
It is not unusual for an architect to die before the completions of

Le Corbusier ran his Paris studio like a monastery workshop, with young ambitious architecture students from around the world coming to work on his projects for little or no pay. They eventually left and returned to their home countries and disseminate the ideas and practices of their master. Le Corbusier’s former apprentices would thus synthesize his ideas and idiosyncratic forms with cultural influences of their native countries, creating a more localized Modernist vocabulary. Examples of this are found in Oscar Niemeyer’s work in Brazil and Balakrishna Doshi in India. Because of this desire for synthesis, it is not easy to confuse an actual Le Corbusier design with one of his acolytes’. Contrary to most people’s general view of Le Corbusier as the standard bearer of a monotonous machine aesthetic and standardization, his architecture was progressed quickly toward radically different phases. As he matured as a designer, his light and purist structures gave way to heavier, rougher, more organic buildings. His works for sacred functions expanded his expressionistic style and use of symbols that derived from his painting. The more sculptural his designs became, the more mysterious imagery, recurring formal themes and various textures would emerge. Unlike the relative consistency of his earlier villas, which followed his ‘five points’ faithfully and would not elaborate them any further than necessary, Le Corbusier’s latter works juxtapose symbols, creating tense dialogues between them. They also incorporate curves , shapes , and numerological codes that reveal deeper meanings less related to the building’s function than to the wandering mind and soul of the atheist architect.
The Church of Saint Pierre reminds those who relegate Le Corbusier as simply the inventor of the cubist architecture on stilts that there was much more going on in his mind as his career evolved. It serves as a summary of where the master was near the end of his life, and is a testament to his unceasing inventiveness. When put in the context of the architecture produced today, the church stands out in though its lyrical and sculptural complexity. Its deliberate artistic qualities distinguish it from countless other contemporary buildings, which derive their meaning from their function and from the obscurity of their fancy exterior skins. The effect of the latter is for one to say that the building’s effect registers a ‘je ne sais quoi’ response. Le

Le Corbusier sought to enrich formal language of Modernism, and Jose Oubrerie should be thanked for providing us another example of the Swiss architect's achievement towards that end.
Hattip: Archinect
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