A few weeks ago, I posted a quick sketch of a Classicized version of Le Corbusier’s Five Points. That post in turn had been influenced by the work of Leon Krier. Today, Leon has agreed to share with you some yet unpublished drawings, his own revisiting of Le Corbusier’s seminal Villa Savoye.
This is the mecca of Corbusian modernism, and Krier takes no small shots, recontextualizing the villa by relocating it on the site, extending a large walled garden at one end, and bringing the roof garden to a climactic belvedere.
Krier keeps Corb’s basic Five Points right in place, but deftly moves them about: placing the piloti on a massive, battered base; adding more forms to the sculptural roof garden; and making a feature out of the ‘free plan’ curve at ground level. Corbusier is still here, but so is Krier.
All work is graciously lent by Leon Krier, who maintains his copyright © 2017.
Leon Krier always has an interesting point or two to make with regards to Le Corbusier, most likely due to Corb’s immense power over Krier’s earliest work and schooling. In many ways, Krier’s career can be seen as one long extended dialogue with (and often against) the Modernist figurehead. As part of that, Krier has recently talked about a resurgence of those five points against which Corb wrote his – and argued that these five points ought to form the core of a vernacular traditionalism, much in the same way Corb’s have loomed over the moderns.
So I figured I’d take a synthetic middle ground. What happens if we take Corb’s five points and dress them up in traditional garb. What then? Piloti are given bases and capitals (and become columns); picture windows are gathered into long fenetre en longueur; the plan is libre (free of rooms en filade); the roof is flattened to host a garden; and the only point I’m probably missing is the free facade. O well, better luck next time. . .
The story of where these ideas come from is a hodgepodge, so let’s just talk about what this is: a circular atrium in the middle of a nine-square plan demarcated with Corbusian piloti-cum-columns, with its four corners filled with circles: two circles are set up as objects, while two others are strung together with a larger radius. All of this sits below a blank square volume, continuing the allusion to Villa Savoy, with a strong gable at the roof line.