fig. 1 photographic image of Couvent Sainte-Marie de la Tourette

image source: Tzonis Alexander, Le Corbusier: The Poetics of Machine and Metaphor (Universe: Distributed to the U.S. trade by St. Martin’s Press, 2001), 186.

fig. 2 photographic image of Couvent Sainte-Marie de la Tourette

image source: Tzonis Alexander, Le Corbusier: The Poetics of Machine and Metaphor (Universe: Distributed to the U.S. trade by St. Martin’s Press, 2001), 184.

fig. 3 site plan of Couvent Sainte-Marie de la Tourette

image source: ArchEyes, Sainte Marie de La Tourette / Le Corbusier, April 24, 2016, http://archeyes.com/sainte-marie-de-la-tourette-le-corbusier/ (accessed Oct 11th, 2017)

fig. 4 fifth floor plan of Couvent Sainte-Marie de la Tourette

image source: Tzonis Alexander, Le Corbusier: The Poetics of Machine and Metaphor (Universe: Distributed to the U.S. trade by St. Martin’s Press, 2001), 185.

fig. 5 section of Couvent Sainte-Marie de la Tourette

image source: ArchEyes, Sainte Marie de La Tourette / Le Corbusier, April 24, 2016, http://archeyes.com/sainte-marie-de-la-tourette-le-corbusier/ (accessed Oct 11th, 2017)

fig. 6 elevation of Couvent Sainte-Marie de la Tourette

image source: ArchEyes, Sainte Marie de La Tourette / Le Corbusier, April 24, 2016, http://archeyes.com/sainte-marie-de-la-tourette-le-corbusier/ (accessed Oct 11th, 2017)

fig. 7 sketch on the rhythmic distribution of columns along the cloister

image source: author’s own

In 1952, Le Corbusier was commissioned by Dominican Brotherhood’s provincial chapter to design the Couvent Sainte-Marie de la Tourette. The whole monastery consisted of one hundred sleeping rooms, a few functional halls, and a small church. The complex resembled a hollow cuboid, the interior of which was subtly arranged according to programs.

Among all features, the lighting of this architecture was most interesting to look at. Columns were arranged at various frequencies along the linear cloisters, creating openings of different scales. These glass panels of varying widths cast light into the building with a sense of rhythm, making the space more fluid and lively.

Also, “light canons” were chiseled either on roof or walls to allow natural light into the church. Not only did the pouring light from above effectively illuminate the room, it also helped to shape the space as a sacred and divine sanctuary.

This project was successful in terms of its experiment of musical rhythm and space.

Bibliography: Tzonis Alexander, Le Corbusier: The Poetics of Machine and Metaphor (Universe: Distributed to the U.S. trade by St. Martin’s Press, 2001), 184.

by<Ding Xin, BAAS, Group 4>