Bibliographical Society of the University of Virginia

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 in northeast France, and a minor role in his earlier collaboration on his own houses in Vezelay 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 strength of this one book, Morancé's friendly rival, Albert Levy, recruited Badovici to edit a revival of the review I'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, Sue 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 [End Page 251] 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 Editions 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 Editions 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, l'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 [End Page 252] this article to describe, as completely as possible, the full extent of these volumes and their relationship to their parent review. As no archive survives for Editions 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 (45cm x 54cm for the full sheets), folded once or twice respectively, to form loose signatures of four or 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 details of the works illustrated in the photographic plates that followed. The plates themselves, typically numbering twenty-five per fascicule, were luxuriously printed [End Page 253] 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 mgm 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 mgm 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 mgm xxiv. Three months later the next issue arrives, also in a paper cover, this one dated hiver mgm 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 mgm 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 mgm 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 [End Page 254] numbered "troisième année, numéro 7"). But this appeared only on the masthead 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 bearing both 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 Autumn 1930 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, [End Page 255] 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 Editions 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, sans-serif 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. Editions Albert Morancé [End Page 256] 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 "Moiancé Editeur" 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. [End Page 257]

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 mgm 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 - 11 (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 "premiere 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 Cor-busier's work in l'Architecture Vivante, which was issued simultaneously as the "quatrième série" 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. [End Page 258]

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 fascicules. 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 publication (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 Vivante. Complementing this was the opening page of 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 this would have left the four pages of front matter out; in every other volume these were unnumbered, 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 usual blank. The reason for this format change is unclear, as two pages remain blank at the end of the final signature [End Page 259] of the text section, and the table of contents could have taken its expected place there. The text pages are renumbered 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 appeared in the Winter 1933 issue of the review (fig. 3.9). There is a sommaire with the l'Architecture Vivante masthead, 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 complement. Where l'Architecture Vivante was avant-garde, l'Encyclopédie was mainstream; and while l'Architecture Vivante published commentary about and essays by its featured 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 Vivante, 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 [End Page 260] 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 total) showing buildings and projects by Le Corbusier and Pierre Jeanneret. These plates then formed the basis for the seventh volume of the oeuvre complète, 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 série 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 Editions Albert Morancé. 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 publisher'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 contain 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 [End Page 261] 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 MORANGÉ 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 it 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 Yale 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 complete 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 Editions Albert Morancé advertising for the series. Their 1932 catalog refers to it as Maison en bord de mer: Aménagement rationnel d'un intérieur moderne, [End Page 262] 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 all advertising 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 phantom 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 Badovici had bowed 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, but these 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 typeface, 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 [End Page 263]

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 Corbusier. 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 former included the complete front matter, all text and documentary drawings, a table of contents covering both issues, 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 as well: it too had been preceded by earlier fascicules on the same subject - in this case the first half of 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, with the 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 form the 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 en URSS. A black square in the lower right hand corner carries the publisher's name; below it a black rectangle and triangle form a large arrow pointing back to the title. Below the arrow is the volume number: 1E 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 drawings, renumbered from the originals. The sole article, Le mouvement constructif russe, [End Page 264] 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 issue: André La Roque's A propos de l'art contemporain and Badovici's Le problème 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 Russian 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 remained 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 photograph 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: l'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 background 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 [End Page 265]

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 the title Grandes constructions réalisées par E. Freyssinet.45 The title makes an oblique reference to Badovici's 1927 portfolio, Grandes constructions: Béton 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 October 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 respectively, 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 sommaire 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 typeface, 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 both suggest [End Page 266] that this reissue occurred during the Occupation. This is reinforced by the several copies I have seen of these redesigned portfolios with ownership dates, all of which are from the early 1940s.

7. Frank Lloyd 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 speculative of 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 earliest 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 Edition Albert Morancé's own catalog of that year, neither of them providing a date other than that of their own publication; the former was published 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'av and 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 the new 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). [End Page 267]

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 signature somewhat 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 Editions 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 [End Page 268] titled l'Architecture Vivante en Allemagne: troisième série, it appeared in early 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 identical 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 between 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 du Weissenhof à Stuttgart as a subtitle. The second volume, from Autumn of 1929, besides replacing the 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 deuxième série, although later advertisements subtitle it Les maisons métalliques 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, Ludwig 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 number 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 extraits made 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 [End Page 269]

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 Freyssinet extrait. The materials used for the covers are the undistributed l'Architecture Vivante volume covers from 1932 and 1933, turned over and printed on the reverse, 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 other Morancé 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 fascicules for its contents, combining them neatly into a new entity, l'Architecture Vivante en Hollande: Le group "De Styl" et l'Ecole 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 série 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 articles from 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 [End Page 270] 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 four-page 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 architecture, 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 to have been sold this way, lacking the Autumn 1925 material (fig. 9.2). A copy of the second volume is at Avery Library: the contents match the original review, with the l'Architecture Vivante front 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 contents [End Page 271] 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 images 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 background 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 his reach around the globe, while maintaining a cohesion that would allow for reproduction as a separate book. Now copiously titled Hôpitaux: Sanitaria, cliniques, maisons de santé, maisons de retraite: Programmes & solutions techniques de le construction hospitalière, the extrait, published in 1934, replaced the initial four page signature, in this case omitting the 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's-eye device balancing the front text in the overall composition. The background is green, matching the variant color of the seventh Le Corbusier volume (fig. 11.1, plate 15). [End Page 272]

12. A. et G. Perret

In its 1932 catalog, Éditions Albert Morancé announced two new extraits under the heading l'Architecture Vivante en France.66 The first was l'Oeuvre de Tony Garnier, 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 fifty-six 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 Perret plate published in the review was of the Pavillon de la "Samaritaine" at the Exposition Internationale des Arts Décoratifs 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.

13. 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 book is dedicated primarily to painting and graphic art, a few drawings 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 cardboard 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 considered it 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 [End Page 273] 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 pavilion 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 vivante printed vertically in a 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 1938 and 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 American Architects Directory of 1970 lists the two publications as 1934 and 1937.73 In the bibliography of his 1971 interview with Judith Applegate in Perspecta 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. [End Page 274]

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 reconstruction, 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 Badovici'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 black stripe 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. Those worthy 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, presumably for not being sufficiently avant-garde, were Les intérieurs de Süe 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 identified them as part of the Documents d'Architecture series.

Albert Morancé died in i95i,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 editorial 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, eventually 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 [End Page 275]

In Badovici's obituary, the claim is made for 70 l'Architecture Vivante publications under his direction.81 This is not explained, but can be interpreted as follows: 42 fascicules of the review, 21 extraits (including the Le Corbusier volume reprinted from l'Encyclopédie), 4 new titles following the end 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 concurrent 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.

Daniel Lawler

Daniel Lawler is a practicing architect in Brooklyn, New York. He has taught both design and architectural history at New York City College of Technology and New York Institute of Technology, and was an editor of Architecture and Body (Rizzoli, 1990). He is an avid collector of books on twentieth-century architecture.

Appendix

The website of the Bibliographical Society of the University of Virginia (www.bsuva.org) provides a list of 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, Première série, version A, [1930]

  • 3.2   Le Corbusier et P. Jeanneret, Première série, version B, [ca. 1934]

  • 3.3   Le Corbusier et P. Jeanneret, [Deuxième série], version A, [1929]

  • 3.4   Le Corbusier et P. Jeanneret, Deuxième série, version B, [1930]

  • 3.5   Le Corbusier et P. Jeanneret, Troisième série, [1930]

  • 3.6   Le Corbusier et P. Jeanneret, Quatrième série, [1931]

  • 3.7   Le Corbusier et P. Jeanneret, Cinquième série, [1932]

  • 3.8   Le Corbusier et P. Jeanneret, Sixième série, version A, [1934]

  • 3.9   Le Corbusier et P. Jeanneret, Sixième série, version B, [ca. 1940]

  • 3.10   Le Corbusier et P. Jeanneret, Septième 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., Premiere serie, version B, [ca. 1933]

  • 5.3   L'Architecture Russe en U.R.S.S., Deuxieme serie, version A, [1931]

  • 5.4   L'Architecture Russe en U.R.S.S., Deuxieme serie, version B, [ca. 1933]

  • 5.5   L'Architecture Russe en U.R.S.S., Deuxieme serie, version C, [ca. 1940]

  • 5.6   L'Architecture Russe en U.R.S.S., Troisieme serie, version A, [1933]

  • 5.7   L'Architecture Russe en U.R.S.S., Troisieme serie, version B, [ca. 1937]

  • 6.1   Grandes Constructions realisees par Freyssinet, version A, [1931]

  • 6.2   Grandes Constructions realisees par Freyssinet, version B, [ca. 1940]

  • 7.1   Frank Lloyd Wright: Architecte Americain, version A, [1931]

  • 7.2   Frank Lloyd Wright: Architecte Americain, version B, [ca. 1940]

  • 8.1   L'Architecture Vivante en Allemagne, Premiere serie, version A, [1932]

  • 8.2   L'Architecture Vivante en Allemagne, Premiere serie, version B, [ca. 1940]

  • 8.3   L'Architecture Vivante en Allemagne, Deuxieme serie, version A, [1932]

  • 8.4   L'Architecture Vivante en Allemagne, Deuxieme serie, version B, [ca. 1940]

  • 8.5   L'Architecture Vivante en Allemagne, Troisieme serie, version A, [1932]

  • 8.6   L'Architecture Vivante en Allemagne, Troisieme serie, version B, [ca. 1940]

  • 8.7   L'Architecture Vivante en Allemagne, Quatrieme serie, version A, [1933]

  • 8.8   L'Architecture Vivante en Allemagne, Quatrieme serie, version B, [ca. 1940]

  • 9.1   L'Architecture Vivante en Hollande, Premiere serie, version A, [1932]

  • 9.2   L'Architecture Vivante en Hollande, Premiere serie, version B, [ca. 1940]

  • 9.3   L'Architecture Vivante en Hollande, Deuxieme serie, version A, [1933]

  • 9.4   L'Architecture Vivante en Hollande, Deuxieme serie, version B, [ca. 1940]

  • 10.1   L'Œuvre de Tony Garnier, [1932]

  • 11.1   Hopitaux: Sanitoria, cliniques, maisons de sante, maisons de retraite, [1934]

  • 13.1   Le Corbusier: Œuvre plastique, [1938]

  • 13.2   Architecture hospitaliere: Deux Etudes de Paul Nelson, version A, [1938]

  • 13.3   Architecture hospitaliere: Deux Etudes de Paul Nelson, version B, [ca. 1939]

  • 13.4   La Maison suspendue: Recherche de Paul Nelson, [1939]

  • 13.5   Villages d'enfants, [1948]

Footnotes

* My research for this essay was aided by a number of people and institutions. A grant from the Professional Staff Congress - City University of New York allowed me to examine the Jean Badovici papers at the Getty Research Library in Los Angeles. The staff at that library was enormously helpful, as were the staffs at the other libraries I visited: Avery Library at Columbia University, The New York Public Library, The Architecture Library at City College of New York, Beinecke Rare Book Library at Yale University, Frances Loeb Library at Harvard University, Marquand Library at Princeton University, and the Library at the Museum of Modern Art in New York. The Fondation Le Corbusier and the Frank Lloyd Wright Foundation Archives sent copies of relevant correspondence, and numerous other librarians, booksellers, and collectors answered detailed questions and provided valuable information. Mary McLeod provided encouragement and contacts; Traugott Lawler proof-read drafts and fixed my grammatical errors; Aine Zimmerman and Sylvaine Frances translated German and French; Caroline Constant and Jean-Louis Cohen shared their enormous knowledge; Malte Knigge contributed several crucial discoveries; and Sally Gilliland made all of it possible.

1. Jean Badovici, ed., Maisons de rapport de Charles Plumet (Paris: Editions Albert Morancé, 1923).

2. The contract between Badovici and Albert Levy (torn neatly into nine pieces and placed in an envelope), Levy's letter of retraction to Badovici and Zervos, and Zervos's reply (also torn) are part of the Jean Badovici Papers held at the Getty Research Institute Library, Santa Monica, California. L'Architecte resumed its publication in January 1924, under the editorship of Pol Abraham.

3. Jean Badovici, ed., Les intérieurs de Sue et Mare (Paris: Éditions Albert Morancé, 1924).

Jean Badovici, ed., "Harmonies": Intérieurs de Ruhlmann (Paris: Éditions Albert Morancé, 1924).

Jean Badovici, ed., Intérieurs fiançais (Paris: Éditions Albert Morancé, 1925).

Jean Badovici, ed., La maison d'aujourd'hui: Maisons individuelles (Paris: Éditions Albert Morancé, 1925).

Jean Badovici, ed., Grandes constructions: Béton armé Ðacier Ðverre (Paris: Éditions Albert Morancé, 1927).

4. Darlene A. Brady, Le Corbusier: An Annotated Bibliography (New York: Garland, 1985). The main entry for the series is in section IIA, number 7, although two of the seven extraits are also listed separately (IA 27 and IA 28). Articles by Le Corbusier which appeared in the review are listed (IB 60, for instance) with no mention of their appearance in the extraits as well.

5. Catalogue Valdras: Limes publiés en France en 1929 (Paris: Vald. Rasmussen, 1930). Subsequent titles cover the years 1930 through 1935.

"Biblio" 1934: Catalogue français (Paris: Service Bibliographique des Messageries Hachette, 1935). Subsequent titles through 1939 were also consulted.

6. Librairie Française d'art et d'architecture (Paris, Librairie Française, 1932).

Éditions Albert Morancé (Paris, Éditions Albert Morancé, 1938).

7. The additional charge for the volume portfolio covers is described in a note to subscribers, loosely inserted into the Summer 1925 fascicule of the review. See both copies of this fascicule in the Eisenman Collection, Beinecke Rare Book Library, Yale University, New Haven, Connecticut.

8. L'Architecture Vivante (New York: Da Capo Press, 1975). Five volumes. The organization of the reprint, for the most part, follows Badovici's intentions of combining each pair of fascicules into volumes, but there are some odd exceptions. Most glaringly, the 1930 I volume has not been integrated into a continuously paginated entity, instead retaining the arrangement of the separate fascicules: the front matter for the combined issue is followed by pages 5-48 and plates 1-25, all from the Spring fascicule; then follows the sommaire for the Summer 1930 fascicule, plus one advertising page; then pages 49-76, which include the table of contents for both issues, and plates 26-50; finally the two remaining pages of ads from the Summer 1930 sommaire signature. The separation of the advertisements suggests that their four-page sommaire signature was originally placed to envelop the remaining signatures, rather than preceding them - an arrangement I have seen several times in extant fascicules. At the conclusion of the 1925 I volume, Da Capo again prints two advertising pages from the sommaire signature. In the 1933 II volume, the final one of the review, Da Capo prints the editor's note, which had originally appeared in the sommaire signature, as the fourth page of the front matter, which otherwise would have been blank; this is then followed by the one-page sommaires of both the Fall and Winter fascicules, before resuming with the complete, integrated volume.

9. La Librairie Française: Catalogue générale des ouvrages en vente au 1 er Janvier 1931 (Paris, Au Cercle de la Librairie, 1933), 115. See also the list of new books in La Renaissance politique, 27 October 1928: p. 16.

10. I have located only two copies of this publication, both incomplete. One, in a private collection, is missing the first 32 pages of text, so that it cannot be verified that the title page has remained unchanged from the review. The other, at the Université Laval, in Montreal, is complete inside, but is missing its portfolio cover. While this means that it might not be an extrait, but an ordinary volume of the review, the online catalog entry stated that its title, La Cité-Jardin du Weissenhof à Stuttgart, was taken from its cover. Following my query, this note has been removed and replaced by one concerning the absence of the portfolio cover. Nonetheless, I believe that the earlier note came from the original card catalog, and is accurate.

11. Catalogue Valdras: Limes publiés en France en 1932 (Paris: Vald. Rasmussen, 1933), 30. The copies of the Allemagne series at the Frances Loeb Library were acquired in March 1932. See also the 1932 Morancé catalog, where La Cité-Jardin du Weissenhof à Stuttgart is listed in the main text, but the bound-in price list refers one to page 8, under the heading "Supplement," where it is renamed as the first of the Allemagne volumes.

12. L'Architecture Vivante no. 22, hiver 1928. The advertisement is part of the unpaginated signature that includes the sommaire.

13. Catalogue Valdras: Limes publiés en France en 1929 (Paris: Vald. Rasmussen, 1930), 201. See also the copy from the Francis Lamond Collection, sold at auction 24 November 2005 (Artcurial, sale no. 347, lot 758), with a dedication from Pierre Jeanneret to Henry Church dated May 1929.

14. Fondation Le Corbusier: C3-12-2.

15. The title was in flux right up to the publication date: on 30 May 1929, an announcement for the book ran in Bibliographie de la France with the subtitle: Oeuvres nouvelles. Fondation le Corbusier Xi-08-122.

16. Catalogue Valdras: Limes publiés en France en 1930 (Paris: Vald. Rasmussen, 1931), 312. A single listing shows a publication of 100 plates at a price of 210 fr., the totals for the first three volumes.

17. Both copies that I have seen with the bull's-eye emblem on the rear cover have an additional anomaly: the half-title includes the description "première série," which had appeared only on the full title page of the initial publication,

18. See note 16 above.

19. Catalogue Valdras: Livres publiés en France en 1931 (Paris: Vald. Rasmussen, 1932), 274.

20. Catalogue Valdras: Livres publiés en France en 1932 (Paris: Vald. Rasmussen, 1933), 291.

21. The table of contents can be seen on page 31 of the Autumn 1932 fascicule in the Getty Research Library; it is also reproduced in the Da Capo reprint. In a copy of the fascicule in my possession, stamped "specimen" throughout, this page remains blank. The copy at the New York Public Library, which has been rebound, leaves the page out entirely, probably because it was blank.

22. On February 18, 1934, Badovici wrote to Le Corbusier imploring him to complete his text, which, when published, bore a date eight days later. Fondation Le Corbusier U3-5-181.

23. Catalogue Valdras: Livres publiés en France en 1934 (Paris: Vald. Rasmussen, 1935), 325. "Biblio" 1934: Catalogue français (Paris: Service Bibliographique des Messageries Hachette, 1935). 369.

24. See advertisement for l'Encyclopédie de l'Architecture Moderne in l'Architecture Vivante no. 14, automne 1926 (in the sommaire signature). The early issues of l'Encyclopédie included a note at the bottom of their sommaires explaining the issuing of the cardboard portfolio cover.

25. "Biblio" 1937: Catalogue français (Paris: Service Bibliographique des Messageries Hachette, 1938), 542.

26. See, for instance, Hotels de voyageurs (Paris: Charles Moreau, 1928), or Nouvelles Boutiques (Paris: Albert Levy, 1929).

27. The green copy was part of a lot of all seven volumes sold at auction on 14 May 2009 (Artcurial, sale no. 1567, lot 59).

28. Convegno d'arti, 25-31 ottobre 1936 (Roma: Accademia d'Italia, 1937), 102-129.

29. I would like to thank Caroline Constant for pointing out to me the similarities between the portfolio cover and the rug.

30. Catalogue Valdras: Limes publiés en France en 1930 (Paris: Vald. Rasmussen, 1931), 245.

31. Peter Adam, Eileen Gray: Architect, Designer (New York: Abrams, 1987), 220.

Caroline Constant, Eileen Gray (London: Phaidon, 2000), 93.

Adolf K. Placzek, ed., Macmillan Encyclopedia of Architecture, vol. 1 (New York: The Free Press, 1982), 126.

32. An example of this fascicule can be seen at the Getty Research Institute Library.

33. On page 18 of the extrait, a footnote refers to "p. 33"; this should have been revised to "p. 21." Similarly, on page 25, a reference to "PL. 49,54" in the drawing should have read "PL 24, 29." On page 16, a reference was revised to read "pl. 17," but should have read "p. 17."

34. Librairie Française d'art et d'architecture (Paris, Librairie Française, 1932), 24.

35. The 1932 advertisement is a loose sheet inserted into l'Architecture Vivante no. 37, automne 1932. Other advertisements are pasted to the inside of the portfolio covers of the extraits, the earliest from 1934 or 1935. These appear to have been added as they left the publisher, rather than when they were printed, as they sometimes advertise volumes actually printed at a later date than the volume in which they appear.

36. Editions Albert Morancé (Paris: Morancé, 1938), 13.

37. Copies in the Eisenman Collection at the Beinecke Library and the Frances Loeb Library at Harvard University follow this pattern, as does a copy in my own possession. I have verbal confirmation of three other similar copies in private hands as well. The sommaire is absent in half of these copies, which I surmise is the state in which those copies were issued.

38. On the copy at the Frances Loeb Library, the authors' names are omitted from the spine, and the sans-serif typeface is shorter and broader. One other copy has serifed lettering on the spine.

39. One additional arrangement is found in the copy from Eileen Gray's own collection, donated by her biographer, Peter Adam, to the National Museum of Ireland. Here, the bulk of the material is from the original l'Architecture Vivante fascicule: the paper portfolio cover, the sommaire and its ads, most of the text (including the table of contents covering two fascicules), and the plates - but the first twelve pages of text, numbered 5-16 instead of 17-28, are from the extrait. The first signature, with the title page, is missing altogether. Since this originated from Gray herself, I suspect that this was cobbled together for her, and not issued to the public in this form. This copy is not the one shown by Adam in his book with Gray's typewritten annotations; that copy is the fully emended extrait, and is, as far as I can tell, still in Adam's possession.

40. L'Architecture Vivante no. 28, été 1930. The advertisement is part of the unpaginated signature that includes the sommaire.

41. Catalogue Valdras: Limes publiés en France en 1931 (Paris: Vald. Rasmussen, 1932), 41. See also the notice in the review Bibliographie des Sciences et de l'Industrie, February 1931. The copies held in the Getty Research Institute Library are housed in a cardboard slipcase, although this may have been provided by an early owner. In the 1932 catalog, the two volumes were offered separately, although the advertisement in the Autumn 1932 issue of l'Architecture Vivante gives a single price for the pair.

42. Catalogue Valdras: Livres publiés en France en 1933 (Paris: Vald. Rasmussen, 1934), 53. See also the notice in the review Bulletin du Theatre, December 1934, as well as their review of the publication in January 1935.

43. Copies with these revised portfolio covers can be seen at the Architecture Library at City College of New York. Both volumes include an advertisement for the extraits on the inside of the portfolio cover. These include the sixth volume of the Le Corbusier series, but not the seventh, dating them from 1934 to 1936.

44. The copy held at the Marquand Library at Princeton University, with the variant blue cover, includes an advertisement for the l'Architecture Vivante series of extraits on the inside cover of the portfolio. It includes all of the titles published, including the seventh Le Corbusier volume, dating it to 1937 or later.

45. Catalogue Valdras: Limes publiés en France en 1931 (Paris: Vald. Rasmussen, 1932), 196.

46. l'Encyclopédie de l'Architecture: Tome IV, 1931. The third and fourth fascicules were combined in a double issue in October of 1931.

47. The Freyssinet extrait was listed under the heading "L'Architecture Vivante en France," while the earlier title was listed under "L'Architecture Vivante dans les Pays Modernes."

48. Artcurial, sale no. 1567, lot 65 (14 May 2009) and Christie's, sale no. 1000, lot 43 (30 March 2011).

49. The accompanying letter, as well as the subsequent letters and telegrams that constitute the exchange between the two offices, are held in the Frank Lloyd Wright Foundation Archives, Taliesin West, Scottsdale, Arizona. The pertinent items, in chronological order, are: M017D09, M020B10, M020A05, M020C01, M020C09, M021C10, M021E09, M023A04, M023B10, A013D11, M025C07, M026A10, M026C03.

50. Modern Architecture: International Exhibition (New York: The Museum of Modern Art, 1932), 39. The exhibition was held from 9 February 1932 until 23 March 1932.

Librairie Française d'art et d'architecture (Paris, Librairie Française, 1932), 23. See note 6 for the dating of this catalog.

51. The Canadian Center for Architecture holds copies of both the original and this later version of the extrait. Their copy of the latter follows my description, except that the original table of contents has been removed. It is unclear as to whether this was done by Morancé prior to distribution, or by a subsequent owner.

52. As of April 2015, this copy was offered for sale by Sims Reed Ltd., London. The inscription reads: "To Walter Agard - | from Frank Lloyd Wright | Taliesin - Aug - 193?". The last number of the date may be a 5, but is difficult to decipher. Correspondence between Agard and Wright show that Agard was at Taliesin in September 1930 (Wright was not there, however), October 1932, and April 1933, none of which appear to correspond to the signing of the book.

53. Frank Lloyd Wright Foundation Archives: M155D05, M155D10. A 1943 price list for Editions Albert Morancé in my possession shows this volume still available.

54. Letter from Walter Gropius to Jean Badovici, 01 July 1931, private collection. The colors and typography were discussed in the letter, but the mockup itself, as far as I know, is lost.

55. Catalogue Valdras: Livres publiés en France en 1932 (Paris: Vald. Rasmussen, 1933), 30. The copy at the Frances Loeb Library was acquired in March 1932.

56. Catalogue Valdras: Livres publiés en France en 1933 (Paris: Vald. Rasmussen, 1934), 37.

57. The copy held at the Architecture Library at City College of New York retains just a remnant of the label, with 3E SERIÈ clearly visible below.

58. The original catalog entry (now emended) for the copy in the Eisenman Collection at the Beinecke Library, for instance, listed the contents as "imperfect: p. 5-33 wanting." The copy is, in fact, complete as issued.

59. At the Getty Research Library and the Frances Loeb Library.

60. Catalogue Valdras: Livres publiés en France en 1932 (Paris: Vald. Rasmussen, 1933), 30. The copy at the Frances Loeb Library was acquired in March 1932. See also the 1932 Morancé catalog, where it is listed on page 8 of the bound-in price list under the heading "Supplement."

61. Catalogue Valdras: Livres publiés en France en 1933 (Paris: Vald. Rasmussen, 1934), 37.

62. At the Architecture Library of The City College of New York. An advertisement for the extraits on the inside portfolio cover of this copy includes the sixth volume of the Le Corbusier series, dating its leaving the Morancé premises to 1934.

63. Catalogue Valdras: Limes publiés en France en 1932 (Paris: Vald. Rasmussen, 1933), 487. The copy at the Frances Loeb Library was acquired in August 1932. See also the 1932 Morancé catalog, where it is listed on page 8 of the bound-in price list under the heading "Supplement."

64. Giulia Veronesi, Tony Garnier (Milano: Il Balcone, 1948), 49. Other errors in this publication include the misidentification of two photographs as belonging to Garnier's first villa at St. Rambert.

65. Catalogue Valdras: Livres publiés en France en 1934 (Paris: Vald. Rasmussen, 1935), 50.

66. Librairie Française d'art et d'architecture (Paris, Librairie Française, 1932), price list, 8.

67. "Biblio" 1938: Catalogue français (Paris: Service Bibliographique des Messageries Hachette, 1939), 634.

68. Le Corbusier's mockup is in the Carlton Lake Collection, Henry Ransom Humanities Research Center, The University of Texas at Austin: 152.4.

69. Fondation Le Corbusier: E1-5-32.

70. Fondation Le Corbusier: 113-4-95.

71. "Biblio" igßS: Catalogue français (Paris: Service Bibliographique des Messageries Hachette, 1939), 754.

"Biblio" iggg: Catalogue français (Paris: Service Bibliographique des Messageries Hachette, 1940), 693.

72. "Informations," l'architecture d'aujourd'ui (Mai 1938), 106. Emporium 88, no. 4, vol. 88 (1938), 290.

73. Paul Nelson, "Design for Tomorrow," Perspecta 5, (1959), 57-61.

John F. Gane, ed., American Architects Directory, 3rd ed., (New York: R.R. Bowker, 1970), 661.

74. Judith Applegate, "Paul Nelson: An Interview," Perspecta 13/14, (1971), 74-129.

75. Nelson's own copy is in the Paul Nelson Archives at Avery Architectural Library, Columbia University.

76. Letter from Jean Badovici to Panos Dzelepy, 23 July 1948: Jean Badovici Papers, Getty Research Institute Library. Badovici describes a malfunction in the binding of the book, and assures Dzelepy that it will be ready in September.

77. See notes 1 and 3 above.

78. Léonore, the online archive of the Ordre national de la Légion d'honneur, to which Morancé was appointed chevalier in 1930. He was 87 when he died.

79. François Morand, Urbanisme: Projets, plans, et réalisations (Paris: Éditions Albert Morancé, 1956).

Belgique, (Paris: Éditions Albert Morancé, 1958). Foreword by Victor Bourgeois.

80. Jean Badovici, ed., Architecture de fêtes: Arts et techniques (Paris: Editions Albert Morancé, 1938).

"Biblio" 1938: Catalogue français (Paris: Service Bibliographique des Messageries Hachette, 1939). 61.

81. Max Blumenthal, "Jean Badovici - 1893-1956," Techniques et architecture (November 1956), 24…

82. Willi Boesiger and Oscar Stonorov, eds., Le Corbusier und Pierre Jeanneret: Ihr gesamtes werk von 1910-1929 (Zurich: Verlag Girsberger, 1930). This, the first of eight volumes of Le Corbusier's better known Oeuvre complète, was available only in German until its second edition in 1937. The second volume, published in 1934 and covering 1929-1934, had parallel French and German text. Subsequent volumes added English text as well.

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