Abstract
Around a set of works of different scope and scale, the question of the mechanisms of form generation is studied in a specific corpus of projects studied and/or realized after 1945. Attentive to accidental forms and " objects with poetic reaction ", Le Corbusier was capable of deploying several form-generating strategies in parallel, which can be detected and analyzed. These include the observation of accidental forms derived from everyday life or the improvisation of craftsmen, which can be compared to the art that Jean Dubuffet considered " brut ". But the work on textures also leads us to divert mechanical wefts, such as those of zip-a-tone or weft-transfer, to obtain moiré effects. Through all these operations, Le Corbusier's formal invention can be related, depending on the case, to Op Art or Surrealism.
