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Copy­right
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© Texts: Tomas Rab­a­ra, Karin Rabara
© Works repro­duc­tions: FLC / 2019, Pro­Lit­teris, Zurich

© Pho­to­graphs in which Le Cor­bu­si­er is seen:

LC in 1953 in the stu­dio of his apart­ment in Paris: © Key­stone / Rue des archi­ves / Michel Sima; FLC / 2019, Pro­Lit­teris, Zurich

LC in 1937 while working on the pain­ting “Ploug­re­scant”: © akg-images / Paul Alma­sy; FLC / 2019, Pro­Lit­teris, Zurich
Quo­ta­ti­on: “It is first of all thanks to pain­ting that I have beco­me that archi­tect that I am”. Refe­rence: Revue “Aujourd’hui – Art et Archi­tec­tu­re”, Numé­ro spé­cia­le, 1965

LC in 1963 in his stu­dio at work on a col­la­ge: © FLC / 2019, Pro­Lit­teris, Zurich
Quo­ta­ti­on: “I have never stop­ped dra­wing and pain­ting, loo­king whe­re­ver I could for the secrets of form. You don’t have to look any fur­ther than this for the key to my work and my rese­arch”. Refe­rence: LC’s pre­face for “Des­sins”, Edi­ti­ons Forces-Vives, 1968

LC in 1938 in front of his pain­ting “Figu­re devant une por­te blan­che” hung in his exhi­bi­ti­on “Le Cor­bu­si­er – Œuvre Plas­tique” at the Kunst­haus Zürich: © Schwei­zer Illus­trier­te Zei­tung, Nr. 4/1938

LC in 1947 working on the draft of the UN head­quar­ters: © United Nati­ons Per­ma­nent Head­quar­ters; FLC / 2019, Pro­Lit­teris, Zurich