other forms of how geometry and numbers
relates to architecture, such as the Vitruvian man which found a typical males
proportions so well constructed that it created the relationship between the
square and the circle. Another formula was created by le Corbusier, the Modulor
Man.  

 

 

Proportion is an
important aspect in an architect’s concepts. As time goes by it is known that
movements and attractions outgrow in time. In 1930 Le Corbusier created his own
proportional geometry. An architect who desired more of his designs, which lead
to a new proportional concept. He had an aspiration to design buildings which
had meaning, yet to be original and modern in his time, which is how the
Modulor Man was fathered. Similar to the Vitruvian Man he took his inspiration
from a male which he found to be desirable. From the extravagant description of
a strong, handsome, tall service man, from British novels. Corbusier
constructed his perfect geometrical male, ‘Le Modulor’ also known as ‘Modulor
Man’.

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The Modulor Man
was an approximate 1.83 meters. Le Corbusier used this number which he
deconstructed to find the ‘perfect’ human proportions. It created spiral forms
and rectangles. His ideal man may not look very attractive. However, he created
an elegant series of numbers which he later went on to applying to his building
concepts. A building that required his harmonies structure was La Tourette, a
space for worship. The ideal place to apply his proportions.

 

Having designed
a new discipline, Le Corbusier went onto applying his Modulor Man to many
buildings he designed. Sainte Marie de La Tourette was also designed with his
principle. Designing a monastery became very useful to apply his own proportional
grid, to create the spatial awareness that a house of worship needed. He needed
to accommodate roughly 100 students and teachers with a church. As mentioned
above, the relationship between the Golden formula and a person has a
subconscious bond. which many related to the connection of ‘God’. Although, the
Modulor did not have the same stable foundation, the relationship between space
and God could still be applied. An approximate 80 students had to occupy the
building for 7 years, to live and study.

 

A monastery to
be taught about the worship of God. Le Corbusier took a hierarchy of events
that would take place in this building. The highest being the worship room, a
space where you can mentally speak to God and you can feel at one with him. And
the smallest being a space to rest. At the end of a day a student was thought
to go to his ‘cubicle’ which was his bedroom to evaluate his thoughts. The
cubicle was thought to represent the student. With this in mind, Le Corbusier
designed a space which was designed to be small yet comfortable. A room small
enough to manipulate a student to know their ‘worth’. To live in this room for
7 years subconsciously drilled the purpose of it into the student’s mind.

 

The cloisters
were designed to guide the student to find his way to ‘God’/church. Through the
manipulation of a long hallway and long slender windows which allowed light
through to lead the way.

 

There was a
journey through spaces which guided you to ‘speak’ and ‘feel’ God, this became
a spatially manipulated experience. A routine of waking up in a cubicle which
you reflected in as this was meant to represent the equivalent of a person.

Which led you to the long narrow hallway, compressing you, where you were
directed with a gleam of light. Enticing you, which gravitates you to finish your
journey. Transitioning from a tightened space into a transcendent room. Continued
to be manipulated by light.

 

The spaces were
designed to make the student feel the size of themselves and compare it to the
size of God, through the volume difference, whilst transitioning through them. It
was created so a student was ‘flowing’ from space to space being manipulated by
the tightness of space to appreciate the larger more powerful room.

 

La Tourette was
placed in a beautiful green space, this was to create a relationship with
nature. Moreover, similar to dance it plays around with the relationship with
the ground. Changing between heights, almost submerged into the ground. Leaping
into the air with the delicate column structure holding up the weightless like building.

The series of images shows a still movement that Le Corbusier has portrayed by
adding a different relationship with the ground.

 

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