Perfection of the Five Points

   
NEMAUSUS I & II
(Jennifer Lenn)

      Le Corbusier introduced his five points of architecture in 1926 with the intention of designing a common thought for perfect habitation. It was not until 60 years later that his five points were perfected by Jean Novel with Nemausus I and II in Nimes, France. In addition to his five points, Corbusier defined the home as something that should operate as a machine, he particularly showed this in his Villa Savoye but Jean Nouvel presented the home as a machine on a much larger scale. The Nemausus project is a 10,300 square meter,  multi-family housing complex, constructed with steel, aluminum, and concertina garage doors. All together, the two seven story buildings contain 114 apartments and is classified as modern architecture. Nouvel uses the qualities of modern architecture to meet the demands of the project, rather than using the radical qualities of the modern movement in order to create a lavish master piece. This is what makes Nouvel's work so successful.

       Nemausus I and II exist side by side with a broad lucious canopy of trees between them. Nemausus II is shorter than I in order to fit the confines of the site and both are rounded at the east ends. With a limited budget, Nouvel constructed both buildings with low cost, long lasting materials that could function on the interior as well as the exterior. Using innovative materials and advancement in technology, Nouvel fused modern building qualities and Corbusier's five points of architecture. Logically, it may seem that no one could represent Corbusier's five points better than Mr. Corbusier himself, however, Nouvel executes this design project with perfect use of the infamous five points. Unlike Corbusier's homes as machines, Nemausus does not exasterbate radical modern forms for the sake of looking radical in a modern era. Instead, Nemausus uses radical forms in a way that seem to work with its surroundings and qualities that are crucial to fitting within the guidelines of the program. Nouvel used qualities of the modern architecture era because they were necessary for his project, not to fit in with a certain style or to boldly define a new one. This is why his Nemausus buildings fit so appropriately with their surroundings and their time. They do not attempt to flaunt any unnecessary means of construction for the sake of a flamboyant look, but merely appeal to the exact program using the most economical and inventive tools of the time. 

       Nouvel used the concrete from the exterior to also finish the interior walls to reduce cost of materials and emphasize a simple interior along with its open floor plans. Some of the apartments differ based on size, but for the most part Nouvel tired to leave an open floor plan as listed on Corbusier's five points. This also allowed for the building to be more flexible in the long term. With a more open floor plan there are more opportunities for the space to be used differently over time. This use of concrete reduced costs in order to meet the budget but also added to the life of the building by allowing for change. A canopy of trees between the two buildings reach the same height as the buildings making a large enough space for a luxurious garden. Perforated metal balustrades of the cantilevered balconies echo the repetitive rhythm of the interior units and also frame the ribbon windows on the facades. Nouvel also takes into account Corbusier's established importance of pilotis. The rounded eastern ends of the buildings are raised on pilotis allowing for a slightly recessed area for covered parking. This concept is very similar to Corbusier's method of pilotis in the Villa Savoye. 

        Corbusier does, in fact, carry out his own five points of architecture through his work but in a harsh and crude fashion. His work serves as somewhat of a diagram or "paint by numbers" to explain his concept of five points. While this is informative to others in illustrating his points, it does create a harsh architecture that struggles to find a balance between radical and comfortable architecture. Nouvel perfected Corbusier's five points by using the basic concepts rather than aiming to create a literal, visual translation of them.




SOURCES:

http://architecture.about.com/gi/o.htm?zi=1/XJ&zTi=1&sdn=architecture&cdn=homegarden&tm=1534&f=10&su=p284.13.342.ip_p504.6.342.ip_&tt=33&bt=0&bts=0&zu=http%3A//housingprototypes.org/project%3FFile_No%3DFRA004

http://greatbuildings.com/wiki/Nemausus_Public_Housing,_Nimes,_France

LIVING IN A STEAMSHIP

VILLA SAVOYE

Le Corbusier

(written by: Jennifer Lenn)

       Imagine living in a steamship. Yes, a steamship. The idea does not, at first, appear very "cozy". At first glance, a steamship is not built for person to live, but rather for a person to work. The steamship is a design brought about by the need to transport goods and therefore is a machine for transportation. A "machine" is most likely the last thing that would come to mind when someone is piecing together their dream home. The sole purpose of a machine is to fulfill the duties for which it is intended to master and lends itself to only existing in order to serve as a functioning element of human society. In 1929 this idea of mending the concept of "machine" and "house" was pioneered by a Swiss designer, urbanist, writer and architect by the name of Charles-Edouard Jeannereet or more familiarly known as Le Corbusier. 

       The Swiss architect, who later became a French citizen, immersed himself in his fascination with the machine age of the 20th century. He particularly was interested in the technology of the steamships because of the innovative engineering and the modularity of their design. Le Corbusier felt that the steamship not only was inspirational in its engineering but also in the concept of its design. Being the "machine" that it is, the steamship holds only what is necessary to serve its function; no more and no less. Corbusier sought to expose the parallel of this concept between machines and architecture. So much so that he published his "Five Points of Architecture", where he clearly defines the necessary components of architecture in the form of a simple list. 

Corbusier's five points are these: 

1. Pilotis (slender columns)

2. Flat Roof Terrace

3. Open Plan

4. Ribbon Windows

5. Free Facade (a facade that is free of structural members)

       In addition to his "Five Points of Architecture", Corbusier also designed one of his greatest contributions to the modern architecture of the 20th century. He designed a house emulating his five points to create a modern take a French country house located in Poissy, France. With his inspiration from the steamships he designed a house that illustrated the sole necessity of each of his five points so perfectly, in fact, that it describes his famous statement, " The house is a machine for living." 

       PILOTIS  The pilotis serve as the structural support for the upper level of the villa. Their slender design creates a subtle reference to the surrounding trees. As the pilotis become part of the surroundings, the upper portion seems to be floating above the picturesque background. In order to add to the visual and structural strength of the pilotis, the core piece in the center exists as the central location of the plan but is also painted green to fade into the background which enhances the "floating" of the upper portion. The placement of the pilotis defines a circulation for an entrance which wraps around the entire building and directs you inward to the main portion. Corbusier accommodates for the owner's vehicle by providing a wrap around driveway leading into a garage on the lower level where the rest of the maintenance and service areas exist. 

       FLAT ROOF TERRACE The flat roof terrace on the top of the upper portion of the building reclaims the green area of the building footprint. Corbusier uses this space for domestic purposes such as gardening, relaxation, and entertainment. 

       OPEN PLAN The open plan is made possible by illuminated load bearing walls that allow for an open circulation through out the majority of the house. While it is an open plan there are clearly defined thresholds between public and private spaces.

       RIBBON WINDOWS The white facade is delicately dressed with the seamlessly bending ribbon windows. These windows negate any form of hierarchy that may have possibly existed between the void  FREE FACADES. They also inhibit the perception of interior and exterior from the outside. They do not fully become clear until they are experienced from the inside. 

       Throughout the entire space the visitor's experience is completely defined by Corbusier's ability to use the promenade to control the views and movement of the visitor. Using the pilotis, Corbusier sets up an approach to the building that makes it appear to be floating within a picturesque scene. At a closer view, the visitor is welcomed by an obvious path regulated by pilotis that direct you around the house to the main entrance. Once inside, the plan is more open and allows for more interaction with the spaces but eventually forces an upward movement to the green terrace. The roof terrace contains a ramp that eventually slows the visitor's pace to give attention to the views and enforce a more intimate pace by which the views can be more appreciated. 

REFERENCES: 

http://www.ultimatehouse.tv/article.php?id=2

http://www.archdaily.com/84524/ad-classics-villa-savoye-le-corbusier/