Le Corbusier built the Cabanon in 1952 on the shores of the Côte d'Azur: an archetype of housing reduced to essentials, it's an interpretation of the fisherman's shack, almost a monk's cell, measuring just 15 square meters and opening onto the sea.
Built according to the rules of Modulor, the Cabanon was a refuge for the architect in his final years.
The Cabanon lamp, designed for the microcosm whose name it bears, consists of a base derived from an object found on French beaches - a mortar bus rack - topped by a shade made of glossy paper.
The Cabanon lamp, of which several sketches and drawings exist, represents a moment of renaissance in the post-war world.
Cabanon lamp
Materials metal - tracing paper Light source E27 LED bulb, 25W Cable 2.5m Dimension Ø21 x H42 cm
Le Corbusier
Charles-Édouard Jeanneret-Gris, known as Le Corbusier, was a Swiss architect, urban planner, decorator, painter, sculptor and author, born on October 6, 1887 in La Chaux-de-Fonds, Switzerland, and died on August 27, 1965 in Roquebrune-Cap-Martin, France.
He was one of the leading exponents of the modern movement, along with Ludwig Mies van der Rohe, Walter Gropius, Alvar Aalto, Theo van Doesburg and Robert Mallet-Stevens.
Le Corbusier was also active in urban planning and design. He is best known as the inventor of the “unité d'habitation”, a concept he began working on in the 1920s as an expression of his theoretical thinking on collective housing.
Le Corbusier's architectural work, comprising seventeen sites (ten in France, the others on three continents), was designated a UNESCO World Heritage Site on July 17, 2016.
Le Corbusier's work and thought were particularly influential on post-war generations of architects, and widely disseminated, before entering a phase of significant and regular contestation with the postmodernist period.
He is the father of modern architecture, being the first to replace external load-bearing walls with reinforced concrete pillars placed inside buildings.
On hearing of Le Corbusier's death, Alvar Aalto admitted that he had never appreciated the dogmatic prophet or spokesman for modern architecture. Once the initial surprise of the presentations was over, all that remained was a verbose flow. But the meticulous achievements of the builder-architect deserved, according to the Finnish master, an altogether different consideration, for their variety and originality, their functionality and adaptation to constraint, their generous spirituality or geometric bareness, their surprising evolution over time...
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