A STUDY OF LE CORBUSIER'S

NOTRE-DAME-DU-HAUT, RONCHAMP AS
A TWENTIETH-CENTURY PILGRIMAGE CHAPEL

by

FRANCES SHERRY MCKAY

A., The U n i v e r s i t y o f B r i t i s h Columbia, 1974

A THESIS SUBMITTED IN PARTIAL FULFILMENT OF

THE

REQUIREMENTS FOR THE DEGREE OF

MASTER OF ARTS

In
THE

FACULTY OF GRADUATE STUDIES

(Fine A r t s Department)

We accept t h i s

t h e s i s as conforming

to the r e q u i r e d

THE

standard

UNIVERSITY OF BRITISH COLUMBIA

October 1979
<Q Frances

Sherry McKay

E-6

In presenting t h i s thesis in p a r t i a l f u l f i l m e n t of the requirements f o r

an advanced degree at the U n i v e r s i t y of B r i t i s h Columbia, I agree that
the Library s h a l l make i t f r e e l y a v a i l a b l e for reference and study.
I further agree that permission for extensive copying of t h i s thesis
f o r s c h o l a r l y purposes may be granted by the Head of my Department or
by his representatives.

It i s understood that copying or p u b l i c a t i o n

of t h i s thesis f o r f i n a n c i a l gain s h a l l not be allowed without my

w r i t t e n permission.

Department
The U n i v e r s i t y of B r i t i s h Columbia
2075 Wesbrook Place
Vancouver, Canada
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11E

ABSTRACT

The
1955

completion of Notre-Dame-du-Haut, Ronchamp, by Le C o r b u s i e r i n

provoked much comment and

post-World War

II era.

c o n j e c t u r e as t o i t s s i g n i f i c a n c e to

I t i s a French C a t h o l i c c h a p e l of

deceptively

p r i m i t i v e appearance b u i l t by a Swiss C a l v i n i s t a r c h i t e c t who

reported

as an a g n o s t i c

and

d u s t r i a l b u i l d i n g schemes.

popularly

Although v a r i o u s

of the

chapel e x i s t i n secular

of the

c h a p e l r e c o r d s the

h i s t o r y , and

associated

and

often
in-

interpretations

r e l i g i o u s j o u r n a l s , no

s i n g l e account

complex i n t e r a c t i o n of p e r s o n a l i t y ,

contemporary aims which are

was

w i t h v i s i o n a r y and

subjective

the

suggested i n the

institution,

c h a p e l ' s forms.

T h i s prompted an i n v e s t i g a t i o n of Notre-Dame-du-Haut as a

twentieth-cen-

tury pilgrimage chapel.

to e x p l o r e

Consequently, t h i s study s e t out

r e l a t i o n s h i p between French C a t h o l i c i s m
Le C o r b u s i e r as
The

and

the a r c h i t e c t u r a l t h e o r y of

i t i s expressed i n t h i s s m a l l

country pilgrimage chapel.

format of a t r a d i t i o n a l monograph was

adopted to f a c i l i t a t e

comparison between t r a d i t i o n a l a r c h i t e c t u r a l s o l u t i o n s
at Notre-Dame-du-Haut.

The

ground, commission, p l a n ,

study i s d i v i d e d

construction,

l i g h t - elements which are

shown to be

of the d e s i g n of t h i s church.
t i o n s h i p between c l i e n t and

and

those

discovered

i n t o seven c h a p t e r s - back-

acoustics,

ornamentation,

e s p e c i a l l y cogent i n the

Each chapter i s an a n a l y s i s

a r c h i t e c t , and

the

and

history

of the

rela-

between t r a d i t i o n a l p r a c t i c e s

and

twentieth-century a r c h i t e c t u r a l innovations.

own

conclusion

Each c h a p t e r reaches i t s

as to the c o n t r i b u t i o n made to the p i l g r i m a g e t r a d i t i o n at

Notre-Dame-du-Haut, and
to the p a t r o n and

to the

the p o s s i b l e s i g n i f i c a n c e of t h a t
architect.

contribution

iii
An e x t e n s i v e number of Le C o r b u s i e r ' s p u b l i s h e d w r i t i n g s and j o u r n a l s
were a v a i l a b l e from the U n i v e r s i t y of B r i t i s h Columbia l i b r a r y .

Among

them were two

These

books about the c h a p e l and

s u p p l i e d good v i s u a l m a t e r i a l .

Les Oeuvres Completes.

P l a n s , l e t t e r s , and documentation of the

c h a p e l p r e v i o u s l y u n p u b l i s h e d were o b t a i n e d from the Le

Foundation

i n Paris.

Corbusier

Correspondence between M a r c e l F e r r y , o r i g i n a l l y

i n v o l v e d i n the commission, and Abbe B o l l e - R e d d a t ,

first

and

r e s i d e n t p r i e s t a t Notre-Dame-du-Haut, o f f e r e d s i g n i f i c a n t
tion.

W r i t i n g s by members of the French

current

and new

informa-

C a t h o l i c Church, i n c l u d i n g pub-

l i s h e d p e r s o n a l j o u r n a l s of e c c l e s i a s t i c s a s s o c i a t e d w i t h the p r o j e c t ,
were a l s o a v a i l a b l e from the U n i v e r s i t y of B r i t i s h Columbia
I n t e r l i b r a r y l o a n s u p p l i e d r e f e r e n c e s not found
p e r i o d i c a l s , and

locally.

contemporary newspaper accounts,

library.

Journals,

as w e l l as

general

survey books on church a r c h i t e c t u r e and Le C o r b u s i e r , p r o f f e r r e d

insight-

f u l background i n f o r m a t i o n .
In c o n c l u s i o n , the t h e s i s c o n s i d e r s the p i l g r i m a g e c h a p e l of

Notre-

Dame-du-Haut i n i t s a r c h i t e c t u r a l and r e l i g i o u s c o n t e x t s to see to what

extent t h e s e a r e r e f l e c t e d i n the c h a p e l ' s d e s i g n .

The

t h a t Le C o r b u s i e r attempted, i n a h i g h l y c o n s c i o u s way,

study

suggests

to accommodate

t r a d i t i o n and a p a r t i c u l a r s e c t i o n of contemporary r e l i g i o u s thought

h i s d e s i g n of the c h a p e l .

I t a l s o suggests

promising h i s p e r s o n a l a r c h i t e c t u r a l

t h a t he d i d so without

philosophy.

into

com-

iv
TABLE OF CONTENTS

LIST OF ILLUSTRATIONS

ACKNOWLEDGEMENTS

vi

INTRODUCTION

Chapter
I

II

THE CIRCUMSTANCES
DESIGN

OF THE COMMISSION OF LE CORBUSIER'S

4

THE PHILOSOPHICAL AND THEOLOGICAL BACKGROUND TO THE

COMMISSION OF NOTRE-DAME-DU-HAUT

10

III

THE PILGRIMAGE CHURCH PLAN AND NOTRE-DAME-DU-HAUT . .

35

IV

CONSTRUCTION, MATERIALS, AND THE CREATION OF FORM . .

52

ACOUSTICS

67

ORNAMENTATION

73

V
VI
VII
VIII

LIGHT

100

SUMMARY AND CONCLUSION

114

FOOTNOTES

119

BIBLIOGRAPHY

151

ILLUSTRATIONS

163

LIST OF ILLUSTRATIONS

Figure
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45

M e d i e v a l P i l g r i m a g e Church, p l a n s
Sainte Odile, plan
Lourdes, s i t e
NStre-Dame-du-Haut, c. 1854, g e n e r a l v i e w
Notre-Dame-du-Haut, c. 1936, g e n e r a l v i e w
S a i n t e - T h l r e s e de 1'Enfant, p l a n
Sainte-Baume, p l a n
Santa-Anna.., p l a n
Notre-Dame-du-Haut, 1955 p l a n
Notre-Dame-du-Haut, g e n e r a l approach
Le C o r b u s i e r , sketches
1950 " ? ' V
Notre-Dame-du-Haut, south w a l l
Notre-Dame-du-Haut, e x t e r i o r , east
N<5tre-Dame-du-Haut, e x t e r i o r , west . .
Notre-Dame-du-Haut, e x t e r i o r , n o r t h
Notre-Dame-du-Haut, memorial pyramid
N6tre-Dame-du-Haut, c e r e m o n i a l door, i n t e r i o r & e x t e r i o r .
Notre-Dame-du-Haut, i n t e r i o r l o o k i n g east
Notre-Dame-du-Haut, i n t e r i o r s o u t h w a l l
N6tre-Dame-du-Haut, c r o s s - s e c t i o n l o o k i n g n o r t h
Notre-Dame-du-Haut, V-shaped s u p p o r t s
.
N6tre-Dame-du-Haut, 1 s t maquette
Notre-Dame-du-Haut, e x t e r i o r , s o u t h e a s t c o r n e r
Dolmen,
Notre-Dame-du-Haut, i n t e r i o r s o u t h c h a p e l
Le C o r b u s i e r : Sketches o f H a d r i a n ' s v i l l a , T i v o l i . . . .
Le C o r b u s i e r : S c u l p t u r e , 1948
Notre-Dame-du-Haut, windows
Notre-Dame-du-Haut, windows, s o u t h
Notre-Dame-du-Haut, c e r e m o n i a l b l o c k
N8tre-Dame-du-Haut, c e r e m o n i a l b l o c k , d e t a i l
F e r d i n a n d Ledger: The V i r g i n o f t h e L i t a n y
Le C o r b u s i e r : " j e u de s o l e i l " diagram
Le C o r b u s i e r : s k e t c h
Le C o r b u s i e r : l i t h o g r a p h
Dominican I m p e r i a l Monastery, I s l a n d of H i s p a n o l a , d e t a i l
dome
Notre-Dame-du-Haut, t a b e r n a c l e , f r o n t
Notre-Dame-du-Haut, t a b e r n a c l e , back
Notre-Dame-du-Haut, window d e t a i l
Notre-Dame-du-Haut, p l a n 1950
Notre-Dame-du-Haut, p l a n e c l a i r a g e
Dominican I m p e r i a l ' M o n a s t e r y , I s l a n d of. H i s p a n o l a , d e t a i l .
Jean L u r c a t : The A p o c a l y p s e , d e t a i l
Le C o r b u s i e r and o t h e r s : C h a p e l l e independante a t C e r n i e r Fontainemelon, 1907, d e t a i l of a l t a r w a l l
N3tre-Dame-du-Haut, e x t e r i o r east

163
163
164
164
165
165
166
166
167
168
169
170
170
171
171
172
173
174
174
175
176
176
177
177
178
178
179
180
180
181
181
182
182
1-8-3
183
184
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185
185
186
187
188
188
189
18 9

ACKNOWLEDGEMENT S

I wish t o express a profound g r a t i t u d e t o Abe R o g a t n i c k f o r h i s

a s t u t e comments and i n s i g h t f u l guidance throughout t h i s p r o j e c t and t o
Ann Rosenberg

f o r her u n f a i l i n g

P e s s i n , A v i s Rosenberg

support.

I would a l s o l i k e t o thank Marc

and Frances P o h l f o r t h e i r p r o f e s s i o n a l s k i l l s and

time t h a t were much c a l l e d upon i n t h e c r a f t i n g of t h i s s t u d y .

grateful

t o t h e s t a f f o f t h e Le C o r b u s i e r Foundation f o r t h e i r

and c o n g e n i a l i t y .
a l l her patience.

And f i n a l l y , a v e r y s p e c i a l

I am a l s o
assistance

thank you t o my mother f o r

1
INTRODUCTION

Notre-Dame-du-Haut i s an i s o l a t e d c o u n t r y c h a p e l t h a t has caused

much debate and i n t e r e s t d u r i n g t h e l a s t q u a r t e r o f a c e n t u r y .

It is

i n c l u d e d i n every major a r c h i t e c t u r a l survey book o f t h e p e r i o d ; i n d e e d ,

i t emblazons many o f t h e i r covers.'''

I t has generated

of c r i t i c i s m and comment, most o f i t f a v o u r a b l e .

an enormous amount

T h i s mass o f c r i t i c a l

l i t e r a t u r e , b o t h p o s i t i v e and n e g a t i v e , s e r v e s t o c o n v i n c e us t h a t t h e
importance

o f t h e c h a p e l as an a r c h i t e c t u r a l accomplishment

represen-

t a t i v e o f t h e t w e n t i e t h c e n t u r y - t h e c e n t u r y o f t e c h n o l o g y , machine
art,

mass domestic h o u s i n g , enormous s e c u l a r s t r u c t u r e s , and o f r e l i -

g i o u s s c e p t i c i s m - remains an i n d i s p u t a b l e f a c t .
In i t s h i s t o r y , t h e c h a p e l has e l i c i t e d o n l y two c r i t i q u e s o f con-

2
sequence from w i t h i n t h e Church body i t s e l f .

This c r i t i c i s m i s centered

upon i t s t h e o r e t i c a l b a s i s .

Notre-Dame-du-Haut was thought

particularly

p r a i s e w o r t h y by t h e spokesmen o f t h e French C a t h o l i c Church, t h e p a t r o n s

most d i r e c t l y concerned

w i t h i t s b u i l d i n g and those who were b e s t a c 3

q u a i n t e d w i t h i t s purposes.

I n r e l a t i o n t o t h e terms l a i d down by t h e
4

c l i e n t , t h e church has been judged

functionally perfect.

I t was

accepted n o t o n l y by t h e p a r i s h i o n e r s f o r whom i t was o s t e n s i b l y b u i l t ,

but by o f f i c i a l p o l i c y o f Rome as w e l l .

Even b e f o r e i t was

completed,

members o f t h e a r c h i t e c t u r a l community were g l o r i f y i n g i t , " * and p r a i s e

by t h e r e l i g i o u s community soon f o l l o w e d .

However, w i t h i n a y e a r o f i t s

c o m p l e t i o n o t h e r s were b e g i n n i n g t o damn i t .

I t i s i n t e r e s t i n g t o note

t h a t w h i l e t h e c h a p e l was c r i t i c i z e d f o r i t s " f u n c t i o n a l "

shortcomings

by some a r c h i t e c t s , i t was s i m u l t a n e o u s l y p r a i s e d f o r i t s " f u n c t i o n a l "

s u p e r i o r i t y by members o f t h e Church.

A r e c e n t layman c r i t i c made t h e

c u r i o u s o b s e r v a t i o n t h a t Notre-Dame-du-Haut

(seen from a 1977

perspec-

t i v e ) c o u l d be thought to be "too much of i t s time"^, hence not, to h i s

mind, s u f f i c i e n t l y

avant-garde.

Less t a n g i b l e p o i n t s f o r d i s c u s s i o n , such as: Notre-Dame-du-Haut's

sacred c h a r a c t e r and the sense of mystery which i t provokes; Notre-Damedu-Haut as a temple

of j o y and optimism; Notre-Dame-du-Haut as an

s i o n of l i b e r a t i o n and a statement
religious writings.

of hope, appear

i n both secular

expres
and

I n v a r i a b l y the l o c a l and h i s t o r i c a l importance

the s i t e i s emphasised.

In most cases the p u r e l y f o r m a l and

of

aesthetic

9
a s p e c t s of the c h a p e l are s t r e s s e d .

There i s l i t t l e

q u e s t i o n i n g of

the a p p r o p r i a t e n e s s of the s t r u c t u r a l components and of the

appearance

final

of the c h a p e l - d e s p i t e the f a c t t h a t photos of the c h a p e l

d u r i n g c o n s t r u c t i o n and a f t e r , shown i n the same a r t i c l e ,

t r a d i c t i o n between the two.

suggest a con-

Le C o r b u s i e r h i m s e l f f l a u n t e d t h i s

c o n t r a d i c t i o n , to both " e x p l a i n and

apparent

amaze".^

The i s s u e s to which the Church addresses i t s e l f most d i r e c t l y i n

the f i r s t y e a r s of the c h a p e l ' s completion a r e those which concern the
12
a r t i s t and the d e f i n i t i o n to be g i v e n t o the term " s a c r e d " .
In most,
A

i f not a l l of the w r i t i n g of t h i s e a r l y p e r i o d , Notre-Dame-du-Haut i s

>seen as many t h i n g s : w i t n e s s to the courage of those r e s p o n s i b l e f o r
the h i r i n g of Le C o r b u s i e r ; as a brave step i n t o new
t u r a l theory; as the r e v i v i f i e d

realms of a r c h i t e c -

church; and as evidence, i n the modern

world, of a d i v i n e presence expressed i n human c r e a t i v i t y and

genius.

In commenting upon the a r c h i t e c t , the r e p r e s e n t a t i v e s of the r e l i g i o u s

community take p a i n s to p o i n t out the a f f i n i t y between Le C o r b u s i e r ' s
sense of m o r a l i t y and s o c i a l r e s p o n s i b i l i t y and t h e i r own.
sense of s p i r i t u a l i t y

i s a l s o emphasised;

Le C o r b u s i e r

h i s pronouncements of a

'new

sensibility'

found i n Vers une a r c h i t e c t u r e

thereby i m p l y i n g an e s s e n t i a l s i m i l a r i t y

(1923), a r e o f t e n

quoted,

between t h e s p i r i t u a l i t y i n -

tended by Le C o r b u s i e r and t h a t i n t e n d e d i n t h e o l o g i c a l

doctrine.

13

These comments and the r e a c t i o n to t h e b u i l d i n g suggest t h a t an

A

e x c i t i n g nexus between Le C o r b u s i e r and the Church e x i s t s xn N o t r e Dame-du-Haut perhaps comparable

t o t h a t c r e a t e d a t S t . Denis by Abbot

Suger o r a t S t . P e t e r ' s by M i c h e l a n g e l o .

4
CHAPTER 1

THE

CIRCUMSTANCES OF THE

COMMISSION OF LE CORBUSIER'S DESIGN

Immediately f o l l o w i n g World War

I I , the C a t h o l i c Church i n France

embarked upon a path of a r c h i t e c t u r a l r e j u v e n a t i o n

i t had

a l r e a d y attempted i n e c c l e s i a s t i c a l p a i n t i n g and

the two

World Wars.'''

The

new

i n p a r t from the need to c o n s t r u c t new

to changed urban p a t t e r n s .

to t h a t which
s c u l p t u r e between

focus on a r c h i t e c t u r e r e s u l t e d i n p a r t

from the n e c e s s i t y t o r e p l a c e or r e p a i r bomb and

and

equal

f i r e damaged churches

p a r i s h churches i n response

Such a b u i l d i n g program was

also
3
i n the modern w o r l d .

as a means to re-emphasise the Church's r e l e v a n c y

A s i m i l a r dual-purpose program had

envisioned

been developed s u c c e s s f u l l y i n

Ger-

4
many and

Switzerland

i n the l a t e

1920s and

1930s.

Past

achievements i n

e c c l e s i a s t i c a l a r c h i t e c t u r e , i n which the e n t i r e C h r i s t i a n t r a d i t i o n
represented,

were much w r i t t e n about i n many C a t h o l i c p e r i o d i c a l s b e g i n -

n i n g a f t e r World War

I."*

Church's u n i v e r s a l i s m and
s o c i a l , h i s t o r i c a l , and

Such w r i t i n g s presented
its ability

to e v o l v e

proof

of both

the

i n response to changing

e c c l e s i a s t i c a l pressures.

Forms r e p r e s e n t i n g

the v a r i o u s h i s t o r i c a l s t y l e s were i n t e r p r e t e d i n terms of t h e i r

t u a l pertinence.

In r e - e s t a b l i s h i n g the s o c i a l , r e l i g i o u s , and

m i l i e u x of the r e s p e c t i v e s t y l e s the r e l e v a n c y
a solid
was

of each was

Such examples were intended

t i o n f o r s i m i l a r concerns and

as i n s p i r a t i o n and

undertakings during

contexaesthetic

stressed

s o c i a l i n t e r p r e t i v e b a s i s f o r contemporary s t y l i s t i c

assured.

was

and

concerns
justifica-

the p e r i o d of N o t r e -

Dame-du-Haut 's c o n s t r u c t i o n .
N o t w i t h s t a n d i n g the t r a d i t i o n a l and

conservative

tendencies

which

such h i s t o r i c a l concerns c o u l d and d i d provoke,^

French C a t h o l i c avant-garde
and

s o c i e t y and

in style.

i t a l s o allowed a

to emphasise the c o n n e c t i o n between s t y l e

to a s s e r t t h a t a change i n s o c i e t y should s i g n a l a change

T h i s supported t h e i r c l a i m s f o r a contemporary

T h i s avant-garde,

style.^

c o n s i s t i n g of a s m a l l group of e n l i g h t e n e d c l e r g y

a number of Dominican p r i e s t s , d i s s e m i n a t e d t h e i r i d e a s through

t i o n s such as L ' A r t Sacre, and d i r e c t l y encouraged
t e c t u r a l undertakings.

In a d d i t i o n , many f e l t

publica-

unconventional

t h a t clergymen

and

archi-

should

possess not o n l y l i t u r g i c a l knowledge but a r c h i t e c t u r a l u n d e r s t a n d i n g

as

9
well.

I t was

felt

t h a t an a e s t h e t i c a l l y e n l i g h t e n e d c l e r g y would

i n the best p o s i t i o n t o oversee e c c l e s i a s t i c a l a r t i s t i c

C l e a r l y , knowledge of church r i t u a l was

not s u f f i c i e n t .

be

projects.
For t h i s

pur-

pose s p e c i a l commissions were e s t a b l i s h e d i n many d i o c e s e s , an a c t i o n

t h a t was

acknowledged by the Pope as a n e c e s s a r y and b e n e f i c i a l

dure.^

One

proce-

such commission, the Besancon Commission f o r Sacred A r t ,

d i r e c t e d the p r o c e e d i n g s by means of which Le C o r b u s i e r ' s d e s i g n was i n A

11
v i t e d and l a t e r approved f o r Notre-Dame-du-Haut.
Moreover, important
members of the commission c l e a r l y d i s t i n g u i s h e d themselves from e c c l e s i 12
a s t i c s of the Right and

identified

themselves

w i t h an

The Besancon Commission f o r Sacred A r t was

avant-garde.

composed of an

artisti-

c a l l y w e l l - i n f o r m e d e c c l e s i a s t i c a l and s o c i a l e l i t e : Archbishop

Dubourg,

Archbishop

of Besancon (and l a t e r r e p l a c i n g him Archbishop

Archbishop B e l o t , M a r c e l F e r r y , Canon Ledeur, who

the Commission, and Mr.

Mathey, who

was

Dubois),

a c t e d as s e c r e t a r y f o r

then D i r e c t o r of A r t s and

Decora-

13
tion i n Paris.
mitteeU

The p a r i s h i o n e r s of Ronchamp were r e p r e s e n t e d by a

headed by Mr.

com-

A l f r e d Canet, an i n d u s t r i a l i s t and t r e a s u r e r of

the Commission, and had among i t s members Abbe Bourdin, Cure of the

v i l l a g e , and
I t was
c h a p e l and

a lawyer from V e s o u l named Mr.

Carraud.

14

t h i s committee that would v o t e f i n a n c i a l a p p r o v a l f o r

endorse the n e c e s s a r y loans and

t o t a l the P a r i s h c o n t r i b u t e d
r e l i e d h e a v i l y on the war
t e c t employed by

The

However, i n

t h r e e m i l l i o n f r a n c s ^ and

indemnity a s s e s s e d by an

the government and

of R e c o n s t r u c t i o n . ^

mortgages.^

war

the p e r s o n a l

indemnity was

the

the

project

independent a r c h i -

e f f o r t s of the

a s s e s s e d a t 13.8

Minister

million

18
francs

i n 1951.

Although the indemnity d e c i s i o n d i d not have

d i r e c t bearing

on the

choice

of a r c h i t e c t or d e s i g n ,

s t r a i n t s i n terms of c a p i t a l and
and

bureaucratic

t a i n t y and

i t did place

the reuse of s a l v a g e a b l e

i n t e r v e n t i o n and

delays created
19

s u s p i c i o n about the p r o j e c t .

The

p r o j e c t s and

who

an atmosphere of u n c e r -

dependence on the

Unite

of Le C o r b u s i e r
i n d i r e c t way,

and

to s t i m u l a t e

private

Petit,

then

public
20

enterprise.

M a r s e i l l e s , which p r e v i o u s l y u n i t e d
i s an example of h i s e f f o r t s .

the French government and

a l s o p a t r o n s of the
The

Petit,

reknowned a r c h i t e c t s i n an e f f o r t to c o n v i n c e the

d'Habitation,

indem-

sought s t r i k i n g s e c u l a r a r c h i t e c t u r a l

of France's post-war r e c o v e r y and

The

re-

material,

n i t y a l s o accounted f o r the a c t i v e involvement of C l a u d i u s

M i n i s t e r of R e c o n s t r u c t i o n ,

any

the e f f o r t s

Thus, i n an

the people i t r e p r e s e n t e d were

chapel.

Besancon Commission f o r Sacred A r t , w i t h Canon Ledeur's

leadership,

had

p r e v i o u s l y been a c t i v e i n the promotion of modern a r t

21
and i t s use i n e x i s t i n g e c c l e s i a s t i c a l s t r u c t u r e s .
However, u n t i l
the Ronchamp Commission, i t s e f f o r t s had c o n c e n t r a t e d upon p a i n t i n g ,
22
s t a i n e d g l a s s , and
Up

to the

sculpture, rather

time of the

than a r c h i t e c t u r e .

Commission's work f o r the c h a p e l a t Ronchamp

(1947-1950) church b u i l d i n g committees had

customarily

employed

local

architects.

23

T h i s custom was f o l l o w e d a t Notre-Dame-du-Haut and a

24

l o c a l a r c h i t e c t d i d complete a d e s i g n f o r t h e s i t e .
for

H i s d e s i g n was

a r e c t a n g u l a r s t r u c t u r e w i t h a gabled r o o f , a square east end, and

a c e n t r a l tower i n t h e west facade

surmounted by a b e l l - t o w e r w i t h a

bulbous-shaped r o o f ; a church which i n shape, s i z e , and g e n e r a l massing

resembled t h e v e r n a c u l a r s t y l e of p a r i s h churches i n t h e French-Swiss
25
border
and

area.

Although

no dimensions were g i v e n , i t appears s m a l l e r

l e s s complex i n massing than t h e p r e v i o u s church

l a c k e d the l a t t e r ' s l a r g e e a s t e r n porch.

a t t h e s i t e , and

I t was r e j e c t e d by t h e p a r i s h

because of i t s i n s u f f i c i e n t accommodation of p i l g r i m a g e needs and l a c k

26
of

internal f l e x i b i l i t y .

I t was f o l l o w i n g t h e r e j e c t i o n o f t h i s

scheme t h a t t h e Commission f o r Sacred A r t a t Besancon i n v i t e d Le C o r b u s i e r

to

propose a replacement f o r the World War II-ravaged

church

still

rem-

nant upon i t s s t r a t e g i c h i g h p l a c e o v e r l o o k i n g t h e B a l l o n Gap and the

27
French-Swiss border.
The

Commission f i r s t

approached Le C o r b u s i e r i n t h e s p r i n g o f

28
1950.
"did

He r e f u s e d the i n v i t a t i o n t o p a r t i c i p a t e , i n s i s t i n g t h a t he
29
n o t d e s i g n churches".
He was a l s o concerned that the s i t e would
30

not be amenable to h i s c o n s t r u c t i o n methods.

However, due to the

p r e s c i e n t v i s i o n and c o n v i c t i o n o f Canon Ledeur, Le C o r b u s i e r was

u l t i m a t e l y secured

f o r the p r o j e c t .

A l e t t e r dated

t h a t Canon Ledeur's p e r s i s t e n c e ensured

C o r b u s i e r and h i s concern

about such an u n d e r t a k i n g :
On

to

t h e Church's acceptance of Le

assuaged any doubts Le C o r b u s i e r may have had

31
Le C o r b u s i e r consequently

20 May 1950 Le C o r b u s i e r made h i s f i r s t

He made many sketches

6 May 1950 r e v e a l s

of t h e d e s t r o y e d

the s i t e w i t h i t s r u i n s .

reconsidered.

visit

t o the s i t e .

church which r e c o r d h i s response

The sketches

r e v e a l an i n t e r e s t

i n the

prominent

s i t i n g of the former church and a s e n s i t i v e concern f o r the

32

r e c o r d i n g of i t s most s a l i e n t f e a t u r e s .
may

I t was

t h i s response which

have subsequently worked upon h i s i m a g i n a t i o n .

to have changed h i s mind about

t r xp .
3

He was

a c c e p t i n g the commission

later

because

alleged
of t h i s

An i m p r e s s i v e g a t h e r i n g of d i g n i t a r i e s awaited Le C o r b u s i e r ' s p a r t i c i p a t i o n i n the r e b u i l d i n g of the s h r i n e .

In a d d i t i o n t o the Besancon

Commission f o r Sacred A r t , C l a u d i u s P e t i t , Mr.

J a r d o t , D i r e c t o r of the

Photographic A r c h i v e s i n P a r i s , Pere Regamey, and Pere C o u t u r i e r were a l s o

i n v o li v e dA .
In

the months t h a t f o l l o w e d a new

the e a r l i e r s i t e drawings
tion.

l e d to a f u l l

The r e s u l t i n g maquette was

first

s e r i e s of sketches premised

upon

three-dimensional conceptualizaseen by the members of the

Com-

35
m i s s i o n i n September, 1950.

P r i o r to t h i s o f f i c i a l u n v e i l i n g , Marcel

F e r r y and Abbe B o l l e - R e d d a t , l a t e r t o become r e s i d e n t p r i e s t

a t Notre-Dame-

du-Haut, and Mr. Mathey had seen the maquettes a t Le C o r b u s i e r ' s Rue

de

36
Sevres s t u d i o .

By t h i s time t h e r e were two maquettes, one of cardboard

i n d i c a t i n g i t s e x t e r i o r a s p e c t s and one of w i r e rods demonstrating

the

37
s t r u c t u r a l system.
models of the proposed

In November, 1951,

Archbishop Dubourg viewed

the

c h a p e l which e e l i c i t e d h i s s u r p r i s e and acknow-

ledgement of p o s s i b l e c o n t r o v e r s y .

He r e p o r t e d l y exclaimed:
"Eh b i e n ,
/
38
qu'est-ce q u ' i l s vont d i r e , mes v i c a r e s generaux".
Notwithstanding h i s
s u r p r i s e , the a r c h b i s h o p gave a u t h o r i t a t i v e s a n c t i o n t o the d e s i g n . I t
39
was then approved by the Besancon Commission i n January, 1951.
However,
40
d i s c u s s i o n c o n t i n u e d and a c t u a l c o n s t r u c t i o n was d e l a y e d .
In the i n t e r i m
the maquette was

p u b l i c a l l y d i s p l a y e d and debated w h i l e a number of

aging l e t t e r s passed between Le C o r b u s i e r and Canon Ledeur.

41

Two

encourproblems

had

to be d e a l t w i t h : the arrangement of f i n a n c e s and

the guarantee of

42
complete a r t i s t i c

freedom f o r Le C o r b u s i e r .

During

the p u b l i c d i s -

c u s s i o n t h a t f o l l o w e d the Besancon Commission's acceptance i n January,

and w h i l e correspondence passed between Canon Ledeur and Le

Corbusier,

some s t r u c t u r a l and minor c o m p o s i t i o n a l changes were made by Le

but at no

Corbusier,

time was

h i s c o n c e p t i o n f o r Notre-Dame-du-Haut s e r i o u s l y c r i 43
t i c i s e d by the p a r i s h i o n e r s .
By popular v o t e , the f i n a n c e s were

approved by the p a r i s h i n May,

44
1953.

1952.

C o n s t r u c t i o n began i n the s p r i n g of

10
CHAPTER I I

THE

PHILOSOPHICAL AND

THEOLOGICAL BACKGROUND TO

COMMISSION OF

I t i s the p r o p o s a l

THE

NOTRE-DAME-DU-HAUT

of t h i s t h e s i s t h a t Notre-Dame-du-Haut at

Ronchamp, f a r from b e i n g an anomaly r e s u l t i n g from a c a p r i c i o u s

a r b i t r a r y approach to form, was
guard, yet w e l l - c o n s i d e r e d ,
that t h i s t h i n k i n g was
We

can

a c t u a l l y a d i r e c t r e f l e c t i o n of van-

attitudes i n e c c l e s i a s t i c a l thinking

c a r e f u l l y i n t e r p r e t e d and

Roman C a t h o l i c Church from f o u r major s o u r c e s :

movement", o f f i c i a l e n c y c l i c a l s and

Regamey and

Corbusier.

c e n t u r y ideas

the c u r r e n t

of

the

"liturgical

d i r e c t i v e s , s p e c i a l i z e d and

popular

prominent French p r i e s t s such as Pere C o u t u r i e r ,

Canon Ledeur.

stances of the

and

expressed by Le

g a i n s i g n i f i c a n t i n s i g h t i n t o the t w e n t i e t h

l i t e r a t u r e , and

and

Pere

From these sources the p h i l o s o p h i c a l c i r c u m -

commission f o r Notre-Dame-du-Haut may

be a s c e r t a i n e d

and

t h e i r r o l e i n the c r e a t i o n of the c h a p e l suggested.

The

current

" l i t u r g i c a l movement" w i t h i n the Roman C a t h o l i c

Church, which began i n France i n the middle of the n i n e t e e n t h c e n t u r y ,

was

a powerful rejuvenating

i t s aim

f o r c e w i t h i n an o r g a n i z a t i o n which saw

the a c t i v e , i n t e l l i g e n t , and

people i n the

f r u i t f u l p a r t i c i p a t i o n of

l i t u r g y of the Church.'''

r i c h n e s s , beauty, and

communical c h a r a c t e r

t e x t s which i t prompted had

on a c t u a l p r a c t i c e and

The

i n t e r e s t i n the

the

growing awareness of

the

of l i t u r g i c a l p r a y e r s

diverse ramifications.

I t l e d to an

s p i r i t u a l l i f e of the

as

and
emphasis

faithful

2
and

hence to p a s t o r a l and

ment f l o u r i s h e d f i r s t

s c h o l a s t i c p u r s u i t s by

the c l e r g y .

The

move-

at Solesmes, France, then at St. A n d r e - l e z - B r u g e s ,

11
Belgium and f i n a l l y a t M a r i a Laach, Germany and K l o s t e r n e u b e r g , A u s t r i a .
I t was f i r s t g i v e n o f f i c i a l r e c o g n i t i o n w i t h t h e d i r e c t i v e s of Pope
P i u s X who s i m p l i f i e d and began p a r t i a l r e f o r m s of t h e l i t u r g y .

Essen-

t i a l l y , t h e aim was t o g i v e t h e l i t u r g y r e l e v a n c e t o contemporary

b i l i t y , and t o c r e a t e s i n c e r e e x t e r i o r and i n t e r i o r l i t u r g i c a l
pation.

partici-

The sense of community t o be a p p r e c i a t e d i n t h e Mass was a l s o

stressed.
the

sensi-

Most i m p o r t a n t was t h e b e l i e f t h a t a c t i v e p a r t i c i p a t i o n i n

s a c r e d mystery and i n t h e solemn p r a y e r of t h e Church was t h e f i r s t

3

and i n d i s p e n s a b l e s o u r c e of t h e t r u e C h r i s t i a n s p i r i t .
The l i t u r g i c a l movement caused a number of v e r y t a n g i b l e
I t emphasised

complete c o n s c i o u s n e s s o f t h e i m p l i c a t i o n s o f r i t u a l and

hence i n t e l l e c t u a l involvement and e d u c a t i o n a l f a c i l i t i e s .

the

changes.

I t prompted

f i r s t p u b l i c a t i o n o f m i s s a l s i n t h e v e r n a c u l a r and t h e s i m p l i f i c a 4

t i o n of r i t e s .

Numerous c o n f e r e n c e s and p u b l i c a t i o n s a l s o o c c u r r e d :

Dom Beauduin's " I I f a u d r o i t d e m o c r a t i s e r l a l i t u r g i e "

(1909), Herwegen's

Des K u n s t p r i n z i p der L i t u r g i e (1920), Pope P i u s X's T r a l e s o l l e c i t u d i n i

(1903), and Germany's R i c h t l i n i e n f u r d i e G e t a l t u n g des Gotteshauses
aus dem G e i s t e d e r romischen L i t u r g i e (1944).
i t s Centre de P a s t o r a l e l i t u r i q u e . ^

I n 1943 France e s t a b l i s h e d

Finally, significant

recognition

was g i v e n t o t h e e f f o r t s of t h e l i t u r g i c a l movement by Pope P i u s X I I i n

h i s M e d i a t o r D e i of 1947.
The l i t u r g i c a l movement s u p p o r t e d a p h i l o s o p h y m o t i v a t e d by a
liberal

i n t e r p r e t a t i o n o f Roman C a t h o l i c dogma w i t h an emphasis

more human, communal, and communicative a s p e c t s .

Although

on i t s

liturgical

r e v i t a l i z a t i o n was i n i t i a t e d a t Solesmes, F r a n c e ' s r o l e was t o remain

m a r g i n a l u n t i l a f t e r World War I I a t w h i c h t i m e i t became a s s o c i a t e d
w i t h Germany as t h e avant-garde of t h e movement.^

Furthermore, France

was

then r e c o g n i s e d f o r i t s unprecedented

experimentation i n various

means of f o s t e r i n g communal p a r t i c i p a t i o n i n the l i t u r g y , and

the

num-

g
ber of e p i s c o p a t e s i n f a v o u r of the movement.

A number of these

develop-

ments based upon l i t u r g i c a l r e f o r m had d i r e c t r e p e r c u s s i o n s i n church

c o n s t r u c t i o n d u r i n g the t w e n t i e t h c e n t u r y .

The f i r s t

evidence of the

e f f e c t of l i t u r g i c a l r e a p p r a i s a l on a r c h i t e c t u r e o c c u r r e d i n 1913
9
M a r i a Laach, Germany.
met

Here church members p r o p o s i n g a r e v i s e d

o t h e r members p r o p o s i n g a new

n i z e d t h e i r common concerns.
g o a l a new

approach

liturgy

t o church d e s i g n and

recog-

From t h a t date church d e s i g n had as i t s

form t h a t would respond

g i v e n t o the l i t u r g y .

at

to the v a r y i n g and new

conceptions

In Germany e s p e c i a l l y , p r i o r to World War

I I , new

s p a t i a l arrangements having l i t u r g i c a l symbolic s i g n i f i c a n c e i n p l a n

configuration developed.^
symbolism i n The Church

Rudolf Schwartz, who

Incarnate

(1938) was

c o d i f i e d h i s new

space

the major f i g u r e i n t h i s

development.^ ^
In

France the l i t u r g i c a l movement was

expressed

i n a r t forms such

as p a i n t i n g , s c u l p t u r e , and d e c o r a t i o n more d i r e c t l y than i n a r c h i t e c t u r a l planning.

Many :,iri> the French Church

porary e c c l e s i a s t i c a l a e s t h e t i c .
l'art
of

s a c r e (1913),

a g i t a t e d f o r a more contem-

F o l l o w i n g C i n g r i a ' s La Decadence de

Maurice Denis, w i t h D e s v a i l l i e r s , opened a s t u d i o

s a c r e d a r t which sought

t o i n v e s t a r t w i t h v i g o u r and

a r t i s t s w i t h a contemporary sense of brotherhood

13
t h a t of the M i d d l e Ages.

T h i s was

Munier's
Art

Une

and p i e t y comparable t o

supplemented by Denis' N o u v e l l e s

t h e o r i e s sur l ' a r t moderne, sur l ' a r t

lowed by M.

s a c r e (1914-1921) which was

B r i l l a n t ' s L ' A r t c h r e t i e n en France du XXe

E g l i s e N o u v e l l e au XXe

et cathoLtcisme

(1948).

to i n s p i r e

Siecle

Siecle

fol-

(1927),

(1932), and Pere C o u t u r i e r ' s

A l l the major r e l i g i o u s

commentators

concurred that contemporary

s a c r e d a r t i n a d e q u a t e l y r e p r e s e n t e d contem-

p o r a r y t h e o l o g i c a l and p h i l o s o p h i c a l i d e a l s .
Munier, who
was

With the e x c e p t i o n of

documented churches r a t h e r than c r i t i q u e d

them, a r c h i t e c t u r e

g i v e n l i t t l e a t t e n t i o n i n the quest f o r modern, l i t u r g i c a l l y

s i v e a r t forms.

Although Germany had a v e r y d i r e c t e d program f o r f i n d i n g

a r c h i t e c t u r a l ways of e x p r e s s i n g the new

not.

respon-

Although much post-EWorld War

l i t u r g i c a l concepts, France d i d

I r e b u i l d i n g was

c a r r i e d out and

the

14
officially
official
1952.

s u p e r v i s e d C h a n t i e r s du C a r d i n a l b u i l t much,

statements, or e x p e r i m e n t a t i o n w i t h new

no

directives,

forms appeared

until

15

With i n c r e a s i n g frequency one begins t o see open spaces, an

em-

p h a s i s on a c e n t r a l space, the e l i m i n a t i o n of i n t e r i o r encumbrances, and

a growing p o p u l a r i t y i n neo-Byzantine
i n g these a t t r i b u t e s . ^

churches c h a r a c t e r i s t i c a l l y

A l s o n o t i c e a b l e was

church b u i l d e r s t o a c c e p t new

possess-

the w i l l i n g n e s s of the French

m a t e r i a l s , modern a r t forms, and c o n s t r u c -

t i o n a l systems t h a t began t o a s s o c i a t e modernity w i t h the Roman C a t h o l i c

Church.

However, these a s p e c t s of church a r c h i t e c t u r e do not appear

have been d i r e c t l y i n s t i g a t e d by a c o n s c i o u s c o r r e l a t i o n w i t h t h e
i n t e r p r e t a t i o n d e v e l o p i n g f o r the l i t u r g y a t t h a t time.
there i s no reason t o suggest t h a t Notre-Dame-du-Raincy

a p p l i c a t i o n of l i t u r g i c a l

I I , was

i n any way

new

For i n s t a n c e ,
(Perret,

most o f t e n c i t e d as the t w e n t i e t h c e n t u r y accomplishment

a r c h i t e c t u r e p r i o r to World War

to

1923),

i n French

Church

designed as a c o n s c i o u s

reform.^

In o t h e r ways France c o n t i n u e d to encourage

the new

c o n s c i o u s and l i b e r a l i n t e r p r e t a t i o n of the l i t u r g y .

community-

At the same time,

the mood i n France a l l o w e d f o r r e g i o n a l v a r i a t i o n s and advocated r e s p e c t

18
f o r v e r n a c u l a r and n a t i o n a l b u i l d i n g s t y l e s .
I n c r e a s i n g l y , economic

r e s t r a i n t s placed

upon p r o j e c t s had c o n t r i b u t e d

posed c o n c r e t e , a r e d u c t i o n

to a g r e a t e r

use o f ex-

of ornamentation, and l e s s f r e q u e n t use of

p r e c i o u s and c o s t l y t r a d i t i o n a l m a t e r i a l s .

The French Roman

Catholic

Church r a t i o n a l i z e d t h i s tendency by a s s o c i a t i n g such e c o n o m i c a l l y m o t i v a t e d measures w i t h the s p i r i t u a l q u a l i t i e s of p o v e r t y , s i m p l i c i t y , and

honesty.(makingj-virtue o f . n e c e s s i t y ) . .

Similar s p i r i t u a l q u a l i t i e s i n -

formed the Worker P r i e s t movement, a French experiment which sent Dominican monks t o work as common f a c t o r y l a b o u r e r s

i n an attempt t o d e s t r o y

the b a r r i e r s between t h e c l e r g y and t h e f a i t h f u l .

19

In 1947 Pope P i u s X I I i s s u e d M e d i a t o r D e i , an important e n c y c l i 20

cal

o f t h e post-World War I I e r a .

I t gave o f f i c i a l

sanction

to the

aims and some of t h e r e s u l t s of t h e l i t u r g i c a l movement, i n c l u d i n g a

number of i t s a e s t h e t i c

ideals.

Thus, i n t h e v e r y year t h a t t h e p a r i s h

of Notre-Dame-du-Haut became concerned w i t h b u i l d i n g a church, Pope P i u s

XII

encouraged such u n d e r t a k i n g s w i t h o f f i c i a l s a n c t i o n s f o r church

building.
and

Not only

architecture

d i d t h e Pope endorse t h e encouragement of good a r t

i n church b u i l d i n g , but he a l s o approved the use o f some

21

modern s t y l e s o f a r t .
Mediator D e i o f 1947 supported a f u n c t i o n a l i s t approach t o space
where each f u n c t i o n

found e x p r e s s i o n i n t h e s t r u c t u r e .

A h i e r a r c h y of

s p a t i a l arrangement was a l s o recommended but by t h e s p a t i a l i n t e g r a t i o n

of w e l l d e f i n e d

areas eschewing a b s o l u t e s e p a r a t i o n .

Certain q u a l i t i e s

of space and b u i l d i n g f a b r i c were a l s o suggested and t h e v a r i e t i e s o f

22
human responses needing a r c h i t e c t u r a l c o n s i d e r a t i o n

were i n d i c a t e d .

i t a t i v e space as a p h i l o s o p h i c a l need and t h e r e f o r e

consideration

was g i v e n g r e a t

Med-

as an a r c h i t e c t u r a l

emphasis.

N o t w i t h s t a n d i n g t h i s r a t i o n a l approach, t h e Pope a l s o acknowledged

15
the

importance of the

sensual

a s p e c t s of r e l i g i o u s e x p e r i e n c e , " f o r

every impulse of the human heart

expresses i t s e l f

through the

Moreover, Pope P i u s XII a t t r i b u t e d many a s p e c t s of the

senses".

23

l i t u r g y to d e v e l o p -

24
ments i n the f i n e a r t s .
c a t i v e and

Mediator D e i emphasised the n e c e s s a r y communi-

i n t e g r a l r o l e which the

l i f e of the

faithful.

C a t h o l i c Church was

f i n e a r t s played

C l e a r l y , i n 1947

i n the

the h i g h e s t

spiritual

authority

i n the

i n t e r e s t e d i n a e s t h e t i c s , f u n c t i o n , modernity,

the humanist t r a d i t i o n w i t h r e g a r d

to man's c o n t r i b u t i o n to church

Many of the a r c h i t e c t u r a l s u g g e s t i o n s made i n M e d i a t o r D e i

fulfilled

by Le C o r b u s i e r ' s

conceived space was

Le C o r b u s i e r
was

usual p r a c t i c e s .

p a r t of Le C o r b u s i e r ' s

The

importance to Le C o r b u s i e r

The

t h a t he

be

of space which

than a s e r i e s of spaces w e l l

need f o r m e d i t a t i v e space was

included

could

architecture.

a l s o advocated a h i e r a r c h i a l o r g a n i z a t i o n

defined with enclosing walls.

ritual.

concept of f u n c t i o n a l l y
25

t h e o r y of

i n t e g r a t e d w i t h i n a s i n g l e volume r a t h e r

and

of

such

such areas w i t h i n h i s domes-

26
t i c buildings./

Although Le C o r b u s i e r

emphasised i n t e l l e c t u a l

ment as c e n t r a l to a r c h i t e c t u r e , he d i d not
H i s c o n s c i o u s n e s s of " p s y c h o p h y s i o l o g i c a l "

psychological

response to s t i m u l i ) and

Le C o r b u s i e r

was

also recognized

communal b e n e f i t of urban and

responses

for p l a s t i c i t y

(kinesthetic

indicate

daycare c e n t r e s ,

r u r a l l a n d , a i r , and

h i s p r o j e c t s f o r a "Radiant C i t y " were w e l l known i n 1950.

work thus c o i n c i d e d w i t h a pronounced i n t e r e s t by
and

parishioners

i n the

and
27

this.
Schemes

plans f o r
greenery,
Le

and

Corbusier's

church a u t h o r i t i e s

s o c i a l r o l e of the church as r e f l e c t e d i n

expanded view of the p a r i s h church b u i l d i n g as one

complex of f u n c t i o n s :

aspects.

f o r h i s s o c i a l concerns.

f o r worker's houses, apartments p r o v i d i n g

assuring

deny i t s s e n s u a l

involve-

the

which should i n c l u d e

meeting rooms, s p o r t s a r e a s , daycare

facilities,

16
classrooms, and s i t e p l a n n i n g r e s p o n s i v e t o suburban c o n t e x t s . 28

More-

over, some r e l i g i o u s l i t e r a t u r e p r e s e n t i n g t h i s v i e w p o i n t c i t e d Le

29
Corbusier f o r t h e o r e t i c a l

support.

The v e r y p r e s s i n g t h e o l o g i c a l problem

of accommodating the i n d i v i -

d u a l as "a stone of the c h u r c h " w i t h i n the l a r g e r i d e n t i t y of the church

" e d i f i c e " was i m p l i c i t

i n many of the comments made w i t h r e g a r d t o space

30
i n Mediator D e i .

The r e l a t i o n s h i p of the i n d i v i d u a l to the community

was a l s o a c e n t r a l p h i l o s o p h i c a l and d e s i g n problem

expressed by Le

C o r b u s i e r which can be seen as a s e c u l a r c o u n t e r p a r t t o the Church's

problem

of a s s u r i n g the l a i t y ' s r o l e i n the l i t u r g y .

No d i r e c t r e l a t i o n s h i p between the d i r e c t i v e s i n Mediator D e i and

the p h i l o s o p h y of Le C o r b u s i e r can be e x p l i c i t l y s t a t e d .
i n g accords i n g e n e r a l o u t l o o k suggest

t h a t a common meeting

e x i s t e d where both Le C o r b u s i e r and the C a t h o l i c Church

cooperate.

However, s t r i k - .
ground

could p r o d u c t i v e l y

I t i s l i k e l y t h a t a r e a l i z a t i o n of these concurrences were

31
important

i n Le C o r b u s i e r ' s c o n s i d e r a t i o n of the commission.

S p e c i a l i z e d and g e n e r a l p u b l i c a t i o n s a l s o impressed
f u l the importance

of a r c h i t e c t u r e and a r t i n f u l f i l l i n g

ments t o t h e f a i t h .

In 1946

upon t h e f a i t h their

commit-

t h r e e s p e c i a l i s s u e s of L ' A r t Sacre f o c u s s e d

32
on the problem
In 1947

and m e r i t s of d e s i g n i n g and r e b u i l d i n g p a r i s h

churches.

Germany p u b l i s h e d i t s D i r e c t i v e s f o r church b u i l d i n g which were

to remain r e l e v a n t as l a t e as 1954

when they were adopted

i n North

America

33
by a conference h e l d i n W i s c o n s i n .

V a r i o u s i s s u e s s u r r o u n d i n g the con-

s t r u c t i o n of churches - s o c i a l , t h e o l o g i c a l , and l i t u r g i c a l - were i n c r e a s i n g l y prominent

f e a t u r e s i n r e l i g i o u s p e r i o d i c a l s and were o f t e n d i s c u s s e d

i n French newspapers.

The newspaper Le Monde f r e q u e n t l y and p r o m i n e n t l y

f e a t u r e d r e p o r t s on t h e l a t e s t a r c h i t e c t u r a l u n d e r t a k i n g s of the French

C a t h o l i c Church, thus u n d e r l i n i n g the Church's endeavours as

being

34
both t o p i c a l and

important.

Pere C o u t u r i e r , Pere Regamey, and

t i c a l l y and

r e l i g i o u s l y relevant viewpoints

consequences on Notre-Dame-du-Haut.
who

Canon Ledeur d i s s e m i n a t e d

endeavoured to r e j u v e n a t e

about a r t which were to have

Pere C o u t u r i e r was

a Dominican monk

the French Roman C a t h o l i c Church by

35

i n c o r p o r a t i o n of modern a r t i n r e l i g i o u s e s t a b l i s h m e n t s .
he wrote t h r e e books:
Garder
M.

aesthe-

Chroniques

the

To t h a t

end

(1946), A r t et c a t h o l i c i s m e (1948), Se

L i b r e (1962), as w e l l as a monograph on a M o n t r e a l a r c h i t e c t

Perizeau

(1945), and

a number of a r t i c l e s which were p u b l i s h e d i n

36
France, the U n i t e d S t a t e s , and Canada.
Most s i g n i f i c a n t was h i s co/
37
e d i t o r s h i p of L ' A r t Sacre which began i n 1937.
T h i s and other j o u r n a l s
became convenient media through which he proclaimed h i s f a r - r e a c h i n g
38
p o l i c y of "aux

grands homines l e s grandes choses".

Pere C o u t u r i e r was

p e r s o n a l l y i n v o l v e d i n the f i n e a r t s .

as a p a i n t e r , s t u d y i n g at the s c h o o l of Denis and D e s v a i l l i e r e s

39
taking orders

i n 1925.

s u i t which i n v o l v e d him

He

He

began

before

l a t e r s p e c i a l i z e d i n s t a i n e d g l a s s , a pur-

i n his f i r s t

controversial a r t i s t i c

endeavour

40
i n 1938.
He wrote h i s f i r s t and o n l y a r t i c l e t h a t was o s t e n s i b l y
A
41
focussed on a r c h i t e c t u r e p r i o r to Notre-Dame-du-Haut i n 1938.
This
was concerned almost e n t i r e l y w i t h d e c o r a t i o n .
In h i s l a t e r w r i t i n g s on
the c o n t r o v e r s i a l p r o j e c t s at Assy

(1938-1950), Audincourt

(1950-1952),
42

and

Vence (1948-1950) he d i d not

concern h i m s e l f w i t h a r c h i t e c t u r e .

However, h i s employment of non-Roman C a t h o l i c a r t i s t s ,

t i c Bonnard and

the communists L u r c a t and

l i s h e d a precedent f o r Le C o r b u s i e r ,
43
Dame-du-Haut.

such as the agnos-

Leger at A u d i n c o u r t ,

estab-

l i k e w i s e a n o n - c a t h o l i c , at N o t r e -

18
The
Corbusier

first

documented encounter between P^re C o u t u r i e r and Le

occurred

i n 1925 when both were i n v o l v e d i n t h e Union des

A r t i s t e s Modernes.

I n t e r m i t t e n t meetings between t h e two f o l l o w e d and

\
were recorded

44

i n Pere C o u t u r i e r ' s d i a r y o f 1947-1954.

A l s o , both were

45
i n v o l v e d i n an e x t r a o r d i n a r y church p r o j e c t a t Sainte-Baume i n 1947.
L a t e r Pe*re C o u t u r i e r was t o r e f e r t o Le C o r b u s i e r ' s

optimistic social

46
g o a l s which were o f t e n repeated

i n t h e pages of L ' A r t Sacr.

During

the c o n s t r u c t i o n o f Notre-Dame-du-Haut i n 1953 t h e p r i e s t was i n t i m a t e l y

i n v o l v e d w i t h Le C o r b u s i e r

i n t h e d e s i g n i n g o f t h e monastery o f S a i n t e -

47
Marie-de-la-Tourette.

Le C o r b u s i e r

At t h i s time t h e p r i e s t a p p a r e n t l y i n s t r u c t e d
48
x

i n much Roman C a t h o l i c p h i l o s o p h y .

I n 1953 Pere C o u t u r i e r

wrote an a r t i c l e on Notre-Dame-du-Haut f o r L ' A r t Sacre t h a t was t o become the b a s i s f o r much of t h e t e x t o f the Forces V i v r e s p u b l i c a t i o n
Le L i v r e de Ronchamp (1961) which was l a t e r p u b l i s h e d under the d i r e c t i o n

49
of Le C o r b u s i e r .
The

1953 a r t i c l e i s t h e f i r s t

C o u t u r i e r had w i t h t h e c h a p e l .

known d i r e c t

c o n t a c t t h a t Pere

However, t h e r e was p r i v a t e

correspon-

dence between Le C o r b u s i e r and Pere C o u t u r i e r thoughout the p r o j e c t and

i t was Le C o r b u s i e r ' s

f e a r of unwanted p u b l i c i t y w i t h

i t s possibility

of j e o p a r d i z i n g t h e commission which d e t e r r e d the p r i e s t

public participation."^
his

from a c t i v e

I t i s l i k e l y t h a t i n an i n d i r e c t way, through

use of modern and o f t e n n o n - c a t h o l i c a r t i s t s , and d i r e c t l y by comments

made p r i v a t e l y t o Le C o r b u s i e r , he i n f l u e n c e d the events as they

devel-

oped a t Notre-Dame-du-Haut.
Pere C o u t u r i e r ' s a c t i o n s and h i s p o l i c y o f u s i n g
a r t i s t s r a i s e d fundamental q u e s t i o n s
nature

non-catholic

about t h e c r e a t i v e a c t and t h e

of d i v i n e i n s p i r a t i o n f o r which he was t o s u f f e r heavy

criticism

from Rome and from prominent Church figures."''''

He a l s o endured

the cen-

sure brought a g a i n s t t h e Dominican Order f o r t h e i r s o c i a l aims,

particu-

52
larly

the Worker's P r i e s t Movement.

The importance of h i s involvement i n modern a r t t o the commission of

Notre-Dame-du-Haut i s t w o f o l d .

First,

Pere C o u t u r i e r p r e s e n t e d an accep-

t a b l e precedent f o r t h e s u c c e s s f u l p a r t i c i p a t i o n between the Church and

53
modern a r t i s t s .

Secondly, he was a p e r s o n a l i t y ,

"un brave type",

w i t h whom Le C o r b u s i e r shared many o b j e c t i v e s - s o c i a l , a r t i s t i c , and

personal.

Indeed, t h e a r c h i t e c t had r e c e i v e d P a p a l d i s a p p r o v a l w i t h Pere

C o u t u r i e r and t h e Dominicans because of h i s involvement a t Sainte-Baume

54
and c o u l d t h e r e f o r e e a s i l y i d e n t i f y w i t h the much-berated
The commission

Dominicans.

thus a l l o w e d Le C o r b u s i e r t o a l i g n h i m s e l f w i t h a c u l t u r a l -

l y and a r t i s t i c a l l y

r e l e v a n t avant-garde.

C h a r l e s Jencks, i n Le C o r b u s i e r :

A T r a g i c View o f A r c h i t e c t u r e , p o i n t s out t h a t such a c r u s a d i n g s t a n c e

was an important p a r t of Le C o r b u s i e r ' s c h a r a c t e r . T h a t Le C o r b u s i e r
i n t e r p r e t e d the Notre-Dame-du-Haut commission

i n such terms i s e v i d e n t i n
56

s e v e r a l l e t t e r s w r i t t e n t o o t h e r s i n v o l v e d i n the p r o j e c t .
the

Therefore,

c o n t r o v e r s i a l and urgent p r o p o s a l e n t a i l e d i n t h e commission,

partly

r e s u l t i n g from Pere C o u t u r i e r ' s past a c t i o n s , may have i n f l u e n c e d Le

C o r b u s i e r ' s enthusiasm f o r t h e p r o j e c t .
The importance of Pere Regamey to t h e commission

of Notre-Dame-du-

Haut i s i n t i m a t e d i n t h e f i n a l pages of The Chapel a t Ronchamp

a p u b l i c a t i o n d i r e c t e d by Le C o r b u s i e r .

(1957),

He was among those men t o whom

Le C o r b u s i e r p a i d s p e c i a l t r i b u t e f o r the p a r t they p l a y e d i n t h e r e a l i z a t i o n of t h e c h a p e l . " ^

Many r e f e r e n t i a l statements t o Pere Regamey e x i s t

58
i n Le C o r b u s i e r ' s correspondence throughout the u n d e r t a k i n g .
Pere Regamey began h i s involvement i n t h e a r t s w i t h h i s e d u c a t i o n

20
at

/
59
L E c o l e du Louvre i n 1900.

s e c u l a r realm:

Hisartistic

i n t e r e s t s continued

from 1926 t o 1928 he was t h e a t t a c h e

i n the

t o t h e department

of p a i n t i n g a t t h e Louvre, where he worked i n c o l l a b o r a t i o n w i t h P a u l Jamot.

He became a prominent advocate of r e l i g i o u s and a e s t h e t i c reform
when he became c o - e d i t o r of L ' A r t

Sacre w i t h Pere C o u t u r i e r .

i n 1937

They were

60
former students

o f t h e same seminary.

His f i r s t

La Q u e r r e l l e des V i t r a u x , dated from 1937.*^

known combative

article,

I t was a defense of t h e

modern s t y l e of Pere Couturier,'s s t a i n e d g l a s s a d d i t i o n s t o Notre-Dame-deP a r i s i n which he i n t r o d u c e d

contemporary a r t i s t i c

i s s u e s and answered

c r i t i c i s m s w i t h t h e o l o g i c a l j u s t i f i c a t i o n s and a e s t h e t i c

explanations.

H i s s t a t e d aim f o r L ' A r t

Sacre was t o make i t a s t r i d e n t v o i c e

62
a g a i n s t m e d i o c r i t y , " k i t s c h " , h i s t o r i c i s m , arid c o n v e n t i o n .
He was a l s o
c r i t i c a l o f p i o u s obeisance, c h a r a c t e r i z i n g i t as s e n t i m e n t a l ,
unexalted,
and

t o t a l l y unrelated

declared

t o the r e a l i t i e s o f modern s e n s i b i l i t i e s .

f a i t h a poor excuse f o r 'bad'

63

He

a r t and wrote d i s p a r a g i n g l y o f c o n 64

temporary r e l i g i o u s a r t i s t s and a r c h i t e c t s .

Throughout t h e 1940s and

1950s he r e i t e r a t e d these unorthodox views i n t h e pages o f L ' A r t

Sacr as

w e l l as La V i e I n t e l l e c t u e l l e , P a r t i s a n Review, La C r o i x , and Recherches

et

debats.

I n a d d i t i o n , he gained

some i n t e r n a t i o n a l reknown w i t h

articles

t h a t appeared i n L i t u r g i c a l A r t s and t h e J o u r n a l o f A r t s and L e t t e r s . ^

In 1945 Pere Regamey was a member of t h e C o n s e i l A r t i s t i q u e des
Musees de France and from t h i s time h i s e f f o r t s t o b r i n g about a r e n a i s sance i n t h e s a c r e d a r t s i n t e n s i f i e d .
were d e d i c a t e d

to t h e q u e s t i o n

marked an important departure

I n 1946 t h r e e i s s u e s of L ' A r t

of contemporary church a r c h i t e c t u r e .
f o r Pere Regamey and Pere C o u t u r i e r :

Sacre
This
archi-

t e c t u r e became a p a r t of t h e i r a p o s t o l i c a s p i r a t i o n s f o r a renewed r e l i g i o u s
art.

I t was a t t h i s time t h a t Pere Regamey f i r s t

included a r c h i t e c t s i n

21
P e r e C o u t u r i e r ' s p r o p o s a l "aux grands homes, l e s grandes

choses".

Pere Regamey c o n t i n u e d the a p p l i c a t i o n of L ' A r t Sacre's

renovation

program to a r c h i t e c t u r e when he spoke b e f o r e the Congress f o r the Recon66

s t r u c t i o n of Churches a t a symposium h e l d a t Rotterdam i n 1948.
the same year he supported

In

the c o n t r o v e r s i a l Sainte-Baume p r o j e c t and

thereby a c q u i r e d a r e p u t a t i o n as a r a d i c a l among c l e r i c s and l a i t y .

was a l s o i n 1948

It

t h a t h i s prominence w i t h i n the s e c u l a r a r c h i t e c t u r a l

community began.
P a u l Vago, e d i t o r of L ' A r c h i t e c u r e d ' A u j o u r d ' h u i ,
t h u s i a s t i c a l l y supported

p r e s e n t e d and

en-

P e r e Regamey's i d e a s i n the October i s s u e , 1 9 4 8 . ^

In the f o l l o w i n g y e a r Pere Regamey was

f e a t u r e d among the new

patrons

t h u s , by i n f e r e n c e , shared i n the aim of t h e j o u r n a l , w h i c h was

and

"to o r i e n t
68

one's f o r c e s t o the f u t u r e o f an a r c h i t e c t u r e d e s e r v i n g of modern t i m e " .

" W e l l known among t h e b e s t a r c h i t e c t s , " Pere Regamey was

p i c t u r e d as a

c o n f r e r e s h a r i n g i n s i m i l a r g e n e r a l a s p i r a t i o n s f o r a r c h i t e c t u r e expounded
69
by Niemeyer, S e r t , G i e d i o n , Le C o r b u s i e r , and A a l t o .

Vago's i n t e r e s t

served t o p r o p e l Pere Regamey and h i s endeavours f o r a modern c h u r c h

b u i l d i n g i n t o the c o n s c i o u s n e s s
for

a modern a r c h i t e c t u r e .

of the a r c h i t e c t s who

were a l s o c r u s a d i n g

I n an a r t i c l e i n L ' A r c h i t e c t u r e

d'Aujourd'hui,

Vago a s s u r e d h i s r e a d e r s t h a t church a r c h i t e c t u r e had i t s p l a c e among

the b u i l d i n g types worthy of the modern a r c h i t e c t ' s
In

concern.^

1952 P e r e Regamey p u b l i s h e d L ' A r t Sacre au XXe

dium of h i s p r e v i o u s l y p u b l i s h e d major t h e m e s . ^

S i e c l e , a compen-

This i s a

convenient

source from w h i c h Pere Regamey's e x p e c t a t i o n s about t h e a c t u a l appearance

of a t w e n t i e t h - c e n t u r y

church may

be e x t r a p o l a t e d .

Pere Regamey emphasised t h a t the c o n t r o v e r s i a l churches a t A s s y ,

A u d i n c o u r t , and Vence " j u s t express a c o n v i c t i o n t h a t o n l y the b e s t

will

22
do...", they a r e not to be understood as p r o t o t y p e s .
Raincy he s t a t e d t h a t i t was

72

Of Notre-Dame-du-

" o n l y one p o s s i b l e s o l u t i o n and by no means

73
the o n l y one,

or the b e s t " .

K a r l s k i r c h e by Metzger;

He r e f e r r e d to o n l y Notre-Dame-du-Raincy;

S t . M i c h a e l , Dornac; A l l S a i n t s , B a s e l , by

Baur;

and N o t r e - D a m e - d e - l a - T r i n i t e , B l o i s , by Rouvier, as r e a l l y good examples

74
of

modern a r c h i t e c t u r e f o r t h e i r time.

But these were e s t i m a t e d as p r e -

c u r s o r s of an e v e n t u a l r e a l i z a t i o n , not the i d e a l modern church

itself.

He a l s o c i t e d the p r e f a b r i c a t e d churches of B a r t n i g i n Germany as "very

s u c c e s s f u l " and i n d i c a t e d a p r e f e r e n c e f o r undecorated
ostentatious e f f e c t s . ^

More g e n e r a l l y , he f e l t

best p r e s e n t i t s a c c o r d w i t h the r e a l i t i e s
s i t u a t i o n i n the contemporary

s u r f a c e s and

un-

t h a t the church c o u l d

( e s p e c i a l l y economic) of i t s

world by eschewing

conspicuous s i t i n g

and

76
great s i z e .

For the i n t e r i o r he promulgated

w i t h o n l y the a l t a r and c r u c i f i x as predominant

merely an ample

appurtenances.^

Pere Regamey p r e s e n t e d a number of a r c h i t e c t u r a l and

concepts which, however unorthodox

they may

space

have appeared

aesthetic
to h i s r e l i g i o u s

c o n f r e r e s a t t h a t time, were w e l l known to those i n v o l v e d w i t h contemporary a r c h i t e c t u r a l theory.

He advocated pure forms determined

by
78

s t r u c t u r e , m a t e r i a l s , and f u n c t i o n i n s t e a d of c o n v e n t i o n or h i s t o r i c i s m .
He expressed h i s a e s t h e t i c i d e a l s i n terms such as harmony, p r o p o r t i o n , '
an attendance to l i n e

and rhythm, p o w e r f u l and b e a u t i f u l volumes and

masses, and an i n g e n i o u s d i s t r i b u t i o n of l i g h t and shadow.

same c r i t e r i a used by such prominent
H i t c h c o c k and P. Johnson

These a r e the

a r c h i t e c t u r a l h i s t o r i a n s as

H.-R.

i n t h e i r d i s c u s s i o n o f modern s t y l e i n a r c h i t e c -

t u r e i n t h e i r seminal work The I n t e r n a t i o n a l S t y l e i n 1932.

c o n t i n u e s to use these c r i t e r i a .

Hitchcock

By means such as t h e s e Pere Regamey

c a l l e d upon a r c h i t e c t u r e to c r e a t e atmospheres conducive to m e d i t a t i o n

and overpowering j o y , to e x a l t the best i n man,

to be u n i v e r s a l i n

a p p e a l , to be p r o v o c a t i v e o f the m y s t e r i o u s , and to be u n i f y i n g ,

mystical,

79
and t h e o l o g i c a l i n e f f e c t .

He a l s o advocated

"logical

construction"

as an a l t e r n a t i v e to the i l l o g i c a l c o n s t r u c t i o n of p a s t i c h e .

He

felt

p a s t i c h e was d e t r i m e n t a l to the e x p r e s s i o n of a contemporary s e n s i b i l i t y

and t o a spontaneous, c o n t i n u o u s , and p e r s o n a l epiphany.
Although he
i m p l i e d a r a t i o n a l approach t o a r c h i t e c t u r e and s t a t e d t h a t a r t must
a p p e a l to the mind, he a l s o c a l l e d f o r d e s i g n informed by i n t u i t i o n s

and

80
"not r e a s o n " .

Moreover,

w i t h opposing images:

he had a penchant

f o r d e s c r i b i n g the church

the s e c l u d e d v e r s u s the open; the church c l o s e d

81

upon i t s e l f ,

o f f e r i n g s h e l t e r , and the church open t o the w o r l d .

Pere Regamey's i n t e r e s t
w i t h h i s r e l i g i o u s concerns.

i n the f i n e a r t s was
He b e l i e v e d man

closely

involved

had l o s t the a b i l i t y t o

e x p e r i e n c e a p e r s o n a l epiphany and to m e a n i n g f u l l y p a r t i c i p a t e i n and

82
b e n e f i t from the t r a n s c e n d e n t a l e x p e r i e n c e which u n i t e d a l l men,
and
he understood a r t to be a t o o l by which

such transcendence c o u l d

be

83
effected.

Consequently he b e l i e v e d t h a t the i n a b i l i t y

to p e r c e i v e

the e x a l t e d r o l e of a r t and the i n a b i l i t y t o t r u l y e x p e r i e n c e r e l i g i o u s

transcendence were r e l a t e d i l l s .

I t was

to overcome these d e f i c i e n c i e s

i n man's s p i r i t u a l b e i n g t h a t he sought t o educate the g e n e r a l populace

and c l e r g y i n matters p e r t a i n i n g t o man's a e s t h e t i c w e l l b e i n g .
These would be the b a s i c i d e a s and thought which one would
r e a d i n g the a r t i c l e s w r i t t e n by Pere Regamey, or working

encounter

f o r him.

While

they are vague and u n s p e c i f i c , they do o f f e r a number of i n t e r e s t i n g

and important parameters.

He advocated complete l i b e r t y f o r the a r t i s t

based upon knowledge of a e s t h e t i c m a t t e r s , t h e use of a r t i s t s and

archi-

t e c t s o u t s i d e the f a i t h , the supremacy of genius and i n t u i t i o n over

faith

24
and dogma, and a s t r o n g i d e n t i f i c a t i o n of contemporary church

architec-

t u r e w i t h the aims of s e c u l a r a r c h i t e c t u r e and a r c h i t e c t s of the

garde.

Most e m p h a t i c a l l y , however, he expressed

contemporary m i l i e u of church a r c h i t e c t u r e and

as t o what modern church a r c h i t e c t u r e should
Canon Ledeur,
was

avant-

a discontent with
the u n r e s o l v e d

the

position

be.

as head of the Commission f o r Sacred A r t a t Besancon,

the person most a c t i v e l y i n v o l v e d i n the c h o i c e of a r c h i t e c t f o r N o t r e -

Dame-du-Haut.

84

He,

\
l i k e the t h e o r i s t p r i e s t Pere C o u t u r i e r , a l s o

b e l i e v e d t h a t a e s t h e t i c e x c e l l e n c e whould be g i v e n p r i o r i t y over

the

85
n e c e s s i t y of choosing an a r c h i t e c t of f a i t h .

In s e l e c t i n g Le C o r b u s i e r ,

Canon Ledeur chose an a r c h i t e c t whose works and

t h e o r i e s were v e r y

accessible.

He would have undoubtedly

Sainte-Baume involvement

and

been aware of Le C o r b u s i e r ' s

the U n i t e d ' H a b i t a t i o n a t M a r s e i l l e s - each

with i t s attendant c o n t r o v e r s i e s .

Canon Ledeur would a l s o have been

f a m i l i a r w i t h Le C o r b u s i e r ' s n o t i o n s about town p l a n n i n g i n which the

optimism of a s o c i e t y working t o g e t h e r i n harmony and j o y was expressed,
and which was e n t i r e l y compatible w i t h the post-World War I I o u t l o o k of
the C a t h o l i c Church, e s p e c i a l l y the Dominicans.
1951

Canon Ledeur was

87

Indeed, by March of

w e l l v e r s e d i n Le C o r b u s i e r ' s work and

d u r i n g p u b l i c l e c t u r e s h e l d at Ronchamp.

88

The

quoted

him

s e l e c t i o n of Le C o r b u s i e r ,

t h e r e f o r e , gave Canon Ledeur the o p p o r t u n i t y f o r a f a s c i n a t i n g d i a l o g u e

89
w i t h a major a r c h i t e c t on the l i t u r g i c a l meaning of " f u n c t i o n a l i s m " ,
and augured an i d e a l p a t r o n - c l i e n t
Canon Ledeur supported

relationship.

Pere C o u t u r i e r and Pere Regamey i n t h e i r

aims "to b r i n g t o an end by means of a d i r e c t achievement, the

d i v o r c e which f o r the past c e n t u r y
living art".

And

86

(had) separated the Church

i n doing t h i s , " t o l e a v e no stone unturned:

absurd
from
to a p p e a l

25
to the g r e a t e s t independent

a r t i s t s no matter what t h e i r p e r s o n a l

con-

90
victions".

Ledeur f e r v e n t l y pursued

these aims w i t h seminars

and
A

e x h i b i t i o n s on modern a r t p r i o r to Le C o r b u s i e r s involvement

at Notre-

91
Dame-du-Haut.
Ledeur a l s o formulated a p h i l o s o p h i c a l c o n s t r u c t i n which he
j u s t i f i e d h i s commitment
a e s t h e t i c and

to a e s t h e t i c e x c e l l e n c e and o u t l i n e d h i s

spiritual ideals.

The

f o l l o w i n g q u o t a t i o n s summarize

some of those i d e a l s , and e l u c i d a t e h i s concept

of the p a t r o n .

For a

p r e s e n t a t i o n of these i d e a l s I r e l y h e a v i l y on a l e n g t h y a r t i c l e which, a l though p u b l i s h e d i n 1960,

i s a c o n s i s t e n t and c o n c i s e restatement

i d e a s found i n p r e c e d i n g s m a l l e r a r t i c l e s and

i n private

of

those

correspondence.

The t r a n s l a t i o n s a r e mine.
As p a t r o n , he s p e c i f i e d t h a t :
For our p a r t , l e t us d e f i n e a program, t h a t i s t o say a f u n c t i o n ,
which takes i n t o account u n i v e r s a l l i t u r g i c a l r u l e s and a t the
same time, of course, a l l l o c a l , p a s t o r a l , f i n a n c i a l f a c t s , e t c .
Even more deeply w i t h i n o u r s e l v e s , l e t us attempt t o s p e c i f y i n
what s p i r i t we would l i k e the work to be c o n c e i v e d , g i v e n the
community and what we o u r s e l v e s a r e . But then l e t us l o o k f o r
a t r u e master of h i s a r t .
Ledeur j u s t i f i e d h i s a b d i c a t i o n of complete d e s i g n c o n t r o l w i t h a
c r i t i c i s m of c o n v e n t i o n a l patronage

practice:

In r e a l i t y the a r c h i t e c t i s o f t e n chosen f o r reasons, of l e t

us say l o c a l p r o p r i e t y . In g e n e r a l he does not g i v e any guarantees
c o n c e r n i n g church c o n s t r u c t i o n . But one always b e l i e v e s one has
the o p t i o n of having the p l a n s c o r r e c t e d by some competent person.
C e r t a i n l y the f u n c t i o n can be d i s c u s s e d , the p l a n s m o d i f i e d .
But how can one hope to improve on the forms o r the volumes?
That
i s stun^d and r i d i c u l o u s .
Choice (of the a r c h i t e c t ) i s e v e r y thing.
Ledeur then s t a t e d the c o n d i t i o n s f o r the c h o i c e of a r c h i t e c t which
were s i n c e r i t y and
aspirations.

full

He a l s o

consciousness

specified:

i n terms of d e s i g n and

spiritual

Of course t h i s a l s o r e q u i r e s an involvement on t h e p a r t o f those

who commission the work. The promoter must t h e r e f o r e know and
QA

have a p p r e c i a t e d he whom he has chosen.

Furthermore

Ledeur

i n d i c a t e d t h a t these i d e a l s were i n e f f e c t a t

Notre-Dame-du-Haut:
Thus f o r Ronchamp, we were a b l e t o say t o Le C o r b u s i e r , "We know
v e r y w e l l t o whom we have come. We have not come t o t e l l you t o
do t h i s t h i n g o r t h a t t h i n g . We have come t o t e l l you:
We need
a c h a p e l that f u l f i l l s such and such a c o n d i t i o n .
As f o r t h e
r e s t , we know who you a r e . We have chosen you; t r y t o propose
something f o r u s " You see, t h a t suggests a r e a l involvement on
our part.95
Ledeur's d e f i n i t i o n of f u n c t i o n i n terms of program, economy, s o c i a l
aims, and a broad c o n c e p t i o n o f l i t u r g i c a l
of

broad v i s i o n and f l e x i b i l i t y .

enormous freedom

r u l e s showed him t o be a man

These q u a l i t i e s a l l o w e d Le C o r b u s i e r

t o e x e r c i s e h i s a e s t h e t i c and i n t e l l e c t u a l judgment i n

the t a s k s o f d e s i g n .

Although Le C o r b u s i e r was informed of t h e concept,

p o e t r y , and t h e o l o g y o f t h e V i r g i n by Ledeur, he was not r e s t r i c t e d w i t h

96
r e g a r d to forms, s t r u c t u r e o r m a t e r i a l s .
adhered

I n s t e a d , Ledeur s c r u p u l o u s l y

to h i s t h e o r y t h a t the p a t r o n s h o u l d s p e c i f y f u n c t i o n a l

parameters

only.
Ledeur used h i s r o l e as p a t r o n t o safeguard the t h e o l o g i c a l and
liturgical

requirements o f Notre-Dame-du-Haut and to e s t a b l i s h i n t h e

97

c h a p e l t h e a p p r o p r i a t e contemporary

f e a t u r e s o f worship

and s e n s i b i l i t y .

To a c c o m p l i s h t h e l a t t e r he was w i l l i n g t o f o r e g o h i s d i c t a t o r i a l p r e r o g a t i v e s as p a t r o n i n the b e l i e f t h a t t h e g e n e r a l knowledge o f f e r e d by contemporary

c u l t u r e , through the medium o f Le C o r b u s i e r , would o p e r a t e

advantageously and s u c c e s s f u l l y .
Le C o r b u s i e r was encouraged

Comments made by Ledeur

i n d i c a t e that

t o draw upon h i s broad c u l t u r a l knowledge

98

and t o r e f e r to the whole spectrum o f r e l i g i o u s s i t e s i n h i s d e s i g n .

T h i s shows a w i l l i n g n e s s on t h e p a r t o f t h e Church t o a l l o w p o p u l a r

b e l i e f s and

customs to supplement s t r i c t

be forthcoming
The
April

t h e o l o g i c a l d e f i n i t i o n s as would

from p u r e l y e c c l e s i a s t i c a l

sources.

l e t t e r s which passed between Le C o r b u s i e r and Ledeur between

1950

and May

1955

demonstrate Ledeur's c h i e f concerns to be t h a t

work of Le C o r b u s i e r should not be i n open c o n f l i c t w i t h the

p o l i c y of Rome and

the

official

t h a t i t should not c o n t r a d i c t commonly p r o f e s s e d

99
beliefs.

I t i s not u n t i l 29 A p r i l

he have any d i r e c t and

specific

1951

t h a t the canon suggested

i n f l u e n c e on the d e s i g n .

I t was

date t h a t he o f f e r e d to go to P a r i s t o d i s c u s s w i t h Le C o r b u s i e r
important

c o n s i d e r a t i o n s to be g i v e n church

furniture.

Yet

that

at t h a t
the

i t is inter-

e s t i n g to note t h a t such f u r n i t u r e as e x i s t s at Notre-Dame-du-Haut shows

no marked d i v e r g e n c e

from Le C o r b u s i e r ' s e a r l i e r f u r n i t u r e d e s i g n . .

In a d d i t i o n to important

f a c t s p e r t a i n i n g to the b u i l d i n g f a b r i c ,

the l e t t e r s a l s o r e v e a l a s t r i k i n g i n t e l l e c t u a l empathy between Le

C o r b u s i e r and

Canon Ledeur.

They shared

a s i m i l a r concept

thought of i t i n moral terms, of t r u t h r a t h e r than beauty.

d i s t i n c t i o n between t r u t h and beauty g i v e n by Ledeur may
g i v e n by Le C o r b u s i e r :
to

a v o i d the ambiguity

centered

of s t y l e

and

The f o l l o w i n g

w e l l have been

"...by u s i n g the term " t r u t h " i t i s a l s o p o s s i b l e

of the word " b e a u t y " . F u r t h e r m o r e ,

Ledeur

t h i s d i s c u s s i o n on the work of Notre-Dame-du-Haut, u s i n g i t as

an example of the " t r u t h " and

e x i s t e d between h i m s e l f and

i m p l y i n g t h a t a s i m i l a r i t y of v i s i o n

the

architect.

I t i s b e t t e r to use the word t r u t h . Moreover, i n doing so we

r e t u r n t o the language of the most demanding a r t i s t s thems e l v e s . ^01
Canon Ledeur and Le C o r b u s i e r s u b s c r i b e d to an i n t e r p r e t a t i o n of
the c r e a t i v e a c t which eschewed a l l dogma and
Corbusier:

academic t h i n k i n g .

For

Le

P l a s t i c events do not r e g u l a t e themselves a c c o r d i n g t o

s c h o l a r l y or academic formulas, they a r e f r e e and innumera b l e . 102
Likewise,

f o r Canon Ledeur:

Norms do not e x i s t .
Because the t r u t h of what we have c a l l e d
the work of a r t - the t r u t h t h a t i s c r e a t e d and the v e r y a c t
which b r i n g s i t f o r t h - does not c o n s i s t i n the a p p l i c a t i o n of
a few r u l e s . ^ 3
To r e p l a c e formulas
of

and

the concept

an a c q u i r e d t e c h n i c a l p r o f i c i e n c y , both proposed the

Thus Le C o r b u s i e r ' s e l e v a t e d c o n c e p t i o n
his

of the a r t i s t

patron's

belief

as a mere s u p p l i e r
artist-creator.

of the a r t i s t was

supported

by

that:

The v e r y meaning (of t h i s c r e a t i v e t r u t h ) i s d e f i n e d i n the a c t of

creation i t s e l f .
Thus i t i s evident i t i s a t r u t h which must be
r e d i s c o v e r e d each time and cannot be e a s i l y expressed i n words.
It must above a l l be experienced.104
Le C o r b u s i e r had

o f t e n emphasised the s t r u g g l e i n v o l v e d i n g i v i n g

form to h i s i n n e r v i s i o n and
effable s p a c e ) . T h u s ,

the c r e a t i o n of " l ' e s p a c e i n d i c i b l e " ( i n -

the v e r y premise upon which Canon Ledeur based

his

d e f i n i t i o n of " t r u t h " , and hence " a r t " , e x i s t e d w i t h i n the p r a c t i c e

and

o f t e n - p u b l i c i s e d credo

v'

of Le C o r b u s i e r .

d r a m a t i z a t i o n of h i m s e l f and

Furthermore, Le

h i s experiences

Corbusier's

as p r o d u c i n g

"a

life

106
which has u n r o l l e d i n the b r u t a l i t i e s of e x i s t e n c e "
in

found

a response

Canon Ledeur's view of the a r t i s t as " a l l those who, a u t h e n t i c a l l y ,

advance themselves i n a r e s e a r c h f u l l
diverse p o s s i b i l i t i e s .
q u a l i t y a r e few.

But

of u n c e r t a i n t y to d i s c o v e r

the needs a r e p r e s s i n g and

That i s the drama of our

their

the workers of

times.

With the commission of Notre-Dame-du-Haut, Canon Ledeur was

to

have form g i v e n to h i s i d e a s .

a r c h i t e c t r e l a t i o n s h i p and
C o r b u s i e r had

In so doing he r e a l i z e d the

able

patron-

the i d e a l programmatic demands which Le

always wanted.

Le C o r b u s i e r acknowledged t h i s

situation

and

t h i s freedom when he

s t a t e d " i t was

a g r e e a b l e to become absorbed i n
108

a d i s i n t e r e s t e d p r o j e c t without any

p r a c t i c a l programme".

Ledeur's statements demonstrate how

t r u l y minimal the p r a c t i c a l demands

were and

how

u n s p e c i f i c t h e i r formal

Le C o r b u s i e r
its ability

tecture.

and

Le C o r b u s i e r

reaffirmed

definition.

Canon Ledeur b e l i e v e d

to transcend

Canon

i n the n e c e s s i t y of a r t

and

the mundane; both spoke of a s p i r i t u a l a r c h i 109

d i d so i n Vers une

i t i n T e x t s et d e s s i n s

a r c h i t e c t u r e i n 1923

pour Ronchamp i n

Canon Ledeur expressed a d e s i r e f o r "the

which has a c e r t a i n human q u a l i t y .

"HI

1955.Likewise,

s o r t of s u p e r i o r

Functionalism

and

functionalism

which i n c l u d e s the

mys

terious.
P u r i t y of " s p i r i t " ,
the " m y s t e r i o u s " , and

" t r u t h " , a " f u n c t i o n a l i s m " t h a t has

" t h a t which i s i n e f f a b l e " are among the

q u a l i t i e s t h a t g i v e Notre-Dame-du-Haut i t s present
supreme works of t w e n t i e t h - c e n t u r y
i s the r e s u l t of the s y m b i o t i c

architecture.

the conception
contrary

and

The

gift

of freedom was

the

purposes t h a t

Le C o r b u s i e r .

c o n s t r u c t i o n of the c h a p e l Le C o r b u s i e r

matters.

of

Perhaps i t s success

Throughout

was

to t y p i c a l c h u r c h - c l i e n t p r o c e d u r e s , an e x t r a o r d i n a r y

over a r t i s t i c

abstract

s t a t u s as one

r e l a t i o n s h i p of i d e a l s and

seems to have e x i s t e d between Canon Ledeur and

a quality

given,
control

c o n c e i v e d , or at l e a s t

v i g o r o u s l y supported by the Canon as "a p o s s i b l e means of r e c o n c i l i n g

Le C o r b u s i e r ' s p o i n t of view w i t h t h a t of the Church's" and as an a f f i r 112
mation of a p h i l o s o p h i c a l p o s i t i o n .
a f f o r d e d assurances from the v e r y

was

obligingly

f i r s t t h a t he would a l s o have complete

c o n t r o l over a l l f u t u r e m o d i f i c a t i o n s
a c c e s s . . . t h e i n t e r i o r and

Le C o r b u s i e r

of the s t r u c t u r e , " i n c l u d i n g

exterior decoration,
113
of whatever n a t u r e t h a t might be".

p a i n t i n g and

sculpture,

29
Notre-Dame-du-Haut appears t o be t h e r e s u l t o f a c o n f l u x o f i d e a l s .
A nexus o f i n t e r r e l a t e d

ideas suggests t h a t a c o m p a t i b l e p h i l o s o p h i c a l

o u t l o o k towards a r t , s p i r i t u a l i t y , and c r e a t i v i t y e x i s t e d between t h e

a r c h i t e c t and p a t r o n .
of

The s i m i l a r i t y o f Canon Ledeur's i d e a l s w i t h t h o s e

Pere C o u t u r i e r and Pere Regamey commend t h e p e r v a s i v e n e s s o f t h o s e

i d e a l s and t h e i r r e f l e c t i o n o f a c e r t a i n s e c t o r o f t w e n t i e t h - c e n t u r y F r e n c h
C a t h o l i c thought.
to

Le C o r b u s i e r , as an a r c h i t e c t , was b e l i e v e d by them a b l e

g i v e form t o those i d e a l s and thus t o make Notre-Dame-du-Haut an agency

through which the mind and s p i r i t

become a p o s t o l i c and m a t e r i a l l y

o f contemporary F r e n c h C a t h o l i c i s m c o u l d

functional.

Notre-Dame-du-Haut and o t h e r e c c l e s i a s t i c a l

The

rapprochement

experiments

between modern a r c h i t e c t u r e and t h e French Roman

C a t h o l i c Church a c h i e v e d such prominence t h a t i t prompted

survey books r e c o r d i n g t h e accomplishments.
the

r e a l i z a t i o n of the f i r s t

s e v e r a l major

Although t h e date a s s i g n e d

'modern' French C a t h o l i c Church changed as

s u c c e e d i n g achievements made p r e c u r s o r s of e x i s t i n g ones, a l l t h e major

sources a r e agreed as t o the key works.
cernible i n the l i t e r a t u r e ,

Although three stages a r e d i s -

the second and t h i r d s t a g e s p o s t - d a t e N o t r e -

114
Dame-du-Haut.
The f i r s t
au XXe S i e c l e

stage i s e x e m p l i f i e d by A. Munier's Un P r o j e c t

(1932) which p r a i s e d t e c h n i c a l achievements, economy, i n n o -

v a t i o n s i n c o n s t r u c t i o n , and the use of new materials.''''''"'

the

d'Eglise

By d i s c u s s i n g

church b u i l d i n g i n t h e s e terms, Munier sought t o i l l u s t r a t e t h e Church's

openness t o modern i d e a s and a r c h i t e c t u r a l v a l u e s .

However, no d i s t i n c -

t i o n was made between such modern works as P e r r e t ' s Notre-Dame-du-Raincy

30
and o t h e r s h a v i n g obvious h i s t o r i c a l r e m i n i s c e n c e s and were c l e a r l y p a s tiches.
Saint-Jean-1'Evangelist

(1894-1903) by de Baudot i s most o f t e n c i t e d

as t h e f i r s t modern, and l a t e r , the f i r s t

I t was

f o r e r u n n e r t o the modern c h u r c h .

termed modern i n 1903 and i n 1932 because of t h e use of a c o n c r e t e

s k e l e t o n and s i m p l i f i e d

( G o t h i c ) forms.

d a t i n g from a f t e r World War

However, i n c r i t i c a l

writing

I I , S a i n t - J e a n came t o be r e c o g n i z e d as an

e a r l y a r c h i t e c t u r a l r e f l e c t i o n of t h e l i t u r g i c a l
s i r a b l e between c l e r g y and l a i t y .

i d e a l s of the u n i t y de-

T h i s appears t o be a r e i n t e r p r e t a t i o n ,

i n f l u e n c e d by c u r r e n t aims, of t h e i n i t i a l impetus f o r S a i n t - J e a n .
Notre-Dame-du-Raincy (1923) by P e r r e t i s unanimously h e r a l d e d

as

t h e next m i l e s t o n e i n t h e development of modern church a r c h i t e c t u r e i n

118
France.

I t was

l a b e l l e d modern i n 1930,

the f i r s t modern i n 1960,

119
A

the most s i g n i f i c a n t p r e c u r s o r to t h e modern church i n 1968.

and

Notre-

Dame-du-Raincy i s a l o n g r e c t a n g u l a r b u i l d i n g of exposed r e i n f o r c e d concrete.

I t has a s l i g h t l y bowed apse a t t h e east end and i t s e n t r a n c e ,

w i t h a c e n t r a l l y - p l a c e d c l o c k tower above, a t t h e west end.

The

interior

i s a s i n g l e space s u b d i v i d e d by t h i n columns w h i c h support t h e s e m i c i r c u lar,

t r a n s v e r s e c o n c r e t e v a u l t s of t h e nave and the l a t e r a l v a u l t s o f t h e

flanking aisles.

A l t h o u g h t h e nave v a u l t i s s t r u c t u r a l l y and

p r a c t i c a l , i t i s a l s o v i s u a l l y convenient
barrel vault.

economically

i n suggesting a t r a d i t i o n a l

The s a n c t u a r y i s r a i s e d , i n c o r p o r a t i n g a s a c r i s t y beneath,

and the a l t a r i s a g a i n s t t h e r e a r w a l l .

Three q u a r t e r s of t h e nave and

east w a l l c o n s i s t of g r e a t expanses of g l a s s i n s e r t e d i n d e c o r a t i v e con- ,

c r e t e c l a u s t r a s which a r e s e t w i t h i n the t h i n s u p p o r t i n g p o s t s which
frame the s t r u c t u r e .
wall.

The lower q u a r t e r i s a f l a t ,

exposed c o n c r e t e

The nave and s i d e a i s l e s a r e t h e r e f o r e f l o o d e d w i t h n a t u r a l l i g h t

emphasising

the l i g h t n e s s of the s t r u c t u r e and the g r e a t volume o f space.

N o t w i t h s t a n d i n g i t s s t r u c t u r a l and m a t e r i a l i n n o v a t i o n s , the

tradi-

t i o n a l s i l h o u e t t e of the urban m e d i e v a l church i s r e c a l l e d by the presence

of the tower and the h a l l - c h u r c h arrangement of the church's major volume.
The presence of p a t t e r n i n the g l a s s and windows framed
as s a c r i s t y , and tower as c l o c k tower,

as c l a u s t r a s ,

i l l u s t r a t e the c o n t i n u a t i o n of

t r a d i t i o n a l elements w i t h i n the church t o accommodate new

than the c r e a t i o n of new

spatial

crypt

purposes

rather

arrangements.

Although c e r t a i n a s p e c t s of the d e s i g n , p a r t i c u l a r l y the predominance

g i v e n t o the s a n c t u a r y and the a l t a r , the s l o p e of the f l o o r , and
great i n t e n s i t y of l i g h t , may
s e n s i t i v i t y t o emerging

the

be c h a r a c t e r i z e d as i n d i c a t i v e of a modern

l i t u r g i c a l r e n o v a t i o n , Notre-Dame-du-Raincy

was

120
p r a i s e d f o r o t h e r a s p e c t s when i t was

built.

I t was

the s t r u c t u r e

m a t e r i a l s , and the c l a r i t y w i t h which t h e s e were expressed which

first

gave r i s e to Notre-Dame-du-Raincy's a c c l a i m by both the Church and

121
porary a r c h i t e c t u r a l c r i t i c i s m .
There i s l i t t l e

and

to i n d i c a t e t h a t the r o l e of the p a t r o n was

contem-

an i n -

f l u e n t i a l one i n d e t e r m i n i n g the a r c h i t e c t u r a l form of Notre-Dame-du122

Raincy.

Nor are the new

p l a n n i n g i d e a s e x p l o r e d i n Germany i n the e a r l y
123

1920s evidenced i n the p l a n .

I n s t e a d , the church appears t o have d e r i v e d

i t s forms, m a t e r i a l s , and a r c h i t e c t from the p a t r o n ' s a c q u i e s e n c e t o the

economical r e a l i t i e s of h i s p a r i s h ; i t was

a r a p i d l y expanding but
124

p a r i s h needing a l a r g e but economical s h e l t e r .

poor

The p a t r o n d i d show an

open-mindedness i n a c c e p t i n g P e r r e t ' s image of a church but i t i s important to keep i n mind t h a t the church was

accepted because

of i t s economy,

and to some degree f o r i t s embodiment o f modern a r c h i t e c t u r a l concepts,

but not e s p e c i a l l y f o r i t s modern l i t u r g i c a l

propriety.

32
/

In n e i t h e r S a i n t - J e a n - 1 ' E v a n g e l i s t nor Notre-Dame-du-Raincy

a r c h i t e c t u r e c a l l e d upon to r e f l e c t
thought

changes i n l i t u r g i c a l or

i n France by means of changes i n p l a n c o n f i g u r a t i o n .

was

theological
However, i n

a c c e p t i n g these b u i l d i n g s , the Church, perhaps u n i n t e n t i o n a l l y , s a n c t i o n e d

a new

image of the suburban

church t h a t possessed s o c i a l and

economic

a p p r o p r i a t e n e s s r a t h e r than one t h a t f l a u n t e d w e a l t h .
The f i n a l stage i n the development of modern church a r c h i t e c t u r e i n
France i s a s s o c i a t e d w i t h the t h r e e churches which,
e f f e c t , announced that a new

in their

p e r i o d of church b u i l d i n g was
125

were the churches of Assy, A u d i n c o u r t , and Vence.

cumulated

imminent.

These

In a l l t h r e e the i d e a s

of Pere C o u t u r i e r were i n s t r u m e n t a l i n the c h o i c e of a r t i s t , theme, and

medium.

He p u r p o s e l y employed n o n - c a t h o l i c a r t i s t s t o i l l u s t r a t e h i s

p r i n c i p l e of "aux

grands hommes l e s grandes

choses" and thus " l e s m a i t r e s

126
en dehors".

At Assy, A u d i n c o u r t , and Vence he c o n c e n t r a t e d h i s e f f o r t s

127
on the a r t s of s t a i n e d g l a s s , p a i n t i n g , murals, mosaic, and s c u l p t u r e .
The church at Assy was commissioned i n 1937 by Pere Devemy, a f r i e n d
\
128
of Pere C o u t u r i e r , and was completed b e f o r e the war.
I t was b u i l t by
Novarina and i s of a s t a n d a r d b a s i l i c a n p l a n w i t h a deeply r e c e s s e d a l t a r
i n a r a i s e d sanctuary.

On the e x t e r i o r i t has s t r o n g r e m i n i s c e n c e s of

l o c a l t r a d i t i o n and e x e m p l i f i e d the t r e n d of r e g i o n a l i s m f a v o u r e d by

the

129
Dominicans,
Assy was

i n c l u d i n g Pere C o u t u r i e r .

The post-World War

I I work a t

an e x t e n s i o n of t h i s e a r l i e r p r o j e c t and most d i r e c t l y r e v e a l e d

Pere C o u t u r i e r ' s a e s t h e t i c i n t e n t i o n s , as Pere Devemy had sought h i s coun130

\
/
cil.
However, Pere C o u t u r i e r had c o n s u l t e d w i t h Pere Devemy i n 1939
about

the proposed

church and had p r a i s e d o t h e r s i m i l a r works by

Novarina

131
at that time.

T h e r e f o r e , the church p l a n must have met

with h i s

a p p r o v a l as no changes were suggested or c r i t i c i s m s of i t made.

It i s

33
s i g n i f i c a n t t h a t , w h i l e Pere C o u t u r i e r saw

the need to r e j u v e n a t e

d e c o r a t i o n by the employ of such r e c o g n i z e d

Leger, Rouault, and

Bonnard, he overlooked

church

and n o n - c a t h o l i c a r t i s t s

as

the use of comparable a r c h i t e c t s

i n h i s a p o s t o l i c aims.
The

same c o n c l u s i o n s may

at A u d i n c o u r t .

T h i s was

be drawn from Pere C o u t u r i e r ' s

to be h i s most c o n c e r t e d

involvement

e f f o r t to r e a l i z e h i s
132

i d e a l s that u n i t e d a r t and
by Novarina between 1950

spiritual sensibility.

and

at Assy u s i n g the v o c a b u l a r y

1952,

Audincourt,

built

i s a s i m p l i f i e d v e r s i o n of h i s church

of forms c u r r e n t i n modern a r c h i t e c t u r e .

r e c t a n g u l a r emphasis r e p l a c e s the pronounced peaked r o o f found at Assy,

and

t h i n columns r e p l a c e the more numerous and massive ones.

at Audincourt

d e r i v e s i t s modern look from i t s f l a t

The

church

s u r f a c e s , the

pre-

dominance of w h i t e , the t h i n n e s s of the s u p p o r t i n g

s t r u c t u r e , the

ness of o u t l i n e , and

e x t e r i o r expression

the c l e a r d i f f e r e n t i a t i o n and

the b u i l d i n g a c c o r d i n g to the uses w i t h i n .

little

crispof

However, the p l a n r e v e a l s

change from the b a s i l i c a p l a n as understood by P e r r e t i n

As w i t h Assy, i t was

the d e c o r a t i o n and the use of n o n - c a t h o l i c

133
which made i t a c o n t r o v e r s i a l p r o j e c t .
The c h a p e l at Vence was b u i l t i n 1951.
The a r c h i t e c t was

1923.
artists
Rayssiguier,

134
who

r e c e i v e d some a s s i s t a n c e from P e r r e t .

Pere C o u t u r i e r was
artist.

As w i t h Assy and

Audincourt,

i n v o l v e d w i t h the d e c o r a t i o n of the c h a p e l and

Although M a t i s s e

the

i n i t i a t e d h i s p a r t i c i p a t i o n i n the p r o j e c t him-

s e l f , Pere C o u t u r i e r a c t e d as h i s p e r s o n a l c o n f i d a n t , a d v i s i n g him
theme and

the i n t r i c a c i e s of s t a i n e d g l a s s .

Indeed, the a r c h i t e c t r e -

v e a l s t h a t h i s major concern was to accommodate M a t i s s e ' s

135
unbroken areas
economy and

of f l a t

surface.

Yet

on

needs w i t h

the c h a p e l i s planned w i t h

i n g e n u i t y to f a c i l i t a t e church h i e r a r c h y and

large

great

ritual in a

34
u n i f i e d space.

Different

f u n c t i o n s a r e housed

i n articulated

volumes f r e e l y i n t e r p e n e t r a t i n g and u n i t i n g a t the a l t a r .

spatial

Although the

harmony and p r o p o r t i o n i n g of the s p a t i a l r e l a t i o n s h i p s were understood

and a p p r e c i a t e d by o n l y a few,

i t d i d i n d i c a t e t h a t such a r c h i t e c t u r a l

space c o u l d be used as a m e a n i n g f u l and e x p r e s s i v e medium.

du-Haut, designed s i m u l t a n e o u s l y , Le C o r b u s i e r was

At Notre-Dame-

a b l e t o t a k e these i n -

choate s p a t i a l s e n s i t i v i t i e s and make them a p a r t of p u b l i c c o n s c i o u s n e s s .

The statement

i s s u e d by Pere Devemy and Pere C o u t u r i e r i n defense of

t h e i r program of " l e s m a i t r e s en dehors" at Assy and A u d i n c o u r t e s t a b l i s h e d the p i t c h of excitement and urgency which informed the post-World
War

I I e r a of French Roman C a t h o l i c i s m .

The f e r v e n c y w i t h which

such

i s s u e s were pursued p r o v i d e d a l e g a c y f o r Notre-Dame-du-Haut a t Ronchamp:

No more i n France than i n the U n i t e d S t a t e s need we expect t h a t
the Pope w i l l have r e a l competence i n q u e s t i o n s r e l a t i n g t o modern
a r t ; f o r t h a t he would have t o be a s p e c i a l i s t which he i s not.136
We c a l l e d on them (modern a r t i s t s ) p u r e l y and simply because
they were the g r e a t e s t .... We b e l i e v e d that i t was our duty to
p r o c u r e f o r God and our F a i t h the b e s t a r t of the p r e s e n t . . .
We were t i r e d o f always s e e i n g i n our churches the most mediocre
examples of p a i n t i n g and s c u l p t u r e .
In the l o n g r u n , we thought,
that m e d i o c r i t y c o u l d o n l y r e s u l t i n s e r i o u s l y a l t e r i n g the r e l i gious psychology of c l e r g y and worshippers a l i k e .
Under the a c t u a l c o n d i t i o n s i t would be s a f e r t o t u r n t o
geniuses w i t h o u t f a i t h than t o b e l i e v e r s w i t h o u t t a l e n t . 1 3 7
L a t e r , Pere C o u t u r i e r was

to r e c o g n i z e Le C o r b u s i e r as one of those

geniuses:
We b e l i e v e Le C o r b u s i e r to be the g r e a t e s t l i v i n g a r c h i t e c t and
a l s o one i n which the spontaneous sense o f the s a c r e d i s the most
a u t h e n t i c and the strongest.138

35
CHAPTER I I I

THE

PILGRIMAGE CHURCH PLAN AND NOTRE-DAME-DU-HAUT

At t h e t i m e t h a t Le C o r b u s i e r d e s i g n e d Notre-Dame-du-Haut a t Ronchamp,
the F r e n c h C a t h o l i c Church was s u g g e s t i n g
ever way

a r e t u r n t o t r a d i t i o n , i n what-

a r e - e v a l u a t i o n o f t h a t t r a d i t i o n was i n t e n d e d .

P e r e Regamey had

d e f i n e d t r a d i t i o n as "a c o n s t a n t , and beneath t h e i n f i n i t e v a r i e t y o f

forms . . . the most o b v i o u s c o n s t a n t
a t i v e process".''"

i s t h e perpetual renewal of t h e c r e -

A r c h i t e c t u r a l forms and customs were i n c l u d e d i n t h i s

p e r c e p t i o n o f t r a d i t i o n and, j u s t as t h e r e c o l l e c t i o n o f m e d i e v a l a r c h i t e c t u r e was i n t e n d e d

t o i n s t i l l n a t i o n a l p r i d e and r e a s s u r e t h e p o p u l a c e

w i t h past achievements, so t o o d i d t h e r e v i v e d i n t e r e s t i n p i l g r i m a g e

seek

2
to i n s t i l l pride i n personal

endeavour.

U n l i k e the p a r i s h church,

t h e p i l g r i m a g e c h u r c h i n F r a n c e was n o t

a n o t i c e a b l e c o n c e r n o f t h e l i t u r g i c a l movement i n t h e e a r l i e r p a r t o f
3

the century.

However, i t o c c a s i o n a l l y a r o s e as a s p e c i a l d e s i g n problem

i n t h e l a t e n i n e t e e n t h and e a r l y t w e n t i e t h c e n t u r i e s :
d i f f i c u l t d e s i g n problem a t Lourdes i n 1864,
,

i t appeared as a

as a d e s i g n p r o j e c t f o r t h e

E c o l e des Beaux A r t s

i n 1899,

i n the enlarging of t h e pilgrimage

at Ronchamp i n 1844 and a g a i n i n i t s r e b u i l d i n g i n 1926,

p e t i t i o n a t Nancy i n 1930,
i n 1948.

chapel

i n a d e s i g n com-

and i n a phenomenal p r o j e c t a t Sainte-Baume

Indeed, t h e p r a c t i c e o f p i l g r i m a g e , e s p e c i a l l y t h a t i n v o l v i n g

s h r i n e s t o t h e V i r g i n , had had a r e m a r k a b l e r e s u r g e n c e s i n c e t h e 1848

m i r a c l e a t Lourdes.

And p i l g r i m a g e s t o Our Lady o f L i s i e u x , t o S a i n t e s -

Maries-de-la-Mer w i t h i t s attendant
renewed v i g o u r .

customs, and o t h e r s c o n t i n u e d

Pilgrimage of a decidedly twentieth-century

with

n a t u r e was

introduced

i n t o avant-garde realms of t h i n k i n g w i t h B a t a i l l e ' s

concerns i n the

1920s.^

The v a s t enlargement of p i l g r i m a g e

at Lourdes, Lyon, M a r s e i l l e s , Montmarte, Ronchamp, and

surrealist

facilities

the p l a n s

for

Sainte-

g
Baume r e s u l t e d from t h i s r e v i t a l i z e d

tradition.

Although the scope of t h i s paper p r e c l u d e s

f u l l h i s t o r y of p i l g r i m a g e

an attempt to t r a c e

churches, i t i s worthwhile to make some r e f e r -

ence to the m e d i e v a l p i l g r i m a g e

t r a d i t i o n and

to examine some p i l g r i m a g e

churches b u i l t

i n France w i t h i n a hundred years of Le C o r b u s i e r ' s

Dame-du-Haut.

The more contemporary churches o f f e r i n s i g h t f u l

of how

the p i l g r i m a g e

theme was

re-evaluated

the p e r i o d immediately p r e c e e d i n g
pilgrimage

the

Notre-

examples

within i t s tradition

during

Notre-Dame-du-Haut's c o n c e p t i o n .

church b u i l t by Rudolf Schwartz, a l t h o u g h i n Germany and

post-

d a t i n g Notre-Dame-du-Haut, w i l l o f f e r an i n t e r e s t i n g comparison i n terms

of n a t i o n a l and
The

contemporary l i t u r g i c a l i n t e r p r e t a t i o n .

t r a d i t i o n a l medieval pilgrimage

types of c o n s t r u c t i o n .
the p i l g r i m a g e

The most well-known type i s t h a t a s s o c i a t e d

to Compostela:

Conques, Ste. Foy;

church i s c h a r a c t e r i z e d by

with

Tours, S t . M a r t i n ; Limoges, S t . M a r t i a l ;

Toulouse, S t . - S e r n i n ; and

These churches are c h a r a c t e r i z e d by new

Santiago de Compostela

( F i g . 1).

s p a t i a l c o n f i g u r a t i o n s developed

to accommodate l a r g e numbers of congregated p i l g r i m s , v i s i b l e access

the s a c r e d

s h r i n e or h o l y r e l i c , d e v o t i o n a l r i t u a l s , and

w i t h i n a much e n l a r g e d
numerous and

b a s i l i c a plan.

e v e n t u a l l y evolved

chapels

to

sheltered

Chapels f o r the p i l g r i m became more

i n t o the p i l g r i m ' s c h o i r ^ a l l o w i n g

p i l g r i m ' s movement through t r a n s e p t and

choir.

two

the

ambulatory to the s h r i n e i n the

A i s l e s were sometimes added to the nave to f a c i l i t a t e l a r g e crowds,

as were c o n f e s s i o n a l s , a l t a r s , and

space.

marked not o n l y by t h e i r l a r g e s i z e and

These p i l g r i m a g e

complex y e t ordered

churches
plans,

are

but

37
a l s o by t h e i r l u x u r i a n c e , which r e s u l t e d from p i l g r i m a g e g i f t s .
w i t h these p i l g r i m a g e

churches of great w e a l t h and

Associated

s i z e are h o s t e l s

and

o f t e n the temporary s h e l t e r s of poor p i l g r i m s encamped upon the f l a n k i n g

.
11
parvxs.
A second t r a d i t i o n of p i l g r i m a g e accommodation e x i s t s i n the

small

s h r i n e s b u i l t as an a c t of i n d i v i d u a l p i e t y or e r e c t e d communally.

They

a r e o f t e n the s i t e of m i r a c l e s , a p p a r i t i o n s , a s a i n t ' s presence, or have

a c q u i r e d r e l i g i o u s importance from some l o n g - f o r g o t t e n pagan or
tive association.

These a r e o f t e n s i t u a t e d i n s m a l l and

protec-

remote v i l l a g e s

12
or p l a c e s of d i f f i c u l t

access.

Such p i l g r i m a g e

t h e i r s m a l l s i z e , u s u a l l a c k of o s t e n t a t i o n , and

chapels have i n common

the importance g i v e n

the s i t e i n r e c o g n i t i o n of i t as a p l a c e of m i r a c l e , d e v o t i o n ,
beneficence.

Examples of these a r e numerous and

e a s t e r n France

at l e a s t

twelve e x i s t i n

s i n g l e m i r a c l e marked i t s emergence from

p a r i s h church to p i l g r i m a g e

chapel.

V i r g i n venerated

the reasons s u r r o u n d i n g

t h e r e , and

h o l y r e l i c a r e unknown.

Instead,

Roman o c c u p a t i o n ,

and

The

d e r i v a t i o n of the s t a t u e of

a number of events i n c l u d i n g pagan

continuous

a c c e s s i b i l i t y through p e r i o d s
to

the

Although churches e x i s t e d on or near the s i t e as e a r l y as

perhaps 1 1 0 2 , ^ the l a t t e r was

predates

by two

17
the N a t i v i t y .
occupation

years
And

any

the

i t s i n i t i a t i o n as a

of p o l i t i c a l t u r m o i l , l e d to a f i e r c e l o y a l t y to the s i t e and
.
.
14
Virgin.

and

a c t of

alone.

At Notre-Dame-du-Haut no

precedents,

and

to

dedicated

to St. V i n c e n t

and

1269^
the

former

unusual l o c a l event a t t r i b u t e d to the V i r g i n

although

p i l g r i m s are recorded

of the s i t e i s v e r i f i a b l e o n l y from 1308,

i n 1271,

18

of

continuous

t h i r t y - s e v e n years

19
later.

T h i s , as were the o t h e r s , was

a p a r i s h church.

In 1734,

despite

the presence of t h e v e n e r a t e d s t a t u e of the V i r g i n

e a r l y seventeenth c e n t u r y ),
a new,
old

20

the h i l l t o p

more a c c e s s i b l e church was proposed.

( a t t r i b u t e d to the

church was so n e g l e c t e d t h a t
21

Subsequently,

i n 1741 the

church r e l i n q u i s h e d i t s p o s i t i o n as the p a r i s h church and became

Notre-Dame-du-Haut,

to d i s t i n g u i s h i t from the new church below i n the

22
village.

I t r e t a i n e d i t s d e d i c a t i o n t o the N a t i v i t y ,of t h e * V i r g i n , and

the custom of the p a r i s h church t o c e l e b r a t e i t s d e d i c a t i o n on September 8

was transformed i n t o a p i l g r i m a g e f o r the e n t i r e d i o c e s e .
Notre-Dame-du-Haut s
1

p o p u l a r i t y grew throughout

the e i g h t e e n t h ,

n i n e t e e n t h , and pearly t w e n t i e t h c e n t u r i e s - p r i m a r i l y because

of the cha-

p e l ' s a b i l i t y t o evade R e p u b l i c a n c l o s u r e s and the l a t e r S t a t e Law of

24
S e p a r a t i o n (1906) which c u r t a i l e d many r e l i g i o u s p r a c t i c e s .
The s t a t u e
of the V i r g i n was i t s e l f g r e a t l y enhanced by i t s apparent m i r a c u l o u s
r e c o v e r y from the f i r e of 1913 which d e s t r o y e d most of the c h a p e l .
the post-World War
of

25

By

I e r a , Nc?tre-Dame-du-Haut had become the c h i e f c e n t e r

Marian d e v o t i o n of the d i o c e s e , a t t r a c t i n g p i l g r i m s on September 8 and

26

at

o t h e r times.
C o n t i n u i n g the p i l g r i m a g e church t r a d i t i o n i n France i n the modern

era

are:

Saint-Odile, Paris

(1848): the B a s i l i c a of Lourdes

(1864 and

1908); Notre-Dame-du-Haut,

Ronchamp (1843-1851 and 1923-1936); S a i n t e -

Theresa-de-1'Enfant-Jesus,

Nancy

Germany, Santa Anna, Duren

(1930); Sainte-Baume (1949); and i n

(1956).

S a i n t e - O d i l e (1848) i s an urban church accommodating worship

with

a t r a d i t i o n a l l y - p l a c e d a l t a r i n a r a i s e d s a n c t u a r y c i r c l e d by an ambula27
tory

( F i g . 2).

I t has t h r e e a d d i t i o n a l s i d e c h a p e l s a l o n g one nave w a l l .

P i l g r i m a g e d e v o t i o n i s s e r v e d by an e a s i l y and i n d e p e n d e n t l y a c c e s s i b l e
underground

c r y p t p l a c e d i n t h e lower c h u r c h .

The p l a n of the c r y p t i s

39
little

determined

by t h a t of the upper church which i s l i m i t e d by i t s

28

narrow urban s i t e .

However, the a d d i t i o n a l c h a p e l s and

are c o n v e n t i o n a l to p i l g r i m a g e p l a n n i n g and may

here a l s o .

S i g n i f i c a n t l y , the 1940

e x i s t e n c e does not reproduce

ambulatory

serve p i l g r i m a g e needs

p u b l i c a t i o n documenting the

church's

the c r y p t p l a n nor does i t e x t o l the

29

pil-

grimage f u n c t i o n of the c h a p e l .
The p i l g r i m a g e to Lourdes has n e c e s s i t a t e d much c o n s t r u c t i o n a t
its

site.

In 1858,

an esplanade

a comprehensive s i t e p l a n was

w i t h baths

along the Cave r i v e r and

projected that included

the c o n s t r u c t i o n of a

30
park-like setting.
T h i s d e s i g n was i n a u g u r a t e d w i t h the b u i l d i n g of
a b a s i l i c a on the c l i f f s of M a s s a b i e l l e , which c o n s i s t e d of a lower church
31
s u p p o r t i n g a v e r y h i g h , narrow neo-Gothic e d i f i c e ( F i g . 3 ) .
In 1883
the lower

church of the Rosary, i n a neo-Byzantine

ramp c o n n e c t i n g
also b u i l t .

the two

In 1908

churches,

were begun.

32

s t y l e , and a

double

P i l g r i m a g e h o s t e l s were

the b a s i l i c a of Notre-Dame-du-Lourdes e n l a r g e d yet

a g a i n the p i l g r i m a g e s e r v i c e s o f f e r e d a t the s i t e .

33

A combination

Romanesque and G o t h i c elements, c o n v e n t i o n a l masonry and

p a r t e l e v a t i o n i n the nave envelop
has a t r a d i t i o n a l p l a n :

35

Although

a three34

of t r a d i t i o n a l

building

church

to comment upon i t s p i l g r i m a g e f u n c t i o n s or i t s

36
plan.

However, i t does p r o v i d e a d d i t i o n a l s a n c t i f i e d

space f o r p i l -

grimage d e v o t i o n i n c l o s e p r o x i m i t y to the v e n e r a t e d waters of

Notre-Dame-du-Haut a t Ronchamp (1923-1936) was
b u i l t as a replacement
seventeenth-century

It

side a i s l e s , a projecting

Munier documents t h i s

as a church e v i n c i n g an e l e g a n t m o d e r n i z a t i o n
a r c h i t e c t u r e , he f a i l s

r u b b l e , and

i t s r e i n f o r c e d concrete s t r u c t u r e .

a nave f l a n k e d by two

t r a n s e p t , and a p o l y g o n a l apse.

of

Lourdes.

a pilgrimage

church

f o r the f i f t e e n t h - c e n t u r y s t r u c t u r e - w i t h i t s

b e l l t o w e r and n i n e t e e n t h - c e n t u r y ,

five-towered

c h a p e l a d d i t i o n - d e s t r o y e d by f i r e i n 1913

(Fig. 4).

o c t a g o n a l c h a p e l w i t h f o u r a d d i t i o n a l a l t a r s was

The f i v e - t o w e r e d

p a r t of an

ambitious

b u i l d i n g program i n s t i g a t e d by the cure of Notre-Dame-du-Haut between

and

1857

i n response t o i n c r e a s e d p i l g r i m a g e s .

l a r g e d , grander

In a d d i t i o n t o an

en-

church w i t h f o u r s u b s i d i a r y c h a p e l s , an orphanage, a

r e s i d e n c e , and a p r o c e s s i o n a l way

1843

girls

marked by monumental s t a t i o n s of the

38
c r o s s were e n v i s i o n e d .

The b u i l d i n g program of 1923

to 1936

produced

neo-Gothic masonry church which accommodated p i l g r i m a g e crowds w i t h a

39
m a k e s h i f t s a n c t u a r y c r e a t e d i n the e x t e r i o r porch on the east facade.
T h i s e x t e r i o r s a n c t u a r y was

marked a r c h i t e c t u r a l l y by f o u r

massive

masonry p i e r s surmounted by a gable r o o f which e n c l o s e d the porch.

Two

sweeping b a l u s t r a d e s descended from e i t h e r s i d e of the p o r c h t o encompass

the e a r t h e n p l a i n b e f o r e i t .

The

s a n c t u a r y was

demarcated f u r t h e r

s c u l p t u r e s of the V i r g i n and a n g e l s which adorned

documentation

of the church g i v e s l i t t l e

the r o o f .

i n f o r m a t i o n about

Published
the p l a n .

However, i t i s the e x t e r i o r arrangement which i s p a r t i c u l a r l y

here.

Photos i n d i c a t e t h a t p i l g r i m s congregated w i t h i n the

important

encircled

p l a i n b e f o r e the porch where the a l t a r and o f f i c i a n t s p r e s i d e d .

a l s o i n d i c a t e t h a t a p r o c e s s i o n preceded
Sainte-Therese-de-l'Enfant-Jesus

this

by

Photos

( F i g . 5).

(1930) was

a projected pilgrimage

40
church f o r Nancy.

d ' E g l i s e aux XXe

I t was

the f e a t u r e d church i n Munier's

S i e c l e and was

thought

a s p i r a t i o n s of the French C a t h o l i c Church

to r e a l i z e the
at t h a t date.

Un

Projet

architectural
I t resembled

c o n v e n t i o n a l medieval church i n i t s o r i e n t a t i o n and arrangement of nave,

s i d e a i s l e s , and c h o i r .
f r o n t i n g the western

Three entrances gave access t o the narthex

e x t r e m i t y of the nave, and

s i t u a t e d at the meeting

l a t e r a l entrances were

o f t r a n s e p t and nave ( F i g . 6 ) .

The c h o i r

was

f l a n k e d by two a l t a r s , each h a v i n g a s a c r i s t y b e h i n d .

P i l g r i m s were

accommodated by s i x a d d i t i o n a l a l t a r s a l o n g t h e nave w a l l s , two of which

c r e a t e d a c r o s s - n a v e w i t h one of the c h a p e l s c o n t a i n i n g the r e l i c of
/

41

Sainte-Therese.

These c h a p e l s opened d i r e c t l y t o a i s l e s t h a t were

c o n t i n u o u s from t h e a d d i t i o n a l e n t r a n c e s a d j a c e n t t o the major w e s t e r n

p o r c h , through t h e t r a n s e p t , t o the ambulatory.

The ambulatory

the major a l t a r beneath complex p a r a b o l i c v a u l t s .

p i l g r i m ' s c h o i r was

encircled

Thus t h e t r a d i t i o n a l

r e t a i n e d f o r the " p r o c e s s i o n a l way

of S a i n t e - T h e r e s e " .

Sainte-Baume (1949) was a n o t h e r p r o j e c t f o r a p i l g r i m a g e c h u r c h .

The p l a n c o n s i s t e d of a nave h o l l o w e d from t h e l i v e r o c k t o be l i t
43
by s m a l l channels c u t through the r o c k w a l l s ( F i g . 7 ) .

primarily

The nave r o s e i n

a s t e a d y a s c e n t t o a s i n g l e l a r g e a r e a and then narrowed to a c o r r i d o r

e v e n t u a l l y t e r m i n a t i n g i n an e x t e r i o r p o r c h o v e r l o o k i n g t h e sea.
b a s i l i c a was
t h e cavernous
nave.

The

p r e f a c e d by a l o n g , h i l l y , p r e c i p i t o u s p a t h a s c e n d i n g t o
e n t r a n c e i n t h e r o c k f a c e t h a t f u n c t i o n e d as facade f o r the

A d d i t i o n a l a c c e s s t o the i n t e r i o r space was

p r o v i d e d by s m a l l t u n n e l s

bored through the r o c k which debouched a t v a r i o u s c o n c e a l e d s p o t s i n t h e

44
mountain t e r r a i n .

The major d e t e r m i n a n t s of t h e p l a n were the aim t o

e x p r e s s a r c h i t e c t u r a l l y the i d e a s of p y l o n and g r o t t o t h a t were a s s o c i a t e d

w i t h t h e legend o f Mary Magdalene, t h e r e v i t a l i z a t i o n of p a s t customs
a s s o c i a t e d w i t h the s i t e , and t h e i n c o r p o r a t i o n of the a c t u a l h a l l o w e d
ground

i n the d e s i g n . ^
Santa Anna (1956) i s a p i l g r i m a g e c h u r c h b u i l t by the l e a d i n g a r c h i -

t e c t u r a l r e p r e s e n t a t i v e of t h e l i t u r g i c a l movement i n Germany, R u d o l f
46
Schwartz ( F i g . 8 ) .

I t i s a c h u r c h of spare c u b i c forms and f l a t s u r f a c e s

o r d e r e d by r e c t a n g u l a r g e o m e t r i e s .

E n t e r e d from a s i d e e n t r a n c e i n t h e

s o u t h w a l l , the i n t e r i o r a r t i c u l a t i o n c o n t i n u e s the g e o m e t r i c rhythm of

42
the e x t e r i o r a l o n g the l e n g t h of the t r a d i t i o n a l l y o r i e n t e d nave.

Pil-

grims a r e served by the c l e a r s e p a r a t i o n of t h e i r a c t i v i t y from the more

common d e v o t i o n a l r i t u a l s focused
dated

on the major a l t a r .

They a r e accommo-

i n a t r a p e z o i d a l space (a n a r t h e x ) immediately

south e n t r y .

T h i s narthex

p i l g r i m where he may

serves as a communal g a t h e r i n g a r e a f o r the

view the c r y p t or await

which abuts the narthex

and

sanctuary.

i l l u m i n a t i o n than the nave and

a s i d e a i s l e and

a c c e s s i b l e from the

With reduced

sanctuary,

h e i g h t and

chapel

less

intense

the p i l g r i m ' s space resembles

i s manifestly subordinate

focused on the major a l t a r .

e n t r y to the s m a l l e r

to the major c e r e m o n i a l

T h i s i s p e r f e c t l y i n keeping

areas

w i t h the h i e r a r c h y

i n t e r p r e t e d by those w i t h i n the l i t u r g i c a l movement a s s o c i a t e d w i t h

47
Schwartz,

f o r whom the c o l l e c t i v e events

of the supreme s i g n i f i c a n c e .

a s s o c i a t e d w i t h the a l t a r

The p i l g r i m ' s space, a c t i o n s , and

are

importance

are a c c o r d i n g l y l e s s c e l e b r a t e d .
Few

c o n c l u s i o n s about l a t e n i n e t e e n t h and

church b u i l d i n g i n France
i t w i l l be noted

twentieth century

pilgrimage

can be drawn from a mere s i x examples.

However,

that i n these s i x a g r e a t v a r i e t y of s p a t i a l c o n f i g u r a -

t i o n s were d e v i s e d to accommodate p i l g r i m a g e p r a c t i c e w i t h i n an
framework or concept

of p a r i s h church b u i l d i n g s :

existing

the lower church,

the

simple a d d i t i o n of a l t a r s , the r e i n t e r p r e t a t i o n of a s i d e a l t a r or a
porch.

They a l s o show much i n g e n u i t y i n s i t i n g and

landscaping.

g r o t t o b a s i l i c a of Sainte-Baume appears l e s s dependent upon, and

Only the
less

d e r i v a t i v e o f , more c o n v e n t i o n a l b a s i l i c a p l a n s , yet even here the

t r a d i t i o n of the catacombs i s an obvious

precedent.

p i l g r i m a g e churches were l i k e l y i n f o r m a t i v e sources

Lourdes was

common knowledge i n France

Three of
f o r Le

a t t h a t time and

used as a term of r e f e r e n c e i n p i l g r i m a g e d i s c u s s i o n .

earliest

these

Corbusier.

i s constantly
A l s o , Lourdes

was

43
then e x p e r i e n c i n g renewed p i l g r i m a g e i n t e r e s t a n d , w i t h i n
too r e q u i r e d a new, l a r g e r b a s i l i c a .

t h e decade, i t

Le C o r b u s i e r read and marked p e r t i n e n t

48

s e c t i o n s about p i l g r i m a g e i n t h e manual a v a i l a b l e f o r p i l g r i m s t o Ronchamp.

As t h e a r c h i t e c t - i n - c h i e f f o r S a i n t e Baume, he would have been made aware
of p i l g r i m a g e p r a c t i c e s .

Indeed, a 1948 p u b l i c a t i o n about the p r o j e c t

49

which Le C o r b u s i e r possessed

e x p l a i n e d them.

T r o u i n a t Sainte-Baume r e s u l t e d i n h i s access

His c o l l a b o r a t i o n with
t o a t l e a s t those

pilgrimage

p r a c t i c e s a s s o c i a t e d w i t h Mary Magdelene.
Le C o r b u s i e r ' s p l a n f o r p i l g r i m a g e

ritual

Notre-Dame-du-Haut has, w i t h i n i t s t r a p e z o i d a l p l a n , s p a t i a l
s i o n s i n t i m a t i n g those o f a t r a d i t i o n a l church:
l a r g e c e n t r a l h a l l c u l m i n a t i n g i n a sanctuary
convenient

divi-

eastern o r i e n t a t i o n , a

i n the east end, a s a c r i s t y

t o the a l t a r , and v e s t i g e s o f a western narthex, c l e r e s t o r y

l i g h t i n g , a south a i s l e , and a f o r e c o u r t ( F i g . 9 ) .
from t h e n o r t h and south r e c a l l the convenient

Lateral

p l a n n i n g f o r monks and

c l e r g y which can be n o t i c e d i n many monastery churches.

of t h e geometric

c o n f i g u r a t i o n o f the p l a n , w i t h curved

and n o r t h , simply

The c o m p l i c a t i o n
spaces t o west

serves p i l g r i m a g e needs by p r o v i d i n g t h r e e a d d i t i o n a l

a l t a r s and s e v e r a l p r i v a t e e n c l o s u r e s .
parvis f r o n t s the

entrances

ceremonial

tends from the east facade.

On t h e e x t e r i o r , a s h e l t e r e d

doorway on the south and a l a r g e porch exL i k e the nearby h o s t e l , these

amenities

accommodate the p i l g r i m i n a v e r y p r a c t i c a l way.

S e v e r a l paths ascend the h i l l t o p
one

s i t e , one from the c a r p a r k below,

from t h e p r i e s t ' s house t o t h e west, and another

from the h o s t e l be-

low t h e r i m o f t h e h i l l b u t t r e s s i n g t h e grass p a r v i s t o t h e east

(Fig.10.).

44
T h i s p l a n evidences
c o u l d be walked up
l a t i o n was

Le C o r b u s i e r ' s concern

t o , through,

and

around.

to d e s i g n a c h a p e l

that

The p r o v i s i o n f o r circumambu-

not t y p i c a l of r e c e n t e c c l e s i a s t i c a l a r c h i t e c t u r e and was

not

a d i s c e r n a b l e d e s i g n f e a t u r e of the s i x p i l g r i m a g e churches a l r e a d y
cussed,

although

p r o c e s s i o n i s d i s c u s s e d a t Ronchamp and

dis-

Lourdes.

T h i s i s d e s p i t e the f a c t t h a t canon law p r e s c r i b e s t h a t a zone of f r e e

space surround a church
c i r c l i n g the church

e d i f i c e when p o s s i b l e , and

t h a t the custom of

en-

as p a r t of r e l i g i o u s p r o c e s s i o n a l has always been

common."
U n c h a r a c t e r i s t i c a l l y f o r the time, he designed
although none had

a hostel for v i s i t o r s ,

e x i s t e d on the s i t e previously."''''

Le C o r b u s i e r was

also

c a r e f u l to accommodate i n t o h i s d e s i g n a s h e l t e r e d e x t e r i o r s a n c t u a r y
s u i t a b l e f o r the ceremonials

and

l a r g e congregation

of p i l g r i m s on

September

52
8, and

o t h e r s p e c i a l f e s t i v e days c e l e b r a t e d a n n u a l l y .

On

such days

o t h e r s , the p l a s t i c i t y of the c h a p e l i n v i t e s approach, c i r c u m v e n t i o n ,

u l t i m a t e entrance

and
and

through the south or n o r t h door.

Notre-Dame-du-Haut, l i k e i t s p i l g r i m a g e p r e c u r s o r s at Compostela
and

elsewhere, i s a m u l t i - c h a p e l l e d c h a p e l .

t r a d i t i o n , the e a r l i e r church
undoubtedly had
sanctuary

In a d d i t i o n t o t h i s

general

on the s i t e w i t h i t s e a s t e r n porch and

ramps

some i n f l u e n c e on Le C o r b u s i e r ' s d e s i g n of the e x t e r i o r

as i s demonstrated by a comparison of Le C o r b u s i e r ' s drawings of

the s i t e showing the o l d e r church w i t h those of the s i t e showing h i s

maquette ( F i g . 11).
Of h i s own
plicit

and

t h e r e i s no

i n i a t i v e Le C o r b u s i e r sought to i n c l u d e o t h e r l e s s

l e s s t a n g i b l e p i l g r i m a g e accoutrements and

symbols.

i n d i c a t i o n t h a t the p a t r o n r e q u i r e d the i n c l u s i o n of

c h a p e l s , a number so important

i n church

For

exexample,

three

symbolism, or the i n c l u s i o n of

45
such p i l g r i m a g e symbols as the s h e l l found
although

the h o s t e l and

guardian's

house were q u i t e suddenly

v e n i e n t l y proposed by Cure Bourdin,

i n c l u d i n g p i c n i c t a b l e s and

on the east door.

Also,
and

incon-

Le C o r b u s i e r e l a b o r a t e d on the demand,

r e l i g i o u s murals.

53

It i s l i k e l y that

accoutrements were added on the b a s i s of Le C o r b u s i e r ' s own

these

experience

54
and

a n a l y s i s of the problem.
Notre-Dame-du-Haut i s f i r s t n o t i c e d from a f a r as a w h i t e form

perched

on the h i g h r i d g e above the v i l l a g e of Ronchamp, a s m a l l , b a r e l y modernized

v i l l a g e 90 k i l o m e t e r s from the French-Swiss border
P a r i s , i t s p o p u l a t i o n i n 1948

b e i n g about 1,864."'"'

and

440 k i l o m e t e r s from

L i k e the

p i l g r i m a g e monuments of the p a s t , i t dominates the landscape.

the h i l l

religious
One

ascends

131 meters to Nc3tre-Dame-du-Haut on f o o t , f o l l o w i n g a rough road

56
of

r e d dust and

loose

stones.

C l o s e r approach r e v e a l s a rounded w h i t e tower t h r u s t i n g upward

and

a l a r g e expanse of white w a l l etched w i t h the dark v o i d s of windows and

sweeping outward i n a l a r g e concave a r c to the s o u t h e a s t ( F i g . 1 2 ) .

The

tower and w a l l are p a r t e d by the b r i g h t l y - p a i n t e d door s u r f a c e and i t s

w a l l of "en b r u t " c o n c r e t e above.

A l a r g e brown-grey eave p r o t r u d e s

the top of the white w a l l and door a r e a and

then s l i p s behind

from

the tower.

At t h i s d i s t a n c e , about twenty y a r d s , the path d i v i d e s , o f f e r i n g

three a l t e r n a t i v e s .

One

l e a d s to the east a c r o s s a broad

flat plain - a

c o u n t r y s i d e p a r v i s - to where the c u r v i n g w h i t e w a l l q u i c k l y becomes a

sharp v e r t i c a l u r g i n g one's p r o g r e s s
concave space formed by the curved
and

towards the n o r t h e a s t .

east w a l l , the angled

the e n l a r g e d column i n the n o r t h e a s t .

Beyond i s a

south spur w a l l ,

The p l a t f o r m beneath i s s h e l -

t e r e d by the extended eave which soars above these s u p p o r t s .

Within

an a l t a r , p u l p i t , c h o i r l o f t , bench, s a c r i s t y , and a s t a t u e of the

are

Virgin

46
and

C h i l d i n a prominently displayed glass niche.

T h i s i s the e s s e n t i a l

i n church f u r n i t u r e ( F i g . 13).
A l t e r n a t i v e l y , a path f o l l o w s the curve of the tower w a l l to the west.
Continuing

i n t h i s d i r e c t i o n , one

first

passes a f o u n t a i n beneath a

gar-

goyle, b o l d l y t h r u s t i n g from the d i p p i n g r o o f l i n e , a n d then a rounded

t r u s i o n which i s the c o n f e s s i o n a l w i t h i n the west w a l l

( F i g . 14).

pro-

The

curve of the w a l l p r o p e l s movement around the c h a p e l

toward the n o r t h

the v e r t i c a l accent

( F i g . 15).

of the n o r t h door i s encountered

i s i n s e r t e d w i t h i n two

rounded w h i t e b a s t i o n s and

l i n e s of the expansion j o i n t s etched

Further

concrete

a g a i n s t the e d i f i c e , a n d the w a l l , p e r f o r a t e d w i t h

a b r u p t l y and

to curve and beckon

dark

( F i g . 15).

stairway

i s perched

the s m a l l dark v o i d s
The w a l l

of

terminates

the suddenness i s emphasised by the c o n t i n u i n g brown-grey

eave c a n t i l e v e r e d beyond.
revealed,

and

sanctuary

comes f u l l y

Past

t h i s p o i n t the whole of the open p a r v i s i s

from the t i e r e d s t e p s of the memorial pyramid the e x t e r i o r

i n t o view ( F i g . 1 6 ) .

expanding and

c o n t r a c t i n g forms and

the s p e c t a t o r

i n a v i s u a l way

The

door

w i t h i n them.

to the n o r t h , a t h i n metal and

windows, c o n t i n u e s

framed by the

The

until

In t h i s way

Notre-Dame-du-Haut's

interspersed punctuating

to enact a symbolic

details

pilgrimage.

t h i r d avenue i s the middle and broadest path which l e a d s

to the s h e l t e r e d south p a r v i s and

the c o l o u r e d

green s i d e l i g h t s , t h a t beckons w i t h

impel

directly

door, f l a n k e d by red

i t s s t r i d e n t motifs

and

of hands and

stars.

T h i s i s the c e r e m o n i a l door which a l l o w s passage d i r e c t l y to the nave ( F i g .

1,7).
Passing
and

through the c e r e m o n i a l door, one

enters

the r e a r of the nave

i s h e l d i n a c o l l e c t i n g a r e a , or n a r t h e x ( F i g . 9 j ) .

t u r n i n g r i g h t , one

sees the nave extend and

A f t e r pausing

expand eastward

( F i g . 18).

and

47
The s a n c t u a r y i s e a s i l y r e c o g n i z e d by i t s s e p a r a t i o n w i t h i n the e a s t e r n
e x t r e m i t y of the nave, i t s s a n c t i t y and

t r a d i t i o n a l c o n f i g u r a t i o n acknow-

ledged by the a t t e n u a t e d h o r i z o n t a l communion r a i l ,

and

the s l i g h t

ten

c e n t i m e t e r e l e v a t i o n of the s a n c t u a r y f l o o r w i t h i t s d i f f e r e n t i a t e d
The a l t a r i s a simple r e c t a n g u l a r s l a b of white
r e c t a n g u l a r end
arranged
The

stone supported

on

paving.
two

s t o n e s , which i n t u r n r e s t upon f o u r r e c t a n g u l a r stones

i n a Modular-derived

p a t t e r n and p l a c e d d i r e c t l y on the

e s s e n t i a l c u l t items accompany the a l t a r :

bell,

paving.^

c l o t h , candles, por-

t a b l e t a b e r n a c l e above, and window n i c h e w i t h the s t a t u e of the V i r g i n

the Cross behind.

The

C r o s s , P a s c h a l c a n d l e , and

s t a t u e of the V i r g i n a r e

d i r e c t l y b e f o r e the p i l g r i m a t the south door when t u r n e d toward the

Thus the o b j e c t sought

and

i n p i l g r i m a g e i s d i r e c t l y and v i s i b l y

altar.

accessible.

The placement of the P a s c h a l c a n d l e b e f o r e the s t a t u e of the V i r g i n , a t

the meeting of the nave and
tionals.

s a n c t u a r y , a l l o w s o r d e r l y f u l f i l l m e n t of devo-

Tapers a r e p l a c e d nearby on a ledge a f f o r d e d by the window

em-

brasure.
During f e s t i v i t i e s one proceeds

d i r e c t l y to t h i s Pashcal candle

o f f e r s p r a y e r s ; the purpose of one's quest accomplished,

from the southeast door.
l i g h t and
light

then

from the V i r g i n ' s n i c h e , then t o the f i l e

of l i g h t

i n the southeast c o r n e r , and f i n a l l y

t o the r a d i a n c e of
coming from

space of the e x t e r i o r

the

to one's r e l e a s e through

the c o n s t r i c t e d east doorway which l e a d s one out of the c h a p e l i n t o

expansive

exit

T h i s path has been guided by the p a t t e r n of

c o l o u r along" the south w a l l which l e a d s f i r s t

brise-soleil,

one may

and

the

church.

A l t e r n a t i v e l y , e n t r a n c e through

the n o r t h door c o n f r o n t s one

w i t h the expanse of joyous c o l o u r , form, and phrases w r i t t e n on the

windows and o f t e n p r o j e c t e d by the sun onto the nave f l o o r

directly
south

( F i g . 19).

48
Nearby, to t h e r i g h t , t h e two s i d e c h a p e l s and west c o n f e s s i o n a l s a r e
e a s i l y reached

( F i g . 9 ) . An a d d i t i o n a l c h a p e l l i e s d i r e c t l y on t h e l e f t ,

to the e a s t , w i t h i n t h e n o r t h w a l l .
room, pews, and t h e major a l t a r .

F u r t h e r east i s t h e nave w i t h

T h i s n o r t h entrance

standing

i s used mainly f o r

58
everyday

services,

and accommodates t h e more common r i t u a l s of communal

worship which a r e c e n t e r e d on t h e a l t a r ,
private devotions.

the E u c h a r i s t , c o n f e s s i o n , and

A c r o s s of b l a c k c o n c r e t e , embedded w i t h i n the p a v i n g ,

s y m b o l i c a l l y d i r e c t s one t o t h e a l t a r s s i t u a t e d a t each o f i t s t h r e e extremities

(Fig. 9).

The

c l e r g y a r e p r o v i d e d w i t h a p r i v a t e entrance through

the three-

s t o r e y s a c r i s t y and lounge w i t h i n t h e n o r t h w a l l s a d j a c e n t t o t h e s a n c t u ary and an e x t e r i o r s a c r i s t y w i t h i n t h e w a l l - e n c a s e d

column i n t h e n o r t h e a s t

corner.

elevated p u l p i t s ,

The r e q u i s i t e church f u r n i t u r e i s p r e s e n t :

c h o i r l o f t s , convenient

surfaces suitable for placing r i t u a l

implements,

a s p e c i a l l y - d e s i g n e d Paschal candle f o r c e l e b r a t i o n s , a p o r t a b l e tabern a c l e , and i n t h e e x t e r i o r s a n c t u a r y , a s e d i l e f o r t h e c e r e m o n i a l pomp

of f e s t i v e days.
The

i n t e r i o r s p a t i a l arrangements i n d i c a t e t h a t two d i s t i n c t

t i o n s have been accommodated i n two i n t e g r a t e d spaces.

an i n n e r church c o n v e n i e n t l y arranged
Eucharist.

First

func-

t h e r e appears

f o r t h e common c e l e b r a t i o n of t h e

The c h a p e l o f t h e southwest tower may a l s o serve as a b a p t i s -

t e r y / c h a p e l ; i t s p r o x i m i t y t o t h e n a r t h e x a r e a of t h e church and t o the

c e r e m o n i a l door suggests

t h e t r a d i t i o n a l and f u n c t i o n a l p o s i t i o n i n g o f

chapels f o r t h i s p u r p o s e . ^
different

Each of t h e t h r e e c h a p e l s , because of t h e i r

s i z e s , a l l o w o p t i m a l accommodation f o r a v a r i e t y of group

With i t s s a c r i s t y , p u l p i t , c o n f e s s i o n a l s , and
Notre-Dame-du-Haut f u l f i l l s

sizes.

l a t e r i t s own r e s i d e n t p r i e s t , ^

t h e s p a t i a l requirements

of t h e p a r i s h church.

49
I t l a c k s o n l y a mortuary c h a p e l , which i s p r o v i d e d by the church i n the
village.
Secondly,
to r e l i c
for.

the spaces planned

i n the s a n c t u a r y and

f o r access from entrance through

e x i t demonstrate the o t h e r f u n c t i o n planned

In a d d i t i o n , t h e r e i s the e x t e r i o r church w i t h i t s own

p i t , and
mittent

c h o i r l o f t and

altar,

c e r t a i n rearrangements to f a c i l i t a t e the

l a r g e g a t h e r i n g s which p i l g r i m a g e a t t r a c t s .

ary accommodates i t s f u n c t i o n s much more amply and

more

expansive

The e x t e r i o r

sanctu-

c o n v e n i e n t l y and

in a
The

form of the e a s t e r n s h e l t e r o f f e r s much b e t t e r v i s i b i l i t y

than t h a t of the p r e v i o u s church w i t h i t s m a s s i v e l y d e f i n e d and

porch.

pul-

inter-

i n t e g r a t e d manner than d i d the porch of the p r e v i o u s church.

open and

nave

enclosed

A l s o , g r e a t e r a u d i b i l i t y i s a c h i e v e d by the e l e v a t e d placement

of the p u l p i t and

c h o i r l o f t near

the upward-canted, s o u n d - r e f l e c t i n g s u r -

f a c e of the eave than would be p o s s i b l e i n the p r e v i o u s p o r c h .

A m a s t e r l y i n t e r w e a v i n g of f u n c t i o n a l and p o e t i c aims i s i l l u s t r a t e d
repeatedly.

One

such s y n t h e s i s i s evidenced

i n the nave where the b l a n k -

ness of the n o r t h w a l l p r o s a i c a l l y s h e l t e r s p r i v a t e d e v o t i o n and

p r e p a r a t i o n from the view of worshippers

occupying the nave and

ceremonial
poetically

s h i e l d s the l i g h t o r c h e s t r a t e d on the south w a l l from a competing c r o s s light

t h a t would rob i t of i t s i n t e n s i t y .

c l e r g y to appear from the s a c r i s t y suddenly

the drama of t h e i r entrance.
i s found

L i k e w i s e , the a b i l i t y of the
in full

ceremonial

heightens

Another s y n t h e s i s of f u n c t i o n and

i n the c o i n c i d e n c e of the r o o f and d r a i n a g e w i t h the

poetry

ancillary

c i s t e r n so t h a t the normal f u n c t i o n of water d r a i n a g e i s made symbolic

the f o u n t a i n - l i k e r e c e p t a c l e f e d by an exaggerated

by

f e s t i v e rooftop gargoyle.

But perhaps the g r e a t e s t i n t e r w e a v i n g of f u n c t i o n and p o e t r y l i e s i n the

p l a n n i n g of the o r i e n t a t i o n of the c h a p e l .

Not

o n l y were the

practical

50
c o n s i d e r a t i o n s a r i s i n g from t h e use o f n a t u r a l l i g h t pursued, but so
too were t h e symbolic
use w i t h

light.

considerations

i n the c o o r d i n a t i o n o f space and i t s

( T h i s w i l l be developed l a t e r i n t h e chapter

The v e r t i c a l o r g a n i z a t i o n o f space i s as s i g n i f i c a n t
tal

apportionment

on l i g h t . )

as i t s h o r i z o n -

( F i g . 20). The two-storey s a c r i s t y and lounge a r e s k i l l -

f u l l y compacted w i t h i n t h e main volume o f t h e b u i l d i n g and enjoy easy

access

to various r e l a t e d functions.

intended

p l a c e s without i n t e r f e r i n g w i t h

i s a l s o evidenced i n t h e s i d e c h a p e l
serves

P r i e s t and c h o i r can move t o t h e i r

each o t h e r .

Vertical

planning

t u r r e t s where t h e i n c r e a s e d

height

t o d i f f u s e t h e i n t e n s i t y o f l i g h t , t o d i f f e r e n t i a t e the c h a p e l

from the nave i n terms o f l i g h t q u a l i t y , to g i v e a sense o f g r e a t e r

to t h e s m a l l space, and t o express t h e presence o f t h e chapels

extent

on t h e

exterior.
The

numerous e l e v a t i o n s and c r o s s - s e c t i o n s n e c e s s a r y t o g i v e a com-

prehensive

d e s c r i p t i o n of t h e p l a n n i n g

i n d i c a t e the g r e a t
Le C o r b u s i e r

of the chapel

i n vertical

extent

concern f o r t h i s dimension i n t h e d e s i g n o f t h e c h a p e l .

planned h i s f o u r bounding w a l l s , c e i l i n g , and f l o o r

to b e t t e r

accommodate, " p s y c h o p h y s i o l o g i c a l l y " and s y m b o l i c a l l y , h i s u n d e r s t a n d i n g s

of the f u n c t i o n s t o be performed w i t h i n .
The

c e i l i n g height

altar r a i l .

d i p s t o f o u r meters f i f t y - t w o c e n t i m e t e r s

This i s s i g n i f i c a n t

of man meeting God.

One example w i l l demonstrate t h i s .

Likewise,

i n i t s connotation

at the

o f e a r t h meeting sky,

the e v o c a t i o n o f c o n s t r i c t i o n , induced

p h y s i c a l l y , r e c a l l s the s p i r i t u a l c o n s t r i c t i o n d e s c r i b e d by Rudolf Otto

62
as accompanying t h e experience

of t h e "mysterium tremendum".

of t h i s f o u r meter f i f t y - t w o c e n t i m e t e r h e i g h t w i t h

The c o n t r a s t

t h e expanded space, the

g r e a t e r amount o f c l e a r white and i n t e n s e l i g h t , and t h e symbols o f E u c h a r i s t ,

m e d i a t i o n , and redemption i n t h e s a n c t u a r i e s beyond, emphasise t h i s

51
confrontation.

Le C o r b u s i e r i n d i c a t e d i n many r e f e r e n c e s t o the c h a p e l

that such an u n d e r s t a n d i n g of t h i s s p a t i a l c o n f i g u r a t i o n was

his intention.

63
The i n t e r i o r was

the p l a c e where one

"was

alone w i t h o n e s e l f "

s t r u g g l e of a s p i r i t u a l q u a l i t y i s i n t i m a t e d .
has

s u r e l y been Le C o r b u s i e r ' s i n t e n t i o n .

Thus a symbolic

and

space

Moreover, Abbe B o l l e - R e d d a t

64
r e a d i l y understood

and promoted t h i s i n t e r p r e t a t i o n of the space.

The

p l a n of Notre-Dame-du-Haut m a n i f e s t s a concern w i t h the symbolic, n o t w i t h s t a n d i n g the h i g h degree of f u n c t i o n a l i t y shown to e x i s t i n the d e s i g n .

The t r a d i t i o n a l arrangements i n the i n n e r - c h u r c h c o n f i g u r a t i o n have b o t h
t h e i r f u n c t i o n a l and symbolic r o l e s .

So too does the s c u l p t u r a l

treatment

of the p l a n t h a t prompts the enactment of a symbolic p r o c e s s i o n .

approach on f o o t , the h o s t e l , the p r o l i f e r a t i o n of a l t a r s , spaces,

The
and

access r o u t e s , the g r o t t o - l i k e aspect of the e x t e r i o r s a n c t u a r y , the

f i s s u r e s o f l i g h t , the c e r e m o n i a l a c c e n t s , the d e p a r t u r e from
i n order to evoke the p e c u l i a r i t i e s of the s i t e , and

convention

the s e n s i t i v i t y t o

p o p u l a r p r a c t i c e s and c e l e b r a t i o n a r e a l l marks of the p i l g r i m a g e t r a d i t i o n .

52
CHAPTER IV

CONSTRUCTION, MATERIALS, AND THE CREATION OF FORM

D e s p i t e the c o m p l e x i t y o f i t s g e n e r a l appearance,Notre-Dame-du-Haut
i s b a s i c a l l y a r e i n f o r c e d c o n c r e t e post-and-beam s t r u c t u r e c o n s i s t i n g o f
f o u r t e e n major supports embedded w i t h i n t h e n o r t h ( i n t e r i o r ) w a l l and
the south

( e x t e r i o r ) w a l l , w i t h one o f the major supports v i s i b l e i n t h e

e x t e r i o r sanctuary
i s comprised

(Figs.

9, 13). ^

The r o o f , i n c l u d i n g c e i l i n g and eaves,

o f seven f l a t beams r u n n i n g n o r t h - s o u t h supported by t h e

f o u r t e e n p o s t s w i t h numerous " p o u t r e l l e s " , o r s m a l l l a t e r a l

s p a c i n g beams
2

between.

The beams v a r y s i g n i f i c a n t l y i n l e n g t h , depth, and shape.

They

c a n t i l e v e r beyond t h e s u p p o r t i n g n o r t h ( i n t e r i o r ) w a l l and t e r m i n a t e a t
the e n v e l o p i n g n o r t h ( e x t e r i o r ) w a l l .

W i t h i n t h e s h e l t e r i n g span o f t h e

c a n t i l e v e r e d beams, Le C o r b u s i e r has c r e a t e d t h e space f o r s i d e c h a p e l s ,

lounge, and s a c r i s t i e s

( F i g . 2 0 ) . On t h e south, t h e ends o f t h e c a n t i l e v e r e d

beams support t h e s u p e r s t r u c t u r e which forms t h e enormous eave o f t h e south

and west f a c a d e s .

I t i s w i t h t h i s simple s o l u t i o n t h a t t h e r o o f i s made

to soar and the w a l l s a r e f r e e d t o curve and l e a n .

The south w a l l i s composed o f f i v e r e i n f o r c e d c o n c r e t e , i n v e r t e d Vshaped supports which v a r y from a t h i c k n e s s of 3.7 meters a t t h e base t o a
3
w i d t h o f 1.4 t o 1.5 c e n t i m e t e r s a t the top ( F i g . 2 1 ) .
r o o f and a secondary

These support t h e

framework c o n s i s t i n g o f angled h o r i z o n t a l crossbeams

from which an expanded metal mesh i s hung.

A 4 centimeter l a y e r of gunnite

has been sprayed on t h e w i r e mesh t o c r e a t e t h e bays, deep embrasures, and

s p l a y s which break up the i n t e r i o r w a l l but o n l y m i n i m a l l y puncture t h e
4
facade.

The s i z e , depth, and angle of each a p e r t u r e i s c o n t r o l l e d i n

53
t h i s way.
i n t o and

Consequently,

the amount and

d i r e c t i o n of n a t u r a l l i g h t

flowing

r e f l e c t e d from t h i s m e d i a t i n g w a l l i s r e g u l a t e d .

U n l i k e the v a r i e d c o n c r e t e p o s t s t h a t are used i n the south w a l l ,

those of the n o r t h
section.^

( i n t e r i o r ) w a l l a r e standard

Those embedded w i t h i n the n o r t h

are a l s o of standard

square

section.

wall.

The

(exterior),

f o r the masonry r u b b l e

used as i n f i l l .

i n t o these w a l l s are i n the east w a l l and

square

( e x t e r i o r ) , e a s t , and west w a l l s

The p o s t s i n the n o r t h

e a s t , and west w a l l s a c t as r e i n f o r c e m e n t
from the p r e v i o u s church which was

c o n c r e t e p o s t s of

salvaged

The o n l y a p e r t u r e s s e t

the e a s t e r n p o r t i o n of the n o r t h

l i g h t which p e n e t r a t e s them i s m o d i f i e d d i f f e r e n t l y than

l i g h t from the south w a l l .

The a p e r t u r e s i n the east w a l l c o n s i s t of s m a l l ,

unglazed

v o i d s l e f t by the o m i s s i o n of stones

w a l l and

a s i n g l e window box

e x t e r i o r , w i t h g l a s s panes.

the

i n the e n c l o s i n g masonry

framed w i t h c o n c r e t e and

faced, i n t e r i o r

Those on the n o r t h a r e formed by

angled

c o n c r e t e embrasures of v a r i o u s s p l a y s w i t h i n the masonry r u b b l e w a l l .

v o i d s , which d i f f e r
are g l a z e d .
light

slightly

Their

e x t e r i o r surface areas,

C o n v e n t i o n a l windows set i n t o the masonry r u b b l e w a l l a l l o w

i n t o the s a c r i s t y and
The

i n t h e i r i n t e r i o r and

and

lounge on the n o r t h . ^

seven major beams of the r o o f a r e sandwiched between membranes

of r e i n f o r c e d c o n c r e t e 6 c e n t i m e t e r s t h i c k i n order to c r e a t e the

hollow

g
roof.

The beams and

lower membrane were poured s i m u l t a n e o u s l y and became

the p l a t f o r m t o support
t a t e workmen.

The

the formwork f o r the upper membrane and

r o o f was

then waterproofed.

half-domes a r e a l s o f a s h i o n e d from a combination

concrete.
and

10

The

The

towers w i t h

facilitheir

of r u b b l e and r e i n f o r c e d

The w a l l s are of r u b b l e masonry strengthened

the domes a r e of r e i n f o r c e d c o n c r e t e . ^

to

by r e i n f o r c e d c o n c r e t e ,

complexity

of c o n s t r u c t i n g

r u b b l e masonry v a u l t s to c r e a t e the half-domes of the s i d e c h a p e l s

was

54
thus e l i m i n a t e d by t h e e a s i e r t e c h n i q u e o f r e i n f o r c e d c o n c r e t e .
On i t s completion

i n 1955 t h i s s t r u c t u r a l system o f mixed

g i e s and m a t e r i a l s was q u e s t i o n e d

technolo-

and t h e c h a p e l was i n t e r p r e t e d as an

abandonment o f t h e t e c h n o l o g i c a l b a s i s claimed f o r a r c h i t e c t u r e p r i o r to
12
World War I I .

I t was a l s o seen as a new d e p a r t u r e

i n d e s i g n f o r Le

13
Corbusier.

Two i s s u e s a r i s e .

To what extent i s t h e complex image p r e -

sented and i t s c o n s t i t u e n t p a r t s a response

what extent does i t d e r i v e i t s c o m p l e x i t y

t o imposed l i m i t a t i o n s and to
from a new d e s i g n p r o c e s s and

changed a r c h i t e c t u r a l i n t e n t i o n s imposed by Le C o r b u s i e r .
The

s i t e o f f e r e d some l i m i t a t i o n s t o m a t e r i a l s and c o n s t r u c t i o n .

It was i n a c c e s s i b l e t o heavy t r a n s p o r t v e h i c l e s and encumbered by t h e d e b r i s

14
of an e x i s t i n g b u i l d i n g .

Because o f s t i p u l a t i o n s made f o r the award of

i n d e m n i t i e s , t h e r u b b l e from t h e e x i s t i n g church had t o be salvaged, but t h e

poor road and c o s t s made i t i m p o s s i b l e t o r e m o v e . ^
ment of t h e p a r i s h , the indemnity

Due t o t h e i m p o v e r i s h -

was c r u c i a l t o the p r o j e c t and i t s s t i p u 16

l a t i o n s , o f n e c e s s i t y , accommodated.

The r u b b l e was l a t e r found

t o be of

such poor q u a l i t y and i r r e g u l a r i t y t h a t o r i g i n a l p l a n s t o l e a v e i t exposed

on i n t e r i o r w a l l s and paving was a b a n d o n n e d . ^
r e d u c t i o n s i n budget may have caused

C o n t i n u a l and unexpected

g r e a t e r r e s t r i c t i o n s on m a t e r i a l s and
18

e x p e r i m e n t a t i o n w i t h new e n g i n e e r i n g developments.
Other p o s s i b l e sources of l i m i t a t i o n s were c o n d i t i o n s i n h e r e n t i n the
c o n s t r u c t i o n i n d u s t r y i n post-war France and b i a s e s w i t h i n the French Roman
C a t h o l i c Church.

The c o n s t r u c t i o n i n d u s t r y i n France was slow to r e c o v e r

a f t e r World War I I and, although

t h e r e was a s t r o n g d e s i r e t o e x p l o r e t h e

p o s s i b i l i t i e s of r e i n f o r c e d c o n c r e t e i n l a r g e spans and s h e l l

construc-

t i o n i n o r d i n a r y b u i l d i n g , and thus c o n t i n u e t h e p i o n e e r i n g work done i n

i n d u s t r i a l b u i l d i n g b e f o r e 1920 by F r e y s i n n e t and M a i l l a r t ,

the l a c k o f

55

support from industry and science frustrated t h i s .

older technologies were revived.

19

Consequently, many

Le Corbusier's schemes using rammed earth

20

for emergency post-war housing i s an example of t h i s .

Government pro-

j e c t s , such as Le Corbusier's Unite d'Habitation, M a r s e i l l e s , were as much

an attempt to inspire the private sector of the lagging construction industry,
and to present an image of reconstruction vigour, as they were an attempt
21
to supply necessary housing accommodation.

Also, the use of p r e f a b r i -

cated structural components at Notre-Dame-du-Haut would have been economi22

c a l l y unwise due to the small scale of the project.
Lightweight s t e e l was
economically unfeasible i n France at that time, although Le Corbusier was
23
interested i n employing i t .
The correspondence between Canon Ledeur and Le Corbusier discloses
no o f f i c i a l l i m i t a t i o n other than economy was imposed on materials and con24
struction methods.

Nor were s t y l i s t i c prohibitions to be expected

the Besancon Commission and those i n f l u e n t i a l within i t .

from

Indeed, Canon

Ledeur had remarked that i t was precisely on the known 'style' of the a r t i s t
25
that he was to be chosen.

Nor would exposed reinforced concrete have

been without examples i n French Catholic Church construction.

Saint-Jean-1'Evangelist

De Baudot's

(1903) displayed i t s barren reinforced concrete

A
26
frame on the i n t e r i o r and Perret's Notre-Dame-du-Raincy did so throughout.

However, both of these, and most that followed, retained obvious reminiscences of past styles within their reinforced concrete frameworks.

H.-R.

Hitchcock termed such s t y l i s t i c conservatism "twentieth century t r a d i t i o n a l sented i n forms, applied decoration, and often surfacing materials: Notreism" which he characterized as having obvious h i s t o r27i c a l allusions preDame-du-Raincy and Saint-Jean allude to the Gothic.

"Twentieth

t r a d i t i o n a l i s m " was ubiquitous i n pre-World War II French

century

ecclesiastical

56
building.

28

Moreover, t h i s c o n s e r v a t i s m

prominent and

had

strong supporters

among

i n f l u e n t i a l French C a t h o l i c a r c h i t e c t s immediately f o l l o w i n g
29

World War

II.

S i g n i f i c a n t l y , t h e r e was

an a c t i v e , o f f i c i a l l y

supported,

and n u m e r i c a l l y predominant s e c t i o n of the French C a t h o l i c p o p u l a t i o n

who

30
opposed b o t h r e i n f o r c e d c o n c r e t e and n o n - t r a d i t i o n a l a r c h i t e c t u r e .
Although r e i n f o r c e d c o n c r e t e
formed the major s u p p o r t i n g

o f t e n supplemented b r i c k , masonry, and wood, or

framework, i t was

c h a r a c t e r i s t i c a l l y hidden
31

beneath a d e c o r a t i v e a p p l i c a t i o n of s u r f a c i n g m a t e r i a l s .
and

c u b i c churches openly

built

e x h i b i t i n g t h e i r use

i n Germany and S w i t z e r l a n d
32

a f t e r World War

II.

However, s t a r k

of r e i n f o r c e d c o n c r e t e were

d u r i n g the 1920s and

continued

to be

built

B a r t n i g ' s churches, admired by Pere Regamey, were

33
of t h i s type.

A l s o , Le C o r b u s i e r had

essayed a c u b i c church i n the e a r l y

34
1920s.

T h i s suggests t h a t d e s p i t e the l i m i t a t i o n s of s i t e ,

i n d u s t r y , and
austere

the Church, the d e c i s i o n to abandon the development i n

church b u i l d i n g t h a t had

i n d u s t r i a l and
The

funding,

housing

already appropriated

d e s i g n appears to have been Le C o r b u s i e r ' s

i n c o r p o r a t i o n of m a t e r i a l s a s s o c i a t e d w i t h

t e c h n o l o g i e s was

i t s images from

not a new

departure

f o r Le C o r b u s i e r .

choice.

nineteenth-century
He had used

coarse

35
masonry and

exposed timber

framing

i n the E r r a z u r i s house i n

1930.

36
Exposed b r i c k was used f o r i n t e r i o r p a r t i t i o n w a l l s i n h i s own P a r i s s t u d i o .
Economy, a v a i l a b l e work f o r c e , and s c a r c i t y of m a t e r i a l j u s t i f i e d such m a t e r i -

37
a l s i n the former and

elsewhere,

at Notre-Dame-du-Haut as w e l l .

and

suggest t h i s r a t i o n a l e was

Works of the post-World War

showed the use of t r a d i t i o n a l m a t e r i a l s a l s o .

T h e i r use was

applied

II period
not

restricted

to e x c e p t i o n a l b u i l d i n g programs, but r e p l a c e d r e i n f o r c e d c o n c r e t e
i n d u s t r i a l b u i l d i n g s as w e l l .
concrete

in

Masonry w a l l s d i s p l a y e d w i t h i n exposed

s t r u c t u r a l members were used at the f a c t o r y complex at S t . D i e ,

57
and Le C o r b u s i e r designed
E q u a l l y precedented

r e c o n s t r u c t i o n housing
was

/
38
u s i n g p i s e (rammed e a r t h ) .

the s o p h i s t i c a t e d h a n d l i n g of these m a t e r i a l s .

39
The

Swiss P a v i l i o n

(Paris,1932)

a l s o juxtaposed

masonry w i t h

concrete,

and

the masonry w a l l s a t S t . Die were p r e c i s e l y separated from, and

con-

40
t r a s t e d w i t h , the r e i n f o r c e d c o n c r e t e s t r u c t u r a l members.
of the s t r u c t u r a l r e i n f o r c e d c o n c r e t e one
square,

The neat

framing

sees a t Notre-Dame-du-Haut i n the

s t r i a t e d , c o n c r e t e panels framed above the c e r e m o n i a l door c o r r e -

sponds to t h i s past h a n d l i n g of m a t e r i a l s .
The

e x t e n s i v e use of g u n n i t e s u r f a c i n g was

attempted a t Pessac

and

41
used i n the houses of the 1920s.

Garches, Savoie, and A u t e u i l possessed

a f i n e g u n n i t e s u r f a c e a p p l i e d to the s t r u c t u r a l c o n c r e t e b l o c k used

be-

42
neath.

These s u r f a c e a p p l i c a t i o n s served two

t i o n and

the c r e a t i o n of u n i f i e d

so a g a i n a t Notre-Dame-du-Haut.

purposes,

weather p r o t e c -

forms w i t h homogenous s u r f a c e s .

They do

A l s o , the w h i t e s u r f a c i n g g r e a t l y i n c r e a s e s

the i l l u m i n a t i o n l e v e l w i t h i n the nave.

D e s p i t e the use of a m a t e r i a l a s s o c i a t e d w i t h the n i n e t e e n t h
the n o v e l t y of the forms, and Le C o r b u s i e r ' s i m p l i e d d e f i n i t i o n of

century,
the

43
c h a p e l as a n o n - u t i l i t a r i a n s t r u c t u r e ,

many of the c o n s t r u c t i o n a l f e a t u r e s

mark t h i s c h a p e l as a modern work.

Features

common to r e i n f o r c e d c o n c r e t e c o n s t r u c t i o n a r e r e c o g n i z a b l e .

Dilation joints articulated

i n the west w a l l i n d i c a t e the use of

beneath the w h i t e g u n n i t e s u r f a c e and

the s h u t t e r i n g p a t t e r n of the under-

s i d e of the eave p r o c l a i m s the poured-concrete

frames the major entrances and

method used.

Exposed

announces i t s use a t the major breaks

e n v e l o p i n g masonry r u b b l e i n f i l l w a l l ( F i g . 12).
i n t h i s way

concrete

By employing

i n the

concrete

the entrances were e a s i l y accommodated i n the d e s i g n and

s t r u c t u r a l frame around them i s i n t i m a t e d .

concrete

the

58
The use of e n g i n e e r s ,

t e c h n i c i a n s , and

computers to render

c o n s t r u c t i o n f e a s i b l e f o r Notre-Dame-du-Haut's s i t e and
and

f o r the m a t e r i a l s

craftsmen a v a i l a b l e c l e a r l y show Le C o r b u s i e r ' s c o n t i n u e d

of modern methods and

technology.

other i n d u s t r i a l p r o d u c t s

43

the r o o f

acceptance

So too does the use of g u n n i t e

such as the c a s t - i r o n communion r a i l and

and
hand

44
rails.

Le C o r b u s i e r b e l i e v e d h i s commitment to c o n t i n u a l t e c h n o l o g i -

c a l improvement and

refinement

was

demonstrated a t Notre-Dame-du-Haut by

h i s attempts to r e f i n e g u n n i t e as a s u r f a c i n g m a t e r i a l and h i s i n g e n u i t y
i n c o n s t r u c t i n g the hollow south w a l l which he f e l t was

a needed c o n t r i b u -

t i o n t o t w e n t i e t h - c e n t u r y a r c h i t e c t u r e and an expansion

of e x i s t i n g t e c h -

45
nologies.
The g l a s s , window m u l l i o n s and transoms, enamelled door p a n e l s ,
and candelabrum a r e a l s o f a c t o r y p r o d u c t s .
However, a l l are e s p e c i a l l y
46
designed

by Le C o r b u s i e r and

C o r b u s i e r ' s ambivalent

are not mass-produced ready-mades.

involvement

w i t h i n d u s t r y - d e s i r i n g the use

Le
of

i n d u s t r i a l l y - p r o d u c e d and p r e f a b r i c a t e d p r o d u c t s y e t d e s i g n i n g h i s own
i s a c o n t i n u a t i o n of past behaviour.
h i s own

statements

Although

i t seems to be a d e n i a l of

r e g a r d i n g the n e c e s s i t y to draw upon i n d u s t r y f o r the

components of a r c h i t e c t u r e , such p e r s o n a l i z e d d e s i g n i s a l e g a c y of the

and

arts

c r a f t s a t t i t u d e of the l a t e n i n e t e e n t h c e n t u r y and of the 1920s when

products

e x p r e s s i n g the r e q u i r e d a e s t h e t i c were u n a v a i l a b l e through mass

47

p r o d u c t i o n and were t h e r e f o r e u n a p o l o g e t i c a l l y s i m u l a t e d .
The

c a n t i l e v e r i s another

a r c h i t e c t u r e and

element u b i q u i t o u s i n t w e n t i e t h - c e n t u r y

i s f u l l y e x p l o i t e d a t Notre-Dame-du-Haut.

or, the c a n t i l e v e r a l l o w s the economical

l a t e r a l expansion

by the placement of beams, p e r m i t s a v e r t i c a l expansion

The

t h r e e s t o r i e s of the s a c r i s t y ,

of the towers, and

On the
of space

interiand,

as w e l l ( F i g . 20).

the s i n g l e v e r t i c a l l y expanding space

the lower h e i g h t of the n o r t h e a s t c o r n e r a r e f i t w i t h i n

59
the v e r t i c a l posts

t h a t a c t as a s p a c i n g

spaces r e c a l l s C u b i s t and
t i c a l concerns w i t h

framework.

P u r i s t s p a t i a l i d e a s and

T h i s i n t e r l o c k i n g of
Le C o r b u s i e r ' s

prac-

space " c e l l s " as c o n s t r u c t i o n modules f o r apartment

48
buildings.

The

c a n t i l e v e r i n g of r o o f beams f r e e s the n o r t h e x t e r i o r

w a l l from a major s u p p o r t i n g
cave shape.

r o l e and

allows

i t to take i t s e x t e r i o r con-

The w a l l i s then a b l e to respond f o r m a l l y to the p r o j e c t i n g

a r c s of the s i d e c h a p e l domes, i n a d d i t i o n t o adding s t a b i l i t y t o

masonry r u b b l e
On
of

walls.

the e x t e r i o r , the c a n t i l e v e r i s used to c r e a t e the emphatic form

the eave, the d i s t i n c t i v e space of the e x t e r i o r s a n c t u a r y ,

south approach, and

t h e t i c and

p s y c h o l o g i c a l response t o s t i m u l i ) .

w a l l s which f i r s t

undulating

Significantly,

Le C o r b u s i e r

has

chapel's

i t is
east

used a d e s i g n

ment, the c a n t i l e v e r , not o n l y f o r i t s s t r u c t u r a l economy and

The

the

(kines-

spaces d e f i n e d by the south and

attract attention.

also for poetic

and

to provoke " p s y c h o p h y s i o l o g i c a l " responses

the s o a r i n g r o o f and

but

the

ele-

strength,

expression.
s t r u c t u r e c r e a t e s space and

f i c s evidenced i n e a r l i e r works by Le C o r b u s i e r

forms r e p l e t e w i t h
and

p a r t i c u l a r to

The

o r g a n i z a t i o n of a c e n t r a l n a v e - l i k e space abutted

may

be seen i n the p l a n s
49

f o r the V i l l a

and

the Monul houses.

The

Savoie,

speci-

by

the P a l a c e

him.

c h a p e l - l i k e spaces
of the

sense of asymmetry experienced

Soviets,

e x t e r n a l l y at

No'tre-Dame-du-Haut, e f f e c t e d s c u l p t u r a l l y through v a r i a t i o n s i n h e i g h t ,
s t r u c t u r a l p r o t r u s i o n s , and
and

d i r e c t i v e f o r c e s - was

evidenced as e a r l y as

1922

i n the o r g a n i z a t i o n of l i g h t - i t s m o d e l l i n g
i n t e g r a l to Le C o r b u s i e r ' s

design

sense and

i n the A u t e u i l h o u s e s . A l t e r n a t i v e l y ,

p a r t i c u l a r sense Le C o r b u s i e r
Dame-du-Haut, has

in

had

f o r symmetry, to be d i s c o v e r e d

i t s precedence i n the Swiss P a v i l i o n of 1932

is

the

i n Notre-

and

the

60
Strasbourg p r o j e c t

of

c h a r a c t e r i s t i c s of the
tween r o o f
ports,

and

walls,

1951."^

A d d i t i o n a l l y , two

c h a p e l at Ronchamp, the
and

the b a l a n c i n g

of the most a r r e s t i n g

great

of the r o o f

d i s t i n c t i o n made bestructure

i s presaged r e s p e c t i v e l y at the P a l a c e of the

Soviets

on t h i n supand

the house

52
at Lac

Leman (Lake Geneva).

A l g i e r s and
fencing

i n the

The

curved w a l l has

Swiss P a v i l i o n , i n i n t e r i o r p a r t i t i o n and

the c a n t i l e v e r , and

s u l t i n g f r e e - p l a n , a r c h i t e c t u r a l promenade, and
s p a t i a l f u n c t i o n were important and
tural evolution.
1914

and

The
had

Savoie houses i n the

a s i x - s i d e d box;
skewed,

g u n n i t e and

l i g h t i n g orchestrated

i n t e g r a l to Le

c o n t i n u e d use
54

to

1920s.

Garches,

and

In these houses Le C o r b u s i e r used the

diagramatically

demonstrated as

struc-

initially

Notre-Dame-du-Haut c o n t i n u e s t h i s p r a c t i c e as a modulated,

box.

s o l u t i o n s nor

a radical revolution.

tween the c e i l i n g and

The

a s t a t i c r e a f f i r m a t i o n of p a s t
10 c e n t i m e t e r l i g h t band

w a l l , w i t h g i a n t b r i s e - s o l e i l s and

f u r t h e r m o d i f i e d a e s t h e t i c a l l y to c r e a t e

t i o n a l , and

a e s t h e t i c achievement which d e r i v e d

Zevi points

out,

Stijl

theory and

p l i s h m e n t s , i n c l u d i n g those of Le
However, d e s p i t e

"cube" i s

i s a planning,
i t s premises, as

and

construcBruno

e a r l y t w e n t i e t h - c e n t u r y accom56

Corbusier.

the many r e l a t i o n s h i p s to be

C o r b u s i e r ' s s t r u c t u r a l means and

of

"rooms t h a t have become f l u i d

f l o w i n a moving c o n t i n u u m " . T h i s

from De

be-

the d e n i a l

o r t h o g o n a l s and r i g h t - a n g l e c o r n e r s are a l l means by which the

and

re-

Corbusier's a r c h i t e c -

i n the A u t e u i l , C i t r o e n ,

Thus Notre-Dame-du-Haut i s n e i t h e r

j o i n up

the

s t r u c t u r a l d e v i c e s evolved from the Dom-Ino s t r u c -

t u r a l d e v i c e s to modulate what he

but

exterior

walls.

Post-and-beam c o n s t r u c t i o n ,

t u r e of

i t s precedence at

remarked between Le

v o c a b u l a r y used at Notre-Dame-du-Haut

61
and

h i s e a r l i e r work, Le C o r b u s i e r

the use

of h i s r e i n f o r c e d c o n c r e t e

that h i s " r e i n f o r c e d concrete

s t r u c t u r e s " * ^ and

was

i n i t i a l l y r e l u c t a n t to pursue

methods f o r the c h a p e l .

methods should

his reluctance

to use

s t r u c t u r e and

o n l y be used f o r u t i l i t a r i a n

them at Ronchamp i m p l i e s t h a t

understood the c o n s t r u c t i o n of a c h a p e l
t i o n to o p e n l y - d i s p l a y e d

to e n t a i l c o n s i d e r a t i o n s
materials.

ences i n e c c l e s i a s t i c a l a r c h i t e c t u r e and

Cathedrals

at Mont Athos, and

i n addi-

Le C o r b u s i e r ' s

experi-

domestic d e s i g n .

such as Notre-Dame of P a r i s and

of Amiens and

he

church program are l e s s known

than h i s e x p e r i e n c e s i n s e c u l a r a r c h i t e c t u r e and
s t r u c t u r e s of the past

H i s comment

Religious

of C h a r t r e s ,

the

of P i s a , Hagia Sophia a t I s t a n b u l , the monastery

various

temples, i n c l u d i n g p r i m i t i v e E g y p t i a n ,

p r o m i n e n t l y i n h i s sketchbooks."^
blanches p o s i t e d c a t h e d r a l s
s c r a p e r s were to be judged.

H i s book Quand l e s c a t h e d r a l e s

as the y a r d s t i c k a g a i n s t which modern

59

His personal

r e l i g i o u s b u i l d i n g s , i n c l u d i n g one

l i b r a r y contains

of Ronchamp which he had

figured
etaient
sky-

h i s t o r i e s of
profusely

60
annotated.

And

i n 1949

Le C o r b u s i e r

expressed h i s s e n s i t i v i t y to church

a r c h i t e c t u r e w i t h h i s response to the war-wrought r u i n s of the St.

Die

cathedral:
The burned c a t h e d r a l , i n r u i n s becomes the l i v i n g t o r c h of
a r c h i t e c t u r e by a d e f e r e n t i a l t a k i n g i n charge of the m i s f o r t u n e s
which have s t r u c k i t . One w i l l make of i t the w i t n e s s of t r a g i c
events to p e r p e t u a t e through time. The r o o f has f a l l e n i n , and
the c h o i r and t r a n s e p t , cut to p i e c e s a g a i n s t the sky a l l o w
through t h e i r jagged shreds of r e d stone a glimpse of mountains
and of waving f o l i a g e of great t r e e s . The nave i s h e n c e f o r t h f u l l
of l i g h t , so t h a t now we s h a l l see c l e a r l y the b e a u t i f u l Romanesque
c a p i t a l s which o b s c u r i t y h i d from our s i g h t . R e i n f o r c e d
concrete,
combined w i t h c l e a r and c o l o u r e d g l a s s o f f e r us the chance of
s a v i n g t h i s and of handing on to the f u t u r e a q u i v e r i n g symphony
of stone and memories.^
So much of t h i s d e s c r i p t i o n c o u l d be a p p l i e d to Le
chapel

at Ronchamp.

Corbusier's

At Notre-Dame-du-Haut the r e d stone of S t . Die i s

62
suggested

i n the r e d n o r t h e a s t c h a p e l , the open r o o f i n the 10

centimeter

gap between c e i l i n g and w a l l s , the waving f o l i a g e i n the p a i n t e d l e a v e s or

the r e a l t r e e s v i s i b l e through
light

e y e - l e v e l , c l e a r g l a s s , and

i n the l i g h t - s p l e n d o u r e d i n t e r i o r .

a nave f u l l

of

F i n a l l y , the o b s e r v a t i o n of

memory-evoking forms made by Le C o r b u s i e r at St. Die appears r e i n s t a t e d

in

the m u l t i - r e v e r e n t i a l forms of Notre-Dame-du-Haut.

While the r u i n s at Ronchamp were not m a g n i f i c i e n t , they, and

of

the s i t e , were s u f f i c i e n t

to s t i r Le C o r b u s i e r ' s i m a g i n a t i o n .

is

shown i n h i s comments e x p r e s s i n g h i s r e a c t i o n to the

accounts

62'

This

site:

In e a r l i e r times pagan temples were b u i l t t h e r e , then C h r i s t i a n

c h a p e l s - p i l g r i m ' s c h a p e l s ; and so d u r i n g the c e n t u r i e s . Wars
one a f t e r another d e s t r o y e d them m e r c i l e s s l y because the " h i g h
p o i n t " of l a n d on which they r e s t e d was a l s o a landmark and an
^
observation post.
I t was the l a s t which d e s t r o y e d the l a s t c h a p e l .
Le C o r b u s i e r ' s sketches
not o n l y h i s i n t e r e s t

of the s i t e

(dated May

1950)

demonstrate

i n the s i t e ' s geography, but a l s o acknowledge t r a d i 64

t i o n a l a r c h i t e c t u r a l forms r e p r e s e n t e d

i n the r u i n s of the former

V e s t i g e s of the l a t t e r appear i n c o r p o r a t e d i n t o the new

The

church.

Notre-Dame-du-Haut.

i n t e n t i o n of doing so i s i n d i c a t e d by Le C o r b u s i e r ' s l a t e r

juxtapo-

s i t i o n of sketches of the r u i n e d church w i t h those of h i s completed

chapel

65
(Fig.

11).

Moreover, the p r e s e n t a t i o n of these sketches

i s o f t e n se-

q u e n t i a l , s u g g e s t i n g a development from the e a r l i e r to the present

chapel.

P o e t i c a l l u s i o n s to the former church a r e d i s c e r n a b l e i n the prominent south entrance,

facade, and

i n the p r o v i s i o n f o r the outdoor

i n the i r r e g u l a r s i l h o u e t t e .

The

ceremony i n the east

o b s e r v a t i o n post

distinc-

t i v e l y shown i n the f i r s t maquette i s r e t a i n e d i n the i n s e t b a l c o n y

on the n o r t h facade of the present c h a p e l
and

( F i g s . 15;, 22).

The

f o r t r e s s - l i k e north facade.symbolically o f f e r s a defensive

a g a i n s t the i n v a s i o n s which had

so f r e q u e n t l y plagued

high

look-out
front

the s i t e i n the past

63
and which Le C o r b u s i e r had

commented upon.

There a r e a l s o d e s c r i p t i v e

passages i n a p u b l i s h e d , h i s t o r i c a l account of Ronchamp owned by

Le

C o r b u s i e r t h a t are comparable to c e r t a i n d e t a i l s i n Le C o r b u s i e r ' s

design.

These i n c l u d e the V i r g i n ' s n i c h e , the arrangement of the s a n c t u a r y ,

and

66
the r e f e r e n c e s to d e f e n s i v e b u i l d i n g s once on the

site.

Forms a l l u d i n g to the more d i s t a n t past can a l s o be p e r c e i v e d .

c o n f i g u r a t i o n of the e x t e r i o r southeast
t h i c elements of d o l m e n - l i k e
chapels and

corner

i s s u g g e s t i v e of the

c o n s t r u c t i o n s ( F i g s . 23,

24).

The

paleoli-

domed s i d e

t h e i r r e s u l t i n g e f f e c t s on i l l u m i n a t i o n have a s p e c i f i c

t o r i c a l antecedent

The

his-

i n Hadrian's

V i l l a at T i v o l i ( F i g s . 25, 2 6) which i s
67
r e c o r d e d i n Le C o r b u s i e r ' s e a r l y sketchbooks.
Le C o r b u s i e r had a l r e a d y
drawn upon Hadrian's V i l l a at T i v o l i f o r the 1948 SainteBaume p r o j e c t ,
68
i n d i c a t i n g h i s preference f o r i t s formal devices.
a l l u s i o n s to past forms i n the c h a p e l suggest

H i s s y n t h e s i s of

a conscious

attempt to r e p r e -

sent a r c h i t e c t u r a l l y h i s response to the s i t e quoted above.

Le C o r b u s i e r ' s method of s y n t h e s i z i n g h i s t o r i c a l and

from c o n s e r v a t i v e or expected

i s wider and

l e s s obvious,

i n s p a t i a l and

traditionalism i n
and

the r e s u l t f a r

f o r m a l terms. >. The

i d e n t i f i c a t i o n s p o s s i b l e f o r the forms are capable

m u l t i v a l e n t and

Moreover,

cultural associations

i n t o h i s c h a p e l i s d i s t i n c t i v e from t w e n t i e t h - c e n t u r y
t h a t the h i s t o r i c a l context

these

of

various

twentieth-century

c u b i s t i n t e r p r e t a t i o n as opposed to n i n e t e e n t h or even e a r l y

t w e n t i e t h c e n t u r y e c l e c t i c i s m w i t h i t s l i t e r a r y a s s o c i a t i o n s and

univalent

69
interpretations.
In a d d i t i o n to the p o e t i c and v i s u a l l y e l u s i v e s u g g e s t i o n s
t o r i c a l forms, a l l u s i o n s to contemporary forms a r e a l s o e v i d e n t .
C o r b u s i e r proposed that a n a l o g i e s w i t h the a i r p l a n e wing and
h u l l were a p p l i c a b l e to the c o n s t r u c t i o n technique

and

to h i s Le

the s h i p ' s

forms used f o r the

64
r o o f at Notre-Dame-du-Haut."^
by the use

He

thus a s s e r t e d

of contemporary forms.

the modernity of the

A l s o , Le C o r b u s i e r

added the s e a s h e l l to

these t e c h n i c a l l y - d e r i v e d forms as a s u i t a b l e analogy and

source f o r the chapel's

construction.^

He

inspirational

thus extended the f o r m a l

/

forms c a p a b l e of c r e a t i n g an i n t e l l e c t u a l and

These were

emotional response i n the

viewer.

Thus, the i n c l u s i o n of the s e a s h e l l i n the documentation of

chapel's

c o n t r u c t i o n demonstrates t h a t Le C o r b u s i e r
73

A decided
1938

T h i s , too,

dismissed

standardized

above any

from b u i l d i n g , was
forms and

i s not a r e c e n t

the importance of new

74

methods i n the c r e a t i o n of a r c h i t e c t u r a l form.

t h a t was

sought forms

the

provoking

interest.

i n t e r e s t i n " p s y c h o p h y s i o l o g i c a l " p u r s u i t s i s evident

when Le C o r b u s i e r

b i l i t y and

voca-

72

b u l a r y of a r c h i t e c t u r e to i n c l u d e h i s "formes p o e t i q u e s " .

" p s y c h o p h y s i o l o g i c a l " responses.

chapel

building.

Instead

u t i l i t a r i a n objective.
intended

He

m a t e r i a l s and

also dismissed

in
new

dura-

he advocated an a r c h i t e c t u r e
A r c h i t e c t u r e , as d i s t i n g u i s h e d

to d e c l a r e an e l e v a t e d purpose through i t s

their r e l a t i o n s h i p s . ^

In 1948

Le C o r b u s i e r

continued

through e x p e r i m e n t a t i o n s w i t h

h i s search

sculpture.^

f o r such d e c l a r a t i v e forms

H i s s c u l p t u r e p o s s e s s e s many

precedents f o r Notre-Dame-du-Haut.

In h i s s c u l p t u r e he a p p l i e d c o l o u r

form to c r e a t e volume; he d e s c r i b e d

s c u l p t u r a l composition

v i s u a l a c o u s t i c s and
metaphysically

Notre-Dame-du-Haut.
more v o l u m e t r i c

i n terms of

he r e l a t e d s c u l p t u r e p h y s i c a l l y to the landscape

to p o e t r y . ^ *
By

to

and

These same terms of r e f e r e n c e were a p p l i e d

1948

Le C o r b u s i e r

to

r e v e a l e d a g r e a t e r concern f o r

compositions i n h i s p a i n t i n g than p r e v i o u s l y and

admitted
78'

the a p p l i c a b i l i t y of extending
Le C o r b u s i e r

f o r m a l p u r s u i t s of one medium i n t o another.

dated h i s i n c r e a s e d

o r i g i n a t i n g at t h i s time.

concern f o r s c u l p t a b l e designs

Many of the forms, c o m p o s i t i o n a l

patterns,

as
and

65
much of the

textural richness

Notre-Dame-du-Haut
and

( F i g . 27).

s c u l p t u r e was

w i t h the

found i n h i s s c u l p t u r e are a l s o found a t

to c r e a t e

Moreover, the purpose of both a r c h i t e c t u r e

i n e f f a b l e space which Le C o r b u s i e r

e x p e r i e n c e of the m i r a c l e

equated

of f a i t h - the consummation of

plastic

*79
emotion.
The

a r c h i t e c t u r a l and

tion, materials,

and

Corbusier

that:

stated

t h e o r e t i c a l b a s i s f o r t h i s approach to

form e x i s t e d i n Towards a new

construc-

a r c h i t e c t u r e where Le

F i n a l l y , i t w i l l be a d e l i g h t to t a l k of ARCHITECTURE a f t e r
so many g r a i n - s t o r e s , workshops, machines and
skyscrapers.
ARCHITECTURE i s a t h i n g of a r t , a phenomenon of the emotions,
l y i n g o u t s i d e q u e s t i o n s of c o n s t r u c t i o n and beyond them.'80
(and)
Being moved, we are a b l e to get beyond the c r u d e r s e n s a t i o n s ;
c e r t a i n r e l a t i o n s h i p s are thus born which work upon our p e r c e p t i o n s and put ; us i n t o a s t a t e of s a t i s f a c t i o n i n which
man can employ f u l l y h i s g i f t s of memory, of a n a l y s i s , of
r e a s o n i n g and c r e a t i o n , ( u n d e r l i n i n g m i n e ) ^
Le C o r b u s i e r
building.

c o n c e i v e d of Notre-Dame-du-Haut as a r c h i t e c t u r e , as opposed to

I t had

an

"elevated"

purpose,and he was

" u n c o n s t r a i n e d by

programme, o t h e r than a b r i e f r i t u a l which, indeed,

of the

(ennobled) the

any

elements

problem".^
Le C o r b u s i e r

overcame the p h y s i c a l l i m i t a t i o n s imposed by economy

e x t e r i o r r e s t r a i n t s and
tural vision.

explored

and

the more p o e t i c elements of h i s a r c h i t e c -

D e s p i t e the many c o n s t r u c t i o n a l , m a t e r i a l , and

formal

rela-

t i o n s h i p s found at Notre-Dame-du-Haut which u n q u e s t i o n a b l y have precedence

i n Le C o r b u s i e r ' s

a r c h i t e c t u r a l work, the c h a p e l was

understood upon i t s

83
completion i n 1955
The

t o s i g n a l an a l t e r e d p o s i t i o n f o r Le

r e l a t i o n s h i p to h i s s c u l p t u r e both f o r m a l l y and

Corbusier.

t h e o r e t i c a l l y , and

c o n s c i o u s s e a r c h f o r symbolic forms, appear to be r e s p o n s i b l e

Although the

for

this.

s c u l p t u r a l , e f f e c t i s more pronounced at Notre-Dame-du-Haut

his

than p r e v i o u s l y , what appears to be most r e v o l u t i o n a r y i s not

of o r t h o g o n a l s but

which suggests u n i v e r s a l i s m by
the wide m a t r i x of h i s t o r i c a l l y
and

absence

the w i l l i n g n e s s - perhaps w i l l f u l n e s s - w i t h which

a r c h i t e c t manipulated memory and

pilgrimage

the

s p i r i t u a l drama.

form to c r e a t e a m u l t i v a l e n t

the g a t h e r i n g
and

socially

together
various

the

structure

of forms c o n n o t i n g
symbols r e l a t e d to

67
CHAPTER V

ACOUSTICS

V i s i t o r s t o Notre-Dame-du-Haut have p r a i s e d t h e sound q u a l i t i e s of

the

chapel:
Ronchamp has superb a c o u s t i c s and the resonance of a C a t h e d r a l
space.1
He ( t h e Canon) stood i n t h e back (of t h e nave) and sang a canticle.
H i s v o i c e was mellow, resonant, a l l - p e r v a d i n g . No h i f i s t e r e o r e p r o d u c t i o n was ever so a b l e t o g i v e t h e e f f e c t o f
sound coming from everywhere and nowhere. I n f a c t , a f t e r some
minutes I turned around t o express my a p p r e c i a t i o n , and I found
that t h e c u r a t e had disappeared; he had moved s i l e n t l y i n t o t h e
c o r n e r c h a p e l , and h i s v o i c e from t h e r e f i l l e d the e n t i r e main
space.2
The experience o f sound f i l l i n g the space i s c r e a t e d by means of
a l o n g r e v e r b e r a t i o n . The p r i e s t has been heard by t h e ( v i s i t o r )
s i n g i n g v e s p e r s i n tune w i t h h i m s e l f , the r e v e r b e r a t i o n b e i n g
so prolonged t h a t the s i n g e r can even make cords w i t h h i m s e l f ,
u s i n g t h e room as a m u s i c a l
instrument.
3

And

Le C o r b u s i e r , h i m s e l f , has s a i d of Notre-Dame-du-Haut:
Its a c o u s t i c a r c h i t e c t u r e i n t h e shape of a m u s i c a l
w i l l make i t ' s i n g ' among t h e Voges mountains... 4
There a r e t h r e e important

t h i s chapel.
without
ly,

i t expresses

sound.
these

f e a t u r e s of t h e a c o u s t i c environment i n

The r e v e r b e r a t i o n evokes t h e e x p e r i e n c e

simulating i t .

instrument,

o f a c a t h e d r a l space

I t enhances t h e v o i c e of t h e i n d i v i d u a l .

And t h i r d -

t h e a r c h i t e c t ' s emphasis on t h e analogy between space and

I t can almost be s a i d t h a t Notre-Dame-du-Haut was t h e f r u i t o f

explorations.^
Even without

be read

the r e f e r e n c e s t o h i s i n t e r e s t

i n a c o u s t i c s which can

i n t h e Modulor, t h e a r c h i t e c t ' s concern f o r t h i s aspect

a r c h i t e c t u r e o f Notre-Dame-du-Haut i s v i s u a l l y r e v e a l e d

of the

i n the building.:

the s i x c u r v i n g s u r f a c e s of the c h a p e l ' s

f o u r w a l l s , f l o o r , and

ceiling;

the f u n n e l shape of the nave; the deep c a v i t i e s a l o n g the south w a l l ;

the

v e r y s l i g h t banking of the pews,and the p r e c i s e l o c a t i o n of the p u l p i t , which

j u t s out
planes,

from a h o l l o w

c l o s e to the i n t e r s e c t i o n of two

a c u r v i n g w a l l , and

the c u r v i n g

major

reverberant

ceiling.

Some of the impetus f o r a c o u s t i c a l l y - r e s p o n s i v e a r c h i t e c t u r e came

from the Church.
was

There had been a r e s u r g e n c e of i n t e r e s t

g i v e n o f f i c i a l r e c o g n i t i o n by the

Pope P i u s X.

The

However, t h e r e was

1903

Tr a le;. so11ec i t u d i n i .

l i t u r g i c a l movement was
no

i n music t h a t

of

l a r e l y responsible for t h i s .

c o n t r a c t u a l or w r i t t e n demand t h a t Le

Corbusier

9
c r e a t e a s p e c i f i c type of sound environment.
discretion.

But

Le C o r b u s i e r ' s

such a degree t h a t i t i s not

s e n s u a l and

and

flectors.

and

from c e i l i n g s and

soundboards designed

almost unprecedented

and

acoustical control practices.

a b s t a i n i n g from r e m e d i a l
H i s approach was

wall

to a c t as r e -

s u r f a c e s such as sound r e f l e c t o r s

loudspeaker

the

For purposes of sound enhancement,

introduced
suspended

systems.^

For o r d i n a r y needs Le C o r b u s i e r used none of t h e s e .

was

resilient

More r e c e n t l y modern church b u i l d i n g p r a c t i c e had

c o r r e c t i v e and m a n i p u l a t i v e

of

i n modern churches

i n c l u d e t a p e s t r i e s , c a r p e t i n g , and

baldachins,

own

solved i t with c r e a t i v e ingenuity.

c e i l i n g s u r f a c e s to absorb s o u n d . ^

t h e r e were r e r e d o e s ,

to h i s

should.:have analysed

c o n v e n t i o n a l accoutrements commonly i n s t a l l e d

f o r sound m a n i p u l a t i o n

left

i n t e l l e c t u a l commitment was

s u r p r i s i n g t h a t he

problem w i t h great s e n s i t i v i t y and

The

T h i s was

related l i t t l e
He

What he d i d

do

to contemporary church

e l e c t e d to use o n l y the b a s i c s t r u c t u r e ,

d e v i c e s such as a c o u s t i c a l t i l e s and

to m a n i p u l a t e the path and

carpeting.

energy of the sound waves by

12
c o n t r o l l i n g the shape of the s u r f a c e s from which they were r e f l e c t e d .

69:
P i n p o i n t i n g h i s sound s o u r c e s a t the p u l p i t , a l t a r s , and pews, t h e a r c h i tect

then c r e a t i v e l y shaped a l l s i x o f t h e s u r f a c e s

reverberant
curves,

container.

of t h i s space i n t o a

By f u r t h e r m o d u l a t i n g these s u r f a c e s w i t h b a l a n c e d

s t r a t e g i c a l l y placed

recessions

w a l l , and by v a r y i n g t h e cant

such as t h e c a v i t i e s o f t h e south

i n t h e w a l l e l e v a t i o n and d i s t a n c e s

between

13
bounding edges,

Le C o r b u s i e r r e a l i z e d h i s c h a p e l
14

c a l instrument made t o s i n g . "

The

i n " t h e shape o f a musi-

The quotes g i v e n above a t t e s t t o h i s s u c c e s s .

outdoor s a n c t u a r y shows a l l t h e c a r e f u l p l a n n i n g

bandshell.

features

of a

The l a r g e outward s p l a y o f t h e south spur w a l l , the a n g l i n g

of t h e outdoor s a c r i s t y i n t h e o p p o s i t e
eave t h a t d e f l e c t s e x p a n s i v e l y
speaker, serve
cent p l a i n .

d i r e c t i o n , and the l a r g e overhead

i n a shape r e c a l l i n g an e n l a r g e d

loud-

t o p r o j e c t sound outward i n t o the crowd amassed on t h e a d j a -

The placement o f t h e church f u r n i t u r e - a l t a r , p u l p i t , c h o i r ,

l o f t , and s e d i l e - maximizes t h i s sound-enhancing s e t t i n g .

The

expansive shape of t h e outdoor s a n c t u a r y , w h i l e p e r f o r m i n g i t s

f u n c t i o n a l d u t i e s , a l s o manages t o g i v e v i s u a l e x p r e s s i o n
c a l q u a l i t i e s envisioned
emanate from the c h a p e l
To Le C o r b u s i e r ,

f o r the c h a p e l .
and t o f i l t e r

intended

sound to

i n t o the surrounding v a l l e y s . ^

the p r a c t i c a l problem o f a u d i b i l i t y was t o be

s o l v e d by s t r u c t u r a l c o n s i d e r a t i o n s .
be r e s o l v e d

Le C o r b u s i e r

t o the a c o u s t i -

The problem o f sound q u a l i t y was t o

i n terms o f p s y c h o l o g i c a l r e a c t i o n s .

Given such

considerations,

he opened up a number o f avenues to p o s s i b l e e x p l o r a t i o n i n t o man's p e r c e p t i o n and e x p e r i e n c e o f a r c h i t e c t u r a l space and form.

r e l a t i o n s h i p between music and form, g i v i n g g r e a t e r
16

He a f f i r m e d t h e

substance t o the analogy

o f t e n made between music and a r c h i t e c t u r e .

In a d d i t i o n he h e i g h t e n e d the p i l g r i m ' s awareness of h i m s e l f , h i s
own v o i c e , and the space e n v e l o p i n g

him.

Space so s t r o n g l y

(awesomely)

70
l o c a l i z e d becomes p l a c e :

Ronchamp, s i t e of m i r a c l e s . " ^

With the p r o p o s a l

18
that a t o n a l music be i n t r o d u c e d ,

Le C o r b u s i e r expanded the m u s i c a l i n -

t e r e s t s of the Church i n t o a realm of avant-gardism

w i t h the i n s t i t u t i o n .

He a l s o suggested
19

f o r e x t e r i o r sound r e f l e c t o r s .

not u s u a l l y a s s o c i a t e d

contemporaneity

These r e f l e c t o r s add

v i s u a l image of the environment-engaging s t r u c t u r e , and

p o e t i c a l l y and a c t u a l l y e n l a r g e the presence

with h i s plans

sound r e a l i t y t o the
together

they

of the c h a p e l beyond the

con-

f i n e s of i t s p h y s i c a l embodiment.
Le C o r b u s i e r took the t r a d i t i o n a l sound concerns

of the church

music, p r e a c h i n g , and p r a y e r - and made of them p o e t i c a l and

considerations.

In so doing he s y n t h e s i z e d a tremendously

contemporary

wide range of

sound e x p e r i e n c e s from numerous and d i f f e r e n t p l a c e s .

Le C o r b u s i e r drew upon the e x p e r i e n c e gained from h i s work w i t h
20
Auguste P e r r e t and e s p e c i a l l y from Gustave Lyon.
The t h e a t r e he designed
w i t h the l a t t e r i n 1928-29 c o n t r i b u t e d t h e o r e t i c a l and p r a c t i c a l knowledge
21
about a c o u s t i c s .
own

There i s a l s o evidence t h a t Le C o r b u s i e r r e c a l l e d h i s

past s e n s a t i o n s of r e l i g i o u s space i n terms of i t s a c o u s t i c a l ambiance.

H i s d e s c r i p t i o n s of r e l i g i o u s s i t e s found
and 1911
, . .

i n h i s t r a v e l d i a r i e s of

1906

prove him t o be p a r t i c u l a r l y s e n s i t i v e to the r o l e of sound i n

.
22

relxgious

experience.

In Le C o r b u s i e r ' s ongoing

quest

f o r the r e l a t i o n s h i p between the

sis-

t e r a r t s , music and a r c h i t e c t u r e , N^tre-Dame-du-Haut has a s i g n i f i c a n t

place.

P r i o r to the c h a p e l , Le C o r b u s i e r ' s concern w i t h sound had

l i m i t e d to p u r e l y p r a c t i c a l matters

i n h i s d e s i g n s and r e a l i z e d

been

projects.

H i s work on sound i n s u l a t i o n , as found at Unit d ' H a b i t a t i o n , M a r s e i l l e s ,

23
and h i s d e s c r i p t i o n s of the P a l a c e of t h e S o v i e t s d e s i g n e x e m p l i f y
H i s a n a l o g i e s between music and a r c h i t e c t u r a l c o m p o s i t i o n had

this.

otherwise

remained i n t u i t i v e and a b s t r a c t .

There had not y e t been a

programmatic

o p p o r t u n i t y t o u t i l i z e past p r a c t i c a l knowledge of e x p l o r i n g t h e o r e t i c a l
incentives.

Notre-Dame-du-Haut gave Le C o r b u s i e r t h a t

opportunity.

Notre-Dame-du-Haut c o n s t i t u t e d a c l a r i f i c a t i o n and development

C o r b u s i e r ' s i d e a s about t h e a p p l i c a b i l i t y o f m u s i c a l
a p p l i e d to a r c h i t e c t u r a l composition

discipline

and about the p e r c e p t i o n of sound as

determined by the form of a c o u s t i c environments.

can be judged by what f o l l o w e d .

compositional

of Le

The importance of t h i s

In 1958 Le C o r b u s i e r was

to b u i l d the

P h i l l i p ' s P a v i l i o n i n B r u s s e l s , a t o t a l environment o f a r c h i t e c t u r e , l i g h t ,
p i c t o r i a l image, and sound.

The c o n c e p t i o n was

as

was

24

the i d e a of c o l l a b o r a t i n g w i t h Edgar Varese,

garde f o r h i s work i n a t o n a l music.

Le C o r b u s i e r ' s own,

a p p r e c i a t e d among t h e avant-

He had a l r e a d y been approached by Le

C o r b u s i e r t o compose an a t o n a l mass f o r Notre-Dame-du-Haut i n 1954.

Notre-Dame-du-Haut may
C o r b u s i e r ' s own b e l i e f

be seen as an i n t u i t i v e response t o Le

i n t h e importance of a l l the sensory

s t i m u l i i n the

c r e a t i o n of s i g n i f i c a n t a r c h i t e c t u r a l space and form, a b e l i e f

26
s t a t e d i n Vers une a r c h i t e c t u r e of 1923.
the program presented

There can be l i t t l e

at Notre-Dame-du-Haut was

found

doubt t h a t

understood by Le C o r b u s i e r

as a demand to c r e a t e such a s i g n i f i c a n t environment and t h a t he e a r n e s t l y

sought t o do

so.^

Le C o r b u s i e r ' s c o n t r i b u t i o n was
t u r a l design.
undaunted
built

not o n l y t o a e s t h e t i c s and a r c h i t e c -

Long r e v e r b e r a t i o n , a c a t h e d r a l space, and the sound of an

i n d i v i d u a l ' s v o i c e were s i g n i f i c a n t a t t r i b u t e s t o g i v e a c h a p e l

i n the 1950s.

The emphasis

on the i n d i v i d u a l , to which d e s c r i p t i o n s

of the sound environment a l l u d e , was

to the post-World War

a l s o i n n o v a t i v e and extremely r e l e v a n t

I I C a t h o l i c Church t h a t wished to r e a f f i r m t h e impor-

tance of the i n d i v i d u a l w i t h i n the C h r i s t i a n community.

A l s o , on a p o e t i c

level,

the r e v e r b e r a n t

b l e n d i n g of d i s s o n a n t
understood

c a t h e d r a l space was
and

conducive

to the harmonious

d i s p a r a t e v o i c e s such as the Church U n i v e r s a l

i t s e a r t h l y r o l e to

be.

73'
CHAPTER VI

ORNAMENTATION

Notre-Dame-du-Haut i s a p i l g r i m a g e c h a p e l r e s p l e n d e n t
Images and

c a l l i g r a p h y r e v e a l e d by c o l o u r e d and

with

ornament.

c l e a r l i g h t bespeak i t s

d e d i c a t i o n - a s m a l l country p a r i s h c h a p e l s h e l t e r i n g a r e l i c of the
and

those who
The

seek

Her.

south windows have c l e a r l y i d e n t i f i a b l e b u t t e r f l i e s ,

l e a v e s , a "moon-face" (or "Janus head"), b i r d s , and

w r i t t e n l e g i b l y and

28).

stars,

Phrases

a p p r o p r i a t e l y i n the v e r n a c u l a r are s c a t t e r e d over

those of the n o r t h e a s t w a l l a b u t t i n g the s a n c t u a r y

(Figs.

these
19,

Images, c o l o u r s , or phrases a r e s p r i n k l e d on the t a b e r n a c l e , a b e l l -

tower l o u v r e , the s m a l l a l t a r c r o s s e s , and

they a r e strewn on the f l o o r

the a c t i o n of the sun p a s s i n g through the p a i n t e d g l a s s panes ( F i g s .

28,

clouds,

flowers painted i n

b r i g h t c o l o u r s of r e d , y e l l o w , green, b l u e , v i o l e t , and b l a c k .

windows and

Virgin

19).

Images and

at the c e r e m o n i a l

c o l o u r s a r e gathered

together

door on the south facade.

29,

to c r e a t e a f o c a l p o i n t

A l l these p a i n t e d s i g n s a r e

a p a t t e r n woven i n t o the f a b r i c w i t h which Le C o r b u s i e r enwrapped

sacred

by

this

space.
While the Church had

an acknowledged involvement

as has j u s t been d e s c r i b e d , Le C o r b u s i e r d i d n o t .
f a c t t h a t such images and

w i t h ornament such

T h i s , together with

l i t e r a r y accompaniment were not o r i g i n a l l y

v i s i o n e d by Le C o r b u s i e r encourages t a n t a l i z i n g s p e c u l a t i o n as t o h i s
tivation in finally

the

enmo-

i n c l u d i n g them. ^

T h i s chapter w i l l

l o o k a t the g e n e r a l context

of ornament i n t w e n t i e t h -

century a r c h i t e c t u r e , Le C o r b u s i e r ' s ornament v o c a b u l a r y ,

and

contemporaneous

74
liturgical

art.

I t w i l l be the i n t e n t of such a survey to a s s e s s the pos-

s i b l e importance of the imagery to both Le C o r b u s i e r and

century

French

to the t w e n t i e t h -

C a t h o l i c Church.

Ornamentation i n the t w e n t i e t h

century

Ornament i s u s u a l l y c o n s i d e r e d i n t e g r a l to such

twentieth-century

a r c h i t e c t u r a l a e s t h e t i c s as A r t Nouveau, A r t Deco, and

twentieth-century

traditionalism.

But r a r e l y i s i t estimated

important

t o the a e s t h e t i c s of

Le C o r b u s i e r or h i s contemporaries w i t h i n the Modern Movement(1914-1965),

as Gropius, Oud,

R i e t v e l d , and Mies van der Rohe.

t o p i c j u s t i c e here, but i t seems important

Beginning

such

I cannot hope to to the

to p r o v i d e a g e n e r a l o u t l i n e .

i n the n i n e t e e n t h c e n t u r y w i t h the w r i t i n g s of W i l l i a m

M o r r i s , H o r a t i o Greenough, and L o u i s S u l l i v a n , the q u e s t i o n of ornament

was

c o n s i d e r e d w i t h i n the c o n t e x t s of the r e l a t i o n s h i p of c r a f t
2

t u r e and
of

t h a t of a p p l i e d ornament to s t r u c t u r a l form.

ornament, i t s m o r a l i t y , was

n i n e t e e n t h and
of

The

here i r r e v o c a b l y i n t r o d u c e d .

to manufac-:

social

context

Much l a t e

e a r l y t w e n t i e t h c e n t u r y w r i t i n g c a s t s a s p e r s i o n on the

a p p l i e d ornament, and

Loos' Ornament and

the apogee of such t h i n k i n g was

found

use

i n Adolf

Crime (1912), which condemned the use of ornament

3
a p p l i e d to s t r u c t u r e .

T h i s d e n i a l of a p p l i e d ornament was

r e a l i g n the f a c t s of i n d u s t r i a l p r o d u c t i o n w i t h a new
b u i l d i n g m a t e r i a l s , and modern c o n s t r u c t i o n .
4
f a c t o r y , and a T a y l o r i z e d ,

an attempt to

aesthetic vision,

The use of the e n g i n e e r ,

new
the

s t a n d a r d i z e d , and r a t i o n a l i z e d approach to a r c h i -

t e c t u r e became pronounced i n the opening

y e a r s of the t w e n t i e t h

century

and

i n f l u e n c e d the a r c h i t e c t ' s c o n c e p t i o n of the p r o c e s s of c o n s t r u c t i o n

and

the r e l a t i o n s h i p of ornamentation

to i t . The

contemporary i n f l u e n c e

of the engineer

dates from the n i n e t e e n t h c e n t u r y when beauty was

i n the u n d i s g u i s e d s t r u c t u r e of c a s t i r o n and

s t e e l b r i d g e s and

discovered

i n the magi-

c a l e f f e c t s of such " e n g i n e e r i n g " f e a t s as the C r y s t a l P a l a c e and

Tower.
was

Thus, by the e a r l y y e a r s of the t w e n t i e t h c e n t u r y , a

made between a p p l i e d ornament and

f a b r i c and

structure.

In 1932

t h a t which was

the

Eiffel

distinction

i n t e g r a l to the b u i l d i n g

P h i l i p Johnson and H e n r y - R u s s e l l

Hitchcock,

under the banner of the I n t e r n a t i o n a l S t y l e , d i s c u s s e d the contemporary

work of Le C o r b u s i e r , G r o p i u s , Oud,
mentioning

ornament as such.^

q u a l i t i e s , and

R i e t v e l d , and Mies van der Rohe without

I n s t e a d , the e f f e c t of m a t e r i a l s , s u r f a c e

the d i s p o s i t i o n of s o l i d p l a n e s and v o i d s were c o n s i d e r e d

i n terms of t h e i r "ornamental e f f e c t "

( v i s u a l i n t e r e s t , v a r i e t y , meaning-

fulness) .
With the s i n g l e e p i t h e t "form f o l l o w s f u n c t i o n " the v i s u a l
t y of p r o g r e s s i v e t w e n t i e t h - c e n t u r y a r c h i t e c t u r e has
adequately

characterized.^

o f t e n been

complexithought

However, c l o s e s c r u t i n y of these same t e x t s

show t h a t t h e r e were d i s c r e p a n c i e s between word and

deed.

authors were not adverse

some, i n c l u d i n g

to the use of ornament and

Many of t h e i r

g
Gropius

and Le C o r b u s i e r , admitted

the p o s s i b i l i t y of i t s f u l l y b l o s -

9
soming a g a i n a t some f u t u r e date.

In a d d i t i o n , the p e r v a s i v e and

i n f l u e n c e of R u s k i n a t the t u r n of the century must not be

seminal

overlooked.

H i s p e r c e p t i o n of ornament as an analogue to the e x p r e s s i o n of

nature's

v i t a l i t y and of God's working had

11
12
Gaudi,
and Le C o r b u s i e r .

Antoni

W r i t i n g i n 1852,

r e p e r c u s s i o n s on S u l l i v a n , ^

Ruskin s t a t e d t h a t "the p r i n c i p l e p a r t of

t e c t u r e i s ornament", and

t h a t "the a r c h i t e c t who

archi-

i s not a s c u l p t o r or a

13
p a i n t e r i s n o t h i n g b e t t e r than a b u i l d e r " .
r e f e r e n c e to h i s p a i n t i n g and

Le C o r b u s i e r ' s

constant

s c u l p t u r e as a r c h i t e c t u r a l r e s e a r c h i n d i c a t e s

h i s c o n t i n u e d , although

s l i g h t l y a l t e r e d , adherence t o Ruskinian. thought.

A great i n f l u e n c e i n Le C o r b u s i e r ' s e a r l y y e a r s , ^ Ruskin's

e l e v a t e d con-

c e p t i o n of ornament must remain w i t h i n the context of any d i s c u s s i o n of

Le C o r b u s i e r ' s .
In 1935
architecture

Le C o r b u s i e r s t a t e d t h a t "the v e r y c o n c e p t i o n of o r g a n i c
( i . e . , h i s own)

c o n t r i b u t e s to the arrangement of the

or, w i t h v a r i e d a r c h i t e c t u r a l expedients

f o r the enhancing

exteri-

of s c u l p t u r e

16
i n the outdoors".

H i s i n t e n t i o n s were made e x p l i c i t by the e x p r e s s i v e

s c u l p t u r e appended to the accompanying facade d e s i g n s f o r the League of

Nations.

C l e a r l y a r c h i t e c t u r e c o u l d be e m b e l l i s h e d .

c l a r i t y of purpose, Le C o r b u s i e r d i v i d e d what was

However, to ensure

once c o n s i d e r e d

archi-

t e c t u r e when a p p r o p r i a t e l y ornamented i n t o equipment, " o b j e t d ' a r t " , and

i t s context, a r c h i t e c t u r e . ^
Importantly,

a r c h i t e c t s of the Modern Movement (1914-1965) r e a c t e d

as much to the meaninglessness of t h e i r contemporary ornament as they d i d

to i t s s t r u c t u r a l redundancy.

A l o n g s i d e the t e c h n i c a l , s t r u c t u r a l ,

m a t e r i a l j u s t i f i c a t i o n s g i v e n f o r the development of a new

ornament, t h e r e a l s o developed
were o f t e n j u s t i f i e d

geometric

aesthetic vindications.

and

approach to

Design

choices

i n terms of p r o p o r t i o n , p s y c h i c s e n s a t i o n , b a s i c
18

form i d e a l s , and enhanced s u r f a c e q u a l i t i e s .

Aesthetic jus-

t i f i c a t i o n s f o r a r c h i t e c t u r a l d e t a i l can be t r a c e d i n the w r i t i n g of
Ruskin,

Owen Jones,

Greenough, and

S u l l i v a n i n the n i n e t e e n t h
19

and Loos and Le C o r b u s i e r i n the t w e n t i e t h c e n t u r y .

Choisy, C h a r l e s B l a n c , and

century,

Viollet-le-Duc,

the c u b i s t , c o n s t r u c t i v i s t , and

de S t i j l move-

ments were a l s o c o n t r i b u t o r s to the assessment i n f o r m a l terms of

archi-

20
t e c t u r a l elements, c o m p o s i t i o n ,

and d e t a i l .

From the a r t movements

a r c h i t e c t u r e evolved b a s i c shapes and d e s i g n p a t t e r n s whac'h were e i t h e r

simplified

or had been purged of c o n v e n t i o n a l and h i s t o r i c

associations.

stylistic

Ornamental d e t a i l had been r e p l a c e d by f l o a t i n g ,

clearly

21
defined planes,
the m a n i p u l a t i o n

pure c o l o u r
of l i g h t

(with i t s s p a c e - d e f i n i n g q u a l i t i e s ) ,

f o r programmatic demands.

and

Loos, f o r example,

so f o c u s s e d upon the q u a l i t y of m a t e r i a l s and manufacture t h a t he made

them i n t o concerns which are not always j u s t i f i e d by p r a c t i c a l i t y
22
economy and
The

c o u l d o n l y be termed d e c o r a t i v e .

q u e s t i o n of a p p r o p r i a t e ornamentation was

throughout the t w e n t i e t h c e n t u r y .

C.I.A.M. conferences
artist,

of 1947

1949.

t h e r e f o r e present

d e c i d e d l y important

evaded i n conference

Here the r o l e of the

the t o p i c of d i s c u s s i o n .

the

plastic
Ornamenta-

the t w e n t i e t h c e n t u r y was
a t the c o n f e r e n c e s ,

was

society.

Although

the term "ornament"

come to be understood

deemed inadequate.

among those who

i n the f i r s t

half

Le C o r b u s i e r , who

expressed

this belief.

q u e n t l y , at the time of Notre-Dame-du-Haut s commission, Le

1

denied

the p u r e l y " f u n c t i o n a l " c l a s s i f i c a t i o n n o r m a l l y

openly

questioned

was

was

not a r e v i s i o n of h i s e a r l i e r p o l i c y , s i n c e he had

une

a r c h i t e c t u r e of 1923

1947

the time had

g i v e n t o him
24

of Le

Corbusier

and

This

p r e d i c t e d i n Vers
be

arrived.

The w r i t i n g and work of Le C o r b u s i e r show c l e a r l y how

ornament v o c a b u l a r y

present

Corbusier

t h a t a p l a c e f o r the p l a s t i c a r t s would
25

By

of

Subse-

i t s p r i o r i t y i n assessing a r c h i t e c t u r a l merit.

r e a l i z e d i n twenty y e a r s .

was

documentation, the s t r i c t adherence to "form

f o l l o w s f u n c t i o n " as i t had

The

at

at t h i s p o i n t b e l i e v e d n e e d f u l of the most s e r i o u s c o n s i d e r a t i o n

by the modern a r c h i t e c t and

still

and

I t was
23

i n c l u d i n g the a r c h i t e c t , was

t i o n was

or

he r e l a t e d

to

78
and was

a p a r t of the t w e n t i e t h - c e n t u r y p u r s u i t of meaningful

He j u s t i f i e d

ornament.

t h i s quest w i t h c l a i m s v a l i d a t e d by both p r a c t i c a l

ism and a e s t h e t i c i d e a l s .

He too c a l l e d

functional-

f o r the demise of a p p l i e d o r n a -

26
ment,

the embracing of the machine's c a p a b i l i t i e s , mass p r o d u c t i o n , and

27
28
standardization.
He emulated s c i e n t i f i c a n a l y s i s ,
Taylorism,
the
29
30
engineer,
and s c i e n t i f i c d i s c i p l i n e .
But a t the same time, he a l s o

admitted

e n t i r e l y aesthectic motivations:

s e c t i o n , " o b j e t s d ' a r t " , " o b j e t s pures",

r e g u l a t i n g l i n e s , the
the s u p e r i o r i t y of the

golden
Philobean

31
s o l i d s , and

the i d e a l of a mathematical o r d e r .

Le C o r b u s i e r ' s r e l a t i o n s h i p to the d e v e l o p i n g thought

can be b r i e f l y o u t l i n e d .

He shared

i n the same e x p e r i e n c e s

about ornament
as those of

any t u r n - o f - t h e - c e n t u r y craftsman w h i l e a young d e s i g n e r and engraver a t

32
La Chaux-de-Fonds (1900-1910).
At C e n t i e r s - F o n t a i n e m e i o n , S w i t z e r l a n d
he p a r t i c i p a t e d i n a quest f o r r e g i o n a l l y r e l e v a n t a r c h i t e c t u r a l ornament

and had helped

to d e c o r a t e a c h a p e l t h e r e w i t h m o t i f s d e r i v e d from

local

33
flora.

He read Ruskin,

l a t e r Choisy and Loos.

Owen Jones,

and V i o l l e t - l e - D u c a t t h i s time, and

34
He a l s o spoke h i g h l y of S u l l i v a n .
Although f o r

a s h o r t p e r i o d c r i t i c a l of them a l l ,

he d i d i n l a t e r w r i t i n g s r e c o g n i z e
35

t h e i r i n f l u e n c e on h i s c o n c e p t i o n of ornament and
to Vienna

and o t h e r c i t i e s of A u s t r i a and

form.

Germany i n 1910,

His

excursions

and

the r e -

s u l t a n t book Etude sur l e mouvement d ' a r t d e c o r a t i f en allemagne (1912)

show him t o be p e r s o n a l l y i n v o l v e d i n the c o n t r o v e r s y r e g a r d i n g c r a f t
36
the machine, i n which he supported

the l a t t e r .

I t i s a l s o from t h i s

date t h a t a s t r o n g a v e r s i o n to A r t Nouveau, brought about by the

seen i n Germany and A u s t r i a , can be noted

and

i n his writings.

In 1925

C o r b u s i e r a g a i n wrote about the q u e s t i o n of ornament; t h i s was

a g a i n seven y e a r s l a t e r as L'.art d e c o r a t i f d' au j ourd' h u i .

excesses
Le

published

Here he

79
presented

an e v o l u t i o n a r y and

c u l t u r a l r a t i o n a l e of d e c o r a t i v e a r t
37

s i m i l a r to t h a t d e s c r i b e d by Loos.

From t h i s b r i e f survey

a s c e r t a i n e d t h a t d e c o r a t i v e a s p e c t s had
Corbusier's.
symbolic

l o n g been a concern of

interested i n i t s social,

t h a t Le C o r b u s i e r had

a r c h i t e c t u r a l endeavour and who

t i o n s h i p s between God
social

Purism was

cultural,

perceived

and n a t u r e

the h i g h e r

Le C o r b u s i e r ' s

i n ornament, m e a n i n g f u l

personal

c o n t r i b u t i o n to the ' s t r i p p e d
38

on c l e a r forms and

t e r p e n e t r a t i o n s , and

silhouette.

r o l e of the image by

i t s c h o i c e of m o t i f s :

of contemporary l i f e .
had

rela-

as w e l l as between economy i n manufac-

a e s t h e t i c s e n s i b i l i t y of h i s e r a .

It concentrated

h i s designs

It i s

realms of

I t was

s o p h i c a l system t h a t i n f l u e n c e d d e s i g n which he developed w i t h

and

and

responsibility.

down' s t r u c t u r e and

i n 1918.

Le

a great exposure to a number of t h e o r i s t s

made some r e l a t i o n s h i p between ornament and

t u r e and

be

r o l e , not merely i t s r e l a t i o n s h i p to e s s e n t i a l s t r u c t u r e .

also evident
who

I t a l s o shows him

i t can

The

philo-

Ozenfant

their interrelationships, i n -

However, Purism a l s o proposed the

symbolic

t y p i c a l objects representative

adherence to n a t u r a l or r e c o g n i z a b l e forms i n

l e d to much c r i t i c i s m of h i s l y r i c i s m , s e n t i m e n t a l i t y ,
39

s u b j e c t i v i t y i n the 1920s and

m e n t a l i t y were repeated

1930s.

Such a c c u s a t i o n s

of

senti-

about Notre-Dame-du-Haut.

From h i s j u s t i f i c a t i o n of forms and

a e s t h e t i c c r i t e r i a , Le C o r b u s i e r

architectural detail

shows h i m s e l f the s u c c e s s o r

using

to a body of

thought which developed c o n c u r r e n t l y w i t h the more p u b l i c i s e d a t t i t u d e s

of "form f o l l o w s f u n c t i o n " .

However, as has been shown, these

c r i t e r i a r e s u r f a c e d i n the post-World War

Raynor Banham, i n h i s Theory and
concludes

submerged

II era.

Design i n the F i r s t Machine

t h a t " a e s t h e t i c s as much i f not more than t e c h n o l o g i c a l

Age,

80
awareness determined

the v i s u a l appearance o f t h e major m a s t e r p i e c e s of

40

the f i r s t h a l f of the t w e n t i e t h century".

W i l l i a m Jordy a l s o upsets

t h e c o n v e n t i o n a l d e f i n i t i o n o f modern a r c h i t e c t u r e as b e i n g f u n c t i o n a l i s t
41
and p r e o c c u p i e d w i t h t h e machine.

I n s t e a d , he sees t h a t t h e modern move-

ment was p r o p e l l e d by a s e a r c h f o r a p p r o p r i a t e symbols w h i c h would

enable

an e d i f i c e t o f u n c t i o n as a product o f i t s t i m e , s p i r i t u a l l y and p h y s i c a l l y .
Given t h e s y m b o l i c importance which ornament and form may have, as suggested by J o r d y , Le C o r b u s i e r ' s p a s t i n v o l v e m e n t s w i t h i t , and by t h e
p r e c e d e n t s s e t f o r such a view by R u s k i n and P u r i s m , such ornament as i s
evidenced a t Notre-Dame-du-Haut suggests t h a t i t s e x p l o r a t i o n may p r o v i d e
a new v i e w p o i n t on t h e work o f Le C o r b u s i e r .
At t h e time o f

his

commission f o r Notre-Dame-du-Haut, Le

C o r b u s i e r ' s s e l f - a d v e r t i s e d use of 'modern' forms, s t r i k i n g m a t e r i a l

j u x t a p o s i t i o n s , b o l d s i t i n g s , and l i g h t o r i e n t a t i o n s were p r e v a l e n t .

His

use o f p a i n t i n g s , m u r a l s , and s c u l p t u r e as a p p r o p r i a t e a d j u n c t s t o h i s
a r c h i t e c t u r e was w e l l known.

H i s outspokeness

f o r a s y n t h e s i s of the a r t s

had been s t a t e d as r e c e n t l y as t h e C.I.A.M. c o n f e r e n c e o f 1949.

His w i l l i n g

ness t o pursue t h e s e a r c h i t e c t u r a l endeavours w i t h i n t h e c o n t e x t o f r e l i g i o u s a r c h i t e c t u r e c o u l d have been p r e d i c t e d by h i s d e s i g n f o r S a i n t e Baume.

A l s o , Le C o r b u s i e r ' s work p r i o r t o Notre-Dame-du-Haut d i d n o t l a c k
a concern f o r t h e s y m b o l i c and i t s r o l e o f e m b e l l i s h m e n t ,
the u n i v e r s a l symbols sought i n P u r i s m .

as was seen i n

I m p o r t a n t l y , t h e Church s p e c i f i -

c a l l y opened i t s e l f t o u n i v e r s a l symbolism a f t e r t h e f r a g m e n t a t i o n of World

43
War I I .

I n t h e p a s t Le C o r b u s i e r had spoken o f a u n i v e r s a l v i s u a l
44

language c a p a b l e o f e x p r e s s i n g p h i l o s o p h i c a l c o n c e p t s .
a r c h i t e c t u r e , i t s forms, and h i s manner o f ornamenting

I t was i n h i s
i t t h a t Le

81
C o r b u s i e r sought t o r e i f y h i s p h i l o s o p h i c a l and a e s t h e t i c t h e o r i z i n g .

The o r n a m e n t a t i o n of Notre-Dame-du-Haut

A s t r i k i n g d e s i g n program a t Notre-Dame-du-Haut i s e v i d e n c e d i n t h e
g e o m e t r i c forms e i t h e r cut i n t o o r p r o j e c t i n g from t h e b u i l d i n g f a b r i c .

On

the s o u t h f a c a d e , f l a n k i n g t h e c e r e m o n i a l door, a g e o m e t r i c form p r o j e c t s

from t h e c u r v e d w a l l o f the southwest tower.

Another r i s e s v e r t i c a l l y

from the ground on t h e o p p o s i t e s i d e of t h e e n t r a n c e ( F i g . 1 2 ) .

While the

former has no apparent s t r u c t u r a l purpose, i t was i n t e n d e d as a s u p p o r t f o r

45
a future sculpture.
The l a t t e r b e a r s the d e d i c a t i o n p l a q u e and has
46
b u r i e d w i t h i n i t t h e documents r e c o r d i n g t h e h i s t o r y of t h e c h a p e l .
W h i l e t h e permanently d i s p l a y e d d e d i c a t i o n s t o n e r e c a l l s an a n c i e n t

tradi-

t i o n i t i s not r e q u i s i t e a c c o r d i n g t o canon law and i s not f r e q u e n t l y found

i n contemporary c h u r c h a r c h i t e c t u r e .

However, p o r t a l s c u l p t u r e i s common

t o G o t h i c c a t h e d r a l s as e x e m p l i f i e d by C h a r t r e s , Notre-Dame-de-Paris o r t h e
/
47
Romanesque V e z e l a y , a l l of w h i c h were known by Le C o r b u s i e r .
In addition,
s c u l p t u r e was a f r e q u e n t and c h a r a c t e r i s t i c d e v i c e of p i l g r i m a g e a c t i v i t y
and s c u l p t u r e marking t h e p i l g r i m a g e r o u t e s i s one o f t h e i d e n t i f y i n g
48
c h a r a c t e r i s t i c s of t h e medi e v a l t r a d i t i o n .

Surpassing f u n c t i o n a l necessi-

t y , the g e o m e t r i c forms ' f u n c t i o n ' i n t h e i r own r i g h t as s c u l p t u r e .

p r o j e c t i n g h o r i z o n t a l cube responds t o t h e v e r t i c a l u p r i g h t cube:
49
' a c t i v a t e ' the space, g i v i n g a c c e s s t o t h e c e r e m o n i a l door,
g i v e human s c a l e t o the l a r g e expanse of t h e southwest tower.

they

and they
In t h e i r

as p l a c e markers, s i g n p o s t s , and space humanizers t h e s e forms do

some purposes s i m i l a r t o t r a d i t i o n a l p o r t a l s c u l p t u r e s , ( F i g s .

The

fulfill

30,31).

Another r a t i o n a l e i s suggested by t h e use of g e o m e t r i c forms.

The

role

82
stone b l o c k which s e r v e s
p o r t i o n s , 113
proportions
and

x 113

carved

as a d e d i c a t i o n stone i s of h i s

x 70 c e n t i m e t e r s ,
out

and

of i t s s u r f a c e . T h u s

geometry t h e s e ornamental d e v i c e s

that a continual reference

basis.

a r e c t a n g l e of

pro-

'Modulor'

i n t h e i r general

proportion

i n t r o d u c e the Modulor and

the p h i l o -

sophy t h a t such a r e f e r e n c e encompasses.

Corbusier

has

'Modulor'

T h i s v i s u a l statement

suggests

to p r o p o r t i o n be made t h e r e a f t e r , f o r to

Le

" i t i s the Modulor which i s the essence of the d e s i g n - the

Symbolically

the e n t i r e s t r u c t u r e r e s t s upon i t " . ~ ^

The

true

forms

p l a c e d w i t h i n the f o u n t a i n f l a n k i n g the west w a l l are a l s o of Modulor-derived proportion.

A d d i t i o n a l forms used s c u l p t u r a l l y , w i t h

intimations

of modulor p r o p o r t i o n i n g , are found d i s p e r s e d about the c h a p e l .

They a r e

d i s c r e e t l y carved w i t h i n the south spur w a l l on the east facade and

found as h o l l o w s and

ledges w i t h i n the c h a p e l .

are

Modulor dimensions a l s o

determine the f e n e s t r a t i o n p a t t e r n on the south and

n o r t h w a l l s and

the

52
paving

p a t t e r n on the
Le C o r b u s i e r

a l s o uses a s c u l p t u r a l approach to c r e a t e the

ment f o r the c h a p e l .
pews, a l t a r s , and

floor.

Pulpit, choir l o f t ,

fonts, confessionals,

t a b e r n a c l e are i n c o r p o r a t e d

or designed as f r e e - s t a n d i n g o b j e c t s .

candelabra,

i n t o the b u i l d i n g f a b r i c

Le C o r b u s i e r

shows a f i n e

to m a t e r i a l s i n h i s c h o i c e of r i c h A f r i c a n wood f o r the s c u l p t o r
whose a i d he e n l i s t e d f o r the c r a f t i n g of the pews.
as p r a c t i c a l i t y , i s a l s o shown i n the use

equip-

sensitivity
Savina,

S e n s i t i v i t y , as w e l l

of w a t e r - r e s i s t a n t

Burgogne

stone f o r the g e o m e t r i c a l l y p r e c i s e forms of the a l t a r s , i n the bronze used

for

the shaped h a n d l e s , and

i n the use of c o n c r e t e
53

communion r a i l and hand r a i l s .

Corbusier

and

c a s t i r o n f o r the

These are the o b j e c t s designed by

he uses the m a t e r i a l s w i t h which he

R e p e t i t i o n of form and

and

Le

i s most knowledgeable.

s i l h o u e t t e i s used to g i v e the

ornamental

83
q u a l i t i e s of v a r i e t y and
of f o r m s ' c o m p o s i n g
p r o f i l e and

interest.

communion r a i l

the t h r e e towers.

and w i t h

The

i s s l i g h t l y l a r g e r and more elegant

pews, f o n t s , curved

v i s u a l counterpoint
The

the b u i l d i n g .

due

in

the

Appropriately,

i s more monumental due

i s o l a t e d p o s i t i o n on f o u r s l e n d e r

'family

c a s t i r o n communion r a i l ,

the contour of the pews.

curve than the s t a i r r a i l s and

stairways.

most obvious example i s the

s i l h o u e t t e , coheres both w i t h o t h e r r a i l i n g s found on

various stairways

The

The

the

to i t s s l i g h t
to i t s placement

and

posts.

choir l o f t ,

and

communion r a i l o f f e r a

to the r e c t i l i n e a r forms of the p u l p i t , a l t a r s ,

l a t t e r also counterpoise

and

or respond to the major curves of

In a d d i t i o n , refinement g i v e s p r e c i s i o n to the forms and

the f u n c t i o n each must perform.

The

to

f o l d of the communion r a i l makes a

convenient nook f o r p r a y i n g hands and

the h o u r g l a s s

shape and

placement of the bronze handles make them easy to g r i p .

recessed

The wooden h o r i -

z o n t a l members of the pews are moulded to the human form.

Texture i s c o n s c i o u s l y used to g i v e both r e l a t e d n e s s
d i s t i n c t i v e n e s s to the elements.
(striated concrete
lar

while

serves

surface)

i s one

example.

s u r f a c e on the f o u n t a i n forms and

to v i s u a l l y u n i t e the f o u n t a i n w i t h

to i n t e g r a t e the c h o i r l o f t w i t h

the

i t s supporting

curved

function.

The
the

wall,
surface

wall.

Form i s v i g o r o u s l y a r t i c u l a t e d to g i v e a e s t h e t i c e x p r e s s i o n
s t r u c t u r e and

Simi-

chapel.

i t c o n t r a s t s the s t r i a t e d cube of the p u l p i t w i t h the nubby

of the adjacent

and

the w a l l

s u r f a c i n g surround the c e r e m o n i a l door.

r e p e t i t i o n of the rough c o n c r e t e

Texture serves

c o n t r a s t of the r o o f w i t h

a g a i n s t a nubby g u n n i t e

c o n t r a s t s of c o n c r e t e

nearby gargoyle

The

to the p a r t s

The

to

b u l g e i n the west e x t e r i o r w a l l d e c l a r e s

presence of c o n f e s s i o n a l s w i t h i n .

The

louvered

and

fenestrated

towers

the

84
p r o c l a i m independent a l c o v e s beneath.
f u n c t i o n and

The

north s t a i r c a s e declares i t s

s t r u c t u r a l independence from the w a l l .

reveal underlying

Expansion

s t r u c t u r a l and m a t e r i a l c h a n g e s . I n

vening west w a l l between n o r t h and

joints

t h i s way

the

inter-

southwestern towers i s e s t a b l i s h e d

as

an independent wrapped form ( F i g . 14).

Curves of changing d i r e c t i o n are made to meet a t sharp p o i n t s .
i s a Modern Movement d e t a i l which d i s t i n g u i s h e s s i l h o u e t t e and
from such precedents as A r t Nouveau ( F i g . 2 3 ) .

The

This

composition

meeting of c h o i r

loft

w i t h w a l l , the groove s e p a r a t i n g c e i l i n g from w a l l , the deep r e c e s s i o n of

doors, and

the r e c e s s i o n of the south windows w i t h i n the w a l l a l s o show a

concern f o r c l e a r l y d e f i n e d a r c h i t e c t u r a l elements.
d e f i n i t i o n of s u r f a c e and
c o n t r o l i s created.
sity:

With such sharp

d e t a i l the o v e r a l l sense of p r e c i s i o n and

rational

Each of t h e s e d e t a i l s i s a l s o a programmatic neces-

the f o u n t a i n f u n c t i o n s as c i s t e r n , the s l o p i n g r o o f d r a i n s

water, the geometric p r o j e c t i o n s and

depressions

references

f u n c t i o n as s h e l v e s

t o c u b i s t composition

but

rain-

are not merely a b s t r a c t

for

liturgical

56
implements or d e v o t i o n a l o f f e r i n g s .
Colour
white g u n n i t e

i s a l s o used to ornament the e d i f i c e .

e x t e r i o r , the w h i t e p l a s t e r i n t e r i o r , and

s t a i n of the r o o f , the w a l l of the n o r t h e a s t

northeast

In a d d i t i o n to

corner

i s p a i n t e d p u r p l e and

chapel

yellow.^

the

the brown-grey

i s p a i n t e d red and

Apart

the

from the p o s s i b l e

r e l i g i o u s i n t e r p r e t a t i o n of these c o l o u r s

(which w i l l be d i s c u s s e d

later)

they a l s o have an a e s t h e t i c e x p l a n a t i o n .

For example, the red may

serve

to

' a c t i v a t e ' the t i n y space of the s i d e c h a p e l

of the n o r t h e a s t
p l a n e and

corner may

to h e i g h t e n

yellow-rimmed windows.

serve

and

the p u r p l e and

to r e a s s e r t a p o t e n t i a l l y l o s t

the p e r c e p t i o n

of b r i g h t n e s s

The window images and

coming through

yellow

wall
the

t h e i r method of a p p l i c a t i o n

85
s e r v e as c o l o u r a c c e n t s

s c a t t e r i n g r e d , y e l l o w , b l u e , v i o l e t , and green,

l i g h t - c r e a t e d shapes w i t h i n t h e nave.

Colour

r e i n f o r c e s the d i f f e r e n t

depths o f t h e window placements and a c t s as a s c r e e n p a r t i a l l y

obscuring

v i s i o n i n t o the nave w h i l e r e t a i n i n g views t o the o u t s i d e .

L i g h t r e f l e c t e d from the p a i n t e d

s u r f a c e s of t h e n i c h e i n t h e east

w a l l onto t h e s t a t u e w i t h i n s e r v e s t o e n l i v e n t h e v e n e r a t e d
hint of yellow,

relic.

green, and r e d w i t h i n t h e n i c h e u n i t e s t h e n i c h e

t i c a l l y w i t h t h e n o r t h and south windows and s o f t e n s t h e contours

relic.

The

colourisof the

T h i s a d j a c e n t l y a p p l i e d c o l o u r s e r v e s t o encase t h e s t a t u e o f

the V i r g i n " i n a s u f f u s e d and warm glow which o t h e r w i s e

neutral

, c o l d , o r o f a substance-negating

would have been

brightness.

Le C o r b u s i e r used c o l o u r p r e v i o u s l y f o r ornamental e f f e c t , as an
a e s t h e t i c t o o l c r e a t i n g cohesion
form.

throughout, and t o a r t i c u l a t e space and

The r o l e o f c o l o u r i n c r e a t i n g " p s y c h o p h y s i o l o g i c a l " responses had

justified

i t s use i n the past f o r Le C o r b u s i e r

and does so a g a i n a t N o t r e -

58
Dame-du-Haut.

Drawing upon h i s s t u d i e s o f t h e r e l a t i o n s h i p between c o l o u r

and human response, Le C o r b u s i e r

expresses

t h e p l a c e o f p i l g r i m a g e as a

p l a c e o f p h y s i c a l awareness and as a p l a c e of j o y .

F o r the p a t r o n t h i s was

an understanding

and a f u n c t i o n deemed important

and i n t e g r a l t o t h e b u i l d i n g

program i t s e l f .

The r e p e t i t i o n o f form, the j u x t a p o s i t i o n of v a r i o u s

t e x t u r e s , the p r e c i s e a r t i c u l a t i o n o f form and d e t a i l , and the j u d i c i o u s use

of c o l o u r and i t s manner of a p p l i c a t i o n were a l l methods used by Le
Corbusier

i n h i s p r e v i o u s work t o c r e a t e ornamental e f f e c t .

It i s largely

because o f d e t a i l s o f c o l o u r , form, a r t i c u l a t i o n and t e x t u r e t h a t t h e

chapel

i s recognized

as a t w e n t i e t h - c e n t u r y

edifice.

I n a d d i t i o n , many

d e c o r a t i v e d e t a i l s a l s o i d e n t i f y t h e b u i l d i n g as an e c c l e s i a s t i c a l one.

86
Liturgical art

L i t u r g i c a l a r t i s a r t which i s e i t h e r an i n t e g r a l p a r t of the s a c r e d
liturgy

( p o e t r y , m u s i c ) , immediately

connected w i t h l i t u r g y

( a l t a r ) , or

remotely connected w i t h i t (images of v e n e r a t i o n , w a l l p a i n t i n g s ,

and

59
statues).

As i s demonstrated

t a t i o n responded

t o the whole range of these needs.

and designed a sound-enhancing

and o r a t i o n .

above, Le C o r b u s i e r ' s scheme of ornamenHe shaped

h i s spaces

b e l l tower and e l e v a t e d g a l l e r i e s f o r music

He c a l l e d f o r t h h i s s k i l l s as a f o r m - g i v e r to c r e a t e church

f u r n i t u r e such as the a l t a r and pews, and he used h i s s k i l l s as an imagemaker to c r e a t e those images of v e n e r a t i o n which a r e wanted i n a C a t h o l i c
church.
Twelve canon laws e x i s t e d which safeguarded the importance,

defini-

t i o n , and use of l i t u r g i c a l a r t - i n b u i l d i n g s and f u r n i s h i n g s and

ornamental

considerations.*^

Notre-Dame-du-Haut.^

their

Of t h e s e o n l y t h r e e were of consequence a t

For the most p a r t , the laws c o n c e r n i n g

liturgical

a r t were merely g e n e r a l g u i d e l i n e s making l i t t l e r e f e r e n c e t o s p e c i f i c

62
A
application.
A l s o , the p e r i o d of Notre-Dame-du-Haut's c o n s t r u c t i o n was
one of u n c e r t a i n t y over the i s s u e s s u r r o u n d i n g s a c r e d and l i t u r g i c a l a r t ,
a s i t u a t i o n then r e c o g n i z e d by the French Church.
i t was

63

D e s p i t e the

ferment,

recommended t h a t the l o c a l c u r e , a member of a Sacred A r t Commission,

64

or the A r c h b i s h o p h i m s e l f , guide the a r c h i t e c t or a r t i s t

Many reknowned avant-garde
endeavours

i n h i s task.

a r t i s t s had a l r e a d y a s s i s t e d the Church

t o c r e a t e a contemporary

in its

ornament and, as has been noted,

Mediator D e i r e c o g n i z e d the importance

of modern a r t i n s e r v i n g

liturgi-

c a l needs.
O b v i o u s l y , Archbishop Dubourg's, and l a t e r Archbishop

Dubois's,

acceptance of the c h a p e l f o r c o n s e c r a t i o n acknowledged the

of canon law.

In a d d i t i o n , the a d v i c e of l e a d i n g church f i g u r e s t h a t a

d i a l o g u e between a r t i s t and
f o l l o w e d , and

was

65

not

church r e p r e s e n t a t i v e s be conducted

Le C o r b u s i e r d i d r e c e i v e guidance.

s t r u c t e d Le C o r b u s i e r
Mary".

fulfillment

intended

Canon Ledeur had i n -

i n "the Mystery of the Church and

T h i s took the form of a " l o n g and

as a r e q u e s t .

f o r f i n d i n g a p p r o p r i a t e and

was

of the

Virgin

patient conversation"

Thus Le C o r b u s i e r was

given

66

and

responsibility

o r i g i n a l ways to handle the matter - f o r the

67

French Church was

The

not adverse to o r i g i n a l i t y i n s t y l e or m o t i f s .

c h a p e l i s spangled

to the V i r g i n Mary.

used i n l i t a n i e s to

w i t h symbols e a s i l y i d e n t i f i e d as

There are a l s o c e r t a i n t e x t u a l r e f e r e n c e s
68

references
commonly

Her.

On the p a i n t e d windows Le C o r b u s i e r p a i n t e d symbols which r e f e r

the p l a c e of the V i r g i n w i t h i n t h e o l o g y
C h r i s t and man.

In the p o p u l a r

to e a r t h the r a i n " ,

and

to

her r o l e as mediator between

l i t a n i e s Mary i s "the c l o u d which brought

"the c l o u d which e n c l o s e d

the sun",

and

"the b e n e f i -

69
cient r a i n cloud".

She

i s a l s o "the moon" and

the advent of great l i g h t " . ^

She

"the s t a r who

i s seen i n r e l a t i o n to her d i v i n e o f f -

s p r i n g as " s m a l l e r and weaker t h a t the S u n " . ^

Clouds,

s t a r s , a moon, and

darkened s k i e s p a i n t e d on the windows r e f e r to these l i t a n i e s .

c e l e b r a t e s her as "Maria
The

Stella",

" S t e l l a Maria",

l a t t e r i s i m p l i e d by the words " l a mer"

w a l l windows and

thereby

t r a v e l l e r ' s guide.
chapel, enshrined

The

churches b u i l t

and

The

" S t a r of the

w r i t t e n on one

of the

chapel
72
Sea".

south

remind the viewer t h a t Mary i s the s a i l o r ' s

s t a t u e of the V i r g i n ,

i n i t s g l a s s n i c h e and
73

" j e w e l " of the c h a p e l .

announces

the venerated

r e l i c of

or
the

p l a c e d so as to glow, i s the

Such metaphors a r e found i n the h i s t o r y of

a t Ronchamp t h a t Le C o r b u s i e r

i s known to have read.

the

A few t r a d i t i o n a l symbols a l l u d e t o C h r i s t ' s presence.

They a r e h i s

image i n s c r i b e d on t h e a l t a r c r o s s e s and carved w i t h i n the major c r o s s i n

the sanctuary,

the c r o s s i n s c r i b e d i n the pavement, and t h e c h i - r h o and the

the f i s h p a i n t e d on the t a b e r n a c l e c r o s s .

The c o n c e n t r a t i o n o f symbolic

r e f e r e n c e s t o C h r i s t about the a l t a r demonstrates t h a t Le C o r b u s i e r was

concerned t o c o r r e c t l y present

l i t u r g i c a l and t h e o l o g i c a l d o c t r i n e . H i s

l a t e r comments and adjustments w i t h i n the sanctuary

to the t h e o l o g i c a l q u e s t i o n s

show he was s e n s i t i v e

then b e i n g proposed r e g a r d i n g the r e l a t i o n 74

s h i p between Mary and C h r i s t .

t h i s from Canon F e r r y . ^

Moreover, he had sought c l a r i f i c a t i o n of

The presence o f these symbolic

C h r i s t a r e e n t i r e l y a p p r o p r i a t e because, although

references to

the chapel i s dedi-

cated t o the N a t i v i t y of the V i r g i n , i t a l s o c e l e b r a t e s Corpus

76

Christi

as one of i t s few y e a r l y p i l g r i m a g e s .
The

d e n i a l s made by Le C o r b u s i e r and h i s patrons

a s s o c i a t i o n s t o the windows c o u l d be understood

of t r a d i t i o n a l

as an attempt t o r e a f f i r m

the modernity of the c h a p e l and were d i r e c t e d a t d i s a s s o c i a t i n g the t e c h nique

was

involved with

that o f the Middle A g e s . ^

stained glass

undergoing a r e v i v a l a t t h a t time, and was v i g o r o u s l y supported and

78

made by Pe*re C o u t u r i e r ,
was

Although

Le C o r b u s i e r chose not t o employ i t .

Thus, he

a b l e t o remain c o n s i s t e n t w i t h h i s e a r l i e r d e f i n i t i o n o f t h e window

t h a t i n c l u d e d the a b i l i t y t o commune w i t h n a t u r e v i s u a l l y as w e l l as
philosophically.

I t was a l s o c o n s i s t e n t w i t h Le C o r b u s i e r ' s post-World

79

War I I a e s t h e t i c aims which i n c l u d e d the use of c o l o u r e d panes o f g l a s s .

At Notre-Dame-du-Haut Le C o r b u s i e r d e v i s e d p a i n t e d images and a
of a p p l i c a t i o n t h a t allowed

technique

a f u s i o n o f h i s p e r s o n a l t r a d i t i o n of u s i n g

images and a r c h i t e c t u r a l elements w i t h those of the Church.

Although he

eschewed the m e d i e v a l t r a d i t i o n o f s t a i n e d g l a s s , he d i d not i g n o r e i t ;

a sketch by him r e v e a l s t h a t he used a t r a d i t i o n a l Rose window as a

80
s t a r t i n g p o i n t f o r h i s own

window d e s i g n s .

In t h i s way,

r e d e f i n e t h i s o l d t r a d i t i o n i n terms of h i s own
l i g h t , and

image.

he sought to

understanding

Thus Le C o r b u s i e r d i r e c t e d P^re

Couturier's

i n s t a i n e d g l a s s i n t o wider and more f l e x i b l e r e l i g i o u s

interest
81

expressions.

I t i s l i k e l y t h a t Le C o r b u s i e r a l s o used c o l o u r i n a
symbolic

of c o l o u r ,

f a s h i o n i n c e r t a i n p l a c e s at N&tre-Dame-du-Haut.

liturgically
The

r e d which

appears i n the n o r t h e a s t c h a p e l , In Church symbolism, may suggest the b l o o d

82
83
of martyrdom
or the j o y of c e l e b r a t i o n .
As the c o l o u r of r o s y dawn,
i t may

r e f e r to Mary as "the V i r g i n of the Morning S t a r " .

c h a p e l r e c e i v e s the morning l i g h t and

The

northeast

c o n t a i n s the phrase " e t o i l e

du

matin" w r i t t e n on i t s l o u v r e i m p l y i n g i t s use as a t r a d i t i o n a l Lady's

c h a p e l , a p l a c e of s u p p l i c a t i o n .

S i n c e to Le C o r b u s i e r the c o l o u r r e d

denoted i n t e n s e a c t i v i t y , h i s c h o i c e c o i n c i d e s w i t h a l l of these

religious

84
interpretations.
may

V i o l e t and y e l l o w found
85

a l l u d e to "Regal p u r p l e and

majesty and pagentry,

c l e r g y and

gold".

on the n o r t h sanctuary

wall

These c o l o u r s , a s s o c i a t e d w i t h

a r e a p p r o p r i a t e symbols f o r t h i s a r e a from which

c h o i r members emerge i n o f f i c i a l and

The metaphors, a n a l o g i e s , and

festive

dress.

s i m i l i e s used at NStre-Dame-du-Haut

were not merely a p a r t of a l o n g past t r a d i t i o n , they were a l s o a p a r t of

contemporary p o e t r y , l i t e r a t u r e , and p a i n t i n g .

Nor were these

and v i s u a l a n a l o g i e s f o r e i g n to avant-garde r e l i g i o u s uses:

of Le C o r b u s i e r ' s contemporaries
be found

employed them.

i n the w r i t i n g s of P a u l C l a u d e l and

at least

two

Such p o e t i c terms can

such v i s u a l metaphors were

*
86

then b e i n g employed by Leger at Assy and Audincourt.. ( F i g . 32)..

themes i n t r o d u c e d were a l s o s i g n i f i c a n t

literary

to the e r a .

to the V i r g i n and M a r i o l o g y were then extremely

. The-

The

devotional cults

popular,

e s p e c i a l l y so i n

90
France.

87

The m i r a c l e s a t Lourdes and Fatima o c c u r r e d w i t h i n t h i s

p e r i o d and the B o d i l y Assumption of the V i r g i n was

in

1950.

officially

time

recognized

88

No tre-Dame-du-Haut, w i t h i t s d e d i c a t i o n t o the V i r g i n and i t s p r o m i 4

n e n t l y - d i s p l a y e d r e f e r e n c e s t o Her, was

t h e r e f o r e a r e p r e s e n t a t i o n of a

v e r y s i g n i f i c a n t contemporary r e l i g i o u s s e n s i b i l i t y .
o t h e r a r c h i t e c t , A n t o n i Gaudi, who
g i c a l understanding,

was

And

at l e a s t

one

well-known f o r h i s p i e t y and

litur-

had used images c u l l e d from t r a d i t i o n and from n a t u r e

89

to best give expression to h i s unquestionably

sincere f a i t h .

And

just

as he had i n f u s e d w i t h i n h i s m o t i f s not o n l y r e f e r e n c e s t o t h e o l o g y

but

t o a r c h i t e c t u r a l p h i l o s o p h y , so too d i d Le C o r b u s i e r .
S i g n i f i c a n t examples of Le C o r b u s i e r ' s iconography
the c h a p e l .

exist within

They i n c l u d e the m o t i f s found on the c e r e m o n i a l door, t h e

t a b e r n a c l e , and the b u i l d i n g forms

themselves.

E a r l y v e r s i o n s of the d e s i g n f o r the c e r e m o n i a l door r e v e a l t h a t the

b a s i c format and placement o f the m o t i f s corresponds
geometric

preconceived
90
schema, the " s t a r r y pentagon" and the "convex pentagon".

Le C o r b u s i e r j u s t i f i e d these geometric

to

f i g u r e s by comparison t o

medieval

91
example.

He thus i n t e n d e d t o r e p r e s e n t a modern r e s t a t e m e n t

of

tradi-

t i o n a l r e l i g i o u s p r a c t i c e and t o a f f i r m the c u l t u r a l l i n e a g e of h i s concerns.

He i d e n t i f i e d the e s s e n t i a l m o t i f s of the c e r e m o n i a l door as

"sun, moon, b i r d s , the convex pentagon, the s t a r r y pentagon, c l o u d s , s e a ,

92
meanders, windows, and two hands...".
Corbusier's iconography,
significance.

Each had a precedent w i t h i n Le

t o each he had a t t r i b u t e d a s p e c i f i c and

personal

At Notre-Dame-du-Haut he combined m o t i f s from h i s n o t a t i o n a l

93

system employed i n urban p l a n n i n g schemes and i n h i s Modulor.

m o t i f s a l s o appeared i n h i s p a i n t i n g s and

murals.

Similar

On the lower l e f t - h a n d c o r n e r of the c e r e m o n i a l

door ( e x t e r i o r

face)

i s a w h i t e wavy l i n e , r e c o g n i z a b l e as the "meander", the slow and waste94

f u l " n a t u r a l " pathway unenhanced by man's endeavours.

The meander had

a contemporary urgency i n the c o n t e x t of Le C o r b u s i e r ' s C.I.A.M. g r i d of

1949.

Here i t became t h e " v - 4 "

d i t i o n and h i s t o r y evidenced
95

environment. and expressed

parameter s y m b o l i z i n g the v e s t i g e of

tra-

i n o l d w i n d i n g p a t h s s t i l l v i s i b l e i n man's

F i r s t used as a term of d e r i s i o n i n Urbanisme ( 1 9 2 7 ) ,

96

i n the words "chemins des anes", the meander developed i n t o

a concept g i v e n p h i l o s o p h i c a l i m p l i c a t i o n s i n P r e c i s i o n s (1930) where i t

took the form of the " l o i du meander", "a m i r a c u l o u s

symbol used t o i n t r o 97

duce p r o p o s i t i o n s f o r urban and a r c h i t e c t u r a l

Prominently

reform".

d i s p l a y e d on the e x t e r i o r door f a c e a r e the two

l i s t e d by Le C o r b u s i e r as among the e s s e n t i a l m o t i f s .

hands

The b l u e hand

appears t o be i n a g e s t u r e of a c t i o n , of r e c e i v i n g , or of g i v i n g .
other, red w i t h o u t s t r e t c h e d f i n g e r s s l i g h t l y curved, suggests a
of welcome.

The hand had a l o n g and i m p o r t a n t

development of a p e r s o n a l iconography.

p l a c e i n Le

The
gesture

Corbusier's

As w i t h t h e " l o i du meander", i t

found i t s b r o a d e r a p p l i c a t i o n as a p h i l o s o p h i c a l s t a t e m e n t , t h a t of

the

98

open hand, " w i l l i n g t o g i v e and t o r e c e i v e " .

important

The hand was

a motif

t o Le C o r b u s i e r not o n l y f o r the many r h e t o r i c a l uses t o w h i c h

he c o u l d put i t , but a l s o f o r i t s f o r m a l v a l u e s .

Having i t s f i r s t major

s c u l p t u r a l m a n i f e s t a t i o n i n the g i a n t hand i n c o r p o r a t e d i n the V a i l l a n t 99

C o u t u r i e r monument i n 1937,

i t was

l a t e r g i v e n a r c h i t e c t u r a l form a t

C h a n d i g a r g h . I n both instances i t possessed strong emotional

ments.

The

t e l l i n g was

form i t s e l f was

attach-

t o undergo many t r a n s f o r m a t i o n s ; t h e most

the metamorphosis of the hand i n t o a b i r d , much l i k e the

ornamenting the war memorial pyramid a t Notre-Dame-du-Haut.^^

Here,

one

because of the c o n t e x t , the h a n d - b i r d takes on the a d d i t i o n a l

of

association

the dove, b i r d of peace and h o p e , ( F i g . 16).

The windows to which Le C o r b u s i e r r e f e r s i n The Chapel at Ronchamp

appear t o be the two

r e c t a n g u l a r forms found between the two

hands ( F i g .

102
17).

The t r a n s p a r e n c y of g l a s s i s suggested by the i n d i c a t i o n of a

background p e r c e i v e d through them.

Windows, the views they frame, the

" n e g a t i v e " space they i n t r o d u c e i n t o the " p o s i t i v e " p l a n e of the w a l l ,

and the problems they p r e s e n t w i t h r e s p e c t t o l i g h t , h e a t , and v i s i b i l i t y ,
103
had

l o n g been among the problems which i n v o l v e d Le C o r b u s i e r .

window placement
new

was

an e x p r e s s i o n o f the freedom i n h e r e n t i n the use of

c o n s t r u c t i o n methods.

The attempt

to come t o terms w i t h t h i s

freedom l e d to work w i t h "trace's" and the Modulor.

t i o n a l aims i n c o n t r o l l i n g the i n t e r i o r environment,

to nature, h i s funcand h i s a e s t h e t i c aims

c r e a t i n g a b a l a n c e d , c o n t r o l l e d , and p r o p o r t i o n e d facade.

window had a r c h i t e c t u r a l , moral, and s o c i a l

Hence, the

ramifications.

The c l o u d s a l s o mentioned by Le C o r b u s i e r a r e found on b o t h

e x t e r i o r and

i n t e r i o r f a c e s of the door.

e s s e n t i a l l y a s i g n of d i s g u i s e d optimism.

new

The window p r e s e n t e d

a c h a l l e n g e t o h i s p h i l o s o p h i c a l aims of r e l a t i n g man

of

A l s o , the

the

For Le C o r b u s i e r the c l o u d
I t was

not an

was

unfavourable

s i g n , but j u s t another u b i q u i t o u s aspect of n a t u r e and the h a r b i n g e r of

beneficial

rain.

Other forms a l s o found on the e x t e r i o r f a c e of the c e r e m o n i a l

appear to have s p e c i f i c r e f e r e n c e s , a l t h o u g h these are l e f t
Le C o r b u s i e r .

The

door

u n d e f i n e d by

s m a l l t r i a n g u l a r shape r i s i n g from the bottom s e c t i o n of

the door c o u l d be i n t e r p r e t e d as a l a n d form.

the same b l a c k m o t t l i n g s , emerge i n h i s urban

t r i a n g u l a r and skewed pyramid

Forms such as t h i s , w i t h
106
study diagrams.

The

shapes of the c e n t r a l area r e c a l l a number of

93
images used by Le C o r b u s i e r :

pyramids,

t r i a n g l e s , geometry g e n e r a l l y ,

and P l a t o ' s f i v e s o l i d s s p e c i f i c a l l y . ' ' ' ^

A l l of t h e s e have i n common

t h e i r a s s o c i a t i o n w i t h the i n t e l l e c t u a l achievements of

man.

Forms w i t h v a r i e g a t e d p a t t e r n s d e r i v e d from urban p l a n n i n g p r e s e n t a t i o n s are a l s o p l a c e d on the i n t e r i o r door f a c e .

The t r i a n g u l a r forms w i t h

the orb above a r e , when viewed t o g e t h e r , s t r i k i n g l y s i m i l a r to Le C o r b u s i e r ' s

108
" j e u de s o l e i l " m o t i f

( F i g . 33).

I t r e f e r s to a l a r g e c o n s t e l l a t i o n

of i d e a s w e l l known to those conversant w i t h the w r i t i n g of Le C o r b u s i e r .

The s p i r a l dominating

the composition resembles

t h a t used by Le C o r b u s i e r

to r e p r e s e n t the F i b o n a c c i s p i r a l which f i g u r e d predominantly

i n h i s work

109
w i t h the Modular.

The

s m a l l f l o a t i n g forms suggest

f u n c t i o n they were shown to have on the e x t e r i o r .

c l o u d s r e p e a t i n g the

G i v i n g o r d e r t o these

a p p a r e n t l y d i s p a r a t e images i s the " s t a r r y pentagon" and

pentagon" mentioned e a r l i e r , which form the geometric
which the images and t h e i r background a r e o r g a n i z e d
tance of the pentagons l i e s

the "convex

framework upon

( F i g . 17).

The

impor-

i n the c o n t r o l which they import t o the d e s i g n ,

a d e s i g n f e a t u r e Le C o r b u s i e r f e l t n e c e s s a r y t o a l l g r e a t
I t i s obvious t h a t the m o t i f s chosen,

and

art.^^

e s p e c i a l l y those p o i n t e d

out by Le C o r b u s i e r , had a s p e c i a l meaning t o him.

However, the way

in

which they were j u x t a p o s e d a l s o suggests a meaning has been hidden beneath

t h e i r apparent

random d i s p e r s a l .

When each of the m o t i f s i s i n t e r p r e t e d

i n d e p e n d e n t l y , a c r y p t i c d e p i c t i o n of the m a t e r i a l world as i t i s m a n i f e s t
through

time emerges.

The

e x t e r i o r door f a c e w i t h the "meander" and

forms at the bottom suggest

o r g a n i z a t i o n and work of man
a l l a r e the cosmic

forces.

a c u l t u r a l and

the n a t u r a l unorganized

geological past.

Above t h i s

and perhaps c i v i l i z a t i o n a r e r e c a l l e d .

the

Above

The e x t e r i o r door f a c e suggests man's r e s o u r c e s ,

94
h i s endeavours, and the r e l a t i o n s h i p between sky, e a r t h , s e a , and
w i t h i n h i s ' p a r a d i s e ' on e a r t h . B y

man

u s i n g such n o t a t i o n a l d e v i c e s

c u l l e d from u r b a n p l a n n i n g , Le C o r b u s i e r sought t o draw a t t e n t i o n t o h i s

i d e a l s and hopes f o r man

i n t h e newly dawning e r a .

On the i n t e r i o r door f a c e the a s c e n d i n g ,

veys a sense of c r e a t i v e f o r c e .

t r u n c a t e d t r i a n g l e con-

I t passes through an a r e a c o n t a i n i n g a

s c h e m a t i z a t i o n of Le C o r b u s i e r ' s " j e u de s o l e i l " , a symbol r e f e r r i n g t o

the n a t u r a l o r d e r of t h i n g s , and w h i c h s i g n i f i e d to him the b a s i s from
112

which a l l a r c h i t e c t u r e arose.

The d a i l y p a t h of the sun, the twenty-

f o u r hour day, and the d i v i s i o n i n t o n i g h t and day i s evoked by

these

assembled m o t i f s .

order,

They appear r e p r e s e n t a t i v e of a c o s m o l o g i c a l

but a l s o of the making of o r d e r w i t h a l l i t s c r e a t i v e energy more

p h a t i c a l l y p o r t r a y e d than on the e x t e r i o r .

The

veys the heat and v o l a t i l e n a t u r e of c r e a t i o n .

em-

i n t e r i o r door f a c e conThe

containment of t h i s

energy by t h e F i b o n a c c i s p i r a l , w i t h the g u i d i n g and b e n e f i c e n t . hand above,

suggests

t h a t even t h i s c r e a t i v e power s h o u l d , or can, be

The F i b o n a c c i s p i r a l and the Modulor were j u s t two of Le

controlled.
Corbusier's

p r a c t i c a l and p e r s o n a l c o n t r o l l i n g d e v i c e s .
T h i s i d e a of P a r a d i s e and the means by w h i c h t o a t t a i n i t were exp r e s s e d by Le C o r b u s i e r many times and through many mediums, i n s k e t c h e s
1910-1965 ( F i g . 34), i n l i t h o g r a p h s 1910-1965 ( F i g . 3 5 ) , and i n words:
H a b i t a t i o n i s l i f e , knowing how t o l i v e ! How t o use the
b l e s s i n g s of God:
the sun and the s p i r i t t h a t He has g i v e n
t o men t o enable them t o a c h i e v e the j o y of l i v i n g on e a r t h
and to f i n d a g a i n the l o s t P a r a d i s e . ( 1 9 3 6 ) ^ 3
These m o t i f s were r e l e v a n t not o n l y t o Le C o r b u s i e r but t o t h e
French C a t h o l i c Church as w e l l .
Notre-Dame-du-Haut, f i n d s t h e s e

Abbe B o l l e - R e d d a t ,

the r e s i d e n t p r i e s t a t

' s i g n s and symbols' r e a d i l y a c c e s s i b l e t o

95
religious implication.

For example, i n r e f e r r i n g t o t h e window m o t i f

the c e r e m o n i a l door he adds the e x c l a m a t i o n

"Annunciation"

on

(window
114

made t o r e c e i v e the l i g h t and a l l o w i t t o pass i n t o the

interior).

Below t h i s window, " t h i s s i g n of t h e V i r g i n , " he i s a l s o a b l e t o i n t u i t

"the meeting of the E a r t h w i t h t h e Sky" - a h a l l o w e d p l a c e . I t i s an
apt d e s c r i p t i o n of the c e r e m o n i a l door and the c h a p e l as a whole.
p r i a t e l y , the Church too had

Appro-

i t s c o n c e p t i o n of P a r a d i s e w h i c h found i t s

symbolic and e a r t h l y r e p r e s e n t a t i o n s i n f l o w e r s and the g i f t s of

nature

36).

(Fig.

The t a b e r n a c l e of Notre-Dame-du-Haut c o n s i s t s of a c u b i c , c a s t i r o n
box perched upon t h r e e p l a n a r s u p p o r t s

(reminiscent of a minature E s p r i t
116

Nouveau p a v i l i o n r a i s e d upon p i l o t i )

( F i g . 37).

I t had i t s impetus i n

t r a d i t i o n a l p r o t o t y p e s which Le C o r b u s i e r r e f a s h i o n e d i n t o a form more

amenable t o h i s aesthetic.''''''^ I t s w h i t e enamelled s u r f a c e s a r e adorned
w i t h images and c o l o u r .

Although

the t a b e r n a c l e i s a n e c e s s a r y

p i e c e of

church f u r n i t u r e - one of the most h e a v i l y shrouded i n m y s t e r y and

symbolic

a s s o c i a t i o n s - t h e r e i s no church s t i p u l a t i o n t h a t i t be e m b e l l i s h e d w i t h
118
images such as t h e s e .
However, i t i s suggested t h a t the t a b e r n a c l e
s h o u l d be an ornamented r e c e p t a c l e w h i c h r e p r e s e n t s "a r e a l d w e l l i n g of
119
God among men".
Le C o r b u s i e r r e q u e s t e d i n f o r m a t i o n about the d i m e n s i o n s ,
u s e s , and iconography of the t a b e r n a c l e and, on h i s own i n i t i a t i v e r e f e r r e d
120
s e v e r a l d e s i g n s t o Canon F e r r y f o r h i s s e l e c t i o n .
d i v i d e d i n t o t h r e e geometric

'. ' .The

areas w i t h f o u r images p l a c e d w i t h i n :

b i r d s and two b u t t e r f l i e s on the s o u t h , two f l o w e r s and two

north.

A l l of the images a r e rendered

two

l e a v e s on

the

i n t h e same manner as t h o s e found

on the windows and r e i t e r a t e the same g e n e r a l theme.

maining

s i d e s . have been

east and west s i d e s a r e d i f f e r e n t .

However, the r e -

96

The front of the tabernacle contains free-floating abstract shapes

that imply clouds, an interpretation strengthened by their blue colour
and use elsewhere as such (Fig. 37).

Striations, superimposed on these

floating diaphanous shapes, suggest atmosphere and contribute to a sense of

forms drifting within an undefined and unusual space.

Within this space i s

a lamb outlined in black with a cross held between i t s forelegs. The lamb
is emphasised by two slashes of blue which inscribe a right angle on i t .
Although the right angle has a great importance to Le Corbusier, the lamb
motif is not known within his repertoire of imagery.
necessary to search for i t within religious

It i s therefore

iconography.

As portrayed, the lamb i s the traditional Agnus Dei representing

Christ and signifying the prefiguration of His crucifixion.

Le Corbusier

emphasised the idea of crucifixion with a black, painted sketch of the

crucified Christ on the attached cross above which the chi-rho i s inscribed
on its reverse. Such layering of analogous symbols was common in religious
ornamental schemes and depictions. That Le Corbusier was aware of the
analogies possible and the significance of associating these images is.
indicated by Le Corbusier's familiarity with the Isenheim Altarpiece,
121
where a similar juxtaposition of images appear.

Also, the figure of a

youth carrying the lamb over his shoulders, which belongs to a group of
prototype images for Christ, was known to Le Corbusier. He had a Greek
122
statue of this subject in his Paris studio,
and he had underlined the
references to pagan precedents and relationships for the Christian p i l 123
grimage to Ronchamp in i t s published history.

i: It may be that the

classical source of the Christian image suggested a universality in the

motif and therefore attracted Le Corbusier to i t .

Le Corbusier enriched

the tabernacle with new associations by coinciding the right angle with

97
the lamb.

The r i g h t angle was

C o r b u s i e r which s i g n i f i e d man
same year he had
Right

Angle".

an extremely

important

symbol to Le

s t a n d i n g u p r i g h t i n the landscape.

In the

c e l e b r a t e d the symbol i n v e r s e i n h i s poem "Poem to the

1 2 4

The back of the t a b e r n a c l e c o n t a i n s a number of images which i n

t h e i r combination

suggest

a landscape

scene ( F i g . 3 8 ) .

A black

d e f i n e s the h o r i z o n and white dashes a l l u d e t o waves below i t .

shapes r i s i n g from a f l a t base suggest mountains and

line
Jagged

a b a r r e n t r e e and

a v a r i e g a t e d form of t h r e e V-shaped d i s k s p o i s e d upon the h o r i z o n

c o n t r i b u t e to the r e f e r e n c e s s u g g e s t i n g c r e a t i o n and
e a r t h and water, or perhaps a sunset and

the s e p a r a t i o n of

the time of the

Angelus.

The d e s i g n of the back f a c e i s r e p l e t e w i t h symbols of death

rebirth.;
water.

and

of the power and b e n e f i c e n c e of nature - e a r t h , sky,

These are frequent t o p i c s d i s c u s s e d by Le C o r b u s i e r and

to h i s u n d e r s t a n d i n g

of a r c h i t e c t u r e and p l a n n i n g .

of n a t u r e burgeoning

beneath the bareness

w i t h i n the cosmos i s here

w i n t e r season,

extolled.

The

And,

where image and r e a l i t y c o i n c i d e :

themes of C r u c i f i x i o n and

the

r e l i g i o u s c y c l e of

the sun's r a y s s i g n a l the

sea

(Fig. 39).

f o r i t was

symbolism.

the a i r p l a n e i n d e s c r i b i n g

These have a l r e a d y been shown to have been

p o r t a n t images f o r the c o n c e p t i o n of the s t r u c t u r e .

important

state-

rebirth

m o t i f s to r e l i g i o u s

He r e f e r r e d m e t a p h o r i c a l l y to the s h i p ' s h u l l and

was

life,

on a window i n the south w a l l

F i n a l l y , Le C o r b u s i e r c o n t r i b u t e d new

c r e a t i v e process
and

i n a p u r p l e s u n r i s e over a b l u e - g r e e n

Notre-Dame-du-Haut.''' "'

and

essential

as i f to c o n f i r m t h i s m e t a p h y s i c a l

ment, a r e i n t e r p r e t a t i o n of i t i s found

of day

The

and

(the t r e e has no l e a v e s )

each a p a r t of the cosmic and

a r e p o i s e d as analogues.

line

im-

The use of metaphor

y e t another means by which Le C o r b u s i e r sought

98
to endow h i s c h a p e l w i t h contemporary
Le C o r b u s i e r
and

believed

design.

126

relevance.

emulated the modern s h i p f o r i t s e f f i c i e n c y i n

i t s modern forms a p p l i c a b l e to a r c h i t e c t u r e and

He

also appreciated

s h i p imagery has

the

128
precedent i n both a r c h i t e c t u r a l

i t s w e l l known and

personal

127

s h i p as a haven.

and

design

industrial

Therefore,

although

religious thinking

s i g n i f i c a n c e to Le C o r b u s i e r

129

endows i t w i t h

contemporary a s s o c i a t i o n s .
Reference to the a i r p l a n e wing was

another means of imbuing

the

c h a p e l w i t h modernity and

an a s s o c i a t i o n w i t h e f f i c i e n c y .

h i s e r a , Le C o r b u s i e r

i n the a i r p l a n e an e f f e c t i v e t o o l f o r u n i v e r s a l

brotherhood and

peace.

special consideration

saw
130

L i k e many of

H i s g l o r i f i c a t i o n of the a i r p l a n e m e r i t e d

i n h i s 1935

p u b l i c a t i o n A i r c r a f t , and

his

flying

e x p e r i e n c e s were i n s p i r a t i o n f o r p o e t i c a l l u s i o n s i n h i s w r i t i n g s of

the

131
1930s.

The

a i r p l a n e had

which Le C o r b u s i e r

had

a l s o served

These images served

of modernity, p r e c i s i o n , haven, and

the s h i p had

d a r i n g , and

The

a i r p l a n e and

and

i n f l u e n c e d h i s view of the world and

the forms of Notre-Dame-du-Haut.

d e r i v a t i o n of these two

t o summon the

f i g h t against

ideas

of man.

l i f e and

a r c h i t e c t u r a l forms
They had

inspired

this i n s p i r a t i o n influenced

N o t w i t h s t a n d i n g the p u r e l y

they were used by him

132

on i t s d e d i c a t i o n day.

Corbusier

mediocrity.

secular

images, they were found to be a p p r o p r i a t e

Archbishop of Besancon and

f o r the c h a p e l

Exhibition

c o n s i s t e n t l y by Le

o f f e r e d Le C o r b u s i e r

of a r c h i t e c t u r e and

spirit"

the optimism of man's f u t u r e .

been used p r e v i o u s l y and

to demonstrate man's i n g e n u i t y ,

h i s philosophy

"new

a s s o c i a t e d w i t h modernity i n h i s 1937

I n t e r n a t i o n a l e de 1 ' H a b i t a t i o n .

These forms had

as an image of the

by

the

as p r a i s e w o r t h y metaphors

With the a t t r i b u t i o n of

f i c a n c e f a r beyond t h e i r s t r u c t u r a l f u n c t i o n , these forms a c q u i r e d

signithe

gnificance usually associated

w i t h ornament.

LOO
CHAPTER V I I

LIGHT

The

a l l - p e r v a s i v e symbol o f the c h a p e l i s l i g h t .

L i g h t g i v e s the

c h a p e l i t s m y s t i c a l q u a l i t i e s , guides p i l g r i m p r a c t i c e s , and g i v e s
to form.

life

Of a l l the elements t h a t c o n s t i t u t e Notre-Dame-du-Haut's g r e a t -

ness the c o n t r o l o f l i g h t has the most t o do w i t h the command o f s t r u c t u r e .

Of a l l the symbolic,

s c u l p t u r a l , o r d e c o r a t i v e elements, l i g h t as mani-

p u l a t e d by t h e a r c h i t e c t produces i n the

s p e c t a t o r the most

profound

sense of r e l i g i o u s mystery, a f a c t commented upon by v i r t u a l l y

critic.

every

And i t i s i n the program f o r the h a n d l i n g o f l i g h t t h a t we can

see how b r i l l i a n t l y Le C o r b u s i e r c o u l d f u n c t i o n under the simultaneous

c o n d i t i o n s of severe economic r e s t r i c t i o n s and a b s o l u t e p r o f e s s i o n a l freedom.
P r i o r t o Notre-Dame-du-Haut the s u b j e c t o f l i g h t

i n church a r c h i t e c -

t u r e , o r i n contemporary C a t h o l i c i s m - i n s p i r e d l i t e r a t u r e , i s o n l y i n -

2
f r e q u e n t l y commented upon, w i t h one r e l e v a n t e x c e p t i o n :

Paul Claudel.

In modern r e l i g i o u s thought l i g h t has n o t been g i v e n t h e m e t a p h o r i c a l

s i g n i f i c a n c e i t once had as e x e m p l i f i e d by Abbot Suger and D i o n y s i a n
metaphysics.

Nor i s i t e s p e c i a l l y emphasised i n avant-garde a r c h i t e c -

t u r a l thought or p r a c t i c e f o r other than p r a c t i c a l c o n s i d e r a t i o n s , a g a i n

save one e x c e p t i o n :

Sainte-Baume.

Church d e s i g n has tended t o c o n c e n t r a t e

3
upon s i m p l i f y i n g forms and r e a r r a n g i n g s p a t i a l r e l a t i o n s h i p s ,
work o f Bohm, Schwartz, M e t s i n g e r ,

and P e r r e t .

as i n the

I n modern n o n - e c c l e s i a s -

t i c a l a r c h i t e c t u r e l i g h t has been a s s o c i a t e d w i t h moral i m p e r a t i v e s , and

a l i n e of thought i n t h i s r e s p e c t extends from M o r r i s and Ruskin

4
C o r b u s i e r and h i s

contemporaries.

t o Le

101
There had

of course been experiments i n modern church a r c h i t e c t u r e

b e f o r e N<tre-Dame-du-Haut and
light.

In 1923,

filtered

some are q u i t e i n t e r e s t i n g w i t h r e s p e c t

at Notre-Dame-du-Raincy, P e r r e t had

through s t a i n e d g l a s s embedded i n p a t t e r n e d

the order of the spectrum. ~*

Dominicus Bohm had

introduced

light

claustras, simulating

introduced

lighting

scheme w i t h a s i n g l e l i g h t - i n t e n s i v e area over the a l t a r at St.

Cologne-Riel

i n 1930.

i n France by Dom

A s i m i l a r l i g h t i n g arrangement had

B e l l o t , a Dominican monk, at Audincourt

f a c t that the l i g h t i n g i n n o v a t i o n s
by Pere C o u t u r i e r i n p a r t i c u l a r

of Dom

and

not

i n 1930.^

B e l l o t were not
o f t e n repeated

emulated nor

Englebert,

been c r e a t e d
The

appreciated

by other

a r c h i t e c t s , p l u s the f a c t t h a t P e r r e t ' s p o e t i c statement w i t h

not

to

French

light

i t s p o s s i b i l i t i e s s e i z e d upon seems to p o i n t out

was

theo-

9
l o g i c a l disinterestedness i n this
There was

area.

a resurgence of i n t e r e s t i n s t a i n e d g l a s s i n e c c l e s i a s t i -

c a l a r c h i t e c t u r e p r i o r to Notre-Dame-du-Haut but

i t was

ated f o r f i g u r a t i v e d e t a i l r a t h e r than the m e t a p h o r i c a l

the ambiance of l i g h t

used and

appreci-

s i g n i f i c a n c e of

i t created.^

S u r p r i s i n g l y , and

i n g e n e r a l , a r c h i t e c t u r a l w r i t i n g and
1

critiques

of the p e r i o d r a r e l y i s o l a t e l i g h t as a t o p i c m e r i t i n g s p e c i a l c o n s i d e r a t i o n s , other
form, and

than p r a c t i c a l ones, whereas they r e g u l a r l y t r e a t s t r u c t u r e ,

even c o l o u r i n t h i s way.^

Pere C o u t u r i e r , the l e a d i n g French

exponent of avant-gardism, p r o v i d e s

a r e p r e s e n t a t i v e example i n h i s d i s -

c u s s i o n of the church at Assy, whose d e c o r a t i o n he

supervised.
Nowhere
12
does he use l i g h t as a metaphor f o r r e l i g i o u s e x p e r i e n c e .
A more contemporary and p r a c t i c a l problem occupied the c l e r g y and
13
Church at t h a t time - the problem of e l e c t r i c l i g h t i n g .
s t i c k s , v i s u a l l y prominent, and

distracting light

Imitation

fixtures,and

the

candle

102
p r o l i f e r a t i o n of l i g h t - a c c e s s o r i s e d d e v o t i o n a l

objects(such

as

Christ

14
figurines with illuminated hearts),
problems.

posed a e s t h e t i c

as w e l l / a s

functional

P a r t i c u l a r l y d i s t r e s s i n g to the Church at t h a t time were

indiscriminate

i n t r o d u c t i o n of e l e c t r i c l i g h t

and

the

the

theatrical effects

o f t e n s o u g h t . ^ As e a r l y as 1932 the i n t r o d u c t i o n of e l e c t r i c l i g h t had

been s u f f i c i e n t l y d i s r u p t i v e to m e r i t s p e c i a l comment by Rome. In France
1

the problem was

countered by Les

q u e s t i o n s l i t u r g i q u e s et

paroissales

16
i n the

same year.

Although the

l a t t e r does not

o f f i c i a l p r o c l a m a t i o n , i t does i n d i c a t e the way

have the power of

i n which l i g h t

an

was

approached i n o f f i c i a l French C a t h o l i c c i r c l e s as a q u e s t i o n of t r a d i t i o n
and

necessity. ^
1

The

decree s t a t e s t h a t

t o immediately s e r v e the c u l t " , but

of the O r d i n a r y " , and
minate the
that

one

i f i t was

c a r e f u l l y evade a l l t h e a t r i c a l e f f e c t and

minimal use

liturgy". ^

i s obvious t h a t

away from the o l d e r

nave and

c a t e d t h a t the
duction

shadows and

t h a t one

consent

to

illu-'

condition

respect

and

the

dignity

the

i n t r o d u c t i o n of e l e c t r i c l i g h t took i n t e r e s t

systems of i n t e r i o r i l l u m i n a t i o n , undermining i t s

s a n c t u a r y be

Natural

sanctuary.

l i g h t had
For

shrouded i n o b s c u r i t y

However t h e r e was

no

established

those who
and

l i g h t f i x t u r e s above or w i t h i n
19

as a d i s t u r b i n g element.

still

mystery, the

the

space

was

advointroviewed

consensus i n the l i t e r a t u r e

of the French e c c l e s i a s t i c a l avant-garde as to what l i g h t q u a l i t y

best.

able

light.

predominantly-lit

of e l a b o r a t e

w i t h the

s a n c t i t y of the p l a c e

r o l e i n determining s p a t i a l hierarchy.
the dim

never

At Notre-Dame-du-Haut, Le C o r b u s i e r made

of e l e c t r i c a l

(was)

p e r m i t t e d w i t h the

churches w i t h more s p l e n d o r than f o r m e r l y

sacred

It

" i t was

seen to " d i f f u s e the

always the g r a v i t y which s u i t s the

of the

that

"electric light

Furthermore, i n Mediator D e i of Pope P a u l XII of

1947

was

t h e r e i s no

103
s p e c i f i c mention made of l i g h t .

20

The o n l y r e f e r e n c e made t o a r c h i t e c -

t u r e i s a g e n e r a l e x h o r t a t i o n "to use modern m a t e r i a l s , but t o do

p r u d e n t l y and

to p r e s e r v e the c o r r e c t b a l a n c e among s t y l e s , t e n d i n g n e i t h e r

to extreme r e a l i s m , e x c e s s i v e symbolism, nor t h a t which w i l l

shock".

so

openly

2 1

To summarize, j u s t p r i o r to the Ronchamp p r o j e c t ,

criticism

o v e r l o o k e d the p o e t i c a l p o t e n t i a l s of l i g h t

ecclesiastical
i n i t s concern

22
w i t h the abuse of e l e c t r i c l i g h t .

Where l i g h t does f i g u r e

as an o r g a n i z i n g element, i t tends to take one of two

light

i s e i t h e r f o c u s s e d on the a l t a r , as w i t h Dom

predominently

standard

forms:

B e l l o t , or the nave i s

f l o o d e d w i t h l i g h t , as w i t h P e r r e t .
I t i s important

t o note, however, t h a t w h i l e l i g h t as a r e l i g i o u s l y

s i g n i f i c a n t metaphor does not occur i n o f f i c i a l Church decrees p r i o r

to

the completion of Notre-Dame-du-Haut, and w h i l e i t i s not emphasised i n the

w r i t i n g s of Pere C o u t u r i e r or Pere Regamey, l i g h t does occur as a theme i n
l e s s s p e c i a l i z e d and more w i d e l y read l i t e r a t u r e .
drama, L'Annonce F a i t e a M a r i e , l i g h t

In P a u l C l a u d e l ' s

i n d i c a t e s the r e l i g i o u s l y

cant times of the day, which a r e g i v e n t h e i r t r a d i t i o n a l

E a r l y dawn or the s t i l l

signifi23
association.

evening of the Angelus s i g n i f y the presence

of the

24
Virgin.

Furthermore,

c y c l e of d a i l y and

i n t h i s p l a y the c o n n e c t i o n s between the

s e a s o n a l time t o t h a t of the n a t u r a l world

s i m i l a r t o the c o n n e c t i o n between l i g h t and

the ornamentation

a t Notre-Dame-du-Haut.

Catholic

is strikingly

the day t o be d i s c o v e r e d i n

Significantly,

t h i s very play

by P a u l C l a u d e l i s c i t e d a t some l e n g t h i n Le C o r b u s i e r ' s Modulor of

25
1949.

A l s o , Le C o r b u s i e r requested the quote from P a u l C l a u d e l t h a t

Archbishop

Dubois had used a t the c o n s e c r a t i o n ceremony a t Notre-Dame-du-

26
Haut;

and a l i n e from P a u l C l a u d e l appears

i n Le L i v r e du Ronchamp:

"comprends c e t t e

p a r o l e a l ' o r l e l l e de ton ame". ^

2

Given the extent of Le C o r b u s i e r ' s r e f e r e n c e s to P a u l C l a u d e l

through

him,

the extent of h i s response

between l i g h t and

to the t r a d i t i o n a l

the s a c r e d e x p e r i e n c e ,

e a r n e s t l y sought the i n c o r p o r a t i o n

correspondence

i t seems t h a t C h a r l e s

c r i t i c i s m of Notre-Dame-du-Haut as " i r o n i c " i s unfounded.

and,

28

Jenck's

Le

Corbusier

of modern p o e t i c s e n s i b i l i t y i n t o h i s

edifice.
Perhaps more i n d i c a t i v e of the a r c h i t e c t ' s a t t i t u d e s than
l i t e r a r y p a r a l l e l s of thought
c e s s o r where l i g h t

i s the s i n g l e modern a r c h i t e c t u r a l

does f i g u r e as an important

these
prede-

s p a t i a l element, h i s

own

29
Sainte-Baume p r o j e c t of 1948.
and

" r e a l i t y - i n f u s e d " , as was

Le C o r b u s i e r ' s d e s i g n was

as "of i t s day"

C l a u d e l ' s v i s i o n a r y church f o r Chicago

of

the 1930s where ' f u t u r i s t ' images and

' r e a l i s t ' acceptance of modern t e c h 30

nology and m a t e r i a l s were to be expressed.
I t was a l s o an o p p o r t u n i t y
f o r Le C o r b u s i e r to p r a c t i c e h i s luminary v i s i o n s i n c e the l i g h t i n g
31
scheme was
One

left

e a r l i e r p r o j e c t should perhaps be mentioned.

Sainte-Baume was
of the 1907
which was

e n t i r e l y to h i s d i r e c t i o n .
Much e a r l i e r

Le C o r b u s i e r ' s p a r t i c i p a t i o n i n the i n t e r i o r

chapel at Cernier-Fountainemelon,

r e p l e t e w i t h c o s m o l o g i c a l m o t i f s and

of the n a t u r a l o r d e r i n which the sun and

than

decoration

near La Chaux-de-Fonds,
e x p r e s s i v e of an awareness
32

life-forms figure

prominently.

At Notre-Dame-du-Haut, the importance Le C o r b u s i e r gave the problem

of l i g h t
tially

i s demonstrated by i t s h i g h p r i o r i t y i n d e s i g n d e c i s i o n s .

the c h a p e l was

designed

to be composed of simple shapes u n i t e d i n t o

a s i n g l e mass t h a t would stand out e f f e c t i v e l y upon the summit.

the l a t e r p l a n s marked

Ini-

eclairage

t h a t the most s i g n i f i c a n t

It i s i n

changes a r e

33
noted

(Figs.

40,

41).

For i n s t a n c e , an i n t e r i o r v e s t i b u l e at the

south

door was
space.

e l i m i n a t e d , thereby
The

removing an i n t r u s i v e element i n t o the nave

door became a s i n g l e l a r g e expanse hung on a c e n t r a l p i v o t .

In

t h i s form the south door p l a y s a g r e a t e r r o l e i n the l i g h t i n g scheme; w i t h

the opening of the c e r e m o n i a l

door one

g r e a t s h a f t of l i g h t

i s introduced,

s u b s t a n t i a l l y adding to the i l l u m i n a t i o n o f f e r e d by the s i d e l i g h t s which

i n the r e v i s e d scheme now
this light
scheme no

adds dramatic
light

directly

i l l u m i n a t e the nave.

In a d d i t i o n ,

emphasis to the a c t of e n t e r i n g .

In the

earlier

from the door would have been v i s i b l e i n the nave, due

to

i t s s c r e e n i n g by p a r t i t i o n w a l l s .
Other changes i n d i c a t e the d e v e l o p i n g
chapel.

The

concern f o r the l i g h t of

e l i m i n a t i o n of the window of the northwest c h a p e l and

consequent r e l i a n c e on the l i g h t

towers, and

are now

lit

d i r e c t l y o n l y by t h e i r own

i n t e r i o r but a l s o on the e x t e r i o r .
forms of the f o u r facades

lantern

an e f f e c t not o n l y on

i n the d e s i g n .

l i n e of the w a l l s , which i s most r e s p o n s i v e

In the l a t e r

and

and

meeting p o i n t of the n o r t h and

concave

to the h o r i z o n t a l movement of
are accen-

a l t e r e d to i n c r e a s e the eave overhang

east w h i l e r e i n f o r c i n g the abrupt

t a n t e f f e c t on the south and

interest

the convex and

(1951) ' e c l a i r a g e ' p l a n s , these curves

In a d d i t i o n , the r o o f was

on the south

This

inward cant of the south w a l l , which i s

to the v e r t i c a l p o s i t i o n of the sun,

the sun.

the

L i g h t c o n s i d e r a t i o n s a f f e c t e d the

a t an e a r l y stage

accounts f o r the v e r t i c a l and

tuated.

the

day.

changes i n i t i a t e d at t h i s time had

responsive

As a r e s u l t of

s i n c e each i s o r i e n t e d i n a d i f f e r e n t d i r e c t i o n , the l i g h t i s

caught a t d i f f e r e n t times of
The

the

from the l a n t e r n demonstrates the d e s i r e

to c r e a t e a u n i f i e d method i n the l i g h t i n g scheme.

change, a l l the chapels

the

east w a l l s .

east f a c a d e s ,

end

of the r o o f at

T h i s a l t e r a t i o n had

an

the

impor-

g r e a t l y i n c r e a s i n g the range

106
of l i g h t
found

to shade and

shade

to

light.

The v a r i a t i o n i n window types

i n the n o r t h w a l l , d e s p i t e i t s c o n s i s t e n t s t r u c t u r a l system, and

unnecessary,

a l t h o u g h p o e t i c , b a t t e r i n g of the south w a l l

because r e i n f o r c e d c o n c r e t e ^ n o t

(unnecessary

g r a v i t y and masonry account

t y ) emphasise the p r i o r i t y g i v e n t o l i g h t over s t r u c t u r a l

The

changes made to the p l a n i n 1951

for i t s s t a b i l i -

expression.

f o l l o w the acceptance

d e s i g n by the Commission f o r Sacred A r t f o r Besancon i n January

year."^

The patrons asked

o n l y t h a t the d e s i g n be reduced

The r e d u c t i o n i n s i z e , however, does not account

the

of the
of t h a t

in size.^^

f o r the other m o d i f i c a -

37
tions,

whose g r e a t e s t e f f e c t was

on the l i g h t

q u a l i t i e s of the c h a p e l .

The w r i t i n g s of Le C o r b u s i e r abound w i t h d i s c u s s i o n s of the

f i c a n c e of l i g h t ;

i t i s found

signi-

i n h i s e x p o s i t i o n of a r c h i t e c t u r a l t h e o r y , i n

urban p l a n n i n g , h i s p o e t r y , and

i n h i s emotional

responses
38

more s p e c i f i c a l l y h i s t o r i c , r e l i g i o u s a r c h i t e c t u r e .

to a r c h i t e c t u r e ,

In h i s own

t e c t u r e t h i s s e n s i t i v i t y can be seen i n the l i g h t w e l l s of the

Savoie, the l i g h t e d s t a i r w e l l s of h i s own

Villa

apartment, the l i g h t e d

t u r a l promenade' of the A u t e u i l houses, and

archi-

'architec-

the d e s i g n i n g of facade

forms

to b e s t r e l a t e to the d i r e c t i o n and h e i g h t of the sun's r a y s , as f o r example

as A l g i e r s .

He had

de J a n e i r o i n 1939,
The

treatment

a l s o i n v e n t e d the b r i s e - s o l e i l ,
to c o n t r o l the f l o w of l i g h t

first

a p p l i e d a t Rio

i n t o the b u i l d i n g .

of the facade a t Notre-Dame-du-Haut i s c o n s i s t e n t w i t h

e a r l i e r d e f i n i t i o n g i v e n the facade by Le

an

Corbusier:

The facades are c o n s i d e r e d as the c a r r i e r s of l i g h t . . . t h e

facade no l o n g e r c a r r i e s the f l o o r nor the r o o f ; i t i s no l o n g e r
but a v e i l of g l a s s or of masonry, e n c l o s i n g the house.39
The importance which l i g h t assumes a t Notre-Dame-du-Haut i s a l s o
p e r f e c t l y i n keeping w i t h one
"the e s s e n t i a l j o y s :

of h i s most important

sky, t r e e s , view and

sun".

40

t e n e t s of urban t h e o r y ,
The

early

priority

107
g i v e n the sun i n d e s i g n d e c i s i o n s was

not r o o t e d s o l e l y i n a e s t h e t i c con-

c e r n s , but a l s o i n v o l v e d a p h i l o s o p h i c a l and moral i n t e r e s t .

b e l i e v e d t h a t the s o l a r day

Le

Corbusier

i s the c o n t r o l l i n g f a c t o r i n a l l our

activi-

41
ties,

and

t h a t s i n c e l i g h t was

thought l i n k e d to good h e a l t h , i t s p r o -

42
v i s i o n was

a moral r e s p o n s i b i l i t y of the a r c h i t e c t .

Thus even the

nounced a e s t h e t i c r o l e g i v e n to l i g h t at Notre-Dame-du-Haut has

impetus i n s o c i a l , moral, and

s t r u c t u r a l imperatives.

" a e s t h e t i c s d i r e c t l y connected to u t i l i t y " ,

f a c t t h a t the Church and

its initial

L i g h t remains

the i m p l i e d meaning of

t i o n a l i s m g i v e n by most adherents of the Modern Movement and Le

The

the c o n g r e g a t i o n

pro-

func-

Corbusier.

f i n d t h a t the c h a p e l f u n c t i o n s

44
"perfectly"

confirms

l i g h t have been met.

t h a t the s o c i a l and

f u n c t i o n a l requirements

of

However, the " p s y c h o p h y s i o l o g i c a l " e f f e c t s of

A

l i g h t were Le C o r b u s i e r s major concern

c a l l y r e s t a t e , and

Le C o r b u s i e r ' s
developed

a t Notre-Dame-du-Haut and

poeti-

almost cause the viewer to f o r g e t , h i s o r i g i n a l moral

r a t i o n a l i z a t i o n of h i s i n t e r e s t
1932

i n t h i s element.

e p i g r a p h i c statement about the 24-hour

day

i n t o a u b i q u i t o u s diagram of the sun wave t r a c e d by the sun i n

45
r e l a t i o n to the h o r i z o n .
to

I t was

t h i s diagram which Le C o r b u s i e r used

i n d i c a t e what he b e l i e v e d to be the s t a r t i n g p o i n t of a r c h i t e c t u r e ,

namely, a consciousness

of the c y c l e of the day and

t h e r e f o r e the

daily

46
c y c l e of man's l i f e .

" T h i s statement i s most e m p h a t i c a l l y and

repeatedly

made throughout h i s w r i t i n g s , more so and more c o n s i s t e n t l y than

c l a i m s of the same magnitude about technology,

mechanization,

any

or m a t e r i -

als . ^
Le C o r b u s i e r ' s major i n t e r e s t i n l i g h t
t i o n of the l i g h t e f f e c t s at A u t e u i l .

43

i s shown i n h i s 1927

Even at t h i s date,

i s g i v e n equal importance w i t h the t e c h n i c a l and

descrip-

the a e s t h e t i c

utilitarian:

One f o l l o w s an i t i n e r a r y and the p e r s p e c t i v e s develop thems e l v e s w i t h g r e a t v a r i e t y , one p l a y s w i t h f l u c t u a t i o n s of

l i g h t i l l u m i n a t i n g the w a l l s and c r e a t i n g shadows. &
4

In 1923

a t the Maison l a Roche, Le C o r b u s i e r had manipulated

i n t o the v e r y c e n t e r of the house.

He

light

speaks about g i v i n g l i g h t a p r i o r i t y

i n the f o l l o w i n g way:
...tormenting the p l a n because of the s i t e . . . t h e need f o r the
sun from the south and c h a n n e l i n g i t i n t o the h o u s e . ^
The

l i g h t d e s i g n a t No*tre-Dame-du-Haut can be e x p l a i n e d i n terms of

economy and

efficiency.

e l e c t r i c l i g h t was

I t i s apparent

t h a t the i n c o r p o r a t i o n of adequate

not f o r e s e e n f o r the immediate f u t u r e and

of the c h a p e l would have had

the d e s i g n

t o accommodate the r e s t r i c t i o n s i n h e r e n t i n

r e l y i n g h e a v i l y on n a t u r a l l i g h t . T h e l i g h t

s h a f t s of the s i d e c h a p e l s

can be seen as an i n g e n i o u s s o l u t i o n to the problem of i l l u m i n a t i n g

interior

space r e q u i r i n g both p r i v a c y and d i f f e r e n t i a t i o n from the main

p a r t of the i n t e r i o r without
separate l i g h t

the i n t r o d u c t i o n of p a r t i t i o n w a l l s or numerous

fixtures.

L i g h t p l a y s an important
spaces.

an

r o l e i n the modulation

of the

interior

I t not o n l y d e f i n e s d i f f e r e n t areas i n terms of l i t u r g i c a l

t i o n s , but i t s q u a l i t y a l s o corresponds
experience.

The

func-

t o the a p p r o p r i a t e r e l i g i o u s

l i g h t i n g of the i n t e r i o r - dimmer i n r e l a t i o n t o the

e x t e r i o r - c o n t r i b u t e s to the sense of q u i e t and peace e x p e r i e n c e d w i t h i n .

The dimness i s e s s e n t i a l i n c r e a t i n g the calm and m e d i t a t i v e atmosphere
so f r e q u e n t l y mentioned i n v i s i t o r s ' r e f e r e n c e s t o the i n t e r i o r
i s the most important

q u a l i t y of s a c r e d space to Le C o r b u s i e r .

w i t h i t s s p e c i f i c l i t u r g i c a l f u n c t i o n has been g i v e n i t s own

characteristic:

and
Each a r e a

lighting

each i s rendered d i s t i n c t y e t not d i v o r c e d from the

space of the i n t e r i o r .

53

total

Nor a r e the d i s t i n c t i o n s ^ s t a t i c . The nave and

109
s u b s i d i a r y c h a p e l s a l l have t h e i r own

p a r t i c u l a r time of prominence as

marked by a g r e a t e r degree of i l l u m i n a t i o n which each r e c e i v e s i n r e l a t i o n

to

the o t h e r s a t d i f f e r e n t

times of the day.

announces when each area may

Thus i n t e n s i t y of

be o p t i m a l l y used.

The

light

sanctuary with i t s

b r i g h t p i n p r i c k s of l i g h t - t h e i r b r i l l i a n c e i n c r e a s e d by t h e i r

smallness

i n r e l a t i o n to the w a l l - p r o v i d e s a f o c u s i n the e a r l y morning.

The

i n t e n s i t y of the s a n c t u a r y l i g h t c o n t r a s t s the c o l o u r e d , d i f f u s e d ,
t h e r e f o r e l e s s i n t e n s e l i g h t of the n o r t h e a s t c h a p e l .
direct

i l l u m i n a t i o n i s g r e a t e s t i n the nave due

windows a l o n g the south w a l l and

w a l l embrasures.

The

d u r a t i o n of

to i t s l o n g s t r e t c h of

t h e i r v a r i e d d i s p o s i t i o n s w i t h i n the

southwest c h a p e l , which i s the l a r g e s t and most used,

has a l s o been g i v e n the most steady l i g h t ,

The

The

'the dependable n o r t h

shape of the l i g h t t u r r e t s p r o c l a i m s t h e i r f u n c t i o n of

l i g h t downward i n t o the s i d e c h a p e l s .

Candles

I t was

Unobtrusive

e l e c t r i c l i g h t was

light'.
channeling

l i t on the a l t a r and

P a s c h a l c a n d l e to i t s l e f t a i d i n the i l l u m i n a t i o n and demarcation

s p e c i a l area.

and

added and

later

the
of

this

supplemented.

p l a c e d at f l o o r l e v e l to complement the o r c h e s t r a t i o n of n a t u r a l

light.
In a d d i t i o n t o the areas w i t h i n the c h a p e l , l i g h t
a space of a more dynamic n a t u r e .

Flowing

through

s e r v e s to c r e a t e

the t e n

centimeter

c r a c k between the w a l l and r o o f , and between the j u n c t u r e s and

of

the c u r v i n g w a l l p l a n e s , through

east doors,

and

through

the b r i s e - s o l e i l s over the n o r t h

and

the s i d e l i g h t s b e s i d e the south door, i t u n i t e s the

o u t e r spaces w i t h the i n t e r i o r and

unbounded

infoldings

imparts to the i n n e r space a sense of

expansiveness.

V i s i b i l i t y of the o u t s i d e world,

e s p e c i a l l y as glimpsed

through

the

s m a l l windows of the south w a l l , a l s o serves to expand the space outward.

110
Thus t h e l i g h t not o n l y d e f i n e s an i n t e r i o r space, but s i m u l t a n e o u s l y
i n i t i a t e s an e x p e r i e n c e
walls".

o f dynamic space beyond and around the "bounding

The t e n s i o n o f i n t e r i o r and e x t e r i o r space b e i n g viewed

t a n e o u s l y r e s u l t s i n a dynamic e q u i l i b r i u m , , e x p r e s s i n g another
a r c h i t e c t u r a l t e n e t o f Le C o r b u s i e r ' s and p r o v i d i n g another
metaphor f o r the Church as a modern dynamic i n s t i t u t i o n .

simullong-held

appropriate

The t e n s i o n

between i n t e r i o r and e x t e r i o r i s a l s o a p p r o p r i a t e t o a Church which

often defined i t s e l f

i n terms o f d u a l i t i e s .

On t h e e x t e r i o r , l i g h t

i s a g a i n used t o shape and h e i g h t e n t h e ex-

p e r i e n c e o f both l o c a l i z e d and expansive

rounding

s u r f a c e s , the l i g h t

w i t h the environment.

space.

C o n t r o l l e d by t h e s u r -

c r e a t e s nuanced pockets

of space i n t e r r e l a t e d

Shadows c r e a t e a c o n s t a n t l y changing p a t t e r n which

p r o v i d e s a s e n s a t i o n o f movement both h o r i z o n t a l l y i n response t o the

sun's movement, and i n depth.
The use o f l i g h t

to u n i f y the e d i f i c e with i t s surrounding

environ-

ment a e s t h e t i c a l l y r e l a t e s i t t o a pronounced f e a t u r e o f the Modern Movement.

I t i s a r e f l e c t i o n o f such i d e a s i n p a i n t i n g and s c u l p t u r e as a r e

expressed

i n t h e p a i n t i n g and s c u l p t u r e o f B o c c i o n i , P i c a s s o , and t h e

p a i n t i n g and s c u l p t u r e of Le C o r b u s i e r . ^
i s c l o s e l y a s s o c i a t e d w i t h those a d v o c a t i n g

In a r c h i t e c t u r a l p a r l a n c e , i t
an i n t e g r a t i o n o f a r c h i t e c t u r e

with the s i t e - p h y s i c a l l y or metaphysically.

Not o n l y i s t h i s an aim

of Le C o r b u s i e r ' s which f i n d s r e a l i z a t i o n i n h i s work a t A u t e u i l , Pessac,

Poissy,and
of church

the more contemporary Rob e t Roq,

o f f i c i a l s attempting

58

i t i s a l s o a major

concern

to provide s i t i n g g u i d e l i n e s f o r p a r i s h
59

churches w i t h i n t h e newly d e v e l o p i n g
The

suburbs.

space c r e a t e d and evoked by t h e l i g h t has an e c c l e s i a s t i c a l

s i g n i f i c a n c e as w e l l .

The r o l e i n g i v i n g meaning t o l i t u r g i c a l

spaces

in
has a l r e a d y been mentioned.
an a e s t h e t i c and

I t should a l s o be noted

s p i r i t u a l e x p e r i e n c e of expansive

that the d e s i r e f o r

space i s p a r t i c u l a r l y

a p p r o p r i a t e to the Church a t t h i s time, e s p e c i a l l y to the avant-garde

patrons f o r whom Le C o r b u s i e r was

working.

Expansiveness

i s a f i t meta-

phor f o r the i d e a l s ' of those c l e r i c s d u r i n g the span of freedom they

en-

60
j o y e d between 1935

and

1955.

The

interior-exterior

t e n s i o n s which con-

t r i b u t e to the c r e a t i o n of " l ' e s p a c e i n d i c i b l e " i s a l s o an a s t u t e metaphor

f o r an e d i f i c e whose purpose i s a s p i r i t u a l u n i o n which i n the
analysis i s l e f t

final

inexplicable.

But the c o n t r o l of l i g h t and

d i d P a u l C l a u d e l , Le C o r b u s i e r has

light

symbolism goes even f u r t h e r .

synchronized

w i t h i n the c h a p e l to the times of day.

the a p p e r c e p t i o n of

As

light

At NoVre-Dame-du-Haut the sun

has

been g i v e n c o n t r o l l i n g power by the arrangement of the a p e r t u r e s t r a n s - '

mitting i t s light

to the i n t e r i o r .

The

shape and cant of the south w a l l

windows, the o r i e n t a t i o n of c h a p e l domes to t h r e e c a r d i n a l p o i n t s , and

v a r i a t i o n s i n the r a t i o s of l i g h t
bute to t h i s .

to dark and

L i g h t has been c o n t r o l l e d and

as to i l l u m i n a t e the

s o l i d to v o i d a l l c o n t r i d i s t r i b u t e d to animate as w e l l

edifice.

L i g h t flows from p i n p o i n t h o l e s i n the east w a l l .

huge f i l e s of space above the n o r t h and
f l a n k i n g the c e r e m o n i a l

entrance.

f a b r i c and p o i n t s out passageways.

east doors and

I t flows from
from the

a l t e r n a t e l y from dim to l i g h t .

it

sidelights

I t appears at j u n c t u r e s i n the b u i l d i n g
I t d i s t i n g u i s h e s nave from

and s i d e c h a p e l from nave i n an o r d e r l y p r o g r e s s i o n from l i g h t

c r e a t e crescendos

the

sanctuary
to dim,

and

In a d d i t i o n , the sun has been used to

of l i g h t w i t h i n the e d i f i c e .

As the sun r i s e s i n the e a s t ,

e n t e r s the c h a p e l from the t i n y h o l e s i n the east w a l l .

h i g h e r i n the sky, the l i g h t admitted

As i t r i s e s

from the east tower becomes s t r o n g e r ,

as does the l i g h t from the east w a l l , u n t i l ,

of

file

l i g h t b u r s t s f o r t h from the t a l l b r i s e - s o l e i l i n the s o u t h e a s t c o r n e r .

The sun then c o n t i n u e s towards

wall.
dom

towards noon, a b l a z i n g

the west, i t s path monitored by the south

Although the a n g l e of the embrasure of these windows appears r a n -

and does d i f f u s e an even l i g h t , t h e r e i s a g r e a t e r number of them

angled towards

the c e n t e r of the nave and d i r e c t e d so as to f o c u s the

61

rays of the m i d - a f t e r n o o n sun.

nor d i s t r a c t i n g .

T h i s c r e s t of l i g h t

I t has been c o n t r o l l e d .

i s not o b t r u s i v e

The shape and r e c e s s i o n of the

south b r i s e - s o l e i l and the l a r g e overhanging eave i n b o t h east and

moderate the extreme p o i n t s of the l i g h t passage.
emphatically

south

However, the two most

' i l l u m i n a t e d ' p o i n t s i n t h i s crescendo of l i g h t ,

late

morning

and m i d - a f t e r n o o n , are the times of the Masses h e l d f o r the V i r g i n ,

62
a.m.

and 2:30

p.m.

While the a c t u a l l i g h t

p e r i o d s , one i s reminded

11:00

of the sun d i c t a t e s t h e s e

of the r e f e r e n c e t o the " e t o i l e du m a t i n " i n the

n o r t h e a s t c h a p e l and the ready a s s o c i a t i o n t o the V i r g i n .

Light

i s asked t o p l a y no f u n c t i o n a l r o l e on the e x t e r i o r of the

b u i l d i n g save p r o v i d i n g v i s i b i l i t y

i n the e x t e r i o r s a n c t u a r y , and

purpose i s served by the l a r g e l i g h t - r e f l e c t i n g , open curve w i t h i n

the

exterior altar i s set.

B r i g h t n e s s i s emphasised

c o n t r a s t to the dimness i n the i n t e r i o r .

this
which

on the e x t e r i o r , i n

But here too the p a t h of the sun

i s monitored, i t s p a s s i n g r e c o r d e d i n the changing forms of the shadows.

What i s marked on the i n s i d e by the movement and i n t e n s i t y changes of
light

i s marked on the o u t s i d e by the nuance of shade and shadow.

The

m a n i p u l a t i o n o f l i g h t over the s u r f a c e s and w i t h i n spaces f o r o t h e r than

p r a c t i c a l purposes, as was
ornamental.

done a t Notre-Dame-du-Haut, can o n l y be

called

In r e c a l l i n g Le C o r b u s i e r ' s h i g h e x p e c t a t i o n s of ornament

t h i s becomes s i g n i f i c a n t .

At Notre-Dame-du-Haut he

emphasised:

113
The key i s l i g h t
and l i g h t i l l u m i n a t e s shapes
^
and shapes have an emotional power.
Although

Notre-Dame-du-Haut has been termed

'lyrical'

and

personal

64
i n i t s imagery,

i t s s i g n i f i c a n c e to the a r c h i t e c t and

to

traditional

church a r c h i t e c t u r e have not been e x p l o r e d i n the depth m e r i t e d .

C o r b u s i e r had

Le

o f t e n a s s e r t e d t h a t a r c h i t e c t u r e p l a y e d a major, perhaps

major, r o l e i n d e t e r m i n i n g

the happiness of man.

He was

t h a t a r c h i t e c t u r e meant something beyond i t s engineered

equally

convinced

parts.^

One

the m a t e r i a l s t h a t Le C o r b u s i e r used to c r e a t e h i s a r c h i t e c t u r e was

In t h i s he was

preceded by P h i d i a s , C a l l i c r a t e s ,

all

c r e a t o r s of s a c r e d space.

for

the l i n k i n g of l i g h t and

and

a r c h i t e c t u r e a t t e s t e d to by Abbot Suger.

i s the n i n e t e e n t h - c e n t u r y
w i t h l i g h t and

I c t i n u s , and

There i s a g r e a t t r a d i t i o n and

the

of
light.

Michelangelo,
precedent

t h a t "something more" w i t h i n r e l i g i o u s

thought

In the more r e c e n t p a s t ,

h e r i t a g e of the I m p r e s s i o n i s t s '

there

preoccupation

t h a t of the a r c h i t e c t s ' , f i r s t h e r a l d e d w i t h the

Crystal

66
Palace.

There i s a l s o the emphasis g i v e n to the c r e a t i o n of

sacred

space i n terms of l i g h t at the Sainte-Baume p r o j e c t and Pere C o u t u r i e r ' s

tangential interest

i n s t a i n e d g l a s s which would have impressed

C o r b u s i e r the s t i l l

s i g n i f i c a n t power of t h i s e x p r e s s i v e

component.

upon Le

architectural

L i g h t a l s o f i g u r e s g r e a t l y i n other r e l i g i o u s c u l t s ;

C o r b u s i e r noted

t h i s s i m i l a r i t y i n the E g y p t i a n and

Le

the Greek as w e l l as

67
the I s l a m i c .
may

There i s a l a r g e c u l t u r a l context

be r e f e r r i n g w i t h h i s emphatic and

to which Le

Corbusier

s u g g e s t i v e use of l i g h t , and

t r a n s l a t e d t h a t t r a d i t i o n i n t o modern terms, i n c l u d i n g r e f e r e n c e s
modern thought such as t h a t of P a u l C l a u d e l .
sincerely f e l t
to

By i n f u s i n g l i g h t

i d e a s he sought to i n f u s e h i s whole c h a p e l w i t h

i t s contemporary

context.

he
to

with
relevance

114
CHAPTER V I I I

SUMMARY AND

The

initial

i n s p i r a t i o n f o r t h i s study of Notre-Dame-du-Haut,

Ronchamp, o r i g i n a t e d w i t h two
s h i p of the

major i s s u e s .

c h a p e l to Le C o r b u s i e r ' s

concerned the r e l a t i o n s h i p and

t u r a l t h e o r y and
The

c h a p e l was

t e c t u r a l manifestation

a p p r o p r i a t e n e s s of Le

The

use

of sacred

of pure forms and

The

The

Corbusier's

and

established

a continuation

i n Le C o r b u s i e r ' s

of the

a r c h i t e c t u r e of the
confirmed Le

f o r m u l a t e d i n Vers une

s e l e c t i o n of forms which had

and

statement i n 1923
era.

The

synthesis
included
and

to u t i l i t y .

s t r u c t u r e was
and

The

current

its first

The

aesthetic

theoretical
b u i l d i n g s of

that

established p r a c t i c e that

of d i s c o v e r i e s made i n one

formal explorations.

functional

skewed geometric forms were a

of p r e - e x i s t i n g a e s t h e t i c aims and
transposing

Corbusier's

b a s i c a t t i t u d e to form,

i t s a p p l i c a t i o n i n Le C o r b u s i e r ' s
and

1920s.

architecture

some semblance of

shown to have had

curves, i n c l i n e d surfaces,

the

the

interest in

a p p l i c a t i o n b e t r a y e d a t w e n t i e t h - c e n t u r y i n t e r e s t t h a t sought

materials,

architec-

Catholicism.

t h e i r massing i n l i g h t

j u s t i f i c a t i o n by r e f e r e n c e

second

b u i l d i n g evidenced, I b e l i e v e , an a r c h i -

d e f i n i t i o n of a r c h i t e c t u r e t h a t was
1923.

the r e l a t i o n -

of memory through the c u l l i n g of

of Purism and

symbolic form d i s c o v e r a b l e

in

f i r s t was

shown to possess many r e c o g n i z a b l e

most prominent f e a t u r e s

use

The

established aesthetic.

forms to t h a t of French

Corbusian c h a r a c t e r i s t i c s .

The

CONCLUSION

a r t form i n t o another

study suggested t h a t the p a r t i c u l a r

forms found a t Notre-Dame-du-Haut were i n s p i r e d by t h e i r independent

and

simultaneous d i s c o v e r y

i n nature

(the s h e l l ) , mathematics '(the Modulor),

UShuman shapes (the ear, the hand), and Le C o r b u s i e r ' s contemporary s c u l p ture.

The

e x p r e s s i v e aims which appear to have d i r e c t e d the c r e a t i o n of

form at Notre-Dame-du-Haut were demonstrably c o n s i s t e n t w i t h Le

1923

d e f i n i t i o n of A r c h i t e c t u r e t h a t d i s t i n g u i s h e d the l a t t e r from b u i l d i n g

by i t s i n c l u s i o n of e x p r e s s i v e concerns.
impair the f u n c t i o n s of the c h a p e l .
church

Moreover, these aims d i d not

As a comparison w i t h the former

i l l u s t r a t e s , Le C o r b u s i e r g r e a t l y improved t h e i r accommodation.
The use of ornament was

shown to have had

Corbusian t h e o r i e s of a e s t h e t i c s and
a l s o proved
was

Corbusier's

society.

t o be more than a restatement

an e v o l u t i o n a r y step p r o c e e d i n g

<

i t s basis i n early
However, Notre-Dame-du-Haut

of e a r l i e r d e s i g n s o l u t i o n s ; i t

from them.

The

ornament a t

Notre-

Dame-du-Haut r e a f f i r m e d the uses i t served i n h i s c h a p e l of 1907, which were

to e s t a b l i s h the human c o n t a c t Le C o r b u s i e r a t t r i b u t e d to the
p a r t i c i p a t o r y realm of c o n v e n t i o n a l decoration''' and

collective,

to a c t as a " c l u e "

to those u n i n i t i a t e d to the h i g h e r realms of pure o b j e c t i v e form.

t i o n a l l y , i t p a r t i c i p a t e s f o r m a l l y and
t r i b u t i n g c o l o u r , form, and

rhythm.

o b j e c t i v e l y i n the d e s i g n ,

Addicon-

The m o t i f s at Notr e-Dame-du-Haut

c l a r i f y the r e a l i s t i c a s p e c t s of Le C o r b u s i e r ' s t h e o r y w h i l e they

simul-

t a n e o u s l y c o n t i n u e and

e n r i c h the p o e t i c and v i s u a l t r a d i t i o n s of

French

C a t h o l i c i s m . ( F i g s . 42,

43).

The r e l i g i o u s context of the commission was

p l o r e d i n t h i s study.

The

the second i s s u e ex-

importance g i v e n to s t y l e , the a c t of c r e a t i o n ,

and human i n i t i a t i v e by the focus p l a c e d on the a r t s and

c o n t r o v e r s i e s by Pere C o u t u r i e r , Pere Regamey, and

their

attendant

Canon Ledeur were

shown to have had much s i g n i f i c a n c e to Notre-Dame-du-Haut and t o Le

Corbusier.

These e c c l e s i a s t i c s and

others possessing s i m i l a r a e s t h e t i c

aims c r e a t e d the context i n which the c u l t u r a l and

s o c i a l importance which

116
Le C o r b u s i e r a t t a c h e d

t o h i s a r c h i t e c t u r e c o u l d be r e c o g n i z e d .

the contemporary c a t h o l i c l i t e r a t u r e t h e e x p e r i e n c e
s o c i a l and economic change were i n t e r r e l a t e d .

For i n

o f a r t , r e l i g i o n , and

They were thus

prepared

to b e l i e v e t h a t a s i n c e r e and i n d i v i d u a l i s t i c statement such as Pere

C o u t u r i e r had a l r e a d y applauded i n t h e work of L i g e r expressed
contemporary

a positive

spirit.

Indeed, the study r e v e a l e d t h a t i n t e r e s t i n g p a r a l l e l s o f a e s t h e t i c

theory and s p i r i t u a l i t y
Catholic patrons.

e x i s t e d between Le C o r b u s i e r and h i s French

These p a r a l l e l s g i v e substance

t o the many metaphors

and v i s u a l a n a l o g i e s t h a t were d i s c o v e r e d i n t h e c h a p e l .
d e f i n e d the c r e a t i o n and e x p e r i e n c e

Le C o r b u s i e r

o f a r c h i t e c t u r e as "a d i r e c t c a l l

into

2
the a b s o l u t e . . . a

sermon on t h e mount".

the essence and m a i n s p r i n g

The Church too was concerned w i t h

o f c r e a t i v i t y and i t s r e l a t i o n s h i p t o f a i t h ,

genius, and the i n e x p l i c a b l e m a n i f e s t a t i o n s o f i n s p i r a t i o n o r d i v i n i t y .

J u s t as Le C o r b u s i e r had r e l a t e d t h e e x p e r i e n c e

of the i n e f f a b l e with that

of f a i t h and s p i r i t u a l i t y , so too d i d Pere C o u t u r i e r equate the a r t i s t

3
and the r e l i g i o u s man.
F o r these reasons t h e Church, and e s p e c i a l l y t h e
s m a l l group o f e c c l e s i a s t i c s then e x p e r i e n c i n g e x c e p t i o n a l freedom, were
w i l l i n g t o r e c o g n i z e Le C o r b u s i e r as "an a r t i s t w i t h t h e g r e a t e s t sense o f
4
the

sacred".
Le C o r b u s i e r e n r i c h e d the popular

image o f a r e l i g i o u s e d i f i c e by

the i n c l u s i o n o f h i s many s e c u l a r and a e s t h e t i c aims.

w h i m s i c a l l y , but s e n s i t i v e l y , i n c l u d e d .

They were mot

Thus t h e e x p l o r a t i o n o f a c o u s t i c s

and v i s u a l a c o u s t i c s , c o l o u r , l i g h t , space, and d e c o r a t i o n a p t l y r e p r e sented a contemporary c a t h o l i c concept;

meditation p a r a l l e d s p i r i t u a l

communion, the i n d i v i d u a l ' s v o i c e demonstrated t h e i n t e g r a l importance o f

p r i v a t e d e v o t i o n , expansive

space suggested

freedom i n f a i t h ,

decoration

r e c a l l e d human and e a r t h l y r e s p o n s i v e n e s s ,
creativity recalled

and metaphors r e f e r r i n g t o

the m i r a c l e o f l i f e and cosmic o r d e r .

Le C o r b u s i e r persona,

known f o r i t s concerns

F i n a l l y , the

o f human w e l f a r e and human

h a b i t a t i o n raided the p o p u l a r i z a t i o n o f t h e Church as t h e House o f God,

a metaphor emphasised i n Mediator

Dei.

With t h e i n c o r p o r a t i o n o f forms

e v o c a t i v e o f s e v e r a l c i v i l i z a t i o n s and d i f f e r e n t
the c h a p e l e p i t o m i s e d

eras, i n c l u d i n g the present,

the t r a d i t i o n a l i s m combined w i t h u n i v e r s a l i s m which

the Church wished i t s image t o be.

Moreover, the h i g h d e s i g n

g i v e n t o the p s y c h o p h y s i o l o g i c a l responses

priority

a p p r o p r i a t e t o .pilgrimage and

d e v o t i o n t o t h e V i r g i n demonstrated t h e analogous s i t u a t i o n then f e l t t o

e x i s t between a e s t h e t i c s and s p i r i t u a l i t y .

The immediate

responses

c r a f t e d by Le C o r b u s i e r served m a g n i f i c e n t l y as analogues t o the spontaneous sense o f t h e s a c r e d so much d e s i r e d by reformers w i t h i n t h e Church.

In summary, i t has been shown t h a t t h e c h a p e l has many f e a t u r e s
p e r t a i n i n g t o t h e l a r g e r context o f French

C a t h o l i c p h i l o s o p h y and i n -

volvement i n t h e a r t s than t h a t which t h e a t t r i b u t i o n o f t h e c h a p e l ' s

date or a r c h i t e c t would f u l l y convey.
the c h a p e l expresses

the thematic

F o r i n s t a n c e , i t can be shown t h a t

concerns

and d i s p l a y s t h e imagery o f

the contemporary c a t h o l i c poet, P a u l C l a u d e l .

and

schematic

I t incorporates the l i t e r a r y

d e v i c e s o f contemporary, avant-garde French

such as t h a t found

a t Assy, A u d i n c o u r t ,

and Vence.

Catholic art,

The c h a p e l a l s o demon-

s t r a t e s an i n t e r p r e t a t i o n of p i l g r i m a g e p l a n n i n g w i t h an i n c l u s i v e n e s s
equal to i t s contemporary Lourdes as w e l l as i t s M e d i e v a l
In i t s p o l i t i c a l d i a l e c t i c t h e c h a p e l bears w i t n e s s
of t h e Dominicans and the p a t r o n s

prototype.

t o the h e r o i c a c t i o n s

i n v o l v e d i n t h e Commission i n t h e i r

e f f o r t s t o r e v i t a l i z e C h r i s t i a n a r t and e x h a l t t h e freedom of f a i t h .
its

i n c o r p o r a t i o n o f obvious

In

Corbusian and s e c u l a r r e f e r e n c e s t h e c h a p e l

extends the p i l g r i m a g e beyond i t s p u r e l y r e l i g i o u s context t o the

wider,

u n i n i t i a t e d world beyond, g i v i n g a p l a c e of r e f u g e t o anyone - so approp r i a t e to the ecumenical

e r a of the 1950s.

Thus, the c h a p e l was

shown to be a nexus of contemporary

spirituality

and a s u c c i n c t e x p r e s s i o n of those i d e a l s shared by Le C o r b u s i e r and

French

Catholicism.
In c o n c l u s i o n , i t has been shown t h a t Notre-Dame-du-Haut d i d not,
l i k e Athena, s p r i n g from the head of Zeus f u l l y formed.
Haut evolved out of an a r c h i t e c t u r a l theory f i r s t
a r c h i t e c t u r e i n 1923

and was

i t s programmatic c o n t e x t .

presented

i n Vers

une

prompted by the s p i r i t u a l m i l i e u which formed

Notwithstanding

the i n t r i g u i n g and heavy i n -

debtedness which the c h a p e l ' s c o n c e p t i o n was

the n i n e t e e n t h - c e n t u r y

Notre-Dame-du-

shown to have to Ruskin

p h i l o s o p h y which informed

sense of the s a c r e d , a e s t h e t i c a l l y and

the t w e n t i e t h c e n t u r y ( F i g s . 44,

45).

Le C o r b u s i e r ' s

spiritually

and

earliest

the c h a p e l c e l e b r a t e s

119
FOOTNOTES
INTRODUCTION
1. The major survey books f o r which t h i s was found t o be so a r e :
H. G a r d i n e r , A r t Through the Ages, 6 t h ed. (New York: H a r c o u r t Brace Inc.,
1959); S i g f r i e d G i e d i o n , Space, Time and A r c h i t e c t u r e , 5th ed. (Cambridge:
Harvard U n i v e r s i t y P r e s s , 1967); Henry-Russel H i t c h c o c k , A r c h i t e c t u r e :
N i n e t e e n t h and T w e n t i e t h C e n t u r i e s , 4 t h ed. ( B a l t i m o r e : Penguin Books,
1958); C h a r l e s Jencks, Modern Movements i n A r c h i t e c t u r e ( B a l t i m o r e : Penguin Books, 1973); H.W. Janson, H i s t o r y of A r t (New York: Harry N. Abrams
Inc., 1962); N. Pevsner, An O u t l i n e of European A r c h i t e c t u r e , 7th. ed.
( B a l t i m o r e : Penguin Books, 1966). A photograph o f Ndtre^-Dame-du-Haut,
Ronchamp i s found on the cover o f Kidder-Smith's The New A r c h i t e c t u r e
of Europe ( B a l t i m o r e : Penguin Books, 1961).
Notre-Dame-du-Haut, Ronchamp a l s o f i g u r e s p r o m i n e n t l y i n t h e
major survey books of French modern e c c l e s i a s t i c a l b u i l d i n g .
Jean
C a p e l l a d e s , Guide des E g l i s e s N o u v e l l e s en France ( B e l i q u e : Les E d i t i o n s
du C e r f , 1969); A. C h r i s t - J a n e r and Mary Mix-Folfey, Modern Church A r c h i t e c t u r e : A Guide t o the form and s p i r i t of 20th c e n t u r y r e l i g i o u s b u i l d i n g s
(New York: McGraw-Hill Book C o l , Inc., 1962); P e t e r Hammond, L i t u r g y and
A r c h i t e c t u r e (New York: Columbia U n i v e r s i t y P r e s s , 1961); Georges M e r c i e r ,
L ' A r c h i t e c t u r e R e l i g i e u s e Contemporaine en France (Tours: 1'ImprimerieR e l i u r e Mame, 1968); Edward M i l l s , The Modern Church (London: The A r c h i t e c t u r a l P r e s s , 1956); Joseph P i c h a r d , Les E g l i s e s N o u v e l l e s a T r a v e r s
l e Monde ( P a r i s : E d i t i o n s des Deux-Mondes, 1960).
2. P a u l Doncoeur, " E s t h e t i q u e Moderne e t A r t Sacre. La C h a p e l l e
de Ronchamp," Etudes (Octobre 1955): 89-97; M a r t i n Purdy, "Le C o r b u s i e r
and the T h e o l o g i c a l Program," E d i t e d by Walden R u s s e l l , The Open Hand;
Essays on L e C o r b u s i e r (Cambridge: M.I.T. P r e s s , 1977), pp. 286^321.
3. Canon Ledeur, " C e l e b r a t i o n e t V e r i t e des Formes," L ' A r t Sacre
I- 2 (Septembre-Octobre 1966): 12-21.
4.
New C a t h o l i c E n c y c l o p e d i a , 1969 ed. s.v. "Ronchamp, Notre-Damedu-Haut"; Pere M.A. C o u t u r i e r "Le C o r b u s i e r , Ronchamp," L ' A r t Sacre
I I - 12 ( J u i l l e t - A o u t 1953): 29-31; M a r c e l F e r r y i n L e C o r b u s i e r , Le' L i v r e
de Ronchamp, E d i t e d by Jean P e t i t ( P a r i s : Les C a h i e r s F o r c e s V i v e s ,
1961), pp. 13-14.
5.
J . L a b a t u t , "Ronchamp," A r c h i t e c t u r a l Record 118 (October
1955): 169; "Le C o r b u s i e r d e s i g n s a h i l l t o p c h a p e l shaped l i k e a f i d d l e , "
A r c h i t e c t u r a l Forum 99 ( J u l y 1953): 35.
6.
Good examples of t h e s u b j e c t i v e n a t u r e o f t h e j o u r n a l i s m about
the c h a p e l a r e : John E l y Burchard, "A P i l g r i m a g e :
Ronchamp, Raincy,
V e z e l a y , " A r c h i t e c t u r a l Record 123 (March 1958): 171-78; L a b a t u t ,
"Ronchamp," p. 169; E r n e s t o Rogers, " I I metodo d i L e C o r b u s i e r e de forms
d e l l a 'Chapelle de Ronchamp'," C a s a b e l l a 207 (1955): 2-6.
7.

Purdy, "Le C o r b u s i e r and t h e T h e o l o g i c a l Program," p.

318.

8.

Rogers, " I I metodo d i Le C o r b u s i e r , " pp. 3-6; C o u t u r i e r , "Le

120
C o r b u s i e r , Ronchamp," pp. 29-31; A.M. Cocagnac, L ' A r t Sacre 1-2 (SeptembreOctobre 1955): 3-11; Robert Ginsberg, "Le C o r b u s i e r ' s Humanistic Chapel at
Ronchamp," R i v e s 18 (Printemps 1962): 23-30; Kidder-Smith, "Le C o r b u s i e r on
Ronchamp," A r c h i t e c t u r a l Review 123 ( A p r i l 1958): 68, 72: Robert S t o l l ,
Ronchamp ( P a r i s : Desclee De Brouwer, c. 1958).
9.
T h i s i s e s p e c i a l l y n o t i c e d i n the w r i t i n g of Rogers, " I I metodo
d i Le C o r b u s i e r , " pp. 3-6 and Abbe B o l l e - R e d d a t , Notre-Dame-du-Haut a
Ronchamp ( Z u r i c h : V e r l a g , S c h n e l l and S t e i n e r , 1976).
10. B o l l e - R e d d a t , J o u r n a l de Notre-Dame-du-Haut 55
1, 9; 57 ( J a n v i e r 1976): 1, 9.

The
98,

(Novembre 1975):

11. Le C o r b u s i e r , Le L i v r e de Ronchamp, pp. 142, 141, 143; idem,

Chapel at Ronchamp (New York: F r e d e r i c k A. Praeger, 1957), pp. 92, 94,
99; idem, Oeuvre complete 1952 - 1957 ( Z u r i c h : W. B o e s i g e r , 1965), p. 38.

12. C o u t u r i e r , "Le C o r b u s i e r , Ronchamp," pp. 29-31; Cocagnac, L ' A r t

Sacre, pp. 3-11; M.R.
C a p e l l a d e s , A.M. Cocagnac, and M.A. C o u t u r i e r , Les
C h a p e l l e s R o s a i r e a Vence par M a t i s s e et de Notre-Dame-du-Haut a Ronchamp
par Le C o r b u s i e r ( P a r i s : Les E d i t i o n s du C e r f , 1955), pp. 107-109; Mgr.
Dubois, L ' A r t Sacre 1-2 (Septembre-Octobre 1955): 22-25; Madeleine Ochse,
"Amarree au sommet de l a c h a p e l l e de Ronchamp de Le C o r b u s i e r , " E c c l e s i a
88 ( J u i l l e t 1956): 17-26.
13. Dubois, L ' A r t Sacre, pp. 22-25; C o u t u r i e r , "Le C o r b u s i e r ,
Ronchamp," pp. 3-11; Doncoeur, " E s t h e t i q u e Moderne et a r t s a c r e , " pp.

89-97.

CHAPTER I

les

1.
P i c h a r d , E g l i s e s N o u v e l l e s , p. 6 4 ; P.-R.
Regamey, " L ' E s p r i t et
p r i n c i p e s , " L ' A r t Sacre" 1 (Decembre 1 9 4 6 ) :
1-19.
2.

1946):

3.
pp.

Gaston Bardet,

" L ' E g l i s e dans l a c i t e , "

L'Art

Sacre 1

(Decembre

20-32.

Pichard, E g l i s e s Nouvelles

, pp.

1-16;

Regamey, " L ' E s p r i t , "

3-8.

4.
Hugo S c h n e l l , Twentieth Century Church A r c h i t e c t u r e i n Germany,
t r a n s . b y ^ P a u l V. Dine (Munich: V e r l a g , S c h n e l l and S t e i n e r , 1 9 7 4 ) , p. 3 2 ;
P i c h a r d , E g l i s e s N o u v e l l e s , p. 2 3 .
5.
Regamey, " L ' E s p r i t , " pp. 5 ,
L ' A r t Sacre 4 (Decembre 1 9 4 6 ) : 2 5 - 2 7 ;
L ' A r t Sacr 1 - 4 (Decembre 1 9 5 6 ) .

9 ; Gaston Bardet, "Le Centre P a r o i s i a l , "

P i c h a r d , E g l i s e s N o u v e l l e s , pp.
1-15;
/

6.
A l b e r t Munier, Un P r o j e t d ' E g l i s e au XXe S i e c l e ( P a r i s :
de Brouwer et c i e , 1 9 3 3 ) , p. 2 5 , 7 5 , 7 9 , 8 6 , 9 9 , 1 8 6 , 1 9 6 , 3 0 9 .

(New

Desclee

7.
Pie-Raymond Regamey, R e l i g i o u s A r t i n the T w e n t i e t h Century
York: Herder and Herder, 1 9 6 3 ) , p. 1 9 .
T h i s i s an E n g l i s h language

121
a d a p t a t i o n of A r t s a c r e au XXe

siecle?

( P a r i s : E d i t i o n s du C e r f ,

1952).

8.
L o u i s M o n t a l t e , La B a s i l i q u e du P a i x et du Pardonne ( P a r i s :
L a v a l l o i s - P e r r e t , Impr. Schneider F r e s et Mory, 1948); "La P l a t e a u Prov e n c a l de l a S a i n t e Baume," Le Monde, 4 J u i l l e t 1948, p. 3; Rene-Jean,
" L ' A r t et L ' e g l i s e Pour une Renovation de l ' a r t s a c r e , " Le Monde, 22
J u i l l e t 1948, p. 5; M.A. C o u t u r i e r , Se Garder L i b r e ( P a r i s : E'ditions du
C e r f , 1961), p. 194; Cocagnac, L ' A r t Sacre, pp. 3-11; Le C o r b u s i e r ,
Oeuvre-complete 1946 - 1952 ( Z u r i c h : W. B o e s i g e r , 1953), pp. 28-31.
9.

Regamey, " L ' E s p r i t , " p. 6; Ledeur, " C e l e b r a t i o n , " p.

19.

10. Pope P i u s X I I , Mediator D e i , t r a n s . L i t u r g y V a t i c a n L i b r a r y

Washington: New C a t h o l i c Welfare Conference, 1947), p. 65.
11. B o l l e - R e d d a t ,

J o u r n a l 55:7;

58

( F e v r i e r 1976):

12. Canet to Le C o r b u s i e r , 24 March 1952,

14 J u l y 1953, F o n d a t i o n Le C o r b u s i e r , P a r i s .

4 J u l y 1952,

13. C o u t u r i e r , "Le C o r b u s i e r , Ronchamp," pp.

Journal
55: 5-6.
14. Purdy, "Le C o r b u s i e r and

11:

29-31;

31 J u l y

1952,

Bolle-Reddat,

the T h e o l o g i c a l Program," pp.

287-321.

15. C o u t u r i e r , "Le C o r b u s i e r , Ronchamp." p. 29; B o l l e - R e d d a t ,

Notre-Dame-du-Haut a Ronchamp, p. 3.
A l e t t e r from Canon Ledeur to Le
C o r b u s i e r dated 14 A p r i l 1951 i n d i c a t e s t h a t the p r o j e c t was o n l y a w a i t i n g
the n e c e s s a r y f i n a n c i a l a p p r o v a l of the p a r i s h .
16. Abbe Besancon to Le C o r b u s i e r , 13 March 1951, F o n d a t i o n Le
Corbusier, P a r i s .
These are Old French f r a n c s . They have the exchange
r a t e of 100 Old French f r a n c s to 1 New French f r a n c , and were changed 1 June
1960.
17. C. P e t i t to Le C o r b u s i e r , 14 February 1950; Abbe Besancon t o
Le C o r b u s i e r , 13 March 1951; P e t i t to Le C o r b u s i e r , 16 June 1952, Fondat i o n Le C o r b u s i e r , P a r i s .
18. Quievreux to Le C o r b u s i e r , 8 February

1950,

Fondation

Le

Corbusier,

Paris.
19. Quievreux to Wogensky, 7 August 1952; Departamental I n s p e c t o r of
Urbanism and Housing to Wogensky, 12 December 1952; Le C o r b u s i e r to Canet,
19 June 1954, Fondation Le C o r b u s i e r , P a r i s .
20. Leonardo Benevolo, H i s t o r y of the Modern Movement v o l . 2
(London: Crosby Lockwood S t a p l e s , 1975), pp. 726, 727-728.
21. Canon Ledeur, " I n f o r m a t i o n du P u b l i c , " L ' A r t Sacre
(Decembre 1952): 31; P i c h a r d , L ' E g l i s e s N o u v e l l e s , p. 31.
22. Regamey, R e l i g i o u s A r t , p.

19.

11-12

122
23. Ledeur, " C e l e b r a t i o n , " p.
24.

Bolle-Reddat,

25.

ibid.

19.

Notre-Dame-du-Haut, p.

2.

26. "2,~000 ans d ' a r t sacre_ separant sur l a meme c o l l i n e l a c h a p e l l e

de Le C o r b u s i e r et un temple p a i e n , " I l l u s t r e (Laussane) J u i n 1955, p. 8.
27. Le C o r b u s i e r , The Chape'l at Ronchamp, p. 88; idem, Oeuvre complete
1946 - 1952, p/ 88; "2,000 ans," p. 8; J.M. Nussbaum, "Le beton arme" e s t
e n t r e dans l e champ de l a mystique," La Gazzette-Laussane Aout. '. 27-28,
1955, p. 10.
28. Canon Ledeur to Le C o r b u s i e r , 6 May 1950, F o n d a t i o n Le C o r b u s i e r ,
P a r i s ; Robert Furneaux Jordan, l e c o r b u s i e r (London: J.M. Dent and Sons
L t d . , 1972), pp. 131-32.
29. Jordan, l e c o r b u s i e r , p. 131; "a h i l l t o p c h a p e l , " p.
C a p e l l a d e s , Cocagnac, C o u t u r i e r , Les C h a p e l l e s , p. 107.
30.

"a h i l l t o p

c h a p e l , " p.

35.

31. Ledeur to Le C o r b u s i e r ,

1 May

1951,

Fondation

32. Le C o r b u s i e r , Le L i v r e de Ronchamp, p.
33.

Capellades,

34.

Jordan,

35.

Bolle-Reddat,

36.

i b i d . , p.

37.

ibid.

38.

ibid.

39. New
du-Haut."
40.

Le C o r b u s i e r ,

l e c o r b u s i e r , p.

Paris.

122.

Cocagnac, C o u t u r i e r , Les C h a p e l l e s ,

Journal

35;

p.107

132.

55:7.

6.

Catholic Encyclopedia,

Bolle-Reddat,

Journal

1967

ed.,

s.v.

"Ronchamp, Notre-Dame-

55:7.

41. Canon Ledeur to Le C o r b u s i e r ,

Corbusier, P a r i s .

14 A p r i l

1951,

Fondation

Le

42. Canon Ledeur to Le C o r b u s i e r , 23 A p r i l 1951, 1 May 1951; Le

C o r b u s i e r to Canon Ledeur, 19 A p r i l 1951, F o n d a t i o n Le C o r b u s i e r , P a r i s .
43. B o l l e - R e d d a t ,
44.

Journal

55:7.

Le C o r b u s i e r , Oeuvre complete 1946

- 1952,

p. 88.

Finances

123
were assured between 1 May 1951, a t which date a l e t t e r from Canon Ledeur
to Le C o r b u s i e r i n d i c a t e s d i s c u s s i o n c o n c e r n i n g f i n a n c e s s t i l l c o n t i n e d ,
and s p r i n g 1952 as i n d i c a t e d by Le C o r b u s i e r i n h i s Oeuvre complete 19461952.

CHAPTER I I
1. New C a t h o l i c E n c y c l o p e d i a , 1967 ed. s.v. " L i t u r g i c a l
by L.C. Sheppard.

by

2.

ibid.

3.

ibid.

4. New C a t h o l i c E n c y c l o p e d i a ,
L.M. V e r o s t k o .
5.

L.'M.

pp.

Movement,"

1967 ed. s.v. " L i t u r g i c a l A r t , "

i b i d . ; Hammond, L i t u r g y , p. 9.

6. New C a t h o l i c E n c y c l o p e d i a ,
Verostko.
7.

ibid.

8.

ibid.

9.

ibid.

1967 ed. s.v. " L i t u r g i c a l

A r t , " by

10. Hammond, L i t u r g y , pp. 52-66; S c h n e l l , A r c h i t e c t u r e i n Germany,

33-35; Regamey, R e l i g i o u s A r t , p. 247.
11. Hammond, L i t u r g y , p. 55.
12. New C a t h o l i c E n c y c l o p e d i a ,

1967 ed.

s.v.

13. P i c h a r d , E g l i s e s N o u v e l l e s , p. 60; W i l l i a m Rubin, Modern Sacred

Art and t h e Church a t Assy (New York: Columbia U n i v e r s i t y P r e s s , 1961),
p. 24.
14. Rubin, Modern Sacred A r t , p. 29.

L.-M.

15. New C a t h o l i c E n c y c l o p e d i a ,
Verostko.

1967 ed. s.v. " L i t u r g i c a l

A r t , " by

16. Munier, Un P r o j e t , pp. 87, 90, 194, 198, 199, 201, 202, 203.
17. P i c h a r d , E g l i s e s N o u v e l l e s , p. 139.
18. i b i d . , pp. 24-25; Regamey, R e l i g i o u s A r t , p. 228; Pope P i u s X I I ,
Mediator D e i , p. 63.
19. Rubin, Modern Sacred A r t , p. 29.

124
20. New C a t h o l i c E n c y c l o p e d i a
Verostko.
21. Pope P i u s X I I , Mediator

1967 ed. s.v. " L i t u r g i c a l A r t j " by L..M.

D e i , p. 65.

22. i b i d . , pp. 26, 64, 66; Hammond, L i t u r g y , emphasises t h e f u n c t i o n a l i s t i n t e r p r e t a t i o n t o be g i v e n t h i s pp. 3 - 8. So too does Maurice
Lavaneaux, " P r e l i m i n a r y Report: P l r s t I n t e r n a t i o n a l Congress of C a t h o l i c
A r t i s t s , " L i t u r g i c a l A r t s 19 (November 1950): 4-6.
23. Pope P i u s X I I , Mediator
24.

D e i , pp. 45, 62.

ibid.

25. Le C o r b u s i e r et P i e r r e Jeanneret, Oeuvre complete 1910 - 1929

( Z u r i c h : W. Boeseger et 0. Stonorov, 1943), p. 40; Le C o r b u s i e r , The
Radiant C i t y (London: Faber and Faber, 1964), p. 143.
26. Le C o r b u s i e r , Le C o r b u s i e r 1910 - 1965 (London: Hudson and Hudson,
1967), p. 34; P h i l i p p e Boudon, L i v e d i n A r c h i t e c t u r e , Le C o r b u s i e r ' s Pessac
R e v i s i t e d (London: Lund Humphries, 1972), pp. 38-39; C h a r l e s Jencks,
Le C o r b u s i e r and the T r a g i c View o f A r c h i t e c t u r e (Cambridge: Harvard U n i v e r s i t y P r e s s , 1973), p. 26.
27. Le C o r b u s i e r , Le C o r b u s i e r 1910 - 1965, p. 293; idem, Towards
a hew a r c h i t e c t u r e , t r a n s . F r e d e r i c k E t c h e l l s (London: The A r c h i t e c t u r a l
P r e s s , 1946),p. 219.
28. Bardet, " L ' E g l i s e dans l a c i t e , " pp. 19-26; idem, "Le Centre
P a r o i s s a l , " pp. 25-27.
29. Hammond, L i t u r g y , p. 51; Mathey t o Le C o r b u s i e r ,
F o n d a t i o n Le C o r b u s i e r , P a r i s .
30. Pope P i u s X I I , Mediator

15 March 1951,

D e i , pp. 7, 14-15, 18-19, 30-31.

31. Le C o r b u s i e r had o f t e n attempted t o f i n d s i m i l a r i t i e s between

h i s aims and those of h i s p a t r o n .
He d i d so a t Pessac and a g a i n a t
Chandigarh.
Boudon, Pessac, and S t a n i l a u s v o n Moos, "The P o l i t i c s o f t h e
Open Hand: Notes on Le C o r b u s i e r and Nehru a t Chandigarh," ed. R u s s e l l
Walden, The Open Hand: Essays on Le C o r b u s i e r , pp. 413-48.

pp.

32. Regamey, " L ' E s p r i t , " pp. 1-32; Bardet, " L ' E g l i s e dans l a c i t e , "
20-32; Bardet, "Le Centre P a r o i s s a l , " pp. 1-31.

33. New C a t h o l i c E n c y c l o p e d i a ,
by L.C. Sheppard.

1967 ed. s.v. " L i t u r g i c a l Movement,"

34. "La P l a t e a u P r o v e n c a l de l a S a i n t e Baume," p. 3; Rene-Jean,

" L ' A r t e t l ' e g l i s e , " ; Le C o r b u s i e r a l s o reproduces a newspaper c l i p p i n g
r e f e r r i n g t o t h e c o n t r o v e r s y a t Sainte-Baume. Le C o r b u s i e r , Oeuvre complete
1946 - 1952, p. 30.

12535. New C a t h o l i c E n c y c l o p e d i a , 1967 ed. s.v. " C o u t u r i e r , P i e r r e

M a r i e A l a i n , " by J . P i c h a r d ; P&re C o u t u r i e r , " R e l i g i o u s A r t and the
Modern A r t i s t , " The Magazine of A r t 44:7 (November 1951): 270; Rubin,
Modern Sacred A r t , pp. 68-69. Pere C o u t u r i e r ' s book Dieu et l ' a r t dans
une V i e ( P a r i s : Les E d i t i o n s du C e r f , 1965) c h r o n i c l e s h i s s p i r i t u a l and
a r t i s t i c development from 1897 to 1945 and shows h i s p e r s o n a l and deeply
f e l t concern f o r the i s y n t h e s i s of these two endeavours.
36. Pere M a r i e - A l a i n C o u t u r i e r , Chroniques (Montreal: E d i t i o n s de
l ' A r b r e , c. 1947); A r t et C a t h o l i c i s m e ( M o n t r e a l : E d i t i o n s de l ' A r b r e , 1948);
Se Garder L i b r e , 1961; M a r c e l P e r i z e a u ( M o n t r e a l : L'Arbre, 1945). For a
b i b l i o g r a p h y of r e l e v a n t a r t i c l e s w r i t t e n by Pere C o u t u r i e r see Rubin,
Modern Sacred A r t , p. 171.
37. New C a t h o l i c E n c y c l o p e d i a , 1967 ed. s.v., " C o u t u r i e r , P i e r r e
Marie A l a i n . " ; P i c h a r d , feglises N o u v e l l e s , p. 61.
38. Pere C o u t u r i e r , "Aux Grands hommes l e s grandes choses,"
L ' A r t Sacre ( M a i - J u i n 1950): 3-6.
39. New C a t h o l i c E n c y c l o p e d i a , 1967 ed. s.v. " C o u t u r i e r , P i e r r e
M a r i e A l a i n ; " C o u t u r i e r , Dieu e t l ' a r t , pp. 42-49, 77.
40.

C o u t u r i e r , D i e u et l ' a r t , pp. 212-219.

41. Pere C o u t u r i e r , "Deux E g l i s e s

1938): 17-21.

Savoyards,"

L ' A r t Sacre 29 (Mai

42. C o u t u r i e r , " R e l i g i o u s A r t , " pp. 3-6; Rubin, Modern Sacred A r t ,

p. 171.
43.

Rubin, Modern Sacred

44. Jordan,

La B a s i l i q u e , l a c k s p a g i n a t i o n .

C o u t u r i e r , Dieu et l ' a r t , pp. 256, 288-89.

47. Jordan,
48.

Le C o r b u s i e r , p. 19.

l e c o r b u s i e r , p. 132; C o u t u r i e r , Se Garder L i b r e , p. 49.

45. M o n t a l t e ,
46.

A r t , p. 36; G a u t h i e r ,

l e c o r b u s i e r , p. 144.

ibid.

49. Le C o r b u s i e r , Le L i v r e de Ronchamp, p. 166.

50. Le C o r b u s i e r
Corbusier, P a r i s .

to C o u t u r i e r , 23 November

51. Rubin, Modern Sacred

pp.

52. i b i d . ,
89-97.

1952, Fondation

Le

A r t , pp. 68-69.

pp. 62, 63; Doncoeur, " E s t h e t i q u e Moderne et A r t S a c r e , "

126
53. Le C o r b u s i e r , C r e a t i o n i s a P a t i e n t Search, t r a n s . James Palmes,
i n t r o d u c t i o n by Maurice J a r d o t (New York: F r e d e r i c k A. Praeger, 1960), p. 13
54. Le C o r b u s i e r , Oeuvre complete

1946

- 1952,

p.

30.

55. Jencks, Le C o r b u s i e r , pp. 18, 23, 25; Le C o r b u s i e r , "Poeme de l ' a n

gle
. d r o i t , " A r c h i t e c t u r e du Bonheur (et) l'urbanisme e s t une c l e f
( P a r i s : P r e s s e s d ' l l e de France, 1955).
56. Le C o r b u s i e r t o G l i s c o n , 25 March 1954,

F o n d a t i o n Le C o r b u s i e r ,

Paris.
57. Le C o r b u s i e r , The Chapel at Ronchamp, p.
58. Wogensky t o Canet,

11 May

127.

1954, F o n d a t i o n Le C o r b u s i e r , P a r i s .

59. P i e r r e Vago, "Comite de Patronage de 1 ' a r c h i t e c t u r e d'Aujourd'hui,

L ' A r c h i t e c t u r e d'Aujourd'hui 22 (Mars 1949) : IX.
60. P i c h a r d , E g l i s e s N o u v e l l e s , p.
61. C o u t u r i e r , D i e u et l ' a r t , p.
62. Regamey, R e l i g i o u s A r t , p.
63. i b i d . , pp. 23,
64. i b i d . , p.

213.

38.

183.

183.

65. Rubin, Modern Sacred A r t , pp.

66. Regamey,

61.

R e l i g i o u s A r t , p.

177-178.

13.

67. P i e r r e Vago,"A Propos d'Art S a c r e , " L ' A r c h i t e c t u r e d'Aujourd'hui

(Octobre 1948): XI.
:

20

68. idem, "Comite de Patronage,", p. V I I .

69. i b i d . ;

idem, "A Propos d ' A r t S a c r e , " p. V I I .

70. idem, "A Propos d'Art S a c r e , " p. XI.

71. Regamey, R e l i g i o u s A r t , p. 7.
72. i b i d . , p.

232.

73. idem, " L ' E s p r i t , " pp.

74. i b i d . , p.

224.

75. i b i d . , pp. 229-30.

76. i b i d . , pp.

20-21.

13-17.

12777.

i b i d . , pp.

222,

78.

ibid.,

230,

79.

i b i d . , pp.

83,

80.

i b i d . , pp.

132-33.

81.

i b i d . , pp.

24,

82.

i b i d . , pp.

83.

83.

i b i d . pp.

pp.

17,

225.
226,

227.

29.

25.

18.

84. Jordan, l e c o r b u s i e r , p.
June 1978, Vancouver.

132;

85. Ledeur, " C e l e b r a t i o n , " p.

M a r c e l F e r r y to the w r i t e r , 25

17.

86. Le C o r b u s i e r , When the C a t h e d r a l s Were White (Toronto: McGraw

H i l l Book Co., 1964), pp. 3, 34, 93, 128,
146.
87. Compare the endeavours o f the Dominicans at Ste. Baume r e l a t e d
by L o u i s B o i t e l , L i e u x d ' E g l i s e ( P a r i s : Aux E d i t i o n s du S e u i l , 1975), pp.
105, w i t h Le C o r b u s i e r ' s involvement at Ste. Baume i n Oeuvre complete
1946 - 1952, pp. 32 - 39.
88. Mathey to Le C o r b u s i e r ,

15 March 1951,

Fondation

Le

89-

Corbusier,

Paris.
89. Ledeur, " C e l e b r a t i o n , " p.

19.

90. Reverend R i c h a r d James Douadre, " P i l g r i m a g e to Assy - an A p p r a i s a l , "

L i t u r g i c a l A r t s 19 (February 1951): 30.

AouV

91. Ledeur, " I n f o r m a t i o n

1951): 6.

du P u b l i c , " L ' A r t Sacre no.

92.

idem, " C e l e b r a t i o n , " p.

93.

ibid.

94.

ibid.

95.

ibid.

19.

96. M a r c e l F e r r y to the w r i t e r , 25 June 1978,

97. Ledeur, " C e l e b r a t i o n " p.

11-12

Vancouver.

20.

98.

ibid.

99.

Canon Ledeur to Le C o r b u s i e r , 23 A p r i l ,

1951.

(Juliiet-

128
100. Ledeur, " C e l e b r a t i o n , " p. 15.
101.

ibid.

102. Le C o r b u s i e r , Modulor
1958), p. 252.

2, 1955 (London: Faber and Faber L t d . ,

103. Ledeur, " C e l e b r a t i o n , " p. 15.

104.

i b i d . , p. 17.

105. Le C o r b u s i e r , New World o f Space

1948), p. 8.

(New York: Reynal and H i t c h c o c k ,

106. idem, Le L i v r e de Ronchamp, p. 18.

107. Ledeur, " C e l e b r a t i o n , " p. 17.
108. Le C o r b u s i e r , Oeuvre complete 1946 - 1952, p. 88.
109. idem, Towards a new a r c h i t e c t u r e , pp. 18, 47.
t r a n s l a t i o n of t h e 1923 Vers une a r c h i t e c t u r e .
110. Le C o r b u s i e r , Oeuvre

This i s a

complete 1946 - 1952, p. 88.

111. Ledeur, " C e l e b r a t i o n , : p. 16.

112. Canon Ledeur t o Le C o r b u s i e r , 1 May. 1951, F o n d a t i o n Le
Corbusier, P a r i s .
113.

ibid.

114. Each o f t h e t h r e e stages added i t s contemporary concerns t o

the e v a l u a t i o n o f past Church b u i l d i n g achievements. The second s t a g e
i s r e p r e s e n t e d by a group of books t h a t appeared a f t e r World War I I i n
which many of t h e churches t h a t were c o n s i d e r e d exemplary o f a modern
s t y l e i n Munier's book o f 1932 were d e l e t e d .
A d d i t i o n a l l y , an expanded
h i s t o r i c a l c o n t e x t was thought an a p p r o p r i a t e e d i t o r i a l accompaniment and
s o c i a l c o n t e x t was much emphasised.
Les E g l i s e s N o u v e l l e s (1960) by
J . P i c h a r d , Modern Church A r c h i t e c t u r e (1962) by A. C h r i s t - J a n e r
and M.
M i x - F o l e y , and L i t u r g y and A r c h i t e c t u r e (1961) by P. Hammond a r e t h e
major books o f t h e second stage. These t h r e e books, and e s p e c i a l l y
Hammond, s t r e s s e d t h e importance of t h e l i t u r g i c a l movement i n shaping
the new and v a r i e d developments o f modern church a r c h i t e c t u r e .
The t h i r d s t a g e i n t h e documentation o f modern church a r c h i t e c t u r e shows a s h i f t i n h i s t o r i c a l p e r s p e c t i v e . T h i s i s n o t i c e a b l e i n
L ' A r c h i t e c t u r e R e l i g i e u s e Contemporaine en France (1968) by G. M e r c i e r
and Guide des E g l i s e s N o u v e l l e s en France (1969) by J . C a p e l l a d e s .
Here
a g r e a t e r number of churches c o n s i d e r e d modern i n t h e e a r l i e r surveys
were d e l e t e d .
Most of t h e remaining examples were r e l e g a t e d t o t h e
s t a t u s o f p r e c u r s o r s and few o f t h e examples c i t e d i n e i t h e r o f t h e s e
surveys date from b e f o r e t h e c o m p l e t i o n o f Notre-Dame-du-Haut, Ronchamp.

129
115. Munier, Un p r o j e t , pp. 50-68, 69-70, 92-107.
116. i b i d . , pp. 16, 50; P i c h a r d , E g l i s e s N o u v e l l e s , p. 18; Georges
M e r c i e r , L ' A r c h i t e c t u r e R e l i g i e u s e Contempofaine en F r a n c e :
v e r s une
synthese des a r t s (Tours: 1'Imprimerie R e l i u r e Mame, 1968), p. 7.
117. P i c h a r d , E g l i s e s N o u v e l l e s , p. 18; H e n r y - R u s s e l l H i t c h c o c k ,
A r c h i t e c t u r e , p. 421; E r n e s t George Schwiebert J r . , "The P r i m i t i v e
Roots o f A r c h i t e c t u r e " (PhD d i s s e r t a t i o n , P r i n c e t o n U n i v e r s i t y , 1966),
p. 391.

p.

118. P i c h a r d , E g l i s e s N o u v e l l e s ,
17; Hammond, L i t u r g y , p. 52.

p. 39; Jean C a p e l l a d e s ,

Guide,

119. M e r c i e r , L ' A r c h i t e c t u r e R e l i g i e u s e , p. 11.

120. Bernard Champigneuille, P e r r e t ( P a r i s : A r t s e t M e t i e r s
Graphiques, 1957), p. 47; The American A r c h i t e c t 126 (September 1924):
249-50.
121.

Champigneuille,

P e r r e t , p. 47.

122. Champigneuille, P e r r e t , p. 8; P e t e r C o l l i n s , Concrete, The

V i s i o n of a New A r c h i t e c t u r e (London: Faber and Faber, 1959), p. 240.
123. S c h n e l l , A r c h i t e c t u r e i n Germany, pp. 41-48.
124. Champigneuille,

P e r r e t , p. 38; C o l l i n s , Concrete,

125. P i c h a r d , E g l i s e s N o u v e l l e s ,
p. 231.
126. Rubin, Modern Sacred
127.

ibid.

129. P i c h a r d , E g l i s e s N o u v e l l e s ,
p. 77.
130. Rubin, Modern Sacred
131.

pp. 61-64; Regamey, R e l i g i o u s A r t ,

A r t , p. 44.

128. P i c h a r d , E g l i s e s N o u v e l l e s ,

Art,

p.' 240.

pp. 61-62.
pp. 24-25; Rubin, Modern

Sacred

A r t , pp. 45-63.

C o u t u r i e r , "Deux E g l i s e s , " pp. 117-121; Rubin, Modern Sacred A r t ,

p. 30.
132. C o u t u r i e r , " R e l i g i o u s A r t , " pp. 117-121.
133. Rubin, Modern Sacred
134.
P. 14,

Capellades,

A r t , pp. 45-63.
. Cocagnac, and

Couturier, Les Chapelles,

13,0

135. i b i d . , p. 16.
136. D o u a i r e ,

" P i l g r i m a g e t o A s s y , " p..131.

137. C o u t u r i e r , " R e l i g i o u s A r t , " p. 270.

138. idem, "Le C o r b u s i e r - Ronchamp," p. 31.

CHAPTER I I I
1.

Regamey, R e l i g i o u s A r t , p. 96.

2.
The c o m p l e t i o n o f a p i l g r i m a g e i m p a r t s a sense o f a c c o m p l i s h ment, and t h e r e f o r e p r i d e t o t h e p a r t i c i p a n t s . T h i s i s e x p r e s s e d i n P a u l
C l a u d e l ' s Annonce F a i t e a M a r i e (1912). P e r e C o u t u r i e r a l s o emphasises
the p e r s o n a l and human a s p e c t s o f p i l g r i m a g e i n h i s p e r s o n a l j o u r n a l .
C o u t u r i e r , D i e u e t l ' a r t , p. 230. Le C o r b u s i e r a l s o a s s o c i a t e s p r i d e i n
p e r s o n a l achievement and quest w i t h p i l g r i m a g e , a l t h o u g h o f a s e c u l a r
k i n d . Le C o r b u s i e r , When t h e C a t h e d r a l s Were W h i t e , p. x i x .
3.
Hammond d i s c u s s e s numerous types o f p l a n s , h i s t o r i c a l and contemporary, b u t he makes no mention o f p i l g r i m a g e churches o r p l a n s
d i s t i n c t i v e t o them,. see Hammond L i t u r g y . The same s i t u a t i o n can be
noted i n P i c h a r d , E g l i s e s N o u v e l l e s ; M e r c i e r , L ' A r c h i t e c t u r e R e l i g i e u s e ;
C a p e l l a d e s , Guide; M u n i e r , Un P r o j e t .
4.
L o u i s P i e s s a t , Tony G a m i e r (Lyon: Musee des B e a u x - A r t s , 1970),
lacks pagination.
5.

Montalte,

La B a s i l i q u e , lacks pagination.

6.
F r e d a W h i t e , West o f t h e Rhone (New Y o r k : W.W. N o r t o n & Co.,
I n c . , 1964), pp. 54-62; A r c h i b a l d L y a l l , The Companion Guide t o t h e South
of France (London: W.M. C o l l i n s , 1963), pp. 164-67; P o i t e l , L i e u x d ' E g l i s e ,
pp. 90-91, 109-135.

7.

B e r n a r d T s c h i e m i , " A r c h i t e c t u r e and i t s Double," A r c h i t e c t u r a l

D e s i g n 48 (no. 2-3 1978): 114-15.

/

8.
D i c t i o n n a i r e des E g l i s e s de F r a n c e I I I , E d i t i o n s Robert L a
Hont 1967 ed. s.v. " L o u r d e s , " by M a d e l e i n e Ochse.
9.
Kenneth Conant, C a r o l i n g i a n and Romanesque A r c h i t e c t u r e 800
t o 1200 ( B a l t i m o r e : P e n g u i n Books, 1959), p. 94.
10.

i b i d . , p. 93-94.

11.

i b i d . , p. 93.

12. W h i t e , West o f t h e Rhone, pp. 149, 176, 178, 209; B o l l e Reddat, Notre-Dame-du-Haut, p. 19.

131

et

13.
P a u l Joanne, Geographle de l a Haute-Soane ( P a r i s :
C i e , 1907), p. 47.

Hatchette

14.
Canon B e l o t , Notre-Dame-du-Haut a Ronchamp (Manuel du P e l e r i n )
(Lyons: E d i t i o n s Lescuyen, n.d.), pp. 9, 12, 13, 24-5.
I t i s merely the
V i r g i n t h a t i s r e f e r r e d to i n most documentation, i n c l u d i n g t h a t of Abbe"'
Bolle-Reddat.
However, the s t a t u e i s of the V i r g i n h o l d i n g a c h i l d i n
her arms. The c h a p e l i s d e d i c a t e d to the N a t i v i t y of the V i r g i n .
C a p e l l a d e s , Cocognac, C o u t u r i e r , Les C h a p e l l e s , p. 108.
15.

B e l o t , Notre-Dame-du-Haut, p.

16.

i b i d . , p.

3.

10.

17.
i b i d . , p. 17.
B e l o t s t a t e s t h a t the f i r s t mention of an event
a s s o c i a t e d t o the N a t i v i t y of the V i r g i n o c c u r s i n a t h i r t e e n t h - c e n t u r y
document dated the f i r s t F r i d a y a f t e r N a t i v i t y of September 1271 t h a t
granted s p e c i a l s a f e t y i n the v i c i n i t y by Count Othon IV of Burgundy. T h i s
would be important i n e s t a b l i s h i n g the a s s o c i a t i o n of r e f u g e so important
and r e c u r r e n t i n the p o p u l a r accounts of the c h a p e l ' s h i s t o r y .
18.
B o l l e - R e d d a t , Notre-Dame-du-Haut, p. 5.
Although B o l l e - R e d d a t
r e c o r d s the presence of p i l g r i m s i n 1271, B e l o t does n o t .
The p i l g r i m s
mentioned by Bolle-Reddat may have been on t h e i r way t o Compostela and
took advantage of the newly granted s a f e passage.
19.
B e l o t , Notre-Dame-du-Haut, p. 25.
I t was p r o b a b l y a t t h i s date
t h a t the c h a p e l r e c e i v e d i t s d e d i c a t i o n t o the N a t i v i t y of the V i r g i n
because i t i s d i f f i c u l t t o change the d e d i c a t i o n g i v e n t o a church a c c o r d i n g t o canon law.
20.

B o l l e - R e d d a t , Notre-Dame-du-Haut, p.

21.

B e l o t , Notre-Dame-du-Haut, pp.

22.
ibid.
The new
Notre Dame de Septembre.
23.

18.

15-16.

church became Notre-Dame de l a S a i n t e V i e r g e or

ibid.

24.
i b i d . , p. 25.
In 1778 exvotos a t t e s t t o a t t r i b u t i o n s of the
m i r a c u l o u s w i t h the s i t e .
In 1873, 3,500 p i l g r i m s gathered a t Ronchamp
on September 8 and i n 1926 12,000 p i l g r i m s gathered f o r Corpus C h r i s t i .
Notre-Dame-du-Haut was a b l e t o evade the r e p e r c u s s i o n s of the R e p u b l i c a n
era which c o n f i s c a t e d the s a n c t u a r y as a n a t i o n a l good because i t was
bought by f o r t y - f i v e p a r i s h i o n e r s and became p r i v a t e p r o p e r t y .
Conseq u e n t l y , when the Law of S e p a r a t i o n c o n f i s c a t e d Church p r o p e r t y i n 1906
the c h a p e l was a g a i n saved by i t s s t a t u s of p r i v a t e p r o p e r t y .
This
g r e a t l y enhanced the c h a p e l to n e i g h b o u r i n g p a r i s h e s who had no other
access to a church.
B e l o t , Notre-Dame-du-Haut, pp. 23, 27, 50, 23-25.
25.

i b i d . , p.

37.

132
26. B o l l e - R e d d a t , Notre-Dame-du-Haut, p. 22. B o l l e - R e d d a t r e f e r s
to September 8 as a t r a d i t i o n a l r e g i o n a l p i l g r i m a g e and adds t h a t t h e r e
are p i l g r i m a g e s from E a s t e r to A l l S a i n t s .
B e l o t s t a t e s t h a t t h e major
p i l g r i m a g e s a r e Corpus C h r i s t i and the N a t i v i t y . B e l o t , Notre-Dame-duHaut , p. 4.
27. Maurice Dumolin e t George O u t a r d e l , Les E g l i s e s de F r a n c e :
P a r i s e t l a Seine ( P a r i s : L i b r a i r i e et Ane, 1936), pp. 264-65.
28.

ibid.

29.

ibid.

30.

D i c t i o n n a i r e des E g l i s e s de France , 1967 ed. s.v., "Lourdes".

31.

ibid.

32.

ibid.

33.

Munier, Un P r o j e t ,

34.

i b i d . , pp. 166-67.

35.

ibid.

36.

ibid.

37.

B o l l e - R e d d a t , Notre-Dame-du-Haut, p. 2.

38.

B e l o t , Notre-Dame-du-Haut, p. 26.

'

pp.

40-42.

39.

B o l l e - R e d d a t , Notre-Dame-du-Haut, p. 2.

40.

Munier, Un P r o j e t , pp.

41.

i b i d . , p. 297.

42.

ibid.

43.

Montalte, La B a s i l i q u e , lacks

44.

ibid.

45.

ibid.

46.

Christ-Janer

47.

Hammond, L i t u r g y , p. 55.

48.

B e l o t , Notre-Dame-du-Haut, pp. 16-34.

M o n t a l t e , L a B a s i l i q u e , S a i n t e Baume F i l e , F o n d a t i o n Le
Paris.

49.
Corbusier,

295-300.

pagination.

and M i x - F o l e y , Modern Church A r c h i t e c t u r e , pp.

62-63.

133
A

50.
B e l o t , Notre-Dame-du-Haut, pp. 60, 50,. He mentions t h e e n c i r c l i n g o f t h e p a r i s h church i n t h e v i l l a g e on a Corpus C h r i s t i c e l e b r a tion.
51.

i b i d . , pp. 8-11, 17-29, 49, 60.

52.

B o l l e - R e d d a t , Notre-Dame-du-Haut, p. 22.

53.

Le C o r b u s i e r to Bourdin, 3 J u l y

'

1952, F o n d a t i o n Le C o r b u s i e r ,

Paris.
54. Some of h i s w r i t i n g and drawings demonstrate an i n t e r e s t i n
C h a r t r e s c a t h e d r a l and Cluny.
I n a l e t t e r t o Ledeur he r e f e r s t o Ghartres
as a p r e c u r s o r t o Notre-Dame-du-Haut. L i k e Abbot Suger a t S t . Denis he p l a c e d
an emphasis on t h e c e r e m o n i a l door and on the m e t a p h y s i c a l p o s s i b i l i t i e s
of l i g h t as an e x h a l t a t i o n o f t h e p i l g r i m s ' movements. Le C o r b u s i e r , 1 ' a r t
d e c o r a t i f d ' a u j o u r d ' h u i , p. 202; Le C o r b u s i e r t o Ledeur, 25 A p r i l 1955,
F o n d a t i o n Le C o r b u s i e r , P a r i s .
55.
The Columbia L i p p i n c o t t Gazeteer of t h e World, E d i t e d by Leon
E. S e t z e r (New York: Columbia U n i v e r s i t y P r e s s , 1952), p. 1600.
56.
M a i s s o n i e r t o Le C o r b u s i e r , 1 January
Corbusier, P a r i s .

1951, F o n d a t i o n Le

57.

Le C o r b u s i e r , The Chapel a t Ronchamp, p. 107.

58.

B o l l e - R e d d a t , Notre-Dame-du-Haut, p. 10.

59.
H.E. C o l l i n s , The Church E d i f i c e and i t s appointments
m i n s t e r : The Newman P r e s s , 1953), pp. 176-77.

(West-

60.
P a u l T h i r y , R i c h a r d Bennet and L Kamphvefner, Churches and
Temples (New York: R e i n h o l d P u b l i s h i n g Cor;., 1953), p. 55c.
61.

Canet t o Le C o r b u s i e r , 23 June 1956, F o n d a t i o n Le C o r b u s i e r ,

Paris.
62. Rudolf Otto, The i d e a o f t h e h o l y ; an i n q u i r y i n t o t h e nonr a t i o n a l f a c t o r i n t h e i d e a o f t h e d i v i n e and i t s r e l a t i o n s h i p t o t h e
r a t i o n a l , t r a n s . John W. Harvey (London: H. M u l f o r d Oxford U n i v e r s i t y
P r e s s , 1931:, pp. 12-24.
63.

Le C o r b u s i e r , The Chapel a t Ronchamp, p. 103.

64.

B o l l e - R e d d a t , Notre-Dame-du-Haut, p. 20.

CHAPTER IV
1.

Le C o r b u s i e r , The Chapel a t Ronchamp, pp. 79, 92, 99-, 102,

2.

i b i d . , pp. 92, 99.

134-

of

99...

3.

I b i d . , p.

4.

ibid.

5.

i b i d . , pp.

6.

idem, Le L i v r e de Ronchamp, pp. 131,134.

7.

i b i d . , pp.

8.

i b i d . , p.

9.

idem, The

10.

i b i d . , p.

11.

idem, Le C o r b u s i e r

91,

102.

102,

120.

120.
Chapel a t Ronchamp, p,.

91.

120.
1910

1965, p.

256.

12. James S t i r l i n g , "Ronchamp Le C o r b u s i e r ' s Chapel and the

R a t i o n a l i s m , " A r c h i t e c t u r a l Review 119 (March 1957): 155-61.
13. H i t c h c o c k , A r c h i t e c t u r e , p.
14. Le C o r b u s i e r , The

Crisis

523.

Chapel at Ronchamp, p.

88.

15. Le C o r b u s i e r to Cure of Ronchamp, 17 January 1951; Abbe

to Le C o r b u s i e r , 21 January 1952, F o n d a t i o n Le C o r b u s i e r , P a r i s .

Bourdin

16. Abbe Bourdin to Le C o r b u s i e r , 21 January 1952; Abbe Dubois

to M a i s s o n i e r , 16 November 1950, F o n d a t i o n Le C o r b u s i e r , P a r i s .
17. Le C o r b u s i e r to Cure of Ronchamp, 17 January 1951,
Le C o r b u s i e r , P a r i s .

Fondation

18. Abbe Bourdin to Le C o r b u s i e r , 21 January 1952, F o n d a t i o n Le

Corbusier, P a r i s .
Former problems experienced at the s i t e were the absence of water, i t s s u s c e p t i b i l i t y to l i g h t n i n g , and the p r e v e l e n c e of
h i g h winds from the n o r t h and southeast.
B e l o t , Notre-Dame-du-Haut,
pp. 32, 35, 40.
Le C o r b u s i e r u n d e r l i n e d these i n h i s copy of B e l o t ' s
book and the o p e r a b l e c i s t e r n and the partommeter on the south tower and
perhaps the use of r e i n f o r c e d c o n c r e t e r e s u l t e d from c o n s i d e r a t i o n of
these problems.

107

19. F e l i x J . Samuely, "Concrete

(May 1950): 331.

up to Date," A r c h i t e c t u r a l Review

20. Le C o r b u s i e r , Oeuvre complete 1938

- 1946,

p.

21. Benevolo, H i s t o r y of the Modern Movement, pp.

22.

Samuely, "Concrete

up to Date," p.

95.
726-28.

331.

23. Winter, "Le C o r b u s i e r ' s T e c h n o l o g i c a l Dilemma," pp.

343-46.

135
24. Canon Ledeur to Le C o r b u s i e r ,
Corbusier, P a r i s .
25. Ledeur, " C e l e b r a t i o n , : p.

ibid.,

pp.

Le

224,225.

531-53.

28. Munier, Un P r o j e t , pp.

187-207.

29. Lavanoux, " P r e l i m i n a r y R e p o r t , " pp.

30.

Fondation

19.

26. H i t c h c o c k , A r c h i t e c t u r e , pp.
27.

14 January 1951,

4-6.

ibid.

31. Munier, Un P r o j e t , pp.

187-207.

32. P i c h a r d , E g l i s e s N o u v e l l e s , p. 39;
Germany, pp. 39-48.
33. Regamey, R e l i g i o u s A r t , p.

Schnell, Architecture i n

247.

34. Jean P e t i t , Le C o r b u s i e r Lui-Meme (Geneve: E d i t i o n s Rousseau,

c. 1970), p. 72.
35. Le C o r b u s i e r et P i e r r e Jeanneret,
( Z u r i c h : W. B o e s i g e r , 1935), pp. 15-17.

Oeuvre complete 1929

36. Le C o r b u s i e r , Oeuvre complete 1946

- 1952,

37.

70.

idem, Le C o r b u s i e r

1910

- 1965,

p.

38. Le C o r b u s i e r et P i e r r e Jeanneret,
( Z u r i c h : W i l l y B o e s i g e r , 1946) pp. 94-94.
39. Le C o r b u s i e r , Le C o r b u s i e r
40.

ibid.,

p.

137;

1910

p.

pp.

idem, Oeuvre complete 1946

1934

1946

58.

Oeuvre complete 1938

- 1965,

112-13.

- 1952,

pp.

15-17.

41. B r i a n Bruce T a y l o r , "Le C o r b u s i e r at Pessac:

P r o f e s s i o n a l and
C l i e n t R e s p o n s i b i l i t i e s , " ed. R u s s e l l Walden, The Open Hand, pp. 164,
166.
42. F.R.S. Yorke, The Modern House (Cheam: The A r c h i t e c t u r a l P r e s s ,
1944) p. 82; W i l l i a m Jordy, "The Symbolic Essence of Modern European
A r c h i t e c t u r e of the Twentieth Century and I t s C o n t i n u i n g I n f l u e n c e , "
J o u r n a l of the S o c i e t y of A r c h i t e c t u r a l H i s t o r i a n s 22 (March 1963): 101.
43. Le C o r b u s i e r , The
44.

126.

ibid.

45. Le C o r b u s i e r to M.
Paris.

Chapel at Ronchamp, p.

G i s c l o n , 25 March 1954,

Fondation

Le

Corbusier,

136
46. idem, Le L i v r e de Ronchamp, pp.
47. Jordy,

163-65.

"Symbolic Essence," p. 181.

48. Le C o r b u s i e r , Radiant
Search, pp. 160-61.
49. idem, Le C o r b u s i e r
50. i b i d . , pp. 36, 114,

C i t y , p. 143; idem, C r e a t i o n i s a P a t i e n t

1910 - 1965, pp. 59, 104-05,

108, 25.

135.

51. idem, Oeuvre complete 1946 - 1952, p. 117.

52. idem, Les c a r n e t s de l a recherche p a t i e n t e : une p e t i t e maison
( Z u r i c h : E d i t i o n s G i r s b e r g e r , 1954), p. 32; idem, Le C o r b u s i e r 1910 - 1965,
pp. 104 - 109.
53. idem, C r o i s a d e : ou l e c r e p u s c u l e des academies ( P a r i s : G. Cres,
1933), p. 70; idem, Le C o r b u s i e r 1910 - 1965, p. 59; idem, Oeuvre complete
1946 - 1952, p. 76.
54. idem, Le C o r b u s i e r

1910 - 1965, pp. 33, 43, 49, 55.

55. Bruno Z e v i , The Modern Language of A r c h i t e c t u r e (Vancouver:

Douglas and M c l n t y r e L t d . , 1978), p. 31.
56.

ibid.

57. "a h i l l t o p c h a p e l , " p. 35.

58. P e t i t , Le C o r b u s i e r Lui-Meme, pp.

40-43.

59. Le C o r b u s i e r , C a t h e d r a l s , p. 3.
60. B e l o t , Notre-Dame-du-Haut,
Corbusier, P a r i s .

annotated copy i n F o n d a t i o n

61. Le C o r b u s i e r , L ' A r c h i t e c t u r e d ' A u j o u r d ' h u i (Octobre

pp.

Le

1949),

7-9.
A

62. idem, The Chapel at Ronchamp, p. 88. B e l o t , Notre-Dame-du-Haut.

Le C o r b u s i e r ' s u n d e r l i n i n g s a r e p a r t i c u l a r l y i n s i g h t f u l i n t o p o s s i b l e
c o n s c i o u s attempts t o r e - e v a l u a t e t r a d i t i o n .
63. idem, Oeuvre complete 1946 - 1952, p. 8.
64. idem, Le L i v r e de Ronchamp, pp.
65.

122-23.

ibid.

66. B e l o t , Notre-Dame-du-Haut,

pp. 13, 38.

67. Le C o r b u s i e r , Oeuvre complete 1946 - 1952, p. 29.

137,
68. idem, Le C o r b u s i e r 1910 - 1965, p. 255.
69. H i t c h c o c k , A r c h i t e c t u r e , p. 553.
70. Le C o r b u s i e r , Le L i v r e de Ronchamp, p. 140.
71. idem, The Chapel a t Ronchamp, pp. 89, 95, 117.
72. idem, New World o f Space, p. 64.
73. Le C o r b u s i e r and Amldee Ozenfant, "Purism," ed. Tim and
C h a r l o t t e Benton w i t h Denis Sharp, Form and F u n c t i o n (London: Crosby
Lockwood S t a p l e s , 1975), pp. 89-90; Le C o r b u s i e r 1910 - 1965, p. 293.
74. Le C o r b u s i e r , " A r c h i t e c t u r e , The E x p r e s s i o n o f t h e M a t e r i a l and
Methods of Our Times," The A r c h i t e c t u r a l Record 66 (August 1929), p. 123.
75.

ibid.

76. idem, New World o f Space, p. 21.

77. L u c i e n Herve, Le C o r b u s i e r L ' A r t i s t e e t l ' E c r i v a n , I n t r o d u c t i o n
by M a r c e l J o r a y (Neuchatel: E d i t i o n s du G r i f f o n , 1970) pp. 14, 18.
78. idem, New World of Space, p. 21.
79. i b i d . ,

p. 8.

80. idem, Towards a new a r c h i t e c t u r e , p. 19.

81. i b i d . ,

p. 17.

82. idem, Modulor 2, p. 253.

83. H i t c h c o c k , A r c h i t e c t u r e , p. 523.

CHAPTER V
1.

Stirling,

"Ronchamp," pp. 155-161.

2. Thomas C r e i g h t o n , "European D i a r y , " P r o g r e s s i v e A r c h i t e c t u r e

41 (August 1958): 127. T h i s was c o n f i r m e d by t h e w r i t e r a t Ronchamp i n
June 1979.
3. Sven H e s s e l g r e n , The Language o f A r c h i t e c t u r e (Lund: Studentl i t t e r a t e u r , 1967), p. 307. T h i s a l s o was c o n f i r m e d by t h e w r i t e r a t
Ronchamp June 1979.
4.

"a h i l l t o p

c h a p e l , " p. 35.

5. Le C o r b u s i e r , The Modulor: A Harmonious Measure t o the Human

S c a l e U n i v e r s a l l y a p p l i c a b l e t o A r c h i t e c t u r e and Mechanics, t r a n s .

138
P e t e r de F r a n c i a and Anne Bostock (Cambridge: Harvard
1954), pp. 15-17.
6.

idem, Modulor 2, pp.

151-54.

7.
New C a t h o l i c E n c y c l o p e d i a ,
by L.C. Sheppard.
8.

U n i v e r s i t y Press,

1967

i b i d . , Pope P i u s X I I , Mediator

ed. s.v.

D e i , p.

" L i t u r g i c a l Movement,"

64.

9.
No a c o u s t i c a l demands o t h e r than a u d i b i l i t y a r e evidenced i n
the l e t t e r s or the l i t e r a t u r e p u b l i s h e d by the Church or the p a t r o n s .
10. L e s l i e L. D o e l l e , Environmental
H i l l Co., 1972), pp. 103,104.
11.

Acoustics

(New

York: McGraw-

ibid.

12. T h i s i s a s i m p l i f i e d d e f i n i t i o n of the a r c h i t e c t ' s r o l e t h a t

has been d e r i v e d from D o e l l e i n Environmental A c o u s t i c s , pp. 3, 4, 12.
13. C o l l i n s , Concrete,
14.

"a h i l l t o p

p.

c h a p e l , " p.

251.
35.

15. i b i d . , Le C o r b u s i e r to Canet, 12 May

Corbusier, P a r i s .
16. Le C o r b u s i e r , The Modulor, pp.

1955,

Fondation

Le

15-17.

17. C o u t u r i e r , "Le C o r b u s i e r , Ronchamp," p. 29; C a p e l l a d e s ,

Cocagnac, C o u t u r i e r , Les C h a p e l l e s , pp. 107-108; Cocagnac, L ' A r t Sacre
pp.
3-4.
18. Purdy, "Le C o r b u s i e r and the T h e o l o g i c a l Program," p. 297;
C o r b u s i e r to Canet, 12 May 1955, F o n d a t i o n Le C o r b u s i e r , P a r i s .
19. Le C o r b u s i e r , Oeuvre complete 1946

- 1952,

p.

90.

20. idem, New World of Space, p. 14; Le C o r b u s i e r et P i e r r e

Jeanneret, Oeuvre complete 1929 - 1934, p. 24; C o l l i n s , Concrete, p.

pp.

21. Le C o r b u s i e r et P i e r r e Jeanneret,
124-37.

Nives,

1910

22. Le C o r b u s i e r , Le Voyage d ' O r i e n t

1966), pp. 73, 74, 76, 78-80.

23. idem, Oeuvre complete 1946

- 1965, pp. 104-109.

24. F e r d i n a n d
1968), p. 196.

- 1952,

Le

Oeuvre complete 1929

249.
1934,

(Meaux: Les E d i t i o n s F o r c e s

p.

O u e l l e t e , Edgard Varese (New

194;

idem, Le

York: The

Corbusier

Orion

Press,

139
25. Le C o r b u s i e r to Varese,

21 January 1954,

Fondation

Le

Corbusier,

Paris.
26. Le C o r b u s i e r , Towards a new

a r c h i t e c t u r e , p.

219.

27. T h i s r e f u t e s C h a r l e s Jenck's i n t e r p r e t a t i o n of the c h a p e l a t

Ronchamp as an i r o n i c statement. Jencks, Modern Movements, pp. 153,
157.

CHAPTER VI
1.

Le C o r b u s i e r , Oeuvre complete 1946

- 1952,

p.

88.

2.
Denis Sharp, " I n t r o d u c t i o n " , Form and F u n c t i o n , ed. Tim and
C h a r l o t t e Benton w i t h Denis Sharp, p. x i i , x x i - x x i i .
See a l s o L o u i s
S u l l i v a n , "Ornament i n A r c h i t e c t u r e , " Form and F u n c t i o n , pp. 2-4.
3.
to Walter

N i c o l a u s Pevsner, P i o n e e r s of Modern Design from W i l l i a m M o r r i s

Gropius, r e v . 2nd ed. ( B a l t i m o r e : Penguin Books, 1974), p. 30.

4.
The term " t a y l o r i z e d " i s d e r i v e d from the American F r e d e r i c k
Winslow T a y l o r who i n t r o d u c e d s c i e n t i f i c management i n t o i n d u s t r i a l
manufacture and r a t i o n a l i z e d assemply l i n e p r o d u c t i o n w i t h h i s a n a l y s i s of
how human work i s performed.
S i g f r i e d G i e d i o n , M e c h a n i z a t i o n Takes Command,
a c o n t r i b u t i o n to anonymous h i s t o r y (New York: Oxford U n i v e r s i t y P r e s s , 1948),
pp. 79, 115, 120 520.
Le C o r b u s i e r uses t h i s term f r e q u e n t l y .
Le
C o r b u s i e r , Radiant C i t y , p. 151; idem, L ' a r t d e c o r a t i f d ' a u j o u r d ' h u i
( P a r i s : G. Cres et c i e , 1925), p. 217; Joyce Lowman, "Corb as a s t r u c t u r a l
r a t i o n a l i s t , " The A r c h i t e c t u r a l Review 160 (October 1976): 229-33.
5.
Le C o r b u s i e r , Towards a new
Pevsner, P i o n e e r s , pp. 133-46.

a r c h i t e c t u r e , pp.

13-20, 95-103;

6.
H e n r y - R u s s e l l H i t c h c o c k and P h i l i p p e Johnson, The I n t e r n a t i o n a l
S t y l e and A r c h i t e c t u r e s i n c e 1922 (New York: W.W.
Norton & Co., 1932), p.
7.
Edward Robert de Zurko, O r i g i n s of F u n c t i o n a l i s t Theory
York: Columbia U n i v e r s i t y P r e s s , 1957), pp.
7-8.

(New

8.
Walter Gropius, "Where a r t i s t s and t e c h n i c i a n s meet," ed.
Benton and Sharp, Form and F u n c t i o n , p*. 147.
9.

Le C o r b u s i e r , Towards a new

a r c h i t e c t u r e , p.

24.

Benton,

64.

10. L o u i s S u l l i v a n , " K i n d e r g a r t e n Chats," The L i t e r a t u r e of A r c h i t e c t u r e , ed. Don G i f f o r d (New York: E.P. Dutton & Co., Inc., 1966), p.
500.

Vista,

The

11. E. C a s a n e l l e s , A n t o n i Gaudi: A R e a p p r a i s a l
1967), p. 103.

(London: Studio

12. Mary S e k l e r , "Ruskin, The Tree and The Open Hand," ed. Walden,
Open Hand, pp. 61,62; Le C o r b u s i e r , C a t h e d r a l s , p. x v i i i , 3; Le C o r b u s i e r ,

L ' a r t d e c o r a t i f , p. 14, 36, 134, 135, 136.

13. John Ruskin, L e c t u r e s on A r c h i t e c t u r e and P a i n t i n g D e l i v e r e d
at Edinburg i n November, 1853, 2nd ed. (London: Smith, E l d e r and Co.,
1855), p. 113.
14.
15.

Le C o r b u s i e r ,
-Sekler,

New World of Space, p. 20.

" R u s k i n , " pp. 61-69.

16. Le C o r b u s i e r et P i e r r e J e a n n e r e t , Oeuvre complete 1934 - 1938

( Z u r i c h : G i r s b e r g e r , 1945), p. 89.
17. Le C o r b u s i e r , L ' a r t d e c o r a t i f d ' a u j o u r d ' h u i
G. Cres e t c i e , 1932), p. 120.
18.

( P a r i s : Les E d i t i o n s

Benton, Benton and Sharp ed., Form and F u n c t i o n ,

pp. x x i - x x i i ,

69-70.
19. Ruskin, L e c t u r e on A r c h i t e c t u r e and P a i n t i n g , pp. 112-12; K r i s t i n e
O f f e s e n G a r r i g a n , R u s k i n On A r c h i t e c t u r e H i s Thought and I n f l u e n c e
(Madison: The U n i v e r s i t y of W i s c o n s i n P r e s s , 1973), pp. 29-61, 62; Owen
Jones, Grammar of Ornament (London: Bernard Q u a r i t c h , 1910), pp. 1-2, 5-12;
Benton, Benton and Sharp, Form and F u n c t i o n , pp. x x i - x x i i ; Zurko,
F u n c t i o n a l i s t Theory, p. 7. Ruskin's d e s c r i p t i o n s i n t h e Stones o f V e n i c e
b e t r a y h i s g r e a t e r concern f o r ornament and ornamental q u a l i t i e s than f o r
s t r u c t u r e , as does h i s B i b l e o f Amiens. Le C o r b u s i e r read both o f t h e s e
and appears t o have been much impressed w i t h t h e u n d e r l y i n g p r e c e p t s
expressed i n them. Le C o r b u s i e r , L ' a r t d e c o r a t i f , pp. 123, 134-35.
20.

Banham, Theory and Design, pp. 14-35.

21.

H i t c h c o c k and Johnson, I n t e r n a t i o n a l S t y l e , p. 13.

22.

Banham, Theory and Design, p. 95.

23. S i g f r i e d G i e d i o n , A r c h i t e c t u r e , you and me.

The d i a r y of a
development (Cambridge: Harvard U n i v e r s i t y P r e s s , 1958), pp. 70-71, 7980, 84-85.

p.

24.

Le C o r b u s i e r ,

A r c h i t e c t u r e du bonheur, l a c k s

pagination.

25.

Le C o r b u s i e r ,

Towards a new a r c h i t e c t u r e , p. 64.

26.

idem, L ' a r t d e c o r a t i f , pp. 81, 101, 120.

27. Le C o r b u s i e r , L ' a r t d e c o r a t i f , pp. 85, 96; idem, Radiant C i t y ,

151; idem, Towards a new a r c h i t e c t u r e , p. 3-19.
28.

Le C o r b u s i e r ,

Radiant C i t y , p. 151.

29.

idem, Towards a new a r c h i t e c t u r e , pp. 13-20, 95-103.

30.

pp.

ibid.

31. i b i d . ;
1-15.

idem, L ' a r t d e c o r a t i f , pp.

86-101; idem, The

Modulor,

32. P a u l Turner, "Romanticism, R a t i o n a l i s m , and the Domino System,"

ed. Walden, The Open Hand, pp. 18-19; Turner, The E d u c a t i o n of Le C o r b u s i e r ,
pp. 4-5; M a x i m i l l i e n G a u t h i e r , Le C o r b u s i e r ou 1 ' a r c h i t e c t u r e au s e r v i c e
de 1'homme ( P a r i s : Les E d i t i o n s Denoel, 1944), pp. 11-20.
33.

S e k l e r , "Ruskin,"

p. 76,

figs.

20,

34.

Le C o r b u s i e r , L ' a r t d e c o r a t i f , p.

21,

22; p. 79,

figs.

23,

24.
83.

35. Turner, The E d u c a t i o n of Le C o r b u s i e r , pp.

C o r b u s i e r , L ' a r t d e c o r a t i f , p. 137.

7,

118-20; Le

36. The e f f e c t s of t h i s t r i p a r e d i s c u s s e d by Turner, The E d u c a t i o n

of Le C o r b u s i e r , pp. 120-21. They a r e a l s o e v i d e n t i n L ' a r t d e c o r a t i f ,
p. 96.
37. Le C o r b u s i e r , L ' a r t d e c o r a t i f , pp.
38.

Co.,

Bahham, Theory and Design,

206-13,

39. J o o s t B a l j e u , Theo van Doesburg (New

Inc., 1974), p. 64.
40.

Banham, Theory and Design,

41. Jordy,
42.

"The

pp.

323,

Symbolic Essence," p.

122,

137,

144.

215.

York: M a c m i l l a n

Publishing

325.
100.

ibid.

43. Pope P i u s X I I , Mediator

p.

pp.

85,

D e i , p. 63;

0'Connell,

Church B u i l d i n g ,

30.

44. Turner, The E d u c a t i o n

Towards a new a r c h i t e c t u r e , pp.

of Le C o r b u s i e r , pp.
72, 75, 153,
159.

120-21; Le

Corbusier,

45. " P i e r r e de l a C h a p e l l e de Notre-Dame-du-Haut a Ronchamp,"

(Manuscript) 25 March 1954, F o n d a t i o n Le C o r b u s i e r , P a r i s .
46. Rogers, " I I metodo d i Le C o r b u s i e r , " p.

17.

47. Le C o r b u s i e r , C a t h e d r a l s , pp. 6, 13, 37.

S i g n i f i c a n t l y , Le
C o r b u s i e r had done a s p e c i a l study of c a t h e d r a l p o r t a l s i n the e a r l y
1920s and 1930s. Le C o r b u s i e r , L ' a r t d e c o r a t i f , p. 202.
48. Conant, C a r o l i n g i a n and Romanesque A r c h i t e c t u r e , p. 99; A.
K i n g s l e y P o r t e r , Romanesque S c u p l t u r e of the P i l g r i m a g e Roads I (Boston:
M a r s h a l l Jones Company, 1923), pp. 171, 173-74, 180-82, 187-93, 196.

142
49. Le C o r b u s i e r , The Modulor, p.
Fondation Le C o r b u s i e r , P a r i s .

142;

" P i e r r e de l a C h a p e l l e , "

50. Rogers, " I I metodo de Le C o r b u s i e r , " p. 17;

C h a p e l l e , " F o n d a t i o n Le C o r b u s i e r , P a r i s .
51. Le C o r b u s i e r , The Modulor, p.
52.

idem, The

" P i e r r e de l a

140.

Chapel at Ronchamp, p.

118.

53. i b i d . , p. 126; idem, Le L i v r e de Ronchamp, p. 121;

Le C o r b u s i e r 1910 - 1965, p. 256.
54.

idem, Oeuvre complete 1946

- 1952,

p.

idem,

88.

55. idem, Le C o r b u s i e r 1910 - 1965, pp. 301, 305, 306, 309. By e n l a r ging the expansion j o i n t s to c r e a t e b l a c k , shadowed l i n e s , Le C o r b u s i e r
n e a t l y e n c i s e d forms s i m i l i a r to those found d e f t l y encased i n b l a c k
lines i n his painting.
56.

idem, Le L i v r e de Ronchamp, pp.

71,

82.

57. B o l l e - R e d d a t , Notre-Dame-du-Haut, p. 17; Le C o r b u s i e r ,

C o r b u s i e r 1910 - 1965, p. 256.
58. Le C o r b u s i e r , Oeuvre complete 1946 - 1952,
de C o u l e u r s , 1935, F o n d a t i o n Le C o r b u s i e r , P a r i s .

l;.M-

Way.

59. New C a t h o l i c E n c y c l o p e d i a ,
Versostko.

1967

ed.

s.v.

p. 88;

Le

idem, C l a v i e r s

" L i t u r g i c a l A r t , " by

60. i b i d . ; O'Connell,Church B u i l d i n g and F u r n i s h i n g : The Church's

A Study i n L i t u r g i c a l Law
(London: Burns & Oates, 1955), p. 57.
61.

0'Connell,Church B u i l d i n g , p.

62.

Regamey, " L ' e s p r i t et l e s p r i n c i p e s , " p.

63.

i b i d . , pp.

64.

ibid.,

p.

57.
3.

5-6.
6.

65. M a r c e l F e r r y to the w r i t e r , 25 June 1978,

66.

ibid.

67.

Rubin, Modern Sacred A r t , pp.

68. Le C o r b u s i e r , The

71,

Vancouver.

118-125.

Chapel at Ronchamp, p.

25.

69. Y r j o H i m , The Sacred S h r i n e . A study of the p o e t r y and a r t of

the C a t h o l i c Church, 3rd ed. (Boston: Beacon P r e s s , 1957), pp. 443, 466,
467.

143
70.

ibid.,

p.

465.

71.

i b i d . , p.

466.

72.

i b i d . , p.

465.

73. The j e w e l i s a m o t i f o f t e n a s s o c i a t e d w i t h the V i r g i n .

Hirn,
Sacred S h r i n e , p. 437.
I t i s so used i n C l a u d e l ' s Annonce f a i t e a M a r i e .
A diamond shape i s found p a i n t e d on one n o r t h e a s t window.
74. Le C o r b u s i e r , The Chapel at Ronchamp, pp. 130-35. For a d i s c u s s i o n
of the t h e o l o g i c a l q u e s t i o n s then b e i n g posed w i t h r e s p e c t to the r e l a t i o n s h i p of Mary w i t h i n the Roman C a t h o l i c Church see Ren L a u r e n t i n ,
Mary's P l a c e i n the Church, t r a n s . E d i t i o n s du S e u i l (London: Burnes &
Oates, 1965), pp.
9-28.
75. Le C o r b u s i e r

to F e r r y , 8 A p r i l

1957,

B e l o t , Notre-Dame-du-Haut, pp.

4-5.

Fondation

Le

Corbusier,

Paris.
76.

77. Le C o r b u s i e r , Le C o r b u s i e r
pp.

1910

78. C o u t u r i e r , Dieu et l ' a r t , pp.

60-61.

- 1965,

205

p.

256.

- 19; P i c h a r d , E g l i s e s N o u v e l l e s ,

79. Le C o r b u s i e r , Le C o r b u s i e r 1910 - 1965, p. 89; idem, The

Nursery Schools, t r a n s , by E l e a n o r L e v i e u x (New York: The O r i o n P r e s s ,
1968), pp. 41, 42.
Nor should Le C o r b u s i e r ' s p r o p o s a l to use c o l o u r e d
panes of g l a s s i n the r e c o n s t r u c t i o n of the S t . Die church be f o r g o t t e n ,
see f o o t n o t e 62, Chapter IV.
80. F i s c h e 7606 ( c . 19 May
81.

C o u t u r i e r , Dieu

1955), F o n d a t i o n

et l ' a r t , pp.

207-08,

Le C o r b u s i e r ,

Paris.

209.

82. Eduord C o r r o y e r , L ' A r c h i t e c t u r e Romane ( P a r i s : A l c i d e P i c a r d ,

1891), p. 49.
T h i s r e f e r e n c e i s used because i t i s known t h a t Le C o r b u s i e r
read i t . Turner, The E d u c a t i o n of Le C o r b u s i e r , pp. 50-51; P a u l T h i r y ,
R i c h a r d M. Bennet and Henry L. Kamphoefner, Churches and Temples (New York:
R e i n h o l d P u b l i s h i n g Corp., 1953), p. 10c.
83. "Le langage des couleurs , "L'Art Sacre 7-8 (Mars - A v r i l
T h i r y , Bennet and Kamphoefner, Churches and Temples, p. 10c.
;

18;

84.

Le C o r b u s i e r , C a t h e d r a l s , pp.

102,

151,

1963):

165.

85. John Bourke, Baroque Churches of C e n t r a l Europe (London: Faber

and Faber, 1958), p. 267; T h i r y , Bennett and Kamphoefner, Churches
and Temples, p. 10c.
86. Rubin, Modern Sacred A r t , p. f a c i n g

120.

144
87.

L a u r e n t i n , Mary's P l a c e , pp.

88. New C a t h o l i c E n c y c l o p e d i a ,
Devotion t o , " by E.R. C a r r o l l .

9-11.

1967 ed. s.v. "Mary, B l e s s e d

89.

C a s a n e l l e s , Gaudi, pp.

90.

Rogers, " I I metodo d i Le C o r b u s i e r , " pp. 24-25.

91.

ibid.

92.

Le C o r b u s i e r , The Chapel a t Ronchamp, p. 123.

Virgin,

97-103.

93. idem, The Modulor, pp. 169; idem, Modulor 2, pp. 53, 55, 116,
150, 151, 157.
94.

idem, P r e c i s i o n s , pp.

142-43.

95.

idem, Oeuvre complete 1946 - 1952, p. 110.

96.

G a u t h i e r , Le C o r b u s i e r , pp. 87-88.

97.

Le C o r b u s i e r , P r e c i s i o n s , p. 5.

98.
idem, Radiant C i t y , p. 15; idem, "Le Poeme de .1'angle, d r o i t . "
L ' a r c h i t e c t u r e du bbnheur, l a c k s p a g i n a t i o n .
99.

Le C o r b u s i e r and J e a n n e r e t ,

Oeuvre complete 1938 - 1946, pp.

10-11.
100. Le C o r b u s i e r , Le C o r b u s i e r
101. S e k l e r , "Ruskin,"
102. B o l l ^ - R e d d a t ,
pp.

1910 - 1965, pp. 217, 226.

p. 76, f i g s .

20, 21, 22.

Notre-Dame-du-Haut,

103. Le C o r b u s i e r and Jeanneret,

103-108.

p. 20.

Oeuvre complete 1938 - 1946,

104. Le C o r b u s i e r , The Modulor, pp. 51, 64; idem, Le C o r b u s i e r

1910 - 1965, pp. 22, 34.
105. idem, C a t h e d r a l s , p. 5; idem, Le C o r b u s i e r

1910 - 1965, p.

305.
106. idem, Le C o r b u s i e r

1910 - 1965, pp. 278,

107. idem, Towards a new a r c h i t e c t u r e , p. 159.

108. idem, C a t h e d r a l s , pp. x v i i i , x i x
109. idem, The Modulor, p. 51.

173.

110. idem, C a t h e d r a l s , pp. x i x , 202; idem, Towards a new a r c h i t e c t u r e , p. 8.

111. idem, C a t h e d r a l s , pp. x v i i i ,
112. idem, Le C o r b u s i e r

x i x , 31, 146, 173, 176, 205.

1910 - 1965, p. 256.

113. idem, C a t h e d r a l s , p. x v i i i .
114. B o l l e - R e d d a t ,
115.

Notre-Dame-du-Haut,

p. 20.

ibid.

116. Le C o r b u s i e r , Oeuvre complete 1946 - 1952, p. 48.

117. F i s c h e 7465 (1 June 1957) F o n d a t i o n Le C o r b u s i e r ,

Paris.

118. New C a t h o l i c E n c y c l o p e d i a , 1967 ed. s.v. " T a b e r n a c l e , "

O'Connell; H i r n , Sacred S h r i n e , pp. 151-68.
119. New C a t h o l i c E n c y c l o p e d i a ,

s.v. " T a b e r n a c l e , "

120. Le C o r b u s i e r t o F e r r y , 8 A v r i l

by J.B.

by J.B. O'Connell

1957, F o n d a t i o n Le C o r b u s i e r ,

Paris.
N

121. Le C o r b u s i e r , Oeuvre complete 1946 - 1952, p. 27.

A.

122. P e t i t , Le C o r b u s i e r Lui-Meme, pp. 118-119.

123. B e l o t , No\re-Dame-du-Haut, F o n d a t i o n Le C o r b u s i e r ,

Paris.

124. Le Corbusier,"Le-Poem de l ' a n g l e d r o i t , " l a c k s p a g i n a t i o n .

125. idem, The Chapel a t Ronchamp, p
126. idem, Le C o r b u s i e r

1910 - 1965, p. 55.

127. idem, C a t h e d r a l s , p. 93.

128. Zurko, F u n c t i o n a l i s t Theory, p. 132.
129. The analogy^between t h e Church e d i f i c e and t h e a r k i s common:
i t was o f t e n made t o Notre-Dame-du-Haut.
I t was a l s o used f o r Notre-Damedu-Raincy. American A r c h i t e c t 126 (10 September 1924): 249-52.
130. Le C o r b u s i e r , C a t h e d r a l s , p. 93.
131. Le C o r b u s i e r , A i r c r a f t

(London: The S t u d i o , 1935), pp. 5, 6, 13

132. Mgr. Dubois, "Response au d i s c o u r s de Le C o r b u s i e r , Ronchamp,"

L ' A r t Sacre 1-2 (Septembre-Octobre 1955):25.

146
CHAPTER V I I
1.
C o u t u r i e r , "Le C o r b u s i e r , Ronchamp," pp. 29-31; Cocagnac,
L ' A r t Sacre, pp. 3-11; C a p e l l a d e s , CocSgnac and C o u t u r i e r , Les C h a p e l l e s ,
pp. 108-109; B o l l e - R e d d a t , Notre-Dame-du-Haut, pp. 17-19; Boll-Reddat,
J o u r n a l 15:16.
2.
Pere C o u t u r i e r f o c u s e s h i s a t t e n t i o n on s u b j e c t matter and
f i g u r e s t y l e , he does not i s o l a t e l i g h t as a preeminent symbolic element.
He does express some response to the g e n e r a l ambiance of l i g h t , however.
C o u t u r i e r , D i e u e t l ' a r t , pp. 207, 211.
Pere Regamey does not emphasise
the symbolic f u n c t i o n of l i g h t i n h i s w r i t i n g although he does a s s o c i a t e
dim l i g h t w i t h peace and m e d i t a t i o n .
P.-R.
Re'gamey, "La B a s i l i q u e des
T r o i s Ave a B l o i s , " L ' A r t Sacre 1-2 (Septembre-Octobre 1949): 22.
3.
P e r r e t g i v e s much g r e a t e r emphasis to s t r u c t u r e and
than he does to l i g h t a t Notre-Dame-du-Raincy i n h i s comments
church.
Hammond g i v e s much g r e a t e r emphasis to the p l a n than
a t t r i b u t e s great symbolic v a l u e to the p l a n because he f e l t i
a response to new l i t u r g i c a l concerns.
Hammond, L i t u r g y , pp.

materials
about the
to l i g h t .
t indicated
83-90.

He

4.
Le C o r b u s i e r , Radiant C i t y , p. 47.
The concern w i t h s i t i n g
and o r i e n t a t i o n f o r maximum sun p e n e t r a t i o n i n t o i n t e r i o r s v i a a south
exposure i s a f u n c t i o n a l c o n s i d e r a t i o n found i n the work of A l v a r A a l t o ,
and to a l e s s e r extent i n the work of B. Taut and G r o p i u s , among o t h e r s .
The concern w i t h maximizing n a t u r a l i n t e r i o r i l l u m i n a t i o n i n the l a s t
decades of the n i n e t e e n t h century and the f i r s t h a l f of the t w e n t i e t h
century was prompted by commercial, economic, and h e a l t h demands.
This
pragmatic (and programmatic)concern f o r l i g h t by G r o p i u s , A a l t o , and
o t h e r s d i f f e r e n t i a t e s i t from Le C o r b u s i e r ' s approach to l i g h t a t N o t r e Dame-du-Haut. P a u l Sheerbart i s perhaps the most prominent t w e n t i e t h c e n t u r y a r c h i t e c t concerned w i t h the p o e t i c and f u n c t i o n a l a s p e c t s of
light.
Yet he r e a l i z e d v e r y l i t t l e of h i s i d e a s .
5.
C o l l i n s , Concrete, p. 243.
However, t h i s l i g h t scheme p r o b a b l y
o r i g i n a t e d w i t h Maurice Denice who was a s s o c i a t e d w i t h the p r o j e c t .
6.
P i c h a r d , E g l i s e s N o u v e l l e s , p.
A r c h i t e c t u r e i n Germany, pp. 40-41, f i g s .
7.

s
Pichard, E g l i s e s Nouvelles,

8.

C o u t u r i e r , Se Garder L i b r e , pp.

pp.

23,
21,

f i g s . 17-19; S c h n e l l , Church
26-29.

22-23, f i g s .
42,

14,15.

48.

9.
Pere C o u t u r i e r does not mention P e r r e t ' s l i g h t i n g achievements
at Nc^tre-Dame-du-Raincy, a l t h o u g h he does mention P e r r e t .
Couturier,
Se Garder L i b r e , pp. 51, 60.
Pere Regamey mentions P e r r e t ' s use of modern
techniques and b u i l d i n g m a t e r i a l s but not h i s use of l i g h t .
Regamey,
R e l i g i o u s A r t , pp. 224,
247.
10. Rubin, Modern Sacred
11.

Sigffied

A r t , f i g . 51.

G i e d i o n , n i n Space, Time and

A r c h i t e c t u r e , and

Talbot

147
Hamlin i n Form and F u n c t i o n i n T w e n t i e t h Century A r c h i t e c t u r e , 4 v o l s . , do
not i s o l a t e l i g h t f o r s p e c i a l c o n s i d e r a t i o n ; i n c o n t r a s t , space i s extens i v e l y d i s c u s s e d by G i e d i o n and c o l o u r and rhythm i s d i s c u s s e d by Hamlin.
The Glass Chain group of a r c h i t e c t s , the E x p r e s s i o n i s t s g e n e r a l l y , and
Bruno Taut e s p e c i a l l y , d i d e x p l o r e the e x p r e s s i v e p o t e n t i a l s of l i g h t i n
the 1920s. However, modern m a t e r i a l s and the a b s t r a c t q u a l i t i e s of t r a n s parency r e c e i v e d e q u a l , i f not more, a t t e n t i o n . See P a u l Sheerbart,
G l a s s ; A r c h i t e c t u r e , t r a n s . S h i r l e y P a l i m e r and Bruno Taut, A l p i n e A r c h i t e c t u r e , ed. Denis Sharp (New York: Praeger P u b l i s h e r s , 1972), pp.
8-14,
42, 51, 52, 54-56, 59, 64-66, 72-73, 121-122.

pp.

12. C o u t u r i e r , Se Garder L i b r e , pp. 70, 83; idem, " R e l i g i o u s A r t , "

268-272; idem, "Note by Pere C o u t u r i e r , " pp. 30, 31.

13. "La Lumiere de 1 ' E g l i s e , " L ' A r t

1057): 14-16.

Sacre 1-2

14. Canon Ledeur, " C o n s e i l s f r a t e r n e l s , " L ' A r t

F e v r i e r 1951): 15-17.

L'Art

Ave

(Septembre-Octobre

Sacre 5-6

(Janvier-

15. "La Lumiere de l ' E g l i s e , " p. 11; " P r e s c r i p t i o n s canoniques,"

Sacre 1-2 (Septembre-Octobre 1957):23.
16.

" P r e s c r i p t i o n s canoniques," p.

17.

ibid.

18.

ibid.

23.

19. "La Lumiere de l ' E g l i s e , " p. 8; Regamey, "La B a s i l i q u e des

a B l o i s , " p. 22.
20.

Pope P i u s X I I , M e d i a t o r D e i , p.

21.

ibid.

22. Munier, Un P r o j e t , pp.

Trois

66.

109-114; "La Lumiere de l ' E g l i s e , " pp.

14-

16.
23. P a u l C l a u d e l , " T i d i n g s Brought to Mary," ed. S. M a r i o n Zucker,
Modern C o n t i n e n t a l P l a y s (New York: Harper and B r o t h e r s P u b l i s h e r s , 1929),
pp. 209-55.
24.

C l a u d e l , " T i d i n g s Brought to Mary," pp.

25.

Le C o r b u s i e r ,

26. Le C o r b u s i e r
Corbusier, P a r i s .
27. Le C o r b u s i e r ,
28.

The Modulor, pp.

209,

225,

240.

221-22.

to Canon Ledeur, 28 J u i n 1955,

Le L i v r e de Ronchamp, p.

Jencks, Modern Movements, p.

210,

157.

39.

F o n d a t i o n Le

148
29. Monalte, La B a s i l i q u e , l a c k s p a g i n a t i o n .
30. P a u l C l a u d e l , P o s i t i o n s et P r o p o s i t i o n s ( D i j o n : L i b r a i r i e
G a l l i m a r d , 1934), pp. 231, 233, 237.
31. M o n t a l t e ,
32.

La B a s i l i q u e , l a c k s p a g i n a t i o n .

S e k l e r , "Ruskin,"

p.

58.

33. These p l a n s were f u r n i s h e d by the F o n d a t i o n

Le C o r b u s i e r ,

Paris.

34. Le C o r b u s i e r ' s s e n s i t i v i t y to both the h o r i z o n t a l and v e r t i c a l

movement of the sun i s evidenced i n h i s many diagrams showing the r e l a t i o n s h i p between the sun's movement, l a t i t u d e , and the r e s u l t i n g i n terior illumination.
Le C o r b u s i e r and P i e r r e Jeanneret, Oeuvre complete
1938 - 1946, pp. 104,
106.
35. New
du Haut."

Catholic Encyclopedia,

1967

ed. s.v.

36. Le C o r b u s i e r , Oeuvre complete 1946

"Ronchamp, Notre-Dame

- 1952,

p.

97.

37. The o t h e r m o d i f i c a t i o n s i n c l u d e the decrease i n the number

of c o n f e s s i o n a l s from t h r e e to one (with one more p o r t a b l e ) , the r e o r i e n t i n g of the r o o f s l o p e from the n o r t h to the west and the consequent
r e l o c a t i o n of the c i s t e r n i n the west, and the changes made to the e x t e r i or exposed column i n the east t h a t became e n c l o s e d i n a w a l l and made i n t o
an e x t e r i o r s a c r i s t y .
38. For the importance of l i g h t i n Le C o r b u s i e r ' s a r c h i t e c t u r a l
theory see f o o t n o t e 31 above. H i s p r o j e c t s f o r A l g i e r s and Dr. C u r r e t t chet's house at La P l a t a , A r g e n t i n a show the extent t o which he d i s t o r t e d
facades i n order to accommodate n a t u r a l l i g h t i n g o b j e c t i v e s . Le C o r b u s i e r ,
Oeuvre complete 1910 - 1965, pp. 327, 82-85. The s i g n i f i c a n c e Le C o r b u s i e r
a t t r i b u t e d to l i g h t i s e x e m p l i f i e d i n h i s Radiant C i t y , p. 47.
Light i s
g i v e n p o e t i c form i n h i s poem p u b l i s h e d i n The Chapel at Ronchamp, p. 27.
H i s s p i r i t u a l response to l i g h t i s e x e m p l i f i e d i n h i s Voyage d ' O r i e n t ,
pp. 66, 72, 76-79; L ' a r t d e c o r a t i f d ' a u j o u r d ' h u i , p. 198, and the 1907
c h a p e l at La Chaux-de-Fonds. S e k l e r , "Ruskin," p. 58, f i g . 17.

p.

39. Le C o r b u s i e r et P i e r r e J e a n n e r e t ,
103.
40. Le C o r b u s i e r , Radiant
41.

i b i d . , pp.

42.

i b i d . , p.

78,

85,

- .1946,

86.

104.

47.

43. Benton, Benton and

p.

C i t y , p.

Oeuvre complete 1938

Sharp, Form arid F u n c t i o n , pp.

44. Le C o r b u s i e r , Le L i v r e de Ronchamp, p.
156.

11;

xxi-xxiii,

Stirling,

"Ronchamp,"

149
45. T h i s s i g n was used on numerous o c c a s i o n s and i n s e v e r a l d i f f e r ent c o n t e x t s . Le C o r b u s i e r , Oeuvre complete 1946 - 1952, p. 149; idem,
C a t h e d r a l s , pp. x v i i i , 171, 176; idem, C r e a t i o n , p. 305.
46. Le C o r b u s i e r , Radiant C i t y , p.

104.

47. Although Vers une a r c h i t e c t u r e (1923) i s most o f t e n c h a r a c t e r i s e d as a m a n i f e s t o a d v o c a t i n g t e c h n o l o g y and m e c h a n i z a t i o n , r e f e r e n c e s

to l i g h t a r e a l s o f r e q u e n t . Statements s u p p o r t i n g a t e c h n o l o g i c a l viewp o i n t a r e b a l a n c e d w i t h statements a d v o c a t i n g an a r c h i t e c t u r e based on
p l a s t i c emotion.
I t a l s o c o n t a i n s h i s statement: " A r c h i t e c t u r e i s the
m a s t e r l y , c o r r e c t and m a g n i f i c e n t p l a y of masses brought t o g e t h e r i n l i g h t .
Le C o r b u s i e r , Towards a new a r c h i t e c t u r e , p. 29.
48. Le C o r b u s i e r and P i e r r e J e a n n e r e t , Oeuvre complete
p.

1910

1929,

60.
49. i b i d . ,

p.

64.

50. B o l l e - R e d d a t , J o u r n a l , 55:11.
51. Robert S t o l l , Ronchamp ( P a r i s : D e s c l e e de Brouwer, c. 1958),

pp.

6,7.
52. Le C o r b u s i e r , The Chapel a t Ronchamp, p.
53. B o l l e - R e d d a t , Notre-Dame-du-Haut, pp.
E n c y c l o p e d i a , "Ronchamp, Notre-Dame dii Haut."

103.

14-15,17; New

Catholic

54. Banham, Theory and Design, p. 217.

North l i g h t i s the
p r e f e r r e d by a r t i s t s due to i t s g e n e r a l day-long c o n s i s t e n c y .

light

55. These can be seen reproduced i n Le L i v r e de Ronchamp, pages

46 and 96.
Although t h e s e may have been temporary l i g h t s added t o enhance
the photographs, B o l l e - R e d d a t does s t a t e t h a t some l i g h t s were added i n
1956 and s t i l l more i n 1968.
B o l l e - R e d d a t , J o u r n a l , 56:11.
56. T h i s i s e x e m p l i f i e d by the concepts ' a c t i o ' and ' m e d i t a t i o ' used
by S t o l l i n h i s book Ronchamp i n r e f e r e n c e to the Church and Notre-Damedu-Haut, Ronchamp. S t o l l , Ronchamp, p. 3.
The i d e a t h a t the Church s h o u l d
be both a p l a c e of c e l e b r a t i o n and of m e d i t a t i o n appears i n the w r i t i n g
of both Pere Regamey, Pere C o u t u r i e r and Pope P i u s X I I ' s M e d i a t o r D e l ,
pp. 45, 46.
57. H.H. .Arnason, H i s t o r y of Modern A r t (New
Abrams Inc., 1968), p. 215.

York: Harry

N.

58. Le C o r b u s i e r et J e a n n e r e t , Oeuvre complete 1910 - 1929, pp.

86, 91; Le C o r b u s i e r , Le C o r b u s i e r 1910 - 1965, pp. 34, 58; idem, Oeuvre
complete 1946 - 1952, pp. 70-72; Boudin, Pessac, p. 10.
59. Regamey, "Note sur 1 ' O r i e n t a t i o n , " L ' A r t Sacre 1 (1946): 29-30;
Bardet, " L ' E g l i s e dans l a c i t e , " pp. 19-28.

150
60. Rubin, Modern Sacred A r t , pp. 62, 62.
The i d e a of t e n s i o n i s
v e r y important to Le C o r b u s i e r p h i l o s o p h i c a l l y and, as Notre-Dame-du-Haut
demonstrates, a r c h i t e c t u r a l l y .
Le C o r b u s i e r f e l t t h a t man l i v e d i n a
s t a t e of t e n s i o n w i t h n a t u r e .
He s t a t e d "man must s t r u g g l e a g a i n s t n a t u r e
to s u r v i v e . . . . Happiness i s not a r e a l i t y , i t i s a f i c t i o n , i t i s a
r e l a t i o n , a tension.
I t i s a f o r c e drawing i t s energy from one t h i n g - a
t h i n g t h a t i s i n us, and t h e r e f o r e s u b j e c t to change - and d i r e c t e d t o wards another which i s a c o n t i n g e n t and t h e r e f o r e l i k e w i s e to change".
Le C o r b u s i e r , Radiant C i t y , p. 83.
61. S t o l l , Ronchamp, f i g s . 15, 19, 35.
In h i s next church p r o j e c t
at F i r m i n y , 1961, Le C o r b u s i e r i n d i c a t e d i n h i s sketches t h a t he i n t e n d e d
to focus the sun's r a y s over the a l t a r on E a s t e r morning.
In 1960 Le
C o r b u s i e r showed an i n t e r e s t i n the way i n which 'the cosmic hours' were
i n c o r p o r a t e d i n church l i g h t i n g schemes i n the p a s t .
He mentions Santa
Sophia, C o n s t a n t i n o p l e and Stonehenge. Kidder-Smith, The c r e a t i v e method
of Le C o r b u s i e r at F i r m i n y (Harvard: M.I.T. P r e s s , 1965). In 1961 Le
C o r b u s i e r had r e f e r r e d back to h i s 1936 sketchbook which c o n t a i n e d a
s k e t c h of the l i g h t e f f e c t s of Santa Sophia.
I t may be t h a t h i s renewed
i n t e r e s t i n Santa Sophia o r i g i n a t e d w i t h Notre-Dame-du-Haut, Ronchamp,
f o r t h e r e i s a s t r o n g r e l a t i o n s h i p between the 1936 s k e t c h and the south
w a l l at Ronchamp. A l s o Le C o r b u s i e r was i n the p r o c e s s of r e v i e w i n g h i s
e a r l i e r sketchbooks a t the time of the Ronchamp commission, as h i s r e c a l l i n g of Hadrian's v i l l a demonstrates.
62.

Bolle-Reddat,

Notre-Dame-du-Haut, p.

63. Le C o r b u s i e r , The

22.

Chapel at Ronchamp, p.

64. S t i r l i n g , "Ronchamp," p.
Les C h a p e l l e s , p. 103.
65. Le C o r b u s i e r , Radiant
a r c h i t e c t u r e , pp. 5-7, 16-17.

161.

Capellades,

C i t y , pp.

28,

37;

66. N i k o l a u s Pevsner, High V i c t o r i a n Design

t u r a l P r e s s , 1951), p. 16.
67. Le C o r b u s i e r , Voyage, pp.
153-54; idem, C r e a t i o n , pp. 30, 31,

120.
Coca-gnac, C o u t u r i e r ,

idem, Towards a

(London: The A r c h i t e c -

55, 56-57, 66-67, 72,

33-35.

78,

CHAPTER V I I I
1.

Le C o r b u s i e r , L ' a r t d e c o r a t i f d ' a u j o u r d ' h u i ,

2.

ibid.,

3.

C o u t u r i e r , Dieu et l ' a r t , pp.

4.

C o u t u r i e r , "Ronchamp," p.

p.

p.

120.

31.

46,

61,

new

102-109.

211-

125-27,

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UNPUBLISHED MATERIAL
Letters
Besancon (Abbe).
Paris.

To Le C o r b u s i e r

. To Le C o r b u s i e r
Bourdin (Abbe).
Paris.
Canet.

17 January 1951.

13 March 1951.

Fondation

To Le C o r b u s i e r 21 January 1952.

To Le C o r b u s i e r 24 March 1952.
. To Le C o r b u s i e r 4 J u l y

Le C o r b u s i e r .
Fondation

Le

Paris.

Corbusier.

Paris.

1952... F o n d a t i o n

Le C o r b u s i e r .

Paris.

. To Le C o r b u s i e r

14 J u l y

1953.! F o n d a t i o n

. To Le C o r b u s i e r

23 June 1956.

Fondation

Fondation

Departamental I n s p e c t o r of Urbanism and Housing.

1952.
F o n d a t i o n Le C o r b u s i e r . Paris...
Dubois (Abbe).
Paris.

To Le C o r b u s i e r

Ferry, Marcel.

To Sherry McKay 25 June 1978.

. To Canet 11 May

Corbusier.

Le C o r b u s i e r .

1952.

To B o u r d i n

Le

Fondation

. To Le C o r b u s i e r 31 J u l y

Le C o r b u s i e r .

Fondation

16 November 1950.

3 July

1952.

1954.

Fondation

Le C o r b u s i e r . P a r i s . .
LeiCorbusier. Paris.
Le C o r b u s i e r . P a r i s . .
To Wogensky 2 December

Fondation

Le

Corbusier.

Vancouver.

Fondation

Le C o r b u s i e r .

Le C o r b u s i e r .

Paris.

Paris.

. To Canet 19 June 1954.

Fondation

. To C o u t u r i e r 23 November 1952.

Le C o r b u s i e r .

Fondation

. To the Cure of Ronchamp 17 January 1951.

Paris.

Le C o r b u s i e r .
Fondation

Le

Paris.
Corbusier.

Paris.
. To M a r c e l F e r r y 8 A p r i l

1951.

Fondation

Paris.

. To G i s c l o n

22 March 1954.

Fondation

Le C o r b u s i e r . P a r i s . .

. To G i s c l o n

25 March 1954.

Fondation

Le C o r b u s i e r .

Paris.

. To Canon Ledeur 19 A p r i l

1951.

Fondation

Le C o r b u s i e r .

Paris.

. To Canon Ledeur 25 A p r i l

1955.

Fondation

Le C o r b u s i e r .

Paris.

. To Canon Ledeur 28 June 1955.

Ledeur, Canon.

To Le C o r b u s i e r 6 May

Fondation

1950.

Le C o r b u s i e r .

Fondation

Paris.

Le C o r b u s i e r .

14 January 1951.

. To Le C o r b u s i e r

14 A p r i l

1951.

Fondation

Le C o r b u s i e r .

Paris.

To Le C o r b u s i e r 23 A p r i l

1951.

Fondation

Le C o r b u s i e r .

Paris.

. To Le C o r b u s i e r 29 A p r i l

1951.

Fondation

Le C o r b u s i e r .

Paris.

. To Le C o r b u s i e r

1 May

1951.

. To Le C o r b u s i e r 29 A p r i l
Maissonier.
Mathey.

Fondation

1955.

To Le C o r b u s i e r

15 March 1951.

To Le Corbusier.14

. To Le C o r b u s i e r

16 June 1952.

. To Wogensky 7 August 1952.

To Canet 11 May

Fondation

1954.

1950.

Fondation
1950.

Fondation

Le C o r b u s i e r .
Fondation

1 June 1957.

Fondation

Le C o r b u s i e r .

Paris.

Corbusier.

Paris.

Paris.

Paris.

Paris.

Paris.

Corbusier.

Le C o r b u s i e r .

Le C o r b u s i e r .

Le

Le C o r b u s i e r .

OTHER
F i s c h e 7465.

Paris.

Le C o r b u s i e r .

F o n d a t i o n Le

Fondation

Paris.

Paris.

Le C o r b u s i e r .

Fondation

February

Quievreux. To Le C o r b u s i e r 8 February
Paris.

Le C o r b u s i e r .

Fondation

To Le C o r b u s i e r 9 January 1951.

Claudius.
Paris.

Wogensky.

F o n d a t i o n Le C o r b u s i e r .

Paris.

. To Le C o r b u s i e r

__.

Petit,

Le C o r b u s i e r .

[Fische 7606. c. 19 June 1955.

Fondation

Le C o r b u s i e r . P a r i s .

" P i e r r e de l a c h a p e l l e de N$tre-Dame-du-Haut a Ronchamp."

25 March 1954. F o n d a t i o n Le C o r b u s i e r . P a r i s .

Manuscript

c
'Sainte Baume F i l e . M i s c e l l a n e o u s

papers.

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Le C o r b u s i e r . Par

Schwiebert, George E r n e s t J r . "The P r i m a t i v e Roots of A r c h i t e c t u r e . "

3 v o l s . PhD. d i s s e r t a t i o n , P r i n c e t o n U n i v e r s i t y , 1966.

163

F i g . 2.

Sainte Odile, plan

F i g . 3.

Lourdes,

site

165

f i g . 5.

Notre-Dame-du-Haut, c. 1936, g e n e r a l v i e w

f i g . 6.

S a i n t e - T h e r e s e de l ' E n f a n t ,

p l a n , p r o j e c t c. 1932

V
F i g . 8.

Rudolf Schwartz: Santa Anna, Duren,

1956

167

F i g . 10.
Notre-Dame-du-Haut, g e n e r a l view, i l l u s t r a t i n g the t h r e e a l t e r n a t i v e approaches i n t o the c h a p e l .

169

Fig.

11.

Le C o r b u s i e r : s k e t c h e s , 20 May

r u i n e d c h a p e l and l a t e r

1950, of the

sketches of h i s maquette

w i t h the s i t e dated 9 June

1950

montaged

171

Fig.

14.

Notre-Dame-du-Haut, e x t e r i o r , west

F i g . 16.

Notre-Dame-du-Haut, war memorial

pyramid

173

Fig.

18.

Notre-Dame-du-Haut, c e r e m o n i a l door,

interior'

Fig.

19.

Notre-Dame-du-Haut, i n t e r i o r ,

south w a l l

F i g . 20.
cross-section,

Notre-Dame-du-Haut,
looking

north

F i g . 21.
supports

Notre-Dame-du-Haut, south w a l l

, V-shaped

177

F i g . 24.

Dolmen

F i g . 25. Notre-Damedu-Haut, i n t e r i o r , s i d e c h a p e l

F i g . 26.

Le C o r b u s i e r : sketches of H a d r i a n ' s

Villa

Fig.
c

1948

27.

Le C o r b u s i e r : s c u l p t u r e

F i g . 28.

Notre-Dame-du-Haut, i n t e r i o r

windows, n o r t h e a s t

corner

wmwmm
Fig.

30.

Notre-Dame-du-

Haut, d e d i c a t i o n s t o n e , w i t h
modulor-scaled

F i g . 31.

Notre-Dame-

du-Haut, d e d i c a t i o n
detail,

stone,

i n s c r i p t i o n and

walled r e c e p t i c
documents, west

f o r church

cavity,

south

F i g . 32.

Ferdinand Lclger: The V i r g i n of the N a t i v i t y ,

mosaic

Fig. 33.

Le Corbusier: "jeu de s o l e i l " diagram

183

Fig. 34.

Le Corbusier: sketch

F i g . 35.

Le Corbusier: lithograph

F i g . 36.

Dominican I m p e r i a l Monastery,

I s l a n d of H i s p a n o l a ,

d e t a i l of dome

185

F i g . 38.

F i g . 39.
south w a l l

No*tre-Dame-du-Haut, t a b e r n a c l e , back

186

F i g . 41.
eclairage

Notre-Dame-du-Haut, p l a n marked

F i g . 42.

Dominican I m p e r i a l Monastery, I s l a n d o f

Hispanola, d e t a i l

F i g . 43.
detail

Jean L u r c a t :

The A p o c a l y p s e ,

189

Fig. 45.

Notre-Dame-du-Haut, e x t e r i o r , a l t a r

wall