Le Corbusier's Villa Savoye

Le Corbusier's Villa Savoye is located in Poissy, 30 kilometres from Paris. Commissioned by the Savoye family as a weekend retreat, the villa was built between 1928 and 1931 and was known as "Les Heures Claires". Sometimes described as a box in the air, it was the culmination of Le Corbusier's Five Points of New Architecture, all of which are demonstrated in the villa's design.

The architect set out his manifesto in 1927 as a guide to the architectural principles of the modernist movement. Villa Savoye demonstrates these points in the following ways. The pilotis, or concrete columns support the structure and remove the need for supporting walls as well as enabling internal open planning and a free-floating facade. The horizontal windows create light and airy interiors and the flat roof acts as an accessible terrace and garden.

The Savoyes were a wealthy family who had made their fortune through selling insurance policies to industry but who due to the caution of Monsieur Pierre Savoye, did not own their own home, preferring to rent an apartment in Paris. His wife Eugenie had a desire for a weekend home, a desire to which Pierre eventually capitulated and in 1928 the couple contacted and commissioned Le Corbusier to design a villa for them. Eugenie had specific and detailed requirements including central heating, a wine cellar, space for three cars, rooms for guests and for two maids as well as accommodation for the gardner and other staff. Amongst other things she also specified a large bedroom with bathroom and toilet, a boudoir and a box room for tools!

A price was agreed and work commenced but as is often the case, the actual costs was significantly in excess of the original figure, causing tension between the Savoyes and the architect. This led to Le Corbusier feeling pressured to accept the lowest tenders with a resultant impact on quality. The situation was made worse by the economic crisis of 1929 which also impacted on the business interests of the family. Pierre Savoye engaged in detailed correspondence with Le Corbusier complaining about water ingress as well as problems with the boiler and humidity. To add to his unhappiness the final bill was double that of the original estimate. A common problem even today.

The difficult history of the villa continued throughout the Second World War when it was first requisitioned by the occupying Germans and then by the Allies following liberation. It had suffered extensive damage during the war and in 1958, the Poissy municipality purchased proposing to demolish the villa and establish a high school. Advised of this by the Savoyes, Le Corbusier organised stiff resistance to these proposals and was able to not only recruit leading French architects and personalities to the cause but was also able to provoke protest from overseas.

The protest resulted in the villa being passed to the State in 1962. Extensive and lengthy renovation commenced the following year and continued until as recently as 1997. It now has Historic Monument status and protection for future generations. 

Trees screen the villa from the main road and visitors approach along a narrow path leading to the open space around the structure. Walking around the exterior, it is possible to see the curved wall on the roof, views through the loggia to the upper level and the contrasting green concrete and glazed elements of the ground floor. My favourite internal features include the stunning spiral staircase, fabulous tiled day-bed and adjacent blue tiled bath and the angled glazing along the side of the ramp leading to the roof garden. Visitors are welcome during advertised opening hours and internal photography is permitted. 

You might also like Villa La Roche - Le Corbusier's design for a Swiss art collector or More Paris Modernism - Mallet-Stevens, Le Corbusier and a modernist surprise.

Picture Post 47 - Terraced apartment building in Rue Vavin, Paris

Rue Vavin is a pleasant street of cafes and stylish shops in Paris' 6th arrondissement. It is also home to one of architect Henri Sauvage's most famous works - the white tiled tiered building at number 26. Completed in 1912,  it is one of two tiered buildings he designed and managed to have built - the other being at 13 Rue des Amiraux in the 18th. Number 26 stands out from the rest of the street with its crisp white ceramic tiles and contrasting blue detail - a striking site in the summer sunshine. 

Sauvage was interested in improving the living conditions of ordinary people and wanted to design affordable, well-lit and well ventilated social housing. This is why the building's facade gradually retreats, each level having a terrace, affording outdoor space to the residents and the opportunity to take fresh air without having to go down to the street. It also provides opportunities for tiny gardens and several of the apartments have plants growing on the terraces.  Sauvage's designs were a response to the over-crowded and unhealthy living conditions of the urban poor and in line with his commitments to the Societe des lodgements hygeniques a bon marche - a company established to promote sanitary and affordable housing - something we are still struggling with today. He also worked closely with the City Council's Office of Affordable Housing (HBM) in order to implement his ideas.

He further developed his ideas of healthy living with the building in Rue des Amiraux, a pyramid style building which has a swimming pool in the centre. However, Sauvage cannot take credit for the pool - he originally wanted to place a cinema there but the HBM insisted that the pool, known as the Piscine des Amiraux be provided for residents instead. The building has been renovated and is now listed. It has also been used for filming, in particular for the award winning film Le Fabuleux destine d'Amelie Poulain, better know in the UK as Amelie. The apartments here were completed in 1925 and the piscine in 1930. 26 Rue Vavin also has a film pedigree and was used for the 1972 film - Last Tango In Paris.

Although there were plans and proposals for further terraced buildings, none were realised and in later years, ironically there were issues of poor lighting in some of the apartments. Despite this, Sauvage's ideas have clearly had an impact on social housing architecture and policy in the 20th century whilst his ideas about access to light and air fit well with those of some of the British public health pioneers of the same period, including Dr. Salter and the pioneers of the Peckham Experiment in London. 

Sauvage worked in a number of styles and designed homes for the wealthy as well as social housing. One of the most successful French architects of the first half of the 20th Century, his other works include Villa Majorelle, an art nouveau classic in Nancy, built for the furniture designer Louis Majorelle, a 1933 re-working of the iconic La Samaritaine department store and an hotel in Monterey, Mexico.

You might also like Picture Post 44 - Casa Galimberti - Milan's art nouveau masterpiece.

Villa La Roche - Le Corbusier's design for a Swiss art collector

My recent Paris trip had a bit of a Le Corbusier theme to it. I began by seeing one of his early works, Villa Planeix on Boulevard Massena in the 13th arrondissement which was completed in 1928. I followed this up by  visiting one of his even earlier works - Villa Roche in Square du Docteur Blanche in the glitzy 16th, completed in 1925. The Villa is open to the public six days per week and visitors are free to wander the interior alone and even to take photographs. To complete, I managed to visit the Le Corbusier: Mesures de L'Homme exhibition at the Pompidou Centre

Tucked away behind a gate and along a gravel drive, Villa Roche is not visible from the street and is announced only by a simple plaque on the front gate. However, as one progresses along the gravel path, the Villa gradually reveals itself, first with the stilt-mounted gently curved facade and tiny box balcony and then, as visitors reach the house, the view of the double heighted window above the atrium and of the covered roof terrace. And then you go inside!

The house was built between 1923 and 1925, commissioned by Swiss banker and avant-garde art collector Raoul la Roche with a brief to design a home and a space to display his collection. Le Corbusier and La Roche had much in common. Both were Swiss born but chose to live in France. Both had a love of modern art and both were involved in the production of the artistic journal L'esprit Nouveau. Their friendship lasted into later life and indeed Le Corbusier wrote a dedication in a copy of his book L'Atelier de la Recherche Patiente, saying that Villa Roche had sealed their friendship and proved that their aims were "…clearly identified, innovative and creative…".

Le Corbusier acquired two plots of land on which to build the villa, as well as a second project - a villa for his brother, Albert Jeanneret which now houses the archive of the Le Corbusier Foundation. 

Wandering through the Villa la Roche, the first thing that visitors see is the ground to roof atrium, which has the possibility of views from the ground floor, at mezzanine level and from the upper level too. The space is flooded with natural light from the window that runs the entire height of the upper floor. There is also a small balcony at the mezzanine level which affords views down into the atrium and over to the bridge that crosses this space. The balcony is echoed with a similar protrusion on the exterior of the building and is a feature that can seen in many of the architect's works.

In the rooms accessible to the public, it is possible to see some items of furniture although most of the original furnishings shown in photographs from the 1920's are either not displayed or long gone. The original furnishings included a collaboration between Le Corbusier and designer Charlotte Perriand. This resulted in three chrome plated tubular steel chairs - one for conversation, one for relaxing and a third - a chaise longue recliner - for sleeping. Perriand was inspired by Le Corbusier's approach to architecture and went on to design furniture for some of his other projects including the Swiss Pavilion at the Cite Universitaire and the Paris Salvation Army headquarters.

One of the highlights of a visit is the art gallery, with its long, narrow and curved structure, beautiful black table and elegant glass and wood cupboards. However the star of the show is the steep and narrow ramp that leads to the upper level which originally housed the owner's library. I love its dramatic sweep and the contrasting brown colouring set against the whiteness of most of the house - both interior and exterior. The whiteness is also relieved by splashes of pale blue on some of the walls and the green tint of the glass cupboard doors. 

By 1927, Le Corbusier had firmed up his architectural philosophy - Five Points towards a New Architecture. Although Villa La Roche precedes this, the elements of his philosophy are played out through this building. First the pilots (or stilts) which allow full implementation of the principle of open plan with residents and guests able to roam freely including underneath the house. He extolled the virtues of reinforced concrete and its contribution to his theory of open plan saying "Reinforced concrete has given us pilotis. The house is in the air far above the ground; the garden runs under the house; it is also on the house, on the roof".

His second point relates to the long horizontal window on the facade. Of this point he wrote that "The window is one of the essential elements of the house. Progress brings liberation. Concrete is revolutionising the history of the window". The third point refers to the roof garden and says that it redefines the traditional roof as a suspended garden at the top of the building. His fourth point returns to open plan and maintains that this approach liberates the internal space making each level and its spatial distribution entirely independent. The fifth and final point refers to an open facade which allows the windows to run uninterrupted from one end to the other.

Clearly all of these elements can be seen in Villa La Roche and were then further defined in his later works. Of course, as with any architectural project, the real measure of success is how well the client responds to the finished product. La Roche wrote to Le Corbusier that "By entrusting you with the construction of my house, I knew that you would produce something wonderful; my hopes have been far surpassed. My independent way of life meant that I left you alone to create this project, and given the result I praise myself for having done so". Can't get better than that. 

You might also like More Paris Modernism - Mallet Stevens, Le Corbusier and a Modernist Surprise.

An early Le Corbusier, a former cinema and a chance discovery - More Paris Modernism

Paris surely has one of the largest collections of modernist buildings of any city in Europe if not the world. Each time I am there I discover further examples of this architectural style, many of them in the less central arrondissements. My visit last weekend was no exception. 

216 Boulevard Raspail, 1934, Bruno Elkouken

The apartment building at 216 Boulevard Raspail is a stunner. Built between 1932 and 1934 for Helena Rubinstein to the designs of the Jewish, Polish born architect Bruno Elkouken, it originally included a cinema and artists' studios as well as apartments. Rubinstein retained one of the top floor apartments for herself. The cinema, Studio Raspail, closed in 1982 but the main entrance still retains the name. 

The upper floors have squared off bay windows with the facade showing some cubist features. However, the ground floor is my favourite with its rule of three canopy, glass bricks, integral lighting, and most of all, those beautiful curved rooms to each side of the entrance, one of which may once have been the cinema ticket office. The building's stylishness is further enhanced by the black stripe on the ground floor which contrasts with the cream and white of the rest of the facade.

Elkouken left Poland for Germany in 1929 and also spent time in Italy and before settling in Paris where he designed two other apartment buildings. He left for the United States in 1937, returning in 1940 to volunteer for military service. Remaining in France after the war he eventually gained citizenship and was involved in reconstruction of Dunkirk.

216 Boulevard Raspail, 1934, Bruno Elkouken

216 Boulevard Raspail, 1934, Bruno Elkouken

Elkouken was not the only Jewish architect working in the modernist style in Paris during the 1930's. Germain Debre was the son of Simon Debre, Chief Rabbi of Neuilly-sur-seine. He graduated from the Ecole des Beaux Arts in 1920 having had his studies interrupted by ten years of military service, including serving during the First World War. Amongst other works, he designed the exquisite Villa Glodek in Rue Miguel Hidalgo in the 19th arrondissement. Built between 1930 and 1932, it was constructed around a reinforced concrete frame with plastered bricks and has a distinctly nautical feel with a porthole over the front door and ocean liner balconies at the upper levels.

If your French is good enough (and it will need to be much better than mine), you can read more about Debre's career here where you can see plans and images of some of his other works. Rue Hidalgo is located on the extension to line 7 of the Paris Metro - ligne 7 bis - and is a short walk from the Danube station. It is well worth a visit, not only for Villa Glodek, but also for the several tiny streets running off Hidalgo that make the area resemble a country village. Villa Claude Monet is especially beautiful and the whole area is worth spending an hour or so exploring.

Villa Glodek, 1932, Germain Debre

Boulevard Massena in the 13th arrondissement is home to two outstanding modernist buildings. I went there to see Villa Planeix at number 24-26a. Completed in 1928, it was designed by Le Corbusier and his cousin Pierre Jeanneret for the sculptor Antonin Planeix. The stark facade faces a busy dual carriageway but is protected from the noise of the traffic by a solid almost windowless bay feature and a protective fence that does not appear to be original. The bay is topped by an elegant balcony, partially shielded from the elements by a very neat and very small central canopy. It is difficult to get a clear photograph of the whole Villa without taking the risk of crossing the dual carriageway and standing beside the tram lines that run up the middle of the road. I decided to risk it and came away unscathed!

The Villa has a roof garden, double heighted atelier and external walkways and staircases. It was originally built on stilts in true Le Corbusier style, but Planeix asked the architects to fill up the ground floor void with two studio spaces that he could rent out. This was because the costs of construction were almost double those of the original budget. Its good to note that spiralling costs is not just a problem for those of us commissioning new buildings today. The Villa stayed in the hands of the Planeix family until 2013 when it was offered for sale. You can see some internal views here. One of Le Corbusier's earlier and lesser known works, it is one of a series of villas he designed for artists to live and work in. Better known is the villa he designed for artist Amadeo Ozenfant in Avenue Reille in the 14th arrondissement.

Villa Planeix, 1928, Le Corbusier and Pierre Jeanneret

Villa Planeix, 1928, Le Corbusier and Pierre Jeanneret

Emerging from the Porte D'Ivry metro station on my way to Villa Planeix, I came across a beautiful school built between 1933 and 1937. It appears to have retained many of its original external features including exquisite lettering over the separate entrances for boys and girls, glass bricks in the canopy - some of which are in different colours (and need a good clean!) - and ornate doors. 

The school was part of a programme of building to improve the moral and physical wellbeing of children from poor families and amongst other things emphasised hygiene as a means of improving the lives of the pupils. The architect was Edouard Crevel whilst the external sculptures were the work of Rene Letourner. There is a plaque by the entrance which serves as a heartbreaking testimony to the murder of more than 120 Jewish children deported from the 13th arrondissement between 1942 and 1944, including several pupils of this school. 

Crevel became the chief architect of the city in 1935 and amongst other things was responsible for the development of Parc de Choisy. Earlier, he had worked with Jean-Paul Decaux on producing the winning design for a tuberculosis sanatorium - the Sanatorium d'Aincourt, completed in 1933 - also in the modernist style. During the German occupation of France in the Second World War, the sanatorium was used as a concentration camp. Crevel remained in France during this period and appears to have worked on at least one project for the collaborationist Vichy government.

School at Porte d'Ivry, 1937, Edouard Crevel

School at Porte d'Ivry, 1937, Edouard Crevel

School at Porte d'Ivry, 1937, Edouard Crevel

Villa Schempp is tucked away in Rue Gauguet, a cul-de-sac in the fourteenth arrondissement, just five minutes away from Villa Seurat, a small street full of modernist buildings that were once home to some of the last century's greatest artists such as Dali, Derain, Soutine, Orloff and Henry Miller. Villa Schempp was designed by architect Marcel Zielinski and was built between 1928 and 1931. He designed adjacent properties at numbers 5 and 7, both with large skylit workshops letting in enormous amounts of natural light and windows and balconies designed to emphasise the verticality of the building. Number 5 was built for American art dealer Theodore Schempp whilst the German artist Hans Hartung had a studio there for many years. The Russian born French artist Nicolas de Stael produced a work in response to number 7, entitled Rue Gauguet, which hangs in the Museum of Fine Arts in Boston.

My final modernist experience on this trip was to visit Villa La Roche, another Le Corbusier building now open to the public and part of the Fondation Le Corbusier which I will write about separately. And Paris still has many more art deco and modernist treasures waiting to be discovered on my next visit. 

Villa Schempp, 1931, Marcel Zielinksi.

Villa Schempp, 1931, Marcel Zielinksi.

Villa Schempp, 1931, Marcel Zielinksi.

Rue Cremieux - another Parisian secret

Last year I wrote a short piece about some of Paris' less well known streets and the pleasure of strolling around the city discovering its many secrets.  Last weekend I was back in the city and have a new favourite to add to my list.

Rue Cremieux is a narrow, pedestrianised street, just off Rue de Lyon and a short walk from the mainline railway station, Gare de Lyon. The area surrounding a mainline station can often be a bit seedy, the streets a bit dirty and not particularly welcoming and those around Gare de Lyon are no different which is why Rue Cremieux is so special and such a welcome diversion from the noise and traffic of its neighbours.

This quiet street is a riot of colour with almost every house painted in vibrant green, yellow, purple or pink, whilst the plainer ones have contrasting colours for the doors and shutters set against white or cream backgrounds. Several of the facades feature witty images such as a cat chasing birds or metal signs featuring cats or geese. My favourites are the green painted house at number 21 with the tree painted across the facade and the purple painted house next door at 23 with the tiny birds and faux porthole. Number 21 also has some rather nice low level railings protecting the windows at both levels.

Dating from 1885 and originally called Avenue Millaud after the banker, entrepreneur and media man Moise Polydore Millaud, the street is lined with 35 small houses, each of two storeys and all to a similar design. Flooded in the Paris floods of 1910, there is a plaque at number 8 that shows the height reached by the waters before receding. Monsieur Millaud published Le Petit Journal a Parisian penny newspaper  which ran from 1863 until 1944, featuring news, politics and serialised novels often in the detective fiction genre. The  street's current name dates from 1897 and commemorates the French politician Adolphe Cremieux who amongst other things was responsible for the 1870 decree that granted French citizenship to the Jews of Algeria.  Cremieux also played an important part during the Paris Commune, taking up the cause of the workers. When built, each of the houses had a basement kitchen and two floors of living space with an annual rent of 700 Francs (about 100 Euros or £70 at today's exchange rates), so I am not sure that many workers could have afforded that at the time. 

The street has retained its residential purpose, the only exception being a hostel - L'Hotel Particuler at number 15. Its great that Rue Cremieux has not fallen pray to some of the shady businesses that surround it and has even resisted the temptation of allowing a cafe…although a little place for the locals would, I'm sure, be very nice. Coffee, pastries and all that, but of course, one business leads to another. The street is not just home to humans. I saw two cats during my visit - a small  brown and white one trying to catch flies and "hunting" between the many plants and shrubs that sit outside each of the properties and a very large marmalade cat having a sleep outside a red door. Rue Cremieux is a little piece of peace amongst the bustle of one of the world's greatest cities.

You might also like - Secret Paris

An art deco jewel - Palais de la Porte Doree, Paris

I first visited the Palais de la Porte Doree several years ago to see an architectural exhibition. I did not have much time and I remember it was a very wet day so there was no real opportunity to look at the building itself. I put that right last weekend when I revisited Paris and had a good look at this very beautiful building originally built for the Paris Colonial Exhibition of 1931.

The Exhibition was intended to showcase the resources of the French colonies and the diversity of their people. It lasted six months and is said to have sold 33 million tickets for its programme of activities. The French government brought people from each of the colonies to demonstrate their crafts, culture and architectural styles. This also involved something referred to as a "human zoo" with Senegalese people being brought to Paris to create a "village" which shows how the times have changed. 

The Palais is the only remaining building constructed specifically for the Exhibition. It is an imposing structure overlooking the Bois de Vincennes. Designed by architects Albert Laprade,  Leon Jaussely and Leon Bazin it is now home to the Cite national de l'histoire de l'immigration, a museum that tells the stories of the many migrants that eventually came to live in France from both the former colonies and elsewhere. The front of the building on Avenue Daumesnil features a long colonnade with squared columns backing onto an intricate and visually stunning series of bas-reliefs which were the work of Alfred Auguste Janniot. The stylised images include the peoples, flora and fauna of the former colonies. The workmanship is exquisite with sharp, clear lines, depth and movement. Janniot was also responsible for the freezes on the Maison Francaise in the Rockefeller Centre in New York.

Architect Laprade had direct experience of the French colonies, having worked in Morocco as assistant to Henri Prost. Working in Casablanca's town planning service, Laprade re-designed the city's Great Central Park before going on to design colonial administration buildings, parks and sports grounds in Rabat. He was to incorporate local Moroccan motifs into other projects in future years. Laprade's colleague, Bazin also worked on a number of significant buildings including the famous but sadly demolished  garage on the Rue Marbeuf in Paris and the Echo du Nord building in Lille.

The exterior of the palais is indeed stunning, but for me the visual highlight is the grand salon with its brightly coloured murals painted by French artist Pierre-Henri de la Ducos Haille. The murals continue the colonial theme of the external freezes with representations of justice, commerce, industry and science. Again, it is unlikely that these images would be deemed acceptable in today's world but the colours and the symbolist representations of different themes are striking. The murals continue up into the galleries ranged above the salon and there is a small exhibition of promotional materials from the 1931 exhibition on one of the upper levels. The galleries are accessed by an elegant staircase with a decorative metal rail which follows the attractively curved rise. The steps also have delightful decorative details. Whilst in the grand salon visitors should look up. The riot of colour on the walls commands immediate attention but the ceiling is yet another highlight with its recessed levels and contrasting colours. 

The grand salon is the centre of the building but there are elegant smaller salons at each end of the buildings. It is not possible to enter the smaller salons, but visitors can see inside from the entrances.  The list of interior designers who worked on the salons and other parts of the building reads like a Who's Who of French design and includes Emil-Jacques Ruhlmann , Paul Reynaud, Eugene Printz and Jean Dunand.

The Palais also has a cafe which during the summer months opens up onto the terrace ( a bit cold in January for that), and a book shop which carries at leads a couple of titles on the building, albeit only in French. For many years the building was home to the Musee national des arts d'Afrique et d'Oceanie, the collections of which are now housed at the Musee de quai Branly. The Palais appears to have fund its niche with its current focus on the story of immigration, which together with the wonderful building means there are two good reasons to visit.

You might also like More Paris Modernism - Mallet-Stevens, Le Corbusier and a modernist surprise.