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page030from Building Ideasmeaningless without the second and is apart of architecture’s lager responsibility to communicate. As he writes in thechapter on “ The Engineer’s Aesthetic”: Finally,it will be a delight to talk of ARCHITECTURE after so many grain-stores,workshops, machines and sky-scrapers. ARCHITECTURE is a thing of art, aphenomenon of the emotions, lying outside questions of construction and beyondthem. The purpose of construction is TO MAKE THINGS HOLD TOGETHER; ofarchitecture TO MOVE US.10 Art and Technology in the Origins ofModernism Where Banham polarizes the debate withinmodernism, between a technology-inspired futurism that looks forward to a “goldenage” and a historically-inspired academicism that sees its golden age in thepast, Le Corbusier expresses an alternative possibility. His position relies ona subtle distinction between a deterministic “machine-architecture” that issupposed to arise inevitably from the deployment of new technologies, and aproperly symbolic “machine-age-architecture” which requires the input of thecreative individual to express the aspirations of the times and thereby takesaccount of other advances in human knowledge, in addition to the scientific andthe technological. These would include the developments in painting, literatureand music that were going on at the time – all of which contributed to aprofoundly new way of seeing and understanding the world in the early decadesof the twentieth century. This was a cultural phenomenon in which architectureshould rightly be partaking, as he mentions in a footnote to the chapter quotedabove. He also demonstrates this more explicitly through his own experiments inpainting, using many of the techniques developed by the Cubist painters,Picasso and Braque, to explore the perception of objects in space – inspired inpart by Albert Einstein’s contemporary theories of relativity. 10 Le Corbusier, Towards a NewArchitecture, translated by Frederick Etchells, Architectural Press, London,1946, p 23.
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