LE CORBUSIER E I SENTIRI INCROCIATI. LE CORBUSIER AND THE CROSSED PATHS

When we speak of Le Corbusier, which of the many Le Corbusiers are we referring to? The architect, the artist, the writer (as he chose to be recorded on his identity card), the theorist of modernity (who by the way declared that it was the Parthenon that made him a revolutionary), the tireless traveler who regularly returned from his travels with a booklet full of notes; the politician (who claimed that it was politics that came to him, and who is considered by turns a fascist, a communist, and a utopian in the style of Fourier)? Within this maze we try to imagine a plausible way to orient the acceptance of the planned complexity of the situations and their intrigues, in the simultaneous exploration of the interrelationships between painting and architecture and the dramatic story of a personage, eanneret, who growing up in the world of art and of men came to find himself torn between terrible contradictions that led to his eventual withdrawal from the scene, to make room for a mysterious character that will be Le Corbusier, more reliable a parte obiecti. In this work, the spotlight is focused on the character destined to disappear, leaving to his replacement unresolved problems, but also a vibrating and brilliant feeling, and above all of an experience of increasing exchanges between art and architecture, in a meeting of peers, within an aura of modern experimentation, according to suggestions provided by Impressionism, as well as Cubism and other isms built on the figure of modernity.