Villa Savoye and Maison A Bordeaux Case Studies

VILLA SAVOYE

LECORBUSIER, 1929-30

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MAISON A BORDEAUX REM KOOLHAS , 1998

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CRITICAL HISTRORICAL PRACTICES I CASE STUDIES ARCH 7035 I 2019 jawad.rezaie90@gmail.com M.Jawad Rezaie - a1691163

CONTENTS KEY PHRASES..........................................................................1 INTRUDCTION ................................................................................. 2

3:Villa Savoye perspective view

CIRCULATION + IMPRESSION ..........................................5 STABLITY+ INSTABLITY ................................................................ 8 PRIVATE + UN-PRIVATE ........................................................12 COMPOSITION+ OPPOSITION ............................................ 13 IMAGE REFRENCES ...............................................................14 BIBLIOGRAPHY ...............................................................................15

4: Maison A bordeaux aeriel view

KEY PHRASES

FLOW

LIT

THEME

-PRIVATE MACHINE RESTRICTED INTERIOR

DIVERSITY

TRANSPARENT VOLUMES

WEIGHTLESS

SYMMETRY BOX IN THE AIR

PRIAVTE UN-PRIVATE MASTERS & SERVENTS PRIVATE SPACES HEIRARCHY

1

NATURAL EROSION

GRAVITY

VATE + PR I CARVED & VOID

VERTICAL STRATIFICATION

RHYTHM

TENSION ROD

COUNTERWEIGHTS

CONCRETE SLAB

EVEN FLOORS

INTERWEAVING SPACES

BALANCE

DICIPLINES OF CLASSISM

Y+

FOUR COMPOSITIONS

LITY

SENSATION OF MOVEMENT

B TA

CONTINUITY

INTERLOCKING INSIDE & OUTSIDE

IN

VE

TECHNICAL VERTOUSITY

CONTILIVER

EQUILIBRIUM & UNITY CHALENGING THE CONVENTIONAL

S

AB ST

HUDROLIC

MOVING PLATFORM

A MAICHINE WAS ITS HEART

BOX

SPATIAL LIBERTY

+

OTHERS

PILOTIS

STRIP WINDOWS

CIRCU LT IO N N AR R AT I

PLATFORM

RAMP

ORTHOGONAL GRIDS

VERTICAL MOBLITY CONFINED SPACE

LIBERATE

PROMENADE ARCHITECTURALE FREE PLAN

EVEN WALLS

ASSYMETRY

PATH OF EXPRESSION GRADUAL ASCENT

REM KOOL HAAS

CUBIC VOLUME

HYPOTHETICAL SEQUENCE

RHYTHM

MACHINE

TRUNING RADUIS

FLUID SPACE

UN

CENTRAL COURT

FREE PLAN

LECOURBUSIER

VILLA SAVOYE AND MAISON A BORDEAUX VILLA

PUBLIC SPACES

OPEN

COMPRESSED & EXPLODED FOCUS & CLOSURE

FLOW + NARATIVE Flowing vertical circulation is the central theme of the plan in both Villa Savoye and Maison Bordeaux1. The continuous ramp in Villa Savoye and the moving platform in the Bordeaux villa are the main architectural elements that facilitate such circulation through the buildings2. The ramp and stair create a sequence of spatial continuity in the Villa Savoye, which was called “ architectural promenade by Lecorbusier”3 . Rem Kool Haas has adapted Lecorbusier’s “ architectural promenade” in the Maison A Bordeaux by designing the observer’s pathways in the circularity systems4. This creates a continuous change of the environment and a fluid space for the users5.

Vetical Circulation

In addition to the “promenade” theme , Lecorbusier celebrated the turning radius of client’s automobile in the ground level.6 Similarly, Rem Koolhaas considered his client condition whose mobility was confined to a wheelchair..7 Koolhaas thought of liberty and a fluent vertical circulation through mobile platform supported by hydraulic piston.8 In the Bordeaux Villa, this elevator is more than a piece of technology . “ It is a machine that guarantees the co-penetration of continually changing points of view. It is an element of spatial liberty and simultaneously a multiplier of perception whose movement constantly change the architecture of the house”.9

Rotational change of direction Rectilinear change of direction

Furthermore, precedents played a key role in the design of these two Villas. In the Villa Savoye, it was the Arabic architecture that promotes walking.10 On the other hand, structure in Archigram, and the moving floors by Renzo Piano and Richard Rogers have been precedents of Maison A Bordeaux Villa. 11

Rotational change of direction

7.V

5. vertical circualtion via ramp

6. vertical circulation via moving platform

Per illa S spe avo ctiv ye E xpl e od ed

2

Rectilinear change of direction

8. M a Exp ison AB lod o ed per rdea ux spe tive Villa

Villa Savoye

9. Ground Level

10. Level 1

11. Level 2

10 M

Maison Bordeaux Villa

14. Level 2

Vehicle Human 12. Ground Level

13. Level 1

3

BALANCE + IMBALA NCE Lecorbusier and Rem Koolhaas have introduced different systems of structure and construction methods in these two villas. In Villa Savoye, the structure of the building is defined by a hidden symmetry of column grids that recalls the disciplines of classism.12 An orthogonal structural grid that is based on the square form in the initial phase of construction . 13 Lecorbusier called this system of grids the “ Pilotis” that became the first five point of a New Architecture that led to the concept of the “ Free Plan”.14

Contrastingly to the Villa Savoye, a complex system of counterweights is used in the Bordeaux Villa to balance the gravitational forces to the central part of the structure.16 In this system of constructin, the columns are replaced with a tensioned-cable hanging from a beam to transfer building load to the ground. 17 The concrete box is supported by the cylinder of the spiral staircase , an L-shaped piece of structure connected to a column rising from the ground level.18 The cylinder suports the large I-beam accross the roof where the tension rod connected to the ground to balance the the concrete box against graivty and other forces. 19

The pilotis are divided in two different categories in the Villa Savoye. The first is architectonic and exposed that strictly correspond to a square and the second is more hidden in the built-mass and responds to the construction requirments.15 These two types of Exposed and Hidden Pilotis are the central element of structure in Villa Savoye that hold up the building floating above the ground and landscape.

Furthermore, pilotis free up the circulation zone in the ground level and frames the view to the horizon in the upper levels.

15 . Perspective view of Villa Savoye

16. Perspective view of Bordeaux villa

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Despite these differences of struactural sytmes, Maison A Bordeaux villa was influenced by the Lecorbusier’s notion of “ Free Plan” to be open to its surrounding. Rem Koolhaas has adapted this concept to rais the house and keep it floating on the landscape without pilotis.20

balance+ imbalance

The large I-Beam anchored to roof and concrete box

load path

Concrete box structure in the upper floor

The L-shaped structural element has two point of contact with the concrete box to keep it floating.

Tension rod

L-Shaped structural element

Cylinder that holds that I-beam and the concrete box Rock

The spiral staircase cylinder have one point of contact with the large I-beam to balance the whole structure of the Villa .

19. structural elements of the Maison Bordeaux villa

load path

pilotis Othogonal structural grids

Co Or

un

tho

gon

al S

tru

ctu

ral

Gr

ids

ter

we ig

hts

17. Exploded perspective of the Villa Savoye 5

and

Primary structural elements

Ten

sio

nR

od

18. Exploded perspective of the Maison Bordeaux Villa

Secondary structural element

PRIVATE + UN-PRIVATE Vertical stratification of programs are well planed in both Villa Savoye and Maison A Bordeaux. In the Villa Savoye, the programs are stratified in the three floors of the building around a ramp and a spiral staircase .21 The communal service areas, a small guest apartment and the garage is located in the ground level. The bedrooms, Kitchen, dining, bathroom and terrace is positioned in the first level. A roof garden and solarium define the function of the roof.

Similarly to the Villa Savoye, spaces are arranged vertically in the Bordeaux Villa but around an elevating platform that is located at the heart of the building.23 For instance the courtyard, the guest room ,the house keeper space, the moving platform and the service areas are located in the ground floor.

Contrastingly, the boundary and sense of division is much stronger than Villa Savoye in the two other levels. The building swings between the polarity of private and un-private, the enclosed space of massive masonry with portholes in the second floor and the transparent glass box of the first level.24 Having considered these similarities and difference, what have best defined the boundary of private and un-private, opaque and transparent, is their unique structural systems. The pilotis and the counterweight systems both have worked well to enhance the notion of open plan.

• • • •

Private Enclosed Opaque Compressed

• • • •

Un-Private Open Transparent Eploded

22. Perspective view from the courtyard

Roof level Roof level Level2 Level 1

Level1

G Floor

G Floor

20.Villa Savoye Section Private

21. Maison A Bordeaux Section

Semi-Private 10 M

6

Un-Private

Villa Savoye

1

Launry Bathroom Bedroom Hall WC Garage Guest room Terrace Kitchen Pantry Salon Sun terrace

3

3

3

3

Programs 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

2

2

2

3 6

5

5

8 55

4 7

9

10

12

11

24. Level 1

23. Ground Level

25. Level 2

10 M 1 17

Maison Bordeaux Villa

Wine cellar Platform Laundry Kichen Store Bath room Media room Drive way Court yard Guest Patio House keeper Ofice Winter dining Living area Summer dining Bedroom

7

6

6 11

2

17

17

14

8

9

17

6

17

6

4

3

15

2

1

Programs 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

13

5 2

16

28. Level 2

Private Semi-Private Un-Private 10

26. Ground Level

11

12

FROM KEY BUILDING OF THE 2OTH CENTURY

27. Level 1

7

20 BUILDING EVEY ARCHITEC SHOULD UNDERSTAND

CONCLUSION Studying both buildings from different perspective, it became obvious that they remain the influential buildings of the 20th century.

Both Lecorbusier and Rem Koolhaas have challenged the conventional method of design and construction.

The notion of promenade architecture and the free plan have are the central elements of the form and structure. However, architects have approached to these architectural features from different point of view. While both orthogonal grids with pilotis and the counterweight systems define the structure and skeleton of the Villas but they have got radically different philosophy behind them.

There are many lessons to learn from both Villas but the promise of architects to the clients is good lesson to learn. Design a house for a client whose mobility is confined to a wheelchair and turning his dream of liberty to the reality is another level of problem solving in architecture.

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ENDNOTES 1. Ingrid Böck, Six Canonical Projects by Rem Koolhaas (Berlin: Jovis Verlag, 2015), 141.

17.

1. Richard Weston, Key Buildings of the 20th Century: Plans, Sections & Elevations (London:

2. ibid.142.

3. ibid.142.

Laurence King, 2010), 62.

2. Simon Unwin, Twenty Buildings Every Architect Should Understand (USA: Routledge, 18.

2010), 114.

4. ibid1.43.

5. ibid.143.

3. ibid 19.

6. Francis D.K. Ching, Mark Jarzombek, A global history of architecture (Hoboken: John

20.

4. Simon Unwin, Twenty Buildings Every Architect Should Understand (USA: Routledge,

Wiley & Sons, 2011), 721.

7. Luigi P. Puglisi, New Directions in Contmporary Architecture (Great Britain: John Wiley &

2010), 114.

21.

5. José Baltanás, Walking Through Lecorbusier: A Tour of his Masterworks ( United King-

Sons, 2008), 124.

8. Ingrid Böck, Six Canonical Projects by Rem Koolhaas (Berlin: Jovis Verlag, 2015), 142

dom.2005), 56.

22.

6. Dominic Bradbury, The Iconic House: architectural masteworks since 1900 (London:

9. Luigi P. Puglisi, New Directions in Contmporary Architecture (Great Britain: John Wiley & Sons, 2008), 127

Thames & Hudson, 2009), 312 23.

7. Simon Unwin, Twenty Buildings Every Architect Should Understand (USA: Routledge,

10. Jacques Sbriglio, Lecorbusier: The Villa Savoy ( Basel, Boston, Berlin: 1999), 62 11. Luigi P. Puglisi, New Directions in Contmporary Architecture (Great Britain: John Wiley & Sons, 2008), 127

2010), 112.

8.

9. Luigi P. Puglisi, New Directions in Contmporary Architecture (Great Britain: John Wiley & 24.

12. Richard Weston, Key Buildings of the 20th Century: Plans, Sections & Elevations (London: Laurence King, 2010), 62.

Sons, 2008), 125.

10.

13.

14. acques Sbriglio, Lecorbusier: The Villa Savoy ( Basel, Boston, Berlin: 1999), 49 15.

16. Luigi P. Puglisi, New Directions in Contmporary Architecture (Great Britain: John Wiley & Sons, 2008), 128

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15.

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Laurence King, 2010), 62.

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tions & Elevations (London: Laurence King, 2010)

pp.El Croquis , 2006, (131)., p.72

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17.

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tions & Elevations (London: Laurence King, 2010).63

Thames & Hudson, 2009), 312-313

4. (Redrawn- M.Jawad). Simon Unwin, Twenty Buildings Every Architect Should Under18.

5. Dominic Bradbury, The Iconic House: architectural masteworks since 1900 (London:

stand (USA: Routledge, 2010), 112.

Thames & Hudson, 2009), 66.

19.

5. (Redrawn- M.Jawad). Simon Unwin, Twenty Buildings Every Architect Should Under-

6. Dominic Bradbury, The Iconic House: architectural masteworks since 1900 (London:

stand (USA: Routledge, 2010), 114.

Thames & Hudson, 2009), 316.

6. (Redrawn- M.Jawad). Richard Weston, Key Buildings of the 20th Century: Plans, Sec20.

7. (Redrawn- M.Jawad). Richard Weston, Key Buildings of the 20th Century: Plans, Sec-

tions & Elevations (London: Laurence King, 2010).63

tions & Elevations (London: Laurence King, 2010).63

7. (Redrawn- M.Jawad). Richard Weston, Key Buildings of the 20th Century: Plans, Sec21.

8. (Redrawn- M.Jawad). Richard Weston, Key Buildings of the 20th Century: Plans, Sec-

tions & Elevations (London: Laurence King, 2010) .233

tions & Elevations (London: Laurence King, 2010) .233

22.

8. Cortes, Juan Antonio, 2006. AMO OMA Rem Koolhaas 1996-2006. El Croquis, (131),

9. (Redrawn- M.Jawad). Richard Weston, Key Buildings of the 20th Century: Plans, Sec-

pp.El Croquis , 2006, (131)., p.70-71

tions & Elevations (London: Laurence King, 2010).63

23.

9. (Redrawn- M.Jawad). Richard Weston, Key Buildings of the 20th Century: Plans, Sec-

10. ibid.63

tions & Elevations (London: Laurence King, 2010).63

11. ibid.63

24.

10. (Redrawn- M.Jawad) ibid.63.

12. (Redrawn- M.Jawad). Richard Weston, Key Buildings of the 20th Century: Plans, Sec-

25.

11. (Redrawn- M.Jawad) ibid.63

tions & Elevations (London: Laurence King, 2010).233

26.

12. (Redrawn- M.Jawad). Simon Unwin, Twenty Buildings Every Architect Should Under-

13. ibid.233

stand (USA: Routledge, 2010), 115.

14. ibid.233

27.

13. (Redrawn- M.Jawad) ibid.115.

28.14. (Redrawn- M.Jawad) ibid. 115.

10