le corbusier: the vice versa between the house and the automobile...
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le corbusier: the vice versa between the house and the automobile... |
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A brief route by Le Corbusier of the first times, indicates that good part of its architectonic and city-planning production is founded on data and originating images of the transport systems, although more appropriate it would be to say of the transport machines. Systems and machines that by those same years registered an interesting technological development, influencing other productive processes, such as the construction and why not to say it, the architecture. For Le Corbusier, the house was the machine to live. Nevertheless, the only machine is the automobile that crosses of side to side its city-planning and architectonic work. Its relation with manufacturers of automobiles will vice versa generate between its architecture and urbanism, and the industry of the automobile. Not in vain, Le Corbusier will express more of once its admiration by the technology associated with the automotive industry, or designing automobiles or making an effort in binding it in imaginary the social one with its architectures first. These are the reasons by which good part of its architectonic iconography and city-planning present in first plane, an automobile device. In the long run, the houses and cities of Le Corbusier will be house-automobile and city-automobile. It is not to surprise these influences between house and system of transport. To the persistent modality of the technique to borrow images from the traditional devices that it supplants, it responds the image of the salpicadero that in the vehicles protected the coachman of the mud come off the legs of the horses, that happens in the panel of commandos of the vehicles of motor of the first times. It is so the relation that arises between the automobile and the architecture, that Le Corbusier did not have shyness in affirming that? if the problem of the house studied as a chassis would improve and would transform our houses quickly (Vers une architecture, 1923). |
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To inhabit the distance |
Addition of finite elements |
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Today, the computation allows us to cross of virtual way the early city-planning proposals of Le Corbusier. The Citè¨ Contemporaine and the Ville Radieuse of 1922 and 1929, more than cities for the man are cities for the automobile. If the applied Spanish grid in the American colonies, is used for the equitable distribution of the lots and to determine the location of the civil institutions and religious, the lecorbusiana grid is a layout between diagonals designed to solve the demands of distance and time of the automobiles. The city-planning shout of battle of Le Corbusier to permute the street-corridor by the urban freeway, has sense if between its interests is the resolution of an own and exclusive space for the automobile. Urban freeway that I criticize Lewis Mumford rebound with hardness in the work The highway and the city (1963). Been we have seated by long short while in the small wood that takes step to the building originally called of Them heures claires . From there, the villa seems to us a quick automobile for the movement before a building to contain the pacific week ends of Mr. Savoye and his woman, more arranged to live in the middle of the nature that in a concrete box, although this box is a box of contemplation as the architect proposes to us. Today, single in his own and reduced cloudy green one, already not even one is us lofty showing itself light and aerial from the hill to the passage of the Seine, as I imagine the architect to it when she had the anger to solve the riddle and after suffering like a small deus-creator. Today without fear to the ambiguity and after consulting the first outlines that Le Corbusier develops, to confront the order of the Savoye, we could suppose that the five principles that sustain the architectonic speech of Le Corbusier were written up observing an automobile, a Voisin automobile not to before lack to the acquired commitment years with the Voisin brothers. The flat facade and the in excess window are elements that could be applied so much to a building as to an automobile, being own of these last ones. The ceiling terrace or solarium- could come from the use of the ceiling given by the vehicles to transform it into an inhabitable space for the trunks or the fleeting rest of the coachman. The terrace is conceived like an enclosure to take the sun in a place near Paris, in where the sun is a minimum and weak matter. |
Watching the houses of the Citrohan series (1920 - 1927) in more than an opportunity we have had the temptation to relate its form to the form of the automobiles of the time. Watching the first outlines of the villa, in where they are registered the efforts to solve the garages of the automobiles and the complex resolutions of the program, also we have the temptation to think that the study of an automobile, its rotundidades and strengths between form and content, and utility and beauty, allowed to jump by on the contrariedades of the early configurations, to take it to end at the result that today we know. From it, we thought that the didactics of Villa Saboya resides in being the first proposal in where maturity and success are expressed with the five lecorbusianos principles, being able to be considered as one sumatoria of finite data whose result is an architecture work. Until those years, these principles had been applied of partial and incomplete way in the terrace-solarium and the free facade of the houses Citrohan and Pessac (1920 and 1925); the free plant, in the Besnos villa in Vaucresson (1922); the run window, in Villa the Roche of Paris (1923); and pilotis, in the two houses of Wiessenhof de Stuttgart (1927). If the free plant is the method that assigns architectonic quality to him to the remaining principles formulated by Le Corbusier, releasing them of its constructive limitations, it distances and time they are the dimensions that allow their joint. Distance and time that in Villa Saboya express in the ramp and the stairs semi-snail. While the ramp (a own element of the road program that of the residential one), connects the noble spaces of the villa, inhabited by the Savoye gentlemen and its guests, the stairs go to quickly solve the spaces on watch inhabited by the servitude. The deficiency of corridor or gallery, own of a distribution or conventional program of those times, allows the habitability through the route of the free plant like contenedora of the emptiness and the unexpected one. This way, the free plant becomes freer and expressive if she contains the route spaces. Otherwise, the recintual and hybrid character that imposes the corridor, reduces to its minimum expression the immediate habitability of the free plant. |
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Ground floor: ramp and stairs like two ways to solve the times of living of Villa Saboya. |
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To inhabit the time |
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The free plant arises in the poetic lecorbusian in the times of the creation of the denominated constructive system Dominó (1914). It is a this device given off by will of his creator of the covers of the boats, taken root more with the rigid resistance of the materials and marks that with the architectonic conceptions. Nevertheless, it is east device-support of constructive nature that allows the teacher to formulate its five fundamental principles of the new architecture: the free plant in the first place, later the terrace solarium, the free facade, the in excess window and pilotis. For Le Corbusier before the architecture is the construction and not later. Come off the corridor (the corridor street), the ramp transforms the change of level, between the different plants, in a slow displacement that allows to inhabit with the body and the glance the horizontal dimension in all its extension. On the contrary, the habitability of the stairs takes place like a brief action imposed by the vertical geometry and whose only quality that redeems it could be the zenithal light that is transmitted towards the inferior plants. Thus, in the three levels of Villa Saboya it is acceded to the ramp from the transparency of the acristalados or simply empty closings, allowing his location from the distance. Meanwhile, the stairs always are hides and rare time allows to its vision from the enclosures located in the perimeter of the building, granting to him an own time and pudor to the workings and trajines on watch. Journeying by the different signs marked fire in the architecture from century XX, the machine par excellence is that that allows to inhabit the distance and the time: the house or the automobile? jfs 2004 |
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Bibliography |
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Sbriglio, Jacques. Le Corbusier: La Villa Savoye. Fundatión Le Corbusier, París, 1999. |
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Turner, Paul. La formation de Le Corbusier. Macula. París, 1987. |
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created 2004.01.01 |
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