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Just as in his paintings
a new kind of organization of elements appears, in his architecture it can
be seen too. 'Nature morte à la pile d'assiettes' depicts a range of object-types
of varying geometric forms, stylized in rhytmic arrangements, using colors,
overlaps and shadows for his compositions. The relationship between painting
and architecture became important in his work after 1918, a dialogue in
which painting became the prime source for his aesthetic development. Throughout
his life Le Corbusier used painting in a manner of exploration and experiment.
Among others, Le Corbusier's painting 'Nature morte à la pile d'assiettes'can
be seen as a sequence of overlayered elements. The system of stratification
brings his painting into relationship with Villa Garche.The villa can be
read either as a series of vertical or as a series of horizontal planes.
The painting presents the elements from a strict central perspective providing
different depth of the visual planes. The same manner happens in the main
facades of the villa. From a frontal viewpoint, the villa is almost only
be seen from strict frontal viewpoints, different layers of the villa can
be perceived. The canvas becomes the facade which acts as a kind of 'coulisse'
representing the different depths of the space. Regarding the stratisfication
of the horizontal planes, the floors, it reveals similar characteristics.
The floors are cut out providing different layers of planes with different
depths. |
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