The Modulor is an anthropometric scale of proportions devised by the Swiss-born French architect Le Corbusier (1887–1965). Developed as a visual bridge between the Imperial and metric systems, it is based on the height of a man with his arm raised. The standard human height was considered as 1.83 meters, with the overall height of the raised arm set at 2.26 meters. This system, developed in the 1940s, offers a novel method for architectural measurement based on human proportions. The Modulor system transcends traditional imperial and metric units, harmonizing space and scale in architecture and furniture design. Le Corbusier conceived the Modulor to ensure that spaces are both functional and aesthetically appealing. Centered around the dimensions of an average male figure, the system includes a range of measurements extending to a raised arm height of 2.26 meters. This framework guided the proportions in Le Corbusier’s projects, such as the Unité d’Habitation in Marseille and the Chapel of Notre Dame du Haut in Ronchamp. By focusing on human-centric design, Le Corbusier bridged the gap between architectural theory and practical experience, laying a foundation that continues to influence modern architecture.
History
Le Corbusier developed the Modulor, building upon ideas from ancient and Renaissance thinkers like Vitruvius, Leonardo da Vinci’s Vitruvian Man, and the architectural principles of Leon Battista Alberti. This lineage sought to identify mathematical proportions in the human body that could elevate the aesthetic and functional aspects of architecture. The Modulor, influenced by human measurements, does not directly replicate them but rather incorporates elements such as the double unit, the Fibonacci sequence, and the golden ratio. Le Corbusier referred to this as a “series of harmonious measurements that conform to human scale and can be universally applied to both architecture and mechanical designs.”
Through the Modulor, Le Corbusier aimed to bridge two disparate measurement systems: the Anglo-Saxon foot and inch and the metric system, drawing inspiration from ancient civilizations’ body-related measurements like elbow (cubit), finger (digit), thumb (inch) etc.
“In 1945, Le Corbusier succeeded in devising a complete system of proportions linking the principle of modularity and the golden section,” writes Jean-Louis Cohen in Le Corbusier Le Grand. “Devising yet another linguistic invention, he gave the name Modulor to this system, which was based on the statistical height of the average man: 1.75 meters (5 feet 9 inches). From that point on, the measuring scale of the Modulor enabled Le Corbusier to establish the dimensions of all the elements in all his buildings, which would thus be considered automatically adjusted to “the measure of man”- and thus harmoniously coordinated with one another.”
Graphic Representation
The Modulor’s graphical illustration features a stylized human silhouette with an uplifted arm, flanked by two color-coded vertical scales. The red scale, originating from the figure’s navel height, measures 1.08 meters in the initial version and 1.13 meters in the updated model, segmented by the golden ratio (Phi). The blue scale, equal to twice the navel height, totals 2.16 meters initially and 2.26 meters in the revised version and is segmented similarly. Between these two scales, a spiral unfolds that visually echoes the human body’s contours.
The detailed illustration of the Modulor 2 was created by André Maissonier and Justino Serralta.
Application of the Modulor
This framework guided the proportions in Le Corbusier’s projects, such as the Unité d’Habitation in Marseille, Church of Sainte Marie de La Tourette, Carpenter Center for the Visual Arts, Chandigarh Capitol Complex, the Chapel of Notre Dame du Haut in Ronchamp, and others.
Unité d’Habitation in Marseille
The Unité d’Habitation in Marseille, completed in 1952, exemplifies the practical application of the Modulor. This residential building utilizes Modulor dimensions for its spatial organization and unit sizes, ensuring well-proportioned and comfortable living spaces. Similarly, the Chapel of Notre Dame du Haut in Ronchamp, completed in 1955, showcases how the Modulor principles enhance spatial dynamics and structural elements, creating a harmonious and spiritually resonant environment.
The Unité d’Habitation adheres to the Modulor system, ensuring every space is proportionate to the human body. The building’s dimensions, from overall height to minute details, derive from the Modulor, creating a functional and harmonious structure.
Each apartment is designed according to Modulor principles, with ceiling heights, room dimensions, and furniture layouts based on the human scale. This ensures comfortable and psychologically pleasing living spaces. Double-height living rooms, for instance, provide spaciousness while adhering to Modulor proportions.
The building includes various public spaces like corridors, communal areas, and rooftop terraces, all designed with the Modulor system. The width of corridors and height of communal spaces ensure ease of movement and comfort, fostering a pleasant living environment.
Structural elements such as the brise-soleil (sun breakers), columns, and support beams follow Modulor measurements. This provides structural efficiency and contributes to the aesthetic harmony of the building. The brise-soleil, for example, is spaced according to Modulor dimensions, offering functional shading and visual rhythm.
Staircases and elevators are designed with the human scale in mind. The steps, risers, and handrails of staircases ensure comfort and safety, while elevators are sized to accommodate residents comfortably, reflecting the Modulor’s influence on vertical circulation.
The rooftop is a multifunctional space incorporating a running track, a small pool, and a children’s play area. These amenities are designed according to Modulor principles, ensuring they are functional and proportionate. The rooftop serves as a communal space where residents can relax and socialize, enhancing the building’s livability.
Chandigarh Capitol Complex
The design of Chandigarh’s Capitol Complex is heavily influenced by Le Corbusier’s Modulor system, featuring proportions that align closely with human dimensions. The buildings’ heights, column spacing, and layout are all designed according to the Modulor Man’s measurements, creating ergonomic and aesthetically pleasing spaces. This approach demonstrates a seamless blend of form and function, making the complex a striking example of Le Corbusier’s vision. It stands as a significant part of Chandigarh’s cityscape, showcasing the enduring influence of the Modulor system on architectural design.
Mill Owners’ Association Building, Ahmedabad
The exterior of the Mill Owners’ Association Building is a blend of mathematical accuracy and human-centric design. The facade features recurring patterns and a symmetry that conforms to the proportions of the Modulor Man, achieving a balanced and rhythmic appearance. The Modulor system’s guidelines inform the dimensions and placement of windows, floor heights, and the overall proportions of the building components, ensuring that each element contributes to the structure’s harmony and aesthetic coherence.
Chapel of Notre Dame du Haut in Ronchamp
Le Corbusier’s Chapel of Notre Dame du Haut in Ronchamp, completed in 1955, prominently showcases his Modulor system of proportions. In Ronchamp, the Modulor guided the sizing of doors, windows, and structural components to align with human scales, enhancing the spiritual and sensory experience.
The Modulor in Design
The Modulor’s influence extended beyond architecture into furniture design, as seen in the iconic LC2 chair, where proportions ensure ergonomic comfort and visual balance. This holistic approach underscores Le Corbusier’s commitment to designing spaces and objects that align with human dimensions.
The LC2 chair, part of Le Corbusier’s LC series designed in 1928 alongside Pierre Jeanneret and Charlotte Perriand, exemplifies modern furniture with its clean, functional form. Known as the “Petit confort” armchair, it features a minimalist, geometric design with a tubular steel frame and plush cushions, blending industrial materials with luxurious comfort. The LC2 chair like others in the series, was intended for mass production, aligning with Modernist ideals of accessibility and efficiency. Le Corbusier’s architectural philosophy, particularly his concept of “a house as a machine for living,” is reflected in the LC2’s design, which also incorporates principles from his Modulor system to enhance aesthetic proportion and practical function.
The Modulor and Albert Einstein
In Le Corbusier’s vision, the human scale would henceforth determine every aspect of architecture, planning, and design, from the width of city boulevards to the height of door handles. However, before he could fully implement his vision, he needed to gain support from influential figures. During a visit to Princeton, New Jersey, in 1945, Le Corbusier met with Albert Einstein, the German-born theoretical physicist and author of the world-famous Theory of Relativity. Reflecting on their meeting, Le Corbusier recalled, “I had the pleasure of quite a long chat about the ‘Modulor’ with Professor Albert Einstein at Princeton. At the time I was very unsure of myself, and anxious, explaining myself badly, explaining the idea badly, getting bogged down in ‘cause and effect.’”
It seems that during the meeting, Einstein picked up a pencil and began a calculation. “Foolishly, I interrupted him, causing the conversation to shift, and the calculation was abandoned,” Le Corbusier remembered. “The friend who had introduced me was terribly upset.” Although the meeting had its challenges, Einstein later wrote to Le Corbusier, praising the Modulor: “It’s a set of proportions that makes the bad difficult and the good easy.” This endorsement from one of the world’s greatest minds significantly boosted the Modulor’s credibility, despite some viewing it as lacking scientific rigor.
It seems that Le Corbusier held the view that associating the name of such an important figure as Albert Einstein with his idea significantly enhanced its value.
Le Corbusier’s vision extended beyond his buildings. He imagined the Modulor influencing the design of entire cities, ensuring that urban environments were as harmonious and human-centered as individual buildings. His approach to design, grounded in the Modulor system, sought to create a world where every aspect of the built environment resonated with the human scale.
The Modulor anthropometric scale of proportions is a pivotal example of human-centered design, seamlessly integrating human proportions with architectural methodologies. It epitomizes Le Corbusier’s ethos of creating a built environment that resonates with human experience and architectural theory. While acclaimed by figures such as Georges Candilis and Jean Prouvé, its widespread adoption was limited, possibly due to Le Corbusier’s attempts to patent the system and collect royalties on its use. Despite this, the Modulor continues to influence modern architecture, ensuring that spaces are profoundly attuned to the needs and scales of their occupants.
