toward an architecture

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Toward an Architecture

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Toward an Architecture

Toward an architecture.jpg

The cover of the 2007 etty tran!lation

Author "e #or$u!ier

%riginal title &'er! une Architecture&

Tran!lator (ohn oodman

#ountry France

"anguage French

)u$ject architecture, moderni!m

*u$lication date

+2-

*u$li!hed in ngli!h

+27

/edia type paper$ack

)1 0342-5342236

%#"# 77756-4

8ewey 8ecimal

720 22

"# #la!! A2620 .(+- 2007

'er! une architecture, tran!lated into ngli!h a! Toward an Architecture 9$utcommonly known a! Toward! a ew Architecture: i! a collection of e!!ay! written$y "e #or$u!ier 9#harle!3douard (eanneret:, advocating for and e;ploring theconcept of modern architecture. The $ook ha! had a la!ting e<ect on thearchitectural profe!!ion, !erving a! the manife!to for a generation of architect!,a !u$ject of hatred for other!, and un=ue!tiona$ly a critical piece of architecturaltheory. The architectural hi!torian >eyner 1anham once claimed that it!in?uence wa! un=ue!tiona$ly @$eyond that of any other architectural workpu$li!hed in thi! 20thB century to date@,+B and that unparalleled in?uence ha!continued, una$ated, into the 2+!t century.



The polemical $ook contain! !even e!!ay!, all $ut one of which were pu$li!hed inthe magaCine "&!prit ouveau $eginning in +2+. ach e!!ay di!mi!!e! thecontemporary trend! of eclectici!m and art deco, replacing them witharchitecture that wa! meant to $e more than a !tyli!tic e;perimentD rather, anarchitecture that would fundamentally change how human! interacted with

$uilding!. Thi! new mode of living derived from a new !pirit deEning theindu!trial age, demanding a re$irth of architecture $a!ed on function and a newae!thetic $a!ed on pure form.

The author!hip of the $ook wa! comple;. "e #or$u!ier co3owned "&!pritouveau with fellow puri!t painter Amde %Cenfant. They co3!igned many ofthe original e!!ay! a! @"e #or$u!ier3)augnier,@ and %Cenfant had $een a clo!efriend of #or$u!ier. %Cenfant denied having written the $ook, claiming that thee!!ay! were $a!ed on conver!ation! the two had had together a$out theorie!written $y Augu!te *erret and Adolf "oo!. A! the $ook $ecame more known, theirEght $ecame more heated. %Cenfant $egan to claim not only more credit forauthor!hip, $ut al!o that "e #or$u!ier had purpo!efully e;cluded him $ydedicating the original edition to %Cenfant.2B

The ngli!h tran!lation of the $ook ha! al!o $een a !ource of controver!y withregard to it! change of !tyle and very !peciEc alteration! to the te;t. Thealteration! have generated critici!m and re=uired correction, even a! !ome of

them $egan to deEne architectural language. A new tran!lation wa! relea!ed in2007 that i! meant to $e truer to "e #or$u!ier&! intention.-B

#ontent! hideB

+ #ontent!

+.+ Ae!thetic of the ngineer 3 Architecture

+.2 Three >eminder! to Architect!

+.2.+ 'olume

+.2.2 )urface

+.2.- *lan

+.- >egulating "ine!

+. ye! That 8o ot )ee

+..+ "iner!

+..2 Airplane!



+..- Automo$ile!

+.6 Architecture

+.6.+ The "e!!on of >ome

+.6.2 The llu!ion of the *lan

+.6.- *ure #reation of the /ind

+.5 /a!!3*roduction Gou!ing

+.7 Architecture or >evolution

2 )ee al!o

- >eference!

-.+ )ource!

#ontent!editB

To meet Wikipedia&! =uality !tandard!, thi! $ook3related article may re=uirecleanup.

Thi! article contain! very little conte;t, or i! unclear to reader! who know littlea$out the $ook.

)ee thi! article&! talk page $efore making any large andHor controver!ial edit!.9ovem$er 2004:

1ook!3aj.!vg aj a!hton 0+.!vg

Toward an Architecture con!i!t! of !even e!!ay!, three of which are further!u$divided into three !ection!. 1efore each !ection, "e #or$u!ier placedaphori!tic argument!, all of which appear in a li!t at the front of the $ook, a! a!ort of rhetorical aid. /o!t of the e!!ay! were pu$li!hed in "&!pirit ouveaupreviou!ly, although "e #or$u!ier rearranged them from chronological !e=uence

to focu! on architect! and client!, academic idea! and practical one!. "e#or$u!ier did thi! $ecau!e the $ook targeted architect! and profe!!or!, ratherthan the wealthy clientele who received "&!pirit ouveau.B

Ae!thetic of the ngineer 3 ArchitectureeditB

"e #or$u!ier $egin! the $ook with a Eerce a!!ertionI architecture i! di!connectedand lo!t in the pa!t. %n the other hand, he !ay!, engineer! have $egun toem$race new technologie! and $uild !imple, e<ective !tructure! that !erve their

purpo!e and are hone!t in con!truction. n order for architect! to regainrelevance, they mu!t em$race the new arti!tic ideal. Thi! arti!tic3!piritual



element derive! from a new way of life, manife!ted in architecture, which can !tira mind $oth rationally and emotionally in a way that a !imply pretty $uildingcannot.

Three >eminder! to Architect!editB

'olumeeditB

%ur eye! are con!tructed to ena$le u! to !ee form! in light. *rimary form! are$eautiful form! $ecau!e they can $e clearly appreciated. Architect! today nolonger achieve the!e !imple form!. Working $y calculation, engineer! employgeometrical form!, !ati!fying our eye! $y their geometry and our under!tanding$y their mathematic!D their work i! on the direct line of good art.

)urfaceeditB

A ma!! i! enveloped in it! !urface, a !urface which i! divided up according to thedirecting and generating line! of the ma!!D and thi! give! the ma!! it!individuality. Architect! today are afraid of geometrical con!tituent! of !urface!.

The great pro$lem! of modern con!truction mu!t have a geometrical !olution.Forced to work in accordance with the !trict need! of e;actly determinedcondition!, engineer! make u!e of form3generating and form3deEning element!.

They create limpid and moving pla!tic fact!..

*laneditB

The plan i! the generator. Without plan, you have lack of order and wilfulne!!. The plan hold! in it!elf the e!!ence of !en!ation. The great pro$lem! oftomorrow, dictated $y collective nece!!itie!, put the =ue!tion of &plan& in a newform. /odern life demand!, and i! waiting for, a new kind of plan, $oth for thehou!e and for the city.6B

>egulating "ine!editB

Front of the *etit Trianon

"e #or$u!ier argue! from hi!torical evidence that great architecture of the pa!tha! $een guided $y the u!e of what came to $e known in ngli!h a! @>egulating

"ine!.@ The!e line!, !tarting at !igniEcant area! of the main volume!, could $eu!ed to rationaliCe the placement of feature! in $uilding!. "e #or$u!ier li!t! o<



!everal !tructure! he claim! u!ed thi!, including a !peculative ancient templeform, otre38ame de *ari!, the #apitol in >ome, the *etit Trianon, and la!tly, hi!prewar neocla!!ical work in *ari! and !ome more contemporary modern$uilding!. n each ca!e, he attempt! to !how how the line! augment the Eneproportion! and add a rational !en!e of coherence to the $uilding!. n thi! way,

the order, the function, and the volume of the !pace are drawn into onearchitectural moment. "e #or$u!ier argue! that thi! method aid! in formaliCingthe intuitive !en!e of ae!thetic! and integrating human proportion! a! well.

"e #or$u!ier claim! in the te;t that no architect! trained in the 1eau;3art!techni=ue u!e regulating line!, $ecau!e of contradictory training, $ut mo!t of therand *ri; architect! did u!e them, even if they were !upplementing the $a!ictechni=ue!.5B

ye! That 8o ot )eeeditB

The !ection that likely ha! $een the mo!t in?uential, it carrie! the runningargument that the !pirit of the /achine Age ha! already $egun to produce work!that em$ody it! principle!. /oreover, the!e have come into $eing $ecau!e ofproperly e;amining the need and the reEnement of !olution! for tho!e need!.

"iner!editBJ!ing the formal !implicity $orn out of engineering nece!!itie! he !aw in thegargantuan ocean liner! of the day, "e #or$u!ier argued that modern people,practical men of action, had grown tired of the old ae!thetic! of lu;ury, and wereconcerned with new, powerful form! of $eauty. The new $eauty merely had to $edeveloped from hone!t con!truction, repeating hi! admonition from @Ae!thetic ofthe ngineer, Architecture.@ n thi! ca!e, the hone!ty can $e achieved $y $uildingaccording to purpo!e and employing an architecture that cele$rate! theaccompli!hment! of technology.

Airplane!editB

The gargantuan Farman oliath, important in the development of air tran!it,feature! prominently in @Airplane!.@

n the !econd le!!on, the i!!ue of heavier than air ?ight $ecome! a tool to !howthat architecture mu!t $e developed from need! that are properly determined.

%nly after the @=ue!tion@ of the need i! properly propo!ed can a !uita$le !olution$e made. For e;ample, mo!t of the attempt! to mimic nature to create ?ight



re!ulted in di!a!ter, $ecau!e human! could not do what $ird! and $at! do.n!tead, #or$u!ier argue!, it wa! only after the under!tanding of aeronautic! andthe propertie! of lift were crudely di!covered that human! could achieve ?ight.

The =ue!tion wa! not, how can man copy ?ight, $ut rather what i! the ea!ie!tway to achieve ?ight. The airfoil i! a product of artiEcial, rational, and indu!trial

proce!!e!. Further development of the original de!ign! ha! reEned the airplaneto work $etter.

Gaving e!ta$li!hed a pro$lem, he then deEne! $oth @dwelling@ and @room@ inau!tere term!, !ardonically referring to contemporary villa! a! $uilding! in whichone !tore! furniture and living i! incidental. n!tead he propo!e! Eve a;iom! a!principle! to $egin de!ign on. Fir!tly, chair! are for !itting on 3 the furni!hing! arepurpo!eful. lectricity provide! light. Window! are for lighting a room and lookingout. *ainting! are made for meditation 3 not decoration. "a!tly, home! are madeto $e lived in and enjoyed. 1ecau!e architect! and client! have $een ignoringthe!e principle!, moral pro$lem! have ari!en. *eople live di!connected from theworld and each other, $ored at home, and con!tantly !eeking diver!ion.Furthermore, they are !eparated from the !pirit of the /achine Age.

Automo$ile!editB

Geraion at *ae!tum, 660 1#

*arthenon, -2 1#

n the mo!t famou! !ection of Toward an Architecture, "e #or$u!ier !tate! thatthe architect! mu!t develop !tandardiCed form!, which they might reEne infunction and ae!thetic!, thu! allowing for continued progre!! and reEnement.Famou!ly, "e #or$u!ier compare! the development of the 8oric temple to thedevelopment 3 he would !ay reEnement 3 of automo$ile! over twenty year!. The

!tatement i! only provocative at face value, and the underlying principle i!!impleI u!ing a !tandard purpo!e, the form can $e reEned, po!!i$ly into $eingcla!!ic.

ArchitectureeditB

The "e!!on of >omeeditB

The llu!ion of the *laneditB

The plan proceed! from within to withoutD the e;terior i! the re!ult of an interior. The element! of architecture and light and !hade, wall! and !pace. Arrangement



i! the gradation of aim!, the cla!!iEcation of intention!. /an look! at the creationof architecture with hi! eye!, which are 6 feet 5 inche! from the ground. %ne canonly con!ider aim! which the eye can appreciate and intention! which take intoaccount architectural element!. f there come into play intention! which do not!peak the language of architecture, you arrive at the illu!ion of plan!, you

tran!gre!! the rule! of the *lan through an error in conception, or though aleaning toward! empty !how.

Next brief

Argument

*rimary form! are $eautiful form! $ecau!e they can $e clearly appreciated. 94:

Forced to work in accordance with the !trict need! of e;actly determinedcondition!, engineer! make u!e of generating and accu!ing line! in relation toform!. They create limpid and moving pla!tic fact!. 9i$id.:

/achinery contain! in it!elf the factor of economy, which make! for !election.9+0:

The hou!e i! a machine for living in. 9i$id.:

)tandard! are a matter of logic, analy!i! and minute !tudyD they are $a!ed on apro$lem which ha! $een well K!tated.L 9i$id.:

The *lan proceed! from within to withoutD the e;terior i! the re!ult of an interior.9++:

#ontour and proEle are a pure creation of the mindD they call for the pla!tic arti!t.9+2:



We mu!t create the ma!!3production !pirit. The !pirit of con!tructing ma!!3production hou!e!. The !pririt of living in ma!!3production hou!e!. The !pirit ofconceiving ma!!3production hou!e!. 9i$id.:

f we eliminate from our heart! and mind! all dead concept! in regard to thehou!e and look at the =ue!tion from a critical and o$jective point of view, we!hall arrive at the KGou!e3/achine,L the ma!!3production hou!e, healthy 9andmorally !o too: and $eautiful in the !ame way that the working tool! andin!trument! which accompany our e;i!tence are $eautiful. 9+23+-.:

The ngineerM! Ae!thetic and Architecture

The ngineerM! Ae!thetic and Architecture N two thing! that march together andfollow one from the other N the one at it! full height, the other in an unhappy!tate of retrogre!!ion. 9+7:

We are to $e pitied for living in unworthy hou!e!, !ince they ruin our health andour morale. 9+4:

OB there doe! e;i!t thi! thing called architecture, and admira$le thing, thelovelie!t of all. A product of happy people! and a thing which in it!elf produce!happy people!. 9+:

%ur diagno!i! i! that, to $egin at the $eginning, the engineer who proceed! $yknowledge !how! the way and hold! the truth. t i! that architecture, which i! amatter of pla!tic emotion, !hould in it! own domain $egin at the $eginning al!o,and !hould u!e tho!e element! which are capa$le of a<ecting our !en!e!, and ofrewarding the de!ire or our eye!, and !hould di!po!e them in !uch a way that the!ight of them a<ect! u! immediately $y their delicacy or their $rutality, their riotor their !erenity, their indi<erence or their intere!tD the!e element! are pla!ticelement!, form! which our eye! !ee clearly and which our mind can mea!ure.920:

For the architect we have written our KTG> >/8>).L

/A)) which i! the element $y which our !en!e! perceive and mea!ure and are

mo!t fully a<ected.



)J>FA# which i! the envelope of the ma!! and which can dimini!h or enlargethe !en!ation the latter give! u!.

*"A which i! the generator $oth of ma!! and !urface and i! that $y which thewhole i! irrevoca$ly E;ed. 92+:

Architecture i! a thing of art, a phenomenon of the emotion!, lying out!ide=ue!tion! of con!truction and $eyond them. The purpo!e of con!truction i! T%/AP TG) G%"8 T%TG>D of architecture T% /%' J). Architecturalemotion e;i!t! when the work ring! within u! in tune with a univer!e who!e law!we o$ey, recogniCe and re!pect. 92-:

Three >eminder! to Architect!

Three reminder! to architect!

/a!! and !urface are the element! $y which architecture manife!t! it!elf. /a!!and !urface are determined $y the plan. The plan i! the generator. )o much thewor!e for tho!e who lack imaginationQ 924:

+. /a!!

Architecture i! the ma!terly, correct and magniEcent play of ma!!e! $roughttogether in light. %ur eye! are made to !ee form! in lightD light and !hade revealthe!e form!D cu$e!, cone!, !phere!, cylinder! or pyramid! are the great primaryform! which light reveal! to advantageD the image of the!e i! di!tance andtangi$le within u! and without am$iguity. t i! for that rea!on that the!e are$eautiful form!, the mo!t $eautiful form!. OB t i! of the very nature of thepla!tic art!. 9-+:

The cathedral i! not a pla!tic workD it i! a dramaD a Eght again!t the force ofgravity, which i! a !en!ation of a !entimental nature. 9-2:

ot in pur!uit of an architectural idea, $ut !imply guided $y the re!ult! ofcalculation 9derived from the principle! which govern our univer!e: and the



conception of A "' %>A)/, the >) of today make u!e of theprimary element! and, $y coordinating them in accordance with the rule!,provoke in u! architectural emotion! and thu! make the work of man in uni!onwith univer!al order. 9--:

2. )urface

OB an architectural !tructure i! a hou!e, a temple or a factory. The !urface ofthe temple or the factory i! in mo!t ca!e! a wall with hole! for door! andwindow!D the!e hole! are often the de!truction of formD they mu!t $e made anaccentuation of form. 9-:

ot in pur!uit of an architectural idea, $ut guided !imply $y the nece!!itie! of animperative demand, the tendency of the engineer! of today i! toward! thegenerating and accu!ing line! of ma!!e!D they !how u! the way and createpla!tic fact!, clear and limpid, giving re!t to our eye! and to the mind plea!ure of geometric form!. 9+:

-. *lan

A plan i! not a pretty thing to $e drawn, like a /adonna faceD it i! an au!terea$!tractionD it i! nothing more than a n alge$riCation and dry3looking thing. 9537:

The plan carrie! in it!elf the very e!!ence of !en!ation. 9:

We are living in a period of recon!truction and of adaptation to new !ocial andeconomic condition!. n rounding thi! #ape Gorn the new horiCon! $efore u! willonly recover the grand line of tradition $y a complete revi!ion of the method! in

vogue and $y the E;ing of a new $a!i! of con!truction e!ta$li!hed in logic.

n architecture the old $a!e! of con!truction are dead. We !hall not redi!coverthe truth! of architecture until new $a!e! have e!ta$li!hed a logical ground forevery architectural manife!tation. A period of 20 year! i! $eginning which will $eoccupied in creating the!e $a!e!. A period of great pro$lem!, a period ofanaly!i!, of e;periment, a period al!o of great ae!thetic confu!ion, a period inwhich a new ae!thetic will $e ela$orated.We mu!t !tudy the plan, the key to thi!evolution. 95+32:



>egulating "ine!

>egulating line!

There i! no !uch thing a! primitive manD there are primitive re!ource!. The ideai! con!tant, in full !way from the $eginning. 955:

n order to con!truct well and di!tri$ute your e<ort! to advantage, in order too$tain !olidity and utility in work, unit! of mea!ure are the Er!t condition of all.9i$id.:

Ge the $uilderHprimitive manB ha! impo!ed order $y mean! of mea!urement. norder to get hi! mea!urement he ha! taken hi! pace, hi! $oot, hi! el$ow or hi!Enger. 1y impo!ing the order of hi! foot or hi! arm, he ha! created a unit whichregulate! the whole workD and thi! work i! on hi! own !cale, to hi! ownproportion, comforta$le for him, to hi! mea!ure. t i! on the human !cale. t i! inharmony with himD that i! the main point. 95734:

A unit give! mea!ure and unityD a regulating line i! a $a!i! of con!truction and!ati!faction. 954:

A !upreme determini!m illuminate! for u! the creation! of nature and give! u!the !ecurity of !omething poi!ed and rea!ona$ly made, of !omething inEnitelymodulated, evolved, varied and uniEed. 970:

A regulating line i! an a!!urance again!t capriciou!ne!!. 97+:

The regulating line i! a !ati!faction of a !piritual order which lead! to the pur!uitof ingeniou! and harmoniou! relation!. t confer! on the work the =uality ofrhythm. 9i$id.:

The choice of regulating line i! on e of the deci!ive moment! of in!piration, it i!one of the vital operation! of architecture. 9i$id.:



ye! Which 8o ot )ee

+. "iner!

ye! which do not !eeI liner!

We have ac=uired a ta!te for fre!h air and clear daylight. 946:

Architecture i! !ti?ed $y cu!tom. 945:

A hou!e i! a machine for living in. 94:

%ur epoch i! E;ing it! own !tyle day $y day. 9i$id.:

The art of our period i! performing it! proper function! when it addre!!e! it!elf tothe cho!en few. Art i! not a popular thing, !till le!! and e;pen!ive toy for richpeople. Art i! not an e!!ential pa$ulum e;cept for the cho!en few who have needof meditation in order that they may lead. Art i! in it! e!!ence arrogant. 95:

A !eriou!ly3minded architect, looking at it a! an architect 9i.e., a creator oforgani!m!:, will End in a !team!hip hi! freedom from an age3long $utcontempti$le en!lavement to the pa!t. 97:

2. Airplane!

ye! which do not !eeI airplane!

The War wa! an in!atia$le Kclient,L never !ati!Eed, alway! demanding $etter. The order! were to !ucceed at all co!t! and death followed a mi!takeremor!ele!!ly. We may then aRrm that the airplane mo$iliCed invention,

intelligence and daringI imagination and cold rea!on. The !ame !pirit that $uilthe *arthenon. 9+0+:



The le!!on of the airplane lie! in the logic which governed the enunciation of thepro$lem and which led to the !ucce!!ful realiCation. When a pro$lem i! properly!tated, in our epoch, it inevita$ly End! it! !olution. 9+02:

Architecture i! the art a$ove all other! which achieve! a !tate of platonicgrandeur, mathematical order, !peculation, the perception of the harmony whichlie! in emotional relation!hip!. Thi! i! the A/ of architecture. 9+023-:

"et u! !hut our eye! to what e;i!t!. 9+05:

very modern man ha! the mechanical !en!e. The feeling for mechanic! e;i!t!and i! ju!tiEed $y our daily activitie!. Thi! feeling in regard to machinery i! oneof re!pect, gratitude and e!teem. /achinery include! economy a! an e!!entialfactor leading to minute !election. There i! a moral !entiment in the feeling formechanic!. The man who i! intelligent, cold and calm ha! grown wing! tohim!elf./en N intelligent, cold and clam N are needed to $uild the hou!e and tolay out the town. 9++73+:

-. Automo$ile!

ye! which do not !eeI automo$ile!

t i! nece!!ary to pre!! on toward! the e!ta$li!hment of !tandard! in order toface the pro$lem of perfection. 9+2-:

A !tandard i! nece!!ary for order in human e<ort. 9+26:

The e!ta$li!hment of a !tandard involve! e;hau!ting every practical andrea!ona$le po!!i$ility, and e;tracting from them a recogniCed type conforma$leto it! function!, with a ma;imum output and a minimum u!e of mean!,workman!hip and material, word!, form!, colour!, !ound!. 9+27:



Gere we have the $irth of !tyle, that i! to !ay the attainment univer!allyrecogniCed, of a !tate of perfection univer!ally felt. 9+24:

#ulture i! the ?owering of the e<ort to !elect. )election mean! rejection, pruning,clean!ingD the clear and naked emergence of the !!ential. 9i$id.:

*oetry lie! not only in the !poken or written word. The poetry of fact! i! !tronger!till. %$ject! which !ignify !omething and which are arranged with talent andwith tact create a poetic fact. 9+-2:

Architecture i! governed $y !tandard!. )tandard! are a matter of logic, analy!i!

and preci!e !tudy. )tandard! are $a!ed on a pro$lem which ha! $een well !tated.Architecture mean! pla!tic invention, intellectual !peculation, highermathematic!. Architecture i! a very no$le art.)tandardiCation i! impo!ed $y thelaw of !election an!d i! an economic and !ocial nece!!ity. Garmony i! a !tate ofagreement with the norm! or our univer!e. 1eauty govern! allD !he i! a purelyhuman creationD !he i! the overplu! nece!!ary only to men of the highe!t type.9+-634:

Architecture

+. The "e!!on of >ome

The le!!on of >ome

9i: Ancient >ome

OB they the >oman!B con!tructed a !uper$ cha!!i!, $ut they de!igneddeplora$le coachwork OB 9+6:

t GadrianM! 'illaB i! the Er!t e;ample of We!tern planning on the grand !cale.9i$id.:

A$!ence of virtuo!ity, good arrangement, a !ingle idea, daring and unity incon!truction, the u!e of elementary !hape!. A !ane morality. 9+537:



9ii: 1yCantine >ome

Thi! =uite tiny church of ). /aria, a church for poor people, !et in the mid!t of

noi!y and lu;uriou! >ome, proclaim! the no$le pomp of mathematic!, theuna!!aila$le power of proportion, the !overeign elo=uence of relation!hip. 9+:

There e;i!t! one thing which can ravi!h u!, and thi! i! mea!ure or !cale. 9+6+:

9iii: /ichaelangelo

ntelligence and pa!!ionD there i! no art without emotion, no emotion without

pa!!ion. )tone! are dead thing! !leeping in the =uarrie! $ut the ap!e! of )t.*eterM! are a drama. 8rama lie! all round the key achievement! of humanity.9+62:

9iv: >ome and our!elve!

2. The llu!ion of *lan!

The illu!ion of plan!

*lacing my!elf entirely at thi! one angle of vi!ion commence $y drawingattention to thi! vital factI a plan proceed! from within to without, for a hou!e ora palace i! an organi!m compara$le to a living $eing. !hall !peak of thearchitectural element! of the interior. !hall pa!! on to arrangement. ncon!idering the e<ect of $uilding ! in relation to a !ite, !hall !how that here too

the e;terior i! alway! an interior. 1y mean! of variou! fundamental element!which will $e clearly !hown in diagram!, can demon!trate the illu!ion of plan!,thi! illu!ion which kill! architecture, en!nare! the mind and create! architecturaltrickeryD thi! i! the fruit of violating undenia$le truth!, the re!ult of fal!econception! or the fruit of vanity. 9+5537:

%ur element! are vertical wall!, the !pread of the !oil, hole! to !erve a! pa!!age!for man of for light, door! or window!. The hole! give much or little light, makegay or !ad. The wall! are in full $rilliant light, or in half !hade or in full !hade,giving an e<ect of gaiety, !erenity or !adne!!. Sour !ymphony i! made ready. Theaim of architecture i! to make you gay or !erene. 9+7+:



To e!ta$li!h order i! to $egin to work. Architecture i! $a!ed on a;e!. 9+7-:

Architectural $uilding! !hould not all $e placed upon a;e!, for thi! would $e like!o many people all talking at once. 9+76:

Arrangement i! the grading of a;e!, and !o it i! the grading of aim!, thecla!!iEcation of intention!. 9+75:

To !um up, in architectural en!em$le!, the element! of the !ite it!elf cone into

play $y virtue of their cu$ic volume, their den!ity and the =uality of the materialof which they are compo!ed, $ringing !en!ation! which are very deEnite andvery varied 9wood, mar$le, a tree, gra!!, $lue horiCon!, near or di!tant !ea, !ky:.

The element! of the !ite ri!e up like wall! panoplied in the power of their cu$iccoeRcient, !tratiEcation, material, etc., like the wall! of a room. Wall! in relationto light, light and !hade, !adne!!, gaiety or !erenity, etc. %ur compo!ition! mu!t$e formed of the!e element!. 9+773:

1ut a man ha! only two eye! at a level of a$out 6 feet 5 inche! a$ove the

ground, and can only look at one point at a time. 9+423-:

t mu!t not $e forgotten, in drawing out a plan, that it i! the human eye that judge! the re!ult. 9+4:

-. *ure #reation of the /ind

Architecture, pure creation of the mind

From what i! emotion $orn From a certain relation!hip $etween deEniteelement!I cylinder!, an even ?oor, even wall!. From a certain harmony with thething! that make up the !ite. From a pla!tic !y!tem that !pread! it! e<ect! overevery part of the compo!ition. From a unity of idea that reache! from the unity of the material! u!ed in the unity of the general contour. 9+4, captionI The*ropylea:



motion i! $orn of unity of aimD of that unpertur$ed re!olution that wrought it!mar$le with the Erm intention of achieving all that i! mo!t pure, mo!t clariEed,mo!t economical. very !acriEce, every clean!ing had already $een performed.

The moment wa! reached when nothing more might $e taken away, whennothing would $e left $ut the!e clo!ely3knit and violent element!, !ounding clear

and tragic like $raCen trumpet!. 9+0, captionI The *ropylea:

From thi! we get a po!!i$le deEnition of harmony, that i! to !ay a moment ofaccord with the a;i! which lie! in man, and !o with the law! of the univer!e, 3areturn of univer!al law. 9+5:

The o$ject! in nature and the re!ult! of calculation are clearly and cleanly

formedD they are organiCed without am$iguity. t i! $ecau!e we !ee clearly thatwe can read, learn and feel their harmony. repeatI clear !tatement i! e!!entialin a work of art. 9i$id.:#lear !tatement, the giving of a living unity to the work,the giving it a fundamental attitude and a characterI all i! a pure creation of themind. 9+4:

Architecture only e;i!t! when there i! a poetic emotion. Architecture i! a pla!ticthing. 9+0:

Architecture i! the !kilful, accurate and magniEcent play of ma!!e! !een in lightDand contour! are al!o and e;clu!ively the !kilful, accurate and magniEcent playof volume! !een in light. #ontour! go $eyond the !cope of the practical man, thedaring man, the ingeniou! manD they call for the pla!tic arti!t. 9202:

/a!!3*roduction Gou!e!

/a!! production hou!e!

/a!!3production door!, window!, cup$oard! OB. All the!e unit!, which $igindu!try can !upply, are $a!ed on a common unit of mea!urementI they can $eadapted to one another e;actly. OB A further gain, of the greate!t importance, i!architectural unity, and $y mean! of the module, or unit of mea!urement, goodproportion i! a!!ured automatically. 92+, captionI "e #or$u!ier, ++6I nterior ofa reinforced concrete hou!e:



A hou!e will no longer $e thi! !olidly3$uilt thing which !et! out to defy time anddecay, and which i! an e;pen!ive lu;ury $y which wealth can $e !hownD it will $ea tool a! the motor3car i! $ecoming a tool. The hou!e will no longer $e an archaicentity, heavily rooted in the !oil $y deep foundation!, $uilt KErm and !trong,L theo$ject of the devotion on which the cult of the family and the race ha! !o long

$een concentrated.

radicate from your mind any hard and fa!t conception in regard to the dwelling3hou!e and look at the =ue!tion from an o$jective and critical angle, and you willinevita$ly arrive at the KGou!e3Tool,L the ma!!3production hou!e, availa$le foreveryone, incompara$ly healthier thatn the old kind 9and morally !o too: and$eautiful in the !ame !en!e that the working tool!, familiar to u! in our pre!ente;i!tence, are $eautiful. 92+36:

)tate the pro$lem clearly t your!elfD determine the type of hou!e according tothe need! re=uiredD re!olve the pro$lem a! tho!e of railway carriage!, tool!, etc.are re!olved 9220, captionI "e #or$u!ier, +22I Arti!tM! hou!e:

A! to $eauty, thi! i! alway! pre!ent when you have proportionD and proportionco!t! the landlord nothing, it i! at the charge of the architectQ 922-, captionI "e#or$u!ier, +2+I /a!!3production hou!e:

And one can $e proud of having a hou!e a! !ervicea$le a! a typewriter. 9i$id.:

Jnity in detail and in large general line!. 927:

Architecture or >evolution

Architecture or revolution

)pecialiCation tie! man to hi! machineD an a$!olute preci!ion i! demanded ofevery worker, for the article pa!!ed on to the ne;t man cannot $e !natched $ackin order to $e corrected and EttedD it mu!t $e e;act in order that it may play, $ythat very rea!on, it! part a! a detailed unit which will $e re=uired to Et

automatically into the a!!em$ling of the whole. 92636:



The !pirit of the workerM! $ooth no longer e;i!t!, $ut certainly there doe! e;i!t amore collective !pirit. 9266:

There i! no real link $etween our daily activitie! at the factory, the oRce or the$ank, which are healthy and u!eful and productive, and our activitie! in the$o!om of the family which are handicapped at every turn. The family i!everywhere $eing killed and menM! mind! demoraliCed in !ervitude toanachroni!m!. 9267:

The advent of a new period only occur! after long and =uiet preparatory work.925+:

There reign! a great di!agreement $etween the modern !tate of mind, which i!an admonition to u!, and the !ti?ing accumulation of age3long detritu!. 9254:

/uch of "e #or$u!ierM! manife!to 'er! une architecture 9+2-: i! dedicated topromoting the architectural virtue! of the machine. %ften mi!under!tood, hi!famou! declaration, UThe hou!e i! a machine for living in,M meant that the guidingprinciple for architect! !hould $e to make the hou!e a! well !uited to it! purpo!ea! wa! a machine. Thi! reiterated the argument that functionali!m wa! moreimportant than appearance. n order to progre!!, he $elieved, it wa! nece!!aryfor architect! to a$andon the notion of traditional !tyle! and decorative e<ect!IUArchitecture ha! nothing to do with the variou! U!tyle!MOthey areB !ometime!

pretty, though not alway!D and never anything more.M Thi! implie! that he !awthe ae!thetic, not a! ju!t another !tyle, $ut a! the very !u$!tance of



architecture. n!tead, he drew parallel! $etween architecture and the UngineerM!Ae!theticM, arguing that engineer! were to $e prai!ed for their u!e offunctionali!m and mathematical order. A! a con!e=uence, architect! wereencouraged to emulate engineer! and adopt the!e principle! in order to attainharmony and logic in their de!ign!. To reinforce thi! argument the illu!tration! of

'er! une architecture cele$rated the functional and architectural unity of#anadian grain !tore!, !hip!, aeroplane! and automo$ile!.From a pre!ent dayper!pective hi! principle! are $etter illuminated $y hi! architecture, !ince the!eillu!tration! 9e.g. the #aproni Triple hydroplane: !eem rather archaic.

The /ai!on 8om3no 9++6: wa! an early e;ample of hi! ngineerM! Ae!theticIthree identical plane! are !u!pended a$ove each other $y !teel column!, amethod of con!truction that free! the wall! of their load3$earing purpo!e, andallow! hi! concept of the Ufree faVadeM to $e introduced. An e;ternal !tairca!ecommunicate! $etween each level, and it! location permit! an unprecedented!pace and clarity in the plan. The component! were all to $e !tandardi!ed andpre3fa$ricated, which would allow for rapid con!truction. Thi! hou!e wa!therefore a product of "e #or$u!ierM! intention to apply the principle! ofmechanical ma!! production to dome!tic architecture.

Gowever, a !u$!tantial $ody of critici!m 9e.g. reenhalgh, )parke: ha! arguedthat thi! functionali!m of /oderni!t theory wa! not $a!ed in reality. The machineae!thetic remained ju!t that, a! few of the de!ign! were capa$le of $eing!tandardi!ed. For e;ample, the rand #omfort chair $y "e #or$u!ier and#harlotte *erriand wa! neither functional nor !tandardi!ed. t re=uired no le!!than eighteen weld! and three material!, making it e;pen!ive and capa$le ofproduction only $y craft!man!hip.



%verview

20+ >eprint of +27 dition. Full fac!imile of the original edition, not reproducedwith %ptical >ecognition )oftware. Thi! cla!!ic work i! a collection of e!!ay!written $y "e #or$u!ier advocating for and e;ploring the concept of modernarchitecture. The $ook ha! had a la!ting e<ect on the architectural profe!!ion,!erving a! the manife!to for a generation of architect!, a !u$ject of hatred forother!, and un=ue!tiona$ly a critical piece of architectural theory. The

architectural hi!torian >eyner 1anham once claimed that it! in?uence wa!un=ue!tiona$ly @$eyond that of any other architectural work pu$li!hed in thi!



20thB century to date@. That unparalleled in?uence ha! continued, una$ated,into the 2+!t century. The polemical $ook contain! !even e!!ay!. ach e!!aydi!mi!!e! the contemporary trend! of eclectici!m and art deco, replacing themwith architecture that wa! meant to $e more than a !tyli!tic e;perimentD rather,an architecture that would fundamentally change how human! interacted with

$uilding!. Thi! new mode of living derived from a new !pirit deEning theindu!trial age, demanding a re$irth of architecture $a!ed on function and a newae!thetic $a!ed on pure form.

For the )wi!!3$orn architect and city planner "e #or$u!ier 9#harle!3douard (eanneret, +447N+56:, architecture con!tituted a no$le art, an e;alted calling inwhich the architect com$ined pla!tic invention, intellectual !peculation, andhigher mathematic! to go $eyond mere utilitarian need!, $eyond @!tyle,@ toachieve a pure creation of the !pirit which e!ta$li!hed @emotional relation!hip!$y mean! of raw material!.@

The Er!t major e;po!ition of hi! idea! appeared in 'er! une Architecture 9+2-:,a compilation of article! originally written $y "e #or$u!ier for hi! own avant3

garde magaCine, "&!prit ouveau. The pre!ent volume i! an una$ridged ngli!htran!lation of the +-th French edition of that hi!toric manife!to, in which "e#or$u!ier e;pounded hi! technical and ae!thetic theorie!, view! on indu!try,economic!, relation of form to function, the @ma!!3production !pirit,@ and muchel!e. A principal prophet of the @modern@ movement in architecture, and a near3legendary Egure of the @nternational )chool,@ he de!igned !ome of the twentiethcentury&! mo!t memora$le $uilding!I #hapel at >onchampD )wi!! dormitory atthe #it Jniver!itaire, *ari!D Jnit d&Ga$itation, /ar!eille!D and many more.

"e #or$u!ier $rought great pa!!ion and intelligence to the!e e!!ay!, which

pre!ent hi! idea! in a conci!e, pithy !tyle, !tudded with epigrammatic, oftenprovocative, o$!ervation!I @American engineer! overwhelm with their



calculation! our e;piring architecture.@ @Architecture i! !ti?ed $y cu!tom. t i! theonly profe!!ion in which progre!! i! not con!idered nece!!ary.@ @A cathedral i!not very $eautiful . . .@ and @>ome i! the damnation of the half3educated. To !endarchitectural !tudent! to >ome i! to cripple them for life.@

*rofu!ely illu!trated with over 200 line drawing! and photograph! of hi! ownwork! and other !tructure! he con!idered important, Toward! a ew Architecturei! indi!pen!a$le reading for architect!, city planner!, and cultural hi!torian!X$utwill intrigue anyone fa!cinated $y the wide3ranging idea!, unvarni!hed opinion!,and innovative theorie! of one of thi! century&! ma!ter $uilder!.



ew $rief

n +2- the French A>#GT#T "e #or$u!ier pu$li!hed the treati!e Toward!

an Architecture, which !ome regard a! @one of the mo!t in?uential

architectural $ook! of the century, com$ining deep wi!dom, poetic

o$!ervation, rich illu!tration of idea!, and a conEdent appeal in favor

of an architectural language in tune with the machine era...@



n the +27 ngli!h tran!lation, Toward! a ew Architecture, "e #or$u!ier

e;plore! the relation!hip $etween the "#T>#A" F>A)T>J#TJ> and the

theory and practice of A>#GT#TJ>. 922n: Thi! corre!pondence i! vi!i$ly

demon!trated in the $ook&! Er!t photograph of the T"*G% 1uilding in

ew Sork, and the Er!t photograph of the la!t chapter, @Architecture or

>evolution,@ !howing a 0,000 Pilowatt "#T>#A" TJ>1. 92-n:

We propo!e that thi! "#T>#A" iconography i! not merely a coincidence,

$ut that "e #or$u!ier&! @Argument@ intuitively !ought to rationaliCe

A>#GT#TJ> with the unfolding "#T>#A" %>8>. 92n:

n the chapter @the ngineer&! Ae!thetic and Architecture@ tool! are

e;amined. The @!tock of tool!,@ "e #or$u!ier write!, @mark! out the !tage!

of civiliCation, the !tone age, the $ronCe age, the iron age.@ They are

@the re!ult of !ucce!!ive improvementD andB the e<ort of all generation!

i! em$odied in them. The tool i! the direct and immediate e;pre!!ion of

progre!!...@ 926:

"ikewi!e, today our "#T>#A" tool! derive from the emerging "#T>#A"

A! of "#T>#A" #'"YAT%.

t i! ne;t !tated that mo!t tool! are created $y >!, not $y

A>#GT#T!. "e #or$u!ier then parado;ically pronounce!I

@Architecture can $e found in the telephone and in the *arthenon.@ 925:

Thi! mean! that the 9T"*G%: tool i! interrelated with the 9T"*G%:



$uilding! and 9T"*G%: !y!tem! which make it work, harkening $ack to

the Er!t photograph of the $ook.

The diagno!i! then $ecome! clearI >! are producing A>#GT#TJ>,

and the engineered o$ject ha! $ecome A>#GT#TJ>. 927n: Thu!, we can

$egin to con!ider the "#T>#A" > a! a kind of A>#GT#T who

de!ign! the "#T>#A" F>A)T>J#TJ> a! a type of A>#GT#TJ>.

"e #or$u!ier continue!I @Architecture to3day i! no longer con!ciou! of it!

own $eginning!... We have gained a new per!pective and a new !ocial life,

$ut we have not yet adapted@ A>#GT#TJ> to it. 924n: n retro!pect it i!

pro$a$le that thi! te;t refer! to the tran!formative e<ect! of

"#T>F#AT% $rought a$out $y the evolution of the "#T>#A" %>8>.

Further evidence for the A>#GT#TJ> %F "#T>#TS appear! when "e

#or$u!ier declare! that a great epoch ha! $egun which e;i!t! a! a new

!piritI @...Bt i! a !pirit of con!truction and of !ynthe!i! guided $y a

clear conception. Whatever may $e thought of it, it animate! to3day the

greater part of human activity.@ 9-2: #ould thi! new !pirit $e the

"#T>#A" F%># in action

For "e #or$u!ier the an!wer unfold! a! a !u$con!ciou! ae!theticI

@%ur own epoch i! determining, day $y day, it! own !tyle. %ur eye!,

unhappily, are una$le yet to di!cern it.@ 9--:

And indeed, today our eye! can Enally di!tingui!h an "#T>#A" )TS"

heretofore @invi!i$le@ which ha! emerged from within the "#T>#A" *%#G,



guided $y the principle! of "#T>#TS.

t i! further declaredI @a new epoch i! replacing a dying one... An epoch

create! it! own architecture, and thi! i! the clear image of a !y!tem of

thought... The !pirit of architecture can only re!ult from a particular

condition of material thing! and a particular condition of mind.@ 9-6:

We propo!e that thi! new A>#GT#TJ> i! an A>#GT#TJ> %F "#T>#TS

which ha! ari!en in the form of the "#T>#A" F>A)T>J#TJ>. The

@!pirit@ of our "#T>#A" *%#G i! thu! made manife!t $y our

#%)#%J))) of the "#T>#A" %>8>.

Thi! "#T>#A" recognition in turn e!ta$li!he! a nece!!ary harmony

$etween nature, the 1J"T '>%/T, and humanity, which i! in3line with

"e #or$u!ier&! thinking. 9-7n: Thi! i! to !ay, for e;ample, that a certain

harmony re!ult! from an "#T>#A" A)TGT# !hared $etween "#T>#A"

/ATT>, G%/% "#T>J), and the "#T>#A" F>A)T>J#TJ> of *%"! and

T%W>! that we !ee all around u! today.

"e #or$u!ier Ermly $elieved in thi! type of ae!thetic !olution, which

allow! u! to take a @gigantic a !tep forward@ in our A>#GT#TJ>A"

under!tanding. 9-4: n fact, it i! propo!ed that @wBhen a pro$lem i!

properly !tated, in our epoch, it inevita$ly End! it! !olution.@ 9-:

#ertainly, if we are to rationaliCe today&! #S1>)*A# a! an A>#GT#TJ>A"

element, we will inevita$ly need to e!ta$li!h !ome fundamental and

rea!ona$le relation!hip $etween A>#GT#TJ> and "#T>#TS a! a

!olution. Thi! we attempt to do $y e!ta$li!hing the "#T>#A" %>8> a!



an A>#GT#TJ>A" %>8>.

>econte;tualiCed, then, we can e;amine one of "e #or$u!ier&! fundamental

a;iom! a! an intuitive !olution to the pro$lem of under!tanding our epoch,

mainly thatI @lectricity give! light.@ 90:

ndeed, it i! thi! "#T>#A" "GT/T which illuminate! our way to

new A>#GT#TJ>A" knowledge.

"e #or$u!ier continue! $y !tating that the @$irth of !tyle@ and it!

attainment are in no way preconceived, $ut are the re!ult of recogniCing

the perfection of the !ame univer!al ae!thetic !tandard @developed $y

organiCing rational element!, following a line of direction e=ually

rational.@ 9+:

Today, it i! the "#T>#A" )TS" which emulate! the univer!al rationale

of the "#T>#A" %>8> in it! de!ign. >e!tated in thi! new conte;tI the

!tandard of the "#T>#A" %>8> ha! $een E;ed. 92:

A! "e #or$u!ier reiterate!, @aBrchitecture i! governed $y !tandard!.

)tandard! are a matter of logic, analy!i! and preci!e !tudy. )tandard! are

$a!ed on a pro$lem which ha! $een well !tated.@ 9-: n thi! the!i! we

have !ought to provide evidence that thi! new A>#GT#TJ>A" !tandard i!

the "#T>#A" %>8>, which can $e @!een@, for e;ample, in the univer!al

"#T>#A" A)TGT# of "#T>#A" *%W> )S)T/! all over the A>TG.

n the chapter @the "e!!on of >ome,@ the focu! i! upon the !pirit of the

A>#GT#TJ>A" %>8> in ancient >ome, wherein @they invented method! of



con!truction and with the!e thing! did impre!!ive thing!3 @>oman.@ The

word ha! a meaning. Jnity of operation, a clear aim in view,

cla!!iEcation of the variou! part!... They were great con!tructor!.@ 9:

)o too, today we can contemplate the glo$al con!truction of the "#T>#A"

%>8> $y G%/% "#T>J) a! an A>#GT#TJ> %F "#T>#TS, e;tendingthe

T>A8T%A" %>8> of the >oman! in the "#T>#A" *A>T and >8, in turn

demon!trating @aB clear aim, the cla!!iEcation of part!... !trategy,

legi!lation. Architecture i! !u!cepti$le to the!e aim! and repay! them

with intere!t.@ 96:

Thi! can $e a treacherou! compari!on and need! careful contemplation, a!

"e #or$u!ier warn! in the !ection entitled @>ome and %ur!elve!@I

@The le!!on of >ome i! for wi!e woZmenB, for tho!e who know and can

appreciate, who can re!i!t and can verify. >ome i! the damnation of the

half3educated. To !end architectural !tudent! to >ome i! to cripple them

for life.@ 95n:

)urely thi! parado;ical =uote indicate! that there are pertinent

A>#GT#TJ>A" i!!ue! needing careful evaluation $efore !imply emulating

the de!ign !tandard! of the "#T>#A" %>8> and the "#T>#A" )TS" in

the A>#GT#TJ> of the pre!ent3day. 95.6n:

The la!t chapter in Toward! an Architecture i! entitledI Architecture or

>evolution. A photograph of an "#T>#A" TJ>1 $egin! the !ummariCation

of "e #or$u!ier&! argument. %ur interpretation of the me!!age of the te;t

nece!!itate! =uoting the following a! a !ummation, relating A>#GT#TJ>



and "#T>#TSI

@Architecture End! it!elf confronted with new law!. ndu!try ha! created

new tool! I the illu!tration! in thi! $ook provide a telling proof of

thi!. )uch tool! are capa$le of adding to human welfare and of lightening

human toil. f the!e new condition! are !et again!t the pa!t, you have

>evolution.@ 97:

#ertainly today our "#T>#A" tool!, and !u$!e=uently their interrelated

"#T>#A" $uilding! and "#T>#A" !y!tem!, have created anA>#GT#TJ>A"

revolution we now know a! "#T>F#AT%.

@f we !et our!elve! again!t the pa!t, we can then appreciate the fact

that new formula! have $een found which only need e;ploitation to $ring

a$out 9if we are wi!e enough to $reak with routine: a genuine li$eration

from the con!traint! we have till now $een !u$jected to. There ha! $een

>evolution in method! of con!truction.@ 9 :

[From within the chao! of evolution, an "#T>#A" %>8> ha! emerged on

A>TG, repre!enting our "#T>#A" W%>"8 and *%#G in the glo$al

"#T>#A" F>A)T>J#TJ> of *%W>, /8A, and T#G%"%S. Thi!

A>#GT#TJ> %F "#T>#TS, when ju;tapo!ed with the A>#GT#TJ> of

>ome, ultimately ena$le! u! to @!ee@ the "#T>#A" *A>T and >8 a! a

tran!formative A>#GT#TJ>A" \T)% of the T>A8T%A" %>8>. 9.6n:

"e #or$u!ier continue!I @cBon!truction ha! undergone innovation! !o great

that the old @!tyle!,@ which !till o$!e!! u!, can no longer clothe it...

the @!tyle!@ no longer e;i!t, they are out!ide our ken D if they !till



trou$le u!, it i! a! para!ite!. f we !et our!elve! again!t the pa!t, we

are forced to the conclu!ion that the old architectural code, with it!

ma!! of rule! and regulation! evolved during four thou!and year!, i! no

longer of any intere!t D it no longer concern! u! I all the value! have

$een revi!ed D there ha! $een revolution in the conception of what

Architecture i!.@ 960:

n partial di!agreement with &the #row&, the "#T>#A" %>8> i! a priori

an A>#GT#TJ>A" %>8>, meaning it i! a !u$con!ciou! A>#GT#TJ>de!igned

$y "#T>#A" >!, $uilt $y "#T>#A!, and interpreted $y

A>#GT#T!. Thu! the "#T>#A" )TS" i! an A>#GT#TJ>A" !tyle only

in!ofar a! it i! a univer!al de!ign !tandard, an "#T>#A" A)TGT#

realiCed in the language of "#T>#A" A>TFA#T! !uch a! 8)T>1JT%

*%"! and T"')% ATA.

@The pro$lem i! one of adaptation, in which the realitie! of our life are

in =ue!tion... )ociety i! Elled with a violent de!ire for !omething which

it may o$tain or not. verything lie! in that I everything depend! on the

e<ort made and the attention paid to the!e alarming !ymptom!.

Architecture or >evolution. >evolution can $e avoided.@ 962:

A>#GT#TJ> cannot. We need to rationally under!tand our rapidly evolving

1J"T '>%/T. To do !o re=uire! under!tanding the evolution of

"#T>#TS, and the revolution of "#T>F#AT% in order to $uild and

interpret our "#T>#A" #'"YAT% in humane term!.

The la!t image in Toward! an Architecture i! of a $riar pipe, and i!

entitled @A 1riar *ipe.@ Although the $ook wa! pu$li!hed in +2-, we !till



con!ider it a !ym$olic icon related to >en /agritte&! +2 parado;ical

painting of a $riar pipe, entitled The Treachery of mage!, which ha! the

word! @Thi! ! ot A *ipe@ written a! a !u$caption in French. 962.6:

Jltimately thi! parado;ical image i! analogou! to "e #or$u!ier&! ae!thetic

e=uation of the engineered o$ject with the A>#GT#TJ>A" o$ject. "ikewi!e,

it i! with A>#GT#TJ> and "#T>#TS.

t i! T>A8T%A" to !ay &the "#T>#A" F>A)T>J#TJ> i! not

A>#GT#TJ>&, $ut herein i! the parado;I how are we are to harmoniou!ly

$uild within our new "#T>%# )*A# and T/ without rationaliCing the

"#T>#A" F%># and it! relation!hip with A>#GT#TJ>

Following "e #or$u!ier&! lead, we can e;amine the "#T>#A" %>8> a! a

new A>#GT#TJ>A" %>8> in the form of the "#T>#A" F>A)T>J#TJ>,

repre!enting our "#T>#A" *%#G, W%>"8, and #'"YAT% in $uilt form

via it! own )TS".

"e #or$u!ier&! argument po!tulate! a rational !olution to thi!

A>#GT#TJ>A" parado;, and it i! a key to under!tanding how the "#T>#A"

F>A)T>J#TJ> ha! indeed $ecome A>#GT#TJ>. We now need to focu! our

attention on de!igning an A>#GT#TJ> %F "#T>#TS which i! $oth

evolutionary and revolutionary.

]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]

/odern Architecture !ince +00, )econd dition, William ( > #urti!,

*rentice3Gall, nc., nglewood #li<!, ew (er!ey 075-2, 922n: p.+04, the

author !tate! that the +-th edition of the original +2- French ver!ion of



@'er! Jne Architecture@ wa! mi!tran!lated in the +27 ngli!h language

edition a! @Toward! a ew Architecture@

333333333333333333333333333333333333333333333333333333333333333333333333

Toward! a ew Architecture $y "e #or$u!ier, tran!lated from the French $y

Frederick tchell!, Golt, >inehard and Win!ton, 1ook! that /atter

9paper$ack:, Fir!t pu$li!hed in the J)A in +50 $y *raeger *u$li!her!,

nc., SD Fir!t pu$li!hed in ngland in +27 $y Architectural *re!!,

"ondon, 92-n: p.2, pp.250325+, among other photograph! of a 0,000

kilowatt tur$ine di!c and an electric ventilator with hourly output of

67,000 cu$ic meter!. 926: pp.+73+4, 925: p.+, 927n: p.+, The parado;ical

!tatement i! e;plained a! follow!I @The diagno!i! i! clear. %ur engineer!

produce architecture, for they employ a mathematical calculation which

derive! from natural law, and their work! give u! a feeling of harmony.

924n: p.2+, the pro$lem i! clearly !tated in term! of the @hou!e@ yet it

can $e generaliCed !o a! to include all architectural o$ject!. 92: p.+,

9-2: p.4-, 9--: p.42, 9-6: p.4, ye! Which 8o ot )ee, 9-7n: p.5, @/ay

our eye! $e opened I thi! harmony already e;i!t!, the re!ult of work

governed $y economy and conditioned $y phy!ical nece!!itie!. Thi! harmony

ha! it! cau!e!D it i! not in any way the e<ect of caprice, $ut i! of a

logical con!truction and congruou! with the world around it.@ 9-4: p.7,

9-: p.+02, 90: p.+++, 9+: p.+24, 92: p.+24, 9-: p.+-4, 9: p.+5,

96: p.+5, 95n: p.+5+, the word @men@ ha! $een !u$!tituted with a

gender3neutral @woZmen@ in thi! =uote. 95.6n: for more information !ee

the ^ the!i! !u$!ectionI A _ 3 Architectural !!ue! 97: pp.25-325,

94: p.255, 9: p.255, 9.6n: thu!, @!eeing@ cy$er!pace $ecome! a

=ue!tion of !eeing electrical di!tri$ution pole! a! an architectural

manife!tation of thi! new electrical order. 960: pp.2573254, 962:

pp.254325, 962.6: p.25



333333333333333333333333333333333333333333333333333333333333333333333333

92n: Thi! idea of "e #or$u!ier trying to rationaliCe architecture and

electricity i! evidenced in !ome of hi! !ketch $ook! of early work which

!how @the telegraph and telephone pole!@ at the edge! of hi! drawing!,

with icon! of eye! and ear! relating to the new !patio3temporal

relation!hip! of the electrical media. From the!e drawing! it can $e

inferred that "e #or$u!ier, at the perimeter of hi! work, !truggled with

rationaliCing the relation!hip $etween architecture and the electrical

infra!tructure, although pro$a$ly !u$con!ciou!ly. 9The!e drawing! were

o$!erved in a paper$ack edition of "e #or$u!ier&! early !ketch$ook! at a

$ook!tore, $ut i do not have the $ook, or any reference. $c:

toward an architecture

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