A new type of social organization, such as the League of

ations, could not acquire a meaningful physical setting by

incorporating elements borrowed from Le Corbusier's project
in a formally academic architectural complex.
the Palace of the League of

In consequence

ations has proved almost un

usable. This principle holds good for architecture, and per

haps also for politics. In 1927 the following comment appeared
under my name in the Berlin journal Bauwelt (p. 1096): "A
League of Nations building that ties itself to the ghosts of
history is likely to become a haunt of ghosts. "
We have paid particular attention to the League of

ations

Palace because it served as the general public's first introduc

tion to contemporary architecture. The same year also marked
its introduction to modern solutions of the housing problem.
It was in 1927 that the Deutsche Werkbund put Mies van der
Rohe in complete charge of the Weissenhof settlement at Stutt
gart.

Mies van der Rohe entrusted the design of the houses to

those architects from all over Europe who had been most active
in the new developments.

The elimination of Le Corbusier's

project for the League of

ations was one of the reasons for

founding the ClAM in 1928.

The Cenlrosoyus.

Moscow

Le Corbusier's Geneva plan remained a project, but the prin

ciples embodied in it were partially realized in the Centrosoyus
at Moscow (1928-34). The erection of the Centrosoyus
now the Ministry of Light Industry - was retarded partly by
the requirements of the Five-Year Plan and partly by the
emergence of an architectural reaction. It was one of the last
modern structures erected in Russia.
Le Corbusier's design for the Palace of the Soviets (1931) feU
within the period of Stalinist reaction.

With the ceiling of the

great hall suspended on wire cables from a parabolic curve

(jig. 433), it was Le Corbusier's boldest accompljshment up to
that time. In 1931 the realjzation of this project or any of the
other contemporary schemes, such as those by Gropius and
the ollly pos.ible solutiou was to Collo", Le Corbusier'. general layout.

This geuer.1

arrangemenl lhe architects treated in 8 spirit of routine that shows in their use or color
less academic shapes to prnduce 8 formal exterior appearance.

In 1937. ten )'eo,rg after

the competition was held. tho building \\'8S opened and put into service.
typists to diplomats. agreed that it was 0 failure.

538

Everyone. from

Breuer and by the sculptor Gabo, was no longer conceivable in

the U.S.S.R.

Large Constructions and Architectural Aims

In Paris, at about the same time, two large constructions by
Le Corbusier appeared in quick succession: the Salvation Army

hospice (1929-33) and the Swiss Pavilion of the University

City (1931-33).

Both show additions to Le Corbusier's equip

ment .of aesthetic means.

The pavilion of the Swiss dormitory is one of Le Corbusier's
freest and most imaginative creations. The whole building is
supported by immense ferroconcrete pillars which run deep
into the soil to the underlying rock.

One side of the building

consists of the glass curtain wall of the studios; the other is

modeled carefully in a curved wall of rugged stone. . To the
best of our knowledge this was the first time that the curved
wall again came into use in modern architecture (fig. 322).11

But what strikes one from the very [ust as extraordinary is the
molding of volumes and space in the entrance hall.

Although

the room at his disposal was relatively limited, the imagina

tion of the architect has created a space that is living, free,
and vast.

J n the inventiveness it displays it is comparable

to the work of the great periods.

It is significant that the

means employed are apparently very simple: the exact place

ment of the staircase and the unexpected undulations in the
walls (the principle of the plan libre).
Le Corbusier's writings - ranging in subject from painting to
city planning - have had as much influence as rus buildings,
not only in Europe and the United States but in Latin Amer
ica as well. Le Corbusier's literary connections were not even
restricled to the arts. The articles in the periodical L'Esprit
nouveau which Jeanneret (Le Corbusier) and Ozenfant pub
lished during the years 1919-25 deal with developments in ev
ery field which had a formative influence upon the thought of
the period.
" For further illustratiolls see u CorblUlier, a;u.re compWe,

1929-1934,

vol. II (Zurich.

1931). wilh introduction hy Sigrried Gicdion.

539

Le Corbusier
as a wriLer