Corbusier Presentation: A Living Space

A LIVING SPACE
A Le Corbusier Exhibition
Hello/Introduction Screen
Tuesday, May 1, 2012
Hello! Im Ian and Im Brandon, and this is our presentation for A living space exhibition for the H&R block space building.
When viewing images of Corbusiers structures, such as this shot of the Villa Sevoye, his interiors are left open to many possibilities, and seem anxious for large groups and social events. These open interior spaces dont obstruct movement in the least, and the windows make the room appear nothing like a room at all. Things have such an open experience to the outside world via his ribbon windows and full wall sliding doors.
1st Floor
So A Living Space encorporates Le Corbusiers work and methodologies in a subtle ipad and screen viewing experience while seemingly relaxing and living in a space that reects the interior spaces of his structures.
2nd Floor
These spaces are open and use diffused light to provide a calm and relaxing atmosphere. The screens shown later play a big part in forming this atmosphere as well.
Futura Std Bold

1 2 3 4 5
Garamond Premier Pro Bold Italic
e structure is made mostly of concrete and is comparatively small, enclosed by thick walls, with the upturned roof supported on columns embedded within the walls, like a sail billowing in the windy currents on the hill top. e Christian Church sees itself as the ship of God, bringing safety and salvation to followers. In the interior, the spaces le between the walls and roof and lled with clerestory windows, as well as the asymmetric light from the wall openings, serve to further reinforce the sacred nature of the space and reinforce the relationship of the building with its surroundings. e lighting in the interior is so and indirect, from the clerestory windows and re ecting o the whitewashed walls of the chapels with projecting towers.
e structure is built mostly of concrete and stone, which was a remnant of the original chapel built on the hilltop site destroyed during World War II. Some Tuesday, May 1, 2012 have described Ronchamp as the rst Futura and Garamond as our primary typefaces, as well as colors and a few design elements. This is our style guide, showcasingPost-Modern building. both in full in the states, Imagery is used It was constructedcolorearly 1950s. and black and white to reect Corbusiers use of vibrant color in his structures.
Rectangles also frequent the exhibition design, much like those he used on the facades of his buildings.
A LIVING SPACE
Entrance shot (Outside) Exhibition signage?
So when rst arriving at the H&R block space, their exterior billboard will contain the advertisement imagery for the exhibition.
A smaller banner would reside at the front entrance to the space to greet foot traffic in and out of the exhibition.
Interior entrance. (Ipad)
As they enter the space, an attendant will offer them their one and only tool to experience the space. An ipad.
Much like reading the paper in ones own home, we wanted this experience to move forward into the media rich world of the ipad. Reading seems to encompass a desire to sit back, relax, and take some time to slow down and have a moment to ourselves.
The ipad will remain locked to the application, and act much like a magazine would, containing articles on Corbusiers architectural theory, the other people he has inspired, and assists the visitor to immerse themselves in a corbusier-like structure.
THE SUPPORTS
THE FREE DESIGNING OF THE GROUNDPLAN
THE FREE DESIGN OF THE FACADE
A LIVING SPACE
A Le Corbusier Exhibition THE ROOF GARDENS THE HORIZONTAL WINDOW
EXHIBITS
(Ian)
THE SUPPORTS
A LIVING SPACE
EXHIBITS
(Ian)
THE SUPPORTS
A LIVING SPACE
EXHIBITS
(Ian)
THE SUPPORTS
A LIVING SPACE
EXHIBITS
(Ian)
THE ROOF GARDENS
e at roof demands in the rst place systematic utilization for domestic purposes: roof terrace, roof garden. On the other hand, the reinforced concrete demands protection against changing temperatures. Over activity on the part of the reinforced concrete is prevented by the maintenance of a constant humidity on the roof concrete. e roof terrace satis es both demands (a rain dampened layer of sand covered with concrete slabs with lawns in the interstices; the earth of the ower beds in direct contact with the layer of sand). In this way the rain water will ow o extremely slowly. Waste pipes in the interior of the building. us a latent humidity will remain continually on the roof skin. e roof gardens will display highly luxuriant vegetation. Shrubs and even small trees up to 3 or 4 metres tall can be planted. In this way the roof garden will become the most favoured place in the building. In general, roof gardens mean to a city the recovery of all the built-up area.
T S
T D O G P
T H W
THE ROOF GARDENS
MAIN MAIN
THE THE SUPPORTS SUPPORTS
THE FREE THE FREE DESIGNING DESIGNING OF THE OF THE GROUNDGROUNDPLAN PLAN
THE HORIZONTAL WINDOW
DESIGNING OF THE GROUNDPLAN
THE ROOF GARDENS
MAIN
THE FREE DESIGN OF THE FACADE THE SUPPORTS
THE FREE DESIGNING EXHIBITS OF THE GROUNDPLAN
THE ROOF GARDENS
MAIN MAIN
THE ROOF GARDENS
MAIN MAIN
THE SUPPORTS
To solve a problem scienti cally means in the rst place to distinguish between its elements. Hence in the case of a building a distinction can immediately be made between the supporting and the non-supporting elements. e earlier foundations, on which the building rested without a mathematical check, are replaced by individual foundations and the walls by individual supports. Both supports and support foundations are precisely calculated according to the burdens they are called upon to carry. ese supports are spaced out at speci c, equal intervals, with no thought for the interior arrangement of the building. ey rise directly from the oor to 3, 4, 6, etc. metres and elevate the ground oor. e rooms are thereby removed from the dampness of the soil; they have light and air; the building plot is le to the garden, which consequently passes under the house. e same area is also gained on the at roof.
e supports, or pilotis, are used to raise the buildings o of the ground. ey allow for the ground to thrive underneath it and keep moisture away.
THE SUPPORTS
To solve a problem scienti cally means in the rst place to distinguish between its elements. Hence in the case of a building a distinction can immediately be made between the supporting and the non-supporting elements. e earlier foundations, on which the building rested without a mathematical check, are replaced by individual foundations and the walls by individual supports. Both supports and support foundations are precisely calculated according to the burdens they are called upon to carry. ese supports are spaced out at speci c, equal intervals, with no thought for the interior arrangement of the building. ey rise directly from the oor to 3, 4, 6, etc. metres and elevate the ground oor. e rooms are thereby removed from the dampness of the soil; they have light and air; the building plot is le to the garden, which consequently passes under the house. e same area is also gained on the at roof.
So here are a few photos of the rst oor model.
1st Floor
After receiving their ipad, the visitor is set free to explore the space as they wish. They can either continue into the larger space of the rst oor, or up to the more intimate space of the second. However, as the bottom oor will have more people, most visitors might be persuaded to head there rst. The rst oor is a socially active space, utilizing large seating arrangements to accommodate larger groups. Tables and inward facing Corbusier furniture inspire communication as they experience the ipad application together. Any dark gray areas would still remain accessible, but closed off to the general public with the exceptions of the bathrooms on the second oor.
1st Floor
1st Floor
Ideally, the exhibition space would even contain authentic or high quality replicas of Corbusiers own designed furniture pieces.
Ideally, the exhibition space would even contain authentic or high quality replicas of Corbusiers own designed furniture pieces.
1st Floor
1st Floor
And heres a few images of the second oor of the model.
When entering the space, the other visitors engaging with each other around the furnished living space will catch their attention rst. But once they explore the space, theyll notice large screens simulating windows. These are located throughout the exhibition space on both oors, and rotate through the environments around other Corbusier structures.
2nd Floor
2nd Floor
2nd Floor
2nd Floor
2nd Floor
1st Floor
The rst and largest screen is located on the bottom oor. (Click) This screen mimics one of Corbusiers ribbon windows, and spans across the corner shown here. It really opens up the space, and re-situates the location of the H and R block space. It also provides various moods for the visitors to experience, and keeps the space from becoming stagnant. The second window screen (Click) on the rst oor is located behind a 6 person bar area. A replace separates the 6 seats into 2 groups of 3.
1st Floor
1st Floor
2nd Floor
Once the visitors get comfortable or wish to explore the space further, they might consider heading up to the second oor. Here they can look out over the main atrium from the extended balcony, or continue into the more private of the 2 social spaces. Another ribbon window can be seen behind the replace (Click) ue that continues upward from the rst oor. And on the opposite wall, a full oor-to-ceiling window screen appears (click) to open up and out onto a rooftop garden area. This really opens up the space and combines the interior space to outdoor space.
2nd Floor
2nd Floor
So rather than viewing Natures best and the liquor store across the street....Visitors can see the view from many Corbusier structures, streamed in live feeds from cameras mounted at those locations. (Click)
So rather than viewing Natures best and the liquor store across the street....Visitors can see the view from many Corbusier structures, streamed in live feeds from cameras mounted at those locations. (Click)
Photos of Block Space
So when in the space, a visitor can sit down, relax, and really take their time to take in Corbusiers 5 points and architectural inuence at their own pace. No rush.
Villa Sevoye
Ipad User #5s View
(Brandon)
Villa Sevoye
Ipad User #5s View
(Brandon)
House at Weissenhof
House at Weissenhof
House at Weissenhof
Ipad User #5 Ipad User #9 Ipad User #16 5 min.
ADD VIEW TO QUEUE
House at Weissenhof
ADD VIEW TO QUEUE
House at Weissenhof
ADD VIEW TO QUEUE
House at Weissenhof
ADD VIEW TO QUEUE
House at Weissenhof
You have been added to the queue for window 2, the closest window to you. Ipad User #5 Ipad User #9 Ipad User #16 Ipad User #13 - You 5 min.
ADD VIEW TO QUEUE
The inside of the exhibition is reectant of many Corbusier designed interiors. So both the inside and outside of the block space immerses the visitor in his architecture.
1 2 3 4 5
The 5 points activity
(Ian)
1 2 3 4 5
(Ian)
Free Design of the Facade
By projecting the oor beyond the supporting pillars, like a balcony all round the building, the whole facade is extended beyond the supporting construction. It thereby loses its supportive quality and the windows may be extended to any length at will, without any direct relationship to the interior division. A window may just as well be 10 metres long for a dwelling house as 200 metres for a palatial building (our design for the League of Nations building in Geneva). e facade may thus be designed freely. e ve essential points set out above represent a fundamentally new aesthetic. Nothing is le to us of the architecture of past
epochs, just as we can no longer derive any bene t from the literary and historical teaching given in schools. Building construction is the purposeful and consistent combination of building elements. Industries and technological undertakings are being established to deal with the produc- tion of these elements. Serial manufacture enables these elements to be made precise, cheap and good. ey can be produced in advance in any number required. Industries will see to the completion and uninterrupted perfecting of the elements. us the architect has at his disposal a box of building units. His architectural talent can operate freely. It alone,
Free Design of the Facade
By projecting the oor beyond the supporting pillars, like a balcony all round the building, the whole facade is extended beyond the supporting construction. It thereby loses its supportive quality and the windows may be extended to any length at will, without any direct relationship to the interior division. A window may just as well be 10 metres long for a dwelling house as 200 metres for a palatial building (our design for the League of Nations building in Geneva). e facade may thus be designed freely. e ve essential points set out above represent a fundamentally new aesthetic. Nothing is le to us of the architecture of past
epochs, just as we can no longer derive any bene t from the literary and historical teaching given in schools. Building construction is the purposeful and consistent combination of building elements. Industries and technological undertakings are being established to deal with the produc- tion of these elements. Serial manufacture enables these elements to be made precise, cheap and good. ey can be produced in advance in any number required. Industries will see to the completion and uninterrupted perfecting of the elements. us the architect has at his disposal a box of building units. His architectural talent can operate freely. It alone,
1 2 3 4 5
1 2 3 4 5
Rooftop Gardens
e at roof demands in the rst place systematic utilization for domestic purposes: roof terrace, roof garden. On the other hand, the reinforced concrete demands protection against changing temperatures. Over activity on the part of the reinforced concrete is prevented by the maintenance of a constant humidity on the roof concrete. e roof terrace satis es both demands (a rain dampened layer of sand covered with concrete slabs with lawns in the interstices; the earth of the ower beds in direct contact with the layer of sand). In this way the rain water will ow o extremely slowly. Waste pipes in the interior of the building. us a latent
humidity will remain continually on the roofskin. e roof gardens will display highly luxuriant vegetation. Shrubs and even small trees up to 3 or 4 metres tall can be planted. In this way the roof garden will become the most favoured place in the building. In general, roof gardens mean to a city the recovery of all the built-up area.
Rooftop Gardens
Rooftop Gardens
Touch, Pan, Explore

INTERACTIVE TIMELINE
(Brandon)
(Brandon)
(Brandon)
Notre Dame du Haut

Architect: Le Corbusier Location: Ronchamp, France
e structure is made mostly of concrete and is comparatively small, enclosed by thick walls, with the upturned roof supported on columns embedded within the walls, like a sail billowing in the windy currents on the hill top. e Christian Church sees itself as the ship of God, bringing safety and salvation to followers. In the interior, the spaces le between the walls and roof and lled with clerestory windows, as well as the asymmetric light from the wall openings, serve to further reinforce the sacred nature of the space and reinforce the relationship of the building with its surroundings. e lighting in the interior is so and indirect, from the clerestory windows and re ecting o the whitewashed walls of the chapels with projecting towers. e structure is built mostly of concrete and stone, which was a remnant of the original chapel built on the hilltop site destroyed during World War II. Some have described Ronchamp as the rst Post-Modern building. It was constructed in the early 1950s.
Melbourne Grammer School

Architect: John Wardle Location: Melbourne, Australia
In May 2004, Melbourne Grammar School announced John Wardle Architects as the winner of a design competition for a landmark building on Domain Road, establishing a new front door for the school. e Centre for Learning and Leadership will integrate library and information technology functions, and include a 240 seat lecture theatre and administration centre. e subject of learning becomes the face of the campus through a transparent library envelope. e emphasis is on providing an active space with access to knowledge in a variety of media, electronic as well as traditional forms. e library elevation is an open glass faade that exposes rows of books as well as thriving companion activities, symbolically representing both a repository of knowledge and a shi to a more open and engaging institution. e entry on Domain Road will be expressed as a slice through the new building that reveals the West Quadrangles1858 facade
Rooftop Gardens The Horizontal Window Free Designing of the Ground Plane Free Design of the Facade Supports/ Pilotes
(Ian) Tap to remove and add the sorts. Just once, then again to go to next page.
(Ian) Tap to remove and add the sorts. Just once, then again to go to next page.
The Carpenter Center

Architect: Le Corbusier Location: Boston Masachusettes
A er much debate, a site was chosen between Quincy and Prescott Streets, abiding by the original proposal for the building.[4] e allotted space was quite small, so the completed building presents itself as a compact, roughly cylindrical mass bisected by an S-shaped ramp on the third oor. Le Corbusier's earliest design showed a much more pronounced ramp that further separated the two parts of the central mass. However, the early design created the problem of too much disruption of the central mass. is problem was reconciled by using a pinwheel e ect so that in the nally executed design, the two halves meet at a vertical core that houses an elevator. e concrete ramp is cantilevered from this central spine and stands atop a few pilotis. e landing at the top of the ramp is located in the core of the building and leads to various studios and exhibition spaces seen through glass windows and doors, providing views into the building's instructional and displaying functions without interrupting the activities in progress.[5] e exterior of the Carpenter Center presents itself very di erently from di erent angles. From Prescott Street looking toward the curved studio space, one can see the brise-soleil that are placed perpendicular to the direction of the central
A LIVING SPACE
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Corbusier Presentation: A Living Space

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Tuesday, May 1, 2012

Tuesday, May 1, 2012

Tuesday, May 1, 2012

Tuesday, May 1, 2012

Futura Std Bold

Entrance shot (Outside) Exhibition signage?

Tuesday, May 1, 2012

Tuesday, May 1, 2012

Interior entrance. (Ipad)

Tuesday, May 1, 2012

Tuesday, May 1, 2012

Tuesday, May 1, 2012

THE FREE DESIGNING OF THE GROUNDPLAN

THE FREE DESIGN OF THE FACADE

Tuesday, May 1, 2012

THE FREE DESIGNING OF THE GROUNDPLAN

THE FREE DESIGN OF THE FACADE

Tuesday, May 1, 2012

THE FREE DESIGNING OF THE GROUNDPLAN

THE FREE DESIGN OF THE FACADE

Tuesday, May 1, 2012

THE FREE DESIGNING OF THE GROUNDPLAN

THE FREE DESIGN OF THE FACADE

Tuesday, May 1, 2012

THE ROOF GARDENS

Tuesday, May 1, 2012

THE ROOF GARDENS

THE THE SUPPORTS SUPPORTS

Tuesday, May 1, 2012

THE HORIZONTAL WINDOW

DESIGNING OF THE GROUNDPLAN

THE HORIZONTAL WINDOW

THE ROOF GARDENS

THE FREE DESIGN OF THE FACADE THE SUPPORTS

THE FREE DESIGNING EXHIBITS OF THE GROUNDPLAN

Tuesday, May 1, 2012

THE ROOF GARDENS

THE THE SUPPORTS SUPPORTS

Tuesday, May 1, 2012

THE HORIZONTAL WINDOW

THE ROOF GARDENS

THE THE SUPPORTS SUPPORTS

Tuesday, May 1, 2012

THE HORIZONTAL WINDOW

Tuesday, May 1, 2012

Tuesday, May 1, 2012

Tuesday, May 1, 2012

Tuesday, May 1, 2012

So here are a few photos of the rst oor model.

Tuesday, May 1, 2012

Tuesday, May 1, 2012

Tuesday, May 1, 2012

Tuesday, May 1, 2012

Tuesday, May 1, 2012

Tuesday, May 1, 2012

Tuesday, May 1, 2012

Tuesday, May 1, 2012

Tuesday, May 1, 2012

Tuesday, May 1, 2012

Tuesday, May 1, 2012

Tuesday, May 1, 2012

Tuesday, May 1, 2012