Materiality
Villa Savoye was an extremely modern building during the 1920’s and 30’s, (if you didn’t know the year it was built you would probably guess it to be constructed within the last ten years) and Corbusier’s construction methods matched this.
Corbusier used reinforced concrete and plastered masonry to create villa Savoye. [1] The use of reinforced concrete was a very modern method of construction in the 1920s and 30s. Villa Savoye was the vision of Corbusier’s 5 points to a new architecture, and included his idea and concept of open plan and free space. This meant that Corbusier needed to use materials with the structural integrity to be able to create this, and reinforced concrete allowed him to do so. It can be used to create curves with ease and flexibility in creating complex shapes, allowing to create the solarium and U-shaped ground floor. It also meant that creating the villa was a lot less labour intensive than it would be to use brickwork etc.
A French industrialist, Francois Coignet, was the first to use reinforced concrete in construction. He used iron reinforced concrete to create a 4 story house in Paris. However, his intentions in using concrete wasn’t for adding strength to the building, but to prevent the wide , elongated walls from collapsing and falling over. For Corbusier, this allowed him to create the long, horizontal wall that encases the wide windows, giving great structural support. It also gave enormous strength and stability by using reinforce concrete pilotis.
However, Corbusier's modern methods and detailing weren't quite perfected. There were many leaks throughout the building due to this, because of joints where the walls met and the main issue of the concrete flat roof As a result, the villa was abandoned.
[1] Villa Savoye | Materials for Design. 2014. Villa Savoye | Materials for Design. [ONLINE] Available at: http://www.materialsfordesign.com/villa-savoye/. [Accessed 24 October 2014].
Corbusier used reinforced concrete and plastered masonry to create villa Savoye. [1] The use of reinforced concrete was a very modern method of construction in the 1920s and 30s. Villa Savoye was the vision of Corbusier’s 5 points to a new architecture, and included his idea and concept of open plan and free space. This meant that Corbusier needed to use materials with the structural integrity to be able to create this, and reinforced concrete allowed him to do so. It can be used to create curves with ease and flexibility in creating complex shapes, allowing to create the solarium and U-shaped ground floor. It also meant that creating the villa was a lot less labour intensive than it would be to use brickwork etc.
A French industrialist, Francois Coignet, was the first to use reinforced concrete in construction. He used iron reinforced concrete to create a 4 story house in Paris. However, his intentions in using concrete wasn’t for adding strength to the building, but to prevent the wide , elongated walls from collapsing and falling over. For Corbusier, this allowed him to create the long, horizontal wall that encases the wide windows, giving great structural support. It also gave enormous strength and stability by using reinforce concrete pilotis.
However, Corbusier's modern methods and detailing weren't quite perfected. There were many leaks throughout the building due to this, because of joints where the walls met and the main issue of the concrete flat roof As a result, the villa was abandoned.
[1] Villa Savoye | Materials for Design. 2014. Villa Savoye | Materials for Design. [ONLINE] Available at: http://www.materialsfordesign.com/villa-savoye/. [Accessed 24 October 2014].
The Spaces within the Building
The Villa Savoye was described by Le Corbusier himself as a 'machine for living in', the way in which the spaces within the building are laid out reflect this.
'So far, visitors have looked around the interior again and again, asking what is going on, finding it very hard to understand the reasons for what they see and feel; they cannot find anything of what they would call a "house". They feel as if they are inside something completely new.' [1]
The house confronts convention and demands a 'renewal of the codes for living'. [2]
The break from convention begins with the Vestibule entered immediately from the garage. The relatively new technology of the automobile is utilised by Corbusier to make the entrance into the house as continuous as possible, an almost ritualistic entrance is taken by the car around the outside of the house between the 'pilotis'. The visitor or occupant of the house would therefore enter the house via the garage beginning the flowing journey through the house.
'So far, visitors have looked around the interior again and again, asking what is going on, finding it very hard to understand the reasons for what they see and feel; they cannot find anything of what they would call a "house". They feel as if they are inside something completely new.' [1]
The house confronts convention and demands a 'renewal of the codes for living'. [2]
The break from convention begins with the Vestibule entered immediately from the garage. The relatively new technology of the automobile is utilised by Corbusier to make the entrance into the house as continuous as possible, an almost ritualistic entrance is taken by the car around the outside of the house between the 'pilotis'. The visitor or occupant of the house would therefore enter the house via the garage beginning the flowing journey through the house.
Upon entering the house the view of the vestibule is as above. The visitor is greeted by the 'two elements of vertical communication: the ramp and the staircase.' [2] This immediately invites you upwards on a precession through the house equally as ceremonial as the arrival of the automobile through the pilotis into the building, however before proceeding, you are drawn towards the sink at the centre of the space to take part in again a richly symbolic and ritualistic washing of the face and hands. Cleansing yourself of the day before continuing to the main living space of the house.
Taking the ramp up through the house creates a free flowing experience, a slope slowly rises with imperceptible measure compared to stairs which make the user very aware of the change in height. The walls between the ramp and the rest of the building are cut away to let light penetrate through the building from the windows on the other side of the ramp and open up the space. White walls reflect the light down the ramp. This flow of movement and light continues through the house all the way to the roof terrace. [2]
The Master bedroom itself is a decent size with the ever present backdrop of the surrounding countryside pervade through the long windows running along the South of the building. However the most notable aspect of the space in the bedroom is the combining of the bathroom and the bedroom spaces, which 'are barely separated by a curtain'. [2] The bathroom itself is topped with mosaic tiles which cover it's walls and the chaise long bench which allows the occupier to slip straight into the equally adorned sunken bath, this continues the thematic idea of healthy living and ritualistic washing seen throughout the house in the sink in the hall and the healthy roof terrace gardens. The divide between both the bathroom and bedroom does not reach the ceiling to allow spacial flow between the two rooms, a paragon for open plan living one of Le Corbusier's 5 points of architecture.
'The kitchen is not exactly the sanctuary of the house but it is certainly one of the most important places. Both the kitchen and the living room are spaces for living in.' [3] The kitchen is a compact space designed for functionality with the services and worktops arranged on the horizontal plane amply lit by the continuous windows which wrap the building. |
The living room is the largest space within the house, sparsely furnished affording uninterrupted views of the surrounding location and the tops of the green trees the boundary of the plot from the windows placed continuously along two of it's sides, and the glass wall which provide uninterrupted views to the roof terrace allowing glimpses through the cut away open windows in the terraces wall blurring the lines between inside and out making the already ample living space seem far more vast.
The roof terrace another of Le Corbusier's 5 points of architecture is a large outdoor space utilised as a garden, a clean tiled free of grit and dirt garden. The table outside a symbol of outdoor eating and living promoting the enduring notion of healthy living. The space provides a sanctuary from the noise of the main living space without it feeling secluded from the living room with the glass wall allowing it to feel a free flowing complete space. The terrace also has the outside ramp, a continuing driving force of motion through the house and the horizontal plane of windows is continued along the protective outside wall, which blocks the elements of wind from the terrace, with cut away view finders.
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The Solarium is the final space of note. Accessed by an outdoor ramp, shown in blue on our plan. Having ascended the final ramp through the house you are confronted with the secluded roof spot, sheltered from the wind with curved planes which stand in stark contrast to the horizontal planes of the rest of the house and the square tiles on the floor. A cut away window directly opposite the ramp provides views from the North top of the house towards The Seine.
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References
[1] Corbusier L. 1960, Précisions sur un état présent de l'architecture et de l'urbanisme. Paris: Altamira
[2] Baltanás, J. 2005, Walking through Le Corbusier: a tour of his masterworks. London: Thames & Hudson.
[3] Corbusier L. Jeanneret P. and Boesiger W. 1964, The Complete Architecural works vol. 2 1929- 1934. London: Thames and Hudson
[1] Corbusier L. 1960, Précisions sur un état présent de l'architecture et de l'urbanisme. Paris: Altamira
[2] Baltanás, J. 2005, Walking through Le Corbusier: a tour of his masterworks. London: Thames & Hudson.
[3] Corbusier L. Jeanneret P. and Boesiger W. 1964, The Complete Architecural works vol. 2 1929- 1934. London: Thames and Hudson
THE CONCEPT
The Villa Savoye was one of Le Corbusier’s most vital experimental pieces. It was a part of a variety of minor test pieces that now became one of the great modern buildings in the 20th century. Influenced by many he took on a Mediterranean style to this specific building something very unique compared to other professionals at that time (Frank Lloyd Wright opposed to the fact that the building was hoisted and sat on ‘pilotis’). The design of the ground floor has an almost semi-circle like portion to the building facing north. Illustrating his interest in automobiles, he wanted to have the building revolve around the car. He even placed a sink in the foyer area where the owner would come in from a hard day at work and wash his impurities away and settle into his home. These subtle concepts may seem small to a regular person but it’s astonishing in the eye of a modern day architect.
Corbusier uses French to describe the five points:
· pilotis- Stilt
· faҫade libre- free facade
· fenȇtre en longueur- window length
· plan libre- free plan
· toit-jardin- roof top garden
The Villa Savoye was one of Le Corbusier’s most vital experimental pieces. It was a part of a variety of minor test pieces that now became one of the great modern buildings in the 20th century. Influenced by many he took on a Mediterranean style to this specific building something very unique compared to other professionals at that time (Frank Lloyd Wright opposed to the fact that the building was hoisted and sat on ‘pilotis’). The design of the ground floor has an almost semi-circle like portion to the building facing north. Illustrating his interest in automobiles, he wanted to have the building revolve around the car. He even placed a sink in the foyer area where the owner would come in from a hard day at work and wash his impurities away and settle into his home. These subtle concepts may seem small to a regular person but it’s astonishing in the eye of a modern day architect.
Corbusier uses French to describe the five points:
· pilotis- Stilt
· faҫade libre- free facade
· fenȇtre en longueur- window length
· plan libre- free plan
· toit-jardin- roof top garden
These elements separate the building from the ones that were created at that time of construction.
The structure oozes the words shape, build, edges and geometry. The actual form of the building looks as if it’s floating on the piece of land that it is standing on. The stilts actually become visible as you approach the building from behind the trees. Inside, all the straight sharp edges fade into curve like structures that bend their way towards the roof top garden challenging the normal clean cut methods used on the first floor of the exterior façade. Some may say it is almost an abstract building as the ground floor’s plan differs to the one above it. Again using the auto mobile as the main source of revolving the house around. In my opinion I think that Corbusier intended to have this structure standing out rather than blending it into the landscape, a masterpiece that was meant to object to its surroundings.
A feature that is really talked about is the roof top garden that is open to getting the most of sun’s rays as it travels across the sky revealing the landscape along its journey. It is placed so that is faces away from the sun so that the observer doesn’t get a restricted view of the surrounding area by having the sun in their eyes. To admire the landscape outside the site Corbusier placed viewing spaces to the facade of the building, it has been quoted that the windows ‘appear like naturalistic murals’ to the observer. The patio on the first floor is another feature to allow the resident to get views of the surrounding area. This again relates back to the Mediterranean style of having “patio houses” a term that Italian architect Ernesto Rogers stated of Corbusier’s buildings.The attention towards detail has been a priority for Corbusier whether it is for the physical building or the actual person and how he or she views the architecture within the building. Corbusier stated “the house must be open to all horizons”
Corbusier was so impressed with the outcome of the structure that he intended to go on to make 20 replicas for a small village in Buenos Aries.
Blake, P. 1963, Le Corbusier: architecture and form, Penguin, Harmondsworth.
Jose Baltanas, 2005. Walking Through Le Corbusier: A Tour of His Masterworks. Edition. Thames & Hudson.
The structure oozes the words shape, build, edges and geometry. The actual form of the building looks as if it’s floating on the piece of land that it is standing on. The stilts actually become visible as you approach the building from behind the trees. Inside, all the straight sharp edges fade into curve like structures that bend their way towards the roof top garden challenging the normal clean cut methods used on the first floor of the exterior façade. Some may say it is almost an abstract building as the ground floor’s plan differs to the one above it. Again using the auto mobile as the main source of revolving the house around. In my opinion I think that Corbusier intended to have this structure standing out rather than blending it into the landscape, a masterpiece that was meant to object to its surroundings.
A feature that is really talked about is the roof top garden that is open to getting the most of sun’s rays as it travels across the sky revealing the landscape along its journey. It is placed so that is faces away from the sun so that the observer doesn’t get a restricted view of the surrounding area by having the sun in their eyes. To admire the landscape outside the site Corbusier placed viewing spaces to the facade of the building, it has been quoted that the windows ‘appear like naturalistic murals’ to the observer. The patio on the first floor is another feature to allow the resident to get views of the surrounding area. This again relates back to the Mediterranean style of having “patio houses” a term that Italian architect Ernesto Rogers stated of Corbusier’s buildings.The attention towards detail has been a priority for Corbusier whether it is for the physical building or the actual person and how he or she views the architecture within the building. Corbusier stated “the house must be open to all horizons”
Corbusier was so impressed with the outcome of the structure that he intended to go on to make 20 replicas for a small village in Buenos Aries.
Blake, P. 1963, Le Corbusier: architecture and form, Penguin, Harmondsworth.
Jose Baltanas, 2005. Walking Through Le Corbusier: A Tour of His Masterworks. Edition. Thames & Hudson.
THE PURPOSE
Le Corbusier was commissioned to build the Villa Savoye as a country villa for the middle class couple Pierre and Emilie Savoye. As an architect, Le Corbusier had a strong perception of a house being ‘a machine to live in’[1]. The design of the building, especially in its location meant that it was secluded, yet open to the nature around it. The top floor took advantage of the scenery near it with an open space to look and admire the trees around it. The building is open to transparency and accessibility with the influence of the auto-mobile’s presence impacting the layout of the house. Le Corbusier created the ability to drive into the building with ease and park into it, exit the garage through a door and head up a ramp in an instant which leads to the roof garden. The space in the garage accommodated for three cars as there were three people in the household that would actively use the garage. This intuitive design to incorporate the garage into the house so seamlessly was brave in the early 20th century as it was only a minority that had the opportunity to own a car.
To be continued..
[1] http://www.archdaily.com/84524/ad-classics-villa-savoye-le-corbusier/
To be continued..
[1] http://www.archdaily.com/84524/ad-classics-villa-savoye-le-corbusier/
SPATIAL & LIGHTING QUALITIES
During the late 1920’s, the day to day life of the modern citizen was changing. The need for space was of a greater demand. The car industry was booming and so the desire for buildings, such as offices and homes, which could accommodate cars and other automobiles was now becoming more of a necessity. He believed that the house should be a “machine for living”. This was highly influenced by the advancement in the car industry during this time.
Corbusier’s Villa Savoye to be able to work in this ever growing modern lifestyle, he needed to ensure he took the fact that more people had cars and new means of transportation into consideration. And he did. Corbusier created this iconic structure around the modern car. He designed it in such a way that everyone who entered the site would arrive in a car, creating a sinuous flow around the building.
The flow of the building was an important part of the concept and design of Corbusier’s ideas. In the centre of the villa is a ramp that takes you from the ground floor entrance all the way through to the top of the building. This can be seen to encourage the movement of flow through Villa Savoye.
Corbusier’s design has brought forward the idea of progression into the home. Being designed around the modern car, Corbusier created an ‘imaginary’ progression from entering the site straight into the house. He ensured the pilotis were wide enough for a car to pass through, creating a path around the building and into the garage, which was something of a luxury during the 1920’s and 30’s as only a small percentage of the population owned a car. One of the most distinctive features as you enter the building is the sink in the entrance hallway. This gave the idea of the start of a journey; an architectural course throughout the building. It meant you could wash away the day and begin this progression through the villa when you arrive. As you enter you can follow the progressive path and flow of the ramp to the first floor of the building. The ramp will take you straight to the large living room, kitchen, bedrooms and terrace. He believed that “while a stair separates one level from another, a ramp links them”. [1]
The ramp then took you to the top of the building; the roof garden. The space generated with this generous open plan area allowed you to appreciate the site and its natural surroundings. It gave a 360° view of the villas location and landscaped environment. The open solarium on the top floor extended the living space of the villa. It allowed you to enjoy and appreciate the outdoor and surroundings of the villa, but with shelter and shade from the outdoors.
Le Corbusier designed Villa Savoye with great intellect and an understanding of how the lighting of a particular space affects how it is perceived. Corbusier stated that the wide, horizontal windows wrapped all the way around the property were simply “to provide light and a view”. [1]
In the living room, there is a floor to ceiling glass window/door across the back wall, leading out to the terrace. This allowed natural light to flood its way into the living area. It was important to Corbusier to allow as much natural light into the villa as possible. Le Corbusier knew that having a lot of natural light was important and beneficial to our health. He therefore created this open plan ‘free space’ [2] concept and included these enormous windows on all walls of the house, allowing for an abundance of natural light to enter the villa. Corbusier’s Villa Savoye was “one of the first attempts to take into account the use of natural light and space for healthier living and introducing open plan as a concept". [2]
[1] Villa Savoye, France | A magnificent living machine. 2014. Villa Savoye, France | A magnificent living machine. [ONLINE] Available at: http://www.traveller.com.au/a-magnificent-living-machine-eb9e. [Accessed 17 October 2014].
[2] BBC - Learning Zone Class Clips - The design of the Villa Savoye, France - Construction and The Built Environment Video. 2014. BBC - Learning Zone Class Clips - The design of the Villa Savoye, France - Construction and The Built Environment Video. [ONLINE] Available at: http://www.bbc.co.uk/learningzone/clips/the-design-of-the-villa-savoye-france/6424.html. [Accessed 20 October 2014].
Corbusier’s Villa Savoye to be able to work in this ever growing modern lifestyle, he needed to ensure he took the fact that more people had cars and new means of transportation into consideration. And he did. Corbusier created this iconic structure around the modern car. He designed it in such a way that everyone who entered the site would arrive in a car, creating a sinuous flow around the building.
The flow of the building was an important part of the concept and design of Corbusier’s ideas. In the centre of the villa is a ramp that takes you from the ground floor entrance all the way through to the top of the building. This can be seen to encourage the movement of flow through Villa Savoye.
Corbusier’s design has brought forward the idea of progression into the home. Being designed around the modern car, Corbusier created an ‘imaginary’ progression from entering the site straight into the house. He ensured the pilotis were wide enough for a car to pass through, creating a path around the building and into the garage, which was something of a luxury during the 1920’s and 30’s as only a small percentage of the population owned a car. One of the most distinctive features as you enter the building is the sink in the entrance hallway. This gave the idea of the start of a journey; an architectural course throughout the building. It meant you could wash away the day and begin this progression through the villa when you arrive. As you enter you can follow the progressive path and flow of the ramp to the first floor of the building. The ramp will take you straight to the large living room, kitchen, bedrooms and terrace. He believed that “while a stair separates one level from another, a ramp links them”. [1]
The ramp then took you to the top of the building; the roof garden. The space generated with this generous open plan area allowed you to appreciate the site and its natural surroundings. It gave a 360° view of the villas location and landscaped environment. The open solarium on the top floor extended the living space of the villa. It allowed you to enjoy and appreciate the outdoor and surroundings of the villa, but with shelter and shade from the outdoors.
Le Corbusier designed Villa Savoye with great intellect and an understanding of how the lighting of a particular space affects how it is perceived. Corbusier stated that the wide, horizontal windows wrapped all the way around the property were simply “to provide light and a view”. [1]
In the living room, there is a floor to ceiling glass window/door across the back wall, leading out to the terrace. This allowed natural light to flood its way into the living area. It was important to Corbusier to allow as much natural light into the villa as possible. Le Corbusier knew that having a lot of natural light was important and beneficial to our health. He therefore created this open plan ‘free space’ [2] concept and included these enormous windows on all walls of the house, allowing for an abundance of natural light to enter the villa. Corbusier’s Villa Savoye was “one of the first attempts to take into account the use of natural light and space for healthier living and introducing open plan as a concept". [2]
[1] Villa Savoye, France | A magnificent living machine. 2014. Villa Savoye, France | A magnificent living machine. [ONLINE] Available at: http://www.traveller.com.au/a-magnificent-living-machine-eb9e. [Accessed 17 October 2014].
[2] BBC - Learning Zone Class Clips - The design of the Villa Savoye, France - Construction and The Built Environment Video. 2014. BBC - Learning Zone Class Clips - The design of the Villa Savoye, France - Construction and The Built Environment Video. [ONLINE] Available at: http://www.bbc.co.uk/learningzone/clips/the-design-of-the-villa-savoye-france/6424.html. [Accessed 20 October 2014].
LOCATION
82 Rue de Villiers, 78300 Poissy, France
Image from Googlemaps taken 01/01/2011 edited by Charlotte Arnold 10/10/2014
'The inhabitants, who have come here because of the beauty of this untouched landscape with it’s rural lifestyle, will contemplate it preserved intact from the top of the hanging gardens or from the four sides of the elongated windows. ' Le Corbusier 1964 [1]
Image taken by Flavio Bragaia n.d <http://www.archdaily.com/> [accessed 10/10/2014]
The horizontal plane of windows shown above provide views of the surrounding landscape made accessible by the location of the building.
The house is placed on the centre of the plot positioned at the top of the hills, a high observatory [2] overlooking Poissy and the Valley of the Seine.
This location defines the house as a vantage point [2], it's orientation and position of authority over the landscape informs many of the architectural decisions made by Corbusier.
The house is placed on the centre of the plot positioned at the top of the hills, a high observatory [2] overlooking Poissy and the Valley of the Seine.
This location defines the house as a vantage point [2], it's orientation and position of authority over the landscape informs many of the architectural decisions made by Corbusier.
Image from Googlemaps taken 01/01/2011 edited by Charlotte Arnold 10/10/2014
Above is a wider view of the location of the Villa Savoye. The location is secluded by the trees that surround it affording privacy for the house and shielding it from the road, this will envelope the visitor in the green of nature which is consistent with Le Corbusiers ideas of health benefits brought by the house. The house itself sits on a bed of grass unspoilt by garden planting, this is found on the roof terrace.
The Villa is a white box set in an oasis of green with expanses of windows stretching across each wall and more glass used to access terraces from which to admire the surrounding area, and this is the logic behind the location of the building.
The Villa is a white box set in an oasis of green with expanses of windows stretching across each wall and more glass used to access terraces from which to admire the surrounding area, and this is the logic behind the location of the building.
References
[1] Corbusier L. , Jeanneret P. and Boesiger W. 1964, The Complete Architecural works vol. 2 1929- 1934. London: Thames and Hudson
[2] Baltanás, J. 2005, Walking through Le Corbusier: a tour of his masterworks. London: Thames & Hudson.
[1] Corbusier L. , Jeanneret P. and Boesiger W. 1964, The Complete Architecural works vol. 2 1929- 1934. London: Thames and Hudson
[2] Baltanás, J. 2005, Walking through Le Corbusier: a tour of his masterworks. London: Thames & Hudson.
History
“after innumerable demands you have finally accepted that this house which you built in 1929 in uninhabitable…Please render it inhabitable immediately.”
- Mme. Savoye
Considered uninhabitable less than a decade after the villa was built, the Savoye family had moved out and Mme Savoye had a bitter relationship with Le Corbusier. She had complaints that there was “substantial heat loss due to large glazing”, there were complaints that the building was “cold and damp”, she had said “It’s still raining in my bathroom which floods in bad weather” and there were also complaints that “It is raining in the hall, it’s raining on the ramp and the wall of the garage is absolutely soaked”.[2] The building was occupied by both the Germans and the Americans in WW2 and was treated as a derelict building, and at one point was even used as a barn as it was used for storing hay. At this point, Mme. Savoye refused to sell her house as she had hoped her grandson would inherit the house and restore it to its original state.
The building was later considered for demolition so the land could be part of a school. Only then were there petitions to restore the damage done to the house, where there was a recommendation to hold the Villa Savoye as a museum for Le Corbusier’s work. The school is now overlooked from the solarium, which was originally intended to be a view of pure nature. [1] After Le Corbusier had died, ‘the Villa Savoye was considered a monument historique. It continued to deteriorate’.[2] There had reached a point where the ‘windows were gone the metal frames were rusted’. [1] Restoration work started in 1985 and was completed in 1997.
[1] https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/3715/releases/MOMA_1966_July-December_0021.pdf?2010 [16/10/12014]
[2] http://misfitsarchitecture.com/2011/09/03/the-darker-side-of-villa-savoye/ [16/10/12014]
- Mme. Savoye
Considered uninhabitable less than a decade after the villa was built, the Savoye family had moved out and Mme Savoye had a bitter relationship with Le Corbusier. She had complaints that there was “substantial heat loss due to large glazing”, there were complaints that the building was “cold and damp”, she had said “It’s still raining in my bathroom which floods in bad weather” and there were also complaints that “It is raining in the hall, it’s raining on the ramp and the wall of the garage is absolutely soaked”.[2] The building was occupied by both the Germans and the Americans in WW2 and was treated as a derelict building, and at one point was even used as a barn as it was used for storing hay. At this point, Mme. Savoye refused to sell her house as she had hoped her grandson would inherit the house and restore it to its original state.
The building was later considered for demolition so the land could be part of a school. Only then were there petitions to restore the damage done to the house, where there was a recommendation to hold the Villa Savoye as a museum for Le Corbusier’s work. The school is now overlooked from the solarium, which was originally intended to be a view of pure nature. [1] After Le Corbusier had died, ‘the Villa Savoye was considered a monument historique. It continued to deteriorate’.[2] There had reached a point where the ‘windows were gone the metal frames were rusted’. [1] Restoration work started in 1985 and was completed in 1997.
[1] https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/3715/releases/MOMA_1966_July-December_0021.pdf?2010 [16/10/12014]
[2] http://misfitsarchitecture.com/2011/09/03/the-darker-side-of-villa-savoye/ [16/10/12014]