LE CORBUSIER ARCHITECT

1. INTERNATIONALIS
M
Villa Savoye
HOA

2. INTRODUCTION
“Architecture is the learned
game, correct and magnificent,
of forms assembled in the light”
- LE CORBUSIER
2

3. SWISS-FRENCH MODERN ARCHITECT, URBAN PLANNER,
DESIGNER, SCULPTOR, PAINTER, AND WRITER.
• Born: October 6, 1887 - La Chaux-de-Fonds,
Switzerland
• Died: August 27, 1965 - Roquebrune-Cap-Martin,
France
• Movements and Styles: Modern Architecture,The
International Style, Purism, Brutalism
• Internationally influential Swiss architect and city
planner, whose designs combine the functionalism of
the modern movement with a bold, sculptural
expressionism.
3

4. • He belonged to the first generation of the so-called
International school of architecture and was their most
able propagandist in his numerous writings.
• In his architecture he joined the functionalist
aspirations of his generation with a strong sense of
expressionism.
• He was the first architect to make a studied use of
rough-cast concrete, a technique that satisfied his
taste for asceticism and for sculptural forms.
4
“I prefer drawing to talking. Drawing is
faster, and leaves less room for lies”

5. VILLA
SAVOYE
“A house is a machine for living
in”
5

6. FIVE POINT OF ARCHITECTURE
1. PILOTIS
• Le Corbusier lifted the bulk of the structure off the ground,
supporting it by pilotis – reinforced concrete stilts.
• These pilotis provided the structural support of the house
and allowed him to elucidate his next two points.
2. FREE FACADE
• Non-supporting walls that could be designed as the
architect wished.
3. RIBBON WINDOWS
• The second floor of theVilla Savoye includes long strips of
ribbon windows that allow unencumbered views of the
large surrounding yard and constitute the fourth point of
his system.
• This is a strength to enjoy panoramic scenery while
complementingWestern Europe’s climatic weakness,
which lacked sunshine.
6

7. 4. OPEN FLOOR PLAN
• The floor space was free to configure into rooms
without concern for supporting walls.
5. ROOF GARDEN
• A functional roof serving as a garden and terrace,
reclaiming for Nature the land occupied by the building.
• A ramp rising from ground level to the third-floor roof
terrace allows for a promenade architecturale through
the structure.
7

8. Location:- Poissy,
Paris, France
8

9. CONCEPT
9
• TheVilla Savoye was designed by Le Corbusier as a
paradigm of the “machine as a home”, so that the
functions of everyday life inside become critical to its
design.
• The movement of cars to enter the interior of the
house (a concept that empassioned Le Corbusier for
years) is the trigger for the design of the building.
• This concept also includes the fact that housing is
designed as an object that allegedly landed on the
landscape, is totally autonomous and it can be placed
anywhere in the world.
• Architecture followed the style of airplanes, cars and
ships, with the declared aim of achieving mass
production of housing.
• Pillars supporting the ground floor also advanced this
idea, and the independence of theVilla from its garden,
and was recognized as one of the key points of the first
generation of International Architecture.

10. SPACES
• The ground floor has a curved form that is influenced
by and emphasizes the movement of the cars in it.
• In the front of the house near the garage entrance is
the front door, in front of which there is a hall that has
two main elements:
1. a ramp that runs from the bottom up the entire
building that constitutes its backbone, prolonging this
movement from outside inward
2. and a spiral staircase
10

11. • Everything inside the hall is painted white,
representing the interests of Le Corbusier in
architecture, health and hygiene in an era in which the
city suffered the consequences of overcrowding in the
form of epidemics, and reflects the important
discovery of microbial life everywhere, including inside
homes.
• This point is also reflected in the profusion of toilets
and sinks inside theVilla, apparently well above the
needs and taking advantage of the running water on
which they counted.
• Further away from the entrance are three guest rooms
and service areas.
11

12. MATERIAL
12
• The materials used in theVilla Savoye is prosaic
materials; such materials were used during this time in
building houses for lower-class Parisians.
• Although the house is designed for the affluent,
plaster walls and iron handrails are used.

13. 13
VIEWS

14. DRAWINGS
14

15. CONCLUSION
15
• In Conclusion,Villa Savoye was Le Corbusier’s
interpretation of modern architecture, a modernism
formula and pragmatic solution that could be applied
to every building design.
• The five points of architecture (comprising of the
pilots, the roof garden, free plan, the free façade, and
the horizontal window), the architectural promenade
and automobile comparison all come together in one
design to make theVilla Savoye a highly influential
building that further distinguished Le Corbusier as an
architect and influenced decades of both French and
international urban and architectural designs alike.

16. ThankYou
GORESH SAINI 1999005

17. AlvarAalto
The House Of Culture
THEORY OF DESIGN-2

18. INTRODUCTION
“Architecture belongs to culture,
not to civilization.”
- ALVAR AALTO
18

19. • Alvar Aalto was born in Alajärvi in central Finland and
raised in Jyväskylä.
• Following the completion of his architectural studies at
the Helsinki University ofTechnology he founded his
own practice in 1923, based in Jyväskylä, and naming it
Alvar Aalto, Architect and Monumental Artist.
• Although many of his early projects are characteristic
examples of 'Nordic Classicism' the output of his
practice would, following his marriage to fellow
ArchitectAino Marsio-Aalto (née Marsio), take on a
Modernist aesthetic.
• From civil buildings to culture houses, university
centers to churches, and one-off villas to student
dormitories, the ten projects compiled here—spanning
1935 to 1978—celebrate the breadth of Aalto's œuvre.
19

20. THEHOUSEOF
CULTURE
HELSINKI, FINLAND
20

21. Sturenkatu 4, Helsinki 00510 Helsinki,
Finland.
It was declared a monument of
national history in 1989, and was
meticulously restored between 1990
and 1991.
21
LOCATION

22. CONCEPT
22
• Aalto considered various factors in his planning of the
house, which would encompass political, cultural,
social and administrative activities.
• The building was split into three parts: the auditorium
for concerts; the conference suite with the main hall
and rooms; and the office building.
• These three parts make up a U-shaped layout. In front
of them, a copper walkway provides access for the
visitors.
• The architect developed the project by lining up the
opposing buildings and manipulating distinctive
materials.
• The asymmetrical auditorium would be built from a
type of brick which would satisfy the acoustic function,
along with a copper roof.

23. 23
• Both the form and its materials are dictated by the
functional needs as a concert hall.
• On the other hand, the office building and the smaller
wing housing the conference room would be designed
in reinforced concrete, clad in copper and wood.
• The great challenge in respect of this building would be
the reconciliation of modern architecture and its
technologies, with the traditions of Finnish
architecture.
• For example, Aalto made reference to the brick as an
organic material, considering a brick wall a primitive
object and defining it as a material which preserved the
local personality.

24. SPACES
24
The U-shape of the building is generated by two buildings:
the auditorium and the offices.The two are held together
by a large, green copper roof, and also by a walkway
which houses the other rooms.They are further described
below:
• Auditorium / Concert Hall-The main wing is formed by
the asymmetric auditorium and the concert hall, with
capacity for 1500 people, a restaurant and a small
basement cinema (now used as a meeting room).
• Office building-The office building has five floors and
includes: a conference room, offices and entertainment
suites.
• Main hall/ Conference Hall-The connecting wing has
an entrance hall and cloakroom, an auditorium for
conferences, three halls, five meeting rooms, a library
and a large gymnasium in the basement.

25. 25
MATERIAL AND STRUCTURE
• The design challenge of the House of Culture was
presented during the modern period and in Finland
where the local architecture was customarily built with
local materials.
• Alvar Aalto decided to design the building in three
parts.
• He made the structure of the auditorium with annealed
red brick and reinforced concrete, while the offices and
the small wing were made of reinforced concrete, clad
in copper.
• The roof of the building is green copper, as is the
walkway which sits in front of the main entranceway or
courtyard.
• Aalto used a trapezoidal piece made of hollow red
brick, which has the required acoustic and moldable
properties to make the curved walls of the exterior, as
well as providing the necessary means to shape it.

26. 26
• The interior walls are made of wood, allowing for
sound expansion, as well as absorption.
• In contrast, satisfying the needs of the Communist
party who commissioned the work, the office building
was made of copper-clad reinforced concrete, sober
and free of excess, the carpentry was designed in wood
for a warmer touch.

27. DRAWINGS

28. CONCLUSION
28
• Alvar Aalto was a part of the Modern Movement of
Architecture, but he created his own style from an
interpretation of modernism, focused on local
materials and functionality.
• He emphasized the use of wood for providing warmth
to his projects and a stronger connection with local
culture.
• He became famous for both his modernist buildings
and his furniture designs of bent plywood. His influence
on American furniture-making continues to be seen in
public buildings.

29. ThankYou
ANUDESH SAINI 1999001
GORESH SAINI 1999005