Le Corbusier, “Cabanon,” Cap-Martin, 1952.
Credit: Bibliothèque de la Ville, La Chaux-de-Fonds/Fonds Le Corbusier
A photograph – overlooking the Eileen Gray House Cap-Martin…. The picture of the horizon – (can’t tell if this is from inside or outside) the Sea and the Sky – with encroaching trees. Simply a picture of the horizon framed by a wall with an opening onto the outside -supposed from the protection of the inside…
Battle Lines E. 1027
Significantly, Le Corbusier describes drawing as the occupation of a “stranger’s house.” In his last book, Creation is a Patient Search, he writes: “By working with our hands, by drawing, we enter the house of a stranger, we are enriched by the experience, we learn.”  Drawing, as has often been noted, plays a crucial part in Le Corbusier’s process of appropriation of the exterior world. He repeatedly opposes his technique of drawing to photography: When one travels and works with visual things – architecture, painting or sculpture – one uses one’s eyes and draws, so as to fix deep down in one’s experience what is seen. Once the impression has been recorded by the pencil, it stays for good – entered, registered, inscribed. The camera is a tool for idlers, who use a machine to do their seeing for them.
From the outset I am most interested in the conceptual idea of “space” as interpreted by the camera gaze…
What the word for space, Raum, Rum, designates is said by its ancient meaning. Raum means a place cleared or freed for settlement and lodging. A space is something that has been made room for, something that is cleared and free, namely within a boundary, Greek peras.
A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing. That is why the concept is that of horismos, that is, the horizon, the boundary. Space is in essence that for which room has been made, that which is let into its bounds. (Building Dwelling Thinking – M.H.)