Le Corbusier, Koolhaas and the

Surrealist Legacy
Bien Castillo
z3459578
BEIL6005 Art, Architecture + Design
Semester 1, 2016

CONTENTS

Abstract

Introduction

Le Corbusians Subconscious Tendencies

Koolhaas and the Paranoiac-Critical Method

A Superior Reality: The New Paradigm

13

Conclusion

17

Endnotes

18

Bibliography

21

Image Sources

23

Bien Castillo

ABSTRACT
To examine the relationship between Surrealism and architecture, the Surrealist
perspective must be considered. What is the subconscious desire of the
subject? How is this function of the mind materialised? What landscape
formalises this experiential arena? Perhaps, the essence of an architectural
Surrealism is the articulation of space. Perhaps, in the ideology of Dali, this can
only be characterised through a paranoid state. After all, for Breton, a Surrealist
physically expresses the function of thought in response to a conventional
reality, with the absence of exerted control and reason. It is the belief in a
superior reality, with the omnipotence of the dream-state. This leads to the
deconstruction of mechanisms, which is then substituted as the solution of the
principal problems of life. In relation to architectural thought, is this not the
underlying principle of twentieth century Modernism?

Le Corbusier, Koolhaas and the Surrealist Legacy

1.

INTRODUCTION

Through Salvador Dalis paranoiac-critical method, this paper is an exploration

of the underlying Surrealist principles of twentieth century architecture. It
presents a unique Surrealist examination of the centurys more prominent figures
that seldom acknowledged a subconscious desire. Le Corbusier is one such
figure. Perhaps, it was an accident, a coincidence through which he conceived
his unconventional house as a machine for living. Then there is the recurring
theme of discovery. Just as the Dadaists and Surrealists were fascinated with
objet trouv (found objects), Le Corbusier was fascinated with an experiential
discovery, both in Beisteguis penthouse on Champs dElysees and the decaying
Villa Savoye. Bernard Tschumi embraces the latter for its surreal values. For the
Beistegui apartment, one might also summon a Magritte-esque juxtaposition.

Perhaps, it is best to appropriate this under Rem Koolhaas 1978 commentary

on Manhattanism. Here, he presents a dichotomous narrative of Salvador
Dali and Le Corbusiers polemic adventure to New York, which is personified
through their contrasting response to the sudden confrontation of the Surrealist
irrationalities and rational intentions of Modernism. Both subjects characterise
the paranoia that Dali often referred to in his paintings; the same paranoia
that informed the early works of Koolhaas, as well as the direction of postmodernism in the 1980s and 1990s, and culture of 21st century architecture.

Bien Castillo

2.

LE CORBUSIERS SUBCONSCIOUS TENDENCIES

Thus, as premature as it sounds, space becomes the elemental device to identify

a Surrealist presence in twentieth century architectural practice. It is the most
ambiguous of all elements that can only be contained by a rational archetypal
form. After all, for architects, space can only be defined by the architecture that
contains it, as well as the architecture that is contained within it1. For Surrealists,
space was more of a tangible reality, whereby the focus was to destabilise
it, rather than simply contain it; to challenge to the architectural paradigm2.
Thus, to simply retreat to describe the influence of Surrealism on architecture
becomes intangible, as its presence is often challenged, and even restricted by
Andre Bretons response to Le Corbusiers Modernist principles. In agreement
with this, Le Corbusier has seldom acknowledged a Surrealist presence in his
work. Despite this, whilst it might be a coincidence, Le Corbusier has ironically
demonstrated neutrality towards Surrealism, and even a consciousness for the
subconscious. He describes this relationship as intimate knowledge, which
implies an unconscious obsession with a more transcendent reality. In The
Ghost in the Machine, Alexander Gorlin describes it as an unintentional direct
reference to the decadence of Surrealism.3

Whilst his early projects demonstrate a strong depiction of white architecture,

there is a flirtatious dialogue between rational and anti-rational imagery. For
instance, as controversial as it sounds, his Villa Savoye unintentionally questions
the perfection and timeless permanence of pure Modernist principles4. Prior to
its late twentieth century restoration, the villa was abandoned during the postwar period and subject to decades of degradation and decay a demonstration
of temporality as a consequence of time. Through Rene Burris photographs,
in conjunction with its Modernist intentions, this stirs images of transgression;
the same transgression that surrealists Salvador Dali and Georges Bataille often
alluded to5. Bernard Tschumi, as a follower of the latter, defines this in his
1976 manifesto as a perverse act that never lasts6, another emphasis on the
architectural discourse of time.

Le Corbusier, Koolhaas and the Surrealist Legacy

1
Fig. 1. Villa Savoye, Le Corbusier, 1931, exterior of decaying villa.
Fig. 2. Villa Savoye, Le Corbusier, 1931, mould growing on glass and interior
surfaces.

Thus, just as Andre Brteton emphasised transgression as a requirement to

explore Surrealist dimensions of eroticism7, Tschumi holds it as architectures
highest rule If you want to follow architectures first rule, break it.8 From
this, Le Corbusiers Villa Savoye has transcended the expectations and limits
of a Modernists reality, into a state of erotic sensuality9. This is depicted in
advertisement no. 4, whereby even the epitomes of Modernity are overcome
by a sensual experience of space10. For Bataille, even the very process of decay,
and the finality of death, is erotic. Here, Tschumi aligns Batailles imagery of
decomposition with the decay of Villa Savoye, from a symbol of purity to rotting
mould. This is the excess Tschumi referred to. Where Le Corbusiers mental
construct was rich with geometry in its purist form, time imposed a regression
that transformed the space so the experience becomes completely sensory the
smell of excrement of the ground floor, and damp mould-covered windows11.
As with Bataille, this is Tschumis sensual eroticism that is not derived from the
excess of pleasure, but from the pleasure of excess.12

Bien Castillo

Fig. 3. Bernard Tschumi, Architectural Advertisement no. 3.

Fig. 4. Bernard Tschumi, Architectural Advertisement no. 4.

Bien Castillo

It is also difficult to avoid Le Corbusiers reference to Duchamps labyrinth. It is

a term that finds commonalities in Dadaist and Surrealist practice, whereby the
sensualities of meandering and aimless drifting conveys a sense of confusion in
an ordered plan13. For Bataille, this is one of the two main figures of architecture
(the other being the pyramid). Le Corbusier found this through plan libre (one
of Five Points of New Architecture), through which he could create an intimate
flow of space and interlocking routes, with interpenetrations of mezzanines,
courtyards and voluminous spaces14. In the La Roche House this is delineated
along a central promenade. For Le Corbusier, this promenade architecturale
guides the visitor through a dream-like succession of spaces, only interrupted by
traversing enjambements of ramps, stairs and open voids15. To art historian
Tim Benton, it is an emotionally sensual journey, with reference to the Sublime,
as he imagines La Roche walking alone at night to reach his bedroom.16

Additionally, in Elements of a Synthesis, Le Corbusier does insist on one parallel

between his architecture and the art of Surrealism. This is through Giorgio de
Chiricos pittura metafisica, through which Corbusier employs the Surrealist
precedent of tangible objects or objet trouve to convey a sense of mystery17.
This, in turn, contributes to his obsession with the recurring theme of experiential
discovery The points of reference for all relations that have the power to move
us are objects.18 Of course, as a rationalist these are only objects that work,
or function.19 For Gorlin, the apogee of Le Corbusiers Surrealist tendencies
is the Beistegui penthouse of 193020. Here, objet trouve becomes apparent
through the assemblage of a classical living room setting on the roof garden
a clear experimental statement of the outdoor room. This Surreal imagery
appears to be exaggerated, a response to Charles de Beisteguis adoration for
Surrealist art. Moreover, akin to an experienced Surrealist, Le Corbusier treated
space as a tangible element. The room is vertically orientated to frame the
sky, as a strategy to of seclusion from the urban chaos of Paris.21 Here, one
might also summon a Magritte-esque juxtaposition. The living room setting
depicted in Hitchcock and Johnsons International Style uncannily resembles the
composition of Rene Magrittes Birth of an Idol (1926).

Le Corbusier, Koolhaas and the Surrealist Legacy

5
Fig. 5. Le Corbusier, Beistegui apartment, Paris,
outdoor room.

His raging sea is equivalent to the aforementioned chaos of Paris, with a single
set of steps rising leading to an assumed transcendence22. Likewise, one might
also draw parallels with Magrittes Time Transfixed. In an outdoor room,
where the sky is the ceiling and grass is the carpet, Le Corbusier imposes a nonfunctional fireplace, much like the locomotive penetrating Magrittes hearth23.
Here, Le Corbusier celebrates uselessness, just as Bataille celebrated actions
with no functional explanation. Again, Bataille found this erotic. For Tschumi, it
is a demonstration of another suppressed axiom: the necessity of architecture
may well be its non-necessity.24 Thus, in accordance with Anthony Vidler, Le
Corbusier utilised architecture as a crucial arena for the Surrealist articulation
of space.25

6
Fig. 6. Le Corbusier, Beistegui apartment, photograph in Hitchcock and
Johnsons International Style.
Fig. 7. Rene Magritte, Birth of an Idol, 1926.

Bien Castillo

3.

KOOLHAAS AND THE PARANOIAC-CRITICAL METHOD

Rem Koolhaas pledged an allegiance to Le Corbusiers Modernism whilst

other post-Modernists opposed the anti-diversity of form, Koolhaas (with
OMA) added to it26. It was a credible response for a formal expression during an
optimistic post-war period that simply could not financially fund an argument
against the efficient Modernism of Mies van der Rohe. Koolhaas realised
the necessity of a post-modern gesture, without neglecting the Modernist
fundamental approach to necessity27. This was a paranoia of Koolhaas, a
theoretical challenge of organisation (as opposed to ornamentation) to enhance
the spatial experience of architecture within the constraints of necessity, whilst
attaining the pleasures of excess. Thus, Koolhaas turned to the paranoiaccritical method; Salvador Dalis theoretical approach to construct new ideas28.

According to Dali, the simulation of paranoia induces a systematised state of

confusion that undermines all thoughts of rationality to discredit the world
of reality.29 It is an extension into the realm of visual connection to articulate
links between images that are not rationally linked:

For instance, one can see, or persuade others to see, all sorts of shapes in a
cloud: a horse, a human body, a dragon, a face, a palace, and so on. Any prospect
or object of the Physical world can be treated in this manner, from which the
proposed conclusion is that it is impossible to concede any value whatsoever to
immediate reality, since it may represent or mean anything at all30

Marcel Jean

Simply put, through this method, Dali portrayed another method of viewing
the world. For others (non-Surrealists) time was linear, a regular progression
that stemmed from an established beginning, middle, and end.

But, in

accordance with this method, Dali proposed time as a labyrinth of processes,

with a multitude of realities that evolve simultaneously, both dependently and
independently from each other. Whilst some begin, others may end, or even

Le Corbusier, Koolhaas and the Surrealist Legacy

progress throughout. Thus, the paranoiac-critical method became the tool to

visualize these realities, with the hope of provoking the viewers imagination31.
For Andre Breton, this was an instrument of primary importance, with the
ultimate success of being able to be applied equally to painting, poetry, the
cinema, the construction of typical Surrealist objects, fashion, sculpture, the
history of art, and even, if necessary, all manner of exegesis.32

Koolhaas interprets this Dalinian method in Delirious New York. For Dali, the
method attempts to transform unconscious, dream-state images into a tangible
reality. For Koolhaas, this becomes synonymous with concrete infinitely
malleable at first, then suddenly hard as rock.33 Thus, in Delirious New York,
he utilizes this ideology to view Modernism from the perspective of a Surrealist.
The conflict between the two ideologies is personified through the paranoia
of Le Corbusier and Salvador Dali during their first visit to Manhattan. For Le
Corbusier, it was urbanism with no metaphorunseductive.34 For Koolhaas,
this was paranoia Dalis paranoia as Le Corbusier felt mocked by the successful
Manhattanism that undermined his own ambition of a skyscraper city35.
Except his seemed boring and banal. Le Corbusier needed justification that
his vision transcended the already-existing high-rise skyline, thus became the
paranoid detective who invents victims, forged the likeness of the perpetrator
and avoids the scene of the crime.36 He was forced to visualize a parallel reality
an unconscious act of Surrealism.

For Koolhaas, this became the vehicle through which to translate the Dalinian
method into a tangible, architectural form. From Manhattanism, Koolhaas
likened the paranoiac-critical method to reinforced concrete it is infinitely
malleable at first, then suddenly hard as rock.37 For Dali, the method was
applied to transform infinitely malleable dream-state images, into a tangible
reality. Thus, Koolhaas repositioned postmodernism as a direct response to its
predecessors, through a combination of historical and ambiguous references
to catalyse bouts of criticality and paranoia38. His 1991 Villa dallAva was the
first demonstration of this. Perhaps, for Koolhaas, the paranoia is derived from

10

Bien Castillo

his own conflictions between Modernist inspirations and Dalinian tendencies.

After all, from the outset, the Dali influence is obvious Villa dellAva, a house
supported on slender stilts; and Dalis Sleep, a face supported on slender
crutches39. Thus, it is through this that Koolhaas captures the tension between
the two conflicting ideologies.

As in Dalis painting, the stilts become a

prominent element of balance. In Sleep, the visually heavy head is supported

by several lighter crutches; suggesting that the head will collapse if one were
removed For sleep to be possible, a whole system of crutches in a psychic
equilibrium is essential. If only one is missing, one would wake up and above all
the little boat would disappear immediately.40 For Dali, sleep (or the dreamworld) is supported by the crutches of reality When the crutches break,
we have the sensation of falling.41 Curiously, in Villa Dallava, several slender
stilts structurally support the Corbusian Modernist box to maintain a sense of
equilibrium in the same way as Dali, if the stilts were removed, the box would
crash. Is this Koolhaas statement of Surrealism as a foundation for Modernist
principles?

11

Fig. 8. Salvador Dali, La Sommeil (Sleep), 1937.

9
Fig. 9. Rem Koolhaas, Villa Dallava, Paris, slender
poles support Modernist volume.

12

Le Corbusier, Koolhaas and the Surrealist Legacy

4.

A SUPERIOR REALITY: THE NEW PARADIGM

Perhaps, it is too provocative to prematurely connect Zaha Hadid to the

Surrealist school of thought. After all, there is no explicit evidence to suggest
their respective processes stem from a subconscious desire. Perhaps, it is no
longer an exaggeration to claim that Surrealism has transgressed its manifestos,
to inspire a succession of movements and faculties42. Perhaps, the catalyst
of a Surrealist presence is culture. For Charles Jencks, consumerism has led
architects into the vicious trap of shifting from tradition, to an arena of
international competition, where the absence of an anchored belief system
leads to a bland minimalism and neutrality43. This is his new paradigm of
architecture. Perhaps, the paradigm goes beyond a neglect of tradition, whereby
architecture becomes international landmarks to satisfy powerful political egos
(has the paranoia reached a political field?) Thus, the injunction is to create
an extraordinary building, and must look like nothing we have seen before,
an enigmatic act of progression44. But the underlying principle is excess, the
aforementioned vehicle of sensual pleasure that is historically synonymous with
Surrealism. After all, what is more intriguing to the human mind, than the state
of sur-reality?

13

Bien Castillo

Zaha Hadid has demonstrated an unconscious obsession with this sur-reality.

She explored aspects of experiential space through the dimension of paranoia,
akin to Koolhaas. After all, she was his brightest pupil45. Like her mentor,
Hadid expressed an allegiance to early Modernism, an incomplete project that
deserved to be continued.46 For Koolhaas, Corbusian principes had not yet
exhausted its possibilities.47 Thus, as in her artworks and schemes of postmodern 1980s, Hadid began experimenting with the tangibility (or intangibility)
of space through an abstracted planar style, where geometric shapes and a
labyrinth of lines are layered to depict acts of mechanised movement48. Whilst
she does not explicitly acknowledge its presence, it bares affinities with the
art of Chilean Surrealist Roberto Matta, a former pupil of Le Corbusier who
did initially admire his Modernism49. As a result, his paintings often captured
an imagined architectural space, with Surrealist disturbances of Duchamps
eroticism and objet trouve. This juxtaposition between landscape and object
reveals a fragmented chasm between real and imagined50.

Matta depicted this in a 1938 Minotaure illustration of an apartment, to a onepage manifesto entitled Mathematique sensible Architecture du temps.51 It
is an imagined space, with surreal irrationalities illustrated through multiple foci
of curious objects and strange contrasts52.

Fig. 10. Roberto Matta, illustration of apartment in

10

14

Minotaure magazine, 1938.

Le Corbusier, Koolhaas and the Surrealist Legacy

This curiosity is further enhanced by the spontaneity of sinuous lines (a

suggestion of warped space) to foil the ordinary perspective in the foreground53.
The result is the archetypal juxtaposition of reality and surreality.

For Hadid, this juxtaposition serves as the conceptual foundation of her works.
The first explorations of this are her 1980s artworks and unbuilt schemes,
particularly Parc de la Vilette (1983) and The Peak Leisure Club (1991). It was
during this decade, that she developed a distinctive calligraphic method of
sketching (or painting) for the initial phase of her projects54. Whilst her lines
and geometry bares affinities to the mechanised abstraction of Kandinksy, it
is through spontaneity that Hadid reveals the intangible spatial flows and
rhythms hidden in the sites55. Thus, unlike Surrealist artists, her spontaneity
is not just a vehicle to explore the unconscious psyche. For The Peak, this is
through the fragmentation of shard-like geometries to explore energetic and
dynamic forms56. Space is conceived through the layering of these shapes, a
morphological method that Matta also investigated. His Splitting the Ergo
(1946) is synonymous of this method, as Matta developed a more abstract
style, through the layering of planar geometry over softer, biomorphic ones57.
For Hadid, the result is the layering of vertical volumes (buildings) to depict
a hectic Hong Kong, as an imposition in the mountainous landscape. Thus,
Hadid perched her architecture at the peak, distant from the chaos below.
Curiously, this bares affinities with the aforementioned Magritte element of the
rising stair above a raging sea. Likewise, in her conceptual drawings for the Parc
de la Vilette competition, Hadid created a series of overlays: stacked planes of
uninterrupted spaces that hover over the landscape58. On one of these layers is
a representation of elevated gardens, with kiosks, restaurants and picnic areas
on their own respective layers, so the spatial experience becomes a vertical
slice, with an infinite juxtaposition of spaces59.

15

Fig. 11. Roberto Matta, Splitting the

Ergo, 1946,
Fig. 12. Zaha Hadid, The Peak Leisure
Club, 1991, aerial painting of Hong
Kong, with Hadids leisure in top right
corner.

11

12

16

Bien Castillo

5.

CONCLUSION

In essence, Surrealism has become prevalent as a foundational element in the

practice of architecture throughout the twentieth century. Perhaps, that is its
greatest achievement to inform a succession of ideologies over the span of
a century, an open dimension through which the subconscious has a subtle
freedom to present itself in any medium. The result is always an experiential
sensuality, an excess of pleasure that Bataille refers to as the erotic. For Le
Corbusier, the Villa Savoye became epitomised the best of both worlds a pure
symbol of Modernist perfection, that was subjected to the transgression and
decay. This was the catalyst for Rem Koolhaas to explore notions of Surrealism
as a response to Modernism, leading him to a conflicted architecture of a
Dalinian gaze. Having studied under Koolhaas, Hadid displayed a Le Corbusian
obsession with experiential space, except with the element of spontaneity. This
resulted in a juxtaposition of reality and surreality, which is, in the realm of
consumerist culture and technological advancement, the instrument to satisfy
the architectural ego the new paradigm in architecture.

17

Le Corbusier, Koolhaas and the Surrealist Legacy

ENDNOTES
1.

Silvano Levy, Menace: Surrealist Interference of Space, in Surrealism

and Architecture, ed. Thomas Mical (New York: Routledge, 2005), 60.
2.

Ibid.

3.

Ibid., 103.

4.

Ibid.

5.

Jonathan Mosley and Rachel Sara, Architecture and Transgression: an

Interview with Bernard Tschumi, Architectural Design 83, no. 6 (2013): 35.
6.

Louis Rice and David Littlefield, Transgression: Towards an Expanded

Field of Architecture (New York: Routledge, 2014), 13.

7.

Klem James, Breton, Bataille and Lacans Notion of Transgressive

Sublimation, E-Pisteme 2, no. 1 (2009): 61.

8.

Rice and Littlefield, Transgression, 13.

9.

Ibid.

10.

Ibid.

11.

Mosley and Sara, Architecture and Transgression, 36.

12.

Ibid.

13.

Kari Jormakka, The Most Architectural Thing, in Surrealism and

Architecture, ed. Thomas Mical (New York: Routledge, 2005), 293.

14.

Tiziano Aglieri Rinella, Le Corbusiers Uncanny Interiors (PhD diss.,

Al Ghurair University Dubai, 2015), 4.

15.

Ibid.

16.

Ibid.

17.

Stanislaus von Moos, Le Corbusier: Elements of a Synthesis

(Netherlands: 010 Publishers, 2009), 308.

18.

Ibid., 311.

19.

Ibid.

20.

Alexander Gorlin, The Ghost in the Machine, in Surrealism and

Architecture, ed. Thomas Mical (New York: Routledge, 2005), 111.

21.

Ibid., 112.

22.

Ibid.

18

Bien Castillo

23.

Ibid.

24.

Jormakka, The Most Architectural Thing, 293.

25.

Anthony Vidler, Fantasy, the Uncanny and Surrealist Theories of

Architecture, Papers of Surrealism, no. 1 (2003): 1.

26.

Ross Kelly, Towards a Paranoid Critical Postmodernism (PhD diss.,

University of Westminster, 2011), 27.

27.

Ibid.

28.

Ibid.

29.

Ibid., 29.

30.

Salvador Dalis Paranoiac-Critical Method, Language is a Virus,

accessed May 23, 2016, http://www.languageisavirus.com/articles/

articles.php?subaction=showcomments&id=1099110809&archive=&start_
from=&ucat=#.V0Sw9ZN96uU.
31.

Kelly, Towards a Paranoid Critical Postmodernism, 29.

32.

Andre Breton, What is Surrealism? (lecture given at public meeting

for the Belgian Surrealists, Brussels, Belgium, June 1, 1934).

33.

Rem Koolhaas, Delirious New York: A Retroactive Manifesto for

Manhattan (New York: The Monacelli Press, 1978), 248.

34.

Ibid.

35.

Ibid., 250.

36.

Ibid.

37.

Ibid., 248.

38.

Antonio Furgiuele, Computing the Paranoid Critical (paper

presented at annual meeting for the Association of Collegiate Schools of

Architecture, Seattle, Washington, 2011), 646.
39.

Barbara Penner, Surrealism and the House: Dream Homes Should

Stay as Fantasies, The Architectural Review 226, no. 1362 (2010): 33.
40.

Jane Alison, The Surreal House: Architecture of Desire (Connecticut:

Yale University Press, 2010), 228.

41.

Ibid.

42.

Thomas Mical, Introduction, in Surrealism and Architecture, ed.

Thomas Mical (New York: Routledge, 2005), 3.

19

Le Corbusier, Koolhaas and the Surrealist Legacy

43.

Charles Jencks, The New Paradigm in Architecture: The Language of

Postmodernism (Connecticut: Yale University Press, 2002), 158.

44.

Ibid.

45.

Detlef Mertins, The Modernity of Zaha Hadid, in Zaha Hadid, ed.

Zaha Hadid (New York: Guggenheim Museum Publications, 2006), 33.

46.

Ibid.

47.

Kelly, Towards a Paranoid Critical Postmodernism, 11.

48.

Mertins, The Modernity of Zaha Hadid, 32.

49.

Curtis Carter, Matta: Surrealism and Beyond, in Matta: Surrealism

and Beyond, ed. Matta Echaurren and Roberto Sebastian (Milwaukee:

Haggerty Museum of Art, Marquette University, 1997), 11.
50.

Ibid., 14.

51.

Daniel Nagaele, Le Corbusier and Physically Innovating Space,

Architecture Conference Proceedings and Presentations, no. 49 (2009): 50.

52.

Ibid.

53.

Ibid.

54.

Mertins, The Modernity of Zaha Hadid, 35.

55.

Ibid.

56.

The Peak Project, Hong Kong, China, Museum of Modern

Art, last accessed May 23, 2016, http://www.moma.org/collection/

works/202?locale=en.
57.

Carter, Matta, 14.

58.

Parc de la Vilette Project, Paris, France, Museum of Modern

Art, last accessed May 23, 2016, http://www.moma.org/collection/

works/363?locale=en.
59.

Ibid.

20

Bien Castillo

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-

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Gorlin, Alexander. The Ghost in the Machine. In Surrealism and

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James, Klem. Breton, Bataille and Lacans Notion of Transgressive

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-

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-

Jormakka, Kari. The Most Architectural Thing. In Surrealism and

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-

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Le Corbusier, Koolhaas and the Surrealist Legacy

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-

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-

Rice, Louis and David Littlefield. Transgression: Towards an Expanded

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-

Rinella, Tiziano Aglieri. Le Corbusiers Uncanny Interiors. PhD diss.,

Al Ghurair University Dubai, 2015.

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