Editing Le Corbusier (section)

==Painting, Cubism, Purism and ''L'Esprit Nouveau'' (1918–1922)==
[[File:Le Corbusier, 1921, Nature morte, oil on canvas, 54 x 81 cm, Musée National d'Art Moderne.jpg|thumb|upright=1.15|Le Corbusier, 1921, ''Nature morte'' (''Still Life''), oil on canvas, 54 x 81 cm, [[Musée National d'Art Moderne]], Paris]]
[[File:Le Corbusier (Charles Edouard Jeanneret), 1922, Nature morte verticale (Vertical Still Life), oil on canvas, 146.3 x 89.3 cm, Kunstmuseum, Basel.jpg|thumb|Le Corbusier, 1922, ''Nature morte verticale'' (''Vertical Still Life''), oil on canvas, {{convert|146.3|x|89.3|cm|1|abbr=in}}, [[Kunstmuseum Basel]] ]]
[[File:Le Corbusier (Charles-Édouard Jeanneret), 1920, Guitare verticale (2ème version), oil on canvas, 100 x 81 cm, Fondation Le Corbusier, Paris.jpg|thumb|Le Corbusier, 1920, ''Guitare verticale'' (2ème version), oil on canvas, {{convert|100|x|81|cm|0|abbr=on}}, Fondation Le Corbusier, Paris]]

Le Corbusier moved to Paris definitively in 1917 and began his architectural practise with his cousin, [[Pierre Jeanneret]] (1896–1967), a partnership that would last until the 1950s, with an interruption in the [[World War II]] years.<ref>{{cite web|url=http://www.larousse.fr/encyclopedie/personnage/Le_Corbusier/129220|title=Encyclopédie Larousse en ligne – Charles Édouard Jeanneret dit Le Corbusier|first=Éditions|last=Larousse|work=larousse.fr}}</ref>

In 1918, Le Corbusier met the [[Cubist]] painter [[Amédée Ozenfant]], in whom he recognised a kindred spirit. Ozenfant encouraged him to paint, and the two began a period of collaboration. Rejecting Cubism as irrational and "romantic", the pair jointly published their manifesto, ''Après le Cubisme''{{Sfnp|Ozenfant|Jeanneret|1918}} and established a new artistic movement, [[Purism]]. Ozenfant and Le Corbusier began writing for a new journal, ''[[L'Esprit Nouveau]]'', and promoted with energy and imagination his ideas of architecture.

In the first issue of the journal, in 1920, Charles-Edouard Jeanneret adopted '''Le Corbusier''' (an altered form of his maternal grandfather's name, Lecorbésier) as a pseudonym, reflecting his belief that anyone could reinvent themselves.<ref>{{cite book|url=https://books.google.com/books?id=SOKNzunERUwC&pg=PA161|title=Le Corbusier: choix de lettres|first1=Le|last1=Corbusier|first2=Jean|last2=Jenger|date=1 January 2002|publisher=Springer Science & Business Media|via=Google Books|isbn=978-3-7643-6455-7}}</ref><ref>[http://www.fondationlecorbusier.asso.fr/repbio_us.htm Repères biographiques, Fondation Le Corbusier] {{Webarchive|url=https://web.archive.org/web/20091002165335/http://www.fondationlecorbusier.asso.fr/repbio_us.htm |date=2 October 2009 }}. Fondationlecorbusier.asso.fr. Retrieved on 27 February 2018.</ref> Adopting a single name to identify oneself was in vogue by artists in many fields during that era, especially in Paris.

Between 1918 and 1922, Le Corbusier did not build anything, concentrating his efforts on Purist theory and painting. In 1922, he and his cousin [[Pierre Jeanneret]], a fellow architect and furniture designer, opened a studio in Paris at 35 rue de Sèvres.<ref name="Choay"/>
They set up an architectural practice together. From 1927 to 1937 they worked together with [[Charlotte Perriand]] at the Le Corbusier-Pierre Jeanneret studio.<ref>{{Cite book|title=Le Corbusier & Pierre Jeanneret – Restoration of the Clarté Building|last=Office du Patrimoine et des sites|publisher=Birkhäuser|year=2016|isbn=978-3-0356-0759-8|location=Geneva|pages=27}}</ref> In 1929 the trio prepared the "House fittings" section for the Decorative Artists Exhibition and asked for a group stand, renewing and widening the 1928 avant-garde group idea. This was refused by the Decorative Artists Committee. They resigned and founded the Union of Modern Artists ("[[Union des artistes modernes]]": UAM).

His theoretical studies soon advanced into several different single-family house models. Among these, was the Maison "Citrohan." The project's name was a reference to the French [[Citroën]] automaker, for the modern industrial methods and materials, Le Corbusier advocated using in the house's construction as well as how he intended the homes would be consumed, similar to other commercial products, like the automobile.<ref>{{Cite book|title=Anti-object : the dissolution and disintegration of architecture|last= Ken|first=Kuma|date=2008|publisher=Architectural Association|others=Architectural Association (Great Britain)|isbn=978-1-902902-52-4|location=London|oclc=67375498}}</ref>

As part of the Maison Citrohan model, Le Corbusier proposed a three-floor structure, with a double-height living room, bedrooms on the second floor, and a kitchen on the third floor. The roof would be occupied by a sun terrace. On the exterior, Le Corbusier installed a stairway to provide second-floor access from the ground level. Here, as in other projects from this period, he also designed the façades to include large uninterrupted banks of windows. The house used a rectangular plan, with exterior walls that were not filled by windows but left as white, stuccoed spaces. Le Corbusier and Jeanneret left the interior aesthetically spare, with any movable furniture made of tubular metal frames. Light fixtures usually comprised single, bare bulbs. Interior walls also were left white.