le corbusier resource final

8/4/2019 Le Corbusier Resource Final

http://slidepdf.com/reader/full/le-corbusier-resource-final 1/13

Teachers’Resource

ContentsIntroduction to the exhibition 01

The exhibition 02

The man and his work 03

Project work based on National Curriculum 07

Ideas for working in school 07

The Barbican Estate – the architecture and design 09

Book list 10

Websites 11

Planning your visit 12

Credits 12

BarbicanEducation

do something different

Le CorbusierThe Art of Architecture

Portrait of Le Corbusier, 1960-65 © FLC, Paris and DACS, London, 2009



© Barbican Education 2009

Teaching Resource

01

Introduction to the exhibition These notes are written to assist teachers in getting to knowthe work of Le Corbusier, suggest curriculum related workat key stages, 1, 2 and 3 and give ideas of related work forstudents inspired by the exhibition.

These notes will help teachers to address the followingquestions

• WhywasLeCorbusiersoimportant?

• Howcanheinspireschoolpupilstoday?

• Washeaherooravillain?

• Howdidhisideaschangetheworld?

• Whatwerethedesignideasheproposed?

• Howdidhisdesignphilosophyevolve?

• Inwhatwaysaretheserelevanttoourunderstanding

thedesignofthebuiltenvironmenttoday?

introductionto the

exhibition



Explore the extraordinary career and enduring legacy ofLe Corbusier (1887–1965), iconic architect, designer, writerand artist, in the first major exhibition of his life and work inBritain for 20 years.

Undoubtedly the single most influential architect ofthe twentieth century Le Corbusier was also the most

controversial. Across the world, his revolutionary designswere instrumental in the development of modernarchitecture, forever changing the environment in whichwe live and the way we think about architecture.

Featuring unique drawings, models, paintings, furniture,photographs and films, Le Corbusier – The Art of Architecture takes an in depth look at the projects, interiors and art of LeCorbusier and reveals the man behind the myth.

The exhibition is split into three sections entitled Contexts,Privacy and Built Art.

Contexts features six cities that shaped Le Corbusier’slife and work and his ideas about the built environment: LaChaux-de-Fonds, Paris, Moscow, Rio, Algiers and NewYork. These cities are chosen to illustrate the historical and

social context that shaped Le Corbusier’s work, prior toWorldWarII.

Natural objects and artefacts collected by Le Corbusierintroduce the idea of the “ready made” and the foundobject as crucial aesthetic principles for Le Corbusier, linkinghis work to geographic and cultural surroundings.

Privacy and Publicity shows the evolution of LeCorbusier’s work until around 1930, focussing on therelation between object, architecture and the domesticspace. Seven seminal houses and interiors are represented.Furniture, paintings, sculptures and tapestries give furtherinsight into Le Corbusier’s artistic preoccupation with thehuman environment.

Built Art contains large scale projects and artworks fromthelateperiodofhiscareer.ItshowshowLeCorbusiermastered working in both small and large scale. This was akey element in his major influence on the definition of publicspace and the monumental in the architecture of the 20thcentury.


Teaching Resource

02

The exhibition

“FemmeetcoquillageIV”1948Mural in the office at rue de Sèveres© FLC, Paris and DACS, London 2009




The Formative Years (1887–1922)

Le Corbusier was the pseudonym of the Swiss born architectCharles-EdouardJeanneret-Gris.Hewasapprenticedasa watch engraver in his home town in Switzerland. Thiscraft course was based on the ideas of the Arts and CraftsMovement and this continued to influence him when hetransferred his apprenticeship to architecture. The emphasisof this apprenticeship was ‘learning by doing’ and so heworked with a mentor on the design and construction ofhouses for wealthy clients. Based on his own initiative hebegan travelling within Europe studying the history andtheoryofclassical,medievalandIslamicarchitectureandvisiting the sites and buildings from these periods of history.Heanalysedthestructuralandspatialqualitiesofthesebuildings through drawing them in the sketchbooks hecarriedwithhim.Hewasparticularlyinterestedinrecordingthe ways in which he felt the builders had captured the spiritof their age in the form of these buildings.

Through extensive travel and self directed study of botharchitectural theory and history his cultural horizons were

broadened and a whole new world of ideas and freshchallenges opened up to him.

Two houses from this period shown in detail in the exhibitionare these domestic buildings, both in La Chaux-de-Fonds:

Villa Fallet – A family home built on a hillside. The detailand ornament of the house is based on geometric patternsand the simplification of natural forms, like seeds and leaves.The design philosophy of this house is an extension of nature

and in harmony with its site, a position that was the core ofthe Arts and Crafts Movement.

Villa Schwob – A home for a wealthy family wantinga design to reflect their social standing. The expressionofnature,thathadbeensomuchapartofVillaFillethasgone and any decoration is reduced to lines that define theforms of the building and link the separate parts togetherinaproportionalcompositionofgeometricshapes.Inthis design, he began to focus for the first time on theinterior of the building and envisage how the occupantswouldexperiencethespaces.Inlaterlifehesaidthathe considered this to be the first design in which he wasthinking as an architect.

Teaching Resource

03

The man and

his work

TopLeftimageVillaFallett©FLC/ADAGP,ParisandDACS, London 2008BottomLeftimageVillaSchwob,LaChaux-de-Fonds,1916–17



A Rational Approach (1917–1944)

In1917LeCorbusiermovedtoPariswherehelivedfortherest of his life.

Herealisedthathisearlyeducationhadbeeninadequate,so he attended courses in mathematics, science andengineering.Hereadbooksonphilosophy,historyandpolitics and was drawn into the avant-garde world ofpainters, writers and architects who envisaged themselves associal revolutionaries whose idea was to rebuild society inorder to give people a better life.

Inhislateteenshehaddevelopedafeelingthathehadaprophetic and visionary role to play in re-ordering societywhich he considered was in terminal decline due to its overindustrialisation, commercialism and lack of social vision. Thisdeep social commitment stayed with him throughout his life.

Whenhesetuphisownstudioin1918hestartedtopublicise his ideas on architecture and ‘the machine age’on which his design philosophy was based. For him a

house was to be thought of as a machine to meet theneeds of living. Public perception of the buildings basedon this design approach was negative and they deemedthebuildingsasbeingugly.However,therewerewealthyclients who thought such buildings were a novelty and somany of them commissioned Le Corbusier to design thehousesthatwereintheforefrontoffashion.Itwasthesebuildings that established him on the world stage but after anumber of years he became disillusioned with his buildingsbeing fashion icons and turned to the design of buildings tomeet the expanding needs of society.

Villa Savoye (1928-1931) illustrates how far LeCorbusier had moved away from his earlier Arts and Craftsapproach. The rational plan and structure of this home inPoissy combined with the composition of interlinked spacesand geometric shapes make it clear that it is a ‘man made’design statement in contrast with nature. The visual contrastis given even greater impact by the building being painted

white and raised off the ground on slender stilts.

Cite de Refuge (1929-1933) was designed as aSalvationArmyrefugeforthehomelessofParis.Itwasthefirst time that such a hostel had been designed as a newbuildingratherthanconvertinganexistingone.Hetooktheopportunity to create a building full of sunlight and fresh air,‘afactoryofgoodness’.Indesigningthisbuildinghewasalso testing out many of his ideas for urban buildings in thenew cities that he envisaged building.

Throughout this period of his life he was developing theoriesof urban design developed around the idea of high-risebuildings which he saw as the answer to the housing crisisand a way of raising the quality of life for people living in

cities. The density of population in such high rise buildingsreleased large areas of land for parks, community buildingsand a segregated transport system for vehicles andpedestrians.


Teaching Resource

04

TopLeftimageVillaSavoye,Poissy,1928-31©FLC,ParisandDACS,London, 2009Bottom Left image Cité de refuge, Paris,1929-33 © FLC, Paris andDACS, London, 2009



Ancient Associations (1945–1965)

Le Corbusier is often presented as having a designapproach that follows a defined and systematic path – arigid sequence of one idea following another – but we cansee from his own words that nothing could be further fromthe truth.

“When a job is handed to me I tuck it away in my memory,not allowing myself to make any sketches for months on end.That’s the way the human head is made; it has a certainindependence. It is a box into which you can toss theelements of a problem any way, and then leave it to ‘float’,to ‘simmer’, to ‘ferment’. Then one fine day there comes aspontaneous movement from within, a catch is sprung; youtake a pencil, a charcoal, some coloured crayons….and yougive birth on the sheet of paper. The idea comes out… it is born”.

Itwasinthislastcreativeperiodofhislifethatthisdesignprocess came into its own and produced what manyarchitects think of as his most poetic buildings. They aredramatically sculptural and are in sharp contrast to his

earlierbuildings.Itisimportanttonotethatinthedesignofall his buildings he considered the design of every part fromthe smallest details to the overall structure.

Although his earlier buildings were very rational in designLeCorbusierwasnevertotallyamaterialist.Hisbuildingsalways have a sense of poetry and encourage theoccupant to interpret them through the sensory experienceof their spaces. Throughout his life he believed that theunderlying order he had observed in nature and which hetried to bring to his architecture was evidence of a spiritualdimension to life that he wanted his buildings to contain.

“Architecture is the masterly correct and magnificent play of volumes brought together in light”.

Hewasalwaysinterestedinhowpeopleexperiencedhis buildings through their senses and this knowledge hadallowed him to ‘play’ with the intensity of this experience inmuch the same way as a musician plays with our emotions

through sound. The acoustic qualities of his buildings werevery important to him, but it was the extended range of lightand shadow that had the most impact in the interior spacesand contributed to the spiritual quality he wanted them tohave.

Hewasinterestedin‘thelayersofmemory’thatthesitesofhis buildings contained, and how this knowledge informedthe design processes of his imagination.

Hewasinterestedindevelopingthevisualpotentialthathe sensed between the interior and exterior spaces ofbuildings and the relationship of the interior of the buildingtothehorizon.Hedesignedtheopeningsinthewallstoemphasisethisinside/outsiderelationshipandsuch

openings were never just doors and windows but devicesby which he could frame a specific view and in this waylocate the building in its landscape.


Teaching Resource

05

NotreDameduHautChapel,Ronchamp,1950-55©FLC,ParisandDACS, London 2009



As well as being an artist, architect and furniture designerhe was also a prolific writer, with his most seminal workbeing Towards a New Architecture (1923) an impassionedmanifesto giving full expression to his radical ideas onarchitecture and urban design. Through this book and otherpublications he was enormously influential among post-wararchitects and planners in Britain although he never built in

this country. Many of his ideas for housing that were built inthis country have had a ‘bad press’ for a whole range ofcomplex reasons most of which do not invalidate the ideasbut only the implimentation.

Notre-Dame-du-Haut Chapel, Ronchamp (1950–54)Hismostvisionaryworkisoftenconsideredtobethispilgrimage church located on a hilltop that had been asignificant religious site for centuries. Le Corbusier wasinvited to design the building as part of a movement in theCatholic Church to use art and architecture to explore theroots of religion. The feeling was that the traditional forms ofchurch architecture had lost their meaning for people andthat the Church had to turn to the most vigorous creators of

modernartandarchitecturetoputthisright.InthisbuildingLe Corbusier responds to the sacredness of the site bothfor the individual at prayer within the building and to thecrowds of pilgrims who gather on the hillside. The sculpturalform of the building is dominated by the shape of the roofwhich is based on an inverted crab shell that Le Corbusierfound on a beach and kept in his studio. Throughout hislife he kept such natural objects around him to stimulatehis imagination and promote design ideas for the detail,structure and overall form of the architecture he wascreating. The unique shape of the building also respondsto the acoustic needs of the interior chapels and exterior

pilgrimage space. The sculptural form also emphasises therelationship of the building to its location in the landscape aspilgrims approach it from a distance.

Unite d’Habitation(1946–1952)This was the first commission granted to Le Corbusier forsocial housing and was an opportunity to incorporate many

oftheideashehadbeendevelopingformanyyears.Itaimed to provide accommodation for individual families ina building that promoted a sense of community. The familiesthat were housed in this complex building had lost theirhomes in the recent war and so there was a great sense ofthis project being a ‘flagship’ for reconstruction. The buildingis constructed from in situ reinforced concrete and contains337 apartments and communal spaces including a nurseryschool,shops,hotelandrooftopterrace.Itwasinthisbuilding that Le Corbusier tested out the proportional systemof measurements that he called “The Modulor”. This systemwas developed in order “to unify” the design of the buildingby relating the different parts of the building one to anotherand to the scale of the human body. As an example of masshousing this building was very influential and four similar

United’HabitationwerebuiltinFranceandGermany.

Teaching Resource

06


Unitéd’habitationdeMarseille,roofview,1946-52©FLC,ParisandDACS, London, 2009


http://slidepdf.com/reader/full/le-corbusier-resource-final 8/13© Barbican Education 2009

Teaching Resource

07

SchemesofWorkarelistedforArt,DesignandTechnologyand other subjects that are related – Citizenship,Geography,History,ScienceandMusic.

The life and work of Le Corbusier presents manyopportunities for carrying out cross-curricular as well asindividual subject project work inspired by Le Corbusier –

The Art of Architecture.

ThetextdescribingtheSchemeofWorkineachsectionbelowarebasedonthetextontheQCAWebsite–www.standards.dfs.gov.uk and this can be entered by going totheirHomePageandloggingontoSubjectList.

TheinitialSchemeofWork–Visiting a Museum/Gallery is applicable to all stages of the curriculum.

Visiting a Museum/GalleryKS 1 + 2 + 3This unit provides the structure for a visit to a museum orgallery or site. The visit would be most effectively used atthe start or in the middle of project work so that work back

at school can be based on the information and experienceacquired.Ifitisusedattheendofaunititcanroundoffwork in an enjoyable and exciting way but, in order to beeffective, children must be able to see it as the culmination ofwhat they have been learning .

ART AND DESIGN

Can buildings speak?KS 1 + 2 Unit 2C Yrs 1 + 2Inthisunityoungpeopleexploretheshape,materials,detailand structure of buildings. They question how these features

tell us something about the purpose of the building and thedesigner’s intentions. The work of Le Corbusier is ideal forthis project work because he started to design his buildingsbased on what happened inside them and the environmentthat would respond to those needs. This means that theirexternal appearance is an expression of what happensinside them.

A Sense of PlaceKS 1 + 2 Unit 6C Yrs 5 + 6Inthisunityoungpeopleexploretheurbanlandscapeas a starting point for 2D-3D work in response to theirexploration. They record their observations through drawingand photography. They use shape, form, space, colour,texture and pattern to develop and communicate theirunderstanding of and response to the ‘sense of place’ inthatlocation.Hisunderstandingofthecharacteristicsofaplace were fundamental to the way Le Corbusier designedhisbuildingsinboththeurbanandrurallocations.Hedeveloped an intuitive response to the places he visitedand the sites of his buildings and this was based on hisobservations and his feelings about such places.

What’s in a Building?KS 3 Unit 7B Yr 7Inthisunityoungpeopleexploretheirideasandfeelingsabout buildings and their experiences of walking throughthe spaces they contain. They record the experienceindrawings,collagesandpaintings.Intheprocessofdesigning an building Le Corbusier put himself in the placeof a person walking through the spaces he was designing.Hewantedthespacesinthebuildingtoaffectthesensesofthe occupants through the quality of the light, the acoustics,the shape of the spaces, their colour, their temperature, thesurfaces of the space, etc.

project workbased on

the nationalcurriclum

VillaSchwob,LaChaux-de-Fonds,1916–17



Teaching Resource

08

SCIENCE

Grouping and Changing MaterialsKS 1 + 2 Unit 2D Yr 2Through this unit young people learn to distinguish betweenan object and the material from which it is made. Theylearn the ways materials are changed in the process ofmanufacture and how they are used in the process offabrication. The buildings of Le Corbusier illustrate how heused different materials and how such materials gave ‘a

visualcharacteristic’tothebuildings.Hisprimarymaterialbecame insitu concrete reinforced with steel to resist thetensile forces in such a structure. The exploration of suchbuildings in the exhibition and the materials they are madefrom make this an ideal vehicle to deliver the aims of this unit.

LightKS 3 Unit 8K Yr 8Inthisunityoungpeopleexpandtheirknowledgeoflightand explore the ways in which light is used in architecture.Le Corbusier used light in many ways both functionally andto generate a sensory response in the occupants of thespacesinthebuildings.Healsostudiedthewayinwhichthe shadows cast by sunlight could increase the sculpturalmodelingoftheexteriorofthebuilding.Heorientatedhis buildings in relation to the path of the sun so that

sunlight would enter through window and rooflights andso “dramatise’ the interior. The methods he used to obtainsuch affects are illustrated in the exhibition in photographs,drawings and models

MUSIC

Exploring Sound ColourKS1+2Unit13Yrs3+4Inthisunityoungpeopleexplorehowsoundscandescribethe feelings stimulated by spaces in buildings. They createsimple sound compositions combining rhythm, tone andmelody to illustrate the feelings generated in both internaland external spaces. Through the buildings of Le Corbusierthey can explore the way he used the more abstract

qualities of sound.

Music and MediaKS 3 Unit 13 Yr 9This unit develops young peoples ability to recognise thatsound enhances a visual image or the sensory experienceof a building. They can use both electronic and acousticdevices to compose their own response to a space theyhave visited.

SoundscapesKS 3 Unit 3 Yr 7This unit develops young people’s ability to explore soundsand using both acoustic and electronic sound sources tocreate a soundscape for a space or place they know orhaveimagined.Intheexhibitiontheycanseeexamplesof

buildingsinwhichLeCorbusierworkedwithacomposer/acoustician to intensify the experience of the building and itssite through sound.

DESIGN AND TECHNOLOGY

HomesKS 1 + 2 Unit D Yr 1This unit gives young people an opportunity to understandthe different types of buildings in which people live. Tounderstand how such buildings are designed and torelate this to the design of the building in which they live.The exhibition offers the chance for them to explore thedomestic buildings Le Corbusier designed. Based on this

they should propose their own ideas for the spaces in adomestic building and the external appearance of thebuilding generated by these spaces. Le Corbusier wantedthe spaces in his domestic building to improve ‘the quality oflife’ of the people who lived in them.

The World of Professional DesignersKS 3 Unit 08f Yr 8The main aim of this unit is for young people to learn aboutthe work of designers and engineers who have influencedthe development of the built environment in which theylive. The life and work of Le Corbusier is an example ofthis process because he has influenced both the way thatdesigners see their role in society and his ideas on townplanning, architecture and product design have influencedthe built environment in which we live.

CITIZENSHIP

ChoicesKS 1 + 2 Unit 02 Yrs 1 – 6Inthisunityoungpeoplediscusstheirlikesanddislikesand the difference between areas of the built environmentthey know. They discuss the knowledge and skills that arerequired to analyse different types of environment. As thework of Le Corbusier has had such an influence on theenvironment in which we live it provides an excellent vehicleforsuchapersonalstudy.InunderstandingtheworkofLeCorbusier and the influence it has had we have to explorehis philosophy and his aim that design should improve thequality of peoples lives.

What’s in the Public Interest?KS 3 Unit 20 Yrs 7 +9Inthisunityoungpeopleconsidertheconflictingrightsandresponsibilities involved in town planning such as those ofindividualsandtheinterestsofthewiderpublic.Inhisworkon urban design and town planning Le Corbusier wasaddressing these issues throughout his life both at the scaleof spaces for individual people and at the scale of politicaldecisions that affect a whole community.

GEOGRAPHY

What is Development?KS 3 Unit 16 Yr 9This unit focuses on the theme of development and changein the built environment. Young people are to discuss theirown sense of values as they relate to the built environmentand in relation to town planning proposals to develop anarea they know. This was an issue that Le Corbusier hadto address in his town planning because his ideas were so

radical and left little or no room for compromise. Due totheir scale many of his development proposals were neverbuilt because they involved too much change in the fabricof cities but many of the ideas they contained to improvethe quality of life in cities became standard practice in townplanning. The debate they generated still continues as citieshave to accommodate more and more people.

HISTORY

The Life of a Famous PersonKS 1 + 2 Unit 20 Yrs 5 + 6Inthisunityoungpeoplecanlearnaboutaspectsofrecenthistory through the study of the life of Le Corbusier and theimpact his ideas and buildings have made on society. Theywill learn about changes both within and across the period,

and apply their skills of historical enquiry to a study of therecentpast.InhisdesignphilosophyLeCorbusierstressedthe importance of historic continuity and the role thatvisionary and creative individuals play in the evolution ofsociety.

The Role of the IndividualKS 3 Unit 22 Yr 7 -9This unit gives young people the opportunity to analyze therole of the individual in history and to assess how far such aperson can change the course of history. From a very earlyage Le Corbusier saw himself as such an individual with avisionaryroletoplayinsociety.Herealisedthathehadtoequip himself to play that role through education, travel andaprocessoflifelonglearning.Healsofeltitwasimportant

to study the lives of other ‘visionary’ individuals and spendtime in the company of people who were having an impacton contemporary society.



Teaching Resource

09

• ThenameBarbicandatesbacktoRomantimeswhen the area formed part of the walls of the old cityof Londinium. Ruins of these and later additionscan still be seen around the estate. The Latin wordBarbecana means a fortified outpost or tower.

• Onthenightof29December1940,theLuftwaffe

destroyed almost every building from Aldersgate Streetto Moorgate, leaving only St Giles church, heavilydamaged, but still standing.

• Fromabustlingpopulationof14,000inthemid-19thcentury,by1945,just48peoplelivedintheparishofCripplegate.

• TheestatewasdesignedbyarchitectsChamberlin,Powell and Bon. Their design was heavilyinfluenced by the ideas of Le Corbusier and inparticular, his Unite d’Habitation housing project inMarseilles, completed in 1952. The architects wantedto create an urban village with a church, a pub, aschool, library and a range of small shops.

• CentraltotheBarbicanEstatedesignwasthetotal separation of pedestrians from traffic andtransportation. They adopted the principle of apodium with a network of high walkways within thesite.

• Althoughdesignworkbeganin1959,theprojecttookover 20 years from conception to completion. Most ofthe residential blocks were built between 1969 and1980. Flats are mainly grouped in three tower blocksandseventerrace/slabblocks,whichrisesevenstoreysabove podium level.

• TheBarbicanEstateandArtsCentrecontaineightacres of gardens and lakes and were Grade IIlisted in 2001 in recognition of their unique design.

• TheBarbicanisEurope’slargestartsandconferencevenue and was opened by the Queen on 3 March1982.Itis560feetlongand170feettall,butbecause

ofheightrestrictions,onlyrises104feetabovegroundlevel. Much of the structure is underground.

• TheBarbicanestatewasdesignedtoprovidehigh-class accommodation for city types - it was neversocial housing as many people believe. Some of theblocks consist of smaller pied a terres and studios,designed for junior executives and secretaries. Afterthey had worked their way up the corporate ladder,they could move to bigger flats in blocks, one of theterraced houses or if their lottery ticket came up, theycould consider moving to one of the six two-storey5,000 sq ft penthouses in the towers, complete withrooftop conservatories.

Find out more by clicking here

Exploring the

Barbican Estate

http://www.barbican.org.uk/media/upload/visitor%252information/129WalkThrough-barbican.pdf





Teaching Resource

10

These are books recommended to teachers wishing toresearch the life and work of Le Corbusier in more detail: StanislausvonMoos,AlexandervonVegesack,andMateoKries (2007) Le Corbusier: The Art of Architecture London:VitraDesignMuseum

Le Corbusier (author), Jean-Louis Cohen (introduction), andJohn Goodman (translation) (2008) Towards an Architecture London: Frances Lincoln Publishers

Le Corbusier (2007 revised edn) Journey to the East UK:MITPress

Tim Benton (1975) Form and function: A source book for theHistory of architecture and design 1890-1939 UK: CrosbyLockwood Staples

WilliamCurtis(1992)Le Corbusier: Ideas and Forms UK:Phaidon Press Ltd

Sarah Menin and Flora Samuel (2002) Nature and Space - Aalto and Le Corbusier UK: Routeledge

Peter Blake (1963) Le Corbusier: Architecture and form UK:Penguin

Ruth Eaton (2002) Ideal Cities: Utopianism and the (un)builtEnvironmentUK:Thames&Hudson

Flora Samuel (2007) Le Corbusier in Detail UK: Architectural

AWogenscky(2006)Le Corbusier’s HandsUK:MITPress

Book list



These are websites recommended to teachers wishing toresearch the life and work of Le Corbusier in more detail.

www.barbican.org.uk/lecorbusierThe official microsite of the Barbican exhibition.

www.fondationlecorbusier.comThe official internet site of the archive of material related tothe life and work of Le Corbusier.

Architecture Organisations

RIBA www.architecture.comCABE www.cabe.org.ukOpenHouse www.openhouse.org.ukArchitecture Network www.architecturecentre.net


Teaching Resource

11

Where to find

out more

Cité de refuge, Paris,1929-33 © FLC, Paris and DACS, London, 2009



Teaching Resource

12

Barbican Art GalleryLevel 3 Barbican CentreSilk StLondon EC2Y 8DS

For all group bookings and general enquiries please callthe Groups Booking Line on 020 7382 7211, fax 020

7382 7270 or email [email protected] telephone booking line is open 10am–5pm, Mondayto Friday.

Gallery opening times11am–8pm except Tuesday and Thursday 11am-6pm,Thursday evenings open until 10pmAdmission£8/£6concessions£3 schools and full time student groups of 10 or more,Mon–Fri onlyTeachers/groupleadersgofreewithgroupsof10ormore studentsDedicated group booking line 020 7382 7211

How to find usBarbican Art Gallery is on Level 3 of the Centre. Enter viathe main entrance on Silk St and cross the Foyer to the liftand stairs to reach Level 3.

Nearest tube stations:Barbican, Moorgate, St Paul’s, Liverpool Street

Nearest train stations: Liverpool St, Farringdon, CityThameslink, Barbican, Moorgate

Coach: there is a setting down and picking up point in SilkSt. Parking is limited to the metered bays in Silk St and ForeSt. For further information contact 020 7606 3030, askingfor Parking Services

Disabled visitorsBarbican Art Gallery is fully accessible for wheelchair users.ForfullAccessinformationpleasevisithttp://www.barbican.org.uk/visitor–information/disability–access.Youcanalsocall or email the Barbican Access Manager on [email protected]/7083.

CloakroomsThere is a free cloakroom on Level 3, directly outside the ArtGallery.

ToiletsThere are toilets on Level 3 directly outside Barbican ArtGallery, and in addition on Level –1 for when you are onyour way into and out of the Centre.

Cafes / Packed LunchesIfyouhavebroughtpackedlunchesyoucaneatinthestallsfloor foyer (Level –1) the main foyer (Level G) or outside onthe Lakeside where there are plenty of picnic benches andtables.

WatersideCafé,justoffthefoyeronLevelG,offersfull

meals as well as sandwiches, drinks and also children’smeals.

PhonesYou can find public telephones in the lift lobby just acrossthe road from the Level –1 exit and on Level 2.

Further informationThere is medical assistance available on site at all times.Full evacuation staff are available at all times.Barbican Education has a full CRB child protection policy.IfyouwouldliketoseethefullpolicypleasecontactBarbican Education on 020 7382 2333.

Please also contact Barbican Education if you would likerisk assessment information.


Top tips for planning your visitBeforehandBook your visit via our dedicated groups booking line –020 7382 7211.Seewww.barbican.org.uk/educationfor information aboutother Education events.

Preliminary visitMake a preliminary visit before bringing your group. Thiswill enable you to make best use of your visit to achieveyourteachingandlearningobjectives.Ifyouhaveanyquestions during your visit, please speak to a member of theArt Gallery staff who will be happy to help.

Planning your visitUse your preliminary visit to plan how your students will usetheir time. Create your own worksheets – we have includedsome ideas in this resource, but are fully aware that one sizewill never fit all.

At the exhibitionWesuggestyouvisittheGalleryingroupsofnomore

than 30 students. Make sure your group have materialsfordrawingandnotetaking.A4clipboardsandpaperorsketchbooks would be ideal.

ContactWewouldwelcomefeedbackthisteachers’resourceandthe exhibition.

Credit:Written by John Bishop and Catherine Clements,Places Matter!

Edited by Christine Stewart, Barbican EducationHelen Burridge, Barbican EducationThanks to Places Matter!, Barbican Education for the

planning and content of these teachers’ notes, and toVitra Design Museum, Fondation Le Corbusier andRIBA North West for their assistance.

Barbican EducationBarbican CentreSilk StLondon EC2Y 8DST: 020 7382 2333F: 020 7382 7037E: [email protected]

An RIBA Trust/Barbican presentation of anexhibition of the Vitra Design Museum in

collaboration with the RIBA Trust and theNetherlands Architecture Institute.

The exhibition has been curated by Stanislaus von Moos,Arthur Rüegg and Mateo Kries.

BarbicanandtheRIBATrustaregratefulforadditionalsupport from the exhibition’s National Associates: Duravit,ERCO,LiverpoolJohnMooresUniversity,ShedKM,Stoand Urban Splash.

Planning

your visit London Wall

L a k e s i d e

barbican

M o o r g a

t eF o r e S t

W o o d S

t

M o o r f i e l d s

Moorgate

M o o r L a n e

Chiswell St

M i l t o n

S t

S i l k S t

Ropemaker St

Mansion House Bank

Liverpool StBarbican

A

l d e r s g a t e

S t

St Paul’s

B e e c h S

t

The Barbican Centre is provided by the City ofLondon Corporation as part of its contribution tothe cultural life of London and the nation

le corbusier resource final

Documents