un Jour nous avons remarquè que la maison pouvait être comme l' auto un enveloppe simple contenant a l'état the libertè des organes libres infiniment multiples
LE CORBUSIER Ouvre Complete
The Composition of Le Corbusier on the Modern House
Villa Stein a Garches
In this abstract we present a research guide to Le Corbusier’s writings on the modern house, Villa Stein, at Garches. The text completed 1994. (1) Considerations regarding the architectural object were written from 1982-1984. The appendix presents an analytical index of models and photographs of Villa Stein taken from the author from 1984-2002
These considerations follow the guidelines of courses in architectural planning held by Professor Lena from 1980-90, at IUAV, Istituto Universitario d’Architettura di Venezia. Project-oriented exercises were based on a reconsideration of Le Corbusier’s four essays on the "Modern House". In order to orient students enrolled in the architecture composition courses. In those years, Architect Sala was a young student enrolled in Professor Lena’s course. An enthusiast of the Swiss architect’s work, Sala has deepened his knowledge of Le Corbusier’s thought and work. In his own concrete professional activity, he has been proven the validity of the research method along the years learned while attending Professor Lena’s lessons, then together conducted extensive research on architectural composition.
This volume, which he edited, is the fruit of his tenacity, his faith and his passion. He has arranged the ideas and the research guide, which originally had been separate, in order to restore the unity between method and theory which Professor Lena has always encouraged in his teachings.
The complete guide in this publication contain a series of drawings of Villa Stein taken from the Le Corbusier Archive, vol. III, Villa Stein published by Garland Publishing and the Le Corbusier Foundation of New York, 1982. (The material is in the archives of IUAV). Also the editor has selected passages from the original texts written by the Swiss architect which appear between quotation marks and in bold type.
Prof. Mauro Lena & Alejandro Sala
Editor's note
From book "The Composition of Le Corbusier on the Modern House"
by Arch. Alejandro Sala
Villa Stein a Garches, front nord
Preface
Ever since I was a young student, I have felt the need to deepen my acquaintance with the ideas and the work of the great Swiss master.He has much to teach us.
In analyzing his works, I have carried out research which began in 1986 and develop twenty three years. Trought this work, I have developed a method for objectively examining and observing the composition of an architectural object: in this particular case, Villa Stein at Garches.
As a student, during my school years, I was used to accepting written words and drawings without on a superficial level, without examining their deeper meanings. Then, I started to consider the problem of “learning to see”, which Goethe cogently indicates as the most challenging one of all.
I have looked into the various ideas generating the Villa Stein project, focusing on the hierarchical functions and relationships expressed. I have thus viewed the structural whole as a body which can be conceptually dismantled in order to analyze each single part, before proceeding to reassemble it. Together, they indicate diversity and complexity as expressed within the structure as a whole.
Methodology
I believe that this research may lend itself as a methodological approach to architectural planning for students in the early phase of their university studies in architecture, since it invites them to consider the logic and the compositional nature of the architectural organism.
My research studies focuses on the objective shaping of a methodological analysis developing a new language for comprehending and seeing the architectural object. In it, the perceived data is read and interpreted, together with the logical relationships required by any discussion on architecture.
The viewer views the work from within, analyzing it deeply; he deconstructs it; he reaches value judgements, and then reassembles the work. Partly for this reason, the editor of this work to urges architecture students to look; to posit the objective problem; to analyze and comprehend the value of the building’s components. The student will then express value judgments indicating to what degree the integrated parts have meaning in relation to the composition
as a whole
Knowledge the “anatomy”...
Planning and composing an architectural object by seeking out the shape of its parts, the figures, and the relationships linking them, can be more effective if we have a deep knowledge of their “anatomy”,their meaning, and the situations which they produce
The work explain the value of the individual parts; their diversity, their multiplicity, and the meaning they assume, both singly and in the presence of the other parts. It seemed to me that we could best comprehend an architectural organism by establishing an analogy with the human body. Our body is formed by organs, each organ carrying out a function within a vaster system or unity. In this light, the work of Le Corbusier and his teachings lend themselves to an anthropomorphic type of inquiry.
In order to disseminate this methodology to analyzing an architectural-object, we have not only employed two- and three-dimensional models and illustrations, but also considered the architect’s writings, so essential to any analysis and under- standing of his projects.
The illustrations makes at the book "Villa Stein a Garches" should provide the student with a complete tool for re-examining his own projects. He must consider both the parts making up the building as a whole, and find analogies which help him understand their overall compositional value.
We are deeply convinced that two objects are equivalent if they have the same form and functional content. On the basis of this conviction, we have presented a wide-ranging discussion, and formulated value judgments.
We hope to demonstrate that each part is irrevocably linked to space, time and place; they gain deep significance within the composition, not only in their form, but also in the relationships that the parts create between one another, and with the complete object.
Chapters - Research
Part 1 includes analysis of the complete object, its deconstruction and its recomposition, both on a two-dimensional plane and in space; as well as its
relationships, and its objective and subjective formation process.
Part 2 compares four architectural works by Le Corbusier, La Roche house, Villa Stein, Villa Baizeau and Villa Savoye. The study takes apart the object and analyzes its profound structure. These chapters provide a tool for understanding the object; they attempt to interpret it by explaining the substance of the single parts, in an effort to objectively comprehend their particular quality, diversity, and individual meanings.
All of the illustrations follow a sequence meant to build up knowledge of the object analyzed, according to varying levels of understanding. We proceed from the whole to single components, whether they be primary, secondary, or circulatory.
Understanding the "Architectonic Object"
This work don't it be seen as a “recipe”. The drawings has make are indispensable for appreciating and understanding the object; they should prepare the student for what he is observing, and help him to keep in mind what he has observed.
Analyzing the "Architectonic Object"
We are seeking, then, a new grammar that might help the student understand, and then analyze and discuss. First he will consider the single parts, deconstructing and recomposing on a two-dimensional plane and in space. He do this objectively in order to understand the peculiarity of each part within the project. Then, he will re-assemble after the whole, using a subjective method.
The student can be after will provide tools for composing, both objectively and in a more free manner. It is in this phase that the student begins to understand the value that each part possesses singly and in the context of the whole composition.
Related
Four Composition of Le Corbusier on the Modern House
Maison la Roche, Villa Stein, Ville Baizeau, Ville Savoye
Introduction Research Guide
From book "The Composition of Le Corbusier on the Modern House"
by Prof. Arch. Mauro Lena / Venice January 1984.
This guide is a tool for deepening our knowledge of the compositional logic of architectural organisms, in reference to three elements: form, structure and distribution. The analysis presented here is limited to the morphological aspects of the organism, with notinterpretation given; it is descriptive. Any interpretation of the facts will depend on the specific personal aims of the person who doing the research.
First of all, we observe the organism and represent it in its entirety on a plan, in perspective and in taxonomic projections of its four directions (part one).
Then, we take it apart in order to observe the peculiarities of the parts and the order in which they are arranged within the whole structure (part two). In carrying out this analysis, we shall observe that the organism
must be considered not as a sum of the different parts we are attempting to analyze or isolate, but as a united whole which manifests internal solidarity and which has its own laws.
We shall observe that each element’s way of existing depends on the structure as a whole, and on the relationships that sustain it (part three).
In no way can the single element pre-exist in relation to the whole; knowledge of the whole and its laws cannot be deduced from separate knowledge of the constituent parts. The idea of “organism” is to be understood in a physical sense: that is, according to a system to which we cannot add a part without altering the other parts.
The procedure indicated here represents a way of deepening our knowledge of the form, structure and distribution of architectural organisms. At this point, we are already speaking of a way (a subjective consideration) rather than the way (an objective thought).
Moreover, the metaphor of “penetration” suggests “comprehension” rather than a knowledge of facts. We need to distinguish “knowing” what is, from “understanding”, which explains why an organism is the way it is.
For example, we can know the shape and structure of an organism, but we will not understand it until we can explain the relationships and functions of its component parts. It is not only a matter of understanding the object, but of understanding it adequately.
Therefore, we must understand it not only as a given, but as an element precisely grasped, in its nature and in its properties. With this aim in
mind, we choose to divide the study into four steps corresponding to the four parts making up the guide.
Each of the steps composing the study is an indivisible whole, since it pertains to a discussion aiming to reconstruct the unity of the object analyzed using terms which first appeared separately. The study invites us to develop a discussion considering a series of relationships; a series of durable, linked intuitions.
Users of the guide will see that the general, more abstract part of the text is linked to tools for developing concrete discussions concerning a
specific architectural organism: the illustrations.
The illustration gives us a schematic, synthetic way of representing the fundamental characteristics - form, structure, distribution - of the object we are studying. Each illustration is synoptic - it presents a set of notions in global perspective - and it is analytical in the sense that it keeps different notions separate. In the hands
of the student, it will take on a new synthetic function.
The illustrations are not sufficient tools for gaining overall knowledge. They are merely collections and classifications of examples.
They present and describe examples in such a manner as to stimulate our intelligence, as we strive to confront the central issues of our inquiry: form, structure and distribution according to the compositional logic of the architectural object.
Our presentation of the mode of knowledge (the text) and the tools for developing discussion concerning form, structure and distribution (the illustrations) will proceed as follows:
1. The whole;
2. Analysis and synthesis.
Deconstruction and recomposition; 3.Relationships and rapport;
4. Comparison.
Chapter Book | Methodology
A pathway to knowledge : seeking out forms, futures and relationships
Taking apart, re assembling, correlating, comparing ( Left to night, top to below )
1 The whole
2 Taking the object apart
2-1 Recomposing the parts on two-dimensional plan
3-2 Recomposing the parts on space
3-1 Relationships
3-2 Representation of objective relationships
4. Representation of sub-objective relationship
5. Comparison