14112701 at Ury/NNTC site plan
14071301 Villa Savoye model at Ury House and Farm
14071302 Villa Savoye site plan plan model 22002 context
14031308 site plan
14031401 Ury Farm context, plans
architecture, collision, etc.
within a collection of domestic plans
with domestic elevations
scale comparison with other Le Corbusier designs
plan scale comparison with Villa Savoye derivatives
with Maison l'Homme
with Tower of Shadows
Sober House 1
Sober House 2
Dominican Villa Savoye
Stoner Food Restaurant
HQ of D.A.T.A.
Villa Plus Ultra
Villa Savoye Shadowed
Savoye Shadows Annexation
Villa + 15
...an analysis of the Villa Savoye as both the full fruition of Purism and of the promenade architecturale.
Towards a Metabolic Architecture
...a comparative analysis between the Villa Savoye and the Palais de Congrès à Strasbourg; this continues the issue of "style" and specifically how Le Corbusier provides a key as to how to evolve as an architectural designer...
scale and architecture
...a collection of 3D houses, Villa Savoye, Villa à Garches, Villa Stein de de Monzie, Wall House 2, housing for La Villette, Houses Under a Common Roof, Gooding House, Maison l'Homme, Maison Dom-ino, and do a study in plan, elevation, axon, and perspective of these buildings standing beside each other.
scale and architecture
...raised box [architecture -- Villa Savoye, Wagner House, Wall House 2.
scale and architecture
The Governor's Palace [at Chandigarh] is one of the few palaces to be designed in the modern idiom, and is an elaboration of the modern domestic motif encapsulated by the Villa Savoye. In fact, the Governor's Palace can be seen as stacked versions of the Villa Savoye, and thus implies a direct comparison with the Villa Savoye.
regarding the Governor's Palace
combined building documentation
Concerning a Villa Savoye/Maison l'Homme comparison, imagined the lower story of Savoye two stories high. The idea being that the elevated box will be like the independent roof of the Maison l'Homme. ...implications of how to elaborate on the architectural promenade formula.
Villa Savoye-Maison l'Homme combination
...sequence of drawings where the vantage point stays the same but one building will gradually move through the other.
Villa Savoye-Maison l'Homme combination -- contrast comparison
...seeing the Maison l'Homme and the Villa Savoye side by side... It is almost as if the Maison l'Homme were like the Villa Savoye inside out. ...there seem to be a series of reversals going from the Villa Savoye to the Maison l'Homme:
1. The raised box of the Villa Savoye is placed flatly on the ground at the Maison l'Homme.
2. The roof garden open to the sky at the Villa Savoye is placed under a roof at the Maison l'Homme rich; also the terrace at the Villa Savoye is moved to the roof at the Maison l'Homme.
3. The interior ramp at the Villa Savoye is on the outside at the Maison l'Homme.
4. The pilotis at the Villa Savoye that symbolically raise the entire building at the Villa Savoye, only raise the roof at the Maison l'Homme.
...also make some kind of comparison between the original 5 points and seek variations of them at the Maison l'Homme. Two ideas immediately come to mind:
1. The Maison l'Homme seems to be a very interesting manifestation of the free facade.
2. The roof at the Maison l'Homme could be interpreted as introducing a new (sixth) point, i.e., the free roof (like the free plan and the free facade.)
3. The building system at the Maison l'Homme seems to symbolically be a reverse of the free plan idea since the system of parts excludes free-ness to a very tangible extent.
plan and elevation data of all models
...elevations of the Villa Savoye without the ground floor glass.
Palais des Congrès documentation
...the similarity between the Palais des Congrès and the Villa Savoye which will lead to the architectural promenade formula.
It was because of the roof design [of the Palais des Congrès] that the first comparisons to the Villa Savoye were made.
In the course of this long march, the procession crosses over from the area (of the Campo Marzio) that primarily represents life (inside/outside -- osmosis connection?) into the area that is primarily of death (the Bustum Hadriani). This is the same transition as in the Danteum's Purgatory, and the middle inside/outside level of the Villa Savoye (etc.). Ultimately, the Triumphal way ends at the Altar and Temple of Mars, easily the most sacred place/space of the Campo Marzio. This culmination to the triumphal procession is analogous to the Paradiso of the Danteum, and to the solarium of the Villa Savoye (etc.).
Looking Back from the End of the Road
...the comparison between the Palais des Congrès and the Villa Savoye, ...might find some reinforcement from Wölfflin's text regarding the transition from the Renaissance to the Baroque. ...may shed some insight onto the stylistic changes that occur between the early and the late designs of Le Corbusier.
There is the presence of the metabolic imagination at work in the comparison/contrast between the Villa Savoye and the Palais des Congrès. In fact, if you introduce the notion of the architectural promenade and Purism, you can speak of the transcendence from assimilation in the extreme through metabolism, to second birth (re-read Le C's last text for "new man" references), into the realm of the sacred-osmotic (the lung analogy made with respect to the Carpenter Center [in the?] "Aqueous Humor" article).
The sink in the lower foyer of the Villa Savoye could be used as denoting the profane realm when it comes to addressing the profane to sacred nature of the architectural promenade. Remember there is a whole essay about the sink in the book entitled Plumbing.
Promenade Architecturale part II
...present new rendered images of the Villa Savoye, Palais des Congrès, and the Wallraf-Richartz Museum as white only models (or as color coded model renderings).
... the Palais des Congrès-Villa Savoye comparison... ...the recognition of the similar "formula" used in both designs. This comparison then raises the question as to whether this "formula" is intentional and/or even a viable formula capable of being applied as a general guideline for other architects to follow. ...and follow up with Stirlings use of the architectural promenade formula at the Wallraf-Richartz Museum.
...all kinds of experimentation:
1. display the Villa Savoye [model] completely multicolored and/or with some line images on the walls.
2. two Villa Savoyes collaged together--each could be a different color scheme and a slightly different scale.
...abstract model of the Villa Savoye:
a. remove the glass wall from the ground floor.
b. make the entire first floor solid except the ramp hall.
c. remove the floor of the kitchen terrace.
d. make the entire Villa Savoye model multicolored.
Re: do tell
When I think of architecture and show, my mind makes all kinds of associations. First, I am hard pressed to think of an example of architecture that doesn't represent (show) something, and in that sense all architecture could be seen as some kind of show. Next, I think of how architecture is usually shown in photographs, that is, usually without people in the same picture. Could this be an indication of the autonomy that architects like to perceive in architecture? I'm reminded of a story an architect/friend's wife told about visiting Le Corbusier's Villa Savoye. There were a handful of other architects there, and not only were all the architects taking virtually the same pictures, but they were all making sure not to get each other in any of the pictures. I immediately thought the best pictures would have been of the architects doing this; at least that would have been a unique set of pictures.
...a crazy building where a whole set of collaged Villa Savoyes are placed within the Palais des Congres with level 3 and 4 emptied out except for the columns.
letter to India - the formula
...the Palais des Congrès is sowewhat of a 'baroque' re-interpretation for the Villa Savoye, and holds the key to the otherwise etheral promenade architecturale.
I too am guilty of long silence, re: promenade architecturale. I continually mean to finish the "letter to India", but never get around to it. I did look to see where I left off and the next portion will point out that right at the center/mid-point of Villa Savoye, where the ramp reaches the first floor, is where the ramp moves from inside to outside. This transition is significant in that it is an integral part of the whole promenade. Without the halfway :: limbo :: inside/outside the promenade [formula] would be incomplete.
I am jumping way a head, but, since you recently mentioned Terragni, the Danteum too follows the same promenade architecturale formula, and it is through the Danteum that the promenade architecturale can be said to represent a transcendence from profane to sacred. Comparing the Danteum with the Villa Savoye -- the forest is the grid of pilotis; the inferno is the ground floor complete with sink (profane/plumbing); purgatory is the halfway :: limbo :: inside/outside; paradiso is the solarium.
I see the point along the promenade architecturale [in Le Corbusier's Villa Savoye and his Palais des Congrès] where there is both outside and inside as precisely the same as Terragni's representation of Purgatory within the Danteum--the room that manifests equal measures of inside and outside.
the formula in words
Both the Villa Savoye and the Palais des Congrès are essentially boxes raised on pilotis with a continuous ramp connecting three distinct levels. All three levels in each building and their relationship to the ongoing ascent of the ramp are part of the promenade formula. The lowest level, under the raised box, is symbolically the most mundane, and here Le Corbusier enacts a forest of pilotis within which the perimeter of the building is recessed--significantly, the entry point and the beginning point of ascent (ramp) are nearly synonymous. As one begins moving through the buildings, one is also ascending. The second level, the box, symbolizes the realm of limbo, the in-between, part inside and part outside. For Le Corbusier, this is realm where we live (Savoye) and where we gather (Congrès). Ultimately, the ramp in both buildings raises us to the garden on the roof in the realm of the sky. For Le Corbusier, this is architecture's goal, this is where architecture should deliver us.
Re: sculpture versus architecture
What Pinar writes comes across as very true as a reasonably way to approach "what is architecture?" as opposed "what is sculpture?" And for the most part I agree with the notion that architecture accommodates life. So I then ask if this 'definition' must be broadened to include all built forms that once accompanied life and a life style, but over time have come to no longer do so. I am thinking of ancient ruins, be they Stonehenge, the Pyramids, the Parthenon, the cave temples of India, etc. These are commonly referred to as examples of architecture, yet today they are clearly "objects which are for perception only." Have these architectures become architecture/sculpture hybrids? Furthermore, no one now lives in Le Corbusier's Villa Savoye, nor, it might be argued, does the life style around which the Villa Savoye was designed to accompany now exist. Is the Villa Savoye a master work of modern architecture that is now an "object which is for perception only?" Or is it merely that the 'life style" the Villa Savoye now accompanies is one where great buildings (if they're lucky) become cultural shrines, where the buildings now accommodate our 'perceptual worship'?
...the multiple buildings ideas I've had, i.e., staggered Villas Savoye, and the easy potential of adding patterns to any and all surfaces.
Language & Voice
A "perceptually effective sequence" is something that an architect can intentionally design. Le Corbusier did it at the Villa Savoye, which is "understandable" without referencing any literary source. Le Corbusier also did it within the Palais des Congrès (1964), Terragni did it within the Danteum (1936?), and James Stirling did it within the Museum for Nordrhine-Westfalen (1977) and within the Wallraf-Richartz Museum (1977). Granted, any architect designed "preferred route" can be misunderstood or even ignored by a building's user, but that shouldn't prevent architects from at least trying to add "architectural language" to how a building is moved through. What I find most interesting about designing architectural sequence is that the sequence itself is not actual form, rather the gaps between actual forms. For me, it's another example of learning from lacunae.
Re: Is your tie straight?
In brief, beyond the Villa Savoye and the Marseilles Unitè, the 'box on pilotis' motif re-occurs in the upper middle section of the Governor's Palace for Chandigarh, and later within the also unexecuted design for the Palais des Congrès à Strasbourg (1964). There are several minor examples as well. It is surely a design approach that Le Corbusier continually re-worked throughout his career, thus I see it as a more consistent application of "theory."
Re: Virtual Architecture and Art?
3. Computers seem to have a lot to do with virtual architecture, most likely because of the new drawing dexterity that computers provide architects. Beyond that, however, computers/CAD enable whole new visualizations of architecture. I am not so much interested in creating virtual environments, as much as environments parallel to real-time/place reality. For example, designing and (virtually) building an addition to Le Corbusier's Villa Savoye, or imagining oneself as an architect as squatter within Louis Kahn's Hurva Synagogue. In the sense of creating a whole other history of architecture parallel to the real present.
Re: Parametric Design
I have often 'played' with changing the x,y,z parameters of existing CAD models. It is very easy to change the Villa Savoye, for instance, by x factor of 2, a y factor of .5 and a z factor of 3--this will make the Villa Savoye twice as long, half as wide, and 3 times as high. And if you incorporate an angle change(s) along any or all of the x, y, or z axes, then the resultant model gets very bizarre.
Re: Traffic Design
In describing what is now a somewhat ubiquitous housing type in the USA, B wrote, "not like townhouses with the 1st floor dedicated to parking, and housing above." My mother lives in such a model of early 1970s vintage, and most of Northeast Philadelphia is of like ilk. I too have seen this paradigm as more regrettable than not, yet at the same time I realize that my mother's house is oddly related to Le Corbusier's Villa Savoye, though without the pilotis, ramp and roof garden. The genealogy goes like this. First there is Savoye and Le Corbusier's housing project at Pessac. Savoye over the years decays but is rescued and restored as museum piece, all the while being an icon in print. Pessac is rather quickly transformed from Purist manifestation into what is essentially ur-postmodern design by its individual inhabitants. The house my mother lives in is then post ur-postmodern Pessac (but because it is part of a twin rather than part of a row, it still harbors buried evocations of Savoye).
The (row) house I live in, built in 1938, is (I believe just still) within the first generation of US housing to incorporate a garage. Here, all the designated parking happens in the back at ground level via a communal driveway, which in reality a semi-private/semi-public street. From the back my house shows three stories, yet from the front the houses were made to look like two story dwelling via bermed lawns.
I sometimes wonder what Northeast Philadelphia would be like if its housing had more closely followed the design of Savoye and Purist Pessac. (Incidentally, Stonorov and Kahn's Pennypack Woods housing, certainly among the first planned housing communities of Far Northeast Philadelphia, has a strong affinity with Pessac, kind of a combination of both Pessac's Purist and post-Purist manifestations.)
...place the Wall House 2 (model) and the Villa Savoye (model) on the Motherhouse of the Dominican Sisters of St. Catherine de Ricci site.
Koolhaas versus the Actor
Le Corbusier is just as much a reenactor as Stirling and the NY5 are reenactors. Le Corbusier reenacted machine forms and ship forms and American agricultural architecture forms. And Le Corbusier even ultimately reenacted himself--the Palais des Congrès (1964) reenacts the Villa Savoye (1929).
are the origins common ? can we prove it ?
Do a thesis on the commonality of brainwashing within architectural education within say the last two to three decades. Brainwashing in the sense of becoming blind to what is otherwise self evident. For example, is the Villa Savoye really a house? Yes, it's design intention was for it to be a house, but that's not what it really turned out to be, is it?
are the origins common ? can we prove it ?
I was yesterday thinking of the Villa Savoye as a museum, perhaps specifically a museum of Modern architecture even?
Architecture as a Cult
Better to turn the house into an architecture cult museum. -- image: Villa Savoye
Palace 2.0 Mixes History, Consumerism
Is Le Corbusier's Villa Savoye still a real house, or is it now more like a fake shrine?
bored with modern & contemporary, yet?
It could well be argued that the Villa Savoye is a fitting representation or acme even of the paradigm shift in residential architecture toward overall minimalism. The skeleton of a minimalist building is even more minimal (or see Farnsworth House). Then came the decorated shed with minimalist decoration. And in the virtual present gemmating decorated sheds infringing upon minimalist remains.
Venturi's Lieb (No. 9) House to be moved (or demolished)
There was never any implication that the Lieb House and the Villa Savoye were to be compared in terms of design, importance or influence. Rather, both buildings are examples of modern house that have undergone a change in context via muse[um]ification.
...the collected museums are also within IQ. ...have yet to compile all the museum plans within Quondam's collection, meaning to add Museum Annex, Calder Museum, Working Title Museum, Haus der Kunst, Cut & Paste Museum (and just as an aside, the latest REX museum seems to relate to the Cut & Paste Museum), Acropolis Q, Venue, Gallery B, Circle Squared Museum, Domestic Museum, 5233, Villa Savoye(?), Palace of Versailles, and all the superimposed museum plans.
Examples of modern exterior with traditional interior
I was wondering if anyone can point me to some specific examples of built works that have a modern exterior or shell with a traditional/historic interior design. Is there anything out there like Villa Savoye on the outside with like Rococo salons and/or Gothic kitchens and/or Turkish baths on the inside? Maybe Barcelona Pavilion on the outside with Greek temple interior? No hurry. Was just suddenly inspired to ask.
"The Objectification of the Deterritorialized Whole[nesses]"
extreme wholeness: Great Pyramid
assimilating wholeness: Villa Savoye
metabolic wholeness: Medici Chapel, Neue Stattsgalerie
pregnant wholeness: Dominican Motherhouse
osmotic wholeness: Kimbell Art Museum
a whole bunch of...
The Villa Savoye presents an extreme case of assimilating wholeness because the elements of architecture have been so absorbed to the point of 'ethnic cleansing', thus, if not exactly manifesting a 'racially pure' architecture, then at least a highly homogenized architecture.
Schumacher's passage above unwittingly describes subversive reenactment. Is subversive reenactment then a key ingredient of avant garde design? See how Le Corbusier subversively reenacts, via re-interpreting, the Villa Savoye.
Another example of Le Corbusier subversively reenacting the Villa Savoye is the upper half of the Governor's Palace designed for Chandigarh.
Actually, subversively isn't really the right term. Le Corbusier metabolically reenacts the Villa Savoye.