Masterpieces of Modernism: Villa Savoye and Rouen Cathedral

Le Corbusier's Villa Savoye: A Machine for Living

Built around 1930, Villa Savoye is a primary case of the application of the principles of functionalism postulated by Le Corbusier. In the early 20th century, Le Corbusier defined the house as a "machine for living." He wanted to impose the idea of applying industrial construction methods to the field of architecture. The base of his work was the geometry of the simplest forms and management according to the pace of mathematics. He defended the idea that housing should be supplied with fresh air, light, and all kinds of modern amenities. He opened the interior of new buildings and installed ramps for what he called architectural walks.

His main contributions were:

• The use of simple volumes such as the prism, cube, or cylinder.
• The use of reinforced concrete.
• The use of piles (pilotis) that separate the housing from the ground.
• The replacement of traditional roofs with roof terraces.
• The removal of external walls as retaining walls, leading to free floor plans and facades.

A consequence of this is the appearance of windows arranged horizontally, which are placed according to specific needs. This single-family dwelling consists of a ground floor, first floor, and a roof terrace. The entire house is painted white, except for the black color of certain elements. The construction has the aspect of a cube that rises from the soil by narrow columns that contain a glazed space inside, increasing the feeling that the main floor is separated from the ground. The central insulated flooring highlights the line of windows, through which almost everything opens to the exterior. It is a work built from a structure of columns and beams of reinforced concrete, using brick as an enclosure element. The ground floor enclosures and openings feature metal frames and glass.

Monet's Rouen Cathedral: Capturing the Light

Rouen Cathedral was painted by Claude Monet on canvas between 1892 and 1894. He painted a series of oil paintings with the only item being the facade of the Gothic Cathedral, thoroughly studying the impact of light on the structure and the effects produced at different times of day. The true subject of these paintings is the light; Monet wanted to reflect the ephemeral aspect of things, as shapes and colors are constantly changing and mobile.

He employs thick and heavy oil with clear tactile values. The surface looks grainy to better imitate the texture of stone. Color is exalted through fast, small, and loose brushwork, giving the fabric great luminosity. The color shades are not neutral; instead, they form an area where different colors relate to light-exposed areas. This is a series that owes much to the rejection of photography. Monet painted what he saw rather than what he knew about the objects. He created a painting with fragmented brushstrokes that are independent of each other, leaving the viewer's retina to melt them together in the brain.