Heidi Weber contacted Le Corbusier in 1960 for the construction of a museum that would collect his works of art, his tapestries, furniture and books in order to create an exhibition hall that would promote the architect's works.
This proposal challenged Le Cobusier and offered him the opportunity to praise his works within his own architectural work. Never before in Switzerland a private museum had been run by a woman. In May of that same year Le Corbusier accepted Heidi Weber's project to build the "Maison d'Homme".

Heidi Weber invested everything she had (including her own house) to finance this ambitious project.

The project

Although at first, the work was conceived in concrete by the architect himself, it is thanks to Heide Weber that the final structure is designed in steel. Since he wanted to reflect something modern, and for her the homigón already had remained in the past. It is considered one of the last projects of Le Corbusier in which lightness goes hand in hand with his technological advances.

The main idea of ​​the Le Corbusier project is based on the roof, becoming the starting point of the construction. This, exempt from the main structure, can be considered a sculpture in itself. Therefore, the exhibition space, constituted by the Modulor-cubes, is subsequently constructed.

Roof / Roof

Once the cover is highlighted, Le Corbusier resolves the interstitial space between the roof and modules with two key "leitmotiv" of the Modern Movement. The walkable roof and its opposite, the sloping roof. With a surface of 12 x 26.3 meters, it was made with welded metal sheets 5 mm thick. It consists of two square parts, each of which is divided into four pieces designed in two tones. The final result generates a complex geometric figure where we find different slopes.

The interior space of the Maison d'Homme is under this roof and terrace system. It is a metabolic space where the modules are repeated infinitely. The cover, with its independent structure, defines the space covering the elements, marking the limits that regulate and delimiting the number of these modules, this multiplication system being controlled.

Interior space

Once the metallic structure and two cubic units are established, the space is divided into two large rooms. On the east side we find a concrete staircase that connects two floors. The west side, on the other hand, contains a double height space. On the ground floor these two wings are connected by a large corridor that can be closed or open to the south by a large door to the outside.

On the first floor, the concrete staircase organizes and divides the space, giving rise to a small office and an area understood as a library. To the east, there is a one-floor exhibition hall. This division of space will be developed by Le Corbusier later in the construction of the Citröhan House and detailed in the  Unité d'habitation de Marseille.

The Ramp and the ladder


These two elements of vertical communication are key pieces in the conception of the project. Le Corbusier had already presented these two systems in several projects -The ramp used in the Villa La Roche-Jeanneret and the combination of both in the Villa Savoye-. Presenting both separately, in this project Le Corbusier understands, in his own words, "The stairs separate one floor from the other, a ramp joins them".

The project ramp starts in the basement, rising from the ground floor and continuing (from this point in the open air) to the terrace. What reminds the architectural promenade protagonist of La Villa Savoye.

The ramp, inserted in a concrete box, rises physically and metaphorically, introducing programmatically the light inside through sporadic openings until reaching a total opening on the terrace.

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Charles Édouard Jeanneret-Gris was born in La Chaux-de-Fonds, Switzerland on October 6th, 1887. He is best known as Le Corbusier, one of the most important architects of the XX Century that together with Walter Gropius, Ludwig Mies van der Rohe, and Frank Lloyd Wright rise up as the fathers of Modern Architecture. In his long career, he worked in France, Germany, Switzerland, the United States, Argentina, India and Japan.

Jeanneret was admitted to the Art School of La Chaux-de-Fonds in 1902. He knew Charles l’Éplattenier, his first teacher, and he became interested in architecture. He built his first house, Villa Fallet, in 1906, and one year later he set out on his first great journey to Italy. From 1908-1909 he worked in Perret Bother’s Studio, where he focussed on the employment of the concrete, and from 1910-1911 he coincided with Mies van der Rohe in this studio in Berlin.

In 1917, Charles Édouard Jeanneret set up finally in Paris. The next year he met the painter Amedée Ozenfant and he displayed his first paintings and wrote his first book, Après le Cubismo. In 1919 he founded the magazine l´Esprit nouveau, where he published unnumbered articles, signing with the pseudonym Le Corbusier for the first time.

He opened his own Studio in 1922, in the number 35 of the rue de Sèvres. In this decade when his laboratory epoch started he carried out a great number of activities as a painter, essayist, and writer. But also as an architect, he planned some of the most recognizable icons of modern architecture and developed the principles of the free plan. Some of these works are the Villa Roche-Jeanneret, the Villa Savoye in Poissy, and the Siedlungweissenhof’s houses built in Stuttgart in 1927. It should be pointed out that at the same time; he set out the “five points” of the architecture.

Le Corbusier projected “The contemporary three million population city” in 1922 and in 1925 put forward the Voisin plan of Paris, which is one of his most important urban proposals. Three years later, in 1928, through his initiative, the CIAM was created and in 1929 he published his first edition of the Oeuvre Complète.

In the 30s, he collaborated with the magazine Plans and Prélude, where he became enthusiastic about urbanism and he started, in 1930, to elaborate the drawings of the “Radiant City” as a result of the “Green City” planned for Moscu, his project would be summarized in the “Radiant Villa”, which was enclosed with the projects for Amberes, Stockholm, and Paris. By 1931 he presented Argel, a proposal that composed the Obus Plan. And in 1933 the 4th CIAM passed and there he edited the Athens Document.

Le Corbusier, in 1943, developed the “Three Human Establishments Doctrine” and founded the Constructors Assembly for Architectural Renovation (ASCORAL). He made the project the Unite d´habitation of Marsella in 1952, which was the first one of a series of similar buildings. At the same time, the works of Chandigarh in India began, where he planned the main governmental buildings. Nevertheless, in the same decade, he worked in France too, in the Notre-Dame-du-Haut chapel in Ronchamp, in the convent of La Tourette in Éveux, Jaoul’s houses in Neuilly and the Unites d´habitation of Rézé-lès-Nantes, Briey-en-Forêt and Firminy.

He wrote and published his worldwide known study of the Modulor in 1948 followed by a second part in 1953. Meanwhile the next Le Corbusier’s books had a more autobiographic nature, among them the Le poème de l'angle droit (1955), l'Atelier de la recherche patiente (1960) and Mise aupoint (1966) stand out.

Le Corbusier, at the end of his life, created many projects that would not be built, for example, a calculus center for Olivetti in Rho, Milan; a congress in Strasbourg, the France embassy in Brasilia and a new hospital in Venice.

He died drowned on the 27th of August of 1965 in Roquebrune-Cap-Martin.

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Published on: July 8, 2018
Cite: "Maison d'Homme by Le Corbusier" METALOCUS. Accessed
<http://www.metalocus.es/en/news/maison-dhomme-le-corbusier> ISSN 1139-6415
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