In the realm of architecture, few names evoke as much fascination and controversy as Le Corbusier. The Swiss-French architect's vision, with its emphasis on functionalism and the future of living, has left an indelible mark on the modern world. But what happens when we step beyond the blueprints and explore the lived experience of Le Corbusier's houses? This is the question that Sardinian artist Cristian Chironi has been exploring for years, through his project "My House is a Le Corbusier."
A Journey of Inhabitation
Chironi's journey began in the small town of Orani in Sardinia, where Le Corbusier, perhaps unbeknownst to him, designed a house. This was the first of many stops on his global odyssey, as he sought to inhabit the spaces that Le Corbusier had envisioned. From the Esprit Nouveau Pavilion in Bologna to the Villa Baizeau in Tunis, Chironi's project became a multifaceted exploration of living, translated into installations, performances, documentaries, and traveling exhibitions.
The Distance Between Vision and Reality
One of the most intriguing aspects of Chironi's project is the distance between Le Corbusier's vision and the reality of living in his houses. Villa Baizeau in Tunis, for instance, is a multi-level house designed to provide a continuous view of the horizon, while also offering protection from the climate. However, the house is located in a militarized presidential park, making it nearly impossible to access. Chironi's experience of trying to observe the house was blocked and he was detained for hours, highlighting the paradoxical nature of Le Corbusier's architecture.
Living as a Form of Language
For Chironi, living in Le Corbusier's houses has become a form of language. He describes his experience of inhabiting these spaces as a transition from bodily to mental contact, a process that becomes a working method. In the Unité d'Habitation in Marseille, Chironi's center of gravity stood still, but he made movements to cook, wash dishes, and dry himself. The large window held interior and exterior together, the light changed throughout the day, and the landscape entered the space.
A Le Corbusier Reinvented
Chironi's narrative is made of micro-gestures, habits, and time spent in space. He does not deny the criticalities of Le Corbusier's architectures, but he goes through them, and what emerges is not a building that works or does not work at all, but a space that changes depending on who lives in it, that adapts, and that is even contradicted. In this sense, Chironi's Le Corbusier ends up being a slightly different, almost displaced Le Corbusier, not the one of posters or models, but the one that takes shape in use and experience.
The Future of Living
Chironi's project raises a deeper question about the future of living. It invites us to consider the disconnect between communication and interpretation, and the role of architecture in shaping our lives. As he continues to inhabit Le Corbusier's houses, Chironi is not only exploring the lived experience of these spaces, but also offering a new perspective on the future of living, one that is informed by the past and shaped by the present.
