savoye space萨伏伊别墅空间案例分析.ppt.pptVIP

没有正面 “The house should have no front,” he insists, thus emphasizing the nonwall quality of the four walls. Yet certainly frontality, if not facadism, was a mainstay of Corbusian design both before and after the design for the Villa Savoye. 白墙的弱化 To eliminate a front is also to dissolve Le Corbusier’s most persuasive but least noted formal device: the (almost) blank sidewall. Maison Citrohan ，1922 “书立”建筑 Le Corbusier conceived of a kind of bookend architecture: buildings with blinders, houses that opened mainly to the front and back. Maisons Cook and Guiette ，1926 空中花园的前身 Villa Meyer，1925 典型 It could serve either as suburban house, or, like a modular container, as a single cube in an “Immeubles-Villas” urban structure built of many such cubes arranged side-by-side and one atop another. Pavillon de l’Esprit Nouveau ，1925 空中花园的前身 垂直打通 But in 1926, with the Villa Cook… Responding to its tight urban setting, Le Corbusier opened both the underside and top of the cube and thus, by necessity, pilotis and roof garden enter the formula. Circulation is now vertical. One ascends from ground to sky. The toit jardin, no longer mere nicety, has become a transcendent experience. Villa Cook ，1926 底层架空 屋顶花园 “The reception is at the top of the house,” Le Corbusier writes of Cook. “One exits directly onto the toit jardin where one prevails over the vast forest of the Bois de Boulogne; you are no longer in Paris; you are in the country.” Cook住宅的追求和缺憾 This movement from the city to the country, from the mundane to the metaphysical, from earth to heaven, from body to mind, is quite clearly a metaphor for life as Le Corbusier knew it. The orchestrated experience, with its beginning, middle, and climactic end, signifies something larger than just promenade architecturale. But still, at the Villa Cook, the mundane obscures the metaphor. Ascension is through a tight and discontinuous vertical shaft. The movement seems simply logical, the result of confined urban conditions. 原有逻辑的破坏 At