Villa Savoye

In the following I inspect the semantics of the Villa Savoye by Le Corbusier in order to identify the structures of architectural representation. I begin with analysis of architectural representation in a simple, mutually antagonistic couple: Modernity and its normative "other", historicity. As the analysis progresses, it becomes evident that the attractions, and not so much the contradistinctions amongst the two construct the representation. As the cracks and fissures in Le Corbusier's synthesis are observed, a third set of architectural motifs emerges as the gross structural constituents (equivalent of the linguistic sign) of architectural representation.

Dynamics of Meaning within an Architectural Form: Le Corbusier's Villa Savoye

It is possible to understand buildings as constantly signifying fields and the city as a resultant agglomeration of such. This, I think, results in a discourse and this discourse must possess a structured system of representation. In its materiality, it is also a means of combining and preserving perceptions arising from within dissimilar ontological worlds.

The analysis entails an identification of the architectural-semantic order of typology through the built object, using a composite ‘protocol of analysis’ which originates in the gray area amongst the disciplines by which one understands linguistic and plastic representational systems. This order prescribes the ‘nature’ of meaning here, and an insidious investigation [which results in the naming of the elements of this order] becomes capable of effecting a critique of conventional unities of architectural representation.

As I consider architecture as construed of a crypto-grammatical (i.e., syntactic) representation, it becomes evident that in attempting to work upon architectural 'syntax', typology is a second order system. And that analysis of typology shares some traits with the study of myth: mythology.

part - 1: The Writing

part - 2: Drawings

One studies the typological instituteds within a 'given' architecture in its [fossilic state]?: i.e., the inscriptions - marks of the state; 'internal' regulative principles; codes of their 'inner' coherence.

It is understood that the meaning of any given work of architecture is shared equally by its conditions of Being (i.e., the fossilic) and the techniques of its making.

Bibliography: http://www.tu-harburg.de/b/kuehn/lecorb.html