A complete analysis of Chapel of Notre Dame du Haut

1. RONCHAMP
By Le Corbusier

2. Born Charles-Édouard Jeanneret
October 6, 1887 La Chaux-de-Fonds,
Switzerland
Died August 27, 1965 (aged 77)
Nationality Swiss / French (from 1930)
Influenced Oscar Niemeyer, Richard Meier
Awards AIA Gold Medal (1961)
Buildings Villa Savoye, France
Notre Dame du Haut, France
Buildings in Chandigarh, India

3. Born as Charles Edouard Jeanneret on
October 6, 1887 in La Chaux de Fonds,
Switzerland. He studied at the La Chaux de
Fonds Art School. His career spanned five
decades and he made significant
contributions to the Modernists or
International Style. He has built works in North
America, South America, Europe and Asia.
He died on August 27, 1965 of a heart attack
while swimming in the Mediterranean Sea in
south France.

4. 1905 Villa Fallet, La Chaux de fonds, Switzerland
1912 Villa Jeanneret, Paris
1916 Villa Schwob, Paris
1923 Villa LaRoche, Paris
1924 Pavilion de L’Esprit Nouveau, Paris
1924 Quartiers Modernes Fruges, Pessac France
1926 Villa Cook, Boulogne-sue-Seine, France
1927 Villas at Weissenhof Estate, Stuttgart, Germany
1928 Villa Savoye, Poissy-sur-Seine, France
1929 Armee du Salut, Cite de Refuge, Paris
1930 Pavilion Suisse, Cite Universitaire, Paris
1931 Palace of the Soviets, Moscow, USSR
1933 Tsentrosoyuz, Moscow, USSR
1936 Palace of the Ministry of National Education and Public Health, Rio de
Janerio
1938 The Cartesian Sky-scrapper.
1946 Duval Factory in Saint Die, France
1947-1952 Unite d’Habition, Marseille, France

5. 1948 Curutchet House, La Plata, Argentina
1949 Usine Cluade et Duval, Saint Die-des-Vosges
1950 UN Headquarters, New York
1950-1954 Chapel Notre Dame du Haut, Ronchamp, France
1951 Cabanon Le Corbusier, Roquebrune-Cap-Martin
1951 Maisons Jaoul, Neuilly-sur-Seine, France
1952 Unite d’Habitation of Nantes-Reze, Nantes, France
1952-1959 Buildings in Chandigarh, India.
1905 Museum at Ahmedabad, India
1912 Unite d’Habitation of Briey en Foret, France
1957 National Museum of Western Art, Tokyo
1913 Masison du Bresil, Cite Universataire, Paris
1957-1960 Sainte Marie de la Tourette Lyon, France
1957 Unite Habitation of Berlin-Charlottenburg, Flatowallee 16, Berlin

6. Villa Savoye France 1928

7. National museum of western art

8. Heidi Weber Museum

9. Capitol High Court

10. Palace of Assembly Chandigarh

11. Maison Domino

12. RONCHAMP – 1955 ( Chapel of Notre Dame du Haut )

13. The Chapel of Notre Dame du Haut is located in Ronchamp, on
the hilltop of Bourlemont. In the middle age, this place was a
catholic pilgrimage center dedicated to the Virgin Mary. The
Chapel suffered a voracious fire in 1913, consequently was
rebuilt in Neo-Gothic style. In 1944, was bombarded by the
Nazis.

14. In 1950, Le Corbusier accepted rebuilt of the chapel at the
request of archbishop of Besancon. The master is touched by the
significance of the site, because was a place of bloody battles.
After five years of technical difficulties and the constant critic,
is finished in June 1955.

16. "Surrealism is a key to other late works of Le Corbusier,
most notably the church at Ronchamp, France, of 1950-55.
Notre-Dame-du-Haut was a more extreme statement of Le
Corbusier's late style. Programmatically, the church is
simple, an oblong nave, two side entrances, an axial main
altar, and three chapels beneath towers—as is its structure,
with rough masonry walls faced with whitewashed Gunite
(sprayed concrete) and a roof of contrasting beton brut
(architectural concrete left unfinished). Formally and
symbolically, however, this small building, which is sited
atop a hillside with access from the south, is immensely
powerful and complex.‖

17. • Location: Ronchamp, France
• Date: 1955
• Building Type: church
• Construction System: reinforced concrete
• Climate: temperate
• Context: rural, mountains
• Style: Expressionist Modern
• Physical Characteristics:
Simplicity
Oblong nave
Two side entrances
Axial main alter
Three chapels
Three towers
4 ft to 12 ft thick, whitewashed, sprayed concrete walls (known
as Gunite or Gunnire)
Beton brut roof
Southern facing wall of windows
Exterior alter
Sculpture of the Virgin Mary

18. Location: Ronchamp, France

19. • Approach route of the chapel is from the Southeast .
• Chapel is placed at the high point on an East West axis.
• The site is high on a hill near Belfort in eastern France

21. THE CHAPEL OF NOTRE DAME DU HAUT

22. To the west is located a
bell tower, a very simple
composition, comprising
a metal frame holding 3
bells.

23. THE BELLS

24. Towards the southern end, and in a lower
area of the topography, stands a
rectangular volume made of concrete, that
contrasts in both form and color with
chapel. This volume, perpendicular and
closer to the access path, contains the
residence of the monks and was designed
by Le Corbusier in 1953 and completed in
1959. The building, austere and sober, has
classrooms, library, refectory, kitchen and
cells for monks.

25. THE RESIDENCY FOR CLERGY

27. At the northern end a stepped
pyramid is located, built with
the remnants of the original
church, which serves as a
monument to peace.

28. THE MONUMENT OF PEACE

29. The Chapels act as periscopes
which establish contact with the
distant horizon. The site that
provided an irresistible genius
loci for the response, with the
horizon visible on all
four sides of the hill and its
historical legacy for centuries as a
place of worship.

53. RESEMBLANCE WITH THE ACROPOLIS - PARTHENON

55. The program had some difficult requirements: a
church to serve a parish of 200, but capable of
dealing with crowds of pilgrims on important feast
days (like August 15th and September 8th); two
small chapels to hold services separately from the
main Mass; a sacristy; a small office; a housing for
a 17th century polychrome wood sculpture of the
Virgin and Child; and a means to collect rainwater
as water resources are scarce on the hilltop.

56. • Large Embrasures on south wall represent • The upper two tiers of the interior
the Crow (Corvus), Libra Constellation windows of the South wall as the Virgo
constellation.

57. • That Le Corbusier based his design off • Le Corbusier superimposed Ronchamp II
of praying hands, a ship, a bird, a nuns over Ronchamp I.
cowl.

58. PLAN OF THE
CHAPEL

59. ALTAR

60. CHOIR

61. THE MAIN ENTRANCE ( SOUTH )

62. DOOR DECORATIONS
The door itself has a
painting by Le Corbusier.
Door panels consist of
open hand, star, pyramid,
meandering river, rain, and
clouds. Each door consists
of eight panels. Pivoting
door on center. Red and
blue symbolize opposites

63. Other elements in the access are two small concrete blocks that form a virtual frame.

64. WATER COLLECTION
The billowing roof of concrete
was planned to slope toward
the back, where a fountain of
abstract forms is placed on the
ground. When it rains, the
water comes pouring off the
roof and down onto the raised,
slanted concrete structures,
creating a dramatic but natural
fountain.

65. THE LIGHT FROM HEAVENS
SHINING OVER THE CHAPELS

66. CONFESSIONALS

67. BACK ENTRANCE ( NORTH )

68. The most striking
features of the facade
are the two chapels
flanking the secondary
access: both
are symmetrically arrang
ed around the axis of the
door. However, their
curved shape invite to
access to the interior.

69. The complex shapes at Ronchamp
start from a theme of acoustic
parabolas, playing a practical role on
the east wall to reflect the sound
from the outside altar for the
pilgrims gathered on the hill.

70. EXTERIOR ALTAR

72. EAST ENTRANCE

74. Curved wall on the South wall directs visitors up and to the entrance.

75. Le Corbusier made use of curved surfaces of reinforced concrete to generate a form that is bold
and organic. Since its construction, the building has evoked poetic notions in the mind of the
visitor observing the play of light and shadow on different surfaces

76. • Le Corbusier was given free reign to create a total work of art, the way he liked it.
• The south and east walls act as receptors for the majority of sunlight that enters
the chapel through the gap between the roof and the vertical surfaces in an attempt to
break the static nature of the enclosed interior space, whereas the north and west walls act
as containers that define the sacred from the profane in a manner that removes any
immediate connection with the outside environment.
• The slope of the floor follows the natural slope of the hill, and slopes towards the alter.
• Towers are stone masonry topped with cement domes
• Concrete roof is the shell (idea came from crab shell on beach when he was visiting
Nivolas. He imagined its curved strength)

77. Sculpture of the
Virgin Mary
This wooden sculpture is placed in a high niche. Above the plain
altar, the east wall is punctuated by several pinhole-windows and by
a single substantial window with the Madonna and Child in
silhouette; through the window this image also serves the outside
altar used during pilgrimages.

78. The interior of the chapel is modest, with plain pews down the south side only. The
walls curve, the roof curves, and even the floor curves down towards the altar,
following the shape of the hill.

79. PLAY OF LIGHT
―The shell has been put on walls which
are absurdly but practically thick.
Inside them however are reinforced
concrete columns. The shell will rest on
these columns but it will not touch the
wall. A horizontal crack of light 10cm
wide will amaze.‖

81. The south wall which is punctuated with deep splayed windows of variable sizes and in
some cases fitted with colored glass.

85. The chambers within this thick wall are
splayed and tapered to delay and trap
passing light, making each void
inwardly strategy excludes sky glare
stabilizing incoming light and creates a
contemplative luminous environment.

87. Corbusier has been able to use the light of the sun in a most articulate way, expressing the
daily life of the sun as its light, thereby glorifying the creator of it. Walls become dark as
light streams from their openings with great intensity. While light brought from above the
private chapels is soft and comforting, one might feel a certain sense of unrest due to the
power of the light entering through specific

88. The embrasures also have a seasonal rhythm; their openings adjusted in section to intercept high
summer sun, while letting low angles of winter sun penetrate through the width of the church.

89. DAYLIGHT FACTOR SIMULATIONS

91. The structure is made mostly of concrete and is comparatively small, enclosed by thick
walls, with the upturned roof supported on columns embedded within the walls.
ROOF FRAMING
A. 6 cm concrete shell.
B. 10 x 30 cm cast in place lower
beams.
C. 17 cm thick girders.
D. 5 x 27 cm pre cast upper roof
beams.
E. Roof deck 4 cm thick.
F. Scupper for rainwater drainage.

92. The main structural system in the chapel is composed of
reinforced concrete that has been used to construct the
required framework for the building. It has been filled
with stone recovered from the ruins of the old chapel.
The roof is composed of two membranes, each of which
acts as a thin shell separated by a gap of 2.26 m
conforming to the modular proportion.

93. G. 15 cm concrete pylons and 40 x 15 A. Aluminum roof covering.
cm beams. B. 4 – 5 cm cement gunite covering.
H. Reinforced concrete column C. Metal framework of parallel
inside wall. trusses.
I. Girder bearing on column. D. Rotating joint.
J. Masonry walls. E. Trussed pylon.
K. The only exposed column.

94. A. Precast concrete
window frame.
B. Lead glazing
compound.
C. Glass.
D. Plaster on wire mesh
covering precast
concrete and stone.
E. Rubble wall.

95. A. Truss section.
B. 15/10 mm enameled sheet metal
panels.
C. Typical truss cord, 2 30x20x4 mm
angles.
D. 2 30x20x4 mm face angles.
E. Horizontal truss members from
30x20x4 mm angles.
F. Joint with mastic fasteners and lead
washers.
G. Pivot,
H. Base trim panel.
I. Frameless glass.
J. Concrete frame.
K. Metal end panel.

96. CONSTRUCTION
Some pictures of the Chapel while under construction in the early 1950’s.

97. Simplicity- The chapel appears completely organic both in form and in materials. Notre Dame
Du Haut lacks any obvious attempts at accentuating geometry. The materials are left in the raw
and allowed to age naturally. The simplicity of form gives the chapel the feel of sculpture.
Lack of ornate detail allows the building to completely exist as a religious space without any
distractions to pilgrims and worshippers. Lacking mass-produced materials the structure is pure
and simple exemplifying the desired way of life for those who came to the chapel.
Beton Brut Roof-It is said that the smooth curve of the roof is symbolic of praying hands.
South Facing Wall of Windows-Light has been a long time symbol of religion. Gothic
Architecture took this concept to the extreme considering light one of the most important
elements of any religious structure. Light gives the space an ethereal quality.
Sculpture of the Virgin Mary-

98. BIBLIOGRAPHY
• http://architecturalmoleskine.blogspot.com/search?q=LE+CORBUSIER%3A+CHAPE
L+OF+NOTRE-DAME-DU+HAUT%2C+RONCHAMP
• http://en.wikipedia.org/wiki/Notre_Dame_du_Haut
• http://www.greatbuildings.com/cgi-bin/gbc-
search.cgi?search=building&building=Notre+Dame+du+Haut
• http://elplanb-
arquitectura.blogspot.com/search?q=Le+Corbusier%27s+Ronchamp+Chapel
• http://en.wikipedia.org/wiki/Ronchamp
• http://architecturalmoleskine.blogspot.com/search?q=RENZO+PIANO%3A+MONAS
TERY+IN+RONCHAMP
• http://openbuildings.com/buildings/grid?keyword=Notre+Dame+du+Haut
• http://nixpixmix.blogspot.com/search?q=RONCHAMP+CHAPEL+-+FRANCE
• http://en.wikipedia.org/wiki/Le_Corbusier
• http://www.flickr.com/photos/tags/ronchamp/
• http://www.archdaily.com/84988/ad-classics-ronchamp-le-corbusier/
• http://everything2.com/title/Notre+Dame+Du+Haut

99. ARTICLES
• Wallfahrtskirche „Notre Dame du Haut― in Ronchamp
• Notre-Dame du Haut, Ronchamp:A Symbol of Vatican II
• THE CHAPEL AT RONCHAMP AND THE FREE PLAN
• A STUDY OF THE CHARACTERISTICS OF NATURAL LIGHT IN SELECTED
BUILDINGS DESIGNED BY LE CORBUSIER, LOUIS I. KAHN AND TADAO
ANDO
• Notre Dame du Haut, Ronchamp
• A study on the Phenomenon of Light
• GEOMETRIC OPTIMIZATION OF FENESTRATION

100. THE END