Editing Le Corbusier (section)

==''The Decorative Art of Today'' (1925)==
In 1925, Le Corbusier combined a series of articles about decorative art from ''[[L'Esprit Nouveau]]'' into a book, ''L'art décoratif d'aujourd'hui'' (''The Decorative Art of Today'').<ref>Le Corbusier, ''L'Art décoratif d'aujourd'hui'', Paris, G. Crès, « L'Esprit nouveau », 1925. Réédition</ref><ref>[http://books.openedition.org/pupo/2422?lang=en Yannis Tsiomis, ''Le Corbusier, L'Art décoratif d'aujourd'hui et « la loi du ripolin »''], Presses universitaires de Paris Nanterre, 2012</ref> The book was a spirited attack on the very idea of decorative art. His basic premise, repeated throughout the book, was: "Modern decorative art has no decoration."<ref>Le Corbusier, ''L'art décoratif d'aujourd'hui'', (originally 1925, Flammarion edition of 1996, {{ISBN|978-2-0812-2062-1}}.</ref> He attacked with enthusiasm the styles presented at the 1925 Exposition of Decorative Arts: "The desire to decorate everything about one is a false spirit and an abominable small perversion.... The religion of beautiful materials is in its final death agony.... The almost hysterical onrush in recent years toward this quasi-orgy of decor is only the last spasm of a death already predictable."{{Sfn|Le Corbusier|page=98}} He cited the 1912 book of the Austrian architect [[Adolf Loos]], ''[[Ornament and Crime]]'', and quoted Loos's dictum, "The more a people are cultivated, the more decor disappears."  He attacked the deco revival of classical styles, what he called "Louis Philippe and Louis XVI moderne"; he condemned the "symphony of color" at the Exposition, and called it "the triumph of assemblers of colors and materials. They were swaggering in colors... They were making stews out of fine cuisine."  He condemned the exotic styles presented at the Exposition based on the art of China, Japan, India and Persia. "It takes energy today to affirm our western styles." He criticized the "precious and useless objects that accumulated on the shelves" in the new style. He attacked the "rustling silks, the marbles which twist and turn, the vermilion whiplashes, the silver blades of Byzantium and the Orient...Let's be done with it!"{{Sfn|Le Corbusier|1925|page=70–81}}

"Why call bottles, chairs, baskets and objects decorative?" Le Corbusier asked. "They are useful tools....The decor is not necessary. Art is necessary." He declared that in the future the decorative arts industry would produce only "objects which are perfectly useful, convenient, and have a true luxury which pleases our spirit by their elegance and the purity of their execution and the efficiency of their services. This rational perfection and precise determinate creates the link sufficient to recognize a style." He described the future of decoration in these terms: "The idea is to go work in the superb office of a modern factory, rectangular and well-lit, painted in white Ripolin (a major French paint manufacturer); where healthy activity and laborious optimism reign." He concluded by repeating "Modern decoration has no decoration".{{Sfn|Le Corbusier|1925|page=70–81}}

The book became a manifesto for those who opposed the more traditional styles of the decorative arts; In the 1930s, as Le Corbusier predicted, the modernized versions of Louis Philippe and Louis XVI furniture and the brightly coloured wallpapers of stylized roses were replaced by a more sober, more streamlined style. Gradually the modernism and functionality proposed by Le Corbusier overtook the more ornamental style. The shorthand titles that Le Corbusier used in the book, ''1925 Expo: Arts Deco'' were adapted in 1966 by the art historian [[Bevis Hillier]] for a catalogue of an exhibition on the style, and in 1968 in the title of a book, ''[[Art Deco of the 20s and 30s]]''. And thereafter the term "Art Deco" was commonly used as the name of the style.<ref>Benton, Charlotte, Benton, Tim, Wood, Ghislaine, ''Art Déco dans le monde 1910–39'', 2010, Renaissance du Livre, {{ISBN|978-2-507-00390-6}}, pp. 16–17.</ref>