By Jacques Sbriglio
With its uncompromising and transparent building, the Villa Savoye, accomplished in 1931, verified Le Corbusier s popularity as an undisputed masterof twentieth-century structure. André Malraux put it at the old check in in 1964. during this advisor, ancient records and new photos providean in-depth presentationboth to viewers to the location and to readers at domestic.
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The floor is uniformly clad in white tiles that measure 14 × 14 cm. Laid out on the diagonal, they contrast with the dark grey rubber flooring that covers the ramp. Indirect artificial lighting is supplied by lamps attached to some of the columns and walls. Directed upwards, their light bounces off the white ceiling and reaches into all parts of the hall. 48 Entrance hall: interior view (period photograph) 49 Le Corbusier’s superb staging of the entrance to this space is mirrored in his treatment of its exit, signalled by the start of the ramp and the staircase.
But this was not yet the case when the Villa Savoye was commissioned. ” 18 Le Corbusier’s distribution of domestic space on the ground floor responds to a twofold aim. First, to free the top level of the dwelling, generating a place of repose where nature could be admired (roof terrace/roof gardens). Second, to locate the quarters as closely as possible to the “earthly” public area in order that the dwelling’s intimate, serene realms be kept separate from the hustle and bustle of domestic life.
The flooring shared by both the p antry and the kitchen is composed of 15 × 15 cm pale yellow tiles. A sterilised atmosphere cloaks the kitchen, pointing up its functional nature. It was this aspect that induced Le Corbusier to photograph it, as he did with Villa Stein/de Monzie, in a way that dramatised its poetic element. Like a still life, the starkly cold technical components of the kitchen are juxtaposed with daily objects: a loaf of bread, milk jug and coffee pot. ” 27 This fervent enthusiasm, expressed by the historian S.