Beruflich Dokumente
Kultur Dokumente
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tivity ment,
aspired to help 1928-1929
in bridging to
the dis
tween reality and idealism.
present.It was then th
of the mission of the architects
Although the of my
termi
first dawned on me."2
no particular releva
As earlier, mentioned
theLe Corbusier
years inven
1928-1929 d
As is after
of private houses shortly well known,
the war: it
t
and Citrohan. The latter,
signed angular and
the finest, anf
on the ground, dominating the
style: the setting;
Villa Savoyw
undulating and soft, same rests years on the that grou he
setting. To use Le Corbusier's
entirely fresh own interp wo
strong objectivity of typeforms, (Fig. under 3). This the i r
Mediterranean sun: malemade architecture.
largely possib In
less subjectivity rising
veld's against
work,a more cloude s
chitecture."3 In his private
and with houses,
the project then,
ual human figure-isolated
the facade and of lonely,
the Vill t
er elements-the studio
expressed symbolically. It and is the no
ribbon window-are
coincid
that most of his houses
fused withwere
the help of Debuilt for
Stijl vocabulary. As insin
Rietv
en, who were either artists or intellectua
project of 1923-1924, there is a strong interplay betw
Before turning tolines theand planes, between solids
period and voids, anddi
under bet
verticals and horizontals. But unlike Rietveld's desi
preface my brief remarks by proposing
the variousdevelopment:
Le Corbusier's artistic parts of the Villa at Carthage enjoy I.a le
1905 to 1919; II. Period of Invention,
degree of independence, owing this quality, among ot
First Mature Phase, 1922
to the to
tightness of 1928;and
the composition IV. Pe
to the unin
rupted nature of the roof line. But in later versions of
Villa
2. Walter Gropius, The New Architecture and the Bauhaus, at
Lon- Carthage the spaces and masses are gradua
don, 1935, p. 48. loosened up, culminating in the dynamic compositio
3. Le Corbusier, Modulor, Cambridge, 1958, p. 224. the Villa Shodan (Fig. 5).
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17
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concealed behind the external envelope. In fact, a com- ?{ ! i? ! i!iiii / !iiii~~ii i i iii li!iiiiii~i, i~/ i:i. . ..i!i ,
parison between this house and the Villa Savoye (Fig. 7)
/ ! i i i~ii iii!: ii!ii ~ i~i~iiiiiii!il~ i~i :i~-i? ii,
shows how the outline of the ramp is transformed into the
space-inclosing mass, thus anchoring the entire interior
volume to the site. There are, of course, a number of varia-
tions on the theme of the Maison Errazuris which were
designed during this period, but with one exception, none
of them was ever executed.' The exception is the house in
Mathes of 1935. Here the functional independence of the
wall-so characteristic of his houses of the 192os---is en-
tirely given up in favor of creating a masonry structure
that serves both as a space-defining and as a load-bearing
element, hence foreshadowing his houses of the past ten
years. Fig. 4. Rietveld, Project for a House, 1923-1924.
Unlike its opposite, the Maison Monol had no successor
during the 192os. Some of its basic features, such as the
vaulted roof and the long, continuous spaces, first ap-
peared in Le Corbusier's own studio-apartment of 1930-visible in the low, earth-hugging structure, built partially
1933. Yet the first Monol type house was built only inof natural materials, and covered with grass. Moreover,
1935. This well-known structure, located in the suburbsthe area defined by the external walls of the house and the
of Paris, occupies an important place in Le Corbusier's small pavilion is transformed into an outdoor room,
oeuvre (Fig. 8). Unlike the Maison Citrohan and its laterwhose space becomes at one with nature. As is well known,
derivations, this week-end house does not stand uprightthe later descendants of this house range from the project
on the ground, dominating the setting; instead, it rests on of La Sainte Baume of 1948 to the Maison Jaoul of 1954.
it, spreading its parts on the terrain itself. In this house-- Before leaving the discussion of Le Corbusier's houses,
as in all Monol type structures-Le Corbusier expresses let me turn, however briefly, to their interiors. During the
a more subservient attitude toward nature. This is most 192os his houses were built around staircases and ramps,
creating an air of tension which was only resolved on the
4. For other examples of the Maison Citrohan with the butterfly
roof garden. As Le Corbusier has pointed out, the roof
roof see: Clarke Arundell of 1939; Lannamezon House of 1940; garden is a place "where the sky is always open; and far
MAS prefabricated house of 1939-1940. from the street, one can experience a feeling of security
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Fig. 5. Vil
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Fig. 7. Villa Savoye, 1929-1930. Fig. 8. Week-end house, near Paris, 1935.
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effect of a painting (F
the freestanding win
turned outside and is
There is another ki
were, an independent
Fig. 9. Villa Church at Vile d'Avray, 1928-1929.
peared in the project
(Fig. 12). Its compos
one which I would li
Doesburg's project for
13). As in the van D
frames make up the f
creating a rich, plasti
Corbusier's brise solei
looser and more fra
ft I&-I] qualities of De Stijl sp
~C~ji~or brise soleils of Chand
The year 1929 also
ofo r w fwsot
wwe Corbusier's t attitude
WWWWWWWlow
w- for the rebuilding o
MW or
utopian diagrams, b
oww as
orto
owOaw m
summed up in Laugi
low
and variety in gener
(Fig. 15), intended for
the first real effort o
awa
space based on the A
symmetry of the ear
~CB-~?~ ~ awr more open composit
acquire a greater sen
axis of the city links
was only in the projec
(Fig. 16) that most o
Mundaneum were mo
ic asymmetry of the
ous modern language.
indeed "animated by
them the landscape
tion," to use Le Corbu
Needless to say, the
best call Le Corbusier
was not the only sign
6. Le Corbusier, Toward
Fig. 11. Project for an Apartment in Algiers, 1933. 188.
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Fig. 13. van Doesburg, Project for a House for an Artist, 1923. Fig. 14. Chandigarh, Law Court, 1956.
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arteries of circulation, which would, as we know so well, not only separate pedes-
trian from vehicular traffic, but also trucks from cars and cars from bicycles. But
this is not all. There is also his Ville Contemporaine and the "Plan Voisin" for
Paris in which, to paraphrase John Summerson, the park is not in the town but the
town in the park.' Nothing done before or after, however, surpasses the plan for
Hellocourt of 1935 in terms of being an "anti-city" city. With the pretentious title
"urbanisation d'Hellocourt," Le Corbusier introduces a few scattered skyscrapers,
separated by wide open spaces and large areas of greenery (Fig. 17). Aristotle once
said that "men come together in cities in order to live; they remain together in
order to live the 'good life,'-a common life, for noble ends."'x In Hellocourt, how-
1956, p. o.
!Ilip,
10;11..'.
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lona, and Nemours, to name just the most significant ex- -r_
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