protection and conservation
services have a long history and extensive experience in diagnostics and maintenance
or restoration of historic monuments. In the same way as for an older heritage, The
Architectural Work of Le Corbusier has been given sustained attention, which explains
the very good general state of the Property.
Intense research activity

The selected buildings also benefit, like all of Le Corbusier’s work, from the constantly
renewed findings of intense research activity. Most of the major universities around the
world support and regularly supervise research work at master or doctorate level on the
many aspects of Le Corbusier’s output. This work, extended by intense publishing activity,
also contributes to the quality of maintenance and restoration work. The recent study by
Tiziano Aglieri Rinella on Maisons La Roche and Jeanneret conducted under the direction
of Bruno Reichlin, professor at the University of Geneva, is exemplary in this respect.
Every year the Le Corbusier Foundation finances a research fellowship on Le Corbusier’s
work, which also enriches knowledge on the subject and in return contributes to the
upkeep of his buildings.
An exceptional resource centre

All these studies have benefited from the opening up of the Le Corbusier archives, its
35,000 plans, 500,000 written documents and thousands of old photographs being an
unparalleled resource centre for the maintenance, restoration and proper conservation
of the Property.

235
Restoration, conservation, enhancement
Reflections on the specifics of modern heritage
Preparing the nomination file of The Architectural Work of Le Corbusier. An Outstanding
Contribution to the Modern Movement was an opportunity to start thinking about the
restoration, preservation and enhancement of the 20th century modern heritage. Recent
years have been rich in restoration projects involving remarkable and prestigious
buildings.
Should this heritage be addressed or dealt with in the same way as the heritage of
previous eras? Does it imply a different approach in terms of restoration-oriented studies,
analysis, orthodoxy, interpretation, choices and decisions? If so, what are the specifics
of modern heritage, what are the fields of application in which these differences appear?
The nomination file of The Architectural Work of the Corbusier is an opportunity to take
stock of these questions and enrich several years of practice. It is of course impossible
to generalize, but some guidelines may be inferred.
> A relatively recent period

Between restoration and maintenance
Some buildings are at present nearly 80 years old, which is little compared with those
of earlier periods but already very considerable from a heritage point of view, if only in
ensuring day-to-day maintenance. After the first protection campaigns, which in many
cases made possible the first restorations, many buildings in the second half of the twentieth
century are now demanding onerous or urgent interventions that qualify as restoration.
Depending on the continent concerned and the vagaries of history, changes in regime
have sometimes led to the abandoning of buildings.This is particularly true of the countries
of the former Soviet Union or, in Africa, of buildings from colonial times heavily influenced
by the Modern Movement (even by Le Corbusier himself). In some cases, these also suffer
from cultural rejection.
> Plentiful but often underused archives

The documentation and archives concerning the buildings are often plentiful but little
used, and they are also fragmented. The oral literature is still rich but fragile; it remains
to be identified and inventoried in a race against time. Still living eyewitnesses can pro-
vide first-hand data not yet collected systematically. As often, the issue of lack of detailed
knowledge is recurrent in the conservation of works of the Modern Movement. Mono-
graphic studies are outdated or simply do not exist, even for ‘famous’ buildings.
Furthermore, it is necessary to reconsider the critical fortune of the buildings and the
canonical historiography that has more or less intentionally ‘fabricated’ views and
stereotypes that are still rooted in people’s minds. The issue of white façades for exam-
ple, an idea conveyed more or less by the iconography of the time (black and white pho-
tography) is now changing, thanks to restoration work allowing trial sampling and
specific studies of the colours and materials used, as well as examining sources and
archives (identifying firms existing at the time, studying purchase orders, technical
catalogues, etc.).
Knowledge improvement and the encouragement of research will be further developed
under the joint management plan and the Standing Conference action plan. This will
include the development of monographic studies, both historical ones and those dealing
with conservation status. The project of ‘conservation archives’, which is being piloted
by the Le Corbusier Foundation, is part of this action.
> The paradox of industrial materials

The permanence of vernacular techniques
The use of standardized and industrially produced materials was a continuing preoccu-
pation in Le Corbusier’s thought. But theory and practice often failed to correspond here,
either for reasons of the capacity of local businesses, or of norms and culture with regard
to project management, especially in the early 20th century, or again because of the
innovative or experimental processes being implemented. Once again, the paradox of
modern heritage lies in a lack of detailed knowledge, despite documentation that is
extensive if incomplete.
> Received wisdom and the comprehension of industrial materials
Impact on the interaction between project ownership and project management
Some industrial and serial products are no longer available today, especially for building
completion work. The paint, insulation, plumbing fixtures, electrical systems, flooring,
door and window frames, glass bricks etc. of these buildings no longer correspond to
present-day standards.
More than actual interpretation and technical choices, received wisdom and theory, what
is new by comparison with interventions on older structures is the need for communi-
cation, an exchange of information, a dialogue between restorer and project manager.
The pseudo-familiarity of these modern elements, their relative newness (their existence
is still within living memory) do not give them the sacrosanct remoteness of an equiv-
alent object that is three centuries old. Similarly, for decision makers or project man-
agers, the quasi-vernacular character of a standard door or window, an industrial
sandstone tile or a hardboard panel deprive them of ‘aura’.Their difficulty in understanding
that such materials can have qualities of authenticity or integrity represents a risk of
irreversible deterioration for the work.
> Diagnosis and restoration of concrete

The treatment and waterproofing of concrete is a recurrent issue for 20th century heritage
and that of Le Corbusier in particular. New technologies and methods of diagnostic and
treatment are developing, while still promising to be a field for experimentation and
research for some time to come. Research and experimental action programmes on the
proposed buildings also need to be developed in partnership with restoration centres,
specialist laboratories and construction companies.
The pathology of reinforced concrete, its natural acidification eventually jeopardising
the stability of metal frames, a pathology resulting from the extremely tentative work,
with rebars exposed, carried out in the first two thirds of the 20th century has finally been
addressed in the last thirty years or so. In France, with the support of the Champs-sur-
Marne Research Laboratory for Historical Monuments, treatment of flagship buildings
such as the Auguste Perret churches with their concrete screen walls have helped to clar-
ify the issues and, in some cases, to opt for the identical replacement of structures that
have become too degraded. Le Corbusier himself had been faced with numerous repairs
during his lifetime, including the undressed concrete walls to which he wished to give
special aesthetic value. Today, surface degradation of concrete and corrosion of frame-
works remain a recurrent problem in all modern buildings, previous restorations having
become obsolete. Solutions for comprehensive interventions that are hoped to be more
sustainable, can come from understanding the chemical phenomena at work and devel-
oping processes (including electrical ones) to allow realkalisation of the concrete. How-
ever, the question of identically rebuilding elements that are too thin or too degraded
(as recently some railings of the Marseille Unité d'Habitation) remains on the agenda.
Seals for the roof terraces that are found throughout Le Corbusier’s architecture (and in
the Modern Movement in general) are another major issue for the preservation of the
buildings. The original methods are generally inadequate and obsolete. Successive
repairs have had an adverse impact on the appearance or use of the buildings, which
are now in need of a major overhaul. While sealing techniques for terraces have now
been refined, and are protected by strict standards, the question is not so much that of
the materials themselves, but of the treatment of accesses and openings while strictly
respecting the original architecture.
> Implementation and expertise

Modern Heritage requires expertise tailored to specific techniques. These call for the
skills of architect restorers and specialized craftsmen – skills that are specialized or new –
and the development of different restoration methods for modern heritage. Such methods
are still in a minority compared to well-tried practice on better mastered conventional
sites.
At present there are probably fewer firms and craftsmen skilled in the restoration and
repair of reinforced concrete than journeymen stonemasons apt at working on a medieval
or 17th century building.

237
> Norms, standards, security, responsibility
As is the case for buildings of other periods, restorers and project owners involved in the
restoration of modern heritage are confronted with increasing constraints in construction
standards and usage. Even if exceptions are often prescribed in national laws, the trend
is obviously towards a reinforcement of standards. The challenge is to find a balance
between interpretation and strict enforcement of regulations. Adopting a preventive
approach to fire safety questions is preferable to intrusive standardisation that involves
modifying spaces with fireproof partitions. Buildings open to the public are particularly
affected by approaches that are too exclusively normative and little concerned with context.
Ultimately, it is essential to be able to take the context into account, to work on details,
to develop technical and aesthetic expertise and a return to non-standardized practice.
These principles should be applicable to the constraints involved in the legal responsi-
bility of project managers.
The challenge lies more in the ability to create a working relationship with non-specialized
companies and therefore to draft specific bills of specifications and different operating
procedures, in an environment habitually working with a chain of stakeholders and
possessing its own technical culture.
> Reuse, new uses, restoration and reconstruction

Buildings protected on heritage grounds need to be able to continue active lives. The
difficulty is to identify the heritage features that cannot be changed without radically
altering the authenticity and integrity of a work. This question obviously goes beyond
specifically modern heritage issues.
Strictly speaking, Modern Heritage does not have specific conservation requirements,
but it this is still a recent field and deserves to be equally respected. it is vital that
research should be developed. As in all heritage areas, knowledge is built by gaining
experience from work on projects, through field work and direct experience of buildings.
This knowledge must be disseminated, shared and developed among specialists but
also, and especially so, among users, decision makers and managers.
General conservation problems

Le Corbusier’s buildings may be described in terms of three types of implementation.
1] During the Purist period, buildings were made with a reinforced concrete frame com-
pleted by filling masonry, the structure being covered with rendering on which were
optionally applied white or coloured washes. The door and window frames consisted of
both wood and metal work. These buildings were covered with flat roofs. Constant main-
tenance has ensured perfect sealing of the terraces and the repair of façade renderings
through simple refacing work including identical restoration of exterior joinery. Where
these interventions have necessitated changing the original material, particularly in the
past, the spirit, appearance, and original principles of implementation have been main-
tained. Recent research has increasingly focused on rediscovering the lost polychromies
of this architecture.
2] From the 1930s onwards, buildings made considerable use of glass walls combining
a metal frame and glass products. Refacing work, with regular repainting of metal struc-
tures or replacement of corroded parts, has helped to maintain the original configurations.
Despite daily use, adaptation to present day climate standards remains very limited,
thus allowing the original glazing to be maintained.
3] Postwar Brutalist architecture gave up using façade renderings in favour of primary
materials such as reinforced concrete for the structure and wood for exterior joinery.
These buildings were confronted with weathering phenomena, such as carbonation,
affecting the concrete. Pathologies of this kind are now being subjected to highly inno-
vative research by heritage services (e.g. the Research Laboratory of Historical Monu-
ments in France - LRMH). Some restoration projects are proving to be experimental sites
for new concrete restoration technologies in line with the latest theories on the conser-
vation of archaeological material (realkalisation techniques or application of corrosion
inhibitors). However, the interiors of all Le Corbusier’s buildings have at different times
undergone compliance measures related to changes in their use or layout. Current
restoration projects include rediscovering the buildings’ authentic internal organization
and making compliance measures as unobtrusive and respectful of the original structures
as possible.
IV (b) / Factors affecting the property
It would be futile to attempt to identify general factors affecting an entire trans-national series spread over
seven countries and three continents. Nevertheless, the creation of the Standing Conference has enabled
constant vigilance on overall threats to the Property; the situation of the various component parts of the
Property - urban sites within cities or medium-sized cities, urban fringes, rural sites - involve factors too
varied to identify patterns. It should however be noted that all the items listed in this series are located in
the centre of geographical areas often benefiting from several levels of effective protection. These guarantee
the integrity of components of the Property against external pressures.
IV (b) i – Development pressure

With the exception of the Chapelle de Ronchamp, all the components of the Property
are located in urban environments, where development pressures are potentially con-
siderable. However, fourteen of the seventeen items of the series are not currently under
any particular pressure, mainly due to a reinforced system of regulations that effectively
protects them.
The four components currently affected by a project located in their proximity and liable
to affect their integrity and the overall integrity of the Property, have been subjected
to studies, consultation procedures, discussions or interventions that have helped to
substantially reduce or even eliminate any negative impact.
• The property development project near the Petite villa au bord du Lac Léman is
being accompanied by a conciliation procedure, under the supervision of local
and federal authorities, which aims to reduce negative effects on the villa.
• A landscape and impact study on the a road development project planned 800 m
below the Villa Savoye, reveals that it will have no adverse effect on views
towards the villa or from the villa.
• The reconstruction of the sports complex of the Jean Bouin stadium in front of the
Immeuble Molitor has taken Le Corbusier’s building into account and preserves the
present views towards the building and from the building. The new sports complex
has respected the Radiant City conditions desired by Le Corbusier in building
Immeuble Molitor.
• The St Clare monastery project planned on the hill where the Chapelle de Ronchamp
is situated, was very considerably modified following discussions and studies
undertaken by the Fondation Le Corbusier.The monastery is almost entirely embed-
ded in the hillside and the new landscaping project has been better integrated.
Thus, the Property as a whole is not subject to development pressure, in part thanks to
its efficient protective systems but also to the vigilance of the Fondation Le Corbusier
and the measures it has taken. This action has now been taken over by the Standing
Conference and, in the field, by the competent bodies at national and regional level and
the Association of Le Corbusier Sites, which involves the local authorities concerned.
IV (b) ii – Environmental pressure

Thirteen of the seventeen components of the Property suffer from no environmental
pressure. Two are subject to noise or pollution due to road or rail routes nearby, where
traffic has increased since their realization. These are the Cité Pessac in Frugès and
Maison Guiette in Antwerp. The Complexe du Capitole may in the future experience noise
and pollution due to possible development of high-rise buildings north of the site. Only
Le Corbusier’s Cabanon, situated on the sea coast, is subject to climate pressure for this
reason. But experience has shown that regular maintenance for more than half a century
has helped to overcome this problem.
Consequently, if some components are located in an environment which may be a
source of pollutants to the inhabitants, noise pollution in particular, the Property as a
whole is free from environmental pressure, in particular any pressure that might threaten
the physical integrity of each of its component parts.

239
Visite de l’Appartement-atelier
de Le Corbusier, public scolaire.
Ph. Sybil Meunier, 2014.
IV (b) iii – Natural catastrophes and advance planning

Four of the seventeen components are subject to seismic risks, but to varying degrees.
These are: Chapelle Notre Dame du Haut at Ronchamp, the Musée National des Beaux-
Arts de l’Occident inTokyo, the Usine à Saint-Dié and the Complexe du Capitole in
Chandigarh.
Following the work done at the Tokyo museum in 1998, the building was insulated from
the ground and a device designed to ensure the sustainability of the structure (installation
of an anti-earthquake slab) was introduced without jeopardising Le Corbusier’s original
design, in order to protect the museum’s collections and ensure the safety of visitors.
IV (b) iv – Responsible visiting of World Heritage sites

Visitor pressure is perfectly managed by the various States parties. Fifteen of the seventeen
component parts that make up The Architectural Work of Le Corbusier are visitable, wholly
or in part, throughout the year, sometimes by appointment. Among those not open to the
public, Immeuble Clarté is however open to visitors on certain occasions. Only one item -
Maison Guiette - is currently not visitable. The Complexe du Capitole, made up of public
buildings, is subject to stringent safety regulations limiting access.
Visitor pressure - varying from a few annual visitors to nearly 70 000 at the Chapelle de
Ronchamp - therefore varies according to the sites and individual cases are set out
below.
It is worth noting the steady increase in requests for visits to all Le Corbusier sites since
the 1987 centennial year. This continued and growing interest in Le Corbusier’s work has
led several of the sites in question to make detailed studies of conditions for visitor
reception. Those concerned are Villa Savoye at Poissy, Chapelle Notre Dame du Haut at
Ronchamp, and the Maison de la Culture at Firminy.
CHAPTER V
> Protection
and
Management
of the
Property

NOMINATION FILE • CHAPTER V • Protection and Management of the Property
241
V (a) / Ownership
The buildings listed in The Architectural Work of Le Corbusier are for the most part pri-
vately owned. Only Villa Savoye (France), the Maisons de la Weissenhof-Siedlung in
Stuttgart (Germany), the Cabanon de Le Corbusier at Roquebrune-Cap-Martin (France),
the Complexe du Capitole in Chandigarh (India), the Musée National des Beaux-Arts de
l’Occident in Tokyo (Japan) or the Maison de la Culture in Firminy (France) belong to the
respective States Parties, or to other public authorities.
While the houses of Cité Frugès in Pessac (France) are mainly privately owned, there
are a skyscraper-type house belonging to the municipality and three houses - one of
each type - belonging to a public office for social housing.
Maison du Docteur Curutchet is a private building; its owners are the heirs of Dr. Pedro
Curutchet. Since 1990, the building has been rented by the family Curutchet to the Order
of Architects of the Province of Buenos Aires, a non-governmental organization, which
uses it as a cultural space for visits by small groups.
Three buildings are apartment buildings, Immeuble Clarté in Geneva, Immeuble Molitor
in Boulogne-Billancourt and the Marseilles Unité d’habitation.
Finally, among these seventeen constructions, two belong to the Fondation Le Corbusier.
These are Maisons La Roche et Jeanneret in Paris and the Petite Villa au bord du Lac
Léman at Corseaux in Switzerland. The Fondation Le Corbusier also owns the Le Cor-
busier apartment in Immeuble Molitor.
It should also be noted that several constructions still belong to the original sleeping
partners or their descendants: the Manufacture à Saint-Dié, the Chapelle Notre-Dame-
du-Haut at Ronchamp, the Complexe du Capitole in Chandigarh, the Couvent de la-
Tourette at Éveux, the Musée National des Beaux-Arts de l’Occident in Tokyo and the
Maison de la Culture at Firminy.
Points V (a), V (b) and V (c) are
detailed for each constituent
element of the Property in
V (b) / Protective designation the table on page 326 and
following.
All the constructions of The Architectural Work of Le Corbusier are subject to one or more
protective measures under the laws of each of the respective states parties concerned.
The majority of the constructions making up the Property were given early protection,
beginning with the Maisons de la Weissenhof-Siedlung in Germany in 1958 (seven years
before the death of Le Corbusier) and followed by the Unité d’habitation in Marseille,
France in 1964.
V (c) / Means of implementing protective

measures
The protection and management plans specific to each element of the Property are detailed
individually in the Appendices. However, it is worth recalling here the main lines of the he-
ritage and management protection framework in each of the States Parties participating in
The Architectural Work of Le Corbusier.

243
application of measures
N° COUNTRY Component part of Property Property Protective listing Application of measures

Localisation rights (component part of Property Component part of Property
and buffer zone: cf maps) and buffer zone
1 France Maisons La Roche Propriété privée Élément constitutif du Bien : Classement MH

et Jeanneret, Fondation • NATIONAL et champ de visibilité :
Paris Le Corbusier Classement Monument historique • DRAC (Direction Régionale des
en totalité Affaires Culturelles) Ile-de-France /
Zone tampon : Conservation des Monuments
Ilot urbain compris entre les rues du historiques (DRAC) / STAP (Service
Dr Blanche, Heine, Jasmin et Raffet Territorial de l’Architecture et du
Périmètre de 500 m autour du MH Patrimoine) de Paris
• LOCAL Plan d’urbanisme :
Plan Local d’Urbanisme : • Commune de Paris
secteur Maisons et villas Fondation Le Corbusier
2 Suisse Petite villa au bord Propriété privée Élément constitutif du Bien / Protection fédérale :
du lac Léman, Fondation Zone tampon : • Office fédéral de la culture
Corseaux Le Corbusier • NATIONAL : élément et ses abords Classement cantonal :
sous protection fédérale • Canton de Vaud
• RÉGIONAL : élément et ses abords Aménagement du territoire :
classés au niveau cantonal • Canton de Vaud / Commune de
• LOCAL : les dispositions du plan Corseaux
d’aménagement communal garantis-
Fondation Le Corbusier
sent la préservation et de l’élément
(périmètre inscrit) et de la zone
tampon.
3 France Cité Frugès, Propriétés Élément constitutif du Bien : Zone de Protection, MH,
Pessac privées • NATIONAL champ de visibilité :
La zone tampon s’appuie sur les • DRAC (Direction Régionale des
limites de la ZPPAUP. Affaires Culturelles) Aquitaine
Public :
Commune Inscription à l’inventaire des sites / Conservation des Monuments
de Pessac pittoresques du département de la historiques / STAP (Service Territorial
Office HLM Gironde (mars 1973). de l’Architecture et du Patrimoine)
Dix-huit maisons ont été inscrites de la Gironde
(douze) ou classées (six) monuments Site inscrit : DREAL, STAP
historiques depuis 2009.
Ces protections sont venues Plan d’urbanisme :
compléter celle de la maison située • Commune de Pessac
3 rue des Arcades, classée en 1980. Fondation Le Corbusier
Zone tampon :
• NATIONAL : Zone de Protection du
Patrimoine Architectural, Urbain et
Paysager
Périmètre de 500 m autour du MH
• LOCAL : Plan Local d’Urbanisme
4 Belgique Maison Guiette, Propriété RÉGIONAL Protection régionale :

Anvers privée Élément constitutif du Bien : • Agence du Patrimoine de Flandre
Etat, Monument Classé en totalité Aménagement du territoire :
Zone tampon : • Ville d’Anvers
Partie avoisinante de l’Ilot urbain • Province d’Anvers
compris entre les Populierenlaan, • Gouvernement flamand
Jan Van Rijswijcklaan et Kruishofstraat, Fondation Le Corbusier
et façades de l’autre côté des
Populierenlaan, Sparrenstraat,
Hortensiastraat et Kruishofstraat.

5 Allemagne Maisons de la Public • NATIONAL Dans le Land de Bade-Wurtemberg la

Weissenhof-Siedlung, La préservation des Monuments Loi sur la protection des Monuments
Stuttgart Bruckmannweg historiques relève en Allemagne de historiques du Bade-Wurtemberg fait
2: la compétence des Länder. autorité (Denkmalschutzgesetz DSchG).
Établissement • RÉGIONAL Dans le Bade-Wurtemberg, ces autori-
fédéral des Élément constitutif du Bien : tés sont chargées de la surveillance
affaires Composante d’un secteur sauvegardé et opèrent à trois niveaux :
immobilières de grande importance (Sachgesamtheit 1] Le Ministère des Finances et de
(Bundesanstalt von besonderer Bedeutung) en vertu l’Économie du Bade-Wurtemberg
für Immobilien- du § 12 de la Loi sur la protection des (Ministerium für Finanzen und
angelegenheiten Monuments historiques (Denkmal- Wirtschaft Baden-Württemberg)
(BImA). schutzgesetz Baden-Württemberg – comme autorité suprême
DSchG). 2] La présidence régionale de
Rathenaustrasse Zone tampon : Stuttgart (Regierungs-präsidium
1-3 : Cité du Weissenhof : secteur sauve- Stuttgart), circonscription administra-
Ville de Stuttgart gardé de grande importance en vertu tive intermédiaire du Land, comme
du § 12 de la Loi sur la protection des autorité supérieure
Monuments historiques (DSchG). 3] La ville de Stuttgart comme service
Les abords jouissent de la protection de protection des Monuments
par la loi selon §15 alinéa 3 DSchG. historiques de première instance.
• LOCAL La Direction régionale des Monuments
La cité du Weissenhof et ses abords historiques au sein de la Présidence
sont classés au titre de zone de régionale de Stuttgart (Landesamt für
protection du patrimoine urbain et Denkmalpflege im Regierungspräsi-
protégés par les prescriptions de dium Stuttgart) soutient les services
préservation en vertu du § 172 du de protection des Monuments histo-
code de l’urbanisme riques en matière de conservation et
(Baugesetzbuch). de protection pour l'application de la
Loi sur la protection des MH.
6 France Villa Savoye Public Élément constitutif du Bien : Classement MH

et loge du jardinier, • NATIONAL et champ de visibilité, sites :
Poissy État affecté Classement Monument historique • DRAC (Direction Régionale des
au Centre des en totalité (bâtiments, jardins) Affaires Culturelles) Ile-de France /
Monuments Conservation des MH / STAP (Service
Zone tampon :
Nationaux Territorial de l’Architecture et du
• NATIONAL
La création d'un périmètre de Patrimoine) des Yvelines
Protection Modifié du Monument • DRIEE IF (Direction Régionale et
historique est en cours. Les limites Interdépartementale de l’Environne-
de la zone tampon s'appuient sur ment et de l’Energie d’Ile-de-France)
celles de ce projet de PPM.
Périmètre de 500 m autour du Plan d’urbanisme :
Monument historique. Commune de Poissy :
La zone tampon est partiellement • Service de l’Urbanisme
couverte par un site classé (2005) et • Service Culturel
un site inscrit (1975-1976).
L’extension du site inscrit est Fondation Le Corbusier
en projet.
• LOCAL
• Zone de Plan de Prévention du
Risque Inondation de Poissy
• Zone du plan dans le Projet
d’Aménagement et de Développement
Durable du PLU de Carrières-
sous-Poissy

245

7 Suisse Immeuble Clarté, Propriétés Élément constitutif du Bien / Protection fédérale :

Genève privées (PPE) Zone tampon : • Office fédéral de la culture
• NATIONAL
Élément et ses abords sous Classement cantonal :
protection fédérale • Canton de Genève
• RÉGIONAL
Élément et ses abords classés au Aménagement du territoire :
niveau cantonal • Canton et Ville de Genève
• LOCAL
Les dispositions du plan de zones
garantissent la préservation de l’élément
(périmètre inscrit) et de la zone tampon
8 France Immeuble locatif Propriété Élément constitutif du Bien : Classement MH

à la Porte Molitor, privée • NATIONAL et champ de visibilité :
Boulogne-Billancourt Copropriété Classement Monument historique de • DRAC (Direction Régionale des
et Fondation l’appartement de Le Corbusier et Affaires Culturelles) Ile-de-France /
Le Corbusier inscription MH des couvertures et Conservation des Monuments histo-
façades sur rues, des courettes riques / STAP (Service Territorial
et du hall d’entrée de l’Architecture et du Patrimoine)
Zone tampon : des Hauts-de-Seine
• NATIONAL
Plans d’urbanisme :
Un périmètre spécifique a été dessiné
Commune de Boulogne-Billancourt
à partir du rayon de 500 mètres autour
• Service Ville d’art et d’histoire
du Monument historique et des
Commune de Paris
éléments identifiés dans le plan local
d’urbanisme de la commune de
Boulogne-Billancourt
• LOCAL
Règlement de copropriété de l’immeuble
Plan local d’urbanisme
Inscription dans le PLU de l’immeuble
dans un ensemble urbain à caractère
patrimonial au titre de l’article
L. 123-1-5° du code de l’urbanisme
9 France Unité d’habitation, Propriété Élément constitutif du Bien : État :

Marseille privée • NATIONAL • DRAC (Direction Régionale des
(copropriété) Classement Monument historique Affaires Culturelles) Provence-Alpes
(façade, terrasse, parties communes Côte d’Azur / Conservation des
Public : de circulation). Appartement n° 50 Monuments historiques / STAP
Ville de Marseille classé Monument historique en totalité. (Service Territorial de
(terrain) Parcelle cadastrale n° 4 section C. l’Architecture et du Patrimoine)
Zone tampon : des Bouches-du-Rhône.
• NATIONAL
Commune de Marseille
Dans le cadre de l'élaboration du plan
de gestion, un périmètre spécifique
a été dessiné à partir des périmètres
du secteur (Unité d'habitation et villa
Magalone) de 500 mètres de
Monuments historiques.
• LOCAL
Règlement de copropriété de l’immeuble
Plan local d’urbanisme de Marseille

10 France La Manufacture Propriété Élément constitutif du Bien : État :

à Saint-Dié, privée • NATIONAL • DRAC (Direction Régionale des
Saint-Dié-des-Vosges Classement Monument historique Affaires Culturelles) Lorraine /
(façade et couverture, structures en Conservation des Monuments
béton sur pilotis et bureaux sur la historiques / STAP (Service Territorial
terrasse du bâtiment principal). de l’Architecture et du Patrimoine)
Zone tampon : des Vosges
• NATIONAL
Commune de Saint-Dié-des-Vosges
Le périmètre défini pour la zone
tampon intègre le champ de visibilité
de 500 m autour du MH.
• LOCAL
Plan local d’urbanisme (étude pour
le volet patrimonial du PLU) :
un certain nombre de dispositions
pourront être intégrées afin de
permettre de garantir la préservation
de l'environnement paysager de la
manufacture (règles de hauteur,
règles concernant les coloris des
façade, règles concernant
l’implantation des nouvelles
constructions sur la parcelle).
11 Argentine Maison du Propriété • NATIONAL État :

Docteur Curutchet, privée Élément constitutif du Bien : Commission Nationale des Musées et
La Plata Monument historique national, dans de Monuments et Sites Historiques
le cadre de la Loi 12665. La protection
existante a été étendue aux deux Province :
bâtiments voisins. Commission du patrimoine Culturel de
Zone tampon : la Province de Buenos Aires
L’enceinte urbaine est protégée par
le décret 1308/1999 qui déclare Bien Commune de la Plata
d’intérêt historique le casque urbain Direction de la Préservation
fondateur de la ville. du Patrimoine
• RÉGIONAL
Élément constitutif du Bien :
Monument historique de la Province
de Buenos-Aires, dans le cadre de la
Loi 10419
• LOCAL
Élément constitutif du Bien :
La Maison Curutchet est dotée de la
catégorie de protection maximale selon
l’Ordonnance 10703/10 ; et de la Pro-
tection intégrale selon le Décret 1579/06.
Zone tampon :
Le code de planification urbaine de la
Municipalité de La Plata stipule que la
zone où se trouve le bien est reconnue
comme Zone Spéciale de Préservation.
Par l’Ordonnance Nº 10703/10, et le
décret 2418/11qui la modifie, et
l’Ordonnance Nº 10896/12, l’axe fonda-
teur EPP1 (b) et l’Avenue 1 EPP1 (d)
sont déclarés zone de protection
spéciale de préservation.

247

12 France Chapelle Notre-Dame- Privé • NATIONAL État :

du-Haut, Élément constitutif du Bien : • DRAC (Direction Régionale des
Ronchamp Association classé MH (chapelle y compris les Affaires Culturelles) Franche-Comté /
Œuvre Notre- « objets » et bâtiments de Le Corbusier). Conservation des Monuments
Dame-du-Haut Zone tampon : le périmètre de la zone historiques / STAP (Service Territorial
tampon a été dessiné en prenant en de l’Architecture et du Patrimoine)
compte les protections déjà existantes. de Haute-Saône
• NATIONAL : Champ de visibilité de
500 m autour des MH. Site inscrit. Parc Naturel Régional des Ballons
La mise en place d’une AVAP est des Vosges
projetée.
Commune de Ronchamp
• RÉGIONAL : Parc Naturel Régional
des Ballons des Vosges
• LOCAL : Plan local d’urbanisme
13 France Cabanon de Le Corbusier, Public Élément constitutif du Bien : État :

Roquebrune-Cap-Martin • NATIONAL • DRAC (Direction Régionale des
Conservatoire classé Monument historique (l’en- Affaires Culturelles) Provence-Alpes
du Littoral et semble des éléments sont protégés Côte d’Azur / Conservation des
des Rivages avec les terrains qui en dépendent). Monuments historiques / STAP
lacustres Zone tampon : le périmètre de la zone (Service Territorial de l’Architecture
tampon a été dessiné en prenant en et du Patrimoine) des
compte les protections déjà existantes. Alpes-Maritimes
• NATIONAL
Périmètre de protection de 500 m Commune de Roquebrune-
du Monument historique Cap-Martin
– Sites classés : domaine public
maritime et site du Cap-Martin. Fondation Le Corbusier
– Site inscrit : commune de
Roquebrune. Protection garantie
par la Loi Littoral de 1986.
• LOCAL
Plan d’Occupation des Sols
14 Inde Complexe du Capitole, L’ensemble du • NATIONAL Le Complexe du Capitole a été

Chandigarh bien proposé – Zone patrimoniale de Grade I du patri- reconnu comme zone patrimoniale de
mobilier et immo- moine indien. Dans le Plan directeur de la Chandigarh’s Enlisted Heritage ap-
bilier – est sous Chandigarh 2031, le Complexe du Capi- prouvée par le gouvernement indien
la juridiction de tole a été maintenu en zone 1. Chaque
et confirmé comme telle dans le pro-
l’Administration œuvre a également reçu le statut de
jet de plan directeur de Chandigarh
Grade 1, dans le cadre du Chandigarh
de Chandigarh, 2031. Aucune opération de dévelop-
Entlisted Heritage. Les limites du site
Gouvernement pement, redéveloppement ou
proposé se situent dans la zone 1.
de l’Inde. d’ingénierie, par voie d’ajouts, de
• LOCAL
Les bâtiments modifications, extensions, ou répara-
Au niveau de la Ville, le développement
sont utilisés urbain est régi par le Plan d’urbanisme de tions, ne peut être réalisée sur le site
conjointement Le Corbusier – « Corbusier‘s Edict of proposé sans l’autorisation préalable
par les États de Chandigarh » – dans lequel le Complexe et écrite du Chandigarh Heritage
l’Haryana et du du Capitole représente une zone spéciale. Conservation Comittee (CHCC).
Pendjab, mais Le Complexe du Capitole bénéficie des En tant que propriétaire du site,
la propriété protections suivantes : The Capital of l’Administration de Chandigarh, est
appartient à Punjab Act (Development & Regulation), responsable de sa sauvegarde, sa
l’administration 1952 ; Ordonnance de protection des conservation, son entretien et sa
de Chandigarh. arbres, 1952 ; Ordonnance de contrôle gestion. Un comité inter-états entre
de la publicité, 1954 ; Loi de contrôle de le Pendjab et Haryana – utilisateurs
l’air et de la pollution, 1988 ; Notification du site – et l’Administration de
incluant le site proposé dans une Zone Chandigarh a été créé.
de silence ; Projet du plan directeur de
Chandigarh 2031 ; Projet de règlement de Fondation Le Corbusier
Conservation du patrimoine Chandigarh.

15 France Couvent Sainte-Marie Propriété Élément constitutif du Bien : État :

de-la-Tourette, privée, • NATIONAL • DRAC (Direction Régionale des
Eveux association Classé Monument historique Affaires Culturelles) Rhône-Alpes /
des Amis de la en totalité Conservation des Monuments
Tourette historiques / STAP (Service Territorial
Zone tampon :
de l’Architecture et du Patrimoine)
• NATIONAL
du Rhône
Les limites de la zone tampon
s’appuient sur le Périmètre de Protec-
Commune d’Eveux
tion Modifié du Monument historique
• LOCAL Fondation Le Corbusier
Zonage A et N du PLU
PLU d’Eveux et de Sourcieux-les-
Mines (pour la zone tampon)
16 Japon Musée National des Public • NATIONAL État :

Beaux-Arts de l’Occident, L’Institution Élément constitutif du Bien : Agence des Affaires Culturelles
Tokyo Administrative Bien Culturel Important (Bâtiment),
Indépendante Monument inscrit (pour le site) Régional :
Musée National • LOCAL Métropole de Tokyo
des Beaux-Arts Zone tampon :
Quartier paysager (Fuchichiku), Local :
Ville de Taito
Park d’urbanisme
Zone Spéciale d'Espaces Verts Musée National des Beaux-Arts de
Protégés l’Occident
Zone Concentrant un Grand Nombre
d'Établissements Scolaires
Zone Spéciale pour la Mise en Valuer
des Paysages (Plan Paysager de la
Ville de Taito)
(Métropole de Tokyo, une partie de la
décision relevant de la compétence
du Maire de la Ville de Taito)
17 France Maison de la Culture, Public Élément constitutif du Bien : État :

Firminy propriété Ville • NATIONAL • DRAC (Direction Régionale des
de Firminy classé Monument historique. Affaires Culturelles) Rhône-Alpes /
Zone tampon : Conservation des Monuments
historiques / STAP (Service Territorial
• NATIONAL
de l’Architecture et du Patrimoine)
La zone tampon s’appuie sur les
limites de la zone de Protection du de la Loire
Patrimoine Architectural Urbain et
Paysager (une Aire de Mise en Valeur Commune de Firminy
de l’Architecture et du Patrimoine est
en cours de création). Communauté d’agglomération de
Périmètre de 500 m autour du MH Saint-Etienne Métropole
• LOCAL
Plan local d’urbanisme

249
Organisation Chart of the Transnational Management System
International Standing Conference of States Parties Fondation Le Corbusier

Conférence permanente des États-parties Fondation Le Corbusier
(governments of participating countries and federal states/regions) Acts as the secretariat
– Coordinates the management of the Property of the International
Standing Conference
– Provides advice to States Parties
Participates in the follow-up
– Supports promotion and dissemination actions
of the management
of the component parts
of the Property
Assists site-managers
and owners in:
• problems related to the conser-
vation of buildings by Le Corbusier
• sharing the Works by Le Corbusier,
valorisation actions, publishing
guides, …
• copyright issues:
moral copyright of the author
Germany Argentina Belgium France India Japan Switzerland

Management Management Management Management Management Management Management
System System System System System System System
Ministry of National Flanders Ministry of Department Agency for Swiss

Finances and Commission Heritage Culture and of Tourism Cultural Affairs coordination
Economy of Museums Agency Communication Chandigarh group
Tokyo
of Baden- and Historical (Flemish Administration
General Metropolis Specific
Wurtemberg Monuments Region)
department management
and Sites Taito City
Regional of Heritage structure,
presidency bringing
of Stuttgart together:
(regional • the federal
Maisons Cultural Office
department Le Corbusier sites,
La Roche • the cantonal
of Historical not part of the
et Jeanneret preservetion
Monuments) services property
Cité Frugès
Villa Savoye et • municipal
City of authorities Local authorities
loge du jardinier
Stuttgart • owners involved in the
Immeuble locatif
à la Porte Molitor management and the
audience development
Unité d’habitation
of sites and owners
Manufacture
à Saint-Dié
Maisons de la Maisons Maison Complexe Musée National Petite villa
Chapelle Notre-
Weissenhof- du Docteur Guiette du Capitole des Beaux-Arts au bord du
Dame-du-Haut
Siedlung Curutchet de l’Occident lac Léman
Local Cabanon de Management Immeuble Clarté
Local Local Le Corbusier Local
management plan for
management management Couvent Sainte- management Local section
plan the City of
Marie-de-la- of the national
plan plan Chandigarh plan
City of Antwerp Tourette
Site Committee National management
City of Stuttgart Maison
and federal Real House Museum of plan
de la Culture
Estate Office Dr Curutchet Western Art
de Firminy
The Professional Local manage-
Association of
Architects from
ment plans
the Buenos Aires Local
Province municipalities,
City of La Plata decentralized
offices of the
national
government
(DRAC, STAP, …)
• Association of Le Corbusier Sites, associated member of the International Standing Conference

– Supports local authorities in the implementation and the follow-up of the management plan for each component part of the series
– Puts in place promotion and valorisation actions in relation to the Property (events, graphic charts, website, …)
• European Federation of inhabitants of the Unités d’Habitation of Marseille, Rezé, Briey and Berlin
• Network of owners
• Association of Friends of the Fondation Le Corbusier
V (e) / Management Plan
The transnational, serial nomination, The Architectural Work of Le Corbusier, a Major
Contribution to the Modern Movement, with component parts in 7 countries, in 3 regions
of the World, challenges all partners in order to implement and ensure an adequate
common management system, coordinating the separate components as well as all
further issues of the nominated World Heritage property on the appropriate level, namely
the effective protection of its component parts, i. e. the Outstanding Universal Value of
the property.
Over the past ten years, a formal international management structure has been
prefigured through fruitful cooperation of different groups cooperating to prepare a
nomination for the World Heritage List (experts representing the State-Parties,
ambassadors of the State-Parties, competent regional and local authorities within the
association of Le Corbusier's sites) of The Architectural Work of Le Corbusier, a Major
Contribution to the Modern Movement. During this decade, a very effective practice of
common management and a deep sense on how to concentrate on the preservation of
the work of Le Corbusier has been developed by all stakeholders. The present
management plan is therefore to be seen as a formalization of a system already in place
and use, of cooperation and coordination, guided by a common understanding of values,
principles and objectives.
The proposed and introduced management system is organized on three levels:
international, national and regional/local. It’s mecanisms ensure best coordination
vertically and horizontally. The ways of decision making on conservation and
management issues in the participating States-Parties varies according to the different
cultural perspectives and legal systems, which reflects a cultural diversity that cannot
and should not be denied in a transnational management system. However, the common
management is to ensure a common understanding of the transnational nomination, a The international management
shared approach on the conservation of Le Corbusier’s work, and particularly also an plan for the Property appears in
effective communication from and to the local site level to the international coordination detail in two separate booklets,
within the international standing conference. It is the declared aim of all the participating one in French and the other
partners that owners, experts and other decision makers as well as visitors of each in English.
component part are aware of, and experience, the common serial World Heritage The management plans for each
nomination through concrete facts and actions. of the component parts of the
• On the international level, the participating States Parties formally agreed on a Property are given in detail in the
common management commitment, established the International Standing annexes, which also include
maps.
Conference and adopted its rules of procedure. Substantively, the States Parties
agreed on a common vision of conservation and protection of the component
parts, expressed by shared conservation principles.The Association of Le Corbusier’s
sites embraces all the local responsible authorities in each participating country
and connects them back to the standing international conference.
• On the national level, each participating State Party ensures information and
coordination between the relevant administrative levels and authorities ;
• On the regional/local level, the competent bodies, institutions and owners, are
involved in the protection and management of the component part according to
any of the States Parties legal rules.
Short, medium and long term actions on each level aim to enhance the protection,
conservation and presentation of the nominated property as a whole as well as the single
component part.
V (e.1) International Management Plan

An international coordination tool to develop the joint approaches for protection,
conservation and management as well as to make available information about this
worldwide monument: the diversity of contexts and institutional frameworks justifies
the creation of a coordination body which, without replacing the responsibilities specific
to each State or organization, will provide advisory oversight, coordination and
consistency and will constitute the preferred contact when dealing with national and
international bodies. This tool will be based on the activities and expertise of the
Fondation Le Corbusier, a key partner in this inscription project.
The transnational dialogue, established by the preparation of the candidature of the Work
of Le Corbusier for serial inscription, will continue in accordance with the Operational

251
Guidelines, by the creation of the coordination tool in the form of an International
Standing Conference (ISC). The requirements of article 5 (management plan of the
property) for the nomination will be met not only in relation to the component elements
of the Property, but also to the Transnational Series.
The working method decided on between the different States defines the essential tasks
and skills and sets the composition and mode of operation of the ISC.
The partner States, by creating this international coordination tool and accepting its
working method, thus undertake to participate and cooperate in the management of the
property nominated.
They declare with this Management Commitment, formally adopted by the participating
States-Parties’ signature to the present nomination file, their common will to participate
actively in the ISC, to observe its rules and to preserve the nominated transnational site
in accordance with the obligations of the World Heritage Convention.
1 – International Standing Conference

The International Standing Conference (henceforward ‘Conference’) is the common
management structure for coordination between the States-Parties (henceforth ‘partner
State’), responsible for component parts of the Property as inscribed on the World
Heritage List.
Each partner State is a full member, its delegation is composed of experts in the field of
modern heritage out of the competent authorities. Informally existing since the first
contacts for establishing a World Heritage Nomination of Le Corbusier’s architectural
work in 2004, the Conference is now formally established by the States signing this
nomination file, and its articles and rules of procedure are adopted.
A) Objectives
The Conference ensures coordination of the management of the Transnational Series. It
provides support to the partner States for the proper conservation and management of
the properties. It coordinates trans-boundary management and the network of national
contracting authorities and contributes to joint promotion of the Property. It advises
States with properties potentially part of the series but not yet presented during the
initial nomination phase in their application for inscription.
B) Duties and competences

1] COORDINATION
The Conference coordinates the management of the serial property. It coordinates
information from partner State administrations on any public or private initiative
concerning the elements on this list that may come to its knowledge.
2] CONSERVATION OF PROPERTY
The Conference keeps constantly informed of the state of conservation of the buildings
or groups of urban buildings forming part of the Architectural Work of Le Corbusier
nomination. It is a platform for the presentation, discussion and evaluation of the
conservation problems as well as for the management and monitoring methods
concerning the property inscribed; it can issue ‘best practice’ recommendations.
3] CONFERENCE OBSERVATIONS AND SUGGESTIONS
At its meetings, the Conference may discuss the state of conservation of a component
part of the Property as well as planned interventions likely to have an impact on any of
the component parts of the series. It can make comments and suggestions concerning
the conservation of a property and its vicinity to the attention of the partner State on
whose territory the property is located after consultation with that State.
4] PROMOTION AND RESEARCH
The Conference supports the development of the property inscribed and the initiatives
aimed at contributing to the international reputation of the architectural and urban works
inscribed on the List. It promotes scientific research on the properties in the series.
5] EXTENSIONS OF THE SERIES
On request from any State Party to the World Heritage Convention, the Conference can
give recommendations on any proposal of extension to the transnational serial
nomination and accompany any nomination process if that State Party so desires. In the
context of this extension procedure, a State that is not yet a Conference partner
undertakes to accept the Conference's mode of working.
C) Composition
1] DELEGATIONS
The Conference is composed of delegations, one from each partner State. Each partner
State has one vote; only the delegations of partner States have the right to vote.
2] PRESIDENCY
The Conference is chaired by a representative of a partner State. The Presidency is
renewed each year; it is attributed in alphabetical order by the French names of the
partner States - Allemagne, Argentine, Belgique, France, Inde, Japon, Suisse - beginning
with France. The Presidency is the sole official representative of the Conference.
3] SECRETARIAT
The Conference mandates the Fondation Le Corbusier for the management of the
secretariat and lays down its tasks. In this capacity, the Fondation Le Corbusier takes
part in all the meetings. The tasks, as well as the precise benefits and conditions of the
mandate of the secretariat are specified annually in the framework of a convention
between the Conference and the Fondation Le Corbusier.
4] OTHER PARTICIPANTS
The international Association des Sites Le Corbusier is a permanent associate member
of the Conference and the interface between the Conference and the local communities.
Third parties can be invited by partner States to meetings of the Conference, in particular
the representatives of ICOMOS, ICCROM, DOCOMOMO, of the World Heritage Centre or
other interested State Parties that are members of the World Heritage Convention. They
will be associated by virtue of their competences and on a consultative basis.
Associate members do not take part in votes.
D) Functioning
1] MEETINGS
The Conference meets in ordinary session once a year. A special meeting can be
requested at any time by a partner State. The Presidency, in collaboration with the
secretariat, prepares and convenes the meetings and draws up the agenda after
consultation with the other partners.
2] DECISIONS
Conference decisions are taken by a two-thirds majority of the partner States present,
apart from financial decisions, which shall require the unanimous assent of all the
partner States.
3] CONSULTATION OF MEMBERS
The partner States are consulted before the publication of any document in the name of
the Conference.
4] ANNUAL REPORT
The Presidency, with the support of the secretariat, prepares the annual report of the
Conference. This presents its activities, as well as information of major interest
concerning the individual properties in the series. This is based on information submitted
to the presidency by the partner States.
5] LANGUAGES
The languages used by the Conference are English and French. The Annual Report is
published in both languages.
6] FINANCING THE ACTIONS
Each year the Conference identifies its objectives and draws up its program for action
with the corresponding budget.
The participation costs of each delegation to Conference meetings are met by each
partner State; if necessary, the costs of guests are met by the host partner State.
7] START OF OPERATIONS
The inaugural session of the Conference takes place in Paris at the moment of
submission of the nomination.
8] DISSOLUTION
The Conference will automatically be dissolved on withdrawal of the Serial Property
from the World Heritage List.
E) Terms of application
As the internal rules governing the Conference do not constitute an international agree-
ment, no provision in this document seeks to change the rights and obligations of the
partner States to the World Heritage Convention.

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The cooperation provided for by these internal rules will be implemented only in the
context of the budget and the legislation of each Partner state.
F) Changes to the internal rules governing the International Standing Conference

Any change to the internal rules governing the Conference will require the unanimous
assent of all partner States.
Approved changes take immediate effect, unless decided differently by the Conference.
2 – The Fondation Le Corbusier

The Fondation Le Corbusier in Paris is of utmost importance sustaining the preservation,
fostering research and consulting in any matters of Le Corbusier’s tangible and intangible
work, namely it’s architectural heritage put forward with this nomination. The Fondation Le
Corbusier is hosting and running the secretariat of the international standing conference.
It therefore also has the function of the focal point of the nomination for the site
management.
The Foundation today has a network of correspondents all over the world, including
owners, residents, local heritage officials and government agencies, informing it in real
time of projects liable to affect works or assist in their safeguard.
The role played by the Foundation in setting up an international group of experts has had
the effect of consolidating this network and institutionalizing it.
Similarly, the regular meetings organized with the ambassadors and permanent delegates
to UNESCO have encouraged the spread of information and data, both by the countries
directly implied and by those with observer status. This coordinating role has been
reinforced since 2009 by the creation of the Association des Sites Le Corbusier.
Established by a decree on 24 July 1968, the Fondation originated from the desire of Le
Corbusier, who had no heir, to avoid the dispersion of his works and his archives by
entrusting them to an organization for the purpose of conserving and disseminating them.
In a note written two months before his death, he stated: ‘The objective of the establishment
entitled ‘Fondation Le Corbusier’ is to receive, acquire, restore, conserve and make known
to the public by all appropriate means (exhibitions, publications, conferences, seminars,
films, etc.) the original works, notes, manuscripts, documents, various properties and
objects, in particular those remitted, bequeathed or assigned to it by Le Corbusier (...) or
third parties, of interest for the knowledge and dissemination of the thought and the art,
architectural and literary work of Le Corbusier’.
As well as being concerned to ensure the long-term future of his work by establishing
indisputable statutory provisions, Le Corbusier assembled the component parts of his
heritage, in particular establishing an ideal inventory of his production in the visual arts,
his main concern being to hand down to posterity a group of works representative both of
the history of their creation and the diversity of their forms. At the same time, he was
working to obtain all the guarantees needed to ensure that all the constituent parts of the
Foundation would benefit from the regulations and tax measures which would ensure the
sustainability of its resources. Similarly, he checked that the Foundation would have at its
disposal the resources necessary to achieve its purpose.
Thus, since its creation the Foundation has been the recipient of the family heritage – the
apartment/studio in the Immeuble Molitor, the Petite Villa au bord du Lac Léman in
Corseaux and the Cabanon de Roquebrune-Cap-Martin with, in addition, the Maison La
Roche, from the start the headquarters of the Foundation. In 1970 the Foundation acquired
the Maison Jeanneret, thus enabling these two buildings to be combined; designed as a
single entity, they constitute an emblematic work in the history of architecture, just as rich
as the personal story of their author.
Today the Foundation has a collection that includes a significant proportion of Le
Corbusier’s pictorial work, thousands of drawings and prints that are evidence of his
constant interest in engraving and lithography, tapestries, enamels, sculptures, etc. In
addition to this body of art work, there are ‘the archives of the studio, 35 rue de Sèvres,
since 1922, comprising a large number of plans of all sorts made over forty years’. Finally
the Foundation holds the books and the copyrights, as well as the unpublished manuscripts
and the architectural models for ongoing work. The Foundation also conserves a large
number of personal papers, notes, letters, diaries and notebooks which it endeavors to
make available for research and tries to complete from sales, gifts and bequests, etc.
Since its creation, the Foundation has devoted all its resources to fulfilling the mission
defined by its creator: its fundamental mission is to care for the architectural work and the
intellectual property rights associated with his art and literary works as a whole; it has
developed tools enabling it to conserve the archives and collections entrusted to it. It carries
out actions which aim to develop the ‘knowledge and dissemination of the art, architectural
and literary work of Le Corbusier’: reception of researchers and visitors in the Maisons
La Roche and Jeanneret and in the apartment in the Immeuble Molitor; availability of
documents and loan of works for exhibitions; awards of grants to young researchers; the
organization of annual themed meetings and publication of conferences; the publication
of monographic guides; translations, etc.
As regards the monitoring and promotion of the built work, the Foundation has the
following tools at its disposal today:
Application of moral rights / Ensure the integrity of the work

The Foundation, sole legatee of Le Corbusier, holds the moral rights and right of
authorship covering all of Le Corbusier’s works. The Foundation is continually expanding
its actions in favor of the conservation, rehabilitation and knowledge of the built work
of Le Corbusier. The Foundation always provides support to contracting authorities
wishing to undertake restoration or renovation.The Foundation recently partnered different
restoration projects, in particular those of the Pavillon Suisse in Paris, the Cité Radieuse
in Marseilles, the Couvent de la Tourette, the Maison Clarté in Geneva, the Église Saint-
Pierre and the Maison de la Culture in Firminy and the Cité de Refuge in Paris.
Governing Board
The Governing Board, comprising architects, art historians, friends of Le Corbusier and
admirers of his work, is responsible for the implementation of the Foundation’s missions
and for its reputation. It validates the appraisals prepared and responds to all requests
from owners wishing to undertake restoration, development or reconstitution of the
architectural work. It collaborates with contracting authorities to achieve the most
satisfactory solutions for maintaining the original character of the work. It decides on
actions to be taken to further knowledge of the work: architectural surveys, publications,
etc.
Its volunteer members contribute to maintaining the links across the whole network of
Le Corbusier buildings; they travel abroad regularly to consolidate cooperation with the
Foundation and to monitor the state of conservation of the works; in recent years, the
president and the administrators have visited Chandigarh, Ahmedabad, Tokyo,
Cambridge, Moscow, etc. and met the owners and local authorities in charge of the
cultural heritage.
Ongoing relationships exist with those in charge of the sites in Switzerland, given the
special place of this country in Le Corbusier’s biography, the considerable cultural
heritage which he left there and the scope of the academic research on Le Corbusier's
work still being actively carried on there.
Committee of Experts for the Architectural work

A commission has been set up to advise the Board as to its decisions on projects for
restoration, reassignment or development of the buildings designed by Le Corbusier. It
is composed of French and foreign architects and historians considered to be the best
specialists in the Work of Le Corbusier. Each of the experts is entrusted with the
monitoring of a project from the preliminary studies to the final work and keeps the
committee informed of the work's progress. The committee can alert the Board on the
condition of a building. The Foundation is also represented on the different Steering
Committees set up by the contracting authorities to run large restoration projects:
l'Église de Firminy, the Eileen Gray – Le Corbusier site in Roquebrune-Cap-Martin, the
Pavillon Philips in Eindhoven, etc.
Observatory of built works

A system for observing and monitoring all buildings has been set up by the Foundation
to anticipate possible changes to certain buildings and to accompany the development
projects envisaged.
Consultant architect for the Foundation

The Foundation has recruited an architect specialist in questions of restoration, to be
responsible for an advisory mission for the network of owners. This includes research
work on the sources, establishment of relations between the different stakeholders,
capitalization of experience, monitoring of studies, etc. She is equally responsible for
monitoring various building projects in progress in France and abroad, and for keeping
records of restorations.

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Restoration records
The Fondation systematically constitutes a file containing records of the restoration work
carried out in France and in the world. This comprises both the paper documents (plans,
descriptions, etc.) and – as far as possible – elements of the original materials testifying
to the initial construction (matériauthèque).
Documentation Centre
Today the Foundation holds all the plans and documents (estimates, tenders,
correspondence, etc.) concerning the projects and construction work undertaken
throughout his life by Le Corbusier and his collaborators. These archives have been
digitized and are available to contracting authorities and owners wishing to begin work
on restoration or renovation. The Foundation replies to requests for information about
all constructions and establishes contacts between the different experts, specialists or
contracting authorities dealing with similar problems.
Digitization of Le Corbusier’s plans

In 2005 the Foundation undertook the complete digitization of the collection of plans in
Le Corbusier’s studio. The scope of the project was to publish all Le Corbusier’s plans,
sketches and studies for projects and constructions preserved at the Foundation and
digitized from the originals in very high definition. Today there are over 35,000
unpublished documents in color, assembled in four boxes of four DVDs.
Publications
The systematic publication of bilingual guidebooks undertaken with the editor
Birkhäuser is in line with this approach. The following guides have already been
published: Maisons La Roche and Jeanneret, Le Couvent Sainte-Marie-de-la-Tourette, La
Villa Savoye, Les Quartiers modernes Frugès, L’Immeuble 24 N. C. and Appartement
Le Corbusier, L’Unité d’habitation in Marseilles and the other Housing Units in Rezé-les-
Nantes, Berlin, Briey-en-Forêt and Firminy.
In 2005, the Foundation published a map intended for the general public which presents
the work built throughout the world in its entirety, along with photographs of each of
the works, their topographical coordinates and all other useful information for visitors.
Information
The Foundation has at its disposal a news bulletin ensuring continuous monitoring of
the situation of the Architectural Work and awareness-raising of owners, by publishing
information and articles on exemplary realizations. In March 2006, texts were published
describing the history of the restoration of Maison Perret-Jeanneret at La Chaux-de-
Fonds and the Maisons doubles du Weissenhof in Stuttgart. The research, meetings and
seminars connected with the built work and enhancement of the realizations is also
presented. The Foundation’s Internet site has also been updated. It enables the
monitoring of restoration projects for the buildings in real time.
Meetings of owners and partners

Since 2003 the Foundation has regularly brought together the owners or managers of
the public and private Le Corbusier buildings throughout the world. This initiative reflects
the wish to better involve the owners in the actions of the Foundation. It also aims to
raise their awareness on the following subjects:
• the questions of conservation of the built Work;
• the dissemination of the Work, promotion, publication of guides;
• the question of rights: moral rights of the author/rights of the owners.
Forums held by the Foundation in France and abroad

Each year since 1989, the Fondation Le Corbusier has organized Forums (Rencontres),
public events open to all those interested in increasing in-depth knowledge of
Le Corbusier’s Work. The lectures are given by specialists (academics, doctoral students,
journalists, etc.) and historic witnesses. They have given rise to publications: La
Conservation de l’œuvre construite de Le Corbusier (1990), Le Corbusier et la nature
(1991), Le Corbusier et la couleur (1992), Le Corbusier, Écritures (1993), Le Corbusier : la
ville, l’urbanisme (1995), Le Corbusier et la Belgique (1997), Le Corbusier, voyages,
rayonnement international (1997), Le Logement social dans la pensée et l’Œuvre de
Le Corbusier (2000), Le Corbusier et Paris (2001), L’œuvre plastique (2004), Le Corbusier
et la Suisse (2005), Moments biographiques (2006), Le Corbusier et l’Italie (2007),
Le Corbusier et Alger (2010), Le Voyage d'Orient (2011), Le Corbusier et la photographie
(2012). In 2015, an international meeting on the restoration and preservation of the
architectural work will take place in Paris.
The Foundation is linked with the organization of ‘technical’ seminars (in Chandigarh in
2003, ‘Conservation of concrete in a damp climate’), and awareness actions for architects
and administrations in charge of the protection of the cultural heritage.
Publications and architectural surveys

The governing board of the Foundation has launched a project to establish a detailed
and progressively updated description of the built Work. This will include systematic
surveys of the buildings in their present state. The first surveys, those of Maisons La
Roche and Jeanneret, Immeuble Clarté and the Unité d’habitation de Rezé at Nantes,
have been carried out. For each building, the publication will include a presentation of
the project and the construction work, the original plans, the present plans and a
historical account of all the restoration work undertaken since the building's
construction.
Photographic campaigns
Photographic campaigns were launched in 2004 with the long-term aim of obtaining
complete coverage of the buildings in France and in the world and thus creating a full
record of the Work's condition at the beginning of the 21st century. A photographic
inventory of the furniture designed by Le Corbusier is also under way.
3 – Association des sites Le Corbusier

The Association des Sites Le Corbusier, created in 2010, is an international association,
defined as such under the relevant French law of 1901. It is composed of local authorities
in the different participating States, with at least one building of Le Corbusier on their
territory.
The association plays a predominant role in the international coordination of the
management of the serial nomination: besides the vertical exchange in each State Party,
from the international to the national and local level, it allows and fosters direct
international coordination between the concerned local authorities in all States Parties
as well as with the Conference, of which the association is a permanent associate
member.
The founding members of the association are all the cities having a component part of
the Property on their territory, but the association is also open to local authorities
responsible for works by Le Corbusier which are not part of the nomination file. Through
the association, each local community can play an active role in the nomination; it acts
as a support in the management and promotion of elements comprising the property.
Several short-term operational objectives have been defined:
• Creation of the conditions for interchange and sharing of knowledge and
experience in the areas of conservation, protection, promotion, organization
and management of Le Corbusier’s heritage.
• Act as a source of proposals and a space for reflection in the above mentioned
areas for those involved in cultural heritage in France and at international level.
• By sharing work between local communities and with partners in the
nomination, the association has enabled implementation and sharing of
experiences of the local level of the management plan of the component parts
of the property.
• Organization of a network responsible for conserving and promoting Le
Corbusier’s work both with tour operators and the public (Cultural Itineraries
of Europe).

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4 – Joint Action Plan of the Standing Conference
The permanent actions of the Standing Conference are listed in its regulations, approved
by all the States Parties. In accordance with its statutes and for the "legislature" of 2015-
2018 the Standing Conference programmes specific major joint projects at international
level that are implemented by all the States Parties together. The international action
plan complements the action plans at national and regional / local levels implemented
in each State Party.
The major projects of the Standing Conference are listed in the management plan along
with the actions necessary to implement them. They aim to contribute to the objectives of
the World Heritage Convention (on the model of the five "Cs": Credibility, Conservation,
Capacity-building, Communication, Communities).
1 – METHODS FOR UPDATING THE MANAGEMENT PLAN
Objective
The management plan is intended to be an evolving document. It contains factual infor-
mation on the constituent elements of the Property, on their legal protection and on
institutional and personal responsibilities at different administrative levels, as well as
those of the owners. This first part of the plan cannot be changed (except for updating
information such as addresses and names), but it also includes programmes for action
at international, national and / or regional / local levels. These various actions will be
developed and implemented, while other actions and projects will follow in time. The
objective is ultimately to arrive at an updated management plan. To facilitate this coor-
dination, working methods need to be established.
2 – JOINT MONITORING
Objective
The monitoring indicators of the Property are defined within the framework of the nom-
ination process. They will be gathered periodically, preferably at a frequency correspon-
ding to that of the World Heritage Periodic Report (Europe / North America). In order to
have a harmonized data collection that will allow effective monitoring of the Serial Property,
a common "monitoring" format is being developed and will be used by all the partners
responsible for the monitoring of the component for which they are responsible. The
indicators will be applied depending on the quality of the component.
Joint assessment of the monitoring will help detect possible need for action.
3 – GÉNÉRAL MEETINGS
Objective
Many key players were involved in preparing the nomination: national, regional and
local authorities, owners, residents and experts. The Standing Conference was prepared.
The Association of Le Corbusier Sites was created. At national level, coordination groups
were formed in the different countries. All these groups and players are coordinated by
the management plan on three levels: international, national and regional / local. After
the inscription, "general meetings" are to be organized regularly, to encourage the trans-
versal exchanges specified in the management plan and maintain a high level of
momentum and enthusiasm. General meetings are also used to impart knowledge to
all stakeholders, to inform on projects and restorations that may have been accom-
plished, on the concrete experiences of site managers, etc. In launching this series of
meetings, the aim has also been to organize the festivities after inscription. Subse-
quently, a general meeting is intended to take place every 3 years.
4 – WEB PLATFORM
Objective
The transnational Serial Property requires an information management tool and powerful
interactive co-operation, both for the players directly involved and for the public. The
public must be informed about the serial property and the values and objectives of the
World Heritage; it must be able to find links to local information, etc. Access by members
of different management groups to the documents of the Serial Nomination (e.g. the
records of the Standing Conference) and informal exchanges between experts and owners
should be organized around a single web-based tool, with different degrees of access.
The web platform (e.g. of the "Microsoft Share Point" type) should have the following
features:
• a static information tool ("web page"),
• a direct information tool ("newsletter"),
• a document management tool,
• an informal exchange tool ("forum").
5 – JOINT COMMUNICATION CONCEPT
Objective
The component parts of the transnational Serial Property are, with few exceptions, open
to visitors. Information given about the object is more or less exhaustive and there exist
a large number of books and scientific sources for each object. Visitors are often spe-
cialists in architecture and / or heritage. However, it is necessary that visitors should better
understand the series as a property inscribed on the World Heritage List and the values
through which the element contributes to the series. A harmonized memorandum on
the objectives of World Heritage in general and in particular the value of the Serial Prop-
erty should be transmitted for each item. The use of the logo and the Unesco World
Heritage symbol must be strictly controlled.
6 – MÉDIATION AND CONFLICT MANAGEMENT IN CASE OF THREAT TO A PROPERTY
Objective
The Standing Conference may express its views with respect to a State Party participat-
ing in the Serial Nomination should a conservation failure occur. The rules of the World
Heritage Convention consider a serial property in the same way as an individual prop-
erty: responsibility for the proper conservation of properties is therefore shared. The
objective is to provide for mediation and conflict management in case of an event that
could threaten an element and the Serial Property itself, defended by all the States
Parties.
7 – ASSESSMENT OF THE STANDING CONFÉRENCE
Objective
The inscription of The Architectural Work of Le Corbusier is intended to contribute to the
conservation and best management of the buildings of Le Corbusier selected for the
series and other "associated" works. To this end, the management plan has provided for
a series of actions and projects at international level that require to be coordinated.
Ultimately, the objective is to evaluate the effectiveness of these actions and of the
coordination and the work of the Standing Conference.

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V (e.2) National and local Management of Component Parts
Germany
> Extensive local management plan in annex.
In Germany, responsibility for cultural matters, including the conservation of historical
monuments, lies with the Länder (Federal States). Coordination at national level is the
responsibility of the Standing Conference of the Ministers of Education and Cultural
Affairs of the Länder in the Federal Republic of Germany (Kultusministerkonferenz –
KMK). In Baden-Württemberg, where the proposed property is located, the heritage
protection law (Denkmalschutzgesetz, DSchG) applies in the version dated 06.12.1983,
most recently amended on 25.01.2012.
The two Houses of the Weissenhofsiedlung are part of an entity which is protected under
§12 DSchG as a cultural monument of particular importance. The surrounding area also
enjoys specific protection. The demarcation of the buffer zone for the Le Corbusier
houses in the Weissenhofsiedlung coincides with the perimeter protection in place for
the whole of the Weissenhofsiedlung. Additionally, the estate and parts of the
surrounding area are classified as an urban development complex and protected by a
preservation statute under §172 of the German Federal Building Code (BauGB).
In Baden-Württemberg, heritage conservation is the responsibility of the heritage
conservation authorities and is divided into three levels:
1) The Ministry of Finance and Economics (Ministerium für Finanzen und
Wirtschaft) of Baden-Württemberg as the highest heritage conservation
authority,
2) The Regional commissioners (Regierungspräsidien) as higher conservation
authorities acting as an intermediate authority on behalf of the administrative
regions of Stuttgart, Karlsruhe, Tübingen and Freiburg; the Regional
commissioner of Stuttgart (Regierungspräsidium Stuttgart) is responsible for
the Weissenhofsiedlung
3) The lower construction law authorities as a lesser heritage conservation
authority; the State Capital Stuttgart (Landeshauptstadt Stuttgart) is responsible
for the Weissenhofsiedlung
The State Office for the Preservation of Historical Monuments within the Regional
commissioner of Stuttgart (Landesamt für Denkmalpflege im Regierungspräsidium
Stuttgart) supports the heritage conservation authorities in all matters of practical
monument conservation in execution of the heritage protection law. This office is
responsible for central monument conservation responsibilities in the Land as well as
the scientific accompaniment of protection measures.
Building maintenance is the responsibility of the Federal Institution for Real Estate
Management (Bundesanstalt für Immobilienaufgaben BImA) in case of Bruckmannweg 2
and the State Capital Stuttgart (Landeshauptstadt Stuttgart in case of Rathenaustr. 1 – 3.
The action plan proposes measures to make it possible (see chapter 9.2):
• to preserve the Weissenhofmuseum in the Le Corbusier House for the long term
as an important element of cultural life in Stuttgart,
• to improve coordination between proprietors and the heritage conservation
authorities in maintenance measures (Weissenhof round table, in place since
2009),
• to put together a package of measures to maintain the Weissenhofsiedlung on
the basis of a scientific database,
• to continue and improve public relations measures, to expand an exchange of
experience within the modernist Movement Network, the Werkbund housing
estates and the Association des Sites Le Corbusier,
• to develop a future-oriented concept for the Houses built to replace the de-
stroyed original Houses of the Weissenhofsiedlung after the Second World War.
Argentina
The house of Doctor Curutchet is managed directly by the Professional Association of
Architects from the Buenos Aires Province, which occupies the site. The management,
scheduled from 2011, has three working areas, which acquire different relevance at
different moments:
• a Building enhancement program, ensuring the maintenance and preservation
of the site
• a Cultural enhancement program, organizing activities and promoting tourism
• an Academic enhancement program, organizing a Documentation Centre.
The creation of the Site Committee House Dr Curutchet - file n° 2160-3130/14- will allow
a participative management which will include the articulation of different stakeholders:
governmental and nongovernmental actors. Its management focuses on two basic
objectives:
• one concerning the conservation of the site, promoting the implementation of
precise indicators
• other seeking to ensure its cultural and touristic promotion.
Belgium
The regional zoning plan for Antwerp, which goes back to the 1970’s, suggests the
maison Guiette is situated in a residential area. Moreover, the residential area is
recognized as an urban agglomeration. This means that the following restrictions apply
(art. 1, §1, 3° of the urban planning by-law of the regional zoning plan for the city of
Antwerp):
– The maximal building height is subject to the following criteria:
• The height of adjacent buildings and constructions
• The nature of the urban agglomeration of Antwerp itself
• The scale and dimensions of the public domain in front of the building.
There is no Special Layout Plan (BPA in Dutch) or Spatial Implementation Plan (RUP in
Dutch) dealing with the house or its surroundings. Therefore, the General Building Code
of the city of Antwerp (Bouwcode in Dutch) is applicable. This Code includes sections
dealing with spatial quality (including the character of the exterior, the function, mobility,
publicity …) and technical quality (including construction, water management,).
A buffer zone was created to ensure the management of the surroundings of the
building. This zone includes the block defined by Populierenlaan, Jan Van Rijswijcklaan
and Kruishofstraat on the one hand, and the houses along Populierenlaan, Sparrenstraat,
Hortensiastraat and Kruishofstraat on the other hand.
The Archaeology and Heritage section of the department for Urban Development of the
city of Antwerp hands out its advice on all applications dealing with heritage (listed/
registered of not-listed/not-registered). In that capacity, this service contributes to the
management of the urban landscape of the city, and accordingly also to the buffer zone
of this component part of the series.
Although the intrinsic quality of the landscape around the maison Guiette is rather
limited, measures are taken to guarantee that the situation does not degrade any further,
and that in the long run, improvements are to be expected.
The Maison Guiette is easily accessible, but as a private house, it is not open to the public
in a regular manner, nor are there any visitor facilities. However, the owner does
occasionally welcomes visitors (architects, students, etc.). The main and side façades are
perfectly visible from the Populierenlaan in front of the house and the adjacent parking
lot and park.
A management plan was developed for the Maison Guiette. Its main goal is to establish
an efficient local management system in which both the owner and local and regional
heritage authorities (city of Antwerp, Flanders Heritage, province of Antwerp, Fondation
Le Corbusier) are involved.This body should work on an action plan for the Maison Guiette.

261
A number of actions have been developed in order to guarantee the conservation and
audience development of the house. In that regard, monitoring of the state of
conservation will be taken on by Monumentenwacht Vlaanderen, the NGO in charge of
periodic inspections of built heritage in Flanders. The report of every inspection will
provide a detailed view on the state of conservation of a building, clearly indicating the
measures that need to be taken as well as their urgency. The schedule of regular
maintenance will also be based on these periodic reports.
Moreover, Flanders Heritage, in close collaboration with the owner and other relevant
partners, intends to support the development of knowledge on the maison Guiette and
the work of Le Corbusier in this part of the world, e.g. by encouraging studies (by
students as well as accomplished researchers) on a wide range of themes. The
conclusions of these studies will be analyzed by the main partners and, whenever
relevant to others, shared via the international standing conference in order to improve
the understanding of the Outstanding Universal Value of the work of Le Corbusier as
well as the management of the series and its component parts.
France
COORDINATION
The mechanisms for monitoring and management in France are organized around the
laws and regulations governing conservation tools and monitoring at national or local
level, as well as the partnership schemes set up for monitoring world heritage properties
in France in general and, more specifically, concerning the preparation of this proposal
for nomination.
The action plan set up in the context of the management plans at national and local level
constitutes not only consideration of the existing structures and an inventory of the
measures implemented and the schemes or measures applied but also a consideration
of the mechanisms in preparation and those to be set up in the years to come to ensure
the enhancement of the heritage, its conservation and the maintaining of the values
which characterize the Property.
Over and above the questions of monitoring and control, the management plan is also
a tool for the development of strategic thinking in the context of policies for urban and
territorial planning, focused on the taking into consideration of heritage and culture
The respective competencies of the State and local authorities in the management,
protection and development of the territory and heritage
In France, the legislation on the protection and promotion of the national heritage, as
well as its implementation and monitoring, are a State responsibility. As appropriate,
the competent authority at central level (Ministry for Culture and Communication,
Heritage Department) or decentralized level (Regional Directorate of Cultural Affairs),
examines and decides on protection measures (classification or nomination as a
Historical Building), these being regarded as statutory public utilities. The State monitors
the protected properties in the same way and, with the help of its consultative networks,
issues authorizations for works or modifications according to the various procedures
applicable. In the appropriate decentralized departments, the State has designated since
2010 ‘World Heritage’ correspondents under the responsibility of the Regional Prefect,
with a view to ensuring the proper application of the principles and obligations of the
Convention and facilitating the circulation of information on World Heritage properties.
Local authorities have wide-ranging responsibilities in matters of urban planning and
development. They can include patrimonial issues in the documents for which they are
responsible (local urban development plans, territorial coherence schemes, advertising
areas, etc.). They are directly responsible for, or closely associated by the State in the
field of planning documents specifically for heritage preservation: plans for the
conservation and enhancement of conservation areas ("Loi Malraux"), or regulation of
the Areas for the enhancement of Architecture and Heritage [AVAP].
National Monitoring Committee
Specifically in the context of the monitoring of the nomination file for The Architectural
Work of Le Corbusier: An exceptional contribution to the Modern Movement, the
Heritage Department of the French Ministry for Culture and Communication has set up
a monitoring committee which includes the various State departments as well as the
Fondation Le Corbusier. The aim of this committee is to ensure a common strategy for
monitoring the various components at national level, ensuring the exchange of
information, identifying common issues and ensuring the setting up of tools for the
management and control of the Property.
The main axes for the specific management of the components of the Property in France
are as follows:
PROTECTION
The components of the Property: Initiate and coordinate the supplementary protection
measures required. It has been decided to unify and strengthen existing conservation
measures: classification of the component parts of the Property at present simply listed,
or widening of conservation measures consistent with the component parts of the
Property. Special attention must be given to the protection of the interiors and the
furniture. In 2009, a series of complementary conservation measures were decided for
several items.
The buffer zones: Define and extend the existing conservation areas. Encourage the
creation of AVAP (Areas for Architecture and Heritage enhancement, replacing the
ZPPAUP zones) by the local authorities or inter-municipal authorities concerned. Take
into account the component parts of the Property and the Property as a whole in regional
development and land use planning documents (territorial jurisdictions) to ensure both
protection of viewing cones and the protection and enhancement of customary
procedures. Encourage the development of graduated scales in the different
interventions (from the plot to the general landscape). Take into consideration the
components in the Schémas de Cohérence territorial (Territorial Coherence Schemes
[SCOT]). Legislative developments are under way to oblige local authorities to take into
consideration the conservation and management of Properties inscribed on the World
Heritage List in the preparation of planning documents within their jurisdiction; these
are due to be debated by the French parliament in 2015.
KNOWLEDGE AND STUDIES
Identify and program the additional studies or updates required. This research is essential
for all additional protection measures and for the programming of conservation (and
restoration) works. The legislation in force assigns to the State the task of carrying out
the studies required in view of the conservation (or extended protection) of a building
with Historic Monument status, and empowers it to stipulate the studies required prior
to any restoration or modification project.
COORDINATION
• Reinforce links between services and exchanges of information.
• Create and operate of an electronic mailing list enabling the provision of information
concerning nominations for inscription and monitoring. In 2009, the Ministry for Culture
and Communication established a special mailing list on sympa.archi.fr, enabling sharing
of information on nominations for inscription: http://sympa.archi.fr/wws/info/corbupm.
• Draw up coordination documents between the partners (State, Fondation Le Corbusier,
Association of the Sites).
FINANCING
The State (Regional Directorates for Cultural Affairs) provides financial support for
conservation interventions on the components of the Property, considered as a Historic
Monument. For listed component parts, this provision usually amounts to 50% of the
cost of works.
INFORMATION
Promote the sharing of experience in the field of the conservation and restoration of 20th
century heritage, focusing in particular on conservation operations.
Besides specific monitoring of the Property's components, it is important to go beyond
the experience acquired so far, and to pursue forward-looking thinking on the
management and conservation of those of Le Corbusier's works that have not been
selected for the application. This measure should equally apply to components of 20th
century heritage affected by similar issues and by challenges in the fields of management
and protection, thus emphasizing the role of World Heritage as a driving force and model.

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INDICATORS
Monitoring indicators
At the level of each component of the Property, indicators will be collected to evaluate
the efficiency of the actions taken for conservation and promotion (political and
economic investment, assessment of operations for conservation or restoration,
progression of the numbers of tourists, direct and indirect economic benefits).
PROMOTION
Enhancement and development of the promotional tools for the components of the
Property, in conjunction with the various State services, local authorities, the Fondation
Le Corbusier, the owners of the buildings, the Association of Le Corbusier Sites and the
partner countries.
The National Committee for World Heritage Properties in France
At national level, during the first cycle of the Periodic Reporting Exercise on the
application of the World Heritage Convention for Europe (2001-2006), France set up a
National Committee for World Heritage Properties in France. Co-presided by the Minister
for Culture and the Minister for Ecology, with the participation of the French Ambassador
to UNESCO, it includes experts from various disciplines. It acts as a consultant body for
the ministers concerned and for the Government as a whole and meets every three
months to update the Tentative List, take stock of nomination files, monitor the properties
already inscribed and reflect on French strategy for the application of the World Heritage
Convention.
The Association for World Heritage Properties in France
The Association for World Heritage Properties in France, likewise set up following the
Periodic Report, pursues the following aims: to federate those in charge of the property,
regardless of their status; to assist sites in establishing their management plan (technical
assistance), in particular by drawing up a methodological guide in partnership with the
State; to create the necessary conditions for the exchange and sharing of knowledge
and experience, at national and international level, in the fields of conservation,
enhancement, organization and management of the heritage; to be a source for
proposals and reflection, in the fields listed above, where heritage stakeholders in France
and at international level are concerned; to promote the properties inscribed on the
World Heritage List.
The Association of Le Corbusier Sites
This association (an association governed by French law, created in 2010) includes both
French and foreign local authorities participating in the nomination proposal and also a
number of local authorities holding on their territories built work by Le Corbusier.
Its aims are to:
• Organize a network responsible for preserving and promoting Le Corbusier
sites for use by the public and by tour operators.
• Create the necessary conditions for the exchange and sharing of knowledge
and experience in the fields of conservation, protection, enhancement,
organization and management of the “Le Corbusier Heritage”
• Be a source for proposals and reflection in the fields listed above where
heritage stakeholders in France and at international level are concerned.
Charter of Commitment
To clarify and confirm the relations between stakeholders and facilitate exchanges of
information and the coordination of the management of properties inscribed on the
World Heritage List, the State (Ministry for Culture and Communication and Ministry for
Ecology) and the Association for World Heritage Properties in France have drawn up a
charter signed on 20 September 2010, which aims to define the cooperation between the
State and the Association for World Heritage Properties in France, thereby enabling the
signing of special management agreements involving the State or the local authorities
concerned by the property, together with parties responsible for a property or managing
of a set of properties.
The circular dated 12 April 2012 issued by the General Director of Heritage gives
instructions concerning the arrangements for management of the inscribed properties
(setting up of regional committees and local commissions, the role of the DRAC
correspondents, etc.).
Co-ordination between stakeholders
• At central level, the French government has set up the National Committee for
World Heritage Properties in France, a consultant body.
• At regional level, a committee has been set up for monitoring the inscribed
Properties, presided over by the Prefect of the Region, assisted by the
decentralized services of Culture and the Environment (the Prefect, taking due
account of the general responsibilities of the Region in matters of regional
planning, may decide to suggest a joint presidency with the President of the
Regional Council). In the case of Serial Properties concerning several regions,
a coordinating Prefect is appointed by the Prime Minister to preside over the
monitoring committee for the Property.
Local commissions (for each French component part of the Property)
The role of local commissions (set up along the lines of the local commissions for
protected sectors) is:
• to ensure the monitoring of adequate conservation of the properties, in
particular in view of the preparation of the periodical reports,
• to examine any project which may affect the universal value of the property
(O.U.V.),
• to inform the central administration, in coordination with the regional
correspondent, on the files relating to the inscribed properties,
• to coordinate work in connection with the drawing up of management plans.
Each local commission is a forum for consultation and discussion and an instrument for
coordination between stakeholders. It must meet at least once a year, on the initiative
of the Prefect and, when needed, on request from the elected representatives concerned.
The local commission must consist of three electoral colleges:
• elected representatives;
• State services ;
• managers of the properties and qualified persons.
The composition of the commission should respect a balance between the three colleges
without these necessarily being divided up equally.
It is appointed and presided over by the Prefect, the representative of the State and the
guarantor of the protection and enhancement of the properties inscribed on the World
Heritage List.
At the level of each component of the Property, this arrangement can also be
supplemented by a local management committee consisting of the stakeholders
involved in day-to-day management and in setting up and monitoring the operations
proposed in local management plans.
(1) The Nominated Property

comprises three edifices – the
Inde Assembly, the High Court and
the Secretariat buildings, the
> Extensive local management plan in annex. pedestrian plaza linking the
The vision of the Management Plan is to conserve, protect and enhance the Outstanding edifices, and the monuments –
The Open Hand, Geometric Hill,
Universal Value of the Capitol Complex, Chandigarh as a living repository of the largest
The Tower of Shadows, and The
and most significant urban composition by Le Corbusier, sustainably managing the Martyr’s Memorial.
balance between preservation and use. The Complex shall continue to be a celebration (2) The northern buffer is defined by
of democracy and an embodiment of the spirit of modern architecture inspiring present the existing mango groves, the
and future generations of architects and planners across the world, highlighting the Southern comprises the
architectural contribution of the city of Chandigarh. residential Sectors 2, 3, 4, and 5
which are three storied low-rise
The element of the Nominated Property is a ‘living’ heritage site, comprising the edifices, developments of government
the monuments (1) and the pedestrian plaza- and being extensively used to serve the and private properties. This part
executive, the judicial and legislative functions of the government. A detailed condition of the buffer further connects
assessment of the site and its components forms the basis for this Management Plan. the nominated property to the
The areas of study are the current usage and management of the site, its stake holders, city along the ceremonial
avenue - the V2 Jan Marg. The
present means of protection and legislation, visitor management, risk preparedness eastern buffer includes the High
measures, and financial layout for implementation of the Management Plan. Its Buffer Zone Court extension and the Rock
extends all around the nominated property with an intention to protect, safeguard and Garden while the Rajindra Park
enhance the Outstanding Universal Value, integrity, setting and appreciation of the site (2). defines the western buffer.

265
Structure of the Management Plan
The Management Plan works as a two way mechanism:
i) To safeguard and provide adequate protection to the OUV of the nominated property
as a long term commitment and to conserve the authenticity and integrity of the property
as well as the broader urban setting upon which the OUV relies. Since the property also
serves as a living heritage with development pressures, the Management Plan works as
a tool to sensitively balance change with preservation within the property and its buffer,
ii) To valorise its significance to the user, tourist and architectural research community
as it is a resource of education and knowledge reflected through its architectural and
urban vocabulary, construction systems and building techniques.
The key aspects of the Management Plan include various Policies and Framework of
Legislations (3), a Conservation Plan of the Nominated Property and the Buffer,
Maintenance and management issues, User, Tourist, and Visitor Management (4) to
include further Risk Management as well as Interpretation, Research & Outreach
initiatives as well as the financial management program to support the management of
the nominated Property. A Development Plan of the Buffer Zone is also integral to the
Management Plan.
Regular and systematic monitoring to assess how the values of the nominated property
are being maintained over time is critical to the conservation of the Outstanding
Universal Value of the nominated property as well as indicates the need for modifying
future plans in light of ground realities. The table below outlines an Action Plan for
implementation of the aspects outlined above along with indicators for monitoring,
frequency of monitoring and the authority responsible for the same.
Japon
1] Purpose and History of the Plan
The National Museum of Western Art (NMWA) developed the “Preservation and Utilization
Plan for The Main Building of the National Museum of Western Art” (dated December 21,
(3) The Expert Heritage Committee, 2007) in order to enable continuing utilization of the Main Building and Museum Garden as
Chandigarh (23.12.2011)
an art museum, at the same time to share consensus and common understandings among
designated heritage status to
protect, conserve and enhance stakeholders regarding its value as a cultural property, and as a result to practice its appro-
the modern heritage value of the priate conservation.
ensembles, precincts and Furthermore, in September 2013, the museum revised the plan and changed its name into
properties in the city. The “Preservation and Utilization Plan forThe Main Building of the National Museum of Western
Chandigarh Master Plan 2031
Art (Important Cultural Property / Building) andThe Garden of the National Museum of Wes-
ensures further that
development is regulated by the
tern Art (Registered Monument / Place of Scenic Beauty)”.
designation of various Heritage
Zones in the city. The Capitol 2] Outline of the plan
Complex lies in Zone 1. Enlisted The main objective of the plan is to assemble the fundamental information on the cul-
Heritage of Chandigarh was
tural properties and establish plans for preservation and management of the buildings,
prepared in 2010 to accord
heritage status to various
preservation and management of the site, disaster preparedness, public accessibility,
buildings and ensembles in the and data preservation and management. In addition, the principal procedures required
city as Heritage Grade 1, 2 and by the Law for the Protection of Cultural Properties in implementing these plans are ex-
3. The Capitol Edifices and plicitly stated.
Monuments fall in Grade 1 and For details please refer to the main text of the plan annexed to the Nomination dossier.
has the highest level of
protection among heritage
zones and precincts. 3] Building protection policy of the NMWA
(4) The stakeholders include the (1) BASIC APPROACH TO PROTECTION
employees to the Secretariat,
High Court and Assembly, the The Main Building of the NMWA is the only one of Le Corbusier’s architectural works to
litigants to the High Court, the have been built in Japan, and is one of only three prototypes that embody his concept
judges and support staff as well of the “Museum of Unlimited Growth.”
as visitors and architectural
Through conservation works on several occasions, the building’s spatial composition as
researchers to the Capitol
Complex. A large Security force
a “Museum of Unlimited Growth” is well preserved, as too are the architectural features
is employed for these buildings distinctive of Le Corbusier’s works, including his “Five Points of a New Architecture” and
and therefore forms an Modulor system of proportions. It is also well investigated and recorded which of the
important stakeholder. materials used in the building is original.
In order to preserve the values mentioned above, a set of standards for the building,
which ensures preservation of the museum’s spatial features (including its original floor
plan, flow planning, and lighting design) and preservation of original materials, has been
adopted.
Each “area” (reinforced concrete structure of the building, the external appearance of
the walls, the rooftop, and each individual room) is classified in three grades with res-
pective principles. Then, each component parts of the “areas” (including wall finishing,
ceiling materials, floor materials, and fittings) is divided into five grades with respective
guidance.
(2) GRADING OF AREAS AND PROTECTION STANDARDS
Protection grades and policy for each grade are defined as shown in Table 1.
TABLE 1 Protection grades and standards for building areas
DEFiniTion ProTECTion sTanDarD
GraDE 1 Areas of particular importance to the • Such areas must be suitably maintained in
(PrEsErVaTion) building as a cultural property. These their present condition.
basically consist of the following:
• When preservation maintenances have to be
• Parts that are material to maintain the made, active consideration must be given to
architectural features distinctive of Le means of better expressing the building’s value
Corbusier’s style, including the building’s as a Le Corbusier’s architectural work.
spatial composition as a “Museum of
Unlimited Growth”
• Parts where the original materials and
design have been well retained.
GraDE 2 Areas whose value as a cultural property • Harmony with Grade 1 areas should be
(ConsErVaTion) must be considered when routine considered.
maintenances and equipment upgrades are
• When performing routine maintenances and
made to maintain architectural soundness
upgrading equipment, present architectural
or maintain and improve service as an art
details should be suitably maintained.
museum.
GraDE 3 Areas that are allowed to be modified to • These consist of all rooms on the first
(oTHEr) improve utility or safety basement floor (the interior of this floor is out
of the designation as an Important Cultural
Property), first floor kitchen, visitors’ restrooms
on all floors, and duct space. These areas may
be modified as determined by the owner
provided that such modifications do not affect
the main structure of the building.
4] Protection Standards for the Site of the Museum

(1) OUTLINE OF THE PROTECTION
The site of the Museum is registered in their entirety as a registered monument (Place
of Scenic Beauty). Its spatial structure and design should be respected to preserve the
architectural features that are distinctive of Le Corbusier’s style. (Regarding the
protection standards for the Main Building and Staircase 1 and Staircase 2, refer to
Chapter 2 of the main text of the plan.)
More specifically, the site is divided into two grades, and protection standards are
provided for each: Grade A (preservation) areas, where forms and spatial configurations
dating from the museum’s original construction are especially well preserved; and Grade B
(conservation) areas, where changes are permitted to be made in line with the museum’s
administration and operation as an art gallery. The matters to which particular attention

267
should be given in order to preserve the site as a whole as well as to protect the site’s
value as a cultural property are as follows:
• Maintain or improve the view of the Main Building from within and beyond the site
• Proper management of trees and shrubs in the site from the point of view of
disaster preparedness
• Conservation of the 14 Japanese zelkova by the east-side fence and 3 Japanese
zelkova in the central courtyard that are recognized as a constituent element of
the registered monument (Place of Scenic Beauty)
• Attention to maintain a good and secure condition for the facility as an art
museum
(2) DEFINITIONS OF GRADES
The site is divided into Grade A (preservation) areas and Grade B (conservation) areas.
A. Grade A areas consist of the Main Building (Important Cultural Property) and
the terrace, Staircase 1, Staircase 2, and forecourt, which are integral to the Main
Building.
B. Grade B areas consist of the Special Exhibition Wing, New Wing, and central
courtyard.
(3) PROTECTION STANDARDS FOR EACH GRADE
The protection standards for Grade A and Grade B areas of the site are shown in Table 2
below.
TABLE 2 Protection standards for areas
DEFiniTion ProTECTion sTanDarD
GraDE a Areas where the original spatial • Suitable maintenance should be provided.
composition is especially well • Where features of the original spatial configuration
preserved and that require care to be have been lost, restoration should be considered and
taken to preserve their value as a efforts should be made for better expression of the
cultural property. building’s value as an architectural work of Le Corbusier.
GraDE B Areas where changes necessary to • No action should be taken if it considerably affects
management and operation as an art the preservation of the Main Building and Staircases 1
museum are permitted while ensuring and 2.
harmony with Grade A areas. • Efforts must be made to maintain and improve the
landscape of the site.
• Care must be exercised to ensure that the views of the
Main Building from the south and east paths and of the
site as a whole are not harmed.
5. Basic policy on public access

From the time of its construction the facilities of National Museum of Western Art
(NMWA) has been continuously utilized as a museum. In recent years an intensive effort
has been made to provide information to general public on the unique features of its
Main Building and Garden as an architectural work by Le Corbusier. Chapter 5 of the
main text of the plan offers the guideline to provide the general public with opportunities
to appreciate the works in the museum collection as “utilization,” while efforts to provide
opportunities to appreciate these architectural works of Le Corbusier as architecture are
spoken of as “public access”; it is primarily concerned here with policies to promote the
latter.
In the promotion of public access, with compatibility with utilization of the museum as
the basic policy, efforts shall be made to implement both educational approaches and
the formulation of plans for improvement, including architectural restoration to the ori-
ginal state.
6] Current state and basic policy for the Buffer Zone
The NMWA is situated in the Ueno Park, and the surroundings are well maintained in
accordance with the Urban Park Act and the Tokyo Municipal Parks Ordinance. Building
activity in the park is restricted based upon the designation as an Urban Planning Park
and Scenic Districts under the City Planning Act, and the efforts are also being made to
conserve the surrounding landscape in accordance with Landscape Ordinances and
Plans put into effect by Taito City under the Landscape Act. The present situation as re-
gards other urban plans and tourism plans in the area in which the NMWA is located is
described in chapter V (d) of the Nomination dossier.
Suisse
Legal competences of the different state levels
In Switzerland, the regional entities, the cantons are legally responsible for culture and
cultural heritage. The main responsibility for the protection, the preservation and the
management of the two component parts in Switzerland lies therefore by the canton of
Vaud (for the Petite Maison au bord du lac Léman) and the canton of Geneva (for the
Immeuble Clarté).
However, the Confederation also has its (subsidiary) competences: both objects are
under the protection of the Confederation, which means that each intervention must be
approved by its Federal Office for culture prior to realization. The Confederation also has
the legal possibility of ordering urgent (conservation) measures to prevent damage when
the protected monuments are threatened by imminent danger, or even to expropriate
them if necessary for their conservation. Together with the cantons, the Confederation
can also grant restoration work.
In the cantons of Vaud and Geneva, the component parts are legally protected, which
means that all interventions on and around the nominated component parts must be
approved by the competent cantonal authority (the cantonal conservator) before getting
a building permit. The cantons also have the possibility to grant restauration works.
The municipalities (Corseaux and Geneva) are competent for the urban planning and
the establishment of the corresponding plans. However, each revision of these plans
must be approved by the cantonal authorities.
Daily management of the component parts is the owners’ task, represented by the mu-
nicipality (technical work) respectively by an association (museal use) in the case of the
Petite Maison au bord du lac Léman, which is a property of the Fondation Le Corbusier;
respectively by a professional agency for Immeuble Clarté, which is jointly owned by
the proprietors of each apartment.
Swiss Coordination Group
To enhance the coordination and exchange within the transnational serial nomination
within Switzerland, but also on the international level, a Swiss Coordination Group has
been established which brings together the relevant authorities of all States level, as
well as the owners and others stakeholders. The objective of this group is to guarantee
the horizontal and vertical information flow and the discussion and implementation of
management projects, related to the international standing conference or limited to spe-
cific Swiss issues. Other objects realized by Le Corbusier in Switzerland, but not selected
as component part for this nomination, will also take part in the Swiss coordination
group (e. g. Maison Blanche in La Chaux-de-Fonds; Center Le Corbusier in Zürich), en-
suring a broader benefit of the World Heritage nomination.

269
Summary table of the mangement plans of all the component parts of the
Property
Component part Maisons La Roche Petite villa au bord

of Property et Jeanneret, Paris du lac Léman
Localisation
Sources and levels • La Fondation Le Corbusier est financièrement responsable • La Fondation Le Corbusier est financièrement responsable
of funding du Bien en tant que propriétaire (gros entretien, frais d’en- du Bien en tant que propriétaire (gros entretien, frais d’en-
tretien courant, frais de personnel, prestations de service tretien courant, frais de personnel, prestations de service
liées). liées, environ 9 000 francs par an).
• Ville de Paris. • La commune prend en charge les frais d’assurance, de

chauffage, d’eau, d’électricité, d’impôts et de taxes. L’asso-
ciation “Villa le Lac” s’occupe de l’organisation du gardien-
• État (subventions pour les travaux). nage, des visites et des manifestations type expositions.
Sources of DRAC, ACMH et Fondation Le Corbusier. Commune de Corseaux

specialized skills • Elle assure la conservation et l’entretien de la maison, y
and training in Les services de la Ville de Paris. inclus le mobilier et le jardin, par le financement de l’asso-
conservation and ciation Villa le Lac qui doit informer la Fondation sur tout évé-
management nement ou facteur qui pourraient la menacer, et sollicite l’avis
techniques de la Fondation avant d’entreprendre des travaux d’urgence).
• Le propriétaire doit également consulter les autorités com-

pétentes cantonales et nationales avant toute intervention.
Arrangements • Visite libre avec brochure de visite. Visite guidée en six L’association ouvre la maison aux visiteurs.
and infrastructures langues sur réservation. Point librairie. Actuellement, la maison peut être visitée du vendredi au
for visitors • Bibliothèque accessible sur rendez-vous tous les après lundi et sur rendez-vous, en été.
midi, archives consultables sur postes informatiques.
• La Maison La Roche est ouverte au public les :
– lundi : 13h30/18h – mardi au samedi: 10 h à 18 h
Fréquentation : 17 500 visiteurs (2013).
Policy and • Réalisation de différents parcours d’architecture moderne Les actions engagées
programmes for the à partir des bâtiments protégés avec la Ville de Paris. • L’association organise des expositions adaptées dans la
enhancement and villa, et elle gère le site web d’information, elle a octroyé un
promotion of the • Achèvement de la restauration des façades et du jardin budget de fonctionnement à la Petite Villa. Depuis peu de
component of the début 2015. temps, la Petite Villa est devenue un musée accrédité de
Property l’ICOM et des Musées Suisses.
• 2 expositions prévues en 2015.
Les actions envisagées
• Plan partiel d’affectation « Corseaux sud » soutien de la
mise en valeur de la Petite villa au bord du lac Léman dans
le respect des valeurs de l’élément et de ses abords.
• Prévision et planification de la restauration de la Petite Villa.
Level of qualification • Au 31 décembre 2013, la Fondation comptait 13 salariés dont • Un conservateur s’occupe de la Petite Villa et est responsable
of employees un architecte spécialisé dans la restauration en charge du de sa gestion (association Villa le Lac).
(professional sector, contrôle, conseil et suivi de la conservation de l’œuvre. Il représente également la commune dans l’Association des
technique, Plus 3 agents d’accueil pour les visites du musée. sites Le Corbusier et dans le groupe de coordination suisse.
maintenance)
Property
Component part Cité Frugès, Maison Guiette

of Property Pessac
Localisation
Sources and levels Financement : propriétaires. Entretien et restauration du patrimoine :

of funding supervision et cofinancement par :
subventions : État, commune, département, région. • la ville d’Anvers
Fondation du Patrimoine. • la province d’Anvers
• la Région flamande
Sources of DRAC, FLC, Communauté Urbaine de Bordeaux. • Service du Patrimoine de la ville d’Anvers.
specialized skills
and training in • Communauté Urbaine de Bordeaux : signalétique, jalonne- • Agence du Patrimoine de Flandre (Région flamande).
conservation and ment, tourisme.
management
techniques • Les services techniques de la ville de Pessac : entretien courant
de la maison en sa possession, interventions paysagères.
• Le service Patrimoine et Tourisme de la ville de Pessac :

animation de la Maison municipale.
• CUB : signalétique, jalonnement.
Arrangements Les actions engagées accessibilité

and infrastructures • Maison municipale animée par le service Patrimoine et tou- • L’édifice n’est pas visitable mais les façades principales
for visitors risme de la Ville de Pessac. et latérales sont visibles depuis la rue (Populierenlaan).
Les actions envisagées • Accès par les transports publics : tramway ligne 2 et 6
• Accueil public plus étendu et gestion du flux touristique à 50 m.
après création d’un CIAP (Centre d’interprétation de l’Archi- • Stationnement possible dans les rues environnantes.
tecture et du Patrimoine). Un parc de stationnement vert “park & ride” a été aménagé
• Aménagement des abords, voies d’accès, délestage, sur le terrain non-construit à côté de la Maison Guiette.
parking, signalétique, jalonnement.
• Circuits de visites diversifiés (culturels, scientifiques).
Fréquentation : visiteurs de la Maison municipale :
2010 : 3 773 visiteurs – 2013 : 6 278 visiteurs.
Policy and Les actions envisagées : • Plusieurs parcours d’architecture moderne intègrent la
programmes for the • Mise en place d’un guichet unique à destination des pro- Maison Guiette.
enhancement and priétaires pour la restauration et l’entretien de l’ensemble
promotion of the des extérieurs des maisons. Financements : Commune, DRAC,
component of the Région, Fondation du Patrimoine.
Property • Promotion du site (enrichissement du site Internet,
développement de supports de promotion touristique...).
• Organisation de séminaires de recherche (architecture,
logement social...).
• Création d’événements médiatiques.
• Mise en réseau national/international des différents sites
Le Corbusier.
• Mise en réseau locale des deux « Cité Frugès / Le Corbusier ».
Level of qualification Aujourd'hui : 1 employé à temps complet et 1/2 ETP (équiva- • 1 employé (mi-temps) du Service du patrimoine de la ville
of employees (profes- lent temps plein) pour assurer les visites. d’Anvers.
sional sector, tech- À moyen terme : 2 employés à temps complet. • 2 employés (mi-temps) de l’Agence du Patrimoine de Flandre
nique, maintenance) (Région flamande).

271
Property
Component part Maisons de la Weissenhof-Siedlung,

of Property Stuttgart
Localisation
Sources and levels Bruckmannweg 2 : l’entretien courant est assuré par l’établissement fédéral des affaires immobilières
of funding (Bundesanstalt für Immobilienangelegenheiten (BImA)
Rathenaustr. 1-3 : après restauration selon les techniques de conservation des monuments historiques par la Fondation
Wüstenrot de 2002 à 2005, l’entretien courant est assuré par la ville de Suttgart.
Sources of • La Direction régionale des Monuments historiques au sein de la Présidence régionale (Landesamt für Denkmalpflege im
specialized skills Regierungspräsidium Stuttgart) assure, en collaboration avec des spécialistes en matière de préservation et de restauration
and training in des Monuments historiques et ouvrages artistiques, un encadrement compétent et durable des biens à protéger.
conservation and
management • La capitale régionale du Land, Stuttgart, en tant qu’autorité de première instance chargée de la protection des Monuments
techniques historiques est également dotée d’effectifs spécialisés en matière de protection des monuments.
Arrangements • La cité du Weissenhof et le Musée du Weissenhof dans la Maison Le Corbusier attirent essentiellement des visiteurs indi-
and infrastructures viduels du monde entier. Ils ne font pas l'objet d'un tourisme de masse.
for visitors
Accessibilité
• Stuttgart est, en tant que centre économique, culturel et politique du Land de Bade-Wurtemberg, très bien desservie et
offre de nombreuses possibilités d’hébergement pour les touristes.
La cité du Weissenhof est desservie par les transports en commun (ligne de tram n° 7, ligne de bus n° 44), une dizaine de
minutes à partir de la gare centrale.
En voiture, le chemin est indiqué par des panneaux à partir de la Heilbronner-straße, une des artères principales de la ville.
Des établissements gastronomiques et des WC publics se situent à proximité du Musée du Weissenhof. Le musée (ouvert du
mardi au dimanche) propose des visites guidées dans la maison (petite visite) et la cité (grande visite).
Fréquentation : en 2013, le Musée a accueilli 21 000 visiteurs. Ces dernières cinq années, le nombre annuel moyen de visiteurs
s'élevait à 21 800.
Policy and Le musée du Weissenhof est une composante essentielle d'une stratégie plus large consistant à sensibiliser un public inter-
programmes for the national à la cité du Weissenhof comme site et comme témoin de la culture architecturale de Stuttgart.
enhancement and La municipalité conçoit cette cité comme un acteur important au sein d'un futur réseau international de musées et de construc-
promotion of the tions du Mouvement Moderne.
component of the
Property Les actions engagées
• L’Association des amis de la cité du Weissenhof, organisme porteur du Musée du Weissenhof, propose des manifestations
sur les thèmes de l’architecture moderne dans la « Weissenhofwerkstatt » (atelier du Weissenhof), l’ancienne crèmerie dans la
Maison Mies van der Rohe.
• Un plan de mesures en tant que base obligatoire et ligne directrice aux mesures d’entretien et de restauration est en cours
d’élaboration. Depuis 2009, une table ronde Weissenhof fut établie pour l’amélioration de la concertation entre propriétaires,
autorités de la protection des monuments.
Les actions projetées
• Le renforcement de réseaux du Mouvement Moderne, la poursuite de l’échange d’informations et d’expérience et un concept
d’avenir concernant l’ensemble de la cité du Weissenhof sont envisagés (cf. Annexes).
Level of qualification Employés :

of employees • de la ville de Stuttgart, (office de l’urbanisme et du renouvellement urbain, office culturel, office des constructions),
(professional sector, • de la Présidence régionale de Stuttgart,
technique, • de la Direction régionale des Monuments historiques au sein de la Présidence régionale de Stuttgart,
maintenance) • du Bureau fédéral de la construction – antenne de Stuttgart,
• du Musée du Weissenhof (3,3 postes) et collaborateurs bénévoles (Association des amis de la cité du Weissenhof).
Property
Component part Villa Savoye et loge du jardinier,

of Property Poissy
Localisation
Sources and levels Financement : État / Centre des Monuments Nationaux

of funding • le Centre des Monuments Nationaux finance à 100 % la conservation et l’ouverture au public.
Financement : Ville de Poissy
• Études et projets d’aménagement et de mise en valeur du site.
• Études et projets d’aménagement et de mise en valeur du site.
• Études et projets pour la création d’un Pôle culturel.
Sources of DRAC, CMN, ACMH et Fondation Le Corbusier.

specialized skills Projets de restauration
and training in • Le suivi est assuré par le Conservateur du monument (CMN) et l’administrateur (CMN).
conservation and • La Maîtrise d’œuvre est assurée l’Architecte en Chef des MH.
management
techniques Etude du PPM : chargé d’étude Architecte du Patrimoine, en liaison avec le STAP.
Projets initiés par la Ville de Poissy : soumis à l’avis de l’Architecte des Bâtiments de France (STAP) dans les abords des
MH et PPM.
Gestion touristique et animation de la Villa Savoye : assurée par le personnel du CMN.
Arrangements Accessibilité
and infrastructures • La Villa est facilement accessible à pied et fléchée depuis le centre de Poissy et depuis la gare SNCF reliée directement à
for visitors Paris (environ 30 mn).
• L’accès et le stationnement en voiture et en bus sont également aisés.
Projets pour les visiteurs
• Création d’un Pôle culturel comprenant un Centre d’Interprétation de l’Architecture et du Patrimoine lié à la Villa Savoye ;
• Amélioration de la signalétique de la Villa Savoye.
• Amélioration du traitement de la zone d’accès à la Villa.
• plan de mobilité et de déplacement urbain.
Fréquentation : la fréquentation de l’élément constitutif du bien est croissante.
22 023 visiteurs en 1999 – 27 000 visiteurs en 2005 – 32 160 visiteurs en 2009 – 39 000 visiteurs en 2013.
Policy and La promotion du bien est assurée par les organismes suivants :
programmes for the • le Centre des monuments nationaux / CMN : direction du développement culturel et direction de la communication ;
enhancement and • la Ville de Poissy : Office de Tourisme ;
promotion of the • le Comité départemental du tourisme ;
component of the • le Comité régional du tourisme.
Property
• Etat /DRIEE IF : projet d’extension du Site inscrit des Iles et rives de la Seine.
• Etat / STAP : projet de création d’un PPM autour de la Villa Savoye.
• Etat / CMN : projet de création d’un lieu d’accueil avec billetterie / accueil / boutique / sanitaires ; et projet de restauration
de la Loge du jardinier.
• Ville de Poissy :
– projet de modification de la zone de PLU de la Villa et ses abords en vue d’une meilleure protection et mise en valeur ;
– projet de création d’un Pôle culturel comprenant un Centre d’Interprétation de l’Architecture et du Patrimoine lié à l’édifice ;
– projet de Plan de mobilité et de déplacement urbain / sens de circulation av. Blanche de Castille / amélioration des liaisons
inter-quartier / amélioration des liaisons Centre ville –Villa Savoye ;
– projet d’amélioration de la signalétique de la Villa Savoye et du traitement du parc.
Level of qualification 7 agents permanents du CMN :

of employees (profes- 1 administrateur ; 1 technicienne de gestion administrative et financière ; 1 régisseur ; 4 agents d’accueil dont un vacataire
sional sector, tech- permanent.
nique, maintenance)

273
Property
Component part Immeuble Clarté, Immeuble locatif à la Porte Molitor,

of Property Genève Boulogne-Billancourt
Localisation
Sources and levels • Entretien ordinaire et gestion quotidienne incombent aux La copropriété aidée par l’État et la Fondation Le Corbusier
of funding propriétaires qui y contribuent par des charges définies selon pour l’appartement-atelier de Le Corbusier.
leur appartement.
• Un fonds de rénovation établi par des propriétaires assure Pour la valorisation culturelle :
la disponibilité de moyens pour des rénovations nécessaires Ville de Boulogne-Billancourt.
des parties communes.
• Restauration achevée en 2010 : budget de 14 millions de
francs environ, dont la Confédération et le canton ont sub-
ventionné 2,8 millions de francs. Le solde est à la charge des
propriétaires.
Sources of Toute question concernant la conservation du Bien est traitée DRAC, FLC, services culturels et d’urbanisme de la ville de
specialized skills par le service compétent cantonal ou par la commission d’ex- Boulogne-Billancourt, LRMH.
and training in perts des monuments, de la nature et des sites. En outre, le
conservation and service cantonal peut demander des expertises auprès de la
management Commission fédérale des monuments historiques CFMH ou
techniques susciter des mandats d’experts fédéraux pour des domaines
spécifiques.
Arrangements Quelques appartements peuvent être visités lors d’occasions • Accessibilité en métro (lignes 9 et 10)
and infrastructures particulières, comme les Journées du Patrimoine • Existence d’un parcours du patrimoine du XXe siècle dans
for visitors lequel le patrimoine corbuséen est inclus (signalétique et
Les actions envisagées visites commentées)
• Réflexion concernant l’éventuel achat d’un appartement • Possibilité de visiter l’appartement de Le Corbusier
témoin pour les visites régulières fait partie du plan d’action • Appartement-atelier ouvert à la visite les samedis, et sur
de ce plan de gestion. rendez-vous.
Fréquentation : environ 1 000 personnes par an suivent les

parcours en visites guidées.
La fréquentation de l’appartement-atelier de Le Corbusier a
encore connu une très nette augmentation en 2013 avec
4 100 visiteurs payants (3 000 en 2012).
Policy and Les actions envisagées Les actions engagées

programmes for the • Clarifier et améliorer la protection des abords immédiats de • La ville de Boulogne-Billancourt a été labellisée « Ville d’art
enhancement and Clarté par la mise en vigueur d’un plan de site cantonal. et d’histoire » en 2004.
promotion of the • La Fondation Le Corbusier a engagé une étude préalable à
component of the la restauration de l’appartement pour 2015.
Property
• Exposition en 2015 sur Le Corbusier et Boulogne-Billancourt.
• Réalisation d’une mallette pédagogique « l’architecture de
Le Corbusier » à destination du jeune public boulonnais.
• 2016 : restauration cmplète de l’appartement-atelier de
Le Corbusier.
Level of qualification 2 équivalents temps plein soit 5 agents à temps partiels.

of employees Plus les guides conférenciers du Musée des Années 30
(professional sector, (Boulogne-Billancourt).
technique,
maintenance)
Property
Component part Unité d’habitation, La Manufacture

of Property Marseille à Saint-Dié,
Localisation Saint-Dié-des-Vosges
Sources and levels DRAC PACA : • L’entretien et la restauration sont financés par le propriétaire,
of funding • jusqu’à 50 % du coût des travaux pour les interventions sur l’État pouvant apporter une subvention de 50 % pour les travaux.
les parties classées MH du bâtiment ;
• jusqu’à 50 % pour les travaux dits d’entretiens et de mise • Animation culturelle et touristique : assurée principalement
en sécurité. par la ville, service communication/promotion et Office du
Le reste des dépenses est entièrement supporté par les Tourisme/culture.
copropriétaires au prorata de leurs tantièmes.
Sources of DRAC, ACMH, FLC, services culturels et d'urbanisme de la DRAC, ACMH et Fondation Le Corbusier
specialized skills ville de Marseille (en particulier l’atelier du patrimoine de la Propriétaire de la manufacture
and training in ville), CAUE des Bouches-du-Rhône. Les services de la ville de Saint-Dié-des-Vosges : direction
conservation and de l’urbanisme, direction de la communication promotion et
management service culturel.
techniques
Arrangements L’Unité d’habitation est ouverte au public : Les actions engagées

and infrastructures hall d’entrée, 3e rue (3e étage), rue commerçante, • Des visites de l’usine sur demande auprès des propriétaires
for visitors toit-terrasse, toute l’année, tous les jours de 9h à 18h. et des visites guidées organisées par la ville en période estivale.
Les visites sont organisées par l’Office de Tourisme et des Les actions envisagées
Congrès de la ville de Marseille pour les groupes de plus de • Accueil d’un public plus important et plus régulièrement
dix personnes (notamment visite de l’appartement 643 classé avec l’aménagement d’une salle dédiée dans l’usine (proprié-
Monument Historique). taire).
• Aménagement d’un parking pour bus sur un terrain situé en
Le Mamo (centre d'art sur le toit-terrasse) est visitable tous arrière de l’usine (propriétaire de l’usine).
les jours de 11h à 18h. • Création de parcours de visite thématique (patrimoine
industriel local, patrimoine remarquable du territoire …).
Fréquentation : estimée à 25 000 visiteurs en 2012
et 36 500 visiteurs en 2013.
Policy and Les actions engagées Les actions engagées :

programmes for the • Actions de l’Association des habitants de l’Unité d’habitation. • Une salle du musée de ville est dédiée à Le Corbusier.
enhancement and • Programmation Mamo. • Deux plaquettes de présentation de Le Corbusier, une sur
promotion of the • Programmation de la cellule 516 « zone d’art habité ». l’usine et l’autre sur le plan de reconstruction de la ville.
component of the • Programmation de l’appartement 50.
Property Les actions envisagées :
Les actions envisagées • Développement de nouveaux supports de communication.
• Mise en place d’actions de sensibilisation à destination • Organisation d’expositions, cycle de conférence, recueil de
du public scolaire. témoignages sur le fonctionnement d’une usine verte.
• Projet d’Amélioration de la signalétique intérieure. • Développement des circuits et des produits « courts séjours »
spécifiques mettant en valeur l’Usine Verte, la maison Duval
Level of qualification Deux personnes sont employées dans l’immeuble : et le Musée Pierre-Noël au sein d’un itinéraire culturel et des
of employees • 1 régisseur circuits touristiques thématiques « Patrimoine architectural
(professional sector, • 1 électricien d’entretien moderniste en Grande Région ».
technique,
maintenance) Les guides de l’Office de Tourisme et des congrès de Mar-
seille ; un agent du Conseil d’Architecture, d’Urbanisme et de Le personnel de l’Office de Tourisme de la ville.
l’Environnement (médiation à destination du public scolaire) ; Mise à disposition de personnel du service communication.
médiateurs saisonniers pour le Mamo et la cellule 516.

275
Property
Component part Maison du Docteur Curutchet,

of Property La Plata, Province de Buenos Aires,
Localisation Argentine
Sources and levels • Exemption d’impôts pour la Maison Curutchet (aide accordé aux propriétaires qui assurent, en accord avec les locataires
of funding l’entretien et la conservation des bâtiments).
Les salaires des employés en charge du nettoyage du bâtiment et d’accueillir et guider les visiteurs sont assurés par l’Ordre
des Architectes de la Province de Buenos Aires.
• Le Comité du Site Maison Docteur Curutchet, créée en juin 2014 – dossier en cours nº 2160-3130/14 –, recherchera des fonds
complémentaires afin d’aider les locataires et améliorer le fonctionnement en tant que site touristique.
Sources of • Les organismes en charge de la gestion aux niveaux national, provincial et local comptent avec des experts en conservation
specialized skills du patrimoine.
and training in
• Les sources de compétences sont assurées en tant que plusieurs universités argentines proposent des études supérieures
conservation and
(spécialisation ou masters) en conservation et gestion du patrimoine. L’Université Nationale de La Plata, à travers son Ecole
management
d’Architecture et d’Urbanisme, dicte une carrière de spécialisation en conservation et restauration du patrimoine. Et l’Ecole
techniques
d’Architecture et du Design, de l’Université Catholique de La Plata, prodigue des cours de perfectionnement en conservation
et restauration du Patrimoine bâti.
Des études supérieures similaires sont disponibles aux universités de Buenos Aires et Mar del Plata et dans d’autres provinces
du pays.
Arrangements • Ouverture aux visiteurs du lundi au vendredi, de 10 h à 14 h.

and infrastructures • Edifice localisé en centre-ville de La Plata, à proximité de la gare et du terminus d’autobus de la ville.
for visitors • Stationnement possible (automobiles et bus) à 100 m de la Maison Curutchet (parc urbain Paseo del Bosque).
• Points d’information touristique, installés dans les entrées de ville.
• Edifice inclus dans les guides et brochures touristiques de la ville.
• Brochures explicatives disponibles pour les visiteurs ; possibilité d’acheter des revues spécialisées ou des souvenirs.
• Visite libre ou guidée ; guides spécialisés fournis par l’Ordre d’Architectes de la Province de Buenos Aires et par l’Ecole
d’Architecture et d’Urbanisme de l’Université Nationale de La Plata.
Fréquentation : entre 2010 et 2013, la moyenne du nombre de visiteurs par an a augmenté autour de 2 700, dûment enregistrés.
Policy and Plan de conservation permanent du bâtiment

programmes for the L’objectif est de relever en détail l’état actuel de conservation et d’identifier les priorités d’intervention afin de garantir la
enhancement and conservation des attributs matériels sur lesquels reposent les valeurs historiques et architecturales de l’élément constitutif
promotion of the du bien. Les travaux se feront sur la base d’un projet intégral de conservation développé par le Comité du Site Maison Docteur
component of the Curutchet, et contrôlé par les organismes compétents.
Property
Amélioration du fonctionnement en tant que site touristique de la ville
Le programme prévoit l’ouverture de la Maison Curutchet les week-ends, la provision des brochures pour les visiteurs et
pour la sensibilisation du public non spécialisé et le renforcement de l’attractivité touristique de l’édifice. Une brochure
informative sur Le Corbusier, sur la Maison Curutchet et sur la candidature patrimoine mondial, destinée à la sensibilisation
du public, est en cours d’édition.
Level of qualification • Commission Nationale des Musées et des Monuments et sites historiques : un délégué à la province de Buenos Aires ; des
of employees conseillers assurant les liaisons entre la Commission et les Monuments Historiques.
(professional sector, • Direction du Patrimoine Culturel de la Province de Buenos Aires : Département de Conservation du Patrimoine.
technique,
maintenance) • Direction de Préservation du Patrimoine de la Municipalité de La Plata : un directeur et cinq employés.
• Administration du site : l’Ordre d’Architectes de la Province de Buenos Aires.
Trois employés administratifs organisent les visites (appuyés par des stagiaires de l’Ecole d’Architecture de l’Université
Nationale de La Plata).
Property
Component part Chapelle Notre-Dame- Cabanon de Le Corbusier,

of Property du-Haut, Ronchamp Roquebrune–Cap-Matin
Localisation
Sources and levels Pour l’Association Œuvre-Notre-Dame-du-Haut : cotisations, Entretien et restauration :

of funding dons, dividendes perçus de sa filiale commerciale l’EURL Propriétaire avec des subventions de l’État et des collectivités
La Porterie, droits à l’image, subventions ponctuelles. territoriales.
Pour l’EURL La Porterie : droits d’entrée, produits de ventes Mécénat de partenaires privés.
de librairie. Travaux sur le sentier d’accès financés par la commune de
Pour des projets précis : Conseil général, CRFC, Convention RCM.
Interrégionale du Massif des Vosges, (FEDER et FNADT Massif) Visite et animations culturelles : Association Cap Moderne.
Entretien et restauration : subvention de l’État et des collec-
tivités territoriales.
Sources of DRAC, ACMH et Fondation le Corbusier DRAC, ACMH, Fondation le Corbusier, Association pour la
specialized skills sauvegarde du site Eileen Gray et Le Corbusier, Association
and training in Architectes présents au sein de l’Association Œuvre-Notre- des Sites Le Corbusier, Conservatoire du littoral, Association
conservation and Dame-du-Haut Cap Moderne, LRMH.
management
techniques Communauté de Communes Rahin et Chérimont (CCRC)
Arrangements Un nouvel accueil a été réalisé en 2011 et le parking a été Actuellement, le site ne se visite que sous rendez-vous.
and infrastructures réaménagé. Les actions envisagées
for visitors Les statistiques de fréquentation sont tenues mensuellement • Projet de création d’un centre d’accueil et de médiation,
par l’EURL La Porterie. pour partie dans le hangar implanté face à la gare (après
Fréquentation : acquisition auprès de la SNCF), et pour partie dans les locaux
68 631 visiteurs en 2010 – 72 429 visiteurs en 2011 de la Villa Giori.
65 196 visiteurs en 2012 – 61 000 visiteurs en 2013. Fréquentation
Annuelle moyenne de 1 500 visiteurs.
Policy and Les actions engagées Les actions envisagées

programmes for the • Restauration de la chapelle à l’horizon 2015-2017 avec une • Plan de communication et de commercialisation des pro-
enhancement and tranche expérimentale sur la façade sud, prévue à partir de duits proposés ;
promotion of the fin 2014, en cofinancement avec la DRAC Franche-Comté.
component of the • Élaboration d'un cahier des charges de promotion du site.
Property • Plan de développement culturel et commercial de l’EURL • Réalisation de supports de communication.
La Porterie portant sur les 10 années à venir.
• Événement pour les 50 ans de la disparition de Le Corbusier
• Plan de gestion et plan de développement touristique de la et les 40 ans du Conservatoire du Littoral (2015).
Chapelle de Ronchamp.
• Restauration des peintures murales et des toitures du Ca-
• Réseau Franche-Comté Evasion. banon mais aussi de la guinguette et de la baraque atelier.
• Plan Paysage Intercommunal.
Level of qualification • 5 salariés de l’EURL La Porterie. Personnel de l'association Cap Moderne.

of employees • Une cinquantaine de bénévoles
(professional sector, à l’Association Œuvre-Notre-Dame-du-Haut.
technique,
maintenance)

277
Property
Component part Le Complexe du Capitole,

of Property Chandigarh
Localisation
Sources and levels L’Administration de Chandigarh a provisionné suffisamment de fonds pour l’entretien, la conservation, la valorisation, et
of funding la promotion touristique du site. Le Consolidated Fund of India partage son budget avec l’Administration de Chandigarh. Un
budget dédié existe pour l’entretien, à court et à long terme du site. Le Ministère des Finances (UT) participe à l’entretien de
tous les bâtiments gouvernementaux non résidentiels.
Sources of • Le Gouvernement indien a constitué un Comité d’experts du patrimoine (Expert Heritage Committee) comprenant des experts
specialized skills dans le domaine de la conservation, de l’Urbanisme et de l’art, des académiciens, nommées par les ministères de la Culture,
and training in de l’Archaeological Survey of India, et dont la mission est de proposer des recommandations concernant la sauvegarde, la
conservation and conservation et la gestion du site proposé.
management • Si l’entretien au jour le jour est assuré par le Département d’ingénierie avec le soutien du service d’horticulture, et d’autres
techniques services, a été proposé la création d’un Service patrimoine dédié, pour procéder aux expertises techniques sur la conser-
vation des structures en béton avec des architectes du patrimoine (Conservation architectes) et de spécialistes du béton, en
lien avec le CBRI, Roorkee.
• Les publications scientifiques concernant la sauvegarde du patrimoine moderne, notamment les actes du séminaire sur les
structures en béton, tenu à Chandigarh en 2004.
• Des ateliers, des séminaires de formation, et des conférences sur la conservation et la restauration du béton, et la gestion
du patrimoine moderne, ont été régulièrement organisés : le Festival du patrimoine de Chandigarh – 2006, 2007, 2008 –, la
Conférence internationale sur « Les paysages historiques urbains » (2008), la Conférence internationale sur la conservation
du béton (2014), ont été organisés par le CCA et l’administration de Chandigarh.
Arrangements Fréquentation
and infrastructures 2009 : 240 – 2010 : 913 – 2011 : 1 268 – 2012 : 2 251 – 2013 : 2 229 – 2014 : 900 (à la date du 30 mai).
for visitors Un Bureau d’information touristique a été ouvert pour améliorer l’accueil des touristes sur le site (documentation touristique
– cartes, brochures –, visites accompagnées par des guides formés, et les services d’un agent de tourisme qui délivre les
autorisations de visite). Le bureau est équipé de toilettes publiques.
Policy and 1. Promenade patrimoniale – En cours – Cible : touristes et citoyens.

programmes for the 2. Séminaires sur les structures en béton – En cours – Cible : architectes et ingénieurs.
enhancement and
3. Rapports sur le béton armé – En cours – Cible : administration de Chandigarh, CCA.
promotion of the
component of the 4. Valorisation du site proposé – Semaine du patrimoine annuelle depuis 2006 – Cible : touristes, chercheurs et citoyens.
Property 5. Capacity Building Drives – Programmes de sensibilisation sur le patrimoine moderne, le béton, béton armé, les risques,
organisés par la NDMA, et l’Administration de Chandigarh – Cible : architectes, ingénieurs, expert en patrimoine, et gestionnaires.
6. Autres partenaires dans capacity building : INTACH ; autorité de Chandigarh, Ministère du tourisme – En cours – Cible :
touristes et citoyens.
7. Publications scientifiques au CCA, séminaires, conférences – En cours – Cible : architectes, ingénieurs, experts en patrimoine,
gestionnaires.
8. Publications, ministère du Tourisme, creation of STEPS – En cours – Cible : touristes et citoyens.
9. Formation du personnel de sécurité et des guides touristiques – En cours
10. Musée de la ville (secteur 10) ; Centre Le Corbusier (secteur 19) ; Musée in the UT Secréatariat ; Musée de la Haute-Cour
– Sont régulièrement mis à jour et enrichis d’archives, de données, sur l’histoire, le développement et l’état de conservation
de la Ville – Cible : touristes, chercheurs, citoyens.
Level of qualification L’effectif total du personnel dédié à la gestion touristique du site proposé est de 120 personnes.
of employees Ils dépendent du Bureau d’information touristique, du ministère du Tourisme, de l’Administration de Chandigarh.
(professional sector, Le staff spécialement affecté au Complexe du Capitole s’établit comme suit : l’Agent d'information touristique ; des guides
technique, (10) ; Assistance (Helper) ; Sécurité : police affectée aux touristes ; Police de Tourisme.
maintenance) Par ailleurs, la sécurité (CISF) mobilise environ 500 personnes chaque jour.
Property
Component part Couvent Sainte-Marie- Musée National

of Property de-la-Tourette, des Beaux-Arts
Localisation Éveux de l’Occident,
Tokyo
Sources and levels Entretien et restauration du patrimoine : travaux financés par Entretien et conservation à la charge de l’Institution Indépen-
of funding le propriétaire et subventionnés par la DRAC, le Conseil dante Administrative Musée National des Beaux-Arts. L’Ins-
régional Rhône-Alpes, le Conseil général de la Loire. titution Indépendante Administrative Musée National des
Beaux-Arts, directement financée par l’État, fonctionne grâce
à des recettes provenant notamment des tickets d’entrée.
Sources of DRAC, ACMH et Fondation Le Corbusier. En ce qui concerne le plan de gestion de l’élément constitutif
specialized skills • Le propriétaire (association des Amis de la Tourette) assure du bien, sa conservation et sa gestion sont assurées par le
and training in l’entretien courant du bâtiment et mène des actions cultu- propriétaire à partir d’un plan de gestion fondé sur les avis
conservation and relles et de communication. de spécialistes du patrimoine culturel.
management
techniques • La communauté de communes a mutualisé ses moyens pour
déléguer la mission de valorisation touristique à l’Office de
Tourisme du Pays de L’Arbresle dont le statut est associatif.
Arrangements L’association des Amis de la Tourette s’occupe de la gestion L’élément constitutif du bien est situé dans le parc de Ueno
and infrastructures culturelle du site. Une offre hôtelière de 55 lits est offerte dans dans le centre-ville de la Métropole de Tokyo. L’édifice se
for visitors les cellules du couvent, et les repas sont servis dans le trouve à une minute à pied de la sortie « koen guchi » de la
réfectoire. Les frères de la communauté ou des salariés laïcs gare JR de Ueno et à cinq minutes à pied de la station de
assurent les visites du couvent. Un parking a été aménagé aux métro de Ueno. Tous les lundis, ainsi que pendant la période
abords du couvent. entre le 28 décembre et le 1er janvier inclus, le musée est
fermé aux visiteurs. En dehors de ces dates et des fermetures
exceptionnelles, il est en général ouvert.
• Mise en place de plaquettes informatives en plusieurs
langues et développement du contenu du site Internet dédié.
Fréquentation
• Mise en place de signalétique.
Environ 1 000 000 par an.
Fréquentation : 10 000 visiteurs annuels
Policy and Les actions engagées • L’archivage des documents concernant l’élément constitutif
programmes for the • Intégration dans un circuit de découverte patrimoniale. du bien est en cours et va se poursuivre.
enhancement and • Séjours de travail d’architectes et d’étudiants.
promotion of the • Pour aider les visiteurs à mieux comprendre le bâtiment, un
• Sessions et séminaires autour de problématiques cultu-
component of the programme de présentation (visites guidées, publications de
relles, religieuses, artistiques ou architecturales.
Property guides, expositions de documents sur Le Corbusier, etc.) a
• Manifestations artistiques, expositions ou concerts (déve- été mis en place dans le cadre d’un projet éducatif du Musée
loppement de la programmation d’expositions d’art contem-
National des Beaux-arts de l’Occident, et sera poursuiví.
porain initiée depuis 2009).
Les actions envisagées • Le Parc de Ueno étant une zone où se concentrent de nom-
• Développer le contenu du site internet du couvent. breux établissements culturels tels que musées, universités
• Mise en réseau touristique à l’échelle de la Région Urbaine ou une salle de concert, notre perspective est d’approfondir
de Lyon (Utopies Réalisées). la collaboration entre les différents établissements afin de
renforcer son rôle de visage culturel du Japon.
• Démarche “Patrimoine 21” sur la conservation/restauration
à l’échelle de la Région Urbaine de Lyon.
• Développement d’actions à destination du public scolaire.
Level of qualification Trois personnes à temps plein et trois personnes à temps partiel Le Musée National des Beaux-Arts de l’Occident est tenu par
of employees chargées de la gestion du couvent, de l’accueil et du fonc- 21 titulaires et environ 80 contractuels.
(professional sector, tionnement de l’activité hôtelière. Un service civique pour le
technique, développement d’activité pédagogiques.
maintenance) Les 11 frères du couvent consacrent une partie importante
de leur temps à la valorisation du couvent.

279
Property
Nom du Bien :
L’œuvre architecturale de Le Corbusier. Une contribution exceptionnelle au Mouvement Moderne.
Component part Maison de la Culture,

of Property Firminy
Localisation
Sources and levels Entretien et restauration du patrimoine : travaux financés par le propriétaire et subventionnés par la DRAC, le Conseil régional
of funding Rhône-Alpes, le Conseil général de la Loire, la Ville de Firminy et la communauté d’agglomération de Saint-Etienne Métropole.
Animation culturelle : le financement est assuré par la Ville de Firminy et Saint-Etienne Métropole.
Valorisation du site : selon les projets le financement provient de la Ville de Firminy et de l’Office du Tourisme communautaire
(qui dispose d’un budget propre).
Sources of • DRAC, ACMH et Fondation Le Corbusier.

specialized skills
and training in • La Ville de Firminy assure l’entretien courant des bâtiments, des interventions paysagères, des interventions liées à la
conservation and circulation, à la signalétique. La conservation du site Le Corbusier est installée dans la Maison de la Culture.
management
techniques • Saint-Etienne Métropole.
• L’Office du Tourisme communautaire (animation et visites du site Le Corbusier).
Arrangements L’Office du Tourisme communautaire dispose d’une antenne « patrimoine Le Corbusier » qui s’occupe du développement tou-
and infrastructures ristique du site et de l’accueil du public.
for visitors L’antenne s’occupe de la commercialisation du site (carte ambassadeur, boutique). Une banque d’accueil des visiteurs et
une boutique existent dans la Maison de la Culture.
Des espaces permettant le stationnement des autocars existent dans tous le quartier (vaste parking à proximité de la Maison
de la Culture en particulier).

• Le développement d’un plan signalétique à l’échelle de la ville de Firminy.
• L’aménagement de la boutique et le déménagement des bureaux de l’Office du Tourisme dans la Maison de la Culture.
Fréquentation : 17 119 visiteurs en 2012 – 23 701 visiteurs en 2013
Policy and Les actions engagées

programmes for the • Production (itinéraire régional « Architecture du XXe », visites et ateliers, livrets pour enfants, centre d’interprétation, guide
enhancement and du visiteur).
promotion of the • Promotion (site internet dédié, édition d’un document d’appel).
component of the • Communication (plan media et conférences au niveau local et sur les cibles de circuits professionnels).
Property
• Aménagement de 2 nouveaux appartements témoins sur Firminy-Vert.
• Mise en réseau touristique à l’échelle de la Région Urbaine de Lyon dans le cadre du projet « Utopies Réalisées » (enrichir
les visites en proposant aux visiteurs une approche plus « expérientielle » et sensorielle, mieux valoriser les appartements-
témoins).
• Démarche Patrimoine 21 sur la conservation / restauration à l'échelle de la Région Urbaine de Lyon.
• Obtention d’un label « Pays d’Art et d’Histoire »
Level of qualification • Le service « patrimoine Le Corbusier » de l’antenne de l’office du tourisme communautaire emploie une quinzaine de
of employees personnes.
(professional sector,
technique, • La Direction de l’Aménagement, de l’Urbanisme et du Développement Durable compte quinze agents, hors bibliothèque
maintenance) municipale.
CHAPTER VI
> Monitoring
property

NOMINATION FILE • CHAPTER VI • Monitoring
281
VI (a) / Key indicators for measuring state of conservation
The diversity of the sites - seven countries on three continents, the different legislations and control
systems of each of the State Parties, the diversity of the status of public and private owners, of the nature
of buildings including both collective and individual houses, all these make it necessary to consider the
issue of key indicators at several levels:
• at the level of the series as a whole and at that of each of its constituent elements;
• for public buildings and private buildings;
• for individual properties or collective properties.
If some key indicators may be considered as a matter of objective observation or even

auditing, others fall under a more subjective appraisal of the qualities that make up the
specific features of The Architectural Work of Le Corbusier.
The precise nature and level of requirement of the key indicators are two priorities for
the work of the Standing Conference. Several strong guidelines may, however, be stated
at this point and a number of indicators common to all the constituent elements of the
series can be defined.
General indicators enable assessing the commitment of local authorities and States
Parties in the management of constituent elements of the Property. Indicators are
implemented with respect to the targeted audiences, partners and objectives of each
action performed at the level of each constituent element of the Property.
Key indicators directly collectable from the constituent

elements of the Property
> 1] Indicators relating to political and financial investment on the site
• Budget variations relating to restoration of the Property
• Institutional partnership(s) put in place
An annual summary table of the financial commitments of each of the partners (owners,
local authorities, associations, etc.) will be drawn up for each component of the Property.
> 2] Indicators relating to the different projects

• Diversity of funding sources
• Number of actions performed in partnership with local authority services
• External financial support
• Number of co-financed actions
• Satisfaction of inhabitants, users, visitors
• In cases where the building can be visited:
– frequency of visits;
– latest attendance figures (including the number of fee-paying visitors or of
those for special events such as the European Heritage Days);
– any modifications to visiting conditions;
– state of the signage in the neighbourhood of the building;
– list of brochures, publications, audio guides and any other material made
available to visitors.
> 3] Indicators relating to the conservation, restoration and

maintenance of the constituent element of the Property
• Evolution of protection measures for the constituent element of the Property
(listing, inscription, ZPPAUP / AVAP, SCOT, PLU, etc.)
• Respect of the use of the building

283
• Apparent anomalies
• Budgeting for the conservation, restoration or maintenance of the building
(nature, cost, funding of work carried out on the constitutive element of the
Property).
> 4] Indicators relating to the management of the buffer zone

• Statement of the main changes due to environmental pressure in the buffer
zone (planning permission authorisations and notifications in the buffer zone)
• Number of people living in the protected area
• Modification of the conditions of access
> 5] Economic Indicators

These indicators are of different kinds (turnover for tourist stays and per-guest spending;
jobs created directly, indirectly or induced; direct and induced taxation, etc.), but can
help assess the direct or indirect economic benefits to the local population of projects
for enhancing the Property, in relation to the investments made.
> 6] Indicators relating to each action

The specific monitoring indicators can be identified in each project of the management
plan's action programme for each constituent element of the Property (see Appendix).
Their nature will vary with the nature of the project (qualitative / quantitative indicator,
process indicator, performance indicator, etc.).
Visual records: survey photographs

Verification of the physical integrity of the exterior through a series of photographic
views, precise visual records obtained on each occasion from the same of viewpoint and
at the same angle:
• general views;
• views of certain details, to be chosen depending on the objects (e.g. general
volumetrics, window and door profiles, exterior polychrome, respect of the
open spaces under the pilotis, the state of rendered façades, etc.);
• for buildings in which both exterior and interior are protected, these provisions
extend to certain qualities specific to the works of Le Corbusier: respect of
interior volumetric masses, existing visual cones, polychrome interiors, etc.
Key indicators to be verified in records or resource centres

• Statement of any planning permissions relating to the component
• Evolution of the number of inhabitants in the buffer zone
• Frequency and extent of planning permissions in the buffer zone
• List of new publications concerning the building
• Sums allocated to recent building works, source of funding
• New enhancement programmes implemented locally
Setting up records of the restoration and maintenance of

buildings by Le Corbusier
In the short term, the key indicators enable regular measuring of the state of conservation
of the selected components in the series of The Architectural Works of Le Corbusier. In
the long term, they contribute to setting up records of the restoration and maintenance
of the works of Le Corbusier and the accumulation of knowledge useful to the under-
standing and restoration of the modern heritage. The creation of these records corre-
sponds to one of the objectives of the Fondation Le Corbusier, which has entrusted this
mission to an architect employed full-time since 2004.
Summary table of the monitoring indicators for the Series
The Architectural Work of Le Corbusier. An Outstanding Contribution to the Modern Movement.
This table lists the key monitoring indicators that can be collected by each of the
constituent elements of the Property.
Their nature is variable (qualitative or quantitative, indicators of implementation of
resources, of performance etc.). The information collected is particularly useful for read-
justing action programmes when necessary.
• The indicators relating to "implementation of means" enable estimating the effective- specific additional monitoring
ness of the resources mobilized by managers in order to carry out the actions planned. indicators for certain constituent
The aim is to assess the correlation of these resources with the goals being pursued elements of the Property are
throughout the process of constructing a project. identified in the local management
• The "performance indicators" enable assessment of the effectiveness or quality of the plans attached.
various phases of a project after their completion, in terms of the resources mobilized
and the objectives pursued.
The collection of information is carried out locally (State services / local authorities /
owners, etc.). The Le Corbusier Foundation regularly makes inventories of all the data
collected. In the short term, the key indicators enable regularly measuring the state of
preservation of the elements selected in the series of The Architectural Works of Le Cor-
busier. In the long term, they contribute to the setting up of archives of the restoration
and maintenance of works by Le Corbusier and the accumulation of knowledge useful
for the understanding and restoration of modern heritage. The creation of these records
corresponds to one of the objectives of the Fondation Le Corbusier, which has entrusted
this mission to an architect employed full-time since 2004.
Other indicators will enable monitoring of the buffer zones, assessing cultural and
tourism enhancement programmes implemented on the Property or the economic
impact of the actions engaged.
Key monitoring
indicators Monitoring indicators Frequency of data Source of data /
by subject collecting Responsible authority
Political and financial Evolution of the budgets relating to restoration Annual State / local authorities / owners
investment in the of the Property
constituent element
of the Property Institutional partnership(s) set up Annual State / local authorities / owners
Conservation, Evolution of protection of the constituent Annual State / local authorities

restoration and element of the Property (listing, inscription,
maintenance of the ZPPAUP/AVAP, SCOT, PLU, ...)
constituent element
of the Property List of works permits relating to the constituent Annual State / local authorities / owners
element of the Property, should these exist
Monitoring of respect of use of the building Continuous State / local authorities / owners
List of apparent anomalies Continuous State / local authorities / owners /

Assessment of budgets relating to the conserva- Annual State / local authorities / owners /
tion, restoration or maintenance of the building Fondation Le Corbusier
(nature, cost, funding of work carried out on the
constituent element of the Property)
Visual records: survey photographs* Every 3 years State / local authorities / owners /
* Verification of the physical integrity of the exterior through a series of photographic views, precise visual records obtained on each occasion from the
same of viewpoint and at the same angle:
• general views;
• views of certain details, to be determined depending on the objects (e.g. general volumetrics, window and door profiles, exterior polychrome,
respect of open spaces under the pilotis, state of surface render, etc.);
• for buildings of which both exterior and interior are protected, these provisions extend to certain qualities specific to the works of Le Corbusier:
respect of interior volumetric masses, existing visual cones, polychrome interiors, etc.

285
Key monitoring Monitoring indicators Frequency of data Source of data /
indicators by subject collecting Responsible authority
List of the main changes due to environmental Annual State / local authorities / owners
Management of the pressure in the buffer zone (works permits (continuous vigilance
buffer zone and notifications in the buffer zone) where urgent)
Measuring the frequency and importance of Continuous State / owner / local authorities
works permits in the buffer zone
Measuring the evolution of the number of inha- Every six years State / local authorities / owners
bitants in the buffer zone and in the constituent
element of the Property
Monitoring of modification of conditions Continuous State / local authorities / owners

of access
Monitoring the frequency of visits Continuous State / local authorities / bodies

Promotion and responsible for enhancing the tourist
enhancing of the value of the constituent elements of
tourist value of the the Property / owners
Property
Record of the latest attendance figures Annual State / local authorities / bodies
(including the number of fee-paying visitors or responsible for enhancing the tourist
of those for special events such as the value of the constituent elements of
European Heritage Days) the Property / owners
Monitoring of any modifications Continuous State / local authorities / bodies

in visiting conditions responsible for enhancing the tourist
value of the constituent elements of
the Property / owners
Analysis of the state of the signage in the Annual State / local authorities / bodies
neighbourhood of the constituent element of responsible for enhancing the tourist
the Property (informative, directional) value of the constituent elements of
List of brochures, publications, audio guides and Annual State / local authorities / bodies
any other material made available to visitors responsible for enhancing the tourist
List of new publications concerning Continuous State / owner / local authorities /

the building Fondation Le Corbusier
Monitoring of new enhancement programmes Continuous State / owner / local authorities /

implemented locally Fondation Le Corbusier / Association
of Le Corbusier sites
Assessment of turnover figure for tourist stays Annual State / local authorities / bodies
responsible for enhancing the tourist
Economic value of the constituent elements of
development the Property / owners
(assessment of direct
or indirect economic Assessment of spending per visitor Annual State / local authorities / bodies res-
benefits to the local ponsible for enhancing the tourist value
population of projects of the constituent elements of the Pro-
for enhancing the perty / owners
Property, in relation
to the investments Assessment of jobs created directly, indirectly Annual State / local authorities / bodies
made) or induced responsible for enhancing the tourist
Assessment of direct and induced taxation Annual State / local authorities / bodies
responsible for enhancing the tourist
Key monitoring Monitoring indicators Frequency of data Source of data /
indicators by subject collecting Responsible authority
Analysis of the state of advancement At mid-term State / local authorities / owners

General indicators of the actions envisaged At expiration of the mana-
relating to the gement plan (3 – 6 years)
monitoring of large
projects or actions Analysis of the diversity of funding sources At mid-term State / local authorities / owners
engaged on each At expiration of the mana-
constituent element gement plan (3 – 6 years)
of the Property
(management plan Number of actions pursued in partnership At mid-term State / local authorities / owners
action programme) with regional government services At expiration of the mana-
gement plan (3 – 6 years)
Existence of external financial support At mid-term State / local authorities / owners

At expiration of the mana-
gement plan (3 – 6 years)
VI (b) / Administrative provisions

for monitoring property
Monitoring of the property is performed, in each country, in accordance with the legal
procedures in force, and/or with the aid of the existing specialised institutions. The rele-
vant legal framework in each country was discussed in Chapter V. The management plans
for each component part of the Property listed in the appendix itemize the administrative
arrangements and the institutions responsible for monitoring each of them.
VI (c) / Results of previous reporting exercises

“The Architectural and Urban Work of Le Corbusier”, 2008.
Decision 33COM/8B.19
“The Architectural Work of Le Corbusier, an exceptional contribution to the Modern

Movement”, 2011
Decision : 35 COM 8B.40

287
CHAPTER VII
> Documentation

NOMINATION FILE • CHAPTER VII • Documentation
289
VII (a) / Photographs and audiovisual image inventory
and authorization form
Œuvre [1] Maisons La Roche [1] Maisons La Roche [1] Maisons La Roche [1] Maisons La Roche
et Jeanneret et Jeanneret et Jeanneret et Jeanneret
N° d’identification de la photo 1-1 1-2 1-3 1-4
Légende Façades Maisons Intérieurs de La Roche, Galerie de tableaux, Intérieurs La Roche

La Roche et Jeanneret hall Maison La Roche
Format jpeg jpeg jpeg jpeg
Date de la photo 2005 2010 2010 2010
Photographe/réalisateur Oliver Martin-Gambier Oliver Martin-Gambier Oliver Martin-Gambier Oliver Martin-Gambier
Détenteur du copyright* FLC/ADAGP FLC/ADAGP FLC/ADAGP FLC/ADAGP
Coordonnées du détenteur 8-10 Square du Docteur 8-10 Square du Docteur 8-10 Square du Docteur 8-10 Square du Docteur
du copyright Blanche Blanche Blanche Blanche
75016 Paris 75016 Paris 75016 Paris 75016 Paris
France France France France
Cession non exclusive des droits Oui Oui Oui Oui
* si ce n’est pas le photographe/réalisateur
Œuvre [2] Petite villa au [2] Petite villa au [2] Petite villa au [2] Petite villa au
bord du Lac Léman bord du Lac Léman bord du Lac Léman bord du Lac Léman
Légende Vue de la Petite villa, Détail façade sur route, Façade sud, Intérieurs,
côté route Petite villa Petite villa Petite villa
Date de la photo 2012 2012 2014 2012
Photographe/réalisateur Oliver Martin-Gambier Oliver Martin-Gambier Bénédicte Gandini Oliver Martin-Gambier

291
Photographs and audiovisual image inventory
Œuvre [3] Cité Frugès [3] Cité Frugès [3] Cité Frugès [3] Cité Frugès
Légende Pessac Maisons gratte-ciel, Rue, Pessac Cité Frugès de Pessac

Pessac
Date de la photo 2012 2012 2012 2014
Photographe/réalisateur Bénédicte Gandini Bénédicte Gandini Bénédicte Gandini Nikolas Ernult
Détenteur du copyright* FLC/ADAGP FLC/ADAGP FLC/ADAGP Ville de Pessac -

Nikolas Ernult
Coordonnées du détenteur 8-10 Square du Docteur 8-10 Square du Docteur 8-10 Square du Docteur Mission de
du copyright Blanche Blanche Blanche développement
75016 Paris 75016 Paris 75016 Paris Cité Frugès - Le Corbusier
France France France 4 rue Le Corbusier
33600 Pessac - France
Œuvre [4] Maison Guiette [4] Maison Guiette [4] Maison Guiette [4] Maison Guiette
Légende Guiette Pignon, Guiette Intérieurs, Guiette Pan de verre, Guiette
Date de la photo 1988 2014 1988 1988
Photographe/réalisateur P. De Prins Piet Geleyns P. De Prins P. De Prins
Détenteur du copyright* VIOE VIOE VIOE VIOE
Coordonnées du détenteur VIOE, Koning Albert II- VIOE, Koning Albert II- VIOE, Koning Albert II- VIOE, Koning Albert II-
du copyright Iaan 19 bus 5, Iaan 19 bus 5, Iaan 19 bus 5, Iaan 19 bus 5,
B-1210 Brussel, B-1210 Brussel, B-1210 Brussel, B-1210 Brussel,
Belgique Belgique Belgique Belgique
Œuvre [5] Maisons de la [5] Maisons de la [5] Maisons de la [5] Maisons de la

Weissenhof-Siedlung Weissenhof-Siedlung Weissenhof-Siedlung Weissenhof-Siedlung
Légende Maison individuelle, Maisons jumelles, Toi-terrasse maison Intérieurs maison

Weissenhof Weissenhof jumelée, Weissenhof jumelée, Weissenhof
Date de la photo 2008 2005 2005 2005
Photographe/réalisateur Birgita Gonzales Thomas Wolf Thomas Wolf Thomas Wolf
Détenteur du copyright* Landeshauptstadt Wüstenrot Stiftung Wüstenrot Stiftung Wüstenrot Stiftung
Coordonnées du détenteur Landeshauptstadt Wüstenrot Stiftung, Wüstenrot Stiftung, Wüstenrot Stiftung,

du copyright Stuttgart Hohenzollernstraße 45, Hohenzollernstraße 45, Hohenzollernstraße 45,
Amt für Stadtplanung 71630 Ludwigsburg 71630 Ludwigsburg 71630 Ludwigsburg
und Stadterneuerung Allemagne Allemagne Allemagne
Eberhardstr. 10
70173 Stuttgart
Œuvre [6] Villa Savoye [6] Villa Savoye [6] Villa Savoye [6] Villa Savoye
Légende Vue générale, Toit-terrasse, Parcours sous les pilotis, Loge du jardinier,
Villa Savoye Villa Savoye Villa Savoye Villa Savoye
Date de la photo 2014 2014 2011 2013
Photographe/réalisateur Rémi Grelaud R. Grelaud Bénédicte Gandini Bénédicte Gandini

293
Œuvre [7] Immeuble Clarté [7] Immeuble Clarté [7] Immeuble Clarté [7] Immeuble Clarté
Légende Façade Clarté Détail façade, Détail intérieur Cage d’escalier,

Clarté appartement, Clarté Clarté
Date de la photo 2010 2010 2011 2011
Photographe/réalisateur J.J. De Chambrier J.J. De Chambrier Bénédicte Gandini Bénédicte Gandini
Détenteur du copyright* J.J. De Chambrier / OFC J.J. De Chambrier / OFC FLC/ADAGP FLC/ADAGP
Coordonnées du détenteur Office fédéral de Office fédéral de 8-10 Square du Docteur 8-10 Square du Docteur
du copyright la Culture la Culture Blanche Blanche
Hallwylstr. 15, Hallwylstr. 15, 75016 Paris 75016 Paris
3003 Bern 3003 Bern France France
Suisse Suisse
Œuvre [8] Immeuble locatif [8] Immeuble locatif [8] Immeuble locatif [8] Immeuble locatif
à la Porte Molitor à la Porte Molitor à la Porte Molitor à la Porte Molitor
Légende Façade Molitor Sortie en terrasse Atelier de peinture Salon, appartement

appartement de de Le Corbusier, de Le Corbusier,
Le Corbusier, Molitor Molitor Molitor
Date de la photo 2012 2012 2012 2012
Œuvre [9] Unité d’habitation [9] Unité d’habitation [9] Unité d’habitation [9] Unité d’habitation
Légende Détail façade est, Toit-terrasse, La Rue commerçante Cuisine, appartement

UH, Marseille UH, Marseille UH, Marseille témoin, UH, Marseille
Date de la photo 2012 2013 2013 2013
Photographe/réalisateur Bénédicte Gandini Bénédicte Gandini Bénédicte Gandini Bénédicte Gandini
Œuvre [10] Manufacture [10] Manufacture [10] Manufacture [10] Manufacture

à Saint-Dié à Saint-Dié à Saint-Dié à Saint-Dié
Légende Façade usine Duval Toit-terrasse, Intérieurs, Bureau,

usine Duval usine Duval usine Duval
Date de la photo 2012 2012 2012 2012

295
Œuvre [11] Maison du [11] Maison du [11] Maison du [11] Maison du

Docteur Curutchet Docteur Curutchet Docteur Curutchet Docteur Curutchet
Légende Maison Curutchet Intérieurs, Rampe, Détail intérieur,

Maison Curutchet Maison Curutchet Maison Curutchet
Date de la photo 2012 2012 2012 2012
Œuvre [12] Chapelle Notre- [12] Chapelle Notre- [12] Chapelle Notre- [12] Chapelle Notre-
Dame-du-Haut Dame-du-Haut Dame-du-Haut Dame-du-Haut
Légende Chapelle de Ronchamp Détail façade sud, Maisons des pèlerins, Détail gargouille et
Chapelle de Ronchamp Ronchamp fontaine, Ronchamp
Date de la photo 2006 2014 2014 2014
Photographe/réalisateur AONDH Bénédicte Gandini Bénédicte Gandini Bénédicte Gandini
Détenteur du copyright* AONDH FLC/ADAGP FLC/ADAGP FLC/ADAGP
Coordonnées du détenteur Association Œuvre de 8-10 Square du Docteur 8-10 Square du Docteur 8-10 Square du Docteur
du copyright Notre-Dame du Haut Blanche Blanche Blanche
13 rue de la Chapelle 75016 Paris 75016 Paris 75016 Paris
70250 Ronchamp France France France
France
Œuvre [13] Cabanon [13] Cabanon [13] Cabanon [13] Cabanon

de Le Corbusier de Le Corbusier de Le Corbusier de Le Corbusier
Légende Site du Cabanon Cabanon Intérieurs du Cabanon Mobilier Cabanon
Date de la photo 2011 2011 2011 2011
Œuvre [14] Complexe [14] Complexe [14] Complexe [14] Complexe

du Capitole du Capitole du Capitole du Capitole
Légende Secrétariat, Rampe, Haute Cour, Détail façade, Extérieurs Assemblée,

Chandigarh Chandigarh Secrétariat, Chandigarh Chandigarh
Date de la photo 2007 2012 2012 2012
Photographe/réalisateur Michel Richard Bénédicte Gandini Bénédicte Gandini Bénédicte Gandini

297
Œuvre [15] Couvent Sainte- [15] Couvent Sainte- [15] Couvent Sainte- [15] Couvent Sainte-
Marie-de-la-Tourette Marie-de-la-Tourette Marie-de-la-Tourette Marie-de-la-Tourette
Légende Couvent de la Tourette Façade, Détail façades, Réfectoire,

La Tourette pans ondulatoires La Tourette
Date de la photo 2011 2011 2011 2011
Œuvre [16] Musée National [16] Musée National [16] Musée National [16] Musée National
des Beaux-Arts de des Beaux-Arts de des Beaux-Arts de des Beaux-Arts de
l’Occident l’Occident l’Occident l’Occident
Légende Façade Façade 19th century Hall Salle d’exposition A’A
Date de la photo 2007 2007 2007 2007
Photographe/réalisateur
Détenteur du copyright* NMWA NMWA NMWA NMWA
Coordonnées du détenteur 7-7 Ueno-Koen, 7-7 Ueno-Koen, 7-7 Ueno-Koen, 7-7 Ueno-Koen,
du copyright Taito-ku, Taito-ku, Taito-ku, Taito-ku,
Tokyo Tokyo Tokyo Tokyo
Japon Japon Japon Japon
Œuvre [17] Maison de la [17] Maison de la [17] Maison de la [17] Maison de la

Culture Culture Culture Culture
Légende Façade vers le stade, Pignon, Firminy Détail façade, Intérieurs, pans
Firminy Firminy ondulatoires, Firminy
Date de la photo 2008 2011 2011 2011

299
VII (d) / Address where inventory, records and archives are held
The main resource centres are as follows:
(France)
• Fondation Le Corbusier
8-10 square du Docteur Blanche
75016 Paris, France
Tel. : +33 (0) 1 42 88 41 53
www.fondationlecorbusier.fr
Médiathèque du Patrimoine
(France)
• Médiathèque de l’Architecture et du Patrimoine
11 rue du Séminaire de Conflans
94220 Charenton-le-Pont, France
Téléphone : 01 40 15 76 22
Télécopie : 01 40 15 75 75
http://www.mediatheque-patrimoine.culture.gouv.fr/
Directions régionales des affaires culturelles

(France)
Archives Nationales
(France)
Centre des archives contemporaines
• Centre des archives contemporaines (CAC)
2 rue des archives
77300 Fontainebleau Cedex, France
Tel. : (33) 1 64 31 73 73
Télécopie : (33) 1 64 31 73 03
www.archivesnationales.culture.gouv.fr/cac/fr/index.html
The very many local resource centres in the different countries of this series are identified
and classified in the specific files on each object.

301
VII (e) / Bibliography
The bibliographical references on the life and work of le Corbusier are innumerable. Those found here are the most
pertinent to the series, also the most recent and therefore more accessible. We have also given preference to works
in French and English, the two official Unesco languages.
They are divided into different categories:
• Le Corbusier’s main writings
• General publications on Le Corbusier’s life and work
• Specific publications on the selected themes and works
• Multimedia aids
VII (e.1) Le Corbusier’s main writings

• JEANNERET, Charles-Édouard., architecte, Étude sur le mouvement d’art décoratif en Allemagne
(rapport présenté par Jeanneret à la Commission de l’Ecole d’art de La Chaux-de-Fonds sur ses
observations faites en Allemagne durant son séjour d’avril 1910 à mai 1911), La Chaux-de-Fonds, 1912.
• JEANNERET, Charles-Édouard (architecte), Léon Perrin (sculpteur), Georges Aubert (décorateur),
Un Mouvement d’Art à la Chaux-de-Fonds à propos de la Nouvelle Section de l’Ecole d’Art, La Chaux-
de-Fonds, 1914.
• JEANNERET Charles-Édouard et Ozenfant Amédée, Après le Cubisme, Editions des Commentaires,
Paris 1918.
• LE CORBUSIER, Vers une Architecture, Collection de l'Esprit Nouveau, édition originale publiée
chez G. Crès et Cie, Paris, 1923. Réédition régulière depuis en français et dans de nombreuses
traductions étrangères.
• LE CORBUSIER, L’Art Décoratif d’aujourd’hui, Collection de l’Esprit Nouveau, édition originale
publiée chez G. Crès et Cie, Paris 1925. Réédition régulière depuis en français et dans de nom-
breuses traductions étrangères.
• LE CORBUSIER, Urbanisme, Collection de l’Esprit Nouveau, édition originale publiée chez G. Crès et
Cie, Paris 1925. Réédition régulière depuis en français et dans de nombreuses traductions étrangères.
• LE CORBUSIER, Une Maison - Un Palais, Collection de l’Esprit Nouveau, Editions G. Grès et Cie,
Paris 1928. Réédition régulière depuis en français et dans de nombreuses traductions étrangères.
• LE CORBUSIER, Précisions sur un état présent de l’architecture et de l’urbanisme, Collection de
l’Esprit Nouveau, édition originale publiée chez G. Crès et Cie Paris, 1930 (recueil de textes de dix
conférences données par Le Corbusier à Buenos Aire en 1929). Réédité en 1994 aux éditions Altamira.
• LE CORBUSIER, Croisade ou le Crépuscule des Académies, collection de l’Esprit Nouveau, Editions
G. Crès et Cie, Paris, 1932. Réédition régulière depuis en français et dans de nombreuses traductions
étrangères.
• LE CORBUSIER, Quand les cathédrales étaient blanches. Aujourd’hui aussi le monde commence,
Plon, Paris, 1937, Denoël/Gonthier. Réédition régulière depuis en français et dans de nombreuses
traductions étrangères.
• LE CORBUSIER, Sur les quatre routes. L’automobile, l’avion, le bateau, le chemin de fer, Paris N.R.F,
Gallimard, 1941. Réédition régulière depuis en français et dans de nombreuses traductions étrangères.
• LE CORBUSIER, Destin de Paris, Sorlot, Paris/Clermont-Ferrand, 1941.
• LE CORBUSIER, Les constructions Murondins, Chiron, Paris/Clermont-Ferrand, 1942.
• LE CORBUSIER, La Charte d’Athènes, Plon, Paris 1943. Réédition régulière depuis en français et
dans de nombreuses traductions étrangères.
Recent reissues of texts by Le Corbusier

• LE CORBUSIER, Les trois établissements humains, Editions de l’Architecture d’Aujourd’hui, Boulogne,
1945. Réédition régulière depuis en français et dans de nombreuses traductions étrangères.
• LE CORBUSIER, Le Modulor : essai sur une mesure harmonique à l’échelle humaine applicable
uniquement à l’architecture et à la mécanique, Editions de l’Architecture d’Aujourd'hui, Boulogne,
1950. Réédition régulière depuis en français et dans de nombreuses traductions étrangères.
• LE CORBUSIER, Towards an Architecture, introduction par Jean-Louis Cohen, traduction par John
Goodman, Los Angeles, Getty Research Institute, 2007, 350 pages.
• LE CORBUSIER, Poème de l’angle droit. Format 42 x 32 cm, identique à l’original. Post face de
Juan Calatrava. Traduction en italien de Debora Antonini et Stefano Giuliani. Mondadori Electa,
Milan 2007.
• LE CORBUSIER, Quand les cathédrales étaient blanches, japonais. Iwanami Shoten Publishers,
Tokyo, 2007.
• LE CORBUSIER, Le Voyage d’Orient, chinois. Beijing Division of Shanghai Century Publishing Co.,
Shanghai, 2007.
• LE CORBUSIER, A viagem do Oriente [Le voyage d’Orient]. Brésilien. Cosac Naify, Sao Paulo, 2007.
• LE CORBUSIER, L’Art Décoratif d’Aujourd’hui, coréen. Dongnyok Publishers, Séoul, 2007.
The Complete Works
• LE CORBUSIER et Pierre JEANNERET, Œuvre complète 1910-1929, publiée par W. Boesiger et
O. Stonorov, introduction et textes de Le Corbusier, Les éditions d’Architecture, Artémis, onzième
édition, Zürich, 1984 (1ère édition 1929, éditions Girsberger, Zürich).
• LE CORBUSIER et Pierre JEANNERET, Œuvre complète 1929-1934, publiée par W. Boesiger, intro-
duction et textes de Le Corbusier, Les éditions d’Architecture, Artémis, dixième édition, Zürich, 1984
(1ère édition 1934, éditions Girsberger, Zürich).
• LE CORBUSIER & Pierre JEANNERET, Œuvre complète 1934-1938, publiée par Max Bill architecte,
textes par Le Corbusier, Les éditions d’Architecture, Artémis, neuvième édition, Zürich, 1975
(1ère édition 1938, éditions Girsberger, Zürich).
• Le Corbusier, Œuvre complète 1938-1946, publiée par W. Boesiger, Les éditions d’Architecture,
Artémis, septième édition, Zürich, 1977 (1ère édition 1946, éditions Girsberger, Zürich).
• LE CORBUSIER, Œuvre complète 1946-1952, publiée par W. Boesiger, Les éditions d’Architecture,
Artémis, septième édition, Zürich, 1976 (1ère édition 1953, éditions Girsberger, Zürich).
• Le Corbusier et son atelier rue de Sèvres 35 Œuvre complète 1952-1957, publiée par W. Boesiger,
Les éditions d’Architecture, Artémis, sixième édition, Zürich, 1977 (1ère édition 1957, éditions Girs-
berger, Zürich).
• Le Corbusier et son atelier rue de Sèvres 35, Œuvres complètes 1957-1965, publié par W. Boesiger,
Les éditions d’Architecture, Artémis, troisième édition, Zürich, 1986 (1ère édition 1965, éditions
d’Architecture Zürich).
• Le Corbusier Les dernières œuvres Volume 8 des Œuvres complètes 1965-1968, publié par W. Boesiger,
Les éditions d’Architecture, Atémis, Zürich, 1970.
VII (e.2) General publications on Le Corbusier’s life and work

Bibliography
• BRADY, Darlene A., Le Corbusier: an annotated bibliography, New York : Garland, 1985.
• DERCELLES A., QUETGLAS P., MARZA F., DE SMET C., Le Corbusier et le livre, Barcelone, 2005.
Studies on le Corbusier’s writings

• DE SMET, Catherine, Vers une architecture du livre. Le Corbusier : édition et mise en pages 1912-
1965. Lars Müller Publishers, Baden, 2007.
• LE CORBUSIER, Essential Le Corbusier: l’esprit nouveau articles, Oxford ; Boston : Architectural Press,
c. 1998.
• COLLECTIF, sous la direction de Claude Prélorenzo, Le Corbusier écritures, actes des rencontres
de la Fondation Le Corbusier les 18-19 juin 1993, Fondation Le Corbusier, Paris, 1993.
• DE VAUBERNIER, Marie-Victoire, Le livre d’architecte : l’exemple de Le Corbusier, mémoire de
D.E.A, sous la direction de Pierre Vaisse, Nanterre, 1990.
• MOREL-JOURNEL, Guillemette, Le Corbusier ; un écrivain de la modernité, mémoire de diplôme
d’architecte, Unité pédagogique d’architecture n° 1, Paris, 1986.
• GUITON, Jacques, Le Corbusier, Textes choisis - Architecture et Urbanisme, Editions du Moniteur,
Paris, 1982.
• DARIA, Sophie (Ed.), Le Corbusier, présentation par Sophie Daria, choix de textes, bibliographie,
portraits, fac-similés, Paris, Éditions Seghers, 1964. Collection : Savants du monde entier ; 20.
Publications of archived documents (see also multimedia aids)

• Le Corbusier Carnets, New York, The architectural History Fundation. Paris : Herscher/Dessain et
Tolra, 1981-1982 : vol. 1 1917-1948 ; vol. 2 1950-1954 ; vol. 3 1954-1957 ; vol. 4 1957-1964.
• The Le Corbusier Archive, Allen Brooks (éditeur), 32 volumes, New York : Garland Publishing Co./
Paris : Fondation Le Corbusier, 1982-1984.
• Carnet La Roche, édition en fac similé avec un livret d’introduction de Stanislaus van Moos,
Fondation Le Corbusier, éditions Electa, Milan, 1996.
• JEANNERET, Charles-Edouard, Le Corbusier, Voyage d’Orient. Carnets, Milan (Electa s.p.a.), Paris
(Fondation Le Corbusier), 1987 (publication en fac-similé des 6 carnets en cinq volumes avec un
volume supplémentaire de transcriptions en français et italien).
Conservation-restoration of the work

• FONDATION LE CORBUSIER (Ed), La conservation de l’œuvre construite de Le Corbusier : rencontres
du 14 juin 1990 / Fondation Le Corbusier, Paris : Fondation Le Corbusier, [1990].
Training of Charles-Édouard Jeanneret known as Le Corbusier

• BROOKS, H. Allan, Le Corbusier’s formative years,The University of Chicago Press, Chicago, London
1996.
• GRESLERI, Giuliano, Le Corbusier Reise nach dem Orient, Zurich (Spur Verlag), Paris (Fondation
Le Corbusier), 1991.
• TURNER, Paul V., La formation de Le Corbusier. Idéalisme et mouvement moderne, éditions Macula,
Paris, 1987.

303
• GRESLERI, Giuliano, Viaggio in Oriente. Gli inediti di Charles Edouard Jeanneret fotografo e scrittore,
Venise (Marsilio Editori), Paris (Fondation Le Corbusier), 1984.
Biographies – Principal monographs

• VON MOOS, Stanislaus, Le Corbusier, une synthèse, Éditions Parenthèses, Marseille, 2013
• COLLECTIF. Sous la direction de Rémi Baudoui ; Roger Aujame, Rémi Baudouï, Marc Bédarida,
Valerio Casali, Jean-Louis Cohen, Philippe Duboy, Guillemette Morel-Journel, Rémi Papillault, Pierre
Pinon, Robert Rebutato, Roberto Segre, Alain Tavès, Ivan Zaknic. Le Corbusier, instants biogra-
phiques. Actes des XIVes Rencontres de la Fondation Le Corbusier qui se sont tenues les 17 et 18
décembre 2006 au Centre Culturel Suisse de Paris. Éditions de la Villette, Paris, automne 2007.
• BALTANAS, José, Le Corbusier, parcours, Marseille, Parenthèses, 2005, Trad. de l’espagnol par
Claude de Frayssinet.
• COHEN, Jean-Louis, Le Corbusier, la planète comme chantier, édition Zoé, Paris, septembre 2005.
• VOGT, Adolf Max., Le Corbusier, le bon sauvage : vers une archéologie de la modernité ; traduit
de l’allemand par Léo Biétry, Gollion, Infolio, c. 2003, Collection : Archigraphy.
• RICHARDS, Simon, Le Corbusier and the concept of self, New Haven; London : Yale University
Press, c. 2003.
• BENTON, Tim, Le Corbusier & the architecture of reinvention, Tim Benton ... [et al.], London : AA
Publications, c. 2003, incluant des textes de : Peter Carl, Le Corbusier, Hilde Heynen, Charles Jencks,
Mohsen Mostafavi, Daniel Naegele.
• FRAMPTON, Kenneth, Le Corbusier: architect of the twentieth century; principal photography by
Roberto Schezen, New York, H.N. Abrams, 2002.
• JENCKS, Charles, Le Corbusier and the continual revolution in architecture, New York, N.Y.,
Monacelli Press, 2000.
• VEDRENNE, Elisabeth, Le Corbusier, Paris : Éditions Assouline, 1999.
• Kenneth FRAMPTON, Le Corbusier, éditions Hazan, Paris, 1997.
• KLOPMANN, André, Le Corbusier : l’homme, Genève, Slatkine, 1995.
• BAKER, Geoffrey H., Le Corbusier. An analysis of form, éditions E & FN, Londres, 1996.
• JENGER, Jean, Le Corbusier, l’architecture pour émouvoir, collection Découvertes Gallimard, 1993.
• MONNIER, Gérard, Le Corbusier. Qui suis-je ?, éditions de La Manufacture, Lyon, 1986 (réédité en
1996).
• BROOKS, Allen, Le Corbusier 1887-1965, éditions Garland, New York et Londres, 1987 (réédition
en 1993 aux éditions Electa).
• SVACHA, Rotislav, Le Corbusier, Praha, Odeon, 1989.
• COLLECTIF sous la direction de Pierre Saddy, Le Corbusier. Le passé à réaction poétique, catalogue
de l’exposition présentée à l’Hôtel de Sully, Paris, décembre 1987-mars 1988, éditions de la Caisse
nationale des Monuments historiques et des Sites, Paris, 1988.
• TENTORI, Francesco, DE SIMONE Rosario, Le Corbusier, Roma : Laterza, 1987.
• SBRIGLIO, Jacques, Le Corbusier - Habiter : de la villa Savoye à l’Unité d’Habitation de Marseille,
Acte Sud, Arles, 2009.
• COLLECTIF, Le Corbusier et la Méditerranée, ouvrage réalisé à l’occasion de l’exposition “Le Cor-
busier et la Méditerranée”, Marseille 1987, éditions Parenthèses, 1987.
• COLLECTIF, sous la direction de Jacques Lucan, Le Corbusier une encyclopédie, Editions du Centre
Georges Pompidou/CCI, Paris 1987.
• COLLECTIF sous la direction de Gwenaëlle Querrien, Le Corbusier. Atelier 35 rue de Sèvre, contri-
butions de Marc Bédarida et Hélène Cauquil, suplément au n° 114 du Bulletin d’informations archi-
tecturales, I.F.A, Paris 1987.
• RAGON Michel (sous la direction de), Le temps de Le Corbusier, Paris : Hermé, c. 1987.
• COLLECTIF, catalogue de l’exposition Le Corbusier. Synthèse des Arts. Aspekte des Spätwerks
1945-1965, présentée le 23 mars au 18 mai 1986 au Badischer Kunstverein, Karlsruhe (avec des
contributions de Dario Matteoni, Arthur Ruegg, Danièle Pauly, Ludger Ebbert, Bart Loosman,
Ruggero Tropeano, Thomas Kesseler), Ernst und Sohn, Berlin, 1986.
• BARNBECK Ulla, Architekten, Le Corbusier, Stuttgart : IRB Verlag, 1986.
• TENTORI, Francesco, Vita e opere di Le Corbusier, Roma : Laterza, 1983.
• FRANCHETTI Pardo, Vittorio, Le Corbusier, [translated from the Italian by Pearl Sanders], New
York, Grosset & Dunlap, c. 1971.
• VON MOOS, Stanislaus, Le Corbusier. L’architecte et son mythe, Horizon de France, Paris, 1970.
• NAGY, Elemér, Le Corbusier, Budapest : Akadémiai Kiadó, 1969.
• BESSET, Maurice, Qui était Le Corbusier ?, 1968, réédité sous le titre Le Corbusier, éditions Skira
Flammarion, Genève, 1987.
• BLAKE, Peter, Le Corbusier, architecture and form, Baltimore, Md., Penguin Books, 1964, c. 1960.
• COLLECTIF, L’Opera di Le Corbusier, mostra in Palazzo Strozzi, Firenze, s.n., 1963, Catalog of an
exhibition held in Feb.-Mar. 1963.
• PERRUCHOT, Henri, Le Corbusier, Paris, Éditions Universitaires, c. 1958. Collection : Témoins du
XXe siècle.
• ALAZARD Jean, Le Corbusier, Paris, A. Hatier, c1956. Collection : Art et artistes. Série Les architectes.
• ERVE, W. S. van de, Le Corbusier, idealistisch architect, Utrecht, N. V. A. Oosthoek’s uitgevers maat-
schappij, 1951.
• PETIT, Jean, Le Corbusier lui-même, Rousseau, Genève, s.d.
• VIDALENC, Georges (texte d’introduction), Des pharaons à Le Corbusier : esquisse d’une histoire
de l’architecture, (cours de l’Institut supérieur ouvrier 1933-1934), Paris : Centre confédéral d’éducation
ouvrière, 1934. Collection : Publications de l’Institut supérieur ouvrier ; 7-8.
Thematic monographs
Studio-residences and individual houses
• BENTON, Tim, Le Corbusier, les villas parisiennes 1920 – 1930. Nouvelle édition revue et augmentée.
Éditions de la Villette, Paris, automne 2007 (1ère édition 1984).
• RAGOT, Gilles, Les villas de Le Corbusier et Pierre Jeanneret à Paris et dans la région parisienne
1920-1940, mémoire de maîtrise d’histoire de l’Art, dactyl., Paris IV Sorbonne, 1982.
Collective housing
• SBRIGLIO, Jacques, Le Corbusier : l’Unité d’habitation de Marseille et les autres unités d’habitation
à Rezé-les-Nantes, Berlin, Briey-en-Forêt et Firminy, Paris : Fondation Le Corbusier ; Basel ; Boston :
Birkäuser, c. 2004.
• MONNIER, Gérard, Les unités d’habitation, collection Les destinées du patrimoine, Belin, Paris,
2002.
• CALAFELL, Eduard, Las Unités d’habitation de Le Corbusier : aspectos formales y constructivos,
Barcelona, Caja de Arquitectos, Fundación, c. 2000, Colección Arquíthesis núm. 6.
• ZAKNIC, Ivan, Le Pavillon Suisse. Biographie d’un bâtiment, Basel, Birkhäuser, 2004.
Sacred architecture
• SAMUEL, Flora et LINDER-GAILLARD, Inge, Sacred Concrete. The Churches of Le Corbusier, Éditions
Birkhäuser, Bâle 2013.
• IVOL, Viviane (ed.) Le Corbusier, du génie à la spiritualité, Belfort : Art et d’Histoire Belfort, 2005.
• FONDATION LE CORBUSIER (ed.), Fondation Le Corbusier. Rencontres (11th : 2003 : Paris, France),
Le symbolique, le sacré, la spiritualité dans l’œuvre de Le Corbusier, textes de Debora Antonini ...
[et al.]. Paris, Editions de la Villette, Fondation Le Corbusier, 2004.
• GRESLERI, Giuliano, Le Corbusier : il programma liturgico, Giuliano Gresleri, Glauco Gresleri ;
contributi di Valerio Casali ... [et al.], Bologna : Compositori, c. 2001.
• BOLLE-REDDAT, René, Un évangile selon Le Corbusier, Paris, Les Éditions du Cerf, 1987, collection
Epiphanie.
• BIOT François ... [et al.], Le Corbusier et l’architecture sacrée : Sainte-Marie-de-la-Tourette-Eveux,
photographies, Jacqueline Salmon, Lyon, La Manufacture, c. 1985. Collection : L’œil et la main.
• BOULAIS P., MOREAU L., La Tourette. Un couvent de Le Corbusier, Echirolles, 2009.
Urbanism
• COLLECTIF sous la direction de Claude Prelorenzo, Le Corbusier : La ville, l’Urbanisme, actes des
rencontres de la Fondation Le Corbusier les 9-10 juin 1995, Fondation Le Corbusier, Paris, 1995.
• GEROSA PIER, Giorgio, Le Corbusier, Urbanisme et mobilité, Studien aus dem Institut für
Geschichte und Théorie der Architektur, ETH Zürich, Birkaüser Verlag, Basel und Stuttgart, 1978 (en
français).
Other themes
• COLLECTIF, Le Corbusier et la question du brutalisme, sous la direction de Jacques Sbriglio, Editions
Parenthèses, Marseille, 2013.
• GARGIANI, Roberto et ROSSELINI, Anna, Le Corbusier. Béton Brut and Ineffable Space, 1940-1965.
Surface Materials and Psychophysiology of Vision, EPFL Press / Routledge, Lausanne, Oxford,
New York, 2011.
• ROSELLINI, Ann, Le Corbusier e la superficie. Dal rivestimento d’intonaco al béton brut, ARACNE
editrice, Rome, 2013
• REICHLIN, Bruno, Dalla “soluzione elegante” all “edificio aperto”. Scritti attorno ad alcune opere
di Le Corbusier, A cura di Annalisa Viati Navone Mendrisio Academy Press / Silvana Editoriale,
Milan, 2013.
• COLLECTIF, Le Corbusier. An Atlas of Modern Landscapes,The Museum of Modern Art, New York,
2013.
• DE HEER, Jan, The Architectonic Colour. Polychromy in the Purist architecture of Le Corbusier,
010 Publishers, Rotterdam, 2009.
• MC QUILLIAN, Thomas, Edouard among the Machines, a discussion of Le Corbusier’s technological
agenda. The Oslo school Architecture and Design,Thèse Phd, Oslo, 2006.
• COLLECTIF, Makeitnew : le poème électronique. Onderzoek voor de reconstructie van het Philips-
paviljoen uit 1958 in Eindhoven. Stickhing Alice, Eindhoven, 2006.
• COLLECTIF sous la direction de Claude Prélorenzo, Le Corbusier et la couleur, actes des rencontres
de la Fondation Le Corbusier les 11-12 juin 1992, Fondation Le Corbusier, Paris, 1992.
• COLLECTIF, Le Corbusier et l’industrie 1920-1925, catalogue d’exposition, Zürich, Berlin, Strasbourg,
Paris, 1987, éditions Les Musées de la Ville de Strasbourg, 1987.

305
Geographical monographs
Germany
• BEER ARCHITEKTEN & LANDESDENKMALAMT Berlin, Unité d’habitation,Typ berlin. Das Corbusier-
Haus in Berlin. Denkmalpflege-plan. Beiträge zur Denkmalpfkegeplan in Berlin. Heft 23 (2007).
Landesdenkmalamt Berlin. Klosterstraße 47. 10179 Berlin.
Belgium
• FONDATION LE CORBUSIER (Ed.), Le Corbusier & la Belgique, rencontres des 27 et 28 mars 1997,
I.S.A.C.F.-La Cambre, [Paris] : Fondation Le Corbusier ; Bruxelles : CFC-Éditions, c. 1997.
France
• RAGOT, Gilles et DION Mathilde, Le Corbusier en France, collection architextes, Editions du Moniteur,
Paris 1997.
• COLLECTIF, Le Corbusier et la Bretagne, éditions nouvelles du Finistère, 1996.
• JOLY, Pierre, Le Corbusier à Paris, Délégation à l’Action Artistique de la Ville de Paris, éditions de
la Manufacture, Lyon, 1987.
India
• TOUCHALEAUME, Eric et MOREAU, Gérald Le Corbusier – Pierre Jeanneret. L’aventure indienne,
Gourcuff Gradenigo, Paris, 2010.
Japan
• COLLECTIF. Sous la direction de Gérard Monnier ; Jean-Marie Bouissou, OTA Yasuto, KASHIWAGI
Fumihiko, SASAKI Hiroshi, FUJIOKA Hiroyasu, William J. R. Curtis, FUJIKI Tadayoshi, FUJIMORI
Terunobu, ISOZAKI Arata, OKABE Noriaki. Traduction d’Erika Teschard-Erlih. Le Corbusier et le
Japon. Ouvrage issu du symposium international, “Le Corbusier et le Japon”, réuni à Tokyo les 9 et
11 février 1997, organisé par la Fondation Le Corbusier et le musée national d’Art moderne de
Kamakura, dans le cadre des Rencontres “Le Corbusier, voyages, rayonnement international”. Les
actes du symposium ont été publiés initialement en japonais par les éditions Kajima, Tokyo, 1999.
A. et J. Picard, Paris, 2007.
• Sous la direction de Shuji TAKASHINA, Le Corbusier to Nippon, 1999, édit. Kajima Shuppankai, 253 p.
Traduction en Français : sous la direction de Gérard Monnier « Le Corbusier et le Japon », collection
architectures contemporaines, sérié études, 2007, édit. Picard, 157 p.
• SASAKI, Hiroshi, Kyoshou heno shoukei : Le Corbusier ni miserareta nihon no kenchikukatachi,
2000, édit. Sagamishobou, 447 p.
Switzerland
• OECHSLIN Werner, Le Corbusier und die Schweiz, Dokumente einer schwierigen Beziehung /
herausgegeben, eingeleitet und kommentiert von Jos Bosman, mit einem Vorwort von Werner
Oechslin, Zürich : Ammann, c 1987.
• CHAROLLAIS Isabelle, DUCRET André [rédaction et coordination de l’ouvrage], Le Corbusier à
Genève, 1922-1932 : projets et réalisations, Lausanne : Payot, 1987. Published in conjunction with
an exhibition held in the Clarté building, Geneva.
• COLLECTIF, La Chaux-de-Fonds et Jeanneret avant Le Corbusier, La Chaux-de-Fonds, Switzerland.
• JENCKS, Charles, Le Corbusier and the tragic view of architecture, London, Penguin, 1987.
Special issues of periodicals

• Architecture d’Aujourd’hui, décembre 1933-février 1934, n° 10 ; 1948, n° spécial hors série ; février-
mars 1963, n° 106 ; février 1987, n° 249.
• Architectural Forum, octobre 1965.
• Architecture Mouvement Continuité (AMC), n° 49, septembre 1979.
• Architectural Review, janvier 1987, n° 1 079.
• Casabella, avril 1963, n° 274 ; janvier-février 1987 (n° double 531-532).
• Les Cahiers de la recherche architecturale et urbaine, Le Corbusier. L’atelier intérieur, février 2008
(n° double 22/23).
• Oppositions, n° 15-16, 1979.
• Rassegna, juillet 1980 (Anno II, n° 3) : I Clienti di Le Corbusier.
Specialized periodicals
• Fondation Le Corbusier. Informations, Bulletin d’informations officielles de la Fondation Le Corbusier.
Périodicité : bi-mensuelle.
• Massilia, annuaire d’études documentaires corbuséennes. Périodicité : annuelle.
Contacts : Josep Quetglas : [email protected], Arnaud Dercelles : [email protected],
[email protected].
Le Corbusier and his contemporaries

• MENIN, Sarah, Nature and space: Aalto and Le Corbusier, London, Routledge, 2003.
• PADOVAN, Richard, Towards universality: Le Corbusier, Mies and De Stijl, London ; New York,
Routledge, 2002.
• CECCON, Paolo, Le Corbusier, Louis Kahn : palazzi per congressi, Milano, UNICOPLI, 2000.
Collection : Quaderni di critica ; 3.
• DOSHI, Balkrishna V., Le Corbusier and Louis I. Kahn: the acrobat and the yogi of architecture,
Ahmedabad, Vastu Shilpa Foundation for Studies and Research in Environmental Design, 1993.
• BLAKE, Peter, The master builders: Le Corbusier, Mies van der Rohe, Frank Lloyd Wright, New York :
Norton, c. 1976.
• DOREMUS,Thomas, Frank Lloyd Wright and Le Corbusier: the great dialogue, NewYork, Van Nostrand
Reinhold, c. 1985.
• HOAG, Edwin, Masters of modern architecture: Frank Lloyd Wright, Le Corbusier, Mies van der
Rohe, and Walter Gropius, Indianapolis, Bobbs-Merrill, c. 1977.
• COLLECTIF, Four great makers of modern architecture, Gropius, Le Corbusier, Mies van der Rohe,
Wright, a verbatim record of a symposium held at the School of Architecture from March to May
196l, New York : Columbia University, c. 1963.
VII (e.3) Specific publications on selected works

Maisons La Roche et Jeanneret
• BENTON, Tim, Maisons La Roche-Jeanneret, Paris, in DVD Vol. 1, Le Corbusier. Plans, éditions
Echelle 1, Fondation Le Corbusier, Codex Image International.
• BENTON, Tim, « Villa Rocca. Die Panungs une Baugeschichte der Villa La Roche », in Fischer H., &
Schmidt, K. (Eds), Ein haus für der Kubismus. Die Sammlung Raoul La Roche, Bâle, 1998, pp. 227-
243.
• SBRIGLIO, Jacques, Le Corbusier : Les villas La Roche-Jeanneret. The villas La Roche-Jeanneret,
Fondation Le Corbusier, éditions Birkhaüser, Bâle, 1997.
• Carnet La Roche, Fondation Le Corbusier, éditions Electa, 1996.
• WALDEN, Russel, « New Light in Le Corbusier early year in Paris : the La Roche-Jeanneret house »,
The Open Hand, essays on Le Corbusier, MIT Press, Cambridge, Massachusetts, London, 1977, p.116-121.
• FURER René, RUEGG Arthur, Blum E, Meyer F, « Le Corbusier und Raoul La Roche : Architekt and
Maler, Bauherr und Sammler », catalogue d’exposition, Bâle Architekturmuseum, 1987.
• JEANNERET, Charles-Edouard, Album La Roche, Von Moos Editeur, Milan, Electa, 1986 (autres éditions :
Dohosha Publishing Co. Ltd, Kyoto, 1996)
• BENTON, Tim, Les villas de Le Corbusier 1920-1930, La Villette, Philippe Sers, Paris 1984, pp. 44-75.
• « Villa La Roche-Jeanneret », Early buildings and projects 1912-1923, Le Corbusier Archives, volume 1,
AlexanderTzonis, general editor, Garland Publishing and the Fondation Le Corbusier, 1982, p. 473-580.
• COLLUCI, Gregory P., “Beauty or synthesis: a study of maison La Roche-Jeanneret through concept
of Le Corbusier’s purist painting”, Carleton University, 1981.
• RISSELADA, Max, Le Corbusier et Pierre Jeanneret. Ontwerpen voor de Woning 1919-1929, octobre
1980 Publikaties Lezingen (np)
• FOSTER, Kurt W., “Antiquity and Modernity in the La Roche Jeanneret House of 1923”, Oppositions
15/16, Winter/Spring, 1979, MIT Press, Cambridge Massachusetts and London, p. 130-153.
• ANONYME, Raoul La Roche (1889-1965) : hommage rendu à Raoul La Roche, Fondation Le Corbusier,
Musée de Bâle, Musée d’art moderne, Paris, Fondation Le Corbusier, 1970.
O. Stonorov, introduction et textes de Le Corbusier, Les éditions d'Architecture, Artémis, onzième
édition, Zürich, 1984 (1ère édition 1929, éditions Girsberger, Zürich), pp. 60-68.
Petite villa au bord du lac Léman

• VON MOOS, Stanislaus, Villa « Le Lac » (Petite villa au bord du Lac Léman), in DVD Vol. 1, Le Corbusier.
Plans, éditions Echelle 1, Fondation Le Corbusier, Codex Image International.
• MOREL JOURNEL Guillemette, « Vie d’une « petite » grande maison : trente ans de présentations
de la villa Le Lac », Massilia 2005, Barcelone : COAC, 2005.
• CORRENTE Rodolfo, « Recherches pour un terrain pour la maison « Le Lac », Jeanneret-Perret »,
Massilia 2005, Barcelone : COAC, 2005.
• VAUDOU, François, « Le Corbusier : Villa Le Lac à Corseaux-Vevey, Genève », Carré d’art édition, c. 1991.
• LE CORBUSIER, Une petite maison, 1923, Zürich, Girsberger, 1954. Collection : Les Carnets de la
recherche patiente, carnet n° 1.
Cité Frugès
• BENTON, Tim, Quartiers Modernes Frugès in DVD Vol. 1, Le Corbusier. Plans, éditions Echelle 1,
Fondation Le Corbusier, Codex Image International.
• COHEN, Jean-Louis, Le Corbusier, la planète comme chantier, édition Zoé, Paris, septembre 2005,
pp. 74-75.
• BENTON, Tim, “Pessac and Lège revisited”, Massilia, 3, 2004, pp. 64-99.

307
• COLLECTIF, sous la direction scientifique de Marylène Ferrand, Jean-Pierre Feugas, Bernard Le Roy,
Pessac. Le Corbusier. Sauvegarde et réhabilitation des quartiers modernes Frugès, étude à l’initiative
du CEREL/ARIM Aquitaine et de la Fédération des PACT, dactyl., 1985.
• TAYLOR, Brian Brace, Le Corbusier et Pessac 1914-1928, Fondation Le Corbusier, Havard University,
Bourges, 1972.
• BOUDON, Philippe, Pessac de Le Corbusier. Etude socio-architecturale 1929-1985, éditions Dunod,
Paris, 1969.
Maison Guiette
• BURNIAT Patrick, Maison Guiette, in DVD Vol. 2, Le Corbusier. Plans, éditions Echelle 1, Fondation
Le Corbusier, Codex Image International.
• BAINES, Georges « Du système Dom-Ino au type Citrohan », in Burniat, Patrick (sous la direction de),
Le Corbusier et la Belgique, collection Les rencontres de la Fondation Le Corbusier, Bruxelles, CFC
éditions, 1997, pp. 47-61.
• BAINES, Georges, « La Maison Guiette à Anvers », La conservation de l’œuvre construite de Le Cor-
busier. Rencontres du 14 juin 1990, Paris, 1990, pp. 39-62.
• BAINES, Georges, COURTOIS, Robert, « Corbu restauré par Baines. La maison Guiette », Aplus,
n° 102, 1989, pp. 55-58.
• STYNEN, H. « Signalement : Het huis Guiette (1926) van architect Le Corbusier te Antwerpen »,
Monumenten en Landschappen, 1 (1982) 2, pp. 17-19.
• BAINES, Georges et SPITAELS, E. Le Corbusier te Antwerpen 2. De woning Guiette, Anvers, 1987.
• MALLIET, A. « Le Corbusiers huis Guiette gerestaureerd », Monumenten en Landschappen, 6 (1987)
6, pp. 49-60.
• SCHRAENEN, G. (red.) Les Peupliers. Maison Guiette Le Corbusier 1926, Bruxelles 1987.
• « Maison Guiette », Cité Frugès and other Buildings and Projects 1923-1927”, Le Corbusier Archives,
volume 2, Alexander Tzonis, general editor, Garland Publishing and the Fondation Le Corbusier,
1983, pp. 471-497.
• BEKAERT, G. « Le Corbusier. Huis Guiette Populierenlaan 32 Antwerpen (1926) », Tijdschrift voor
Architektuur en Beeldende Kunsten, 37 (1970) 15, pp. 367-370.
Maisons de la Weissenhof-Siedlung
• LE CORBUSIER ET JEANNERET, Pierre, Œuvre complète 1910-1929, publiée par W.Boesiger et
O.Stonorov, introduction et textes de Le Corbusier, Les éditions d’Architecture, Artémis, onzième
édition Zürich, 1984 (1ère édition 1929, éditions Girsberger, Zürich), pp.150-156.
• ROTH, Alfred, Zwei Wohnhäuser von Le Corbusier und Pierre Jeanneret. Fünf Punkte zu einer
neuen Architektur von Le Corbusier und Pierre Jeanneret, Geleitwort von Hans Hildebrandt, Stutt-
gart 1927.
• DEUTSCHER WERKBUND (hrsg.), Bau und Wohnung. Die Bauten der Weissenhofsiedlung in Stutt-
gart errichtet 1927 nach Vorschlägen des Deutschen Werkbundes im Auftrag der Stadt Stuttgart und
im Rahmen der Werkbundausstellung “Die Wohnung”, Stuttgart 1927.
• RASCH, Bodo/ RASCH Heinz, Wie Bauen? Bau und Einrichtung der Werkbundsiedlung am Weis-
senhof in Stuttgart 1927, Stuttgart um 1927.
• GRAEFF, Werner (Hrsg.), Innenräume. Räume und Inneneinrichtungs-gegenstände aus der
Werkbundausstellung “Die Wohnung“ – insbesondere aus den Bauten der Weissenhofsiedlung in
Stuttgart, Stuttgart 1928.
• ROTH, Alfred, Begegnung mit Pionieren. Le Corbusier/ Piet Mondrian/ Adolf Loos/ Josef Hoffmann/
August Perret/ Henry van de Velde, ETH – Institut für Geschichte und Theorie der Architektur (hrsg.),
8.Bd, Basel 1973.
• CRAMER, Johannes, Bauausstellungen: eine Architekturgeschichte des 20. Jahrhunderts, Stuttgart 1984
• KIRSCH, Karin, Werkbund-Ausstellung: “Die Wohnung“ Stuttgart 1927 weissenhofsiedlung, Stuttgart
1987.
• BLUME, Elisabeth, “Le Corbusiers Wege: wie das Zauberwerk in Gang gesetzt wird”. Bauwelt - Funda-
mente 73: Architekturtheorie, Brauns-chweig 1988.
• SCHOLZ, Thomas, Weissenhofsiedlung Stuttgart, Stuttgart 1989.
• POMMER, Richard/ Otto, Christian F., Weissenhof 1927 and the modern movement in architecture,
Chicago 1991.
• PETEREK, Michael, Hierarchisches Formmodell und serielle Siedlungs-textue: eine vergleichende
Strukturanalyse von vier Paradigmen der Wohnquartiersplanung 1910 – 1950, Universität Karlsruhe
Diss., Karlsruhe 1996.
• KIRSCH, Karin, Briefe zur Weissenhofsiedlung, Stuttgart 1997.
• KURRENT, Friedrich (Hrsg.), Raummodelle: Wohnhäuser des 20. Jahrhunderts, 3. Auflage, Salzburg 1997.
• Technische Uni München (hrsg.), Le Corbusier 1887-1965: 40 Wohnhäuser. Bauten und Projekte von
Le Corbusier, Studienarbeiten mit Beiträgen von Friedrich Kurrent, 1. Auflage, Salzburg 1997
• STARK, Ulrike, Architekten – Le Corbusier, Veröffentlichungen ab 1988, Stuttgart 1998.
• MARCUS, George H., Le Corbusier – im Inneren der Wohnmaschine, München 2000.
• PETEREK, Michael, Wohnung. Siedlung. Stadt: Paradigmen der Moderne 1910 – 1950, Berlin 2000.
• Le Corbusier, Le Corbusier houses - Le Corbusier in his Houses,Tokyo 2001.
• KIRSCH, Karin/ Kapp, Isolde/ Munkert, Christa, Leben im Museum: das Doppelwohnhaus von Le
Corbusier in der Weissenhofsiedlung in Stuttgart, Ostfildern 2002.
• RÜEGG, Arthur (Hrsg.), Le Corbusier – Polychromie architecturale. Farbklaviaturen von 1931 und
1959/ Color Keyboards from 1931 and 1959/ Les claviers de couleurs de 1931 et de 1959, 2nd rev. ed.,
Basel / Boston/ Berlin 2006.
• QUETGLAS, Josep – Suarez Maria Candela, Deux maisons du Weissenhof à Stuttgart, in DVD Vol.1,
Le Corbusier. Plans, éditions Echelle 1, Fondation Le Corbusier, Codex Image International, 2005.
• Wüstenrot Stiftung Ludwigsburg (hrsg.), Doppelhaus Le Corbusier/ Jeanneret, Stuttgart 2005.
• KURZ, Jörg/ ULMER, Manfred, Die Weissenhofsiedlung: Geschichte und Gegenwart, Stuttgart 2006.
• Wüstenrot Stiftung Ludwigsburg (hrsg.), Baudenkmale der Moderne: Le Corbusier und Pierre Jean-
neret. Doppelhaus. Die Geschichte einer Instandsetzung, Stuttgart 2006.
• Wüstenrot Stiftung und Landeshauptstadt Stuttgart, Weissenhof-museum im Haus Le Corbusier –
Katalog zur Ausstellung, Stuttgart 2008.
Villa Savoye et loge du jardinier

• BASSET Eric, Villa Savoye « Les Heures Claires » in DVD Vol.2, Le Corbusier. Plans, éditions Echelle
1, Fondation Le Corbusier, Codex Image International.
• QUETGLAS, Josep, Le Corbusier y Pierre Jeanneret : Villa Savoye, “Les Heures Claires”, Madrid :
Rueda, 2004, collection : Arquitecturas ausentes del siglo XX ; 12.
• SANTAMARIA, Carlo, Le Corbusier : Villa Savoye : l’armonia nei rapporti delle misure, Padova,
Unipress, c. 2002.
• DESMOULIN, Christine, La Villa Savoye, Paris, éditions Norma, 2001.
• QUETGLAS, Josep (sous la direction de), MIRALLES, Roger (dessins), MARTIN, Amado (ma-
quettes), Developpement du projet de la villa Savoye 1928-1963, Barcelone, UPC, 2001.
• SBRIGLIO, Jacques, Le Corbusier, la villa Savoye, Paris : Fondation Le Corbusier ; Basel : Birkhäuser
Verlag, c. 1999.
• TOULIER, Bernard, Architecture et patrimoine du XXe siècle en France, éditions du Patrimoines,
1999, p.105-107.
• MOREL-JOURNEL, Guillemette, La villa Savoye de Le Corbusier, Editions du Patrimoine, collection
Itinéraires (existe également en anglais), Paris, 1997.
• SBRIGLIO, Jacques, Le Corbusier : La villa Savoye, Boston, Birkhaüser, 1999 (en français et en anglais).
• SIZA, Alvaro, Villa Savoye rivisitata, Sulle trace di le Corbusier, Arsenale Editrice, Venezia, 1989.
• BENTON, Tim, Les villas de Le Corbusier 1920-1930, La Villette, Philippe Sers, Paris 1984, pp. 190-207.
• “Villa Savoye”, Villa Savoye and other Buildings and Projects, 1929-1930, Le Corbusier Archives,
volume 7, Alexander Tzonis, general editor, Garland Publishing and the Fondation Le Corbusier,
1984, p. 247-360.
• FURER, René, “Le Corbusier: villa Savoye 1930”, A+U, janvier 1981, p. 13-32.
• RISSELADA, Max, Le Corbusier et Pierre Jeanneret. Ontwerpen voor de Woning 1919-1929, octobre
1980 Publikaties Lezingen (np).
• COLLECTIF, « Numéro spécial Le Corbusier », Architecture-Mouvement-Continuité, n° 49, septembre
1979, pp. 33-36.
• BENTON, Tim, Architecture and design. Le Corbusier : Villa Savoye,The Open University, 1976.
• MEIER, Richard, Le Corbusier Villa Savoye, Poissy, France, 1929-1931, edited and photographed
by Yukio FUTAGAWA, Tokyo, ADA Edita, (GA 13) 1972.
• WEST, Johan, Four compsition of Le Corbuiser: villa à Garches, 1927 ; Villa Savoye, 1929 ; Villa
Shodan à Ahmedabad, 1952 ; Milowener’s building à Ahmedabad, 1954, dessins réalisés en connec-
tion avec un séminaire sur Le Corbusier à l’Ecole d’architecture de Princeton, USA, 1964.
(1ère édition 1934, éditions Girsberger, Zürich), pp. 23-31.
• ANONYME, « La villa à Poissy », L’Architecte, septembre 1930, 8e année, n° 9.
• POSENER, Julius, « La maison Savoye à Poissy », Architecture d’Aujourd’hui, décembre 1930, n° 2,
p. 20-21.
• GIEDION, Siegfried, « La maison Savoye à Poissy 1928-1930 », Cahier d’art, n° 4, 5e année, 1930,
p. 212-215.
Immeuble Clarté
• COLLECTIF - BELLINELLI Luca (sous la direction de). Le Corbusier - La costruzione dell’Iimmeuble
Clarté. La construction de l’immeuble Clarté, Universita della Svizzera italiana, Mendrisio, 1999.
• SPECHTENHAUSER Klaus, Immeuble Clarté, in DVD Vol. 8, Le Corbusier. Plans, éditions Echelle 1,

309
• COLLECTIF, La construction de l’immeuble Clarté, catalogue d’exposition, Académie d’architecture
de l’Université de la Suisse italienne, Lugano 1999.
• SUMI, Christian, Immeuble Clarté, Genf 1932, von Le Corbusier & Pierre Jeanneret, Zürich : GTA :
Ammann, c.1989.
• COLLECTIF, Le Corbusier à Genève 1922-1932, catalogue d’exposition, éditions Payot, Lausanne 1987.
• COURTIAU, Catherine, « L’immeuble Clarté Genève. Le Corbusier – 1931/32 », in Guide de monu-
ments suisses, Société d’histoire de l’art en Suisse, série n° 32, N° 319, Berne 1982.
• BOESIGER, Willy (Ed). Le Corbusier et Pierre Jeanneret, œuvre complète de 1929-1934, Zurich 1935 ;
rééditions et compléments dès 1964.
(1ère édition 1934, éditions Girsberger, Zürich), pp. 66-71.
• ANONYME, « Le Corbusier. La maison de verre. Immeuble « Clarté », numéro spécial de L’Art en Suisse,
avril/mai 1933.
• GIEDION, Siegfried, Ein Genfer Mietsblock Le Corbusier, Frankfurter Zeitung du 24.6.1932, texte
dactylographié du fonds S. Giedion, Institut d’Histoire et de Théorie de l’Architecture, ETH Zürich.
Immeuble locatif à la Porte Molitor

• DUMONT Marie-Jeanne, Immeuble Porte Molitor – Rue Nungesser et Coli, in DVD Vol. 5, Le Corbusier.
Plans, éditions Echelle 1, Fondation Le Corbusier, Codex Image International
• SBRIGLIO, Jacques, Immeuble 24 N.C et appartement Le Corbusier. Apartment block 24 N.C and
Le Corbusier’s home, Fondation Le Corbusier/ Editions Birkhaüser, Paris, Berlin, Boston, Basel, 1996.
• SBRIGLIO, Jacques, « Construire dans la ville existante : L’immeuble du 24, rue Nungesser-et-Coli »,
in Le Corbusier : La Ville, L’Urbanisme, Les rencontres de la Fondation Le Corbusier, Fondation
Le Corbusier, 1995, pp. 73-80.
• « Immeuble 24 rue Nungesser-et-Coli », Immeuble 24 rue Nungesser-et-Coli and other Buildings
and Projects, 1933 », Le Corbusier Archives, volume 11, Alexander Tzonis, general editor, Garland
Publishing and the Fondation Le Corbusier, 1984, p. 1-308.
(1ère édition 1934, éditions Girsberger, Zürich), p. 144-153.
Unité d’habitation de Marseille

• COLLECTIF, La cellule Le Corbusier. L’unité d’habitation de Marseille, Éditions Imbernon, Marseille,
2013
• DULAU, Robert, MORY, Pascal, L’appartement de Marseille. Relation de la réalisation de la recons-
titution d’un appartement de la Cité radieuse de Marseille dans la Cité de l’architecture et du patri-
moine , à Paris. Editions PC, Philippe Chauveau, Paris, octobre 2007.
• MONNIER Gérard, Le Corbusier : Les unités d’habitation en France, Paris : Belin-Herscher, 2002.
• MARZA Fernando – TINACCI Elena, L’unité d’habitation de Marseille, in DVD Vol. 8, Le Corbusier.
Plans, éditions Echelle 1, Fondation Le Corbusier, Codex Image International
• LE CORBUSIER, « L’unité d’habitation de Marseille », s.l, in Le Point, novembre 1950.
• SBRIGLIO, Jacques, Le Corbusier : l’Unité d’habitation de Marseille et les autres unités d’habitation
à Rezé-les-Nantes, Berlin, Briey en Forêt et Firminy, Paris : Fondation Le Corbusier ; Basel ; Boston :
Birkäuser, c. 2004.
• JENKINS, David (David Llewellyn), Unité d’Habitation Marseilles: Le Corbusier, London : Phaidon,
1993.
• SBRIGLIO, Jacques, avec la collaboration de Jean-Louis Parisis, Monique Reyre, Jean-Marc Gauthier,
photographies de Hugues Bigo, Le Corbusier. L’unité d’habitation de Marseille, Editions Paren-
thèses, Monographies d’architecture, Marseille, 1992.
• BONILLO, Jean-Lucien. Etude sur l’hôtel-restaurant de l’UHLC. Commande de la DRAC-PACA, 2004.
• BOTTON, François, ACMH. Marseille, Cité Radieuse “Le Corbusier”, traitement des parements
extérieurs en béton armé. Etude préalable, mai 2001.
• The Marseilles block [by] Le Corbusier [pseud.]Translated by Geoffrey Sainsbury, from the French
L’unité d’habitation de Marseille, London, Harvill Press, 1953.
• Le Corbusier Œuvre complète 1946-1952, publiée par W. Boesiger, Les éditions d’Architecture,
Artémis, septième édition, Zürich, 1976 (1ère édition 1953, éditions Girsberger, Zürich), pp. 189-223.
Artémis, septième édition, Zürich, 1977 (1ère édition 1946, éditions Girsberger, Zürich), pp. 172-174
Manufacture à Saint-Dié
• ZAKNIC, Ivan, Usine Claude et Duval – Saint Dié, in DVD Vol. 9, Le Corbusier. Plans, éditions Echelle 1,
• DUVAL, Jean-Jacques, Le Corbusier vivant, Amman Verlag, Münich, 1988.
• Le Corbusier et Saint-Dié, Catalogue d’exposition, Musée municipal de Saint-Dié, Saint-Dié, 1987.
Maison du Docteur Curutchet
• COLLECTIF. Nicolas S. Fiszman, Helio Pinon, Daniel M. Johnston, Esteban G. Urdampilletta, Jorge
S. MeleLuis. J. Grossman, Manuel I. Net, Ricardo Blanco. Le Corbusier arquitecto – « Maison
Curutchet. Plans, photographies. » Revue 1 :100. Ano 02. Numero 09. Avril 2007. José Superi 3527
(C1430FFC). Buenos Aires.
• LAPUNZINA, Alejandro, Maison du Docteur Curutchet, in DVD Vol. 9, Le Corbusier. Plans, éditions
Echelle 1, Fondation Le Corbusier, Codex Image International
• LAPUNZINA, A., 1996: Maison Curutchet. New York, Princeton University Press, 1996.
• « La Casa Curutchet », Revista 3, Revista de Teoría, Historia y Crítica de la Arquitectura. Nº 8, Buenos
Aires, 1996.
• GROSSMAN, L., 1989: “Casa Curutchet en La Plata”, Summa Nº 260, marzo 1989, 25-28.
• GROSSMAN, L., 1989: “Cara y ceca de la Casa Curutchet”, Revista de la SCA Nº 144, noviembre
1989, 54.
• AUJAME, Roger., 1987: “Maison du Docteur Curutchet à La Plata”, Techniques & Architecture,
Nº 373, septiembre 1987, 52-55.
• LIERNUR J., et PSCHEPIURCA P., 1987: “Precisiones sobre los proyectos de Le Corbusier en
Argentina 1929/1949”, Summa Nº 243, noviembre 1987, 40-55.
• CASOY, D., 1983.: “Le Corbusier en La Plata. Entrevista con el Dr. Curutchet”, Summa, Colección
Temática, 1983, 23-27.
• ARRESE, A., 1982: “La Plata-Le Corbusier”, Summa Nº 181, noviembre 1982. 38-39.
• PESCI, R., 1970: “Un’opera inedita di Le Corbusier in Argentina”, L’Architettura Nº 175, mayo 1970,
32-38.
• BOESIGER W., et GIRSBERGER H., 1967: Le Corbusier 1910-1965. Zürich, Verlag für Architektur.
• BORTHAGARAY, J. M., 1955: “Casa Curutchet, Le Corbusier”, Nueva Visión Nº 6. 7-13.
Chapelle Notre-Dame-du-Haut de Ronchamp

Pour une bibliographie complète avant 1980, voir l’ouvrage de Danièle Pauly cité en référence ci-dessous.
• COLLECTIF. Gilbert Amy, Françoise Caussé, Dominique Claudius-Petit, Christophe Cuzin, Régine
du Charlat, Mgr Doré, Jean-Marie Duthilleul, Jean-Pierre Greff, Giuliano Gresleri, Inge Linder-Gaillard,
Jean-François Mathey, Danièle pauly, Paul-Louis Rinuy, Georges Sebbag, Germain Viatte, Jean-
Jacques Virot, Sarah Wilson. Ronchamp, l’exigence d’une rencontre. Le Corbusier et la chapelle
Notre-Dame du Haut. Actes du colloque organisé en 2005 à Ronchamp à l’occasion de la célébration
du cinquantenaire de la chapelle Notre-Dame du Haut. Fage éditions, Lyon, 2007.
• ANTONINI, Debora, Chapelle Notre-Dame-du-Haut, Ronchamp, in DVD Vol. 10, Le Corbusier. Plans,
éditions Echelle 1, Fondation Le Corbusier, Codex Image International.
• ANTONINI, Debora, Claustras, Ronchamp, in DVD Vol. 10, Le Corbusier. Plans, éditions Echelle 1,
• COOMBS, Robert, Mystical themes in Le Corbusier’s architecture in the Chapel Notre-Dame-du-
Haut at Ronchamp: the Ronchamp riddle, Lewistown, N.Y. : Edwin Mellen Press, c.2000.
• Le Corbusier, Terragni, Michelucci : nelle tre opere più note : Cappella di Ronchamp, Casa del Fascio,
Chiesa dell'Autostrada, a cura di Giuseppe Rocchi Coopmans de Yoldi , Firenze : Alinea, 2000.
• The Chapel at Ronchamp / photographs by Ezra Stoller ; introduction de Eugenia Bell, préface
d’Ezra Stoller, New York : Princeton Architectural Press, c.1999.
• PAULY, Danièle, Le Corbusier, la chapelle de Ronchamp. Le Corbusier, the Chapel at Ronchamp,
Paris : Fondation Le Corbusier ; Basel : Birkhauser, c.1997
• ROVERSI, Leonina, Le Corbusier : la cappella di Ronchamp, Firenze : Alinea, 1989.
• « Ronchamp Maison du gardien », Ronchamp. Maisons Jaoul and other Buildings and Projects,
1951-1952, Le Corbusier Archives, volume 20, Alexander Tzonis, general editor, Garland Publishing
and the Fondation Le Corbusier, 1984, p.1-246
• PAULY, Danièle, Ronchamp. Lecture d’une architecture, Association des publications près les uni-
versités de Strasbourg, Editions Orphrys, Paris 1980.
• YOSHIZAKA, Takamasa, Le Corbusier. Chapelle Notre-Dame-Du-Haut. Ronchamp, France, 1950-54,
Tokyo, A.D.A, Edita, 1971.
• FERRY, Abbé Marcel, Le pèlerinage Notre-Dame-du-Haut à Ronchamp, La Chapelle de Le Corbusier,
s.l.n.d, Forces Vives.
• BOLLE-REDDAT, Abbé René, Notre-Dame-du-Haut : Ronchamp, Lyon, Lescuyer, 1969.
• BELOT, Chanoine Lucien, Manuel du Pèlerin, Notre-Dame-du-Haut à Ronchamp, Lyon, Lescuyer
éditeur, 1969.
• LE CORBUSIER, Textes et dessins pour Ronchamp, s.l Forces Vives, 1965.
• MAULINI Marcel, Comprendre Ronchamp, Dole, Imprimerie Chazelle, 1964.
• ARGAN C.G., La chiesa di Ronchamp, progretto e destino, Milan, Tamburini, 1963.
• PETIT, Jean, Le livre de Ronchamp, s.l, Editec, 1961.
• MERKLE, Paul, Ein Tag mit Ronchamp. 48 Aufnahmen von Paul und Esther Merkle, Text von Robert
Th. Stoll. Geleitwort von Hans Urs von Balthasar, Einsiedeln, Johannes-Verlag, 1958.
• STOLL, Robert Th., Ronchamp, Paris, Desclée de Brouwer, 1958
• ROHAN, Karl Anton (Prinz), Besuch in Ronchamp, Bûrnberg, Glock end Lutz, 1958.

311
• LE CORBUSIER, Ronchamp, collection les carnets de la recherche patiente, dirigée par Le Corbusier,
Carnet n° 2, Zürich, Girsberger, 1957.
• PETIT Jean, Ronchamp, cahiers Forces Vives, s.l, Desclée de Brouwer, 1956.
• ROGERS, Ernesto N., La Chapelle de Notre-Dame-du-Haut à Ronchamp de Le Corbusier, Milano,
Domus, C.1955-56.
• Henze, Anton, Ronchamp, Le Corbusier erster Kirchenbau, Recklinghausen, Paulus, 1956.
• COCAGNAC A.-M., et CAPPELADES M.R, Les chapelles du Rosaire à Vence par Matisse et de Notre-
Dame-du-Haut à Ronchamp par Le Corbusier, Paris, Cerf, 1955.
berger, Zürich), pp. 16-41.
Cabanon de Le Corbusier
• CHIAMBRIETO, Bruno, Le Cabanon, Roquebrune – Cap-Martin, in DVD Vol. 11, Le Corbusier. Plans,
• TOULIER, Bernard, Architecture et Patrimoine du XXe siècle en France, Editions du patrimoine,
Paris, 2000, p. 112.
• SENADJI, Madji, Le cabanon Le Corbusier Roquebrune-Cap-Martin, Marval, Paris, 1994, p. 256-287.
• CHIAMBRETTO, Bruno, Le Corbusier à Cap-Martin, éditions Parenthèses, Marseille, 1987.
• CHIAMBRETTO, Bruno, « Cabanon : une très petite maison à Cap-Martin », Le Corbusier une
encyclopédie, Editions du Centre Georges Pompidou/CCI, Paris 1987, pp. 81-83.
• « Cabanon de Le Corbusier », Unité Projet Roq et Rob, Roquebrune-Cap-Martin and other Buildings
and Projects 1948-1950, Le Corbusier Archives, volume 19, Alexander Tzonis, general editor, Garland
Publishing and the Fondation Le Corbusier, 1983, p. 339-352.
Complexe du Capitole
• COLLECTIF, Le Corbusier - Pierre Jeanneret, Chandigarh, India, 1951-66, Editions Galerie Patrick
Seguin, Paris, 2014.
• PAPILLAULT, Rémi, Chandigarh et Le Corbusier. Création d’une ville en Inde 1950-1965, Éditions
Poïésis - AERA, Toulouse, 2011.
• AVERMAETE, Tom ; CASCIATO, Maristella, Casablanca Chandigarh. Bilans d’une modernisation.,
Éditions Centre Canadien d’Architecture, Montréal, 2014 et Park Books AG, Zurich, 2014.
• PAPILLAUT, Rémi, Chandigarh. Collection “Portrait de ville”. Supplément à Archiscopie n° 63. Cité
de l’architecture et du patrimoine/IFA, Paris, juin 2007.
berger, Zürich) p. 50-101.
Les éditions d’Architecture, Artémis, troisième édition, Zürich, 1986 (1ère édition 1965, éditions d’Ar-
chitecture Zürich). p. 68-115.
Les éditions d’Architecture, Atémis, Zürich, 1970., p. 54-67.
• Kalia, Ravi, Chandigarh: In Search of An Identity. Carbondale, IL: Southern Illinois Press, 1987.
• Evenson, Norma, Chandigarh, Berkeley Press, USA.
• Joshi, Kiran, Documenting Chandigarh: the Indian Architecture of Pierre Jeanneret Edwin Maxwell
Fry, Jane B Drew. Ahmedabad, Chandigarh, Mapin Publishing, Chandigarh College of Architecture,
1999. Vol I.
• Fry. E. Maxwell, Chandigarh: New Capital City, Architectural Record, Vol 117 (June,1955).
• Prakash, Vikramaditya, Chandigarh’s Le Corbusier: the struggle for Modernity in Post Colonial
India, Seattle: University of Washington Press, 2002.
• Sarin, Madhu, Urban Planning in the Third World: the Chandigarh Experience, London, Mansell
Pub. 1982.
• Takhar Jaspreet, ed. Celebrating Chandigarh: 50 years of the Idea, Chandigarh, Chandigarh Pers-
pectives, 2001.
• Von Moos. Stanislans, ed. Chandigarh 1956: Le Corbusier Pierre Jeanneret, Jane B Drew, E Maxwell
Fry, Zurich: Scheidegger & Spiess, 2010.
• Casciato, Maristella, Von Moos, Stanstans, ed. Twilight of the Plan: Chandigarh and Brasilia,
Mendrisio, Mendrisio Academy Press, 2007.
• Casciato Maristella, Avermaete Tom, Photographic Missions by Takashi Homma and Yto Barrada –
Casablanca Chandigarh – A Report on Modernisation, Park Books, Canadian Centre for Architecture,
Montreal, Canada 2014.
• Gans, Beborah, The Le Corbusier Guide, 3rd Edition, Princeton Architectural Press,New York, 2006
• Chowdhury, Eulie, Translated. Le Corbusier – The Three Human Establishments, Chandigarh Go-
vernment Press, Chandigarh 1976.
• Kalia, Ravi, Chandigarh – The Making of an Indian City, Oxford University Press, 1987, revised 1999.
• Joshi, Kiran ed. Corbusier’s Concrete: Challenges of Conserving Modern Architecture, Proceedings
of Seminar, Le Corbusier’s Works in concrete, Chandigarh 11-13 February, 2002, New Delhi, Thomp-
son Press, India 2005.
• Jangra, VK & Dhariwal, AK, Chandigarh Urban Development Laws.
• Haryana Rent Reporter, Chandigarh, India, 2005.
• Bhatnagar V.S., Chandigarh – the City Beautiful: Environmental profile of a Modern Indian City,
New Delhi : A.H.P. Pub. Corps, 1996.
• Le Corbusier Sketchbooks, Edited by Francoise de Franclient, 4 Vols New York: Architectural History
Foundation; Cambridge, Mass. MIT Press, Paris, Fondation Le Corbusier, 1981.
Couvent Sainte-Marie-de-la-Tourette
• POTIE, Eric, Couvent Sainte-Marie de la Tourette, in DVD Vol. 13, Le Corbusier. Plans, éditions
Echelle 1, Fondation Le Corbusier, Codex Image International.
• COPANS, Richard, Le Couvent de la Tourette, film vidéo, 27minutes, produit par Arte France – Les
films d’ici – Le Centre Georges Pompidou, – La Direction de l’Architecture – Le Musée d’Orsay,
diffusé en DVD dans la collection Architectures, volume 3, Arte Vidéo et la Réunion des Musées
Nationaux, 2003.
• POTIE, Philippe, Le Corbusier : le couvent Sainte-Marie de La Tourette = the Monastery of Sainte
Marie de La Tourette, Boston : Birkhauser-Verlag, 2001.
• PIRAZZOLI, Giacomo, Le Corbusier a la tourette : qualche congettura, Firenze : All’Insegna del Giglio,
2000.
• Couvent le Corbusier, Sainte-Marie de la Tourette, photographies de Jacqueline Salmon, Paris :
Association française pour la diffusion du patrimoine photographique, 1988 , exposition du 17 mars
au 16 mai 1988 au Palais de Tokyo, Paris.
• DENTI, Giovanni, Le Corbusier : il convento di La Tourette, Firenze : Alinea, 1988.
• DE SOETEN Hans, EDELKOORT, Thijs, La Tourette + Le Corbusier : l’architecture du couvent et
l’attitude de l’architecte = the architecture of the monastery and the architect’s attitude, Delft, Delft
University Press, 1987.
• FERRO, Serfio, KEBBAL, Chérif, POTIE, Philippe, SIMONNET, Cyrille Le couvent de la Tourette,
préface de Iannis XENAKIS, éditions Parenthèses, Marseille, 1987.
• « Couvent de la Tourette », La Tourette and other Buildings and Projects, 1951-1952, Le Corbusier
Archives, volume 28, Alexander Tzonis, general editor, Garland Publishing and the Fondation
Le Corbusier, 1984, p. 361-634.
• François BIOT, Françoise PERROT, Le Corbusier et l’architecture sacrée, photographie de Jacqueline
Salmon, éditions La Manufacture, Lyon, 1985.
• HENZE, Anton, La Tourette: the Le Corbusier monaster; photographies de Bernhard Moosbrugger,
raduit en anglais par Janet Seligman, Londres : Lund Humphries, 1966.
• PETIT, Jean, « Un couvent de Le Corbusier », Les éditions de Minuit, Paris, 1961.
d’Architecture Zürich), pp. 32-53.
• Le Corbusier et son atelier rue de Sèvres 35, Œuvre complète 1952-1957, publiée par W. Boesiger,
berger, Zürich), pp. 42-49.
Musée National des Beaux-Arts de l’Occident

• COLLECTIF, Catalogue d’exposition : Le Corbusier & the national museum of Western Art, 2009,
Musée National des Beaux-Arts de l’Occident, 159 p.
• Le bâtiment principal du Musée National des Beaux-arts de l’Occident, rapport d’étude historique,
2007, Société des architectes japonais
Maison de la Culture de Firminy

• COLLECTIF, La Maison de la culture de Firminy, Éditions La passe du vent, Genouilleux, 2013,
Collection “Patrimoines pour demain”.
• RAGOT, Gilles, Le Corbusier à Firminy-Vert. Manifeste pour un urbanisme moderne, Éditions du
patrimoine, Centre des monuments nationaux, Paris, 2011.
• ZAKNIC, Ivan, Maison des Jeunes et de la Culture, Firminy, in DVD Vol. 15, Le Corbusier. Plans,
• CLAUDIUS-PETIT, Eugène, « Firminy-Vert », L’Architecture d’Aujourd’hui, avril 1962.
Maison de la Culture et de la Jeunesse / Stade
• ANONYME, « Jugend und Kulturhaus in Firminy », Bauwelt, n° 1-2, juin 1968, pp. 19-23.
d’Architecture Zürich), pp. 130-134
• ANONYME, «Maison des jeunes et de la Culture à Firminy », L’Architecture d’Aujourd’hui, n° 129,
décembre 1966/janvier 1967, pp. 67-71.

313
• ANONYME, “A late Le Corbusier work takes shape (House of Youth and Culture Firminy )”, Progres-
sive architecture, 1965, p. 39.
d’Architecture Zürich), p. 135.
Les éditions d’Architecture, Atémis, Zürich, 1970, p. 42
d’Architecture Zürich), pp. 136-139.
VII (e.4) Multimédia aids

• Le Corbusier. Plans, éditions Echelle 1, Fondation Le Corbusier, Codex Image International. Pré-
sentation intégrale des plans conservés à la Fondation Le Corbusier sur DVD, en haute définition.
Coffret de 16 DVD.
DVD volume 1 : 1905-1925 ; DVD volume 2 : 1926-1928 ; DVD volume 3 : 1928-1929 ; DVD volume 4 :
1929-1930 ; DVD volume 5 : 1930-1932 ; DVD volume 6 : 1933-1936 ; DVD volume 7 : 1937-1944 ;
DVD volume 8 : 1945 (Unité d’habitation de Marseille) ; DVD volume 9 : 1945-1949 ; DVD volume 10 :
1950 ; DVD volume 11 : 1951 ; DVD volume 12 : 1952 ; DVD volume 13 : 1953 ; DVD volume 14 : 1955 ;
DVD volume 15 : 1956-1958 ; DVD volume 16 : 1959-1964.
• COMPAIN, Frédéric, NEUMAN, Stan, Le couvent de la Tourette, Architecture 3, Paris : Arte vidéo,
Réunion des musées nationaux, 2003, disque optique numérique (DVD), 26’.
• REWAL, Manu, Le Corbusier en Inde, Paris : Play film, 2000, cassette vidéo (52 min.) SECAM : couleur, son.
• ROUMETTE, Sylvain, Chandigarh, le devenir d'une utopie, Paris : Centre national du cinéma, 1999,
cassette vidéo (54 min.) SECAM : coul.
• BARSAC, Jacques, Le Corbusier, Paris : La Sept vidéo, 1987, 3 films en 2 DVD (55’, 49 et 64 min.) :
noir et blanc et coul.
• Entretiens. Le Corbusier avec le recteur Mallet (1951) et Georges Charensol (1962), cassette audio,
I.N.A/collection Archives, Editions Didakhé/I.N.A, 1987.
• LEVINSON Nick, réalisateur, BENTON, Tim, scénariste et commentateur, Le Corbusier : Villa Savoye,
Open University, vidéo, 28’, couleur, n.d.
Main websites and useful email addresses

Germany
• www.weissenhofmuseum.de : site web du Musée du Weissenhof dans la maison Le Corbusier
• www.corbusierhaus.org : site web de l’Unité d’habitation de Berlin
Argentina
• http://capba.org.ar/ - [email protected] : site en espagnol et adresse e-mail du collège des archi-
tectes de la province de Buenos Aires. Présentation de la villa Currutchet.
France
• www.fondationlecorbusier.asso.fr : site officiel de la Fondation Le Corbusier en français et en
anglais. Présentation de la Fondation, de ses fonds, index des archives, actualité de Le Corbusier.
• [email protected] : adresse pour la réservation des visites de la Villa La Roche
et de l’appartement de l’Immeuble Molitor.
• [email protected] : adresse pour rendez-vous de consultation à la bibliothèque de la
Fondation Le Corbusier.
• www.monum.fr/visitez/decouvrir/fiche.dml?lang=fr&id=48 : pages du site officiel du Centre des
Monuments nationaux (MOMUM) dédiées à la Villa Savoye. Historiques, photographies, informa-
tions pratiques.
• www.fondationsuisse.fr/contacts.html : site officiel du Pavillon Suisse de la Cité universitaire de
Paris : renseignements pratiques pour les étudiants, actualité, présentation du pavillon.
• www.maisondubresil.org/Acces/planacces.htm : site officiel du Pavillon du Brésil de la Cité universi-
taire de Paris : renseignements pratiques pour les étudiants, actualité, présentation du pavillon.
• www.ville-firminy.fr/lecorbusier : site officiel de la municipalité de Firminy sur le patrimoine cor-
buséen de la ville. Présentation de ce patrimoine, consultation d’archives, actualité de Le Corbusier,
conditions d’accueil.
• www.marseille-citeradieuse.org/ : site officiel en français de l’association des habitants de la Cité
radieuse de Marseille. Présentation de l’association, de l’édifice, et de l’actualité de Le Corbusier.
• www.maisonradieuse.org : site officiel en français de l’association des habitants de la Cité radieuse
de Rezé-les-Nantes. Présentation de l’association, de l’édifice, et de l’actualité de Le Corbusier.
• [email protected] : adresse email pour contacts sur le Cabanon de Roquebrune-Cap-
Martin.
• www.st-etienne.archi.fr/corbu/corbu.html : site de l’Ecole Nationale Supérieure d’Architecture de
Saint-Etienne sur la construction de l’église Saint-Pierre de Firminy. Recueil de vidéos de l’avancement
du chantier.
• www.ina.fr/actualite/dossiers/2005/Aout2005.fr.html : site de l’Institut National de l’Audiovisuel
(INA, France) en français, offrant en consultation une série d’extraits d’émissions de la télévision
française consacrés à Le Corbusier et à son œuvre.
• www.couventlatourette.com : site officiel en français du couvent de la Tourette. Présentation de
l’édifice, des activités du Centre Thomas More et de la communauté des frères Franciscains.
• www.ecliptique.com/ronchamps/hd/index.html : site interactif en français. Vues récentes de la
chapelle de Ronchamp permettant une navigation autour de la chapelle.
• www.ecliptique.com/ronchamps/hd/index.html : site officiel en français de l’association de l’Œuvre
de Notre-Dame-du-Haut. Présentation de l’Association, du site, de la chapelle, visite guidée, docu-
mentation.
Japan
• www.nmwa.go.jp/en/ : site officiel en anglais du Musée National des Beaux-Arts de l’Occident.
• www.city.taito.lg.jp/sekaiisan_e/ : site officiel en anglais de la Ville de Taito.
Switzerland
• www.villa-blanche.ch/ : site officiel en français et en anglais de la Maison Blanche. Présentation
de l’association, de la maison, de Le Corbusier, agenda et actualité.
• www.chaux-de-fonds.ch/bibliotheques/ : site de la bibliothèque de La Chaux-de-Fonds. Plus spé-
cialement orientée vers l’œuvre de jeunesse et sur Charles-Edouard Jeanneret avant son installation
à Paris (1917). Elle dispose d’un certain nombre de documents d’archives accessibles au public et
aux chercheurs.
• www.corseaux.ch/net/Net_Corseaux.asp?sty=&v-vm=&NoOFS =5883&NumStr=55.10 : site officiel
de la commune de Corseaux. Pages dédiées à la villa construite par Le Corbusier.
Whole world
• http://agram.saariste.nl/index2.html : base de donnée photographique sur l’architecture comprenant
une entrée importante sur Le Corbusier.
• http://www.greatbuildings.com/gbc.html : site de photographies et de reconstitution en 3D de
réalisations architecturales dont celles de Le Corbusier.

315
CHAPTER VIII
> Contact
Information of
responsible
authorities

NOMINATION FILE • CHAPTER VIII • Contact Information of responsible authorities
317
VIII (a) / Preparer
VIII (a.1) The institutions

ALLEMAGNE
Nom : Ministerium für Finanzen und Wirtschaft Baden-Württemberg
Abteilung 6 Fachkräftesicherung und Quartierspolitik
Referat 66 Denkmalpflege und Bauberufsrecht
(Ministère des Finances et de l’Économie du Land de Bade-Wurtemberg)
Adresse : Schlossplatz 4, Neues Schloss, 70173 Stuttgart
Ville, Province/Etat, Pays : Stuttgart, République Fédérale d’Allemagne
Tél. : +49 711-123-0
Fax. : +49 711-123-4791
Courriel : [email protected]
www.mfw.baden-wuerttemberg.de
ARGENTINE
Nom : Ministère de la Culture
Titre : Commission Nationale des Musées, Monuments et lieux historiques
Adresse : Avenida de Mayo 556
Ville, Province/Etat, Pays : Buenos Aires, Argentine
Tél. : +54 +11 43435835
Fax. : +54 +11 43436960
BELGIQUE
Nom : Ministerie van Ruimtelijke Ordening, Woonbeleid en Onroerend Erfgoed
(Ministère de l’Aménagement du Territoire, du Logement et du Patrimoine Immobilier)
Titre : Agence du Patrimoine de Flandre
Adresse : Koning Albert II-laan 19 bus 5
Ville, Province/Etat, Pays : B-1210 Bruxelles, Belgique
Tél. : 32-2 553 16 50
Fax. : 32-2 553 16 55
Site : www.onroerenderfgoed.be
FRANCE
Nom : Ministère de la Culture et de la Communication
Direction Générale des Patrimoines
Département des affaires européennes et internationales
Adresse : 6 rue des Pyramides
Ville, Province/Etat, Pays : 75041, Paris cedex 01, France
Tél. : +33 (0) 1 40 15 33 35
Nom : Fondation Le Corbusier
Titre : Antoine Picon, Président
Michel Richard, Directeur
Bénédicte Gandini, architecte
Adresse : 8-10 square du Docteur Blanche
Ville, Province/Etat, Pays : 75016 Paris, France
Tél. : +33 (0) 1 42 88 41 53
Fax. : +33 (0) 1 42 88 33 17
INDE
Nom : Department of Tourism, Chandigarh Administration
Titre : Director
Adresse : Additional Deluxe Building, adjoining Police Headquarters, Sector 9D, Chandigarh
Tél. : +91 172 2740420
Fax : + 91 172 2740337
Site : www.chandigarhtourism.gov.in

319
JAPON
Nom : Agence des Affaires Culturelles
Titre : Monuments et Sites Division
Adresse : 3-2-2 Kasumigaseki, Chiyoda-ku
Ville, Province/Etat, Pays : Tokyo, Japon
Tél. : +81-3-6734-2877
Fax. : +81-3-6734-3822
SUISSE
Nom : Office fédéral de la culture OFC,
Section Patrimoine culturel et monuments historiques
Adresse : Hallwylstr. 15
Ville, Province/Etat, Pays : CH – 3003 Bern, Suisse
Tél. : + 41 58 462 86 25
Fax. : + 41 58 462 87 39
VIII (a.2) The experts

ALLEMAGNE
Nom : Friedemann Gschwind
Titre : Projektbeauftragter für die Landeshauptstadt Stuttgart
(Responsable du projet pour la Ville de Stuttgart)
Adresse : Landeshauptstadt Stuttgart
Amt für Stadtplanung und Stadterneuerung
(Ville de Stuttgart, capital régionale du Land
Office de l’urbanisme et du renouvellement urbain)
Eberhardstr. 10
Ville, Province/Etat, Pays : 70173 Stuttgart, République Fédérale d’Allemagne
Tél. : +49 711-216-20010
Fax. : +49 711-216-9520010
[email protected]
ARGENTINE
Nom : Commission Nationale des Musées, Monuments et lieux historiques
Titre : Architectes Jorge Nestor Bozzano et Gladys Pérez Ferrando
Adresse : Av. de Mayo 556 C1084AAN
Ville, Province/Etat, Pays : Buenos Aires, Argentine
Tél. : +54 +11 4343-5835
Fax. : +54 +11 43436960
Avec le concours de :
Nom : Elisabeth Wimpfheimer
Titre : Ministre, Délégué Permanent de l’Argentine auprès de l'Unesco
Adresse : 1 rue Miollis
Tél. : +33 (0) 1 45 68 34 39
Fax : +33 (0) 1 43 06 60 35
Nom : Noelia Dutrey
Titre : 1ère Secrétaire, Délégation permanente de l’Argentine auprès de l'Unesco
Adresse : 1 rue Miollis
Tél. : +33 (0) 1 45 68 34 37
Fax : +33 (0) 1 43 06 60 35
BELGIQUE - RÉGION FLAMANDE
Nom : Piet Geleyns
Titre : Point focal UNESCO Patrimoine Universel
Adresse : Agence du Patrimoine de Flandre
Koning Albert II-laan 19 bus 5
Tél. : 32-2 553 16 04
Fax. : 32-2 553 16 55
Nom : Jo Braeken
Titre : Chercheur en patrimoine
Adresse : Agence du Patrimoine de Flandre
Koning Albert II-laan 19 bus 5
Tél. : 32-2 553 16 93
Fax. : 32-2 553 16 55
Site : www.onroerenderfgoed.be
FRANCE
Nom : Olivier Poisson
Titre : Inspecteur Général des Monuments historiques
Adresse : 6 rue des Pyramides
Ville, Province/Etat, Pays : 75001, Paris, France
Tél. : +33 (0) 1 40 15 75 83
Fax. : +33 (0) 1 40 15 87 87
Nom : Gilles Ragot
Titre : Docteur HDR en Histoire de l’Art,
Professeur à l’Université Bordeaux Montaigne
Adresse : 15 rue Clément Thomas
Ville, Province/Etat, Pays : 33000 Libourne, Aquitaine, France
Tél. : +33 (0) 5 57 51 60 05
Avec le concours de :
Nom : Guillaume Sodezza
Titre : Docteur en Géographie et Aménagement, Cartographe
Adresse : 1 rue Hector Berlioz
Ville, Province/Etat, Pays : 38200 Vienne, Isère, France
INDE
Titre : Director
Ville, Province/Etat, Pays : Inde
Tél. : +91 172 2740420
Fax : + 91 172 2740337
JAPON
Nom :Yoshiyuki Yamana
Titre : Professeur associé (Tokyo university of science), chercheur invité au Musée
National des Beaux-arts de l’Occident, architecte dplg, PhD (Paris I)
Adresse : 7-7 Ueno-Koen, Taito-ku, Tokyo
Ville, Province/Etat, Pays : Japon
Tél. : + 81-3-3828-5131
Fax. : + 81-3-3828-5135
[email protected]

321
SUISSE
Nom : Oliver Martin
Titre : Chef de section
Adresse : Office fédéral de la culture OFC
Ville, Province/Etat, Pays : 3003 Bern, Suisse
Tél. : +41 58 462 44 48
Fax. : +41 58 462 87 39
VIII (b) / Official Local Institution/Agency
ALLEMAGNE
Nom : Ministerium für Finanzen und Wirtschaft Baden-Württemberg
Abteilung 6 Fachkräftesicherung und Quartierspolitik
Referat 66 Denkmalpflege und Bauberufsrecht
(Ministère des Finances et de l’Économie du Land de Bade-Wurtemberg)
Adresse : Schlossplatz 4, Neues Schloss, 70173 Stuttgart
Tél. : +49 711-123-0
Fax. : +49 711-123-4791
Site : www.mfw.baden-wuerttemberg.de
Nom : Landeshauptstadt Stuttgart
Amt für Stadtplanung und Stadterneuerung
(Ville de Stuttgart, capitale régionale du Land
Office de l’urbanisme et du renouvellement urbain)
Adresse : Eberhardstr. 10, 70173 Stuttgart
Tél. : +49 711-216-20010
Fax. : +49 711-216-9520010
Site : www.stuttgart.de
ARGENTINE
Nom : Commission de Site Dr. Curutchet
Titre : Institut culturel de la Province de Buenos Aires
Adresse : Calle 5 N° 755 esquina 47 CP 1900
Ville, Province/Etat, Pays : La Plata, Province de Buenos Aires, Argentine
Tél. Fax. : + 54 +221 423 6885/86/87
Nom : Municipalité de La Plata
Titre : Direction de Préservation du Patrimoine
Adresse : Calle 12 entre 51 y 53 CP 1900
Tél. : +54 +221 427-2342
Fax. : +54 +221 429-1032
BELGIQUE
Nom : Agence du Patrimoine de Flandre - Anvers,
Adresse : Lange Kievitstraat 111/113, bus 52
Ville, Province/Etat, Pays : B-2018 Antwerpen, Belgique
Tél. : +32 3 224 62 17
Fax. : +32 3 224 62 23
Nom : Ville d’Anvers, service des monuments et de l’archéologie
Adresse : Grote Markt 1
Ville, Province/Etat, Pays : B-2000 Antwerpen, Belgique
Tél. : +32 3 338 66 00
Fax. : +32 3 338 20 30
FRANCE
Nom : Ministère de la Culture et de la Communication
Titre : Direction Générale des Patrimoines
Adresse : 182 rue Saint-Honoré
Ville, Province/Etat, Pays : 75001, Paris, France
Fax. : +33 (0) 1 40 15 80 00
INDE
Titre : Director
Ville, Province/Etat, Pays : Inde
Tél. : +91 172 2740420
Fax. : +91 172 2740337
JAPON
Nom : Commission de l’éducation de la Métropole de Tokyo
Titre : Service des Programmes, Sous-Direction de l’Éducation Permanente
Adresse : 2-8-1 Nishishinjuku, Shinjuku-ku, Tokyo
Tél. : + 81-3-5320-6862
Fax. : + 81-3-5388-1734
Nom : Commission de l’éducation de la Ville de Taito
Titre : Division de l’Éducation Permanente
Adresse : 3-25-16 Nishi-asakusa, Taito-ku, Tokyo
Tél. : + 81-3-5246-5852
Fax. : + 81-3-5246-5814
SUISSE
• Petite villa au bord du lac Léman
Nom : Service du patrimoine et des sites
Adresse : Place de la Riponne 10
Ville, Province/Etat, Pays : 1014 Lausanne – Suisse
Tél. : +41 21 316 73 36
Fax. : +41 21 316 73 47
• Immeuble Clarté
Nom : Office du patrimoine et des sites
Adresse : Case postale 22
Ville, Province/Etat, Pays : 1211 Genève 8 – Suisse
Tél. : +41 22 546 61 01
Fax. : +41 22 546 61 10

323
VIII (c) / Other Local
VIII (c)
Institutions
/ Autres institutions locales
Association des sites de Le Corbusier

http://www.sites-le-corbusier.org/
Personnes et institutions ressources pour chaque élément constitutif

ALLEMAGNE
Verein der Freunde der Weissenhofsiedlung e.V.
(Association des amis du Weissenhof-Siedlung)
Am Weissenhof 20
70191 Stuttgart
Tél. : +49 711-2579187
Fax : +49 711-2537973
www.weissenhofmuseum.de
ARGENTINE
• Jorge Telerman, Président de l’Institut Culturel de la Province de Buenos Aires
• Architecte Gladys Pérez Ferrando,
Coordinatrice exécutive de la Commission de Site Dr. Curutchet
Adresse : Calle 5 N° 755 esquina 47 CP 1900
Tél./Fax : +54 +221 423 6885/86/87
• Marian Farías Gómez
Directrice de Patrimoine, Institut de Culture de la Province de Buenos Aires
Calle 12 Nº 771. CP. 1900. La Plata, Argentine
BELGIQUE
Nom : Agence du Patrimoine de Flandre
Adresse : Koning Albert II-laan 19 bus 5
Tél. : 32-2 553 16 50
Fax : 32-2 553 16 55
FRANCE
• Maisons La Roche et Jeanneret
Fondation Le Corbusier,
8/10 Square du Docteur Blanche – 75016 Paris
Tél. : +33 (0) 1 42 88 41 53
[email protected]
• Immeuble Molitor
- Appartement de Le Corbusier,
24, rue Nungesser & Coli – 75016 Paris
Tél. : +33 (0) 1 42 88 41 53
[email protected]
• Villa Savoye
82 chemin de Villiers – 78300 Poissy
Tél. : +33 (0) 1 39 65 01 06
http://villa-savoye.monuments-nationaux.fr
– Centre des monuments nationaux
4, rue de Turenne – 75004 Paris
Tel. : +33 (0) 1 44 61 21 00
Fax : +33 (0) 1 44 61 20 54
• Cité Frugès
– Mairie de Pessac
BP 40096 – 33604 Pessac Cedex
Tél. : +33 (0) 5 57 02 20 20
– Musée Le Corbusier
33600 Pessac
Tél. : +33 (0) 5 56 36 56 46
http://fruges.lecorbusier.free.fr
[email protected]
• Unité d’habitation de Marseille
280, boulevard Michelet – 13008 Marseille
Tél. : +33 (0) 4 91 16 78 00
http://www.marseille-citeradieuse.org/
[email protected]
– M. Patrick Durand
Foncia Vieux-Port – Conseil Syndical
Syndic “Le Corbusier” 3e Rue
280 boulevard Michelet – 13 008 Marseille
Tél. : +33 (0) 4 91 77 81 74
Fax : +33 (0) 4 91 77 80 74
[email protected]
• Usine Duval
1 avenue de Robache – 88100 Saint-Dié
Tél. : +33 (0) 3 84 21 26 58
http://usine.duval.free.fr
• Cabanon de Le Corbusier
– Sentier du bord de mer
06190 Roquebrune-Cap-Martin
Tél. : +33 (0) 4 92 10 48 48
[email protected]
– Conservatoire du Littoral
27, rue Blanche – 75009 Paris
Tél. : +33 (0) 1 44 63 56 60
Fax : +33 (0) 1 44 63 56 76
– Délégation de rivages : PACA
François Fouchier
Bastide Beaumanoir
13100 Aix-en-Provence
Tél. : +33 (0) 4 42 91 64 10
Fax : +33 (0) 4 42 91 64 11
• Couvent Sainte-Marie-de-la-Tourette
69210 Éveux
Tél. : +33 (0) 4 74 26 79 70
http://www.couventlatourette.com/
• Maison de la culture de Firminy
– Ville de Firminy
Direction du Patrimoine de l’Architecture et de l’Urbanisme de la ville de Firminy
BP 40 - 42702 Firminy
http://www.ville-firminy.fr/lecorbusier/
– Saint-Étienne Métropole
35 rue Pierre et Dominique Ponchardier
BP 23 – 42009 Saint-Etienne cedex 02
Tél. : +33 (0) 4 77 49 21 49
Fax. : +33 (0) 4 77 49 21 49
www.agglo-st-etienne.fr
[email protected]
• Chapelle Notre-Dame-du-Haut
Association Œuvre Notre-Dame-du-Haut
Chapelle Notre-Dame-du-Haut
Colline de Bourlémont – 70250 Ronchamp
Tél. : +33 (0) 3 84 20 65 13
www.chapellederonchamp.fr

325
INDE
Titre : Director
Adresse : Additional Deluxe Building, adjoining Police Headquarters, Sector 9D
Ville, Province/Etat, Pays : Chandigarh, Inde
Tél. : +91 172 2740420
Fax : + 91 172 2740337
JAPON
Nom : Musée National des Beaux-Arts de l’Occident
Titre : Directeur général, Akiko Mabuchi
Adresse : 7-7 Ueno-Koen, Taito-ku, Tokyo
Tél. : + 81-3-3828-5131
Fax : + 81-3-3828-5135
SUISSE
• Petite villa au bord du lac Léman
Fondation Le Corbusier FLC
8-10 square du Docteur Blanche
75016 Paris – France
Tél. : +33 (0) 1 42 88 41 53
Fax : +33 (0) 1 42 88 33 17
– Commune de Corseaux
Rue du Village 4
Case Postale
1802 Corseaux – Suisse
Tél. +41 21 925 40 11
Fax. +41 21 925 40 19
www.corseaux.ch
– Association Villa « Le Lac » Le Corbusier
Route de Lavaux 21
1802 Corseaux – Suisse
Tél. +41 79 829 63 08
www.villalelac.ch
• Immeuble Clarté
Copropriété Clarté
c/o Régie Simonin
Rue Le Corbusier 10
1208 Genève – Suisse
Tél. +41 22 704 19 00
Fax +41 22 346 58 04
VIII (d) / Official Web address

Conférence permanente de L’Œuvre architecturale de Le Corbusier
Une contribution exceptionnelle au Mouvement Moderne
Nom du responsable : Antoine Picon,
président de la Fondation Le Corbusier.
CHAPTER IX
> Signature
on behalf of the
State Party

NOMINATION FILE • CHAPTER IX • Signature on behalf of the State Party
327
Argentina
Belgium
France
Germany
India
Japan
Switzerland
329
© FLC/ADAGP

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The Architectural

Nomination to the World Heritage

NOMINATION FILE FOR THE INSCRIpTION

T belonging to the architectural work of Le Corbusier is the result of a joint

It is an application for Transnational Serial Nomination. The seventeen elements that

3 1924 Cité Frugès, Pessac Aquitaine France

8 1931 Immeuble locatif à la Porte Molitor, Boulogne-Billancourt Île-de-France France

THE ARCHITECTURAL WORK OF LE CORBUSIER An Outstanding Contribution to the Modern Movement

12 I Chapelle Notre-Dame-du-Haut 13 I Cabanon de Le Corbusier 14 I Complexe du Capitole

4 THE ARCHITECTURAL WORK OF LE CORBUSIER An Outstanding Contribution to the Modern Movement

9 I Unité d’habitation 10 I Manufacture à Saint-Dié 11 I Maison du Docteur Curutchet

THE ARCHITECTURAL WORK OF LE CORBUSIER An Outstanding Contribution to the Modern Movement

CHAPTER I – IDENTIFICATION OF THE PROPERTy

CHAPTER II – DEsCRIPTION OF THE PROPERTy

II (a) / Description of the Property ............................................................................................................. 65

6 THE ARCHITECTURAL WORK OF LE CORBUSIER An Outstanding Contribution to the Modern Movement

CHAPTER III – JUsTIFICATION OF THE NOMINATION

III – 1(a) / Brief Outline ................................................................................................................................ 193

III – 1(c) / Integrity of the Property ............................................................................................................ 204

III – 1(d) / Authenticity of the Property ..................................................................................................... 205

III – 1(e) / Protection and Management Requirements ............................................................................ 207

III – 2 / COMPARATIVE ANALysIs .............................................................................................................. 209

THE ARCHITECTURAL WORK OF LE CORBUSIER An Outstanding Contribution to the Modern Movement

III – 3 / DRAFT sTATEMENT OF OUTsTANDING UNIVERsAL VALUE .................................................... 229

III – 3(a) / Brief Outline ................................................................................................................................ 229

III – 3(b) / Justification of Criteria .............................................................................................................. 230

III – 3(c) / statement of Integrity ................................................................................................................ 230

III – 3(d) / statement of Authenticity ......................................................................................................... 231

III – 3(e) / Protection and Management Requirements ............................................................................ 231

CHAPTER IV – sTATE OF CONsERVATION AND FACTORs AFFECTING THE PROPERTy

IV (a) / Present state of conservation ........................................................................................................ 235

IV (b) / Factors affecting the property ....................................................................................................... 239

CHAPTER V – PROTECTION AND MANAGEMENT OF THE PROPERTy

V (a) / Ownership ....................................................................................................................................... 243

V (b) / Protective designation ................................................................................................................... 243

V (c) / Means of implementing protective measures ............................................................................. 243

V (e) / Management plan ......................................................................................................................... 251

8 THE ARCHITECTURAL WORK OF LE CORBUSIER An Outstanding Contribution to the Modern Movement

VI (a) / Key indicators for measuring state of conservation .................................................................... 283

VI (b) / Administrative provisions for monitoring property .................................................................... 287

VI (c) / Results of previous reporting exercises ....................................................................................... 287

CHAPTER VII – DOCUMENTATION

VII (e) / Bibliography .................................................................................................................................... 302

CHAPTER VIII – CONTACT INFORMATION OF REsPONsIBLE AUTHORITIEs

VIII (a) / Preparer ........................................................................................................................................... 319

VIII (b) /Official Local Institution/Agency ................................................................................................... 322

VIII (c) / Other Local Institutions ................................................................................................................. 324

VIII (d) /Official Web address ....................................................................................................................... 326

CHAPTER IX – sIGNATURE ON BEHALF OF THE sTATE PARTy ............................................................. 327

THE ARCHITECTURAL WORK OF LE CORBUSIER An Outstanding Contribution to the Modern Movement

For him discovery had to happen at all scales, simultaneously

To the professional fraternity and Indian society at large

We would be privileged if such a way of thinking and

The Origins of the File

The discussion highlighted the importance of a common transnational approach, in its

THE ARCHITECTURAL WORK OF LE CORBUSIER An Outstanding Contribution to the Modern Movement

Seville - June 2009

June 2011 - Paris

12 THE ARCHITECTURAL WORK OF LE CORBUSIER An Outstanding Contribution to the Modern Movement

THE ARCHITECTURAL WORK OF LE CORBUSIER An Outstanding Contribution to the Modern Movement