Abstract
This study aims to clarify the design method illustrated in Le Corbusier′s museum prototype by analysing the third realization of the ″Museum of Unlimited Growth″ in Chandigarh, India (1957-1963). According to the analysis of Le Corbusier Plans, Le Corbusier′s Carnets (Sketchbooks), and the documents of his correspondence, the author categorizes the transformation process of the prototype into two parts. This analysis found the specialization of the prototype of the ″Museum of Unlimited Growth″ in the said design method. The symbolism of the central grand hall and the spiral extension were no longer the main themes. Le Corbusier devoted himself to only two elements of the museum prototype: the ceiling equipment for natural lighting and the water drain. In conclusion, this paper points out that the museum in Chandigarh is the architectural expression of the natural order represented by sunlight and water.
