“The architecture is walked, is traversed and is not in any way, as certain teachings, this illusion totally graphical organized around a central point abstract purporting to be the man, a chimaeric, armed with a fly’s eye and whose vision would circulate simultaneously. This man does not exist, and it is for that confusion that classical period stimulated the shipwreck of architecture ” Le Corbusier.
For Le Corbusier, the movement configures the order of architecture. The eye and the light are generating reference designs, forms an indispensable part of its “promenade architecturale” proposes an attitude contrasts with the static view of the classic perspective.
In the Curutchet House, (La Plata, Argentina), this intentionality dynamics induced by the design generates juxtaposed images, sequentially, with a wide visual richness. The idea of movement trumpeted by top actors of modern architecture, suggested by the fragmented image that produces travel admired mechanical means, here takes on one of his best expressions.
In classical antiquity, the Greeks drew sloping paths, leading to their buildings, breaking them in a zigzag manner to provide different angles to the eye of the beholder. The promenade of Le Corbusier leads the vision to realize these twists, imposes a walk linked to a cinematic vision, and traces a scenic itinerary.
Unlike the stairs, the ramp grants a dynamic variation of the angle of vision, a dynamic that breaks the traditional perspective image and replaces it with a composition of overlapping planes. The route through the ramp produces alterations in the depth the distance and the height steadily.
In the house Curutchet, the ramp is the axis of the composition. Articulates the two main functions, the housing and the office, and is the connector between them and the street. Gives continuity to the sidewalk inside of the lot, generates an atypical urban situation, allows the dynamic experience of the house, its architecture is revealed gradually, provides a vision, where they are perceived variations of light and shadow in all their route.
The access portico to the house is the liminar element of the promenade. Starting from this element the configure tour, the architecture of the home, articulated, in sequence, of plastic elements deployed in transit. As we move forward, vary the intensity of light and with it the perception of vision plans. Pilotis, horizontal planes, vertical planes blind and transparent, are part of images that are superposed and are constantly changing.
Arriving in the middle of the ramp and rotate to the volume of surgeries, a new set design is presented to the viewer. The route of the second section provides an unfamiliar landscape, where walls, edges and pilotis are illuminated with another intensity and viewed from another angle generating a sense of novelty that continues until the end of the stretch.
The tree, which dominates the patio, is another element which gives hierarchy the ride. Its branches sift the sunlight, with varying intensity depending on the time of day, nourishing outer space, of infinite rays of light that filtered through the leaves. This sensation of light rain is modified every season, making yet more variable the perception of space in the passage of time.
The horizontal circulation in clinics, again change the parameters known in the journey through the ramp, a new perspective is now be accompanied by other nuances, where the tonality of light and shadow again vary. Appears a new picture of the architecture of the house.
The ride through the ramp does not cross a vacuum but space. The ramp, walking spaces, generated by the design, the multiplicity of views that provides the “promenade architecturale” is a wealth unattained. The tensions that arise in its route enrich the motivating idea trumpeted by Le Corbusier in his works, a collection of sensory changes, imposed by the architecture.
credit photos: Marcelo Gardinetti
by Marcelo Gardinetti