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"MODULOR MAN," 1956

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 MODULOR MAN,  1956
<b>Title: </b>"MODULOR MAN," 1956
<b>Designer: </b>LE CORBUSIER
<b>Description: </b>a figure of the "Modulor Man" carved by Constantin Andréou to be used for imprints on teh concrete walls at the "Unite d'habitation," Berlin; walnut 88 1/2 in. (226 cm) high
<b>Provenance: </b>
<b>Literature: </b>Tim Benton, et al., eds., LE CORBUSIER: ARCHITECT OF THE CENTURY, LONDON, exh. cat., Hayward Gallery, LONDON, 1987, p. for an exhibition listing
<b>Exhibitions: </b>L’AVENTURE LE CORBUSIER: 1887–1965, traveling exhibition, Centro Cultural del Palacio de la Virreina and the Fundacion Miro, BARCELONA, September-December 1988; Pallazina della Società Promotrice delle Belle Arti, TURINO, May-July 1988; Centre Georges Pompidou, PARIS, October 1987-January 1988 LE CORBUSIER: ARCHITECT OF THE CENTURY, Hayward Gallery, LONDON, March-June 1987
<b>Notes: </b>In designing the “Modulor” (Fig. 1), Charles Edouard Jeanneret (1887-1965), better known as Le Corbusier, defined new conceptual claims for architecture and came to exert a sustained influence on all creative process of the period following. The present lot, the wood relief of his “Modulor,” is possibly the only extant original. This work visualizes not only the basic architectural principle of Le Corbusier’s famous “Unités d’habitation” (Fig.2) but also the general philosophical foundations of his creative work. Harmony and proportion had from early on been essential concerns of Le Corbusier’s work as an architect, designer and painter. “Harmony is the happy coexistence of things; coexistence implies duality or multiplicity and consequently calls for proportions and consonances. What sort of consonances? Those existing between ourselves and our environment, between the spirit of man and the spirit of things, between mathematics as a human invention and mathematics as the secret of the universe.” (LE CORBUSIER, 1958, p. 59). Prompted by the increasing encroachment of technology and industrial production on human living conditions, Le Corbusier strove to find a universally applicable system of proportional measurement that would establish a salutary and natural relation between mankind in its environment. Traveling extensively and studying housing conditions across cultures, Le Corbusier grew convinced that one ideal measure was reflected in the average ceiling height of 2.2 meters that he had found in rooms, the rough equivalent in height of a grown man with an arm upraised. Ancient theories of architecture and Renaissance studies of proportion, both of which Le Corbusier considered to be ideals to emulate, constitute the theoretical and mathematical foundation of the grids (Fig. 1 & 2) he designed to illustrate his system of ideal proportions and to relate it to the human body (now with a height of exactly 2.26 meters). Thus, he put his idea of the “Modulor” as the basic measure of the grid into practice. In this respect, he based his dwelling unit on “a human unit, a cell, that is biologically good in itself (in conformity with the individual’s needs).” With the calculations made according to his human based modular, Le Corbusier identified that 14 sq. meters was the minimum required for the habitation of one human. By splitting the unit into two levels and integrating the balcony, he succeeded in giving a maximum of volume and utility to a minimum of space. Through ingenious planning, different apartment configurations were provided to accommodate a single person and families as large as ten. Each dwelling unit was adjoined horizontally and stacked vertically to form urban housing blocks. The system was organized to offer architectural individuality and yet serve the needs of modern mass production. After 1947, six “Unités d’habitation” were built according to this principle. The “Unité d’habitation” of Berlin Charlottenburg, where the present lot was used, was built between 1956-58 following the decision of the Berlin Senate in 1953 to organize an architectural exhibition, entitled “Interbau” (International Building Exhibition); to promote and further government policy to meet the housing shortage of the postwar period with modern building. The international architects involved were, among others, the Brazilian Oscar Niemeyer and the Dane Arne Jacobsen. Le Corbusier succeeded in 18 months in building, at a low cost, a building of 530 units on 17 floors, unique in contrast to the well known “Cité Radieuse” in having more generously sized apartments, as the original plans had to be modified to suit the regulations of social housing's buildings in Berlin. Le Corbusier’s strong idea to adapt the processes of production to human needs, is stamped on the “Unité d’habitation” of Berlin Charlottenburg. The positive of the modular was impressed on the exposed concrete of the exterior walls, the image thus visualizing the building’s formal principles (Fig. 3). A symbol of Le Corbusier’s intention to reconcile the active life and intimacy of individuals with collective cohabitation, the “Modulor Man” is an icon of Le Corbusier’s modern thought, and of modernity, as it can be related as much to the history of twentieth century architecture as to design, philosophy and, with the present lot, to fine art.