Shaped like an octahedron, one finds the sculpture Objet Mathématique on the Eindhoven University of Technology campus between the Auditorium and Vertigo building. The meters-high metal sculpture was designed by the architect Le Corbusier and executed by Iannis Xenakis (Le Corbusier 1958, 23-25) in an composition of primary and secondary colors including red, yellow, blue and green. The construction is built out of metal tubes and enameled plates and includes various elements, such as the linework that creates geometric figures like triangles and rectangles. Remarkable is the contrast between the stark lines shaped by the tubes, and the LED lightening in the form of a cursive handwriting, spelling out ‘poème électronique’ (electronic poem). The words refer to the sculpture’s original purpose as it was used to mark the entrance of the Philips pavilion at the first post-war world exhibition in Brussels in 1958. Originally, the LED lightening also included the name ‘Philips’ in recognition of the Eindhoven-based firm that commissioned the pavilion (Kalff, Tak, de Bruin 1958, 37-48). The sculpture is visually intriguing and recognizable due to the saturated colors. The rich hues contrasted with the grey of the pavilion at the world exhibition in 1958, and they continue to contrast with the green landscape of the TU/e campus since its permanent placement between the academic buildings in 2011.
The geometric forms and primary colors strongly influence the appearance of the artwork and could be traced back to the aims of Le Corbusier to put his own system of dimensioning to the test. This ratio system is based on a series of theories titled Modulor, which was published by Le Corbusier a few years before the Philips pavilion was designed and Objet Mathématique was constructed (Fondation Le Corbusier 2000). Because of his Modulor theories and achievements in architecture, Le Corbusier is known for his functionalist construction and design methods that centralize ratio, geometry and harmony (Kalff, Tak, de Bruin 1958, 37-48). The use of red, blue and yellow, as well as the proportions of the lines in Objet Mathématique represent a stylistic ideal of simplicity that is characteristic of Le Corbusier’s work. Given that these were essential components to his work, it seems as if the architect wants to say that only through the principles of the aforementioned elements, innovation can be achieved (Fondation Le Corbusier 2000). In essence one could argue that layered interpretation of the sculpture is not just bound to the physical attributes of lines and forms, but can also be understood through the metaphorical understanding of his Modulor theories.
The original purpose of Objet Mathématique was thus to mark the entrance to the Philips pavilion in 1958, but where exactly did this entrance lead to? The pavilion was a so-called Gesamtkunstwerk: a total work of art consisting of an interplay of various art forms. For this project, Le Corbusier, Iannis Xenakis and music composer Edgar Varèse developed a combination of an external element (the architecture of the building) and an internal component (glass slide projections on the inner walls of the building), accompanied by a musical composition (Fondation Le Corbusier 2000). The sculpture Objet Mathématique formed a part of this totality and fulfills a connecting role between the inner and outer space of the pavilion. On the one hand it had been placed to show the way to the entrance of the pavilion, on the other it provided an opportunity to let visitors get acquainted with the poetic title of the totality of the artwork. As a component of the entrance the sculpture introduced the themes that took center stage in the interior of the pavilion: rhythm, color, image and experimental innovation. Generally speaking, the purpose of the pavilion was to reestablish Dutch innovation. Once this had been achieved at the World Fair in 1958, the art works were to be given fitting permanent locations elsewhere. The sculpture Objet Mathématique was moved to the TU/e campus where it would benefit the university’s ideals regarding innovation. Besides that, it serves as a decorative element. By permanently exhibiting artworks like Objet Mathématique on the campus and by facilitating research into the artworks’ subject matter, the TU/e Art Collection provides the opportunity for a large audience to view the work in the public space and promotes progressive thinking on art and architecture. Besides Objet Mathématique, the TU/e Art Collection features another work by Le Corbusier, a print on paper titled Modulor (1956). The architect’s influence on modern history therefore remains tangible on the TU/e campus.
Authors
Anne van Antwerpen (author) studies art history and performs research into the TU/e Art Collection in 2024
Erik Geelen (editor and translator) is an academic heritage specialist and edits and translates texts for the TU/e Art Collection.
Britte Sloothaak (editor-in-chief) is curator of the TU/e Art Collection.
References
Le Corbusier. Le Poème Électronique.(Éditions de Minuit: Collection Les Cahiers forces vives, 1958)
Kalff, L.C. ,Tak, W., de Bruin,S.L. ‘ V. Verwezenlijking van het ,,Elektronisch Gedicht’’ in het Paviljoen,’ Philips Technisch Tijdschrift, 20, no. 5 (1958): 37-48.
Le Corbusier, Fondation Le Corbusier, The Modulor: A Harmonious Measure to the Human Scale, Universally Applicable to Architecture and Mechanics, ed. Fondation Le Corbusier (Basel: Birkhäuser, 2000)
Images (Soon online)
Image 1: Detail inside of sculpture during refurbishment in 2018. Le Corbusier, Objet Mathématique, 1958, photo by Bart van Overbeeke
Image 2: Detail LED lighting. Le Corbusier, Objet Mathématique, 1958, photo by Peter Wever
Image 3: Installation view on TU/e campus, winter 2021. Le Corbusier, Objet Mathématique, 1958, photo by Bart van Overbeeke
Image 4: Historical photograph of LED lighting as originally designed, Le Corbusier, Objet Mathématique, 1958, from Avery Architectural & Fine Arts Library Graduate School of Architecture, Planning and Preservation (VRC), photographer unknown, courtesy: © 2014 Artists Rights Society (ARS), New York / ADAGP, Paris / FLC
Image 5: Sketch in preparation of placement next to Philips Pavilion. Le Corbusier, Objet Mathématique,1958, from Avery Architectural & Fine Arts Library Graduate School of Architecture, Planning and Preservation (VRC), photographer unknown, courtesy: © 2014 Artists Rights Society (ARS), New York / ADAGP, Paris / FLC
(soon online)