When Le Corbusier designed his Brutalist Unité d’Habitation structures in Marseilles and Berlin, the architect imagined these as models for the future of vertical urban living. But, as they say in war: his plans didn’t survive contact with the enemy.

Completed in 1958, the Berlin version in particular was altered internally prior to construction, meaning that the original layouts and details Corbu had it mind were largely left on the drawing table, replaced instead by cheaper, German-drafted plans. At least until German-American architect Philipp Mohr (images Didier Gaillard-Hohlweg) bought a unit in the building.

He purchased a condo that, at the time, “was all entirely white and looked more like a prison, or the typical 1980s German social housing, than anything Corbusier had ever designed.” Even the ceiling heights were out of alignment with the original design.

Mohr went beyond restoring the 1958 format format, studying historical design documents at the Foundation Le Corbusier and the Cité de l’Architecture et du Patrimoine in Paris to see past what was actually built.

With the big picture in hand, he set about studying colors, lighting, finishes, plans and other details of Corbu’s to replicate his original vision as much as possible.

Having finished the renovation, Mohr believes the space is better for it. “The colours are timeless and very soothing and inviting,” Mohr says. “The use of wood and natural finishes is comfortable and homely. The proportions are pleasing and the relationship to views and light is positive and uplifting.”

Created by Le Corbusier, one of the most famous architects of the Modern movement, this vintage Polychromie Architecturale: Die Farbenklaviaturen book features interactive pop-up and pull-out pages to illustrate ideal color combinations for architectural and interior designers.

Developed for and published by a Swiss wallpaper company, a rare first edition of the 1931 original volume is being auctioned in New York, its paper sliding elements and color sample storage pockets still functional and intact.

Like much of his work, which treated architecture as “machines for living in,” Le Corbusier saw color as something that could be systematized for the modern era. These, in turn, could effect the health and happiness of building occupants. His polychromatic custom color systems included a “color keyboard” for matching hues and shades across the spectrum.

Also as with his other systematic efforts, Corbu boiled down color selection to key components like mental effects, weight and depth, perception and unity – these parallel the logical and reductive approach of his “five points” for designing architecture. Color combinations were designed to take advantage of the positive potential in mixing and matching.

Lighter and more natural colors could warm rooms while darker shades could camouflage parts of a space. He also designed wallpapers that took his color theories into account, combining them with rational geometries to form modern patterns. Despite the rarity of the volume and fame of its author it is expected to sell for only a few thousand dollars at the Swann Auction Galleries.

Actual murals made by architect Le Corbusier have been digitally added to the walls of one of his most famous buildings, transforming Notre Dame du Haut, added an array of colors to its complex curves.

Architect Le Corbusier, who passed 50 years ago, remains famous for his rigid Modernist works, but for spiritual spaces he made an exception, shifting from a rule-based to an artistic approach.

Still, the resulting structure was simply white and gray, devoid of color until these murals were introduced. The thin-seeming walls are covered from the ground up, but so too are the thick swooping roofs that curve up and around, seeming almost to float above the sides.

The fictional images were crafted by Belgian photographer Xavier Delory, who applied a set of artworks Corbu made for an architectural colleague.

“Le Corbusier was not only an architect, he was also a painter and sculptor. He is the author of the phrase ‘synthesis of the arts’ meaning an alliance between painting, sculpture and architecture. At first he thought about what painting and sculpture could bring to architecture, not playing a decorative role but rather ‘as a house guest’ in a second phase, he moved this level of synthesis to a fusion of modern architectural styles at Ronchamp.”

In a previous series, the same photographer re-imagined the Villa Savoye, another famous work by Corbu, sparking a series of fake stories suggesting the iconic house had actually been vandalized.