Abstract
Le Corbusier's drawings are far from being confined to those produced by architects in the course of studying their projects. As the hundreds of drawings gathered in the first volume of the catalog raisonné show, they were, depending on the case, in the register of notation and observation, or in that of the imagination, for example in certain fantastical landscapes. As Jeanneret's pre-1914 drawings progressed, his eye became less documentary and more synthetic, as demonstrated by his landscape drawings. The range of techniques used, from graphite to pen and colored pencil to watercolor, is vast, confirming that the corpus of these documents was indeed the foundation on which the architect would build what he would later call his " secret laboratory ".
