le corbusier - strasbourg
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•
1.
rtJllsie1; Hodel of
the Palais des
CUllgres-Stral>/ 01wg,
Fm?tcp,
19GJ-v.,.
3.
Textual Heresies
Le Corbusier. Palais des Congres-Strasbourg, 1962-64
One of Le COl busier s earliest drawings of the Parthenon is a key to the
evolution of his architecture during a period spanning
the
two world wars
and leading to a critical inflection point with his project for the Palais
des Congres in Strasbourg. The drawing, probably done at
the tune of
his Voyage d'Orient, shows the Parthenon in the left foreground, its col-
umns and base providing a Cartesian fratnework for the drawing. But on
the right, in what seems to be an impossible view given the Parthenon s
distance from the sea, is the harbor of Athens with its shoreline and sur
rounding mountains. This drawing is an early manifestation of what was
to become an evolving obsession: the dialectical and tensioned interplay
of the figure with the Cartesian grid, which appears n his earliest Purist
paintings and continues throughout his career, evolving from a two-dimen
sional figures to three-dimensional figures.
While the concept ofgridded Cartesian space is readily understandable
in the work ofLe Corbusier, the concept ofthe figural as differentfrom any
free-form shape emerges in the context of post-structuralism. This idea is
based
on
Gilles Deleuze s discussion of the paintings of Francis Bacon. In
his
98
book, Francis Bacon: Logique
de
la Sensation, Deleuze distin
guishes figuration from the figural. F iguration refers to a form related to
the object
that it
is meant to represent. Rather than defining a form, the
figural is
that
which is produced as a register of forces. Here, o'1'ces is the
operative term. In the case of Bacon s portraits, t he figure is distorted by
internal pressures while the paint of the canvas-scrubbed smeared
addresses these forces in
the
very materiality of
the
painting. The figural
no longer expresses an iconic form or figure, but rather dOCUlnents the
encounter of matter-paint canvas, painter, and sitter-and
forces-both
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physical and psychological. As a regi>itcr
of
such
f o r c e ~ the human
f i g u r ~
no longer presents
t ~ e l f
as a discrete, clear
I m m,
but
rather r e ~ i d e s
in
what can be called an wldecidable relationship
with the canvas; the outline of the whole figur
is blurred to become an assembly of partial
fig-
ures that neither cohere, nor strive to create
a clistinct and understandable form. This shift
from whole to what are being called partial fig-
ures,which themselves
m e
a physicall'esidue
of
forces acting on whole figures, cOlTesponds to a
shift in Le Corbusier's architecture from his pre
war interest in a dialectical interplay between
figure and gJ.id to, late
in
his career, an inter
nally generated critique that severs the prior
dialectic. Instead, a s e r i e ~ of figural conditions
are produced which have the quality of partial
figures, In his postwar work, I.e Corbusier also
challenges the precepts of his Fi\e Points,
in
which free plan, pilotis,fenelre en longueur, free
a l a i ~
ollgr(,: '
facade, and rooftop terrace were characLeJ'istic
of his prewar work.
It
could
be argued thai Le Corbusier's earl
architecture r p r ~ t ~ an attempt to transcend
the limits of painting, which he theorized in his book
Afte)· f ubism, Wl iUen with Amedee Ozcnfant. If
cubist painting was marked by a
ten1 ion
between
the frontal pictw'e plane and spatial depth, Le
orbusier's architecture strained to both
inCOl})O
rate and overcome the tenets of frontal and flat
tened cubist space in a three-dimensional matrix.
This integration of a three-dlrnensional, figured
quaHty began early in his career with his
Pmist
period paintings and his
1914
Dom-ino
diagTam.
n the Dom-ino diagram, Le COl'busier introduce
the Cmtesian gl'id as a structural system
that
could
produce an infinite horizontal extension 0
space. This diagJ. am conceptualizes veli-ical cir-
culation as a legible figure or what can be consid
ered a figured element, which is pulled out of the
stacked horizontal slabs. The Dom-ino diagram
31ticulates Le Corbusier's concern with integrat
ing a tlu'ee-dimensional figured element into a nec
essarily reticulated condition of architecture.
Le Cor busier's Dom-ino diagl-am prefigured
the Five Points articulated in his 1923 book
Vel s
tine Al clzitectu1 e. In the Dom-ino diagram, the
columns are set back from the facade to create a
free plan and a free facade: the fiat roof becomes
the pl ivate space, and the floor slab 1::; lifted off
the ground to produce a horizontal continuum
f
Rpace. The primitive foundation blocks in the
place of pilatis initiate a critique of architectme's
relationship to the ground: figure in architecture
had always been tied to the ground, so much
R
that it
was defined as a figurc/gl'ound relation
ship. The idea of the pilotis originally
displace::;
architecture, lifting the building off the gJ. olmd
literally and conceptually to initiate a more com-
plex dynamic of figure and ground,
I.e Corbusier's early canonical buildings
Villa SavoyeU Poissy and Villa Stein at Garches-
Palais des
congl'cs
3. p(llais des
Congres-Stmsbonm, model,
1962.
develop the diagl'am offered in his Five Points,
and introduce a more strongly figw'ed condi
tion in the circulation, The early sketches for
Villa Savoye document the mo\'ement in
Rec-
tion generated by the ramp, which takes up the
movement of the car
as
it enters underneath the
building and then engages the subject in a spiral
ing up through the building to the roof garden.
The ramp as a figured element creates and reg
isters a kind of vortex of centrifugal energy. This
entrifugal motion in the Cartesian space of the
building generates an energy from t he center to
the periphery, Similarly exemplifying the Five
Points, the Villa Stein emphasizes both figured
elements and the gJ.idded envelope of the villa's
stlucture , which retains a cubist or layered flat
ness resembling a vertically stacked deck
of
cards.
The facade
at
Garches presents the collapse of
the space of the plan into the vCltical plane of the
facade, which becomes an index of the collapse of
If
real space into a single moment in space and time.
Tins collapse of pcrspective also becomes a cri
ique of monocular perspecti\'al vision. The mol
strongly figured elements ofGarches are the CUl'\'
ing free-form walls and the promenade al chitec-
tumle which is inserted into the l'eal' facade as '
staircase, Figw'ed form also appears
in
two stair
cases and
in
the cutout of the balcony and eating
area, yet these figures remain more lU1ear Ulan
volumetric. n thes e early works, the figured cle
ments are implicated
in
a dialectical relationship
to the absb'act grid of Lhe buildings' plan, facades,
and sectioll.
The relation ofgl'id to figure in Le(' orhusier's
postwar work changes dramatically from the
gJ.·id-dominant systems of his prewar building5.
The figured element becomes increasingly \'olu
metlic, indicating a shift in his attitudes toward
both abstraction and the ligure. In Runchamp,
the Philips Pavilion, and Chan<1igal h, fully Lhl ee-
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i i i
Palais des Congrb Patak
de;;
Congres
/
I<
4 Vill(l SIII ()ye,
P O ; R ~ l ,
1928
dimensional i g 1 . U · e ~ stand out against the grid, yet
the grid remains legible. 1 '01' example, while the
figure seems to dominaLe in the sculptured forms
of Ronchamp. the grid is present in the floor pat
terning, which is part of Le COl'busier's modular
system of proportiomi, and a virtual 01'
impliecl
gl'id is legible from the building's f outh elevation.
he
square punctures in the facade reg ister a ten
sion between an implied veltical grid and the slop
ing wall, as if the holes were tethers maintaining
the e:\.'terior wall's curve. The te nsion in
the
curve
comes from the implication that if these connec
tions were cut, the wall \ ould snap back into a
flat vertical plane. The notation of these openings
in
the
thickened figured wall plane indicates
that
the curved wall is not a gratuitous curve,
but
rather refiects an internal t.ension between th
figured surface and a virtual. griddecl plane.
f the prewar work
d e m o n s t r a t e ~
the linear
igw'ebecomingincreasingly three-dimensional, it
•
could be argu ed tha t Le COl'busier's postwa r work
begins with the fully articulated ftgw'e, which is
increasingly deformed into a series of partial f i ~ -
ores. In his Parli ament Buildingat Chandigal'h. a
giant cylindrical element breaks through the roof,
becoming a dominant featw'e of
the
roofscape as
a fully three-dimensional figure. Yet this figure
is hidden behind the orthogonal blocks that form
5. Not, e Dame d U
Haul
Ronchamp, 1950.
each of Ule parliament's facades. Chandigarh also
marks an important departure from the planar,
free facade of Le COl'busier's Five Points :
Chandigarh's deep tn-i.se-soleill eplace thefenetre
en longueunvith
a honeycombed mass; this motif
is repeated
in
Harvard's Carpenter Center, La
Tom'ette, and Strasbourg.
La Tourette can also be related to Strasbourg
by means of a rotational energy established by
the pinwheeling organization of its lower floors.
geometrical figme is established
in
the
form
f a blunted, three-sided pinwheel. Another kind
of rotation animates the facade of La Tom'ette,
according to Colin Rowe's analysis,
yet
this rota
tional energy retains the tension provided in the
fi'ontal plane. In the Carpenter Center this rOl a-
tional energy becomes increasingly explicit: the
paired lobed forms of its studios and exhibition
spaces seem to revolve around a central core,
which anchors its large S-shaped main ramp.
Despite the contradktory internal movements
at the Carpenter Center its lobes spin counter
clockwise and the internal ramp rotates l o c k w i ~ e
up to the third floor it could be argued that each
component is mticulated as a separate figure: the
S-shaped main ramp, the lobed studio and exhi
bition spaces, and central square fo}'m are COlD
pressed together, yet they remain identifiable as
6. s ~ e m b l y
Hall, Clw.lIdignrh.195.j-6b
complete and sepa rate parts. Similarly, a number
of the prec epts of Le COl'busier's Five Points
remain apparent with elongated pilotis, the free
plan, rooftop terraces, and briBe sole il occupying
the horizontal openings formerly allocated to the
fenetre en longu.euf.
The centrality of the ''Five Points in Le
COl'busier's prewar work suggests that the points
served as a foundational diagram from which
each building draws, but inflects differently.
This indicates the capacity of the ''Five Points
to serve as a text for his early buildings, in the
sense that a diagram is an architectural form of
a text. f the idea of a text is established
in
Le
Corbusier's ''Five Points, it is his inversion of
the Five Points and his
turn
away from the
legible figure toward partial figures
that
sug
gest that Strasbourg can be read as heretical to
his prior architectlU'al t.exts. There are a mm1ber
of didactic deviations from the Five Points in
Le Corbusier's postwar work; the
bl iBe-soleil
replacing the free facade is only one example. Yet
Le
COl'
busier's a l a i ~ Congr€s-StrasbouTg
becomes the summation of an evolution in a
textual language,
on
the one hand in its didactic
refuta tion of each of the Five Points, and
on
the other in its movement away from a dialecti
cal relationship between figure and grid. f the
7. PaLais des Cougl es-Strltsbolll g,
l>1te
plan,
196w.
text
of the figure/grid relationship is scripted in
Le Uorbusier's prewar work, the postwar work
deYelops the idea of the figure, from a whole and
discrete element into one whose vel-Y wholeness
is questioned.
'The
figure becomes deformed into
a series of partial figw·es. As an heretical te};.i;,
the Palalli des Congl'es engages both a dialecti
cal system refutin g the Five Points and a non
dialectical system pursuing the evolution of the
figure from a discrete tltree-dimensional entity to
a dispersed series of figural elements whose con
tours become increasingly undecidable.
With the Palais cles Cong1'€s, a project beg-un
in 1962, only a year after the Carpenter Center,
many of
the
relationships established
in
La
Tourette and the Carpenter Ce nter are inverted.
First, the relationship of building to gl'ound is
profoundly different at Strasbow'g. No longer d
pilotis preser ve the horizontal flow of the ground
below the building. Instead, the gl'o1.lJ1d plane
becomes a honeycombed plinthlike ba.. e. whose
very solidity
is fmther
questioned as the gr01 111
is cut away in such a mam1er to suggest that
the base is floating. The sloping ground around
Strasbourg's base creates a double reading of
both plinth and pilotis. Similarly, the precepts of
free plan and free facade are inverted.
Just
as the
brise-soleil counters the planar facade with depth,
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--
71
Palms
des
Congl'e" ~ a a b
des
Congrb
T l
H Jlct/ais
Crmf/res-SII'Us/)o//I'O,
spr-l;rllLllO,.t/t-scmth. 196f2.
shadow, and thidmesi', so lOU doe '\
the
free plan
become u h ~ u m e d by a geometrical figure resem
bling the pinwheel ol'ganization of La Tourette in
Strasbo mg's ground level. Finally, the horizontal
surface ofthe roofgarden becomesa figural plane,
which is tipped, l
i ~ t e d
and torqued.
f circulat ion had previously registered
both a ccntlifl.lgal
fOl'ce
and a distinct figural ele
ment in Le Corbusier's ecu'lier work, the ramp at
Strasbou rg registers both centripetal and centrif
ugal force" ~ i m t l l a n e o u s l y as well as a critique of
the legible whole
figurE',
Tbe figure of the ramp
is the most significant index for the development
of the 8tl'asbom'g scheme. A s tudy of the carliest
St.l'asboul'g schemes of 1962 reveals
that
the l'amp
was i n i t i a l l ~ envisioned as a distinct figure form
ing an unbroken loop through the building. The
first, 19G2 scheme is an articulated gquare in plan
with a giant straight ramp entering the square
form from the ~ o u t h e a s t corner and a pair of'
•
lobed ramps protrud ing
frOll
the 11001:h and souU,
sides of the l'quare in an echo of the Carpentel'
'enter. The giant ramp leadf: up to the :;econtl
floor,
where
it
divides to form paired ramps
on
the
north side, which reach up around the third floor
and lead onto the rooI. The ramp forms a complete
entity around the building, and in the l'iecond-floor
plan is highlighled as an independent figure, a'i is
the pinwheel figure of the floor below. In a sub
sequent plan, the giant ramp is rotated ninety
degrees and positioned to align axially with the
giant lobed ramp
on
the north sidc, replacing the
small southern lobed ramp of the initial plan. n
this second scheme, reproduced in Le COl'busier's
Oem.tres Compfete the bi-lobed organization of
the Carpenter Center has been edited, signal
ing
Le
Corbusier's departm'e from whole figures
and movement toward the paltial figure. This
becomes appar ent in the final scheme of
the
Palais
des Cong1'es, where the yelJ' figure of the ramp
seems to shift its weight to the west in counter
point to the dominant axiality of the giant ramp
extending south. More significantly,
the
ramp's
figm'E'
i=; no longer whole; the figure of the ramp
seems to s plit in several places,
no
longer looping
through the building
but
rather spiraling around
the stmctw'e. The ramp can be conceived of as a
series of partial figures which no longer cohere
like the independent ramp of the eaJ'ly scheme.
Thus, Strasbourg's final scheme is animated by a
'ondition of complex partial figures.
The figw'e assumes a different role
at
Stl'asbourg in tJ1ut it is no longer defmed in rela
bon"hip to the
grid. Strasboul'g is signif1callt in
Le COl'busier's oeuvre as a depmture from
the
grid/figure dialectic. This depalture appears in
two different conditions: as a partial figure and
as an undecidable condition of the ramo: is it
-- =-
:;.
-..----=--=..=--;.::.
/
. . Palrt;5;
del- Congl es-Stralibourg,
uieu ealil eleuutiol/. 1962.
I
centripetal
or
c e n t r i f u ~ a l ? While
the
figural is
often seen as a system of movement-and this is
no less
truE'
in
Strasbourg-the
project invokes
both centrifugal and centripetal forces, which
first move outward through the Cartesian enclo
sure of the building and then tm'n back, spil'aling
inward. The sub ject becomes involved not only in
the figural ramp but also in the breaching of the
container, the pJ'ism pOx of Cartesian space that
was articulated in the "Foul' Compositions" by Le
orbusier. Unlike the rotation on the entry facade
of La Tourette, which, in Rowe's analysis, retains
the tension of a frontal plane, the rotation devel
ped
at
Strasbourg is
no
longer dialectical with
respect to any frontal plane, but rather register '
simultaneously as centl'ipetal and centrifugal
in
plan and section.
In
t h i ~
respect, Le COl'busier's project for
Strasbourg marks an important movement near
the end of his postw ar career. Stl'asbourg is also
an anomaly in t.his book, for it is not a hinge build
ing within the particular career of an architect
but rather
a hinge between Le COl'busier and
the
architects that draw on his legacy. In exploring
the
figural
at
Strasbourg, Le Corbusier blurs the
large figures of the ramp by dispersing
them
as
paltial figures
at
the upper :floors. Similarly, the
didactic natlU'e of the "Five Points" and the didac
tic development of the figme against a CaItesian
g1id become increasingly blu rred as Le COl'busiel'
explores the potential of these pmtial figtu'es at
Strasbotll'g.
This building offers a missing link bet.ween
the formal str ategies of the high modernist "Five
Points" and those appa rent in Rem Koolhaas's
n'es Grande Bibl:iotheque and J ussieu Libraries.
StrasbolU'g is
the
forerunner of both Koolhaas
projects, in that the object is no longer merely
contained in
t.he
volumetric endosure but rather
a sel;es of forces push the object out through the
exterior cnclosm'e of the object, while
the
move
ment of the subject continues to circumscribe
the volume. The discontinuity between succes
sivc hOl;zontal plan levels at Strasbourg will
ultimately appeal' in Koolhaas's
Delirious New
Yo,.k and his French library projects. Lastly,
Strasbourg shifts the idea of understanding from
seeing to
the
expelience of movement.
The Palais des Congres-Strasbourg estab
lishes an internal clitique of what could be
onsidered
the prewar "texts"
embodied in
Le
COl'busier's "Five Points," Finally, in the evol\T-
ing changes in the acts of close reading, legacies
of the formal and the conceptual remain. ·What
becomes visible ill
the
Strasbourg project as a
pivotal development of Le Corbusier's thought is
the new figural condition of
the
subject's experi
ence of the object. This Vlrilliead for example to a
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1
r
I
. I d J ~ : ~ ~ < / : = : - > - I ~
/ ~ ; : r
I
<, .
I
l__
,
tT
lJ. Palo is
de::;
COl/rrres. 7)[all
leoe
J
11. P a l a i . ~ d e . ~ C01lgl eS, pl ll level. .
J
=:;:;
;::::;•
.:=:; := :
s;s=
= =;=
=;=
.
es C O l 1 g l e . ~ , pl n
l( 1 el
4.
. -
/' -
1 -
/ - ' '- ,
;
/ -
==
~ ~
=====
, '
t
n
12. Pal
10.
Pa.lais
des
C ongres, plan level 2.
Palai rle>
C o n g l e ~
a ] a i ~
def'
Conl "les
different necessity of close reading
in
Koolhaas's
Jussieu Libraries, Strasbourg, unlike
La
Tourette
and Chandig-arh, pl'Oposed
an
entire other series
of pl'oblematics not addressed
in
either phase of
Le COl'busier's previous work. In these inver
sions of many Corbusian tropes begin an internal
critique that marks this particular work as differ
ent
w
hen compared to the prior buildings of Le
Gorbw:;ier's architectlll'e.
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'
16. The brise-soleil anpeaJ S
,tJOid8 cut fro
ll (I
solid.
." Pala1:s
des
Congres, first-floor levels. The
fenetre
en
longueur oj'Le
CO/'busier's "Fl:ue
P ) i n t . ~ becomes
a
lwlleycombed
briRe-soleil. a
,, gular
s y . ~ t e J l 1 ,
oj'
openings thal1l'raps aronnd
three
I<ides o the Palais
des
Congl·as.
Palai ' de:; Congre:;
/ f
I .
d.
f·
-
, ~
P a l a i ~ ~ , . ;
COllgJ'eS
/
/ /1 , ''''
/ / ~
/
~ , ~ /)/b
',(:/
< l ~
\::.
\
'a/ais deN COt/gres can
be
read as a doable
sOl/dwic /i
containing two piloti cwe/s stacked one on top o the
otllel:
The gvol/lld
wn
no lOJ/ger
be identified
as S1lCh,
,,"or Ille luwer pi/ntis
l e v e l l l a . ~
been J1t.<:hed
dO({'rl
$0 that
f/ie second lel'eZ ( ~ f p i t o t i f ; is at gromullcoel.
a.
r.
.
/
//
/
/ / / /
/
/
/
' - ' V /
,
>/
J J ~ /
.
/
/ '
\
/1 '
/ /
/
//
'\
/ / 1-/
; /
.
- - - - - - - -
/
// /
/ ,
//
//
',.
// // ',
////
'
/ / / /
..: '
'
,
.... '
' Ii.
f .
,
.§k
'
-
14
((l j). Palais des COrLr rcs, groltlld- (lI/(I,find-jloor'
I p/s.
The fo'stfloGI' level (a)
is d e p l e . ~ s e d
into the
,ground
(b), doubled
(c),
voilied (d), and
ro IIIfJrd 1/[i
to
tlie new uraund level
(e),
which br'comes the
bwse
for
the pilotis (0, The 1 e/)el8(11
o
Le C o , . b ? ( , ~ i e l - : ~ Fllie
? i l l t . ~ at Strasbourg begins with tile
piloti,,:,
7'Ii
•
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-)
-
il
'
O
The double-height
u o i d , ~
in IIleloll
rill
Qlldfifthfloors
lSe,·1.Ie
ClS
a rotatiol/al a.l isfo/ the
pi1PLlleel,
w h o . ~ e ((miS
w'e
tile hlocksfl ll 111ed by
the m in lwditol iu1II
spaces.
19.
Palai:;
d p . ~ r'v1/gres.j(mnll fiool:
The
fO/lrl1l
floor is
I ) o . ~ e l y
organized
l l to blockl>, ( IWlti l lg
two 1l,.,I/S of
l
pin
111eel
which mtctte
a,'omlcl
a
eel/tel'
void.
Palais des Congres
'\ ',
.
Palais des O l I g r ~ S
18.
11
the :;econd
floor, this pinwheeling
motion
is
n>,peated
on
Qnothel ,
snwllel scale: a clusler
I ( moms
rotates
witl/hl
each quadrant, creating a , ~ e c o l l d a , . y
spillllin{J inlerllal to coth of tile. 1 1 J d l m t , ~ .
-
' - ~ , I N . ~ /
,
1 /
/
,
17.
P a l a i ~
des Co 1I{JI J.s, second
jioo/: Till
plllll
of tile
, ~ e c I ) l / d . f f o ) r
can be divided
into/OIlr
Quadrants,
wltieh.
because of the
r mp
that goes up to the piano
nobile
and
the mmp that
e n t e r . ~
into tills lowrr lel'el, ol'e
organized
ax
p i l l w l l e e l i l l g f o . , . m . ~ .
lH
~
•
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'v
alai.8 des CongJ es
j
I
/
/
l. Pnlais des Crmgr f1S,
, ~ e r ; o l l d flool:
The a nulysi8 of
U,
These absences describe spa.ces that
pUlIctuJ1te
this
the second}ioor colnmn
,grid
begil/s to ','aeal tliat at
ullerall
friel,
Por I<xample,
the void
ill
the
s e C f m d ~ f l o o r
Strasbourg, the
Corbusian
free
plan
11$
. ~ I l I ~ i e c l e d t o
('ut'/alm
grid serves
(
.
iu;
rotational
Mis.
piay o.f'strategic om ~ s i o n s . indicated by the h
if/hi
iyhled
red col limns,
Palais des
ConglP-i
.s
/
.
-' \
/
/
'\. \
/
//,
\
,
<
/
23. l'otais des
Congl iJs,
third floor,
On
the third floor
nly ol1e colu
m l
i p,lin?'inated, rpplaced by a
1itair
CMe.
The
missing
cohwl.II
fm'rm;
It
strl/cture q(arrested
rotatioll. The disposition
of
f i g u r e . ~ 011 t i le third floor
dltmonst.rates the 711ay between. what appears to be
whole nowres Gild 'M./'tialjigl
24. 01/ the thinl /.OOI; a c o n t i n u O l . i ~ s ~ r i e s of col limns
fram(3j; the building m three . s i d e ~ , !Iet Oil tlli! interior
of
the building,
the
columns
are
81:Zfri
cliffe/'e;ltly.
TIle
larger
columns divide
the sql1are
pluu
illto
a
thlw:-bay
~ c h e m a with
an
ABE arrangement f t h e ~ e il11le, I O W . ~ .
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AA
Paluis ric >
Cong1 e:;
Palais
des
( ongre s
I
J5.
Palais des
COllyres,foltTlltjlo01:
A second, subtler
I/olotiou of
the rolwnns
occurs
08 they arc
Mpa1'ated
iI/to dommant rows. The
perimeter co/millis are
se
back.ti·om the sides butjfush.lo whot would be tl1I rea,.
of the buildl1lg. Entire bays of
co[nTr/l/f;
are I emoved
(red).
2(i. 0 1 tile fourth .lloor. the ,'emoool of wlllmn bays
also slriates t le plan i7lto (/ serie:;
of
inear elements
t1wl,
as
they
break
daul1I
and are inieJT1.I pted, allow
the
vOI iolls grids to become figural
elements.
T h i , ~
m i n t i n ~ a continuitll of o l u m n ~ OJ/
tlte
Oil/boor,
II/u:face
while lhe
inner
rows diuide
into
buy, u B
ba,lJ, and another
B bay.
27. Palais des Congres,.lijth.lloOl: The central branch
18
no longer clear.
gain
there an a I I c l · i e . ~
]Jtl/"lial
of Ow mmp connect ; to thefift.h level. While thefigured
figures on the jijlh ]ioor which
lIape
w/'res/lfmdcmres
fonn n.ftlle
ramp
is
clearly
J i . ~ c e l i b l p
ill.
the thirdfioo
with thejigumlform>;
011
the third and fourth flooi's.
alld roof
[( vel,
the shape of ire 1 (Unp 011 the fifth flom'
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J1
/
-
\
\
31, The geometry of the , ooF<I rlwml>oid shape seemlS
pinned 111/
a shlgle
poiIlt echoing
the m
11111 1
'ill
wll c l a
. ~ i n g f e 7 m ~ ~ s i r l g
collLmnfo/'ms the
'lI/C 't/ mft))·
~ / J I : / / I i n g
olJement ll lhe
secolld.
third aJldfrml'th t l ) o l , ~ ,
/
/
/
/
-,
P<llail Cungres _ _ _
J
/ /
/
/
\
/
/
\
/
~
,
"-
'
de;;
Congores
L9. The roof volume is warped
into
a 'rhombuid Ilhape
and
distorts
tile
horizontal
datt/11I
';:-
/
/
(1
28. P n l ) . . i . ~ lies
Congres, oof evel.
The ~ J l i l a h l l g fon'cs
traced in e Lch leL'(jl echo the 11I0VeliWI1t
ql'thc
Tn mp. The
warped
sll/face
of he
'roof
levtll'eflf3ct:; this
spil'alin.a
mm'ement.
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tl
The gl'01tl1d iR ne-IM'
Ie-vel:
ii,
ill
C/il away liS a sll1:fac:e
01/ 1
, . i ~ e 8
up
inlo the
bllildillg
uritlilhe ramp
m-p),
p.
n.
I
j.
-
F \ ~ . - I
.
m.
E
r
I
.=-.
( J
I -
The
Iwilding
cut
intenmlly
rreatillg differellt sec
tiollal
c o l l r l i t i o r l , ~ .
The
bllilding sectim/x
/'pveal
/Illlitipll)
/'( 11icnllJOirk (i-I),
k.
Palais des C onwes
O.
i.
_ alais des Congres
h.
d.
f
:Ollgres
( a ~ f ) . The
/.'oided
plillth alld
the depressioll
tI/e gt Olu/d
at
lite
I)((8e
of
he
building is also
apporent
(e-//.)
I
- - - ~ - , = r -
_
- - - - ~ J -
c
e
g.
JJ (a-p).
Palais
des COl/gri s, x e c t i ( m ~
and
elemtiul/S.
Tile
buiLding
. ~ e c l i ( m s
and
facade .fin ther
I'el'eal
til
w:mbled or sandwlched ur.qanizatioll oftlte ( J l a i . ~ des
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l ,}
'.
(:f
/
.
"
"
/
-,
.ii. Palais des
Congl es.
The I Omp joins the ot OlI nd m l
oof hi a continWlnl
Palais des Congres
alais des ongrb
/
"
,/
9
JJ.
Pala;s d.es Congres, fourth
J 1 o J ~
ramp an
second .floor. The ramp links the dijrel-i1l.g l lil ll'hee l
rg(l1/ izafiol/. 1 of each level.
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1
:
e
s
0
:
;
t
-
'
°
l
c
.
0
.
cs
;
g
' '
.
.
V
'
'
C
'
/
/
/
'
6
-
_
/
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