Le Corbusier’s Spatial Design Oeuvre Introduction The contribution of Le Corbusier to architectural theory and practice, as well as urban planning, in the twentieth century cannot be misjudged. Through the widespread circulation of his building proposals and projects and his comprehensive theoretical effort, practically no other designer has had the same challenging and powerful effect on the treatise of modern architecture…
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Download file to see previous pages Then cubism is a specific component of his technique, modern style as well. In modern style, Le Corbusier recognises the factors governing the period and establishing its form. And modern style enabled him to achieve his cubistic goals in architecture’s three-dimensional styles (Saeter, 2011). This essay explores the work of Le Corbusier, examining the specific ways in which he had developed a relationship with theory in his work. Exploring Le Corbusier’s Spatial Design Ideas In essence, Le Corbusier’s buildings look like totally devoid of all material weights. Cubes of air enter their fully open forms; huge spaces of glass enhance their clearness. Several of his buildings are elevated, and beneath the structure the garden is constructed like a veranda. In several of these structures, the interior is made, similar to a studio, having only one room the parts of which is partitioned into many units, different in size and form, not detached from one another, and delineated merely by arched screens or low room dividers (Farmer & Louw, 1993). And a huge mechanism of zigzagging or traditional staircases, of hallways and ramps, constructed like terraces, is applied through the different levels so as to achieve the needed link between these free room divisions (Samuel, 2007). Le Corbusier is indeed a very bold designer. With his artistic talents, commitment, and determination he always prospers in creating a form which through its visual appeal convinces even though it does not logically persuade. The most adventurous models of his spirited talent, revealing all aspects of his artistic skills, are embodied in such structures like Villa Savoye and Villa de Monzie (Crow, 1989). These structures show all the selections of his successful art of architectural arrangement. In fact, all facets in these structures are organised in harmony with cubistic art. Figure 1. Example of Cubistic Architecture (image taken from http://www.google.com.ph/imgres?imgurl=&imgrefurl=http%3A%2F%2Finthralld.com%2F2013%2F02%2Fcubist-inspired-rieteiland-house-by-hans-van-heeswijk-architects%2F&h=0&w=0&sz=1&tbnid=FA2blesTdOQRbM&tbnh=190&tbnw=266&zoom=1&docid=kpyqE9GpE_T70M&ei=d7jIUtOaMo2OiAfit4CADQ&ved=0CAQQsCUoAQ) Even though he created an architectural style which employed modern methods and materials and which constantly aspired to convey the meanings and embody the way of life of the 20th century, Le Corbusier viewed architecture as an on-going discipline and argued that important principles learned from the earlier times could be re-created in ways which would be suitable to the contemporary period. The creative years of Le Corbusier were witnessed during the early 20th century, when it was widespread practice to adopt from previous techniques, employing forms of Byzantine, Gothic, or Classical architecture, based on the function a structure had to fulfil (Roth, 1993). Yet, Le Corbusier abandoned this barren style of reproduction and rather thoroughly examined those features of previous styles which he believed went beyond their period and which he thought stayed applicable to the 20th century. Le Corbusier firmly believed that forms strongly influence people’s senses and that designers can affect emotions through their structures of form. These arrangements address organisational and structural demands and how ...Download file to see next pagesRead More
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