Through the 20th century architectural theory of rational thinking and the principles according to the statement of the firm, Le Corbusier's early works by analyzing the language of architecture, including his architectural concepts and helps the understanding of modern architecture. Masters of modern architecture as a place among the works of Le Corbusier in the 1920s, ‘Le Corbusier’s White Period’ homes to target by age, and that his initial concept of the formation process of clarifying, further the construction of his golden age will be the key to understand. I selected housings from Maison Citrohan to villa Savoye, the category of architectural elements by considering the development process, he examines developments of the concept of modern architectural space. In analysis process, First of all, I am focused on between each element in the development process to review and explicate the integration process. The advent of the machine which he lived, because of its incredible potential reorganization of human society, as well as to celebrate the start of a new lifestyle. His architectural language of the times in the machinism could achieve progress and modern art, which is a new interpretation of the natural world.

This paper is a study of Le Corbusier's trace regulateur of the 1920s, particularly its role in the design of the Villas La Roche Jeannerct and stein-de Monzie. It proceeds on the basis of the following three themes; first, the relation between the regulation line and the dom-ino frame; second, its status as p proportional device based not on a module system but one that defines relations; third, its function as an essential practical device in the design process. In the Villa La Roche-Jeanneret, the embedded horizontal planes of the dom-ino frame were constant, but the vertical lines of the columns were altered according to the changes in plan. Initially, a left-hand bay window formed a symmetry with the right-hand bay window, the only constant in the design process. With subsequent changes, mullion sections of the horizontal window and roof elements came to provide the reference points for the regulating line. Eventually, a regulating line different from the one that controlled the bay window and the elongated volume came to control the entrance hall of Villa La Roche, resulting in three different kinds of regulating lines in the final version. In contrast to the Villa La Roche-Jeanneret, a singular and consistent regulation line was anticipated in the earliest design stages of the Villa Stein-de Monzic. The repetition of its A:B grid and the standard 2.5m×1.0m sliding window determined the proportions of both its plan and elevation, and thus the regulating line became ""automatic,"" losing its viability as a practical tool. Though the regulating lines of the La Roche-Jeanneret look as if they ere an afterthought, drawn after the design was complete, they were most active, requiring tenacity and discipline in their application. On the other hand, the seemingly ""redundant"" regulating line of the Villa Stein-de Monzie gains its raison d'etre from the dom-ino frame. Its cantilevers and uninterrupted horizontal window could be used in decisive fashion because of the guarantee that the correct proportion would always be maintained. Thus we discover that LE Corbusier's discipline of the 1920s had a certain spectrum of flexibility. His ""parti"" ranged from the extremely loose and malleable grid of the Villa La Roche-Jeanneret to the fixed grid of the Villa Stein-de Monzie. In different ways, these projects retain the tension between the dom-ino frame and the regulating line. For Le Corbusier, as much as the grid was an object with fixed attributes, it was also an active medium manipulated by the will of the architect.

This Study starts from a recognition that the architecture is based on the process demanded by substantial needs as well as pure theoretical logic system. So this study aims at proposing another point of view differentiating process and principle of architecture from pure theoretical logic system in the creative process of the Governor's Palace by analyzing drawings in chronological order. Even though the Governor's Palace had not been built because of discord between authorities of India and Le Corbusier, it is undoubtedly one of the best proposals which contains very concepts and ideas of later Le Corbusier's architectural intentions. In the first design stage, overall conception of the building was carried out in the sketches and drawings till Jan, 1954 and in the second stage, the elaboration of the project was pursued till Mar. 1995. The scheme tends to begin too large and general in character, becoming tighter and more complex under pressure from the client and adjustments required by the design process itself. For example, scale reduction, division and development of internal circulation system and applying his early 'Five Points'. So new solutions are searched by oscillating between compromise modifications and radically different solutions in contracting the first ideas. From all these, it is concluded that the early doctrine (Five Points) are adjusted and extended towards another stage by the use of restricted pilotis, the concept of fenetre en longueur transformed into a sub stricture of facade, sustained concept of le plan libre, les toits jardins extended towards concept of the urban area. And these formal intentions of the Governor's Place has been carried through other contemporary projects like Mill Owner's Association in 1954 and Villa Shodan in 1952.

This study is about Le Corbusier's early years of loarning and training at La Chaux-de-Fonds. It is an attempt to show how Le Corbusier's groundwork was laid which characterize his work throughout the life. Charles Edouard Jeanneret was trained as a watch engraver and wished to be a painter. C. L'Eplattenier was to play a decisive role in shaping the young introspective boy's future. He encouraged Jeanneret's habit of the close study and observation of nature. Jeanneret was not the product of an established school, but instead made the unusual choice of educating himself. He found two indispensible sources of inspiration in study the past and in contemplating nature. His four years of self-education consisted of extensive reading, summer travels and winter layovers in larger cities-Vienna, Paris, Berlin-while sketching in museums or apprenticing local architects-Pellet, Behrens-. All these impressions then blended together to become part of a comprehensive source book of knowledge and imagination of the later Le Corbusier. A largely self-taught man, he never stopped making notes, drawing and writing, always aspiring to a clearer understanding of the meaning and underlying principles of objects and architecture. Jeanneret's five villas in La Chaux-de-Fonds are barometers which show the sequences of his development and change as an architect. In 1917, being thirty, he uprooted himself from his hometown to get a wider range of opportunities and moved to Paris. By that time Jeanneret was almost ready to blossom into Le Corbusier It was during this formative years of his life that Le Corbusier established the working method, mind-set and philosophical basis that determined the course of an architect in the making.