Tag: Dominicans

Le Corbusier: the sacred cubic centimeter

Le corbusier

Having come across yet another profoundly misguided piece on church architecture, and not feeling like rehashing previous posts on the subject,1 I instead set out to learn more about Le Corbusier, whose name the aforementioned piece took in vain.

Le Corbusier defined architecture as “giving living form to dead material” and elaborated on its dual nature of construction and art as follows:

“You employ stone, wood and concrete, and with these materials you build houses and palaces. That is construction. Ingenuity is at work. But suddenly you touch my heart, you do me good, I am happy and I say: “This is beautiful.” That is Architecture. Art enters in.”

Even before turning to church architecture, there is a great sense of focus not only on beauty but also on the sacred in Le Corbusier’s thought:

“One preoccupation has concerned me compulsively; to introduce into the home a sense of the sacred; to make the home the temple of the family. From that moment on, everything changed. A cubic centimetre of housing was worth gold, represented possible happiness. With such an idea of dimension and purpose, today you can build a temple to meet family needs beside the very cathedrals.” (Mise Au Point)2

How does one infuse matter with life, introduce the sacred into every cubic centimeter of a home? Again, Le Corbusier’s thoughts are illuminating:

“I am not faultless or simple, I am filled with turmoil and undercurrents. When pondering and working out a project (town planning, architecture or painting), always a long process, I bring into focus, I realise, I come to the point. I have made an immense effort without a word spoken; over the drawing boards of my office […] I do not speak; my private office (used for patient research) […] is opened to no one. There I am alone. Never in my life have I “explained” a painting. The painting will go out and will be loved or hated, understood or not. Do you think that bothers me! (How could it bother me?)” (The Chapel at Ronchamp, 1957)

Ronchamp chapelle le Corbusier
This attitude of infusing matter with purpose, with intention, and doing so in a subtle, hinting rather than overpowering way comes to the fore again when Le Corbusier inaugurates one of his greatest masterpieces – the Chapel of Our Lady of the Height in Ronchamp:

This is “a project difficult, meticulous, primitive, made strong by the resources brought into play, but sensitive and informed by all-embracing mathematics which is the creator of that space which cannot be described in words. A few scattered symbols, a few written words telling the praises of the Virgin. The cross – the true cross of suffering – is raised up in this space; the drama of Christianity has taken possession of the place from this time onwards. […] I give you this chapel of dear, faithful concrete, shaped perhaps with temerity but certainly with courage in the hope that it will seek out in you (as in those who will climb the hill) an echo of what we have drawn into it.” (Le Corbusier’s dedication speech at the chapel’s inauguration, June 25 1955)

To my mind all of the above exudes a profound love of beauty and of the sacred, and a desire to offer it to others in a way that is inviting instead of imposing. Yet, in the course of reading about Le Corbusier, I kept coming across two criticisms leveled against his work. First, that it is inferior to renaissance and antique architecture and that this inferiority stems from ignorance. It is an argument that baffled me from the start, and that I see directly countered when reading about Le Corbusier’s reaction to the Acropolis:

“In 1910 I spent six weeks at the Parthenon. At the age of 23 my consciousness had determined its future direction. “Laborious hours in the revealing light of the Acropolis. Perilous hours which brought a distressing doubt about the (real) strength of our strength, the (real) art of our art. Those who, practising the art of architecture, find themselves at a point in their career,their brain empty, and heart broken with doubt in face of the task of giving living form to dead material, will realise the despondency of soliloquies amongst the ruins. Very often I left the Acropolis, my shoulders bowed with heavy foreboding, not daring to face the fact that one day I would have to practise. The Parthenon is a drama …”” (The Chapel at Ronchamp, 1957)

The second criticism is even more ad hominem and one that I find deeply repugnant. It is an objection to Le Corbusier’s lack of faith and adherence to Catholicism, put forward as a disqualifying obstacle regarding his involvement in church architecture. Such an attitude is exemplified by the following criticism directed at the Dominican3 Fr. Marie-Alain Couturier, O.P., who commissioned Le Corbusier’s work on the Monastery of Sainte-Marie-de-La-Tourette:

“By mistaking the “spirit of the age,” or Zeitgeist, for the Holy Spirit, Couturier assisted in the production of structures by famous modernist architects at the expense of the essential features of Catholic artistic work. […] Couturier placed his trust in artists, believing that all true art revealed something of the sacred. Since true art could only be revealed by true artists, he therefore sought the services of the masters of his time, Catholic or not, to reach the sacred through the production of a supposedly “true” art.”

I couldn’t disagree more! Like Fr. Couturier, and, incidentally, Pope Paul VI,4 I too firmly believe that “all true art reveal[s] something of the sacred.”

La tourette

In response to these criticisms, it is worth noting two aspects to Le Corbusier, the first of which is his directness and honesty about his beliefs:

“I am not a churchgoer myself, but one thing I do know is that every man has the religious consciousness of belonging to a greater mankind, to a greater or lesser degree, but in the end he is part of it. Into my work I bring so much effusion and intense inner life that it becomes something almost religious. […] People were at first surprised to see me participating in a sacred art. I am not a pagan. Ronchamp is a response to a desire that one occasionally has to extend beyond oneself, and to seek contact with the unknown.”

To leave a reflection on Le Corbusier’s compatibility with Christianity there would be unfair though and could leave a sense of vagueness and hand-waving. Instead, let me conclude by sharing with you the following passage from his book, “When Cathedrals Were White”:

“But those of us who live intensely in the present moment of modem times,[…] have extended our sympathy to all the world and to all times. We have rediscovered life and the axis of all human marvels and agonies. We are far from the theatrical stage which tries to place events of qualitative interest above and outside of human labors. We plunge into daily realities, are face to face with consciousness itself. […] Life bursts forth everywhere, outside the studios where art is “made,” outside of the small circles where it is talked about, outside of the writings in which the spirit of quality is isolated, localized, and disintegrated. […] Every day, every hour, the Earth sees splendors surging up which are truths and present-day beauty. Ephemeral perhaps! Tomorrow, new truths and new beauties bloom. The day after tomorrow, etc. … Thus life is replenished, full. Life is beautiful! We do not have-do we?-any intention or claim to fix the destiny of the eternal things of the future? Everything, at every hour, is only the work of the present moment. The present moment is creative, creating with an unheard-of intensity.”

If that is not Christian thought (albeit thought by a non-Christian), then I don’t know what is, and to support my claim I only need to look as far as Jesus’ own words:

“Therefore I tell you, do not worry about your life, what you will eat [or drink], or about your body, what you will wear. […] Look at the birds in the sky; they do not sow or reap, they gather nothing into barns, yet your heavenly Father feeds them. Are not you more important than they? Can any of you by worrying add a single moment to your life-span? Why are you anxious about clothes? Learn from the way the wild flowers grow. They do not work or spin. But I tell you that not even Solomon in all his splendor was clothed like one of them. If God so clothes the grass of the field, which grows today and is thrown into the oven tomorrow, will he not much more provide for you, O you of little faith? So do not worry and say, ‘What are we to eat?’ or ‘What are we to drink?’ or ‘What are we to wear?’ […] But seek first the kingdom (of God) and his righteousness, and all these things will be given you besides. Do not worry about tomorrow; tomorrow will take care of itself.” (Matthew 6:25-34)

1 The only point I’ll allow myself to make on account of refuting the ludicrous idea that church architecture has had a golden age in some past centuries is to quote from a great post on the Idle Speculations blog, which presents the killer argument that “[i]n Roman times, the early Roman basilicas were of course based on the public buildings of ancient Rome.” The tradition of church architecture is to be contemporary and not a saccharine pastiche of past forms, like the examples touted as successful by blogs like the one that triggered the present post.
2 A great source on Le Corbusier has for me been the excellent “Le Corbusier in Detail” by Flora Samuel, where this quote too can be found.
3 I am becoming quite a fan of the Dominicans, given also their links with Camus, mentioned here before.
4 “[T]he Church of the council declares to you through our voice: if you are friends of genuine art, you are our friends.” (Council Closing Messages December 8, 1965 By Pope Paul To Council Fathers)

Camus on dialogue, revolt, beauty and love

Camus

One of the features of Pope Francis’ first encyclical, Lumen Fidei, that stood out for me most is its constant reference to love, regardless of the specific subject of its reflection. This certainly is not surprising in the context of Christian theology – a theology that is all about God, who is Love – but it’s all-pervasiveness nonetheless made me think. In particular, it made me think about what someone who is not a Christian, who is an atheist or humanist, would say on the subject.

With these questions in mind, I turned to my “read later” reading list and my eyes landed on a piece by Cardinal Gianfranco Ravasi, where he speaks about how Albert Camus‘ thought is a confrontation with the same questions that Christianity grapples with. Questions of meaning, purpose, suffering, revolt, hope and love.

Ravasi there starts with quoting from a talk Camus gave to a group of Dominicans in 1948, where he says to his hosts that “the world of today needs Christians who remain Christians” and where he declares:

“I shall not, as far as I am concerned, try to pass myself off as a Christian in your presence. I share with you the same revulsion from evil. But I do not share your hope, and I continue to struggle against this universe in which children suffer and die.”

This directness and honesty of Camus has always been very attractive to me, which made me look for the full text of his talk to the Dominicans and I found a fairly extensive set of fragments from it here. What struck me there is how I find myself very much agreeing with him, where what he says is in fact a very powerful examination of conscience for Christianity and also for me personally.

From these fragments it is explicit that the Dominicans invited Camus to talk to them about what “unbelievers expect of Christians,” which makes me very impressed with them too, and for which Camus also acknowledged their “intellectual generosity.” He then proceeds to set out the following principles of dialogue:

that “if I allowed myself at the end of this statement to demand of you certain duties, these could only be duties that it is essential to ask of any man today, whether he is or is not a Christian.”

that “I shall never start from the supposition that Christian truth is illusory, but merely from the fact that I could not accept it.”

and that “I shall not try to change anything that I think or anything that you think (insofar as I can judge of it) in order to reach a reconciliation that would be agreeable to all. On the contrary, what I feel like telling you today is that the world needs real dialogue, that falsehood is just as much the opposite of dialogue as is silence, and that the only possible dialogue is the kind between people who remain what they are and speak their mind.”

These are an excellent set of principles: do to others as you would want them to do to you, the principle of charity and respect for the other being who they are, not setting out to change them. In fact, they seem to me to be very much in sync with what Pope Francis said on the same topic: “Dialogue is born of an attitude of respect towards another person, of a conviction that the other has something good to say; it requires that we make space in our heard their point of view, their opinion and their position.”

With these principles as the basis, Camus proceeds to spelling out his expectations:

“What the world expects of Christians is that Christians should speak out, loud and clear, and that they should voice their condemnation in such a way that never a doubt, never the slightest doubt, could rise in the heart of the simplest man. That they should get away from abstraction and confront the blood-stained face history has taken on today. The grouping we need is a grouping of men resolved to speak out clearly and to pay up personally. When a Spanish bishop blesses political executions, he ceases to be a bishop or a Christian; even a man; he is a dog just like the one who, backed by an ideology, orders that execution without doing the dirty work himself. We are still waiting, and I am waiting, for a grouping of all those who refuse to be dogs and are resolved to pay the price that must be paid so that man can be something more than a dog. […]

Perhaps we cannot prevent this world from being a world in which children are tortured. But we can reduce the number of tortured children. And if you don’t help us, who else in the world can help us do this? […]

But it may be […] that Christianity will insist on maintaining a compromise or else on giving its condemnations the obscure form of the encyclical. Possibly it will insist on losing once and for all the virtue of revolt and indignation that belonged to it long ago. In that case Christians will live and Christianity will die. In that case the others will in fact pay for the sacrifice. [… I]f Christians made up their minds to it, millions of voices—millions, I say—throughout the world would be added to the appeal of a handful of isolated individuals who, without any sort of affiliation, today intercede almost everywhere and ceaselessly for children and for men.”

When I read this, it really stopped me in my tracks. This is the kind of dialogue that we, Christians need – someone from the “outside” shaking us, pointing to our errors and doing so not for the sake of some propagandist point-scoring, but out of a genuine concern for our returning to our roots and maintaining our identity. In many ways, what Pope Francis is doing now from the “inside” is similar – the call to poverty, to the “existential peripheries” and to respect for and collaboration with atheists are all examples of it and I am deeply grateful to him and to Camus.

Returning to Ravasi’s discourse, he steers it to another very interesting point of common interest to Christianity and Camus, by quoting from “Helen’s Exile” and then from “The Rebel”:

“Man cannot do without beauty, and this is what our era pretends to want to disregard. It steels itself to attain the absolute and authority; it wants to transfigure the world before having exhausted it, to set it to rights before having understood it. Whatever it may say, our era is deserting this world.”

“Beauty, no doubt, does not make revolutions. But a day will come when revolutions will have need of beauty.”

Here the connection between beauty and the revolt Camus speaks about to the Dominicans is clear – both are set against an exploitation and ignoring of the world. Revolt is directed against suffering while beauty is aimed at appreciating existence.

Ravasi then makes the, to me at first surprising, summary of the above as being “the way of love.” To get a sense of why he may have interpreted it as such, Camus’ own words in “The Rebel” point to the key: “The procedure of beauty, which is to contest reality while endowing it with unity, is also the procedure of rebellion.” Rebellion and beauty bring about unity, which in turn is synonymous with love in Christianity – the Persons of the Trinity being One is their love for each other; Jesus-Love is present among his followers if they are united in his name (cf. Matthew 18:20), etc.

Finally, to underline the importance Camus gives to love, Ravasi quotes the following from his “Notebooks” from 1937:

“If someone told me to write a book on morality, it would have a hundred pages and ninety-nine of them would be blank. On the last page I would write, “I recognize only one duty and that is to love.” And as far as everything else is concerned, I say no.”

St. Augustine would be pleased, as am I 🙂