|Title||Infinite Horizons : Le Corbusier, the Pavillon de l’Esprit Nouveau dioramas and the science of visual distance|
The Pavillon de l’Esprit Nouveau was a building central to the development of Le Corbusier’s architecture and key to the role played by painting in his work. Significantly, as a prototype living space and as a setting for Purist art, it not only established Le Corbusier’s vision for contemporary architecture and urbanism, it also served as a demonstration of principles developed in collaboration with Amédée Ozenfant through their joint editorship of L’Esprit Nouveau. In the pages of the journal are numerous references to the nature of visual sensation and to the science of vision, but to what extent do the paintings and other material displayed in the pavilion reflect these ideas? Concentrating primarily on the panoramic images of the city displayed in the pavilion’s dioramas and on the contrasting nature of Le Corbusier’s paintings at this time, this paper considers the influence of nineteenth-century science and visual culture on his work.
|Keywords||Le Corbusier, architecture, vision, science, perception|
|Journal||Journal of Architecture|
|Journal citation||22 (5), pp. 825-853|
|Publisher||Taylor & Francis|
|Digital Object Identifier (DOI)||doi:10.1080/13602365.2017.1351762|
|Published||21 Jul 2017|