Art, Spectacle, and Permanence. Notes on Le Corbusier and the Synthesis of the Arts

Stanislaus von Moos

doi:10.52200/42.A.9QDJIPBO

Authors

Stanislaus von Moos Yale University

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DOI:

https://doi.org/10.52200/42.A.9QDJIPBO

Keywords:

Modern Movement, Modern architecture, Modern housing

Abstract

In the light of contemporary architecture, last century’s emblematic ‘artist-architect’ may appear at once disquietingly prophetic and almost surrealistically antiquarian. This essay explores the hypothesis that Le Corbusier’s ultimate passion was the museum, and his ultimate dream that of being assigned a key place in the history of art. Though this may sound simple enough - perhaps trivial - it may help re-organizing a very well-known (but also partly unknown) body of knowledge on the master and to understand better the paradox of the continuing presence in current architectural discussions.

How to Cite

Moos, S. von. (2010). Art, Spectacle, and Permanence. Notes on Le Corbusier and the Synthesis of the Arts. Docomomo Journal, (42), 90–99. https://doi.org/10.52200/42.A.9QDJIPBO

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Published

2010-07-01

Issue

No. 42 (2010): Art and Architecture

Section

Essays

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This work is licensed under a Creative Commons Attribution 4.0 International License.

Plaudit

Author Biography

Stanislaus von Moos, Yale University

Is a Swiss art historian. He has published monographs on Le Corbusier (1968; revised and updated edition 2009), Italian Renaissance Architecture (Turm und Bollwerk, 1976), the Architecture of Venturi, Scott Brown & Associates (first volume 1987; second volume 1999), and has co-curated exhibitions like “Le Corbusier Before Le Corbusier” (2001) and “Le Corbusier: The Art of Architecture” (2007). He has been professor of modern art at the University of Zurich (1983–2005) and is presently Vincent Scully Visiting Professor at Yale University.

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