LE CORBUSIER, VILLA SAVOYE, POISSY 1931
Le Corbusier 1930:
"Le site: une vaste pelouse bombée en dome aplati... La maisones un boite en l’air au milieu des praires dominant le verger"
“Le plan est pure, fait au plus exact des besoins: Il est ŕ sajuste place dansl'agrestepaysage de Poissy"
“L'extérieur est le résultat d'un intérior”
“le jeujoué n'a pasétéétablisur un pointfixecentral, idéal, rotatif, et ŕ circulairesimultanée"
“dčcoupent le paysageavec une rčgularité qui a pour effet de supprimertoute le notion de «devant» ou de «derriére» de maison, de «coté» de maison”
"La géométrie est notre grande creation et elle nous ravit" Le Corbusier, 1923
"The perspectives portrayed the essential idea of a four-squared building, horizontal in emphasis, supported on rows of pilotis and crowned by curved forms." W.J.R. Curtis, 1986
"One of the basic- obviously implicit than explicit- themes of Le Corbusier architecture is the ‘box’. Its iconic character has left its imprint on what has long been universally accepted as ‘modern architecture’." S. Von Moos, 1968
"This ‘hovering box’ seems to be an antithesis to the massively walled and secured based structures of the past. In this building, architecture seems to have reached a quality of absolute, abstract form: pure geometry." S. Von Moos, 1968
"This is another instance of two eternally opposed responses to nature : a contemporary reflection of the difference between the Greek temple, sharply outlined against its background and a medieval town , attached like a plant to the site on which it stands." S. Giedion, 1941
"Geometrically, both architects (Palladio and Le Corbusier, ndr) may be said to have approached something of the Platonic archetype of the ideal villa to which the fantasy of the Virgilian dream might be supposed to relate; and the realization of an idea which is represented by the house as a cube could also be presumed to lend itself very reality to the purposes of Virgilian dreaming. For here is set the conflict between the absolute and the contingent, the abstract and the natural." C. Rowe, 1947
"quite literally, it is a construction in space-time." S. Giedion, 1941
"a large sculptural Cubist still life" R. Banham, 1965
"celebrating fluid physical freedom and spatial flow with omnipresent sun ad sky" P. Buchanan, 2014
"si tratta di una facciata unica su quattro lati che si identifica con tutta la superficie del blocco (...) lo spazio naturale fuori č orizzonte e come tale viene descritto nel taglio orizzontale della vetrata continua." G.C. Argan, 1970
"in true cartesian style: for each facade, a type of activity. To northwest, with a beautiful, a full-length salon; to the southwest, a sun-trap terrace; to the southeast, the bedrooms for his son and guest; to the northeast, the services." T. Benton, 1987
pilotis
toit jardin
plan libre
facade libre
fenetre a echelle humane (en longuer)
"Le Cobusier’s reinterpretation of the basic idea of a classical temple but in machine-age terms." W.J.R. Curtis, 1982
"traffic and ground below, living in the middle, arcadia on top: it is the section-type of Le Corbusier's ideal city but restated in microcosm." W.J.R. Curtis, 1986
"The development from Platonic to phenomenological during the design is itself characteristic of Le Corbusier’s 1920s works." T. Benton, 1987
"Its apartment unit became the basic weapon of Le Corbusier assault upon the architectural world, the vehicle of his propaganda." V. Scully, 1987
"sale sino all’avvolgente successione di oggetti che emerge dal terrazzo finale. Ma la stessa rampa rende percepibile la continuitŕ degli spazi che essa ha frantumato: divide la forma, ma ne connette i segni." M. Tafuri, F. Dal Co, 1976
"’this box in the middle of a meadow’ represents the meeting of a seemingly simple prismatic form and the winding path of an ‘architectural promenade’." J.L. Cohen, 2013
"Throughout history, architecture has always served as a back-drop for the arrival or departure of important visitors or guest. From Palladio up to the châteaux of eighteenth centuries, that role in the stagecraft of power has been best served by exposed stairs. When access to these mansions occurred by horses, stairs were either accompanied by laterally arranged raps. With Le Corbusier, these structures of reception have primarily become means of celebrating the industrial sublime." S. Von Moos, 1968
"Ubiquity: potentially such box on pilotis can be set up almost anywhere" S. Von Moos, 1968
"La villa Savoye réalise le projet ambitieux d’intégrer l’espace extérieur et un espace extérieur élargi aux dimensions des ‘quatre horizons’." M. Besset, 1987
"Symmetry and asymmetry were both relevant, as were closure and transparency, a disciplined grid and the fragmentation of that grid, the taut plane of the box and the sensuous spaces created by curves." W.J.R. Curtis, 1986
"turbulent drama of interior and exterior spaces, volumes and surfaces (...) while maintaining unity, hierarchy and an appropriate level of detail." W.J.R. Curtis, 1986
"Wright's domestic interior of the early twentieth century really do make us think of the heavily interwoven 'family romances' of Freud, with they share a sense of dominant parental authority most of all, but Le Corbusier suggest liberation of authority and freedom of choice." V. Scully, 1987
LES HEURES CLAIRES
