Perhaps most important of all, given Le Corbusier’s overall intentions in Chandigarh, was the so-called ‘Open Hand’ hovering on a mast like a gigantic wind vane, although the irreverent observer cannot help thinking of a base-ball glove.
The ‘Open Hand’ epitomises Le Corbusier’s attempt at combining a public iconography with an abstraction permitting several levels of reading and a formal presence permitting multiple relationships to other ‘objects’ against the sky, such as those on top of the Parliament or the Governor’s Palace.
… Like the bull, the hand was a recurrent theme in Le Corbusier’s own paintings. He initially thought of the ‘Open Hand’ as a symbol of reconciliation above the messy infighting of mundane politics: ‘A symbol very appropriate to the new situation of a liberated and independent earth. A gesture which appeals to fraternal collaboration and solidarity between all men and all nations of the earth.’
‘Modernity’, ‘Nature’, ‘Tradition’— this great triad of Olympian notions is ever present in Le Corbusier’s Capitol. His basic materials were space, light, water, reinforced concrete, the sky and the ground.
Source: The man, his legacy and more