Plan Libre:

Application of a Historical Architectural Theory

CONNOR ROBSON

STUDENT NUMBER: 16007119

WORD COUNT: 2474

KA5004:

HISTORICAL AND CONTEMPORARY INFLUENCES ON

ARCHITECTURAL DESIGN

ILLUSTRATED ACCOUNT

2017-18

1

CONTENT

Introduction 2

1 Evaluating an Aspect of Theory: 3

Plan Libre

2 Analysis of Two Precedents: 5

Villa Stein-de Monzie & Villa Savoye

3 Application to Design Project: 8

Creative Studio

Conclusion 10

REFERENCES 11

LIST OF ILLUSTRATIONS 12

BIBLIOGRAPHY 13

2

INTRODUCTION

To better design a creative studio, an investigation was required into methods of flexible

spatial arrangement. This lead to me researching and being influenced by the theory behind

Le Corbusier’s plan libre, arguably one of the most important concepts contained within his

“Five Points of a New Architecture.” As a theoretical guideline for the design process, it

aided with balancing ‘division’ and openness, choreographing a journey and manipulating

space to better suit the requirement of the brief. As a result, a more successful proposal has

been generated, given the freedom of design that theory also provides.

To obtain a better understanding of the plan libre, I have elected to investigate two of Le

Corbusier’s own buildings, the Villa Stein-de Monzie (1927) and the Villa Savoye (1931), as

well as also doing wider research into the architect’s five points of a new architecture.

Furthermore, as a means of evaluation, I looked into the comparisons with Austrian

modernist Adolf Loos’ Raum Plan, which took an alternative approach to the design of space.

3

CHAPTER 1

EVALUATING AN ASPECT OF THEORY: PLAN LIBRE

“The Plan is the generator.” (Le Corbusier, 1923, p.2)

As seen in Le Corbusier’s own publication, Towards a New Architecture, the architect

believed that the plan of the building embodied the architecture in its purest form. Through its

various iterations and improvements, mass and surfaces were formed to compose the

building. Succeeding his earlier ‘Dom-ino’ system, plan libre continued to respond to one of

the primary architectural concerns of the time: the limitations of box architecture to achieve

desired functions. The theory sought to reduce the constrictions imposed by interior load-

bearing walls, by replacing them with a structural grid of reinforced concrete pilotis.

Partitions could be placed wherever they were best suited, in a variety of lighter, simpler

forms. This deconstruction of the traditional ‘room’ into a simple event on a journey through

the space reduces the importance of enclosing an area, with emphasis instead on the

arrangement of spaces to create a coherent series of framed views, both of the building and

wider context (Hollis, 2013, quoted in Ring, 2017).

However, the theory did not have the intended revolutionary impact, with the late 1920s and

early 1930s seeing the continued, though waning, influence of Cubism, even in Le

Corbusier’s own work. As with the majority of Modernist architects and theory, geometry

played an important role, seeing addition and subtraction of the quadrilateral form and use of

90 degree angles at junctions. This is most obvious in the creation of quadrilateral bays by the

placement of the grid of pilotis, providing a modular system of space allocation within the

open interior. Standardized spaces and flexible placement of partitioning allowed plans to be

coordinated according to the requirements of individual areas, free to be developed with

minimal changes to the structure. On the other hand, the columns broke up the space,

reducing the need for these partitions to be used for division, rather than to preserve privacy

or to provide direction throughout the space (Banham, 1960).

With few divisions, long corridors and lines of sight are created throughout the plan,

choreographing a journey within the space, even between floors. The journey is used to

highlight key views through the interior or to frame the exterior via large openings in the free

façade (a freedom granted by the exterior walls being independent of the structure), naturally

illuminating the space. Without partitions blocking it, the light also penetrates to the deep

plan spaces, allowing them to be illuminated with only minimal artificial lighting.

To better evaluate the influence of Le Corbusier’s plan libre, it must be compared to

alternative theories from the early twentieth century. One such proposal is Adolf Loos’ Raum

Plan. The Austrian’s theory, which predated plan libre, bears many similarities, leading to

Loos claiming Le Corbusier had plagiarized his verse. Although the Swiss admitted its

influence, he also called Loos’ theory irrelevant in the long term (von Moos, 2008). The

major difference between theories was the relationship of interior and exterior spaces with

Loos seeking a more introverted space, opposed to Le Corbusier’s blending of the two

opposites (Hebly, 2008). The protrusion of the raised upper floor provided two fundamental

functions within the exterior space: shelter and reclamation. The cover provided allowed

people to enter the space without entering the building, creating the effect of widening the

4

street and inviting people towards the recessed ground floor. Additionally, spaces that would

have been occupied by the building’s boundaries would now be accessible, allowing for the

outsourcing of the possible functions of the building to the sheltered outside (Cresciani,

2017).

Due to Raum Plan’s influence, the theories shared similar agendas when regarding the

organization of space. The unattractive service spaces were to be the least public and thus,

were hidden, often at the rear of the plan, allowing the street-front public spaces to remain

uncluttered and easily accessible (which takes a larger priority in Le Corbusier’s work, due to

the more extroverted approach) (Colomina, 1994). The approach of designing the spaces

from the center outwards works well in both theories, essentially seeing the landscaping of

the exterior happen as a result of the design of the interior within the Swiss architect’s work.

5

CHAPTER 2

ANALYSIS OF TWO PRECEDENTS: VILLA STEIN-DE MONZIE & VILLA SAVOYE

To further analyze this aspect of architectural theory, Le Corbusier’s own application of plan

libre with his designs serves as primary evidence of its practicality and worth as a theory.

Therefore, I have chosen two of the four villas he designed whilst developing his “Five

Points”: the Villa Stein-de Monzie (1927) and Villa Savoye (1931), in Garches and Poissy

respectively.

The Villa Stein commission by bourgeois art collectors was primarily built around the

‘Dom-ino’ structural framework, filled with both divided and open spaces for the Stein

couple and de Monzie to live co-operatively. The structure is somewhat independent of the

facades (although the exterior walls are used in conjunction to steady the building), allowing

spaces to be allocated by the placement of partitioning walls, occasionally concealing

structural columns, when placed on the grid itself (Fazio, 2013). The regular dispersal of the

grid laid out various bays, often alternating between larger and smaller dimensions in an

ABABA rhythm, used to further differentiate between spaces. These bays often contain

within them whole elements of the architecture, such as the main staircase, occupying a

single small bay.

Figure 2.1. Villa Stein-de Monzie -

Arrangement of Service Spaces

6

Unlike other villas designed by Le Corbusier in the 1920s, the building is not raised via

structural columns. However, within Figure 2.1, it can be seen that the upper floors above the

entrance recede into the façade, emphasizing the main entrance, with visitors enabled to

orientate themselves as part of an architectural promenade. This also contains a first floor

external balcony which acts as a part of the circulation of the plan (Risselada, 2008).

Balconies are also an important inclusion, as the upper floors contain several inward looking

spaces, providing a more hierarchical distinction between private and service spaces. The

design also aimed to have minimal points of overlap as seen from the shaded service areas of

Figure 2.1, hidden from larger public areas.

Le Corbusier had only improved plan libre when he was commissioned by another bourgeois

client to design the Villa Savoye in 1928. An iconic piece of architecture, the application of

the theory holds a unique power over its occupants, with each step through the space planned

out, owing much to the French countryside which surrounds the villa. Much of the

choreographed journey is ordered (following the rhythm of the grid) to exploit the lack of

high-rise buildings, and to frame the most beautiful views of the natural environment

(Colomina, 1994).

The grid of pilotis are applied flexibly as seen in Figure 2.2, preventing columns impeding

the functions of spaces. For example, a column which otherwise would lay in the center of

the garage (shaded) is placed elsewhere so as to prevent the parking space being obstructed.

In addition, the architectural colonnade created by the ‘Dom-ino’ system and its relative

placement has led to other functional decisions, such as the distance between the colonnade

and ground floor being determined by the turning radius of a 1920s motor vehicle, so that it

could turn under the raised first floor and exit by the same route it entered from,

manufacturing flow in the external space. This experimentation with his own theory has only

resulted in a better experience and cleaner design for the architecture, as seen in the previous

case, where space often lost is recaptured and put to functional use to benefit the resident.

Figure 2.2: Villa Savoye –

Arrangement of Pilotis within the Space

7

Within the architecture, the regular bays are orientated around the large ramp, with the

primary public spaces arranged outwards from there. The service spaces once again are

pushed to the outer boundaries of the residence, to minimize overlap with public areas,

occupied by the residents or guests, without limiting access. Much like the Villa Stein, many

service spaces are hidden on the less public ground floor, or as smaller cupboards on more

resident-focused floors (Banham, 1960).

Furthermore, the two outer rows of pilotis are set back from the facades (with no structural

responsibility due to the ‘Dom-ino’ system), avoiding overlap between walls and columns, so

that the facades are may be designed primarily to frame views and, aided by the undivided

spaces, allow maximum natural illumination of even the deep plan areas.

8

CHAPTER 3

APPLICATION TO DESIGN PROJECT: CREATIVE STUDIO

Upon beginning to work on the Creative Studio, adopting the right spatial strategy was key to

creating a successful proposal. Working primarily in plan to generate ideas and apply plan

libre in the development of the design, the aim was to achieve a similar experience to the two

precedents.

First, the mezzanine floor and butterfly roof sheltering the more business/design oriented

accommodation to the south is raised on several of the nine 600mm diameter columns, laid

out on a 4 metre by 4 metre grid, aligned to the north-south axis. The proportions of the

square grid were based on a number of factors including the space required by set numbers of

people for various activities, the dimensions of furniture and the boundaries of the site. This

was to create an open and flexible space, which fit the furnishings which it housed whilst also

allowing enough room for circulation within the space and between those adjacent to it.

The rigid implementation of the columns’ placement on the grid divides the space so those

adjacent areas appear separate and that which is outlined by the columns is contained within.

This deception created on a visual basis also reduces the need to use physical partitioning for

the allocation of spaces, which has a great number of benefits to the occupiers. Figure 3.1

illustrates the routes of circulation which are established alongside the columns, without

limiting access between covered and non-covered spaces (as shown by the orange snaking

path), allowing the community to see the activities and light to penetrate the deep plan

spaces.

The raising of the mezzanine on the structural columns uses the concept of rediscovering and

recapturing the use of space which would be otherwise occupied by the structure of the

architecture, to further encourage the flow underneath, into the work space, promoting

passers-by to become involved with projects. This effect is only doubled by the protruding

‘curve’ of the upper floor invading the primarily circulatory space, in the sense that it

provides both orientation (as the front of the work space) and signifies a possible entrance to

it, where the boundary of the ‘division’ is blurred.

The flow of foot traffic, illustrated by the arrows of Figure 3.1, is also carefully directed by

visual cues, such as the orientation of furniture. The locker area is visible upon entering from

the south ‘private’ entrance, following the south-facing wall, with the path unobstructed by

any columns. Alternatively, by turning right at the entrance, the convex curves of both the

street-front façade and mezzanine floor direct a journey through the space, with views

outwards onto Lime Street and beyond. Leading north, towards the existing building, there

are two choices: the stairs heading the space, featuring a wall of the old canvas works as a

backdrop to draw attention, or turning left towards the exhibition and service spaces, with the

path indicated by the omission of cover of the mezzanine floor. By having this corner set

back from the grid, it creates a curved route of circulation round the work space, which is

easier to understand than a 90 degree turn.

9

Lastly, taking inspiration from the bourgeois-centered separation of public, private and

service spaces, the storage and utility areas (shaded) are pushed to the rear of the plan, into

bays of their own, even protruding from the main building itself, existing as additional

entities. This leaves the work space and circulation spaces as open as possible to be used

flexibly whilst providing easy location of and access to the services spaces when required in

the background. The segmentation of spaces is also employed via level: the mezzanine floor

contains a larger number of individual workspaces and a conference room for more private

discussions, most of which is blocked from the view of the ground floor. However, the

mezzanine’s protrusion contains a walkway with views outwards into the Ouseburn as well as

downwards onto the public spaces, creating a hierarchy within the space.

Figure 3.1: Creative Studio –

Circulation between Spaces & Arrangement of Service Spaces

10

CONCLUSION

Throughout this investigation, it has become ever clearer that the adaptation of historic theory

within the process and its use in designing the space has had a positive net impact on the

development, enabling the design as a whole to be better structured, more easily understood

and to portray my own initial intentions for the space.

The theory has translated well into successive periods of architecture, inspiring generations of

students. However, as previously stated, it should only form a guideline and not dictate the

design itself, as it has its criticisms, such as its disregard for other theories and the need for

flexibility with its application. Its use must be carefully considered, and even then, the

application requires prior knowledge and common sense to establish itself successfully.

The choice to examine and apply Le Corbusier’s plan libre, when compared to the

development of my own design and the requirements of the brief, was a beneficial one, with

the theory inspiring me to choreograph the journey through the space and re-evaluate my own

concept of space, especially when considering its division and boundaries. Plan Libre has

been a considerable influence during the realization of a flexible, open space with all

functional needs addressed within, achieving the aims set out for the proposal.

11

REFERENCE LIST

CHAPTER 1

Le Corbusier. (1927) Towards a New Architecture. Translated by F. Etchells. New York:

Dover Publications, Inc. p. 2.

Ring, P. (2017) ‘Raum Plan versus Plan Libre’ [PowerPoint Presentation], KA5004:

Historical and Contemporary Influences on Architectural Design. Available at:

https://elp.northumbria.ac.uk/bbcswebdav/pid-4941357-dt-content-rid-

12384668_2/courses/2017YL_KA5004BNN01/raumplan%20versus%20plan%20libre%20no

v%202017.pdf (Accessed: 10 December 2017)

Banham, R. (ed.) (1960) Theory and Design in the First Machine Age. Cambridge Mass: The

MIT Press. p. 260.

von Moos, S. (2008) ’Le Corbusier and Loos’ in Risselada, M. (ed.) ’Raum Plan versus Plan

Libre. Rev. edn. Rotterdam: 010 Publishers. pp.26-27.

Hebly, A. (2008) ’The 5 Points and Form’ in Risselada, M. (ed.) ’Raum Plan versus Plan

Libre. Rev. edn. Rotterdam: 010 Publishers. p.76.

Colomina, B. (1994) Privacy and Publicity: Modern Architecture as Mass Media. Boston:

The MIT Press. pp.10-11.

Cresciani. M. (2017) Le Corbusier [Lecture to BA Architecture Year 1], KA4025: An

Introduction to Architectural History & Theory. Northumbria University. 8 February.

CHAPTER 2

Fazio, M., Moffett, M. and Wodehouse, L. (2013) A World History of Architecture. 3rd edn.

London: Laurence King Publishing. p.476.

Risselada, M. (2008) ’Villa Stein-de Monzie (1926, 1927)’ in Risselada, M. (ed.) ’Raum Plan

versus Plan Libre. Rev. edn. Rotterdam: 010 Publishers. p.132.

Colomina, B. (1994) Privacy and Publicity: Modern Architecture as Mass Media. Cambridge

Mass: The MIT Press. p.312.

Banham, R. (ed.) (1960) Theory and Design in the First Machine Age. Cambridge Mass: The

MIT Press. p.324.

12

LIST OF ILLUSTRATIONS

CHAPTER 2

Figure 2.1 Robson, Connor. “Villa Stein-de Monzie – Arrangement of Service

Spaces.” 2018. PNG file.

Figure 2.2 Robson, Connor. “Villa Savoye – Arrangement of Pilotis within the

Space.” 2018. PNG file.

CHAPTER 3

Figure 3.1 Robson, Connor. “Creative Studio – Circulation between Spaces &

Arrangement of Service Spaces.” 2018. PNG file.

13

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