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1. rtJllsie1; ,Hodel of the Palais des CUllgres-Stral>/)01wg, Fm?tcp, 19GJ-v.,.

3. Textual Heresies Le Corbusier. Palais des Congres-Strasbourg, 1962-64

One of Le COl'busier's earliest drawings of the Parthenon is a key to the evolution of his architecture during a period spanning the two world wars and leading to a critical inflection point with his project for the Palais des Congres in Strasbourg. The drawing, probably done at the tune of his Voyage d'Orient, shows the Parthenon in the left foreground, its col­umns and base providing a Cartesian fratnework for the drawing. But on the right, in what seems to be an impossible view given the Parthenon's distance from the sea, is the harbor of Athens with its shoreline and sur­rounding mountains. This drawing is an early manifestation of what was to become an evolving obsession: the dialectical and tensioned interplay of the figure with the Cartesian grid, which appears in his earliest Purist paintings and continues throughout his career, evolving from a two-dimen­sional figures to three-dimensional figures.

While the concept ofgridded Cartesian space is readily understandable in the work ofLe Corbusier, the concept of the figural as different from any free-form shape emerges in the context of post-structuralism. This idea is based on Gilles Deleuze's discussion of the paintings of Francis Bacon. In his 1981 book, Francis Bacon: Logique de la Sensation, Deleuze distin­guishes figuration from the figural. Figuration refers to a form related to the object that it is meant to represent. Rather than defining a form, the figural is that which is produced as a register of forces. Here,!o'1'ces is the operative term. In the case of Bacon's portraits, the figure is distorted by internal pressures while the paint of the canvas-scrubbed, smeared­addresses these forces in the very materiality of the painting. The figural no longer expresses an iconic form or figure, but rather dOCUlnents the encounter of matter-paint, canvas, painter, and sitter-and forces-both

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physical and psychological. As a regi>itcr of' such force~, the human figur~ no longer presents it~elf'

as a discrete, clear I'm'm, but rather re~ides in what can be called an wldecidable relationship with the canvas; the outline of the whole figur is blurred to become an assembly of partial fig­ures that neither cohere, nor strive to create a clistinct and understandable form. This shift from whole to what are being called partial fig­ures,which themselves m'e a physicall'esidue of' forces acting on whole figures, cOlTesponds to a shift in Le Corbusier's architecture from his pre­war interest in a dialectical interplay between figure and gJ.id to, late in his career, an inter­nally generated critique that severs the prior dialectic. Instead, a serie~ of figural conditions are produced which have the quality of partial figures, In his postwar work, I.e Corbusier also challenges the precepts of his "Fi\e Points," in which free plan, pilotis,fenelre en longueur, free

Palai~ cle~ C'ollgr(,:!'

facade, and rooftop terrace were characLeJ'istic of his prewar work.

It could be argued thai Le Corbusier's earl architecture repre~ent~ an attempt to transcend the limits ofpainting, which he theorized in his book Afte)· f'ubism, Wl'iUen with Amedee Ozcnfant. If cubist painting was marked by a ten1'ion between the frontal pictw'e plane and spatial depth, Le

orbusier's architecture strained to both inCOl})O­

rate and overcome the tenets of frontal and flat­tened cubist space in a three-dimensional matrix. This integration of a three-dlrnensional, figured quaHty began early in his career with his Pmist period paintings and his 1914 Dom-ino diagTam. In the Dom-ino diagram, Le COl'busier introduce the Cmtesian gl'id as a structural system that could produce an infinite horizontal extension 0

space. This diagJ.'am conceptualizes veli-ical cir­culation as a legible figure or what can be consid­ered a figured element, which is pulled out of the stacked horizontal slabs. The Dom-ino diagram 31ticulates Le Corbusier's concern with integrat­ing a tlu'ee-dimensional figured element into a nec­essarily reticulated condition of architecture.

Le Corbusier's Dom-ino diagl-am prefigured the "Five Points" articulated in his 1923 book Vel's

tine Al'clzitectu1'e. In the Dom-ino diagram, the columns are set back from the facade to create a free plan and a free facade: the fiat roof becomes the pl"ivate space, and the floor slab 1::; lifted off the ground to produce a horizontal continuum f Rpace. The primitive foundation blocks in the

place of pilatis initiate a critique of architectme's relationship to the ground: figure in architecture had always been tied to the ground, so much RO

that it was defined as a figurc/gl'ound relation­ship. The idea of' the pilotis originally displace::; architecture, lifting the building off the gJ.'olmd literally and conceptually to initiate a more com­plex dynamic of figure and ground,

I.e Corbusier's early canonical buildings­Villa Savoye U) Poissy and Villa Stein at Garches-

Palais des congl'cs

3. p(llais des Congres-Stmsbonm, model, 1962.

develop the diagl'am offered in his "Five Points," and introduce a more strongly figw'ed condi­tion in the circulation, The early sketches for Villa Savoye document the mo\'ement in Rec­tion generated by the ramp, which takes up the movement of the car as it enters underneath the building and then engages the subject in a spiral­ing up through the building to the roof garden. The ramp as a figured element creates and reg­isters a kind of vortex of centrifugal energy. This entrifugal motion in the Cartesian space of the

building generates an energy from the center to the periphery, Similarly exemplifying the "Five Points," the Villa Stein emphasizes both figured elements and the gJ.idded envelope of the villa's stlucture, which retains a cubist or layered flat­ness resembling a vertically stacked deck of cards. The facade at Garches presents the collapse of the space of the plan into the vCltical plane of the facade, which becomes an index of the collapse of

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real space into a single moment in space and time. Tins collapse of pcrspective also becomes a cri­ique of monocular perspecti\'al vision. The mol'

strongly figured elements ofGarches are the CUl'\' ­

ing free-form walls and the promenade al'chitec­

tumle, which is inserted into the l'eal' facade as ' staircase, Figw'ed form also appears in two stair­cases and in the cutout of the balcony and eating area, yet these figures remain more lU1ear Ulan volumetric. In these early works, the figured cle­ments are implicated in a dialectical relationship to the absb'act grid of Lhe buildings' plan, facades, and sectioll.

The relation ofgl'id to figure in Le ('orhusier's postwar work changes dramatically from the gJ.·id-dominant systems of his prewar building5. The figured element becomes increasingly \'olu­metlic, indicating a shift in his attitudes toward both abstraction and the ligure. In Runchamp, the Philips Pavilion, and Chan<1igal'h, fully Lhl'ee­

iii Palais des Congrb Patak de;; Congres /,

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4. Vill(l SIII'()ye, PO;R'~l!, 1928.

dimensional fig1.U·e~ stand out against the grid, yet the grid remains legible. 1"'01' example, while the figure seems to dominaLe in the sculptured forms of Ronchamp. the grid is present in the floor pat­terning, which is part of Le COl'busier's modular system of proportiomi, and a virtual 01' impliecl gl'id is legible from the building's f"outh elevation.

he square punctures in the facade register a ten­sion between an implied veltical grid and the slop­ing wall, as if the holes were tethers maintaining the e:\.'terior wall's curve. The tension in the curve comes from the implication that if these connec­tions were cut, the wall \"ould snap back into a flat vertical plane. The notation of these openings in the thickened figured wall plane indicates that the curved wall is not a gratuitous curve, but rather refiects an internal t.ension between th figured surface and a virtual. griddecl plane.

If the prewar work demonstrate~ the linear igw'ebecomingincreasingly three-dimensional, it • could be argued that Le COl'busier's postwar work begins with the fully articulated ftgw'e, which is increasingly deformed into a series of partial fi~­ores. In his Parliament Building at Chandigal'h. a giant cylindrical element breaks through the roof, becoming a dominant featw'e of the roofscape as a fully three-dimensional figure. Yet this figure is hidden behind the orthogonal blocks that form

5. Not,'e Dame d'U Haul, Ronchamp, 1950.

each of Ule parliament's facades. Chandigarh also marks an important departure from the planar, free facade of Le COl'busier's "Five Points": Chandigarh's deep tn-i.se-soleill'eplace thefenetre en longueunvith a honeycombed mass; this motif is repeated in Harvard's Carpenter Center, La Tom'ette, and Strasbourg.

La Tourette can also be related to Strasbourg by means of a rotational energy established by the pinwheeling organization of its lower floors. A geometrical figme is established in the form f a blunted, three-sided pinwheel. Another kind

of rotation animates the facade of La Tom'ette, according to Colin Rowe's analysis, yet this rota­tional energy retains the tension provided in the fi'ontal plane. In the Carpenter Center this rOl.a­

tional energy becomes increasingly explicit: the paired lobed forms of its studios and exhibition spaces seem to revolve around a central core, which anchors its large S-shaped main ramp. Despite the contradktory internal movements at the Carpenter Center-its lobes spin counter­clockwise and the internal ramp rotates clock:wi~e

up to the third floor-it could be argued that each component is mticulated as a separate figure: the S-shaped main ramp, the lobed studio and exhi­bition spaces, and central square fo}'m are COlD­

pressed together, yet they remain identifiable as

6. As,~embly Hall, Clw.lIdignrh.195.j-6b

complete and separate parts. Similarly, a number of the precepts of Le COl'busier's "Five Points" remain apparent with elongated pilotis, the free plan, rooftop terraces, and briBe-sole-il occupying the horizontal openings formerly allocated to the fenetre en longu.euf.

The centrality of the ''Five Points" in Le COl'busier's prewar work suggests that the points served as a foundational diagram from which each building draws, but inflects differently. This indicates the capacity of the ''Five Points" to serve as a text for his early buildings, in the sense that a diagram is an architectural form of a text. If the idea of a text is established in Le Corbusier's ''Five Points," it is his inversion of the "Five Points" and his turn away from the legible figure toward partial figures that sug­gest that Strasbourg can be read as heretical to his prior architectlU'al t.exts. There are a mm1ber of didactic deviations from the "Five Points" in Le Corbusier's postwar work; the bl'iBe-soleil replacing the free facade is only one example. Yet Le COl'busier's Palai~ de~ Congr€s-StrasbouTg becomes the summation of an evolution in a textual language, on the one hand in its didactic refutation of each of the "Five Points," and on the other in its movement away from a dialecti­cal relationship between figure and grid. If the

7. PaLais des Cougl'es-Strltsbolll'g, l>'1te plan, 196w.

text of the figure/grid relationship is scripted in Le Uorbusier's prewar work, the postwar work deYelops the idea of the figure, from a whole and discrete element into one whose vel-Y wholeness is questioned. 'The figure becomes deformed into a series of partial figw·es. As an heretical te};.i;, the Palalli des Congl'es engages both a dialecti­cal system refuting the "Five Points" and a non­dialectical system pursuing the evolution of the figure from a discrete tltree-dimensional entity to a dispersed series of figural elements whose con­tours become increasingly undecidable.

With the Palais cles Cong1'€s, a project beg-un in 1962, only a year after the Carpenter Center, many of the relationships established in La Tourette and the Carpenter Center are inverted. First, the relationship of building to gl'ound is profoundly different at Strasbow'g. No longer d pilotis preserve the horizontal flow of the ground below the building. Instead, the gl'o1.lJ1d plane becomes a honeycombed plinthlike ba.."e. whose very solidity is fmther questioned as the gr01.111 is cut away in such a mam1er to suggest that the base is floating. The sloping ground around Strasbourg's base creates a double reading of both plinth and pilotis. Similarly, the precepts of free plan and free facade are inverted. Just as the brise-soleil counters the planar facade with depth,

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71' Palms des Congl'e" ~a]ab des Congrb T!l

H. Jlct/ais de.~ Crmf/res-SII'Us/)o//I'O, spr-l;rllLllO,.t/t-scmth. 196f2.

shadow, and thidmesi', so lOU doe!'\ the free plan become 8uh~umed by a geometrical figure resem­bling the pinwheel ol'ganization of La Tourette in Strasbomg's ground level. Finally, the horizontal surface of the roofgarden becomes a figural plane, which is tipped, l wi~ted, and torqued.

If circulat ion had previously registered both a ccntlifl.lgal fOl'ce and a distinct figural ele­ment in Le Corbusier's ecu'lier work, the ramp at Strasbourg registers both centripetal and centrif­ugal force" ~imtl1laneously, as well as a critique of the legible whole figurE', Tbe figure of the ramp is the most significant index for the development of the 8tl'asbom'g scheme. A study of the carliest St.l'asboul'g schemes of 1962 reveals that the l'amp was initiall~' envisioned as a distinct figure form­ing an unbroken loop through the building. The first, 19G2 scheme is an articulated gquare in plan with a giant straight ramp entering the square form from the ~outheast corner and a pair of'

• lobed ramps protruding frOll! the 11001:h and souU, sides of the l'quare in an echo of the Carpentel' 'enter. The giant ramp leadf: up to the :;econtl

floor, where it divides to form paired ramps on the north side, which reach up around the third floor and lead onto the rooI. The ramp forms a complete entity around the building, and in the l'iecond-floor plan is highlighled as an independent figure, a'i is the pinwheel figure of the floor below. In a sub­

sequent plan, the giant ramp is rotated ninety degrees and positioned to align axially with the giant lobed ramp on the north sidc, replacing the small southern lobed ramp of the initial plan. In this second scheme, reproduced in Le COl'busier's Oem.tres Compfete, the bi-lobed organization of the Carpenter Center has been edited, signal­ing Le Corbusier's departm'e from whole figures and movement toward the paltial figure. This becomes apparent in the final scheme of the Palais des Cong1'es, where the yelJ' figure of the ramp seems to shift its weight to the west in counter­point to the dominant axiality of the giant ramp extending south. More significantly, the ramp's figm'E' i:=; no longer whole; the figure of the ramp seems to split in several places, no longer looping through the building but rather spiraling around the stmctw'e. The ramp can be conceived of as a series of partial figures which no longer cohere like the independent ramp of the eaJ'ly scheme. Thus, Strasbourg's final scheme is animated by a 'ondition of complex partial figures.

The figw'e assumes a different role at Stl'asbourg in tJ1ut it is no longer defmed in rela­bon"hip to the grid. Strasboul'g is signif1callt in Le COl'busier's oeuvre as a depmture from the grid/figure dialectic. This depalture appears in two different conditions: as a partial figure and as an undecidable condition of the ramo: is it

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centripetal or centrifu~al? While the figural is often seen as a system of movement-and this is no less truE' in Strasbourg-the project invokes both centrifugal and centripetal forces, which first move outward through the Cartesian enclo­sure of the building and then tm'n back, spil'aling inward. The subject becomes involved not only in the figural ramp but also in the breaching of the container, the pJ'ism pOx of Cartesian space that was articulated in the "Foul' Compositions" by Le

orbusier. Unlike the rotation on the entry facade of La Tourette, which, in Rowe's analysis, retains the tension of a frontal plane, the rotation devel­ped at Strasbourg is no longer dialectical with

respect to any frontal plane, but rather register!'! simultaneously as centl'ipetal and centrifugal in plan and section.

In thi~ respect, Le COl'busier's project for Strasbourg marks an important movement near the end of his postwar career. Stl'asbourg is also an anomaly in t.his book, for it is not a hinge build­ing within the particular career of an architect but rather a hinge between Le COl'busier and the architects that draw on his legacy. In exploring the figural at Strasbourg, Le Corbusier blurs the large figures of the ramp by dispersing them as paltial figures at the upper :floors. Similarly, the didactic natlU'e of the "Five Points" and the didac­tic development of the figme against a CaItesian

g1id become increasingly blurred as Le COl'busiel' explores the potential of these pmtial figtu'es at Strasbotll'g.

This building offers a missing link bet.ween the formal strategies of the high modernist "Five Points" and those apparent in Rem Koolhaas's n'es Grande Bibl:iotheque and Jussieu Libraries. StrasbolU'g is the forerunner of both Koolhaas projects, in that the object is no longer merely contained in t.he volumetric endosure but rather a sel;es of forces push the object out through the exterior cnclosm'e of the object, while the move­ment of the subject continues to circumscribe the volume. The discontinuity between succes­sivc hOl;zontal plan levels at Strasbourg will ultimately appeal' in Koolhaas's Delirious New Yo,.k and his French library projects. Lastly, Strasbourg shifts the idea of understanding from seeing to the expelience of movement.

The Palais des Congres-Strasbourg estab­lishes an internal clitique of what could be onsidered the prewar "texts" embodied in Le

COl'busier's "Five Points," Finally, in the evol\T­ing changes in the acts of close reading, legacies of the formal and the conceptual remain. ·What becomes visible ill the Strasbourg project as a pivotal development of Le Corbusier's thought is the new figural condition of the subject's experi­ence of the object. This Vlrilliead for example to a

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different necessity of close reading in Koolhaas's Jussieu Libraries, Strasbourg, unlike La Tourette and Chandig-arh, pl'Oposed an entire other series of pl'oblematics not addressed in either phase of Le COl'busier's previous work. In these inver­sions of many Corbusian tropes begin an internal critique that marks this particular work as differ­ent when compared to the prior buildings of Le Gorbw:;ier's architectlll'e.

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16. The brise-soleil anpeaJ'S a.~ ,tJOid8 cut fro ill (I solid.1." Pala1:s des Congres, first-floor levels. The fenetre en longueur oj'Le CO/'busier's "Fl:ue P()int.~" becomes a lwlleycombed briRe-soleil. a ,,'gular sy.~teJl1, oj' openings thal1l'raps aronnd three I<ides of the Palais des Congl·as.

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14 ((lj). Palais des COrLr!rcs, groltlld- (lI/(I,find-jloor' I'p/s. The fo'stfloGI' level (a) is depl'e.~sed into the

,ground (b), doubled (c), voilied (d), and ro IIIfJrd 1/[i to tlie new uraund level (e), which br'comes the bwse for the pilotis (0, The 1'e/)el'8(11 of Le Co,.b?(,~iel-:~ "Fllie

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w'e tile hlocksflll'111ed by the main lwditol"iu1II spaces.

19. Palai:; dp.~ r'v1/gres.j(mnll fiool: The fO/lrl1l floor is I()o.~ely organized illto blockl>, ("IWltillg two 1l,.,I/S of fl pin 1/111 eel which mtctte a,'omlcl a eel/tel' void.

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18. 011 the :;econd floor, this pinwheeling motion is n>,peated on Qnothel', snwllel' scale: a clusler I!( moms rotates witl/hl each quadrant, creating a ,~ecollda,.y

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17. Palai~ des Co1I{JI'iJ.s, second jioo/: Till' plllll of tile ,~ecI)l/d.ffo()r can be divided into/OIlr Quadrants, wltieh. because of the ramp that goes up to the piano nobile and the mmp that enter.~ into tills lowrr lel'el, ol'e organized ax pillwlleelillgfo.,.m.~.

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Strasbourg, the Corbusian free plan 1'1$ .~IlI~iecledto ('ut'/alm grid serves (..~ iu; rotational Mis. piay o.f'strategic om i~sions. indicated by the hif/hi iyhled red col limns,

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CMe. The missing cohwl.II fm'rm; It strl/cture q(arrested rotatioll. The disposition offigure.~ 0'11 tile third floor dltmonst.rates the 711ay between. what appears to be whole nowres Gild 'M./'tialjigl

24. 01/ the thinl j/.OOI; a continuO'l.i~ s(~ries of col limns fram(3j; the building (m three .side~, !Iet Oil tlli! interior of the building, the columns are 81:Zfri cliffe/'e;ltly. TIle larger columns divide the sql1are pluu illto a thlw:-bay ,~chema with an ABE arrangement ofthe,~e il11le,' I'OW.~.

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back.ti·om the sides butjfush.lo whot would be tl1I' rea,. of the buildl1lg. Entire bays of co[nTr/l/f; are I'emoved (red).

2(i. 0/1 tile fourth .lloor. the ,'emoool of wlllmn bays also slriates t!le plan i7lto (/ serie:; of linear elements t1wl, as they break daul1I and are inieJT1.I pted, allow the vOI'iolls grids to become figural elements. Thi,~

maintain.~ a continuitll of column.~ OJ/ tlte Oil/boor, II/u:face while lhe inner rows diuide into 1111 A buy, u B ba,lJ, and another B bay.

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27. Palais des Congres,.lijth.lloOl: The central branch 18 no longer clear. Again there an! a IIcl·ie.~ (~r ]Jtl/"lial

ofOw mmp connect!; to thefift.h level. While thefigured figures on the jijlh ]ioor which lIape w/'res/lfmdcmres

fonn n.ftlle ramp is clearly (Ji.~ce""liblp ill. the thirdfioo with thejigumlform>; 011 the third and fourth flooi's.

alld roof [('vel, the shape of tire 1'(Unp 011 the fifth flom'

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28. Pnl()..i.~ lies Congres, "oof level. The '~Jlil'ahllg fon'cs traced in eCLch leL'(jl echo the 11I0VeliWI1t ql'thc Tn mp. The warped sll/face of the 'roof levtll'eflf3ct:; this spil'alin.a mm'ement.

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