RAUMPLAN VERSUS PLAN LIBRE PDF

They are, however, very distinct. A free plan comes into play when the role of structure is separated from that of enclosure of spaces. Generally, it arises through the use of columns that allow the partitioning of space to follow a logic other than that of the structural grid. In the best demonstrations of free plan see Le Corbusier the columns play a spatial as well as structural role, defining sub-zones, passage zones, or used sculpturally to create a greater sense of depth in space. An open span is a plan which is left largely unplanned, as in typical office towers or single space homes. In the first free plan there are always rooms, even if they are not entirely closed off, while in the second open plan there is only the perimeter.

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Le Corbusier: Regarding economy The decorative art of today Twentieth century building and twentieth century living "When we find a hili in the woods, six feet long and three feet wide, shovelled up into the form of a pyramid , we become serious, and something inside us ls burried here.

That is architecture". Introduction A number of factors have contributed to the exhibition Raumplan versus Plan Libre. Firstly, the fact that both the exhibition and the accom-.

The comparison is one of the means through which design can be discussed , of vital importance in a situation in which an educational program can no longer be built up around 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 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 to the project as an autonomous piece of work , as opposed the architect who deliberately " turns himself over to" the and Le building process. The comparison between Loos 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.

This not are employed in.

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