Moreover, the extent to which Carola Giedion-Welcker recognized that Le Corbusier shared her own vision of the place of sculpture across space and time is attested to by the extent to which she allows the artist to speak for himself in her book Contemporary Sculpture. She selects a quotation from his 1936 essay the ‘Tendencies of Architecture with the collaboration of Painting and Sculpture,’ which could be ascribed to any of his later works, again written in the aftermath of their Meditterranean voyage:

Le Corbusier says,
‘Around the building, inside the building, there are definite places, mathematical points, which integrate the whole and which establish platforms from which the sound of speech would reverberate in all parts. These are the predestined sites for sculpture. And that sculpture would be neither a metope, a tympanum, nor a porch. It would be much more subtle and precise. The site would be a place which would be like the focus of a parabola, or an ellipse, like the precise point of intersection of the different planes which compose the architecture.’

This ‘precise point of intersection’ was the element which Le Corbusier continuously sought to elucidate in his work, seeking to define an intersection between man, nature and the origins of art, and indeed the present and future of architecture. For him, as for Carola Giedion Welcker, ‘wider cosmic unity’ was a truth worth seeking.