University of Virginia Library

L'ARCHITECTURE VIVANTE AND ITS EXTRAITS
by
Daniel Lawler *

JEAN Badovici, a Romanian by birth, studied architecture in Paris at the École
des Beaux Arts and the École Spéciale d'Architecture, where he earned
his degree in 1919. His subsequent architectural practice consisted largely in his participation in the post-WWII reconstruction of several towns innortheast
France, and a minor role in his earlier collaboration on his own houses in Vézelay
and Cap-Martin with his then-lover, the Irish designer Eileen Gray. But it was
as an editor and author, in books and periodicals throughout the 1920s and 30s,
that he played a pivotal role in the documentation and dissemination of the international
architectural avant-garde. And the informal architectural education
he provided Gray, along with the publication of its most prominent result – the
house at Cap-Martin known as E.1027 – both gave birth to and preserved one
of the era's residential masterpieces.

Badovici published his first book, Maisons de rapport de Charles Plumet, for
Éditions Albert Morancé in early 1923. 1 On the strengthof this one book, Morancé's
friendly rival, Albert Levy, recruited Badovici to edit a revival of the
review l'Architecte, which had ceased publication at the start of the first World War. Badovici signed a contract on May 30th, promising the first monthly issue
for February 1924, as well as two books each year similar to the one on Plumet;
suggested subjects included Plumet (again), Sauvage, Perret,Süe et Mare, and
Dervaux. The contract, however, was voided the same day, as Levy balked at
the cost of supporting both Badovici and Christian Zervos – Badovici's friend,
roommate, and fellow Morancé editor – as co-editors. It is unclear whether this
dual editorship was planned from the start (it is not mentioned in Badovici's

contract), or was a last-minute demand, perhaps even a deliberate scuttling of
the deal, by Badovici. Within six months of these negotiations, however, Badovici and Éditions Albert Morancé had produced the first installment of their own
review, l'Architecture Vivante. It is hard to imagine that Badovici would consider
Levy's offer had work on l'Architecture Vivante already begun; rather, it is likely
that this episode instigated the founding of l'Architecture Vivante and its related
publications. 2

Badovici continued to produce books for Éditions Albert Morancé: four new
titles in the next two years and one in 1927, all under the heading "Documents
d''Architecture" and outside his efforts at l''Architecture Vivante. 3 By this time, though,
V.'Architecture Vivante was changing. Not only did its editorial outlook move away
from Perret's rappel a l'ordre toward Le Corbusier's machine aesthetic, but the
contents of each issue abandoned the review's earlier survey approach and became
decidedly monographic in nature. This ultimately led to the republishing
of most issues as stand-alone titles: twenty-four of the final twenty-six fascicules
(out of forty-two total) were reissued in this way, including all of the final twenty-
one. These reissued titles were designated "Extraits de l'Architecture Vivante," and
kept the review's name on their covers, although with altered typography. Their
content remained virtually unchanged from the original review issues, but their
new titles and format elevated their status from ephemeral review to iconic book.
The series also extended the l'Architecture Vivante franchise, adding several new
titles after the review itself ceased publication.

Despite their importance as primary documents of the European avant garde
of the 1920s and 1930s, the twenty-eight books ultimately included in this series
are relatively unknown, and their relationship to the review that spawned them confusing, at best. They are often dated incorrectly, or catalogued misleadingly:
the primary bibliography on Le Corbusier, for instance, could not even state
conclusively the number of volumes in the series dedicated to him, and the bibliographer
appears to have actually seen only three volumes. 4 It is the goal of

this article to describe, as completely as possible, the full extent of these volumes
and their relationshipto their parent review. As no archive survives for Éditions
Albert Morancé, the information available is greatly limited. I have relied on the
Catalogue Valdras, issued each January from 1930 to 1936, and "Biblio", which
began publication in 1935, for most of the publication dates proposed here; both
provided comprehensive lists of all books published in France the previous year.
5 Catalogs printed by Morancé in 1932 and 1938 provided further material. 6 Other
details surfaced in the Jean Badovici Papers at the Getty Research Institute, the
Fondation Le Corbusier, and the Frank Lloyd Wright Foundation, but most are
from direct observation of the books themselves.

Images of the covers of each item below, along with bibliographical details of
the copies I examined, appear on the website of the Bibliographical Society of the
University of Virginia (www.bsuva.org). The site also provides a tabular overview
of each fascicule of l'Architecture Vivante and its corresponding extrait, as well as
a record of libraries with holdings of the extraits. Within the article, references
to online digital images are indicated in the form (fig. 1.1), while references to
illustrations in the printed text are indicated as (plate 1). The article concludes
with a list of the images on the website.

1. L'ARCHITECTURE VIVANTE

A description of any of these volumes necessarily entails an understanding
of the physical makeup of the underlying review. L'Architecture Vivante was published
quarterly, from Autumn 1923 to Winter 1933, in forty two fascicules in
portfolio form. Each began with a series of half or full sheets (45 cm × 54cm for the full sheets), folded once or twice respectively, to form loose signatures
of fouror eight pages. These were left uncut by the publisher, and often by
the purchasers as well. These pages, typically numbering sixteen per fascicule,
contained commentary by Badovici, texts by featured architects, and a wealth
of documentary drawings showing plans, elevations, sections, and detailsof the
works illustrated in the photographic plates that followed. The plates themselves,
typically numbering twenty-five per fascicule, were luxuriously printed

on heavy bristol board – single sided, and usually just one image per sheet –
using heliography, an expensive and lustrous process revived from the late 19th
century. Drawings were sometimes included among the plates, and were occasionally
colored using the pochoir stencil process.

Each fascicule, or issue, came in a paper portfolio cover, dated according
to the season (printemps, été, automne, hiver); these dates were repeated on each
individual plate of that issue as well (fig. 1.1, plate 1). But each pair of fascicules
(printemps/été, automne/hiver) was intended to be joined together to make a single
volume, with numbering in both the text section and plate section continuous
across each pair. A subscriber to the review had an option to purchase, at a cost
of 10 francs per year (above the yearly rate, which grew from 100 francs to 150
francs across the lifespan of the review), a cardboard portfolio cover showing the
combined dates, and issued with the second fascicule of each pair (fig. 1.2). 7

To take an example: in the Autumn of 1924, after taking a subscription, your
first issue of the review arrives. It is in a paper cover, which is dated automne
mcm xxiv. Inside, the first four-page signature contains a one-page sommaire,
listing the contents of the present fascicule, followed by three pages of advertisements.
Another four-page signature contains the unpaginated front matter:
half-title, publisher's page, title, and a final blank page – but here the title page
is dated automne – hiver mcm xxiv. The following signatures, of eight and four
pages, are numbered from 5 to 16, and contain the issue's three texts, plus six
pages of documentary drawings. Next are the plates, numbered 1–25, and all dated automne mcm xxiv. Three months later the next issue arrives, also in a
paper cover, this one dated hiver mcm xxiv. Inside, again, is a loose signature
containing this issue's sommaire and advertisements. It is followed by two eight-
page signatures numbered 17–32, with texts and drawings, and including a table
of contents covering the texts, drawings, and plates of both fascicules. The plates
that follow are numbered 26–50, and are dated hiver mcm xxiv. The paper-
covered cardboard portfolio cover for the combined volume, which you have
purchased, matches the fascicule covers typographically, but is dated automne –
hiver mcm xxiv. With this in hand, you now discard the two paper covers along
with the sommaires and their associated advertising pages. The sixteen pages of
text from the first fascicule are joined with those of the second to make a continuously
numbered run of thirty-two pages, with a combined title page at the front
and a combined table of contents at the rear. The fifty plates are then inserted
consecutively, and the volume is complete.

The reassembly of the fascicules into volumes creates a problem for designating
the location of any particular text or plate, especially since the fascicules
often remained unintegrated. Badovici's own numbering system didn't help: each
fascicule was given a sequential number, from 1–42, as well as the ordinal year
of the review, from first to eleventh (the Spring 1925 issue, for example, was

numbered "troisième année, numéro 7"). But this appeared only on themasthead
of the sommaire; when this was discarded to create full volumes, the numbering
system disappeared. The volume spines gave the sequence in a new manner: the
calendar year followed by I or II, to designate the first (printemps/été) or second
(automne/hiver) volume of that year. To further complicate matters, the numbering
of the fascicules didn't begin until the third year, with number 7; the four
fascicules of 1928 are incorrectly designated "cinquième année," repeating that of
1927; and the first three fascicules of 1931 are numbered 35–37, instead of 31–33
as they should have been. There are other anomalies. The Spring and Summer
issues of 1929 were issued together, in a single paper portfolio cover bearingboth
dates; no sommaires were necessary, as the table of contents at the end of the text
was sufficient, which also meant that these issues were unnumbered, although the
numbering of the following issues took them into account. The same is also true of the Spring and Summer issues of 1932. The Autumn1930 issue contained the
entire text of the completed volume, again leaving no reason for the sommaires and
their numbers; the Winter 1930 issue consisted solely of its 25 plates.

The numbering of the individual fascicules was certainly an afterthought by
Badovici, perhaps in recognition that many of the issues sold were not being collated
into volumes, as intended. And considering that almost half of them were
either unnumbered or misnumbered, it seems prudent to locate an article in,
say, volume II of 1929, rather than number 26. In the 1976 Da Capo reprint of
the review, this is the method taken in compiling a new comprehensive index,
even though the twenty-one original volumes have been condensed to five. 8 This
method makes most sense with the earlier volumes, where the variety of projects
shown makes their incorporation into a larger volume more natural. It also works
in certain later volumes, where both fascicules followed the same theme. But in
many cases the numbering of individual issues makes a clearer distinction of how
the review was received. Number 26, mentioned above, was dedicated entirely
to Eileen Gray and Jean Badovici's house, E.1027; all subscribers and bookstore
purchasers received a publication single-mindedly devoted to this narrow topic,

and many kept it as such. Those who placed it into the 1929 II portfolio created
a different publication, half of which was now devoted to a survey of new German
buildings.

There is one last characteristic of the quarterly fascicules to mention, as it
bears some importance in sorting out the dates of some of the extraits. Placed in the
center of the back cover of each paper portfolio is the emblem for Éditions Albert
MorancÉ. From the first issue until the end of 1931, this consisted of an Egyptian
lotus blossom and volute, arranged within a circle, and intertwined with serifed
letters forming the monogram eam. At the start of 1932, the emblem changed to
a more abstract design: a black bull's-eye encircled the words Éditions albert
morancÉ, with the monogram eam superimposed in crosshatched, blocky, sansserif
letters. This device is an adaptation of the one used in 1930 for the back cover
of the E.1027 extrait, which will be discussed later on.

2. WEISSENHOF

From its earliest years, L'Architecture Vivante published the work of German
architects, an inclusiveness not always shared by other French publications between
the wars. Besides occasional buildings shown early on, six entire issues
of the review were dedicated to German work, beginning with the Spring
and Summer 1928 issues, both of which covered the 1927 Weissenhof Siedlung exposition
in Stuttgart. They included articles by Jean Badovici, Sigfried Giedion, and two by Le Corbusier, as well as fifty plates illustrating houses by all sixteen
participating architects, with the exception of Victor Bourgeois. In addition to
combining the two issues into the first volume for 1928, Badovici and Morancé
also published an identical work outside of the review: La cité-jardin du Weissenhof
à Stuttgart, which beneath its title is designated an "extrait de l'.Architecture Vivante."
It cost 80 francs, while the combined volume sold for 75 francs. 9 Its portfolio cover
follows the look of the review, using the same Didot typeface and symmetrical
typographic layout, and the same tan paper covering the boards (fig. 2.1, plate
2). Inside, each page appears exactly as it would for a combined volume, with
a l''Architecture Vivante title page showing the printemps/été 1928 date, as does the
table of contents. 10 While thematic issues of the review had appeared as early
as 1925, this was the first to be sold outside of its run. Éditions Albert Morancé

continued to sell this volume until early 1932, when it was repackaged as the first
volume of the series l'Architecture Vivante en Allemagne, to which we will return. 11

3. LE CORBUSIER ET P. JEANNERET

In the Winter of 1928, Badovici announced the next l'Architecture Vivante publication
outside of the review, to be dedicated to the "oeuvres récentes" of Le Corbusier
and Pierre Jeanneret. 12 It was promised to be of the same "luxurious form
dear to our review," and cost 100 francs, although there would be no additional
cost to the subscriber (who would have paid 135 francs for both 1929 volumes).
The book was issued in the Summer of 1929, 13 and its contents exactly reproduced
that of the printemps – ÉtÉ double issue of that year. It did not replace
this issue – subscribers still received the double fascicule with its paper cover,
and a separate standard cardboard cover if one had been ordered – but merely
reproduced it as a stand-alone work for non-subscribers, housed in a new portfolio
cover designed by Le Corbusier (fig. 3.3, plate 3).

On November 8, 1928, Le Corbusier had written to Badovici describing the
layout of the cover, proposing that it be printed on gray paper glued to a cardboard
cover, with a site plan of the Mundaneum project in white. 14 Printed across it
would be "Le Corbusier et P. Jeanneret' in red, and "oeuvres récentes de," "L'Architecture
Vivante," and "MorancéÉditeur' in black. Eventually the color changed to blue, the
Morancé name was eliminated, and the "oeuvres récentes"" dropped from the title
altogether. 15 This design forms the model for the next four covers in this series.
On the spine, in white, serifed lettering, read le corbusier et p. Jeanneret.
The only change from the review within the publication was a recasting of the
first signature: the title page no longer read "L'Architecture Vivante," but now "Le
Corbusier et P Jeanneret," and the publisher's page included the notation "extrait de
l'Architecture Vivante," indicating its source, but no mention of the date of publication.
Since the new book comprised two consecutively numbered fascicules, no
change was necessary for the pagination or the table of contents.

Morancé must have considered this portfolio a success, for the following year
they issued two more in what was now a series, ultimately to be advertised by
them as the architects' "oeuvre complète." The first of these two volumes jumped
back in time, as l:'Architecture Vivante had also dedicated the Fall 1927 fascicule
to Le Corbusier and Pierre Jeanneret. This issue now became Le Corbusier et P Jeanneret: Première série (fig. 3.1). 16 Once again, the first loose signature was reset
with the new title, and the publisher's page read "extrait de L'Architecture Vivante;"
the remainder of the text, pages 5–40, remained unchanged. But since the table
of contents of the original review was issued as part of the Winter 1927 fascicule,
and included contents for both the Fall and Winter, it needed to be replaced as
well. The new table of contents occupies pages 41 and 42, with the remaining
two pages of the added signature blank. The plates retain the original dates from
the review, automne mcm xxvii, despite the actual 1930 publication year of the
new volume. This volume was apparently also reissued at a later date, as copies
exist with both the lotus emblem and the bull's-eye emblem on the rear cover (fig. 3.2). 17

With more publications in the works, the original Le Corbusier and Pierre
Jeanneret volume also made a transformation in 1930. To keep the chronology
correct, it now had its cover and title page reset to include the subtitle "deuxième série,"
and a new spine reading le corbusier et p. jeanneret – ii (fig. 3.4).
The third volume of the series, also published in 1930, 18 reproduced the Spring
fascicule of that year (fig. 3.5). Like the "première série" volume, its only internal
changes from the quarterly fascicule to autonomous volume were the first and
last signatures: the front matter and the table of contents. The new table of contents,
incidentally, extends an error originating in the Spring 1930 sommaire and
repeated in the Summer 1930 table of contents by leaving out reference to the
drawings printed on pages 40 to 48.

In the Summer of 1931, Badovici published his next installment of Le Corbusier's work in l'Architecture Vivante, which was issued simultaneously as the "quatrième
séri" of the complete works (fig. 3.6). 19 Since the original formed the second
fascicule of the combined volume of the review, the entire page-numbering system
needed to be revised, so that the text could begin on page 5, rather than page
17, and the plates could run from 1 to 25, rather than 26–50. Like the "première
série," the original copies of this title have a lotus emblem on the rear cover, while
others have the bull's-eye emblem, suggesting a later reprinting.

The fifth volume of the series was published in late 1932, and reproduces
the contents of the Autumn fascicule of that year (fig. 3.7). The publication date
is confirmed not only by Valdras, but by an inscription from Le Corbusier to
the mayor of Algiers in one of the two copies in the Eisenman Collection at the
Beinecke Library, dated December of that year. 20 The rear cover now shows
the bull's-eye emblem adopted at the beginning of that year for the review fas-
cicules. The replacement of the front matter is the only internal change, as the
original review included a table of contents (in addition to the sommaire) for this
fascicule only, despite the fact that the same information would be repeated in
the combined table of contents issued in the Winter fascicule. Badovici may
have included this redundancy in the review in anticipation of its necessity in
the extrait. 21

In the sixth volume, we see the first alteration, although minor, to a text as
it was transformed from a single issue of the review to an autonomous publica-
tion (fig. 3.8). The original fascicule dated from the Winter of 1933 (although it
was not issued until early 1934), and was the final issue of the review. 22 In the
four-page signature that included the sommaire, and which was intended to be
discarded, was a note from the editor concerning the closing of l'Architecture Vi-
vante. Complementing this was the opening pageof the regular text, an article by
Le Corbusier entitled Au revoir à "l'Architecture Vivante." In preparing the extrait,
Badovici replaced this page with rendered plans and a photograph of a model of
Le Corbusier's project for the headquarters of a Zurich life insurance company.
Its publication date is 1934. 23

The table of contents in the Winter 1933 issue of L'Architecture Vivante had
an anomalous numbering system, from page 1 to page 4, rather than the usual
custom of continuing the numbers of the text pages. It may have been intended
to be placed at the front of the combined text pages, although thiswould have
left the four pages of front matter out; in every other volume these were un-
numbered, but counted in the overall numbering system. In the extrait, the new
table of contents (covering only the one fascicule, and renumbered) is also placed,
atypically, at the front. In order to make room for it in the first signature, there is
no half-title, and the fourth page is not its usualblank. The reason for this format
change is unclear, as two pages remain blank at the end of the final signature

of the text section, and the table of contents could have taken its expected place
there. The text pages arerenumbered from 5 to 42, and the plates from 1 to 24
(this issue is one of three that do not have 25 plates). The cover, in brown on a
yellow background, seems enough different in layout and typography from the
first five that I suspect it was not designed by Le Corbusier.

I have seen one copy of this sixth volume with an alternative construction:
the portfolio cover is exactly the same, but the contents are exactly as they ap-
peared in the Winter 1933 issue of the review (fig. 3.9). There is a sommaire with
the l'Architecture Vivantemasthead, the editor's note, and an advertisement; Le
Corbusier's farewell to the review appears on the first text page, numbered 33;
and the table of contents, numbered 1–4, lists items from the Fall 1933 issue
as well, although they are not present here. This may have been a transitional
state, with a new portfolio cover printed but the contents not yet rearranged to
their new state. But, as we will see further on, this kind of mashup occurs with a
number of the extraits, and seems to point to a later date. During the late 1930s,
and especially during the Occupation, shortages of paper and other supplies
may have led to some creative packaging: surplus copies of the review were out
of date as periodicals, but could substitute for the contents of the extraits. Either
new covers were printed to enclose the old contents, or the covers themselves
were overstock as well.

The seventh and final volume of the Le Corbusier and Pierre Jeanneret oeuvre
complète did not originate in l'Architecture Vivante. Starting in early 1927, Morancé
began publication of l'Encyclopédie de l'Architecture Moderne, which they typically
advertised alongside l'Architecture Vivante, and which was conceived as its comple-
ment. Where l'Architecture Vivante was avant-garde, l'Encyclopédie was mainstream;
and while l'Architecture Vivante published commentary about and essays by its fea-
tured architects, l'Encyclopédie remained strictly documentary, with photographs
or renderings on the front side of each loose plate, and line drawings showing
plans or elevations on the rear, alongside descriptive text. Like l'Architecture Vi-
vante, l'Encyclopédie was published four times a year in paper folders containing
twenty-five plates, but all four were intended to be reunited in a single yearly
volume, rather than two. 24 When l'Architecture Vivante published its final fascicule
in early 1934, the editor's note directed its readers to its sister publication for
continued coverage of modern architecture; this now included the work of a
number of architects, Le Corbusier and Pierre Jeanneret among them, whose
work had previously not appeared in l'Encyclopédie.

The work shown in l'Encyclopédie was not organized in any thematic way;
like the early issues of l'Architecture Vivante, each fascicule showed work from a
wide variety of architects, with anywhere from a single plate to a series of four
or five representing each featured building. From the first fascicule of Tome

VII, published in 1934, until the second fascicule of Tome X, published in 1937,
l'Encyclopédie de l'Architecture Moderne included twenty-seven plates (out of 350 to-
tal) showing buildings and projects by Le Corbusier and Pierre Jeanneret. These
plates then formed the basis for the seventh volume of the oeuvre compléte, which
we can date to 1937. 25

The cover design of the seventh volume again breaks from the format of
the earlier Le Corbusier titles, and follows instead a layout first used in 1933 for
the third volume of Russian work, and again in 1934 for the volume dedicated
to hospitals (fig. 3.10, plate 4). In each of these, a photographic image is placed
diagonally, at 60°, on the left side of the cover, and wrapping around to the rear
(interrupted by the spine). The title, Le Corbusier et P. Jeanneret , is arranged on
the same diagonal, while 7E SÉRUIE remains orthogonally in the lower right. This
dynamic arrangement was not unusual among French art publications of the
1920s and 1930s, 26 and was probably designed in-house at Éditions Albert Mo-
rancé. The background for the cover is red, although I have seen a photograph
of a version in green; 27 I have no evidence that the green version was published
at another date, or that its contents differ in any way.

The first page inside the portfolio, forgoing the usual half-title, is the title
page, which follows the format of the series exactly. On its verso is the pub-
lisher's page, which here states that the volume is an "extrait de
'l'Encyclopédie de l''Architecture'." The following twelve pages are unique in all of the true extraits,
in that they publish a text not found in the original publication from which it is
drawn: Les tendances de l'architecture rationaliste en rapport avec la collaboration de la
peinture et de la sculpture, a paper Le Corbusier had presented at a conference in
Rome in October of 1936. It had appeared in print, translated into Italian, in
the November 1936 issue of Domus, and in French in 1937 in a booklet issued by
the Reale Accademia d'Italia. 28 The final two text pages con-
tain the table of contents, and are followed by the plates of photographs and drawings, renumbered
on the recto from one to twenty-seven, and each with its original documentary
text and drawings on the verso.

4. E.1027. MAISON en bord de mer

The extrait dedicated to Eileen Gray and Jean Badovici's house E.1027 seems
to have caused the greatest confusion regarding its relationship to l'Architecture
Vivante. Its full title is E.1027. Maison en bord de mer; it republishes the contents of
the Winter 1929 issue of the review, renumbered, and with new front matter and

table of contents. The new cover, the most sophisticated of all the extrait covers,
was probably designed by Eileen Gray. It is based on a rug she designed for the
house: the blue band in the center resembles the overall shape of the rug, as well
as its color, and the black bull's-eye motif in the upper right hand corner also
derives from it. 29 The lettering varies from the blocky, hand-lettered MAISON EN
BORD DE MER, to the ALBERT MORANCÉ in the contemporary typeface "Egyptian,"
and finally the names of the two architects in an elegant, hand-drawn, abstracted
italic. On the rear cover is the first appearance of the new EAM emblem, based
on the bull's-eye of the front cover (fig. 4.1, plate 5).

This extrait was published in 1930, the year after its original, but it is often not
recognized as a separate publication. 30 Both Peter Adam and Caroline Constant,
in their excellent studies of Eileen Gray, call this publication a "special issue" of
l'Architecture Vivante, with the implication that this was the only format in which
t appeared, and that it belonged as such to the regular run of the review; they
are perhaps following the lead of Susan Strauss in her entry on Badovici in the
Macmillan Encyclopedia of Architects, who also singles it out as "a special issue,"
the only one she mentions in her text. 31 Similarly, the Beinecke Library at Yal
University, in their recent purchase of Peter Eisenman's collection of avant-garde
architectural books and periodicals, did not give his copy of Maison en bord de mer
a separate call number and catalog entry, but included it within his mostly com-
plete run of l'Architecture Vivante. But the original form exists: it has a l'Architecture
Vivante paper cover dated HIVER MCM XXIX; a l'Architecture Vivante title page and
table of contents for both the Autumn and Winter issues; and a sommaire for
the Winter issue only, declaring it to be the 7th year, number 26. 32 The phrase
"Maison en bord de mer" exists in only one place in the review: as a heading for
the list of plates in the table of contents (it also appears in a similar place in the
disposable sommaire). That the extrait followed, and was based on, the publication
in the review is confirmed by several errors it contains. On two of the text pages,
both in the text itself and in its accompanying drawings, there are references to
page or plate numbers that have not been corrected, as they have elsewhere, to
correspond to the new numbering systems. In another case, a reference to a page
number has been changed, but incorrectly identified as a plate number. 33

There is also a curious discrepancy between this extrait, as published, and its
appearance in Éditions Albert Morancé advertising for the series. Their 1932
catalog refers to it as Maison en bord de mer: Aménagement rationnel d'un intérieur mod-

erne, par Eileen Gray et Jean Badovici. 34 The subtitle has been fabricated, appearing
nowhere in the extrait itself, and no mention is made of the cryptic name E.1027.
Then, in alladvertising from 1932 until 1937, the extrait was offered under the
title Aménagement rationnel d'un intérieur moderne: Villa en bord de mer, par Jean Badovici
et Eileen Gray . 35 Three things have changed: the exchange of the title and phan-
tom subtitle, the substitution of"villa" for "maison"; and the order of authorship.
It is not until the Morancé catalog of 1938 that these are rectified, returning
to the description presented in the 1932 catalog. 36 The extrait certainly existed
prior to 1932. This is confirmed by Valdras, but also by the introduction of the
bull's-eye EAM device, derived from the E.1027 cover, in the Spring 1932 issue of
l'Architecture Vivante. By this date, however, Gray had ended her relationship with
Badovici and moved to Castellar, although the two remained friends. Perhaps Badovicihadbowed to Gray's wishes concerning the title and authorship of the
extrait, and was later trying to make his preferences known, or even to assert
his then sole proprietorship of the house. He might also have foreseen a second
printing with his version of the title, butthese changes were never made.

A second, later version does exist, with the contents from the original
l'Architecture Vivante fascicule, including the sommaire, but with the cover from the
extrait (fig. 4.2). I first considered that this might be a later marriage, but I have
located six copies with this arrangement, 37 confirming that they were combined
by the publisher and not a subsequent owner. The covers of these copies also
differ from the 1930 extrait, in that the lettering on the spine is in a sans-serif type-
face, which was also used for the spine of the seventh volume of the Le Corbusier
and P. Jeanneret series. 38 One of the copies also includes an advertisement for the
extraits pasted to the inside cover; it includes a listing for the seventh Le Corbusier
volume (but not the later Œuvre plastique), dating it to 1937 or early 1938. 39

5. L'ARCHITECTURE RUSSE EN U.R.S.S.

The summer 1930 issue of l'Architecture Vivante included an announcement
stating that the Fall and Winter fascicules would contain "the most complete
record available of contemporary Russian architecture." Both issues would be
available in December, and would include articles by Badovici and Le Cor-
busier. Like the double issue of Spring/Summer 1929 devoted to Le Corbusier
and Pierre Jeanneret, this special issue would not carry any additional cost to
subscribers, despite its higher price when offered as a separate publication. 40
Although produced simultaneously, in this instance the two fascicules were not
combined in a single cover, but as separate AUTOMNE and HIVER issues. The for-
mer included the complete front matter, all text and documentary drawings, a
table of contents covering bothissues, plus twenty-five plates; the latter contained
plates 26–50 and nothing else. The essay by Le Corbusier never materialized.

The special Russian-themed issue parallels the earlier Le Corbusier issue
in another aspect aswell: it too had been preceded by earlier fascicules on the
same subject-in this case the first halfof the Spring 1926 issue and the entirety
of the Winter 1928 issue. In repackaging the 1930 fascicules to join the growing
collection of extraits, Morancé avoided the out-of-sequence publication that had
occurred in the Corbusier series by publishing two volumes together, withthe
1926 and 1928 material together forming the first volume. Publication was in
early 1931, and the two volumes were initially offered only as a set. 41

The individual portfolio covers, possibly designed by Badovici, inaugurate
the design that would formthe basis of ten of the twenty-one extrait titles. A large,
hand-drawn, white L'AV fills the width of the yellow cover. Overlapping this, in a
curveless lettering reminiscent of De Stijl, in black and running vertically, is the
title: L'ARCHITECTURE RUSSE ENURSS. A black square in the lower right hand cor-
ner carries the publisher's name; below it a black rectangle and triangle form a
large arrow pointing back to the title. Below the arrow isthe volume number: IE
SÉRIE or 2E SÉRIE. The overall effect is that of a handmade version of Bauhaus
typography, the arrow particularly reminiscent of Laszlo Moholy-Nagy's work of
the 1920s. The rear cover is blank, except for the EAM lotus device.

The first of the two volumes is one of the few extraits that do not match the
contents of a single parent fascicule, and so constitutes a more original publication
than most (fig. 5.1, plate 6). The title page, as is typical, has been changed, and
reads L'ARCHITECTURE RUSSE EN U.R.S.S., and on the publisher's page opposite,
EXTRAIT DE L'ARCHITECTURE VIVANTE. There follow ten pages of text and draw-
ings, renumbered from the originals. The sole article,Le mouvement constructif russe,

is taken from the Spring 1926 issue; left out from that issue is Badovici's article
Entretiens sur l'Architecture Vivante, as well as both articles from the Winter 1928 is-
sue: André La Roque's À propos de l'art contemporain and Badovici's Le probléme de toit
plat. The five original pages of drawings which illustrate the Russian work of both
issues are carried over to the extrait, while drawings of an office building by Erich
Mendelsohn and illustrations for Badovici's article on the flat roof are removed.
The final two pages of the signature comprise the table of contents, which includes
a note explaining the sources of the plates to follow, which would otherwise seem
incomplete: plates 1–13 are from the Spring 1926 issue, followed by plates 26–50
from the Winter 1928 issue. The second volume, already set up as a complete
double issue, needed only a substitution of the front matter, with the new title, in
order to make the transition from quarterly review to stand-alone book (fig. 5.3).

In the Summer of 1933, another fascicule of the review was dedicated to Rus-
sian work, bringing the total to four and a half. This issue, with forty pages of text
and drawings, but only twenty plates, focuses on theaters, in particular the 1930
competition for a new Ukranian State Theater, won by the Vesnin brothers. This
issue, too, was republished in the same year, as the third volume of the l'Architecture
russe en URSS series. 42 It gained a new title, Salles et spectacles, but otherwise re-
mained unchanged in content. New front matter was printed, and the text and
plates were all renumbered to begin at one (fig. 5.6, plate 7). The cover for this
volume, as mentioned earlier, takes on a new form, with a diagonally placed pho-
tograph wrapping around to the rear cover, where the publisher's emblem has
now changed to the bull's-eye design, all on the same yellow background as the
first two. The lettering for both the series title and the title of this volume appear
orthogonally, justified right, in contrast to the dynamic form of the photograph.
The first two volumes of the series were reissued, either simultaneously or within
the next three years, with new covers matching the layout of the third volume. 43
On the covers of these, with no individual title, the series title regains prominence:
I'ARCHITECTURE RUSSE follows the diagonal of the photograph, while URSS
is enlarged and given more weight, balancing the bull's-eye emblem when the two
covers are seen as a single composition; the interior remains unchanged (figs. 5.2,
5.4). The second volume was also issued in a green cover (fig. 5.5). There is a final
variation with the third volume, where again the cover alone changes: the back-
ground is now blue, and the typographical elements are rearranged, with SALLES
ET SPECTACLES following the angle of the photograph, along with a new subtitle:
PROGRAMMES ET SOLUTIONS TECHNIQUES (fig. 5.7, plate 7). 44

6. FREYSSINET

The spring 1931 issue of l'Architecture Vivante was dedicated to the concrete
structures of Eugene Freyssinet, with articles by Badovici and Freyssinet, seven
pages of drawings, and twenty-five plates. The associated extrait was issued that
same year under thetitle Grandes constructions réalisées par E. Freyssinet . 45 The title
makes an oblique reference to Badovici's 1927 portfolio, Grandes constructions: Bé-
ton armé-acier-verre, issued as part of Morancé's Documents d'Architecture series, and
its half-title page even identifies it as "deuxième série." This remains an obscure
reference, though, as the earlier publication is never directly mentioned. In Oc-
tober of 1931, the two were advertised together in l'Encyclopédie de l'Architecture,
but even there they are not presented as a pair, and the differences in the titles
emphasized as much as their similarities. 46 In later advertisements for the extraits,
Badovici and Morancé actually include Grandes constructions: Béton armé-acier-verre
as part of the l'Architecture Vivante series, but it is listed under a separate heading
as the Freyssinet title, with no attempt to link them thematically. 47

The cover follows the original layout of the l'Architecture russe en URSS series,
with rust-colored type superimposed on a gray and white background, and a
blank rear cover. Inside, the first signature is replaced to reflect the new title, and
an additional signature is added to the end to include a new table of contents; otherwise the contents
remain unchanged from the original (fig. 6.1, plate 8).
Two auction records I have seen list twenty-seven and twenty-eight plates respec-
tively, instead of the twenty-five listed in the table of contents and in Morancé's
advertising for the portfolio (and the one copy of the volume that I have seen in
person); I have been unable to verify the accuracy of these listings. 48

The portfolio was reissued some time later, with the contents more closely
following the state of the original review than the extrait of 1931. In the copy
from the Eisenman Collection held at the Beinecke Library, the original som-
maire is retained, although the signature with the l'Architecture Vivante title page
with its HIVER MCM XXXI date has been removed. The portfolio covers have
been reprinted as well in a more sober manner. The typography is in brown on
a gray background, in a matter-of-fact layout and a vernacular, sans-serif type-
face, giving it a decidedly undesigned look. The paper covering the cardboard
covers also appears to be recycled from earlier publications: the clue here is the
continued use of the lotus emblem on the rear cover, but we will see later that
similar portfolio covers are printed on the backs of undistributed l'Architecture
Vivante fascicule covers (fig. 6.2, plate 9). The reuse of materials, both in the
contents and for the reprinted covers, and the simplified cover design bothsug-

gest that this reissue occurred during the Occupation. This is reinforced by the
several copies I have seenof these redesigned portfolios with ownership dates,
all of which are from the early 1940s.

7. FRANK LOYD WRIGHT

Frank Lloyd Wright: Architecte américain is the only volume of the extraits not
listed in Valdras, despite the certainty that it was published within the time period
it covers; its dating is therefore the most speculativeof the collection. The work
was originally published in the Summer 1930 fascicule of l'Architecture Vivante,
three copies of which were sent to Wright on November 17 of that year. 49 On
January 9, Wright telegrammed Badovici requesting twenty additional copies,
and again eleven days later requesting another thirty. The fifty copies were sent
to Wright, along with an invoice, and for the remainder of 1931 Wright and
Morancé haggled over the cost, with Wright's office arguing that the use of his
drawings and photographs "for free" should entitle him to some type of discount.
Morancé and Badovici, with Wright's drawings in hostage, threatened to send a
collection agency. That the yearlong discussion concerned individual fascicules
of l'Architecture Vivante, and not the extrait, is clear from both the prices quoted
by Morancé, and Wright's office referring to them as "magazines." The earli-
est references I have found for Frank Lloyd Wright: Architecte américain appear in
1932, in the bibliography of The Museum of Modern Art's Modern Architecture:
International Exhibition, and in Édition Albert Morancé's own catalog of that year,
neither of them providing a date other than that of their own publication; the
former waspublished in February of 1932, the latter printed sometime in 1931. 50
Henry Russell Hitchcock, Jr., who wrote the nine-page essay on Wright for the
MoMA publication, himself owned a copy of the extrait, now in Avery Library
at Columbia University. I am placing the publication of the extrait in 1931: any
earlier, and Badovici would have been negotiating with Wright over copies of
the extrait rather than the l'Architecture Vivante fascicule; any later and it would not
appear in these publications.

The design of the cover follows the Russian prototype, with FRANK LLOYD WRIGHT
hand-lettered in black and superimposed on a white L'AVand a yellow
background. The rear cover has the lotus version of the EAM emblem, further
reinforcing the 1931 publication date. Inside, the front matter has been recast
to include thenew title, page and plate numbering has been revised, and a new
table of contents has been composed to reflect these changes (fig. 7.1, plate 10).

A second, later version exists, with a revised cover design that borrows from
various extrait designs. The L'ARCHITECTURE VIVANTE placed vertically in a black
band on the right edge originates from the fourth volume of the Le Corbusier
and P. Jeanneret series; this device also appears in two titles by Paul Nelson, to
be discussed later, from the late 1930s, and possibly concurrent with this version.
A large black rectangle at the bottom is all that remains of the arrow on the
original cover (fig. 7.2). The title and publisher's name have been redrawn in a
less dynamic arrangement, as with the later cover from the Freyssinet title. The
interior, as is the case with other reissues, appears to be made up of overstock
of the originating l'Architecture Vivante issue: the page numbers begin at 49 and the
plates at 26, and the table of contents is for the Spring/Summer 1930 volume,
and so refers to articles, drawings, and plates not included in the book at hand. 51
The first signaturesomewhat corrects this last anomaly by eliminating the half-
title, making room for a sommaire, like the one issued with the original fascicule
covering only the items to follow.

Whether Wright ever obtained a copy of the extrait is not clear. He inscribed
a copy of the original version for his friend Walter Agard, but it may have been
brought to Taliesin by Agard himself. 52 On 27 September 1946, Wright wrote to
Éditions Albert Morancé asking if they had any copies for sale; the response from
Albert Morancé was that they had not had any for several years. 53

8. ALLEMAGNE

Walter Gropius and Jean Badovici met during the first half of 1931, putting
together material for an issue of l'Architecture Vivante, which was published in the
Autumn of that year. They also discussed an extrait based on this issue, to be
titled L'Oeuvre de Walter Gropius. On July 1, Gropius sent Badovici a mockup of
the cover, designed by Gropius and Laszlo Moholy-Nagy. Its colors were brown,
yellow, black, and white, with a photograph of the Bauhaus Dessau building;
the typeface was Futura Bold, the same type Moholy-Nagy used for the cover
of Gropius's Bauhausbauten Dessau (bauhausbücher 12) of the previous year. 54 The
cover and the title were never used, as Badovici followed the Fall 1931 issue with
another on German architects, and combined the two to create his extrait. Now

titled l'Architecture Vivante en Allemagne: troisiéme série, it appeared inearly 1932;
at the same time, the Stuttgart extrait was repackaged as the first volume of the
series, and the Autumn 1929 issue as the second. 55

The covers of these three extraits follow the now standard model, with the iden-
tical titles in blue on a beige and white background, the only difference between
them being the volume number in the lower right hand corner. The rear covers
are blank, with no EAM emblem evident as the publications make the transition be-
tween the lotus design and the bull's-eye design. The contents of the first volume
again reproduce the Spring and Summer 1928 issues, with no changes necessary
in page numbering (fig. 8.1, plate 11). Only the initial signature is replaced to
reflect its independence from the review; the new title page now includes La cité-
jardin duWeissenhof à Stuttgart as a subtitle. The second volume, from Autumn of
1929, besides replacingthe first signature, also adds a signature at the end of the
text in order to include a table of contents (fig. 8.3). The new title page does not
have a subtitle other than the designation deuximé série, although later advertise-
ments subtitle it Les maisons metalliques en Allemagne, repeating the title of the sole
article in the publication, despite its inaccurate description of the works included.
The third volume again reproduces two consecutive issues of the review, Autumn
and Winter of 1931, although these were not as coherently joined in a double
issue as the first volume (fig. 8.5). The new front matter again forgoes a subtitle,
but the volume was later advertised as Walter Gropius et le jeune école allemande. The
first fascicule included here is devoted entirely to Gropius, and he is included in
the second as well; the "Young German School" that fills out the second fascicule
consists of Robert Vorhoelzer, Karl Otto and Jan Ruhtenberg, Lily Reich, Lud-
wig Mies van der Rohe, Hans and Wassili Luckhardt, and Marcel Breuer.

In the winter of 1932, after the first three extraits were published, the final
German-themed fascicule of l'Architecture Vivante was issued, with its attendant
extrait following in early 1933. 56 A new portfolio cover was not printed for the
extrait. Instead, a small label reading 4E SERIE was placed over the volume num-
ber of earlier covers still in stock. (fig. 8.7). 57 Inside, a new first signature was
added, with the title reading l'Architecture Vivante en Allemagne, and as a subtitle:
Erich Mendelsohn. The text, which ran from page 33 to 48 in the review, did not
get renumbered, as was the usual practice for the extraitsmade from Summer or
Winter issues, despite the fact that the table of contents on the final two pages
were entirely recast to remove references to the contents of the Autumn fascicule.
The plates, as well, remained numbered from 26 to 50. This anomaly presents
the appearance of an incomplete publication, and it is not clear if this was an
oversight or a deliberate cost-saving expedient. 58

All four volumes of l'Architecture Vivante en Allemagne were reissued at a later
date, with new portfolio covers in the straightforward style of the reissued Freys-
sinet extrait. The materials used for the covers are the undistributed ['Architecture
Vivante volume covers from 1932 and 1933, turned over and printed on the re-
verse, the impression of the letterpress printing creating a raised ghost of the
original title. The rear covers typically have the bull's -eye emblem, although
some have the lotus design printed on paper mismatched from the cover - in
other words, recycled as well (figs. 8.2, 8.4, 8.6, 8.8; plate 12). In a copy held
by the Getty Research Institute Library, blank pages on the inside faces of the
cardboard covers (where ads for otherMorancé titles are typically found) turn
out to be advertisement sheets for Schindler elevators, pasted face down. Once
again the poverty of materials points to publication during the Occupation, with
additional corroboration from ownership signatures: Gordon Bunshaft bought all
four volumes, now at Avery Library, on 20 February 1945.

In the first three volumes of this reissue, the contents are unchanged from
the earlier extraits, with their revised title pages and, in the case of the second
volume, table of contents. For the fourth volume, I have seen two copies where
this is also true. 59 Two others I have seen have no front matter present at all, and
include the original table of contents for both the Autumn and Winter issues of
the review; another has this table of contents excised as well.

9. HOLLANDE

Following the initial three volumes of German work, Badovici and Morancé
again returned to back issues of the review to assemble an extrait dedicated to
Dutch architecture. Like the first Russian volume, it drew on two separate fasci-
cules for its contents, combining them neatly into a new entity, ['Architecture Vivante
en Hollande: Legroup "De Stijl" et l'École d'Amsterdam, published in early 1932. 60 The
cover matches the design for the Russian and German extraits, with green lettering
on a gray and white background; the rear has no publisher's emblem. When the
second volume of the series was issued the following year, a paper slip reading IE
serie was pasted onto the upper right hand corner of the unsold copies (fig. 9.1,
plate 13).

Inside, a new signature at the front indicates the new title in full, followed by
the three articlesfrom the Autumn 1925 fascicule, running twenty pages. Two
articles from the Summer 1926 fascicule follow, and since the Spring issue of
that year had run twenty pages, there was no need for renumbering. The second
article from the Summer issue, an abridged version of Adolf Loos's Ornamente
et crime, is kept despite its tangential subject matter, perhaps only to save the
effort of reprinting its signature. The final two pages of this signature, which

contained the table of contents for the combined Spring and Summer fascicules,
have been excised, also suggesting that much of the contents of the extrait were
not reprinted, but reused from surplus review issues. A new fourépage signature,
unpaginated, with a revised table of contents, is added in its place. In the copy
held at the Museum of Modern Art Library, the original l'Architecture Vivante
front matter, and the sommaire and its advertisements as well, are also present.
The plates are numbered 1–50, and dated with their respective fascicules, with
no need for revision.

In the Spring of 1933, a full issue of the review was dedicated to Dutch ar-
chitecture, and it appeared as an extrait the same year. 61 The cover is identical
to the first volume, with a paper slip reading 2E SéRIE pasted to the lower right
corner (fig. 9.3). The new front matter also identifies this as the deuxième série (the
first volume does not state première série) on the title page. No other subtitle exists,
although in later advertisements it appears as Les architectes formalistes. The text
and plates follow the original numbering sequence, and, at least in the sole copy
I was able to see, no table of contents was supplied. 62

A later version of the series exists, with covers matching the typography of
the later Allemagne series, this time printed in green, but similarly printed on the
reverse sides of unused l'Architecture Vivante portfolio covers. Both copies I have
located of the first volume are comprised solely of material from the Summer
1926 review, including its sommaire; it appears tohave been sold this way, lacking
the Autumn 1925 material (fig. 9.2). A copy of the second volume is at Avery Li-
brary: the contents match the original review, with the l'Architecture Vivantefront
matter, and no table of contents (fig. 9.4).

10. TONY GARNIER

Although most bibliographies date the publication of l'Oeuvre de Tony Garnier
as 1938, Valdras confirms that the correct date is 1932. 63 The 1938 date seems to originate with Giulia Veronesi's small monograph on Garnier produced shortly
after the architect's death in 1948 - a book plagued with errors of identity and
dating - and is then repeated in almost all subsequent works on Garnier. 64 The
material was first published in the Spring/Summer 1932 issue of l'Architecture
Vivante, a double issue with the combined dates on the fascicule cover. The con-

tents derive largely from two sources: Une cité industrielle, from 1917, and Les
grands travaux de la ville de Lyon, from the early 1920s. The reproduction of im-
ages from the first edition of Une cité industrielle suggests that its second edition,
also published in 1932, was not yet in production. For the latter publication,
the images were reproduced again from the original drawings, often cropped
to include a slightly larger area of the originals than in the first edition. This is
most noticeable in plate 32, an interior perspective of La grand piscine, where a
significant expansion of the view occurs in the second edition; the image shown
by Morancé (on plate 14) is clearly from the earlier printing. It is possible that
Badovici's renewed interest in Garnier led the publisher Charles Massin to bring
out the second edition.

As a double issue of the review, very little work was required to prepare the
extrait: a new signature at the front replacing the l'Architecture Vivante title with
that of the extrait, and a new portfolio cover. The latter was based graphically
on the fourth volume of the Le Corbusier and P. Jeanneret series. Although volume
five of that series, with a different cover layout, had appeared in 1931, the back-
ground urban plan of the earlier cover must have seemed a more appropriate
model for the Garnier cover. It shows the Quartier des écoles, based on plate 34 of
Une cité industrielle and reproduced by Badovici on page 16 (fig. 10.1, plate 14).
The rear cover includes the EAM bull's-eye emblem, as does the original fascicule
cover, the first time this device appears in its final form on both the review and
its extrait.

11. HÔPITAUX

The penultimate fascicule of l'Architecture Vivante, from Autumn of 1933, was
the only single-theme issue that studied a building type rather than a single
architect or country. While its theme of hospitals, sanatoria, clinics, and health
resorts is perhaps stretched by the inclusion of Richard Neutra's Health House,
it allowed Badovici to once again extend hisreach around the globe, while main-
taining a cohesion that would allow for reproduction as a separate book.Now
copiously titled HÔpitaux: Sanitoria, cliniques, maisons de santé, maisons de retraite:
Programmes & solutions techniques de le construction hospitaliére, the extrait, published
in 1934, replaced the initial four page signature, in this case omittingthe half-title
but including a two page table of contents. 65 The text, starting on page 5, and the
plates, numbered from 1 to 25, remain as originally published. The cover follows
the layout of the third Russian volume, with its diagonally placed photograph
wrapping around to the rear cover, the rear bull'séeye device balancing the front
text in the overall composition. The background is green, matching the variant
color of the seventh LeCorbusier volume (fig. 11.1, plate 15).

12. A. ET G. PERRET

In its 1932 catalog, Éditions Albert Morancé announced two new extraits un-
der the heading l'Architecture Vivante en France. 66 The first was l'Oeuvre de Tony Gar
nier, and the second, the unpublished l'Oeuvre Architecturale d'A. et G. Perret. To my
knowledge, this is the only mention anywhere in print of the latter publication.
It was to have twenty pages of text and fiftyésix plates, probably drawn from the
five issues of the review featuring the Perrets' work: Autumn 1923, Spring 1924,
Autumn 1924, Summer 1925, and Autumn 1926, as these provide the correct
number of plates. The only other Ferret plate published in the review was of the
Pavillon de la "Samaritaine" at the Exposition Internationale des Arts Decoratifs
in the Winter 1925 issue. The twenty pages of text corresponds roughly with the
nineteen pages devoted to drawings of the Perret projects in the five issues above
and to Badovici's article A. et G. Perret from Summer 1925. As this would leave
no room for the typical four-page front matter, perhaps some pages of drawings
were to be omitted.

BEYOND THE REVIEW

Although the review folded at the end of 1933, Badovici and Morancé were
able to keep its legacy alive through the publication of a number of books worthy,
in their eyes, of the l'Architecture Vivante name. We have already seen how the
seventh volume of the Le Corbusier and P. Jeanneret series entered the series,
despite its origins in a related, but separate review. In 1938, Morancé published
Le Corbusier: Œuvre plastique: Peintures et dessins, architecture, edited by Badovici. 67
While the bookis dedicated primarily to painting and graphic art, a few draw-
ings and photographs of the Pavillon des Temps Nouveaux are included, and
L'ARCHITECTURE VIVANTE appears on the publisher's page, where EXTRAIT DE
L'ARCHITECTURE VIVANTE appeared in previous publications. An outer card-
board portfolio cover held two inner paper ones; the first contained a text by
Badovici as well as drawings, while the second contained thirty-six heliotype
plates and four lithographs. Both the cover and the layout were designed by Le
Corbusier (fig. 13.1). 68 While Le Corbusier himself included this volume among
the "oeuvre complète' issued by Morancé, 69 the publisher consideredit separate
from that series, although still within the l'Architecture Vivante family: both were
listed in catalogs and advertisements under the heading l'Architecture Vivante en
France. In 1953, Morancé's son Gaston, now managing the publishing house,
suggested to Le Corbusier that a second edition be published, substituting some

more recent work for the pages devoted to the Pavillon des Temps Nouveaux. Le
Corbusier subsequently considered republishing it himself, but no second edition
ever emerged. 70

In the late 1930s, Badovici edited two slight books by the American architect
Paul Nelson, who had been living in Paris since attending the École des Beaux
Arts in the 1920s. The first, Deux études de Paul Nelson: Maison de santé et pavillon de
chirurgie, presented his unbuilt projects for a small-scale hospital and a surgery pa-
vilion in Ismailia, the research for which ultimately led to his major built works:
hospitals in Saint-Lô, Dinan, Neuilly, and Arles. The second, La maison suspendue,
is dedicated to his extraordinary project for a new type of house. Both books are
spiral bound, with orange cardstock covers printed in black with undistinguished
typography for the titles and publisher's name, but with L'ARCHITECTURE VI-
VANTE printed vertically ina stripe up the right side, exactly as it was placed on
the fourth Le Corbusier volume and the Garnier volume (figs. 13.3, 13.4; plate
16). "Biblio" records the dates of the two books as 1938and 1939 respectively, 71
and these are likely correct. Notices for Deux études appeared in both l'architecture
d'aujourd'hui and the Italian magazine Emporium in 1938, and Nelson sent a copy
as a gift to the Museum of Modern Art, where it was received on 10 November
1938. 72 La maison suspendue includes, on its final page of text, a postscript dated
12 January 1939, which appears to be conclusive for that book. But earlier dates
have also been proposed: Nelson himself, in his 1959 article Design for Tomorrow
gives a 1937 publication date for La maison suspendue, and in his entry to the Ameri-
can Architects Directory of 1970 liststhe two publications as 1934 and 1937. 73 In the
bibliography of his 1971 interview with Judith Applegate inPerspecta 13/14, they
are listed, presumably by him, as 1936 (a more plausible date for Deux études) and
1937; these dates are repeated in most subsequent literature. 74 While Nelson's
dates may simply be incorrect, either by error or design, there does remain the
possibility of two separate printings of both books. Some copies of Deux études
have a variant cover with white printing on blue cardstock; Nelson's own copy
was the blue version, suggesting that it might have been the earlier one, but then
so was the copy he sent to MoMA (fig. 13.2). 75 The supplemental nature of the
dated section of La maison suspendue also suggests an earlier version without it, but
I have been unable to locate a copy.

Following the Second World War, Badovici worked as an architect on the
reconstruction of several towns near Maubeuge in northeast France. It was there
that he met the Greek architect Panos Dzelepy, who had also joined the re-
construction, perhaps through the agency of Christian Zervos. Before the war,
Dzelepy had been the architect for two complexes designed specifically for the
convalescence of children, Voula and Péndély; these became the subject of Ba-
dovici's final book, Villages d'enfants. It was published in late 1948, in a similar
format to the two Nelson titles. 76 It is spiral bound, with black typography on
brown cardstock for the covers; the blackstripe proclaiming the L'ARCHITECTURE
VIVANTE affiliation runs across the bottom. Inside are 18 pages of text, followed
by 66 pages (although numbered to 64) of photographic plates, drawings, and
charts (fig. 13.5).

In advertising for the extraits throughout the 1930s, several of Badovici's early
Morancé publications were included in the l'Architecture Vivante series. Thosewor-
thy of this title were Maisons de rapport de Charles Plumet, La maison d'aujourd'hui:
Maisons individuelles, and Grandes constructions: Béton armé-acier-verre; left out, pre-
sumably for not being sufficiently avant-garde, were Les intérieurs de Sue et Mare,
"Harmonies": Intérieurs de Ruhlmann, and Intérieurs Français 77 No change was made
to any of these publications, and their publisher's pages still identifiedthem as
part of the Documents d'Architecture series.

Albert Morancé died in 1951, 78 Jean Badovici in 1956. Two later Morancé
titles, Urbanisme and Belgique, now edited by Gaston Morancé, were published
in 1956 and 1958 respectively under the l'Architecture Vivante banner, but cannot
be considered part of the same series. 79 Badovici also had one additional edito-
rial effort with Morancé outside of the l'Architecture Vivante series which bears
mentioning. In 1937, he was a guest editor of the first fascicule of l'Encyclopédie
de l'Architecture Moderne, devoted to the Paris Exposition of that year, eventu-
ally to be subsumed into Tome XI of that publication. Morancé's extraits from
l'Encyclopédie were arranged by building type, which typically meant that they
drew from a number of volumes. In this case, though, the complete fascicule
was reissued the following year in book form under the title: Architecture de fêtes:
Arts et techniques. 80

In Badovici's obituary, the claim is made for 70 l''Architecture Vivante publica-
tions under his direction. 81 This is not explained, but can be interpreted as fol
lows: 42 fascicules of the review, 21 extraits (including the Le Corbusier volume
reprinted from I'Encyclopédie), 4 new titles following theend of the review
(Le Corbusier, Nelson, and Dzelepy), and 3 titles from the 1920s appropriated into
the series. There are many pieces still missing from the puzzle, most important
to me the number of copies printed (and sold) of both the review and the extraits.
The extent of their reach, both within and outside of the European architecture
community, could then be analyzed: for instance, the relative importance of
Badovici's presentation of Le Corbusier's work compared to Willi Boesiger's con-
current publications for Verlag Girsberger; 82 or the extent to which Badovici and
Gray's E.1027 was known, and whether its relative obscurity in the early histories
was partially due to the inaccessibility of its documentation.

APPENDIX

The website of the Bibliographical Society of the University of Virginia (www
.bsuva.org) provides a listof the copies examined for this study as well as images
and bibliographical details of the items. The entries are as follows:

• 1.1 L'Architecture Vivante, no. 25 (automne 1929)
• 1.2 L'Architecture Vivante, Volume 1929 II
• 2.1 La Cité-Jardin du Weissenhof a Stuttgart, [1928]
• 3.1 Le Corbusier et P. Jeanneret, Premiére série, version A, [1930]
• 3.2 Le Corbusier et P. Jeanneret, Premiére série, version B, [ca. 1934]
• 3.3 Le Corbusier et P. Jeanneret, [Deuxiéme série], version A, [1929]
• 3.4 Le Corbusier et P. Jeanneret, Deuxiéme série, version B, [1930]
• 3.5 Le Corbusier et P. Jeanneret, Troisiéme série, [1930]
• 3.6 Le Corbusier et P. Jeanneret, Quatriéme série, [1931]
• 3.7 Le Corbusier et P. Jeanneret, Cinquiéme série, [1932]
• 3.8 Le Corbusier et P. Jeanneret, Sixiéme série, version A, [1934]
• 3.9 Le Corbusier et P. Jeanneret, Sixiéme série, version B, [ca. 1940]
• 3.10 Le Corbusier et P. Jeanneret, Septiéme série, [1937]
• 4.1 E.1027: Maison en bord de mer, version A, [1930]
• 4.2 E.1027: Maison en bord de mer, version B, [ca. 1936]
• 5.1 L'Architecture Russe en U.R.S.S., Première série, version A, [1931]

• 5.2 L'Architecture Russe en U.R.S.S., Première série, version B, [ca. 1933]
• 5.3 L'Architecture Russe en U.R.S.S., Deuxième série, version A, [1931]
• 5.4 L'Architecture Russe en U.R.S.S., Deuxième série, version B, [ca. 1933]
• 5.5 L'Architecture Russe en U.R.S.S., Deuxième série, version C, [ca. 1940]
• 5.6 L'Architecture Russe en U.R.S.S., Troisième série, version A, [1933]
• 5.7 L'Architecture Russe en U.R.S.S., Troisième série, version B, [ca. 1937]
• 6.1 Grandes Constructions réalisées par Freyssinet, version A, [1931]
• 6.2 Grandes Constructions réalisées par Freyssinet, version B, [ca. 1940]
• 7.1Frank Lloyd Wright: Architecte Américain, version A, [1931]
• 7.2Frank Lloyd Wright: Architecte Américain, version B, [ca. 1940]
• 8.1 L'Architecture Vivante en Allemagne, Première série, version A, [1932]
• 8.2 L'Architecture Vivante en Allemagne, Première série, version B, [ca. i940]
• 8.3 L'Architecture Vivante en Allemagne, Deuxième série, version A, [1932]
• 8.4 L'Architecture Vivante en Allemagne, Deuxième série, version B, [ca. 1940]
• 8.5 L'Architecture Vivante en Allemagne, Troisième série, version A, [1932]
• 8.6 L'Architecture Vivante en Allemagne, Troisième série, version B, [ca. 1940]
• 8.7 L'Architecture Vivante en Allemagne, Quatrième série, version A, [1933]
• 8.8 L'Architecture Vivante en Allemagne, Quatrième série, version B, [ca. 1940]
• 9.1 L'Architecture Vivante en Hollande, Première série, version A, [1932]
• 9.2 L'Architecture Vivante en Hollande, Première série, version B, [ca. 1940]
• 9.3 L'Architecture Vivante en Hollande, Deuxième série, version A, [1933]
• 9.4 L'Architecture Vivante en Hollande, Deuxième série, version B, [ca. 1940]
• 10.1 L'Œuvre de Tony Garnier, [1932]
• 11.1 Hopitaux: Sanitoria, cliniques, maisons de santé, maisons de retraite, [1934]
• 13.1 Le Corbusier: Œuvre plastique, [1938]
• 13.2 Architecture hospitalière: Deux Études de Paul Nelson, version A, [l938]
• 13.3 Architecture hospitalière: Deux Études de Paul Nelson, version B, [ca. 1939]
• 13.4 La Maison suspendue: Recherche de Paul Nelson, [1939]
• 13.5 Villages d'enfants, [1948]