VILLA SAVOYE

By Le Corbusier

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Villa Savoye

ARCHITECT:
LE CORBUSIER

LOCATION:
POISSY, FRANCE

CATEGORY :
HOUSE

PROJECT YEAR:
1929

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 BIOGRAPHY ARCHITECT
LE CORBUSIER

Le Corbusier was born Charles-Edouard Jeanneret-Gris in Switzerlandon October 6,

1887, Le Corbusier was the second son of Edouard Jeanneret, an artist who painted dials
in the town’s renowned watch industry, and Madame Jeannerct-Perrct, a musician and
piano teacher. His family's Calvinism, love of the arts and enthusiasm for the Jura
Mountains, where his family fled during the Albigensian Wars of the 12th century, were
all formative influences on the young Le Corbusier. At age 13, Le Corbusier left
primary school to attend Arts Décoratifs at La Chaux-de-Fonds, where he would learn
the art of enameling and engraving watch faces, following in the footsteps of his father.

There, he fell under the tutelage of L’Eplattenier, whom Le Corbusier called “my
master” and later referred to him as his only teacher. L’Eplattenier taught Le Corbusier
art history, drawing and the naturalist aesthetics of art nouveau. Perhaps because of his
extended studies in art, Corbusier soon abandoned watchmaking and continued his
studies in art and decoration, intending to become a painter. L’Eplattenier insisted that
his pupil also study architecture, and he arranged for his first commissions working on
local projects.

After designing his first house, in 1907, at age 20, Le Corbusier took trips through
central Europe and the Mediterranean, including Italy, Vienna, Munich and Paris. His
travels included apprenticeships with various architects, most significantly with
structural rationalist Auguste Perret, a pioneer of reinforced concrete construction, and
later with renowned architect Peter Behrens, with whom Le Corbusier worked from
October 1910 to March 1911, near Berlin.

These trips played a pivotal role in Le Corbusier’s education. He made three major
architectural discoveries. In various settings, he witnessed and absorbed the importance

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of (1) the contrast between large collective spaces and individual compartmentalized
spaces, an observation that formed the basis for his vision of residential buildings and
later became vastly influential; (2) classical proportion via Renaissance architecture;
and (3) geometric forms and the use of landscape as an architectural tool.

In 1917, Le Corbusier moved to Paris, where he worked as an architect on concrete

structures under government contracts. He spent most of his efforts, however, on the
more influential, and at the time more lucrative, discipline of painting. Then, in 1918,
Le Corbusier met Cubist painter Amédée Ozenfant, who encouraged Le Corbusier to
paint. Kindred spirits, the two began a period of collaboration in which they rejected
cubism, an art form finding its peak at the time, as irrational and romantic. With these
thoughts in mind, the pair published the book Après le cubisme (After Cubism), an anti-
cubism manifesto, and established a new artistic movement called purism. In 1920, the
pair, along with poet Paul Dermée, established the purist journal L’Esprit Nouveau (The
New Spirit), an avant-garde review.

In 1923, Le Corbusier published Vers une Architecture (Toward a New Architecture),

which collected his polemical writing from L’Esprit Nouveau. In the book are such
famous Le Corbusier declarations as “a house is a machine for living in” and “a curved
street is a donkey track; a straight street, a road for men.”

Le Corbusier envisioned prefabricated houses, imitating the concept of assembly line

manufacturing of cars, for instance. Maison Citrohan displayed the characteristics by
which the architect would later define modern architecture: support pillars that raise the
house above the ground, a roof terrace, an open floor plan, an ornamentation-free facade
and horizontal windows in strips for maximum natural light. The interior featured the
typical spatial contrast between open living space and cell-like bedrooms.

In an accompanying diagram to the design, the city in which Citrohan would rest
featured green parks and gardens at the feet of clusters of skyscrapers, an idea that
would come to define urban planning in years to come. Soon Le Corbusier’s social
ideals and structural design theories became a reality. In 1925-1926, he built a workers’
city of 40 houses in the style of the Citrohan house at Pessac, near Bordeaux.

In the 1930s, Le Corbusier reformulated his theories on urbanism, publishing them in

La Ville radieuse (The Radiant City) in 1935. The most apparent distinction between the
Contemporary City and the Radiant City is that the latter abandoned the class-based
system of the former, with housing now assigned according to family size, not
economic position. At the end of the 1930s and through the end of World War II, Le
Corbusier kept busy with creating such famous projects as the proposed master plans for
the cities of Algiers and Buenos Aires, and using government connections to implement
his ideas for eventual reconstruction, all to no avail.

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 Villa Savoye

General Information

Villa Savoye is a modernist villa in Poissy, on the outskirts of Paris, France. It was
designed by the Swiss architects Le Corbusier and his cousin, Pierre Jeanneret and built
between 1928 and 1931 using reinforced concrete. As an exemplar of Le Corbusier's
"five points" for new constructions, the villa is representative of the origins of modern
architecture and is one of the most easily recognizable and renowned examples of the
International style.

Villa Savoye dinamai seperti nama pemiliknya Pierre dan Eugenie Savoye. Diciptakan
sebagai tempat istirahat keluarga, Villa Savoye dibangun pada tahun 1929 – 1931 di
sebuah area bekas pertanian di kota Poissy, sekitar 25 mill dari kota Paris.

Keluarga Savoye adalah keluarga pertama yang mempunyai mobil di area itu, dan Le
Corbusier membuat desainnya bisa bisa menampung kendaraan. Sebagai contoh dalam
desain Villa Savoye terdapat sebuah ramp yang diciptakan sebagai tempat masuk dan
keluarnya mobil dari tempat parkirnya, radius lingkarannya sangat cocok untuk
manuver mobil saat itu. Dalam interiornya terdapat juga ramp (selain tangga spiral)
untuk menselaraskan dengan jalur kendaraan yang ada di luar. Villa Savoye juga
memiliki ciri-ciri yang tidak umum untuk desain rumah pada saat itu antaralain pilotis,
atap datar, jendela yang luas mengelilingi rumah. Di pintu masuk Villa Savoye ini
terdapat sebuah basin dimana disana mereka bisa mencuci tangan dan menyimpan jubah
mereka. Dilantai atas ruang tidur, ruang tamu, dapur dan ruang keluarga dibentuk untuk
membentuk huruf L mengelilingi halaman. Wc yang didesain untuk Nyonya Savoye,
terdapat sebuah bathtub dan kursi santai yang terbuat dari keramik berwarna biru dan
hitam; dan bathub juga terbuat dari keramik. Untuk lantai atasnya dibuat menjadi
sebuah kebun.

Meskipun Villa ini dimiliki oleh keluarga Savoye, namun pada perang dunia ke 2 villa
ini terabaikan dan mengalami rusak berat pada saat itu. Setelah perang usai rumah-
rumah di kota Poissy direncanakan akan dihancurkan untuk dibuat sekolah. Rencana
penghancuran Villa Savoye tersebut membawa perhatian internasional, Le Corbusier
bernegosiasi dengan pemerintah prancis untuk membicarakan wancana tersebut. Pada
saat Le Corbusier wafat tahun 1965 barulah pemerintah mengambil tindakan untuk
memperbaiki Villa Savoye.

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Le Corbusier sering mengaitkan rumah sebagai “A Machine for Living”. Beberapa
kritikus tidak begitu antusias dengan Le Corbusier. Beberapa dari mereka beranggapan
bahwa Villa Savoye seperti sebuah Alien yang mendarat di sebuah lahan. Bahkan
arsitek seperti Frank Lloyd Wright memberikan reaksi yang negative pada Villa Savoye.
Beliau bahkan menyebut nya sebagai “Box on Stilts”. Beliau menjelaskan bahwa karya
Le Corbusier sangat kekanak-kanakan karena membua bangunan yang meggambarkan
kapal uap, mesin terbang dan kereta.

The Villa Savoye uses the horizontal ribbon windows found in his earlier villas. Unlike
his contemporaries, Le Corbusier often chose to use timber windows rather than metal
ones. It has been suggested that this is because he was interested in glass for its planar
properties, and that the set-back position of the glass in the timber frame allowed the
façade to be seen as a series of parallel planes.

Concept Design

Situated in Poissy, a small commune outside of Paris, is one of the most significant
contributions to modern architecture in the 20th century, Villa Savoye by Le Corbusier.
Completed in 1929, Villa Savoye is a modern take on a French country house that
celebrates and reacts to the new machine age.

Villa Savoye is a modernist villa in Poissy, on the outskirts of Paris, France. It was
designed by the Swiss architects Le Corbusier and his cousin, Pierre Jeanneret and built
between 1928 and 1931 using reinforced concrete. As an exemplar of Le Corbusier's
"five points" for new constructions, the villa is representative of the origins of modern
architecture and is one of the most easily recognizable and renowned examples of the
International style.

Unlike with his earlier town villas, Le Corbusier was able to carefully design all four
sides of the Villa Savoye so that they took the view and the orientation of the sun into
account. On the ground floor he placed the main entrance hall, ramp and stairs, garage,
and the rooms of the chauffeur and maid. The first floor contained the master bedroom,
the son's bedroom, guest bedroom, kitchen, salon and external terraces. The salon was
oriented to the south east whilst the terrace faced the east. The son's bedroom faced the
north west, and the kitchen and service terrace faced south-west. On the second-floor
level was a series of sculpted spaces that formed a solarium.

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The plan was set out using the principal ratios of the Golden section: in this case a
square divided into sixteen equal parts, extended on two sides to incorporate the
projecting façades, and then further divided so as to fix the position of the ramp and the
entrance.

In his book Vers une Architecture, Corbusier exclaimed "The motor car is an object
with a simple function (to travel) and complicated aims (comfort, resistance,
appearance)...". The house, designed as a second residence and located outside Paris,
was designed with the car in mind. The sense of mobility that the car conferred was
translated into a feeling of movement that is integral to the building. The approach to
the house was by car, past the caretaker's lodge, and eventually under the building itself.
Even the curved arc of the industrial glazing of the ground floor entrance was
determined by the turning circle of a car. After its principal occupants had been dropped
off by the chauffeur, the car proceeded around the curve to park in the garage.
Meanwhile, the arrivals entered the house transversely into the main hall through a
portico of flanking columns.

The four columns in the entrance hall seemingly direct the visitor up the ramp. This
ramp, which can be seen from almost everywhere in the house, continues up to the first-
floor living area and salon before continuing externally from the first-floor roof terrace
up to the second-floor solarium. Throughout his career, Le Corbusier was interested in
bringing a feeling of sacredness into the act of dwelling, and acts such as washing and
eating were given significance by their locations. At the Villa Savoye, the act of
cleansing is represented both by the sink in the entrance hall and the celebration of the
health-giving properties of the sun in the solarium on the roof, which is given
significance by being the terminal upper point of the ramp.

Le Corbusier's piloti perform a number of functions around the house, both inside and
out. On the two longer elevations they are flush with the face of the façade and imply
heaviness and support, but on the shorter sides they are set back, giving a floating effect
that emphasises the horizontal dimension of the house. The wide strip window of the
first-floor terrace has two baby piloti to support and stiffen the wall above. Although
these piloti are in a similar plane to the larger columns below, a false perspective when
viewed from outside the house gives the impression that they are located deeper within
the house than they actually are.
The Villa Savoye uses the horizontal ribbon windows found in his earlier villas. Unlike
his contemporaries, Le Corbusier often chose to use timber windows rather than metal
ones. It has been suggested that this is because he was interested in glass for its planar
properties, and that the set-back position of the glass in the timber frame allowed the
façade to be seen as a series of parallel planes.

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Source :
https://www.archdaily.com/84524/ad-classics-villa-savoye-le-corbusier
https://en.wikipedia.org/wiki/Villa_Savoye
https://www.archdaily.com/84524/ad-classics-villa-savoye-le-corbusier