The Cabanon was Corbusier’s interpretation of the simple life. In this example, “simple” is best described as fundamental or essential. The design was a physical manifestation of his most concentrated thoughts on minimal living. The house measures only sixteen square meters. Because available space is such a rare commodity in this design, it is very intriguing that Corbusier envisioned art with such a high priority. This insight truly gives us an idea of what Corbusier believed to be essential to the human spirit. The careful and deliberate placement of windows, colors, and art visually portray many of Corbusier’s architectural philosophies.
Le Corbusier in Le Cabanon (1)
There are two paintings and one mural in the Cabanon. The paintings rest on the window shutters and the murals in the front entrance hall. He also painted a suite of eight murals on Eileen Gray’s walls, without her permission. She regarded the murals as an act of rape, violating the spirit of her house.
“I admit the mural is not to enhance the wall but on the contrary, as a means to violently destroy the wall, to remove from it all sense of stability, weight, etc.” (Le Corbusier)
Corbusier's Mural (2)
Paintings are not bound to physics like buildings. They are abstract, arbitrary, and artistically complex. Shelter, food, water all provide the means to survive, but Corbusier was more interested in art’s ability to give reason to survive. Art has immeasurable influence on the psychological condition of humanity. By this logic, of course it should be included in the absolute minimum of living well.
There are five windows, each unique in function. There are two windows, spanning nearly from floor to ceiling, that focus on light and air. The tall, narrow slits, that allow ventilation of the Cabanon no matter what the weather, are a recurrent feature in the architect’s later designs. The other three windows connect the individual with the environment. As the Cabanon does architecturally, the windows seek to categorize nature into its elemental form: mineral, vegetation, and water. On two of the windows, wooden shades can be opened and closed. When closed, vibrant paintings of deities are present. When opened, the windows literally frame the world outside as if it were a painting.
The Interior of Le Cabanon (3)
Corbusier mentioned that the windows are not necessarily for looking out, but rather looking in. Much like the house itself, the windows are to give a sense of perspective and inward reflection.
Vivid red, green and blue panels paint the ceiling to contrast the yellow-painted floor and wooden warmth of the walls. Corbusier’s attention to these artistic details address the psychological needs of the individual, which collectively create a unique architectural atmosphere and an interesting statement about the fundamental necessities of humanity.
View of the Minerals (4)
-Simon McKenzie
Image Sources:
1. Corbusier, Le. Towards a New Architecture. Connecticut: Praeger, 1972
2. Ibid
3. Ibid
4. Ibid
Information Sources:Fillipo. Interior of Cabanon: Le Corbusier 1952, Cassina 2006. Milan: Mondadori Electa, 2006.
"Le Corbusier's Cabanon on the French Riviera." http://trifter.com/europe/france/le-corbusiers-cabanon-on-the-french-riviera/ (accessed Jan 12, 2010).
"PRAZ-DELAVALLADE" http://www.brettcodyrogers.com/press/releases/PR_Farewell_Human_Scale.pdf(accessed Jan 14, 2010)