Le Corbusier’s “Pavillon de l’Esprit Nouveau” was built in 1925 at the Paris Exposition des Arts Décoratifs was built as a model for the Le Corbusier’s larger scaled design the “Immeuble Villas”. The pavilion was and exhibit developed from the inside out showcasing Le Corbusier’s modern geometric structure in correspondence with the interior of the space. Attached to the pavilion was an annex, which was originally used as a studio while constructing the pavilion. During the exhibition the annex, rotunda was converted in to a showcase of Le Corbusier’s future works. The rotunda housed two large dioramas, each a hundred square meters in area, one of which showed the 1922 “Plan for a Modern City of 3,000,000 Inhabitants”; and the other was the “Voisin Plan” which proposed the creation of a new business center in the heart of Paris.
LE CORBUSIER’S PAVILION:
The pavilion was reproduced as a part of a celluloid structure of the “Immeuble Villas” presented at the 1922 Salon d’Automne which was a theoretical project that consisted of 200 identical pavilions that would be assembled into the “Citrohan”. The Citrohan was developed from the idea of car manufacturing which helped to illustrate the motto of “the house is a machine for living in”. The “Immeuble Villas” consisted of an L-shaped living space and an adjoining garden. The living zone consisted largely of a sun terrace one of Le Corbusier’s most widespread symbols throughout the decade. Each villa was accordingly designed as a typical cell-unit just a block of multiple villa-flats consisting of a small dwelling with its own roof-terrace.
Artist in Residency, keeping the concept of a private residence in public house but making the residence more of a featured role in the creation of the building like Le Corbusier the Artist in Residency has more balance and harmony between the Public and Private spaces. The Public path directly intersects the public and private spaces creating a separation and the form of the path directly influences the shape of the private residence. The path has two kinks in it directly linked to the orthogonal grid and Corbuiser’s use of geometry the path caused bike riders to have to stop and slow down and the path veer’s off into two directions one enters the primary reception area of the gallery and the other cuts right though the gallery itself and allows for quick egress if just passing though the park.
The interior of the Gallery and residence focus around two double height spaces the double height space of the residence is the family room which allow the people on the second floor of the building to see what is going on downstairs and also allows for more light to enter the space since the residence the first floor of the gallery is completely submerged within the land of the site, while the first floor of the residence is sunk into the slope of the site.
The double height space of the Gallery is a system of glass moving platforms that allow the artist in his studio which is directly underneath the gallery to raise his artwork to the gallery floor the platforms can move individually from each other or they can move in unison. The floor of the gallery has a large opening allowing the galleries occupants to see the artist at work and watch him raise his work up the gallery level.
Aligning the axis’s of the house with the axis’s of the site centering the private residence over the slope of the land for optimum lake vistas, and the gallery on the flatter part of the land. The private residence was sunk into the steep slope of the land because of the public nature of the park the residence was meant still maintain it’s sense of privacy while the gallery was meant to be easily accessible to the public. A Public path was introduced into the plan connecting the existing bike path of the site and introducing it into the circulation of the gallery enticing people who are visiting the park to enter the gallery.
Sophomore Year: Fall 2011
Exercise: The connection of design to the precedent
Faculty: Professor Matt Zinski