dieser beitrag wurde verfasst in: englisch (eng/en)
verfasserin/verfasser: Stanislaus von Moos
titel: Le Corbusier. Elements of a Synthesis
isbn: 978-90-6450-642-0
+: First published as 'Le Corbusier. Elemente einer Syntese', Zürich 1968. English language edition 1979. Revised and expanded version. Rotterdam, 2009
«'Nous ne sommes pas, à l'heure actuelle, partisans de la fresque, de la frieze, de la métope […] Nous détachons du mur la sculpture et la peinture et les laissons seules agir avec le radium qu'elles peuvent contenir.' [Le Corbusier, Almanach d'architecture moderne, p. 10]»
«For murals, a more passive role was found to be appropriate. Instead of 'radiating' in front of blank walls, thus dominating the architectural composition, the mural ought to work as a 'background'. The house of his friend Jean Badovici at Cap Martin functioned as a testing ground in this context. For a number of murals painted there, Le Corbusier is said to have chosen locations where architecturally speaking 'nothing happended'. The same was true of the large mural in the Swiss Pavilion a the Cité universitaire in Paris. Its placement in a music and reading room adjacent to the lobby, so that it did not interfere with the organization of the architectural spaces, once again suggests a dialogue among the arts that is based on a play of potentially open-ended, flexible combinations – a sort of bricolage of different art forms – rather than on hierarchy and subordination. The idea is perhaps best illustrated by Le Corbusier's concept of the 'Muralnomad' (mural for nomads) which summarizes his ideas about tapestry.» (p. 273–274)