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Raumplan Versus Plan Libre Raumplan versus Plan Libre Bibliotheek TU Delft 1111111111111111111111111111111111 C 3079127 1 Raumplan versus Plan Libre Adolf Loos and Le Corbusier, 1919 -1930 edited by Max Risselada with contributions by Beatriz Colomina Stanislaus von Moos Johan van de Beek Arjan Hebly Delft University Press / 1988 Published and distributed by: Delft University Press Stevinweg 1 2628 CN Delft The Netherlands Telefoon (0)15-783254 CIP-gegevens Koninklijke Bibliotheek, Den Haag Raumplan Raumplan versus Plan Libre / ed .: M. Risselada; [transl. from the Dutch]. - Delft : Delftse Universitaire Pers . - 111. Oorspr. uitg.: Delft: Delftse Universitaire Pers, 1987. Met lit. opg. ISBN 90-6275-481-3 SISO 715.8 UDC 72.01 "19" NUGI 923 Trefw.: bouwkunst; geschiedenis; 20e eeuw / Loos, Adolf / Le Corbusier Copyright© 1988 by the authors Teksten en afbeeldingen Le Corbusier: Copyright © 1988 by Le Corbusier, c/o BEELDRECHT, Amsterdam All rights reserved. Published 1987. Revised edition 1988. No part of the material protected by this copyright notice may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without written permission from Delft University Press. Printed in The Netherlands I I I Contents Introduction 6 Max Risse/ada Chronology 9 Le Corbusier and Adolf Loos 17 Stanis/aus van Maas Adolf Loos - patterns of town houses 27 Johan van de Beek The 5 Points and form 47 Arjan Heb/y Free Plan versus Free Facade 55 Villa Savoye and Villa Baizeau revisited Max Risse/ada On Adolf Loos and Josef Hoffmann: 65 Architecture in the Age of Mechanical Reproduction Beatriz C%mina Documentation of 16 houses 78 Max Risse/ada Adolf Loos: Strasser House - Vienna Villa Stross - Vienna Villa Moissi - Venice Rufer House - Vienna Tzara House - Paris Moller House - Vienna "Dice House" Müller House - Prague Bojko House - Vienna The Last House - Prague Le Corbusier: Maison Domino and Maison Citrohan 98 Villa La Roche-Jeanneret - Paris Villa Meyer - Paris Maison Cook - Paris Villa Stein-de Monzie - Paris Villa Savoye - Poissy Villa Baizeau - Carthage Documentation of the models 119 Two houses: a closer look 125 Villa Stein-de Monzie and the Moller House T exts by Adolf Loos and Le Corbusier 135 Adolf Loos: The principle of cladding Regarding economy Le Corbusier: The decorative art of today Twentieth century building and twentieth century living Introduction "When we find a hili in the woods, six feet long and three A number of factors have contributed to the exhibition feet wide, shovelled up into the form of a pyramid, we Raumplan versus Plan Libre. become serious, and something inside us says: Somebody Firstly, the fact that both the exhibition and the accom- . ls burried here. That is architecture" . panying publication were developed within an educational Adolf Loos, "Architecture", Vienna 1910 institute: the Faculty of Architecture of the Delft University of Technology, Holland. ')Architecture is the masterly, correct and magnificent play The comparison is one of the means through which of masses brought together in light". design can be discussed, of vital importance in a situation Le Corbus'ier, Towards a New Architecture, Paris 1923. in which an educational program can no longer be built up around one, all-encompassing architectural theory. This not only as the result of the size of the institution, but also due to the lack of such a theory within the discipline itself. Consequently, the architectural student finds himself faced with a multitude of views concerning design, and just as many products of those views, both within and without the educational situation. This is neither good nor bad, for it is the result of the increased division of labour and special- ization, within the building process itself. For a long time now, the architect has not been in charge of the entire process; his specific knowledge and skilIs are employed in the preparation of the " project". It is within th is context that the other aspects of the process confront one another: brief, site and budget on the one side; material, construc- tion and production on the other hand. This provides an indication of the poles between which the designing pro- cess takes place. These poles are not linear, but critical. There is continual interaction between them, the designer considers the ways in which they influence one another, takes particular stands, makes choices. The boundaries of design are thus continually redefined consequent on the views which architects develop concerning their role as intermediary; views, that is to say, as to which aspect of the building process they choose to commit themselves. One may consider, for example, the architect who conceives of the project as an autonomous piece of work, as opposed to the architect who deliberately "turns himself over to" the building process. The comparison between Loos and Le Corbusier is fascinating in that, in the work of both archi- tects, there exists a creative tension between these two attitudes. On the one hand the work of both is concerned with the autonomy of architectural means; on the other hand both try, each in his own way, to place his work in a social context, something which each makes particulary clear in his writing. For Loos, the point of departure is the practice of tradi- tional methods, the task being socially determined. The correct formulation for this is geared to a reconsideration of the discipline of craftmanship. 6 ti """'".""'"' In Le Corbusier's case the division between the design Within this framework another study was conducted, in and its actual realization becomes a fact. In the design itself Delft, concerning the designing process of the experimen- the new task and the ways and means of realizing it are tal villas of the twenties, which resulted in the exhibition Le formulated in terms of new technologies. Corbusier - Pierre Jeanneret, Designs for the Dwelling, 1919-1930 (Delft, 1980). The work of Adolf Loos (1870-1933) was retrieved from As with the work of such researchers as Tim Benton and obscurity, at the beginning of the sixties, by Michiel Polak Bruno Reichlin, this study can also be seen as an implicit and Pjotr Gonggrijp, both students at that time. They gave commentary on the ways in which the analysis of Colin to Loos, and his work, a central position in their exhibition Rowe and Robert Slutzki, which was conducted in the fifties Autonomous Architecture (Delft, 1962), beside Boullée, ("Transparency: Liberal and Phenomenal", published in Ledoux, Schinkel and Van Doesburg: all architects who did Perspecta no. 8, 19), was later used at the beginning of the not appear in the canon of the New Architecture, unlike seventies, to legitimize further development of Le Corbu- those who, at that time, had been introduced to Delft by its sier's formal experiments of the twenties. The essays by exponents. Arjan Hebly and Max Risselada here elaborate upon the But it was not only that Loos was rediscovered in Delft themes of th is study. within the framework of a critical revaluation of the avant- Although a confrontation bet ween the work of Loos and garde of the twenties. That same period also saw the Le Corbusier is an obvious one in retrospect, it is remark- appearance of the study of Loos by Münz and Kunstier able how little, until now, has been published on the sub- (Vienna, 1964), and an issue of Casa Bella devoted to Loos ject. Worth mentioning are the observations made by Julius (1959, Vol. 30, no. 233) with an introduction by Aldo Rossi; Posener, in the thirties, and an article by Henry R. Hitchcock some thirty years after the first and only monograph on ("Houses by Two Moderns" in The Arts, Brooklyn, vol. 16, Loos' work by his assistent Heinrich Kulka. (H. Kulka, Adolf no. 1, 1929/30). The relations between Loos and Le Corbu- Loos: Oas Werk des Architekten, Vienna 1931). sier are also discussed in the critical studies by P. Reyner The pioneering work of Gonggrijp and Polak was further Banham (Theory and Design in the First Machine Age, Lon- developed in the following years, when emphasis was laid don, 1960, "Adolf Loos and the Problem of Ornament"), especially on the development of the Raumplan concept and Kenneth Frampton (Modern Architecture: a Critical His- and its tectonic realisation in houses and housing- tory, London 1980, "Adolf Loos and the Crisis of Culture, schemes. The essay by Johan van de Beek, included in this 1896-1931 "). catalogue, was written in the spirit of these studies, which The essay by Stanislaus van Moos is the first study which do not not regard the pronounced difference between the discusses, in detail, the possible influence of Loos' written interior and the exterior of Loos' houses as a split between works upon the young entrepreneur Le Corbusier; this the individual and the social, but rather as two complemen- study was conducted within the framework of research into tary, architectural statements. the significance of the magazine "L'Esprit Nouveau" to Le For many generations already access to the work of Le Corbusier's work. Corbusier (1887-1965) has been furthered by the publica- tion of his projects in the eight volumes of the Collected The subject is not only topical, because of renewed interest Work, published during his lifetime, selected and provided in Vienna circa 1900, and the celebration of Le Corbusier's with commentary by Le Corbusier himself. hundredth birthday in 1987, the point made by Loos in his A new impulse for the study and interpretation of this essay "The Principle of Cladding" (1898) is still with us: work occurred when the archives of the Fondation Le Cor- "There are architects who work in a different way.
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