Source 1:
The Villa Savoye is a wonderful demonstration of Le Corbusier's
'five points of a new architecture', which he developed in 1927,
exploiting the new opportunities of reinforced
concrete:Thepilotis(supporting columns): 'The house onpilotis! The
house is firmly driven into the ground - a dark and often damp
site. The reinforced concrete gives us thepilotis. The house is up
in the air, far from the ground: the garden runs under the
house...'The roof gardens:'...the garden is also over the house, on
the roof... Reinforced concrete is the new way to create a unified
roof structure. Reinforced concrete expands considerably. The
expansion makes the work crack at times of sudden shrinkage.
Instead of trying to evacuate the rainwater quickly, endeavor on
the contrary to maintain a constant humidity on the concrete of the
terrace and hence an even temperature on the reinforced concrete.
One particular protective measure: sand covered with thick concrete
slabs, with widely spaced joints; these joints are sown with
grass.'Free plan:'Until now: load-bearing walls; from the ground
they are superimposed, forming the ground floor and the upper
stories, up to the eaves. The layout is a slave to the supporting
walls. Reinforced concrete in the house provides a free plan! The
floors are no longer superimposed by partition walls. They are
free.'The horizontal window:'The window is one of the essential
features of the house. Progress brings liberation. Reinforced
concrete provides a revolution in the history of the window.
Windows can run from one end of the facade to the other.'The free
facade:'The columns set back from the facades, inside the house.
The floor continues cantilevered. The facades are no longer
anything but light skins of insulating walls or windows. The facade
is free.'(Quotations from Le Corbusier are from the house's visitor
brochure published by the Centre des monuments nationaux.)'The
approach is by car and as one passes under the building (a
demonstration of urban doctrine), and follows the curve of
industrial glazing (of which the geometry was determined by the
car's turning circle), it becomes clear that one is to be drawn
into a machine-age ritual. The plan of the building is square (one
of the 'ideal' forms from Vers une architecture), curves, ramp and
grid of structure providing the basic counterpoint to the
perimeter. The section illustrates the basic divisions of a service
and circulation zone below, a piano nobile above, and the celestial
zone of the solarium on top: it's the section-type of Le
Corbusier's ideal city but restated in microcosm.''If the Villa
Savoye had been a mere demonstration of formal virtuosity it would
not have touched expressive depths. The tension of the building
relies on the urgent expression of a utopian dream. Icons of the
new age such as the ship and the concrete frame blend into forms
born of Purist painting. The rituals of upper middle-class
existence are translated into an allegory on the ideal modern life
which even touches upon the Corbusian typologies for the city:
separate levels for people and cars, terraces open to the sky, a
ramp celebrating movement. The fantasy is translated into
conventions that avoid arbitrariness and that reveal Le Corbusier's
ambition to make an equivalent to the logic, order an sense of
truth he had intuited in the great styles of the past. Rationalism
was a point of departure, but not the aim. He wished to re-inject
the ideal content that relativism and materialism had
destroyed.'
Souce 2:Situated in Poissy, a small commune outside of Paris, is
one of the most significant contributions to modern architecture in
the 20th century, Villa Savoye by Le Corbusier. Completed in 1929,
Villa Savoye is a modern take on a French country house that
celebrates and reacts to the new machine age. The house single
handedly transformed Le Corbusiers career as well as the principles
of the International Style; becoming one of the most important
architectural precedents in the history. Villa Savoyes detachment
from its physical context lends its design to be contextually
integrated into the mechanistic/industrial context of the early
20th century, conceptually defining the house as a mechanized
entity.Le Corbusier is famous for stating, The house is a machine
for living. This statement is not simply translated into the design
of a human scaled assembly line; rather the design begins to take
on innovative qualities and advances found in other fields of
industry, in the name of efficiency.
In response to his aspirations and admiration of mechanized
design, Le Corbusier established The Five Points of architecture,
which is simply a list of prescribed elements to be incorporated in
design. The Five Points of architecture can be thought of as Le
Corbusiers modern interpretation of Vitruvius Ten Books on
Architecture, not literally in the sense of an instructional manual
for architects, but rather a checklist of necessary components of
design. So much so that Villa Savoye is thoroughly tailored to
Corbusiers Five Points.The Five Points of Architecture:_Pilotis
[slender columns]_Flat Roof Terrace_Open Plan_Ribbon Windows_Free
Faade [free of structural members]At this point in Le Corbusiers
career, he became intrigued by the technology and design of
steamships. The simplistic, streamlined result born out of
innovative engineering techniques and modular design had influenced
Corbusiers spatial planning and minimalistic aesthetic. The pilotis
that support the decks, the ribbon windows that run alongside the
hull, the ramps providing a moment of egress from deck to deck; all
of these aspects served as the foundation of the Five Points of
Architecture and are found in the overall composition of Villa
Savoye.Upon entering the site, the house appears to be floating
above the forested picturesque background supported by slender
pilotis that seem to dissolve among the tree line, as the lower
level is also painted green to allude to the perception of a
floating volume.The lower level serves as the maintenance and
service programs of the house. One of most interesting aspects of
the house is the curved glass faade on the lower level that is
formed to match the turning radius of automobiles of 1929 so that
when the owner drives underneath the larger volume they can pull
into the garage with the ease of a slight turn.The living quarters,
or the upper volume, are fitted with ribbon windows that blend
seamlessly into the stark, white faade, which void the faade(s) of
any hierarchy. The ribbon windows begin to play with the perception
of interior and exterior, which does not fully become expressed
until once inside.
However once inside, there becomes a clear understanding of the
spatial interplay between public and private spaces. Typically, the
living spaces of a house are relatively private, closed off, and
rather secluded. Yet, Le Corbusier situates the living spaces
around a communal, outdoor terraced that is separated from the
living area by a sliding glass wall. This notion of privatized
areas within a larger communal setting is a common thread later on
in Le Corbusiers housing projects.Both the lower level and the
upper living quarters are based off an open plan idea that provokes
the inhabitant to continuously meander between spaces. As an
architectural tour de force, Le Corbusier incorporates a series of
ramps moving from the lower level all the way to the rooftop
garden, which requires the inhabitant to slow down and experience
the movement between spaces.Villa Savoye is a house designed based
on the architectural promenade. Its experience is in the movement
through the spaces. It is not until one becomes familiar with the
subtle peculiarities that the movement and proportionality of the
spaces evokes a sense of monumentality within the Parisian
suburb.