A renewed dialogue between ruin and landscape.

From a modernist office tower of the Glorious Thirty in a state of transient decay, Open space reverses the "classic" ruin/nature representation that can be observed in Flemish landscape painting from the 17th century. Unlike the "composed veduta" by painters from the north where you can see ruins of ancient Rome surrounded by an Arcadian landscape where nature and culture unite harmoniously, here the landscape no longer welcomes ruin, it makes part of the ruin. The mountainous landscape used, refers to the aesthetics of the sublime, giving a tone of confrontation between man and the forces of nature.


By introducing a landscape “freely” into this brutalist setting, Open space also plays with the relationship with nature, materials and landscapes, especially with the spatial continuity from inside to outside which was at the center of the concerns of the first modernist architects who wanted to put man back at the heart of "Creation" thanks to technique.

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Brussels, Belgium

With, "After Sol LeWitt", Xavier Delory offers a unique interpretation of the work of Sol LeWitt, the founder of conceptual art. This Urbex style fiction depicts an abandoned house whose walls reveal the remains of Sol Lewitt’s wall drawings.


Xavier Delory brings the conceptual work of the American artist face to face with the romantic expressionism of abandoned places. The erasure of the mural caused by the architecture’s dilapidation evokes the transient side of Lewitt's art. And thus the photographer continues to explore the dialogue between architecture, ruin and painting.

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Attic wall drawing #544  ©Xavier Delory


chapelle Notre-Dame du Haut, France

This fiction imagines The Notre-Dame-du-Haut chapel built by Le Corbusier between 1951 and 1955 on the Bourlémont hill in Ronchamp, entirely covered with three paintings painted by Le Corbusier on the walls of Villa E-1027 located in Roquebrune Cap Martin.


Some Anglo-Saxon critics qualify the pictorial intrusion at E-1027 as symbolic "rape". The frescoes are in oppositon to the concept of purist architecture by Eileen Gray based on pure volumes and solid colors, and the ideas of Le Corbusier himself, for whom architecture could not be "decorated", seeing in the artist an enemy of architecture, destroying and disqualifying the wall. He called on architects to use only polychromy.


Le Corbusier had a daily practice of painting alongside his career as an architect. His ideas on mural painting will gradually evolve, no doubt, influenced by Picasso, Fernand Léger and his desire to synthesize the arts.


We can see in the architecture of Notre Dame Du Haut an evolution similar to that in his painting, after a purist beginning influenced by the industrial motif, Le Corbusier will be inspired by forms from the natural world.

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The chapel Notre-Dame-du-Haut, France

The chapel Notre-Dame-du-Haut, built by Le Corbusier between 1951 and 1955 on the hill Bourlémont, Ronchamp (France), was commissioned by the Dominican friars. 

At the time, the chapel’s architecture surprised a great number of architects and architectural critics who saw Le Corbusier as one of the fathers of functionalism who swore allegiance only to the right angle. Its round shapes inspired by the Vosges hills (audio visual) and the animal world (crab shell for the roof), appeared to them to be a betrayal of the theories of modern architecture.

The art historian, Nikolaus Pevner, who defined the Modern Movement in architecture in 1936, describes the Ronchamp chapel as evidence of new irrationalism.

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villa Savoye, France

Villa Savoye, the best known work of the French-Swiss architect, Le Corbusier, was built between 1928 and 1931. Villa purists say that this icon of the Modern Movement completes the cycle of white houses.


With this 'Living Machine', Le Corbusier sets in place the 5 five-points of new architecture (the theory provides the basis of the Modern Movement): pilings, roof terrace, open plan, window bar and open facade. 

In addition to these 5 points, the first modernist architects favour expensive ornaments and a minimization of decor.


Nowadays, the Villa Savoye has become a 'museum' of impeccable whiteness, yet it almost disappeared altogether. During World War II, the villa was badly damaged, in 1962, after years of neglect, the first salvage work was carried out under the direction of the Minister of Culture at the time, André Malraux. In 1997, after three phases of restoration, the house was opened to the public.

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