The evidence of the French architect, Le Corbusier (Charles-Édouard Jeanneret-Gris), being a fascist is overwhelming. There have been several books, articles, and a documentary describing his involvement in the ultranationalist, often antisemitic, parties of the time; he was even trying to design for Nazi regimes, such as Vichy France and the National Fascist Party in Italy. For more than two decades, the discourse has never been about whether he was fascist but rather how extremely far-right his behaviors were.
‍Charles-Édouard Jeanneret-Gris declared himself, a socialist.
Le Corbusier attended fascist rallies and endorsed Nazism.
He joined the first fascist group in France, Le Faisceau.
He met with Benito Mussolini to discuss the future
of fascist Italy.
He wrote to his mother, “If he is serious in his declarations, Hitler can crown his life with a magnificent work: the remaking of Europe.”
He was a city planner for Marshall Pétain’s Vichy.
Le Corbusier ended his series of over 20 articles, all fascist and racist.
THE  AUTHOR         IS
NOT                 DEAD
Unfortunately, for one of the most influential architects, his impact does not stop after his death, and after a lifetime of endorsing fascist groups and abusing his power, Le Corbusier is still a glorified figure with admirers who would go so far as to try and cover up the disturbing history. They find common ground in the mastery of his work and insist that it is apolitical when the architect himself had used architecture as a tool to spread fascist views. He sought to purify the human race one building at a time with the International Style, only to realize he could achieve his goal much faster as an urban planner. At the scale of a city, his projects strip the landscapes of any cultural context and alienate individuals with endless white walls. Many fascists found refuge in the design language, including Benito Mussolini who used the same kind of monumental whiteness to symbolize Fascism and reform Italy. His followers have mistaken his calculative authority for humanism and therefore become complicit, sometimes even actively reproducing this symbol of hate.
When disciples of Le Corbusier, Lucio Costa and Oscar Niemeyer, designed the capital of Brazil, they tried to recontextualize the architectural language to be a symbol of democracy despite its original intent, but no amount of publications and endorsements were going to change the way citizens from all parts of the country felt silenced within the city. No one spoke this foreign language. Soon after the project's completion, Brazil was overthrown in 1964 by a military dictatorship, coup d'état.
FASC ST              FLOOR
The floor pattern in the Allred Gallery, Kamphoefner Hall, is not only Le-Corbusier-inspired; it is accompanied by a quote, a drawing, and a signature of the fascist architect. The Modulor is an example of the mistaken humanism that has masked the true nature of the proportioning system, which is based on pure mathematics devoid of emotions and everything that is unique about a person. This drawing of a man on the floor, like a murder investigation at the front door, is no different from Le Corbusier’s renderings of naked Algerians he had obsessed over all of his life. In his final book, Creation is a Patient Search, he explained the act of drawing as a vehicle for seeing, except in this narrow-minded way of choosing what to see, he reduced the women to no more than a composition, stripped of any personalities or identities that made up an entire culture. It was his way of taking ownership over people, a form of colonization, as architectural historian Beatriz Colomina pointed out. All of this fills the Allred Gallery where students and faculty are supposed to congregate. The floor pattern is an invitation for fascists to find solidarity within the College of Design. There is no way to keep Le Corbusier’s work without perpetuating his ideals.
Le Corbusier had also used his drawing to terrorize openly bisexual architect, Eileen Gray, forcing her out of her own home. He had come into her house, his genitals fully exposed, to vandalize the walls with images of naked women; one of which was Gray’s body split and distorted through a cubist composition to reveal the unborn baby she would never have with her lesbian partner.
Despite the effort to discredit Le Corbusier as a leader of modernism, our team is not looking to call out the designer or any person involved in the making of the Allred Gallery. We are only interested in the future and what good can come out of this issue so that the College of Design at NC State University can become more conscious and inclusive.

Please join us by signing the petition to redesign the floor and free the space from the fascist pattern.
Dive Deeper into Our References
"Avant-Garde Fascism: The Mobilization of Myth, Art, and Culture in France, 1909–1939"
by Mark Antliff
"All That Is Solid Melts into Air:
The Experience of Modernity"
by Marshall Berman
"Le Corbusier: Un Fascisme Français"
by Xavier de Jarcy
"Un Corbusier"
by François Chaslin
"War on Architecture: E.1027"
by Beatriz Colomina
"A History of Art in Three Colors: White"
published by BBC Four
"Was Le Corbusier A Fascist"
published by Artlyst
"Le Corbusier's Architecture and
His Politics Are Revisited"
by Rachel Donadio
"The Controversy Over the Planned
Le Corbusier Museum"
by Meilan Solly