savoye space萨伏伊别墅空间&案例分析

• 拉绍德方斯住宅， 1907 • La Chaux-deFonds houses,1907
• 救赎军大楼（1931-3） • Salvation Army building(1931-3)
• 马赛公寓（1952） • Unité d'Habitation de Marseille(1952)
• To transform space . . . it is first necessary to eliminate rigid objects, conventional receptacles:one must throw into question the view itself. —Carl Einstein(1885-1940 )
• 物体是死的，最重要的是对它 的感知。——保罗· 克莱 （1879-1940）
• The object is surely dead. The sensation of the object is of first importance. —Paul Klee(1879-1940)
• 要实现空间的转化……必须首 先摒除和消减有形的物体和固 有的框架——一定要把问题指 向视觉感受本身。——卡尔· 爱 因斯坦（1885-1940）
现代建筑学的五点原则
• 到了19世纪20年代，艺术和工业的联盟已经形成了，由此看来，整合 仓库和筒仓的形式进而实现的现代建筑学五点原则，是既符合逻辑又 先进的。
• By the 1920s, art and industry had allied, and to meld silo and warehouse forms to arrive at a five-point formula for modern architecture must have seemed both logical and progressive.
像点什么
• 柯布的作品，总是会像点什么。 • For Le Corbusier, a building was always like something else.
艺术和工业的联盟
• 柯布确信，艺术和工业应当像此前的艺术 和手工艺一样结成联盟。 • Corbusier was convinced that art and industry, like art and craft in former times, ought naturally to ally.
难以描述
• As he described it, this space was a peculiar, decidedly “ineffable” space; it was not a static, absolute, and objective entity, but rather a relative sensation, a “vibration” between the “action of the work (architecture, statue, or painting)” and the “reaction of the setting: the walls of the room, the public squares . . . the landscape.”
含混 错读
• Space in Purist painting was made manifest through carefully configured ambiguity.
传统透视
• Conventional perspective was employed— in prevalent diagonals, for instance, that seem to recede into space even as they relate directly to the two-dimensional plane of the canvas.
仓库和筒仓
• 仓库是极少装饰的“棚子”，而筒仓就像房子般 大小的机器，它们都是经过精确的计算、在严格 的控制线由机器施工建造出来的大尺度的容器。 • The warehouse —a “shed” decorated by its extreme lack of decoration —and the silo —a building-sized machine of intriguing volumes and shapes—were creations of calculations, largescale containers built by engineers along strictly utilitarian lines.
• 这两种类型看起来都是被放置 到场地上而不是从场地里生成 出来。
• Both types seemed to be delivered to rather than derived from their sites.
和“先锋派”看齐
• 这种工业化的表现或许是和此前 先锋派艺术的努力看起的。这种 努力表现于10几年来由像费尔 南· 莱热和马赛尔· 杜尚这些艺术家 创作的各种立体派、未来派的作 品中。
表现空间
• 我的全部精力已经投入给了对空间的表现。我成了一个空间的人，不 仅是精神上的而且是身体上的……——勒· 柯布西耶（1955）
• that my entire intellectual activity has been directed towards the manifestation of space. I am a man of space, not only mentally but physically. . .——Le Corbusier（1955）
愉悦—空间
• 柯布在此前9年的一篇文章中宣 布了一种新的建筑学理论，一种 把空间视为独一无二的20世纪的 愉悦的理论，维特鲁维的这一标 准在较早的现代运动理论中缺失 了。
• Nine years earlier, in the short treatise “L‟espace indicible,” Le Corbusier had proclaimed a new theory of architecture, one that held space to be a uniquely 20th-century venustas, the Vitruvian “delight” that had been absent from earlier modern movement theories.
五点
• 自由立面 • •
•
•
Free faç ade 自由平面 Free plan 底层架空柱 Pilotis 带状窗 Ribbon windows 屋顶花园 Roof garden
• 这五点或许均来自这种房子般大小的工业容器
• all might be derived from a melange of building-sized industrial containers of this kind.
知觉 感受
• The object is surely dead. The sensation of the object is of first importance. —Paul Klee(1879-1940)
形象 画面
• To transform space . . . it is first necessary to eliminate rigid objects, conventional receptacles:one must throw into question the view itself. —Carl Einstein(1885-1940 )
宣言
• The essential thing that will be said here is that the release of aesthetic emotion is a special function of space. ——Le Corbusier（1955）
问题
• if space was to be the venustus of modern movement architecture, how to know and to qualify the presence of space? How to evoke the presence of absence; how to make space felt—and why, in the 1920s, would anyone want to conjure up such a situation anyway?
工厂美学
• 如同柯布在他纯粹派画作中描绘的“物体状”对象一样，仓库和筒仓 是真实可靠的，是时代精神的具体体现。因此，来自相似创作方式的 “居住的机器”就像激发出创作它们的灵感来源一样的客观、一样的 真实可信。
• Like the objets-types pictured in Le Corbusier‟s Purist paintings, silos and warehouses were authentic and presumably embodied the spirit of the age. It was therefore not unreasonable to expect similarly composed machines à habiter to be almost as objective and almost as authentic as that which inspired them.
图片出处
• /.../ARC6 03/ 603.Fa2001.projects. html
• 这栋住宅坐落在草地的中央， 就像一个物体，什么都不会影 响。——勒· 柯布西耶（18871965）
• The house will sit in the middle of the meadow, like an object, without spoiling anything. —Le Corbusier(1887-1965)
• He insisted on avantgarde painting as precedent for this phenomenon
• •
/.../ salas/fernand_leger.html FERNAND LÉGER Los clavadistas circulares, 1942 Oleo s/tela, 147,4 x 126,5 cm. Col. Museo Tamayo Arte Contemporáneo
萨伏伊空间
Savoy Space
Байду номын сангаас考书目
• Daniel Naegele, Savoye Space :The Sensation of the Object. Harvard Design Magazine, Fall 2001, Number 15.
参考书目
• Le Corbusier and Pierre Jeanneret, Oeuvre complète, volume 1, Willy Boesiger, ed. (volume 2, Max Bill, ed.), 8 volumes, fourteenth edition (Zürich: Les éditions d‟Architecture Artemis,1995).
• That industrial manifestations of this sort might align with the efforts of avant-garde art had been established a decade earlier in various Cubist and Futurist works, and by artists like Fernand Léger and Marcel Duchamp