"The house and studio in Paris for Le Corbusier's friend the painter

Ozenfant is an early example of 'minimal' architecture, a prototype

Ozenfant House and Studio
of the Dom-ino house and a manifestation of some of the principles
which Le Corbusier was to set out in his famous 'five points.' It
possessed a geometrical clarity inside and out which has since been
lost with the elimination of the north-light roof and its replacement
by a flat one."
Le Corbusier | PARIS, FRANCE | 1922

Dennis Sharp

dom-ino system Five Points for a

New Architecture

1. pilotis
2. free plan
3. free facade
4. horizontal window
5. roof garden

dom-ino system:
The frame was to becompletely independent of the floor plans
of the houses. Derived from the Hennebique frame, it consisted of
six thin concrete columns that simply carried two horizontal
slabs as the floors. The columns and slabs were connected by
staircases. Apart from this structural core of the houses, nothing
else was fixed, thus permitting a great flexibility to suit demands
on the basis of aesthetics, climate, composition, or view.

5 points toward new architecture:

The theoretical considerations set out below are based on many
years of practical experience on building sites. Theory demands
concise formulation. The following points in no way relate to BUILDING TYPE: house / studio
aesthetic fantasies or a striving for fashionable effects, but CONST. SYSTEM: stucco exterior finish
concern architectural facts that imply an entirely new CONTEXT: urban (street corner)
kind of building, from the dwelling house to palatial edifices. STYLE: Early Modern
Ozenfant House and Studio
Le Corbusier | PARIS, FRANCE | 1922

ground second third fourth

floor floor floor floor

Le Corubusier for the workshop was a painter as the factory where

they produced their art and therefore decided to use for studying workspace
the shape of Ozenfant skylights industrial excellence of the interior
awtooth. it Was reaffirmed this will not only formal and practices
when it is discovered that the figure is just an embellishment,
because behind it is a flat deck.From inside the house painter's study
comes as a perfect cube of light, with three glass-sided, full
desmaterializando corner of the volume. In this building there
are many elements that will shape a new lifestyle, free from the
routine and good taste established, a new architecture for living, "Glass
hygiene, social and in line with the new times, where mobility and Cube"
machine entering the symbolic representation.
 The exterior and interior decoration is inextricably linked to the
building, showing the recovery of post-war German expressionist forms,
which became the foundation of the Bauhaus Gropius for Wimar. The house
built on a stone base, was built with wooden blocks to represent thereby the
customer's business. Both the materials and the provision across the width
of the constructed mass and its elements, emphasizing the horizontality,
walter gropius | berlin, germany | 1920

reminded the American models of Frank Lloyd Wright, in this particular case
his Prairie Houses, which is most noticeable detail on the facade of access.
Sommerfeld House

Walter Gropius in 1921 designed and built for a timber merchant who wanted 4th floor
to build a house using the logs of an old ship. He was particularly interested
in a house in solid wood and considered the Blockhaus system the
fundamental technique for this specific material, where the buildings utility,
form and architectural style merge into a single structure.

For Gropius the Bauhaus was a laboratory of the arts where the traditional
apprentice and master model was maintained, but where diverse disciplines
were interconnected in a completely new way. The outcome of this approach
was not established from the start but was to be discovered in the spirit of
research and experimentation, which Gropius called fundamental research
that was applied to all the disciplines and their products, from the high-rise
to the tea infuser.
 related buildings
winslow house
FLW | chicago | 1893
walter gropius | berlin, germany | 1920
Sommerfeld House
designed by frank lloyd wright, the
sommerfeld house borrows some
elements used in this project. one is
the exaggerated overhangs from the
roof. another is the symmetry used
to the category of monumental
majestic and constructive in the form
of a block. in addition, the large
distinction of a main entrance. in
addition, both of the houses were of
dynamic quality to the interior space.
Bauhaus
gropius | dessau | 1925
the sommerfeld house was
the first project that the gropius
designed and built. the relationship
between these two buildings is they are
"unified works of art" like its interior.
everything from radiator covers to
chairs were things that the
bauhaus created and their designs were
used in the sommerfeld home. this also
includes the big stained glass window
above the front entrance. the rhythym,
form and direction of the design of
the interiors were from classes by
johannes itten & josef albers whom
were teachers at the bauhaus. topics
like these were taught at the bauhaus
in which is how it relates to the
sommerfeld house
 le corbusier's ozenfant house & walter gropious' sommerfeld
house have their similarities and differences. for instance with the
use of materials, the ozenfant house follows corbusier's 5 points
therefore it uses minimal architecture and stays within the set
principals. with the sommerfeld house, there is a lot of ornament
inside and outside of the home. it incorporates the ideas and
comparison
philosophies from the bauhaus. the interior of the home is dark but
the shadows from the window onto the walls that have the
designs of these is incredible. the outside mimics that of a log
cabin for the user of the home. ozenfant utilizes the inovation of
concrete and stucco therefore ranking it one of the most
innovative buildings at that time. the sommerfeld house usues
wooden timbers becasue the user was a timber merchant. the home
becomes more decorative becasue if this use. the ozenfant home is
a home and a studio in one. some may argue that this is not a
great way to live but it worked for the client and corbusier
becasue he was comissioned many more projects thanks to this
home. the 3rd & 4th floor are joined by the big window. this still
follows his 5 points because the large window is split up into
smaller sections. the sommerfeld home did not have this
oppoptunity because the user's job took place in the wood mills
and could not support the work the user acomplished. overall le
corbusier's ozenfant house & walter gropious' sommerfeld house
are interesting in a way that they both usilize certain horizontal
characteristics. with a lot of detail or even with a little, they
still have the ability to capture the eyes of many.

-Busignani, Alberto. Gropius. London: Hamlyn, 1973. Print.

-Conrads, Ulrich. Programs and Manifestoes on 20th-century Architecture.
Cambridge (Mass.): MIT, 1999. Print.
-En.wikiarquitectura. "Sommerfeld House." - WikiArquitectura. 24 Nov. 2010. Web. 05 Mar.
2012. <http://en.wikiarquitectura.com/index.php/Sommerfeld_House>.
-Greatbuildings.com. "Ozenfant House and Studio - Le Corbusier - Great Buildings
Architecture." GreatBuildings. Artifice, Inc. Web. 09 Mar. 2012.
<http://www.greatbuildings.com/buildings/Ozenfant_Studio.html>.
-Le, Corbusier, Jean-Louis Cohen, and John Goodman. Toward an Architecture.
Los Angeles, CA: Getty Research Institute, 2007. Print.
-Sharp, Dennis. Twentieth Century Architecture: A Visual History. New York:
Facts on File, 1991. Print.