FORM

B O D Y
TECHNIQUE

S PA C E
V I L L A
R E M K

D A L L ’ A V A
O O L H A A S

jose trinidad

eu/ projects/1991/villa-dall-ava.html. http://oma.Part 1 Photo Credit: OMA. .

an environment in a city plan. garden walls and slopes.a chair in a room. (OMA) House as a room C S O M Preception of OMA houses: The space of the dwelling is interpreted as a secluded place where someone can be alone with him. 133) The site is like a big room. rather than as an element of the city.P A C The 1st determinant of form is the relationship of the building to its surroundings.or herself and a little piece of uninhabitable emptiness or sky. It slopes toward the Seine. Beyond it. Mau. a room in a house. a house in an environment. La Defense is to the left. Villa dall’Ava is both a refuge and a part of the city through the continuous flow of space from one scale to the other. The house defines boundaries that are less compact as it increases in scale. with a boundary made of greenery. Site as a room L La Defense “Always design a thing by considering it in its next larger context . and beyond that a panoramic view of the city. the Eiffel Tower is straight on axis. (Koolhaas. T Site Villa dall’Ava House Footprint The site was beautiful – a monet. 164) M City Villa dall’Ava Lot Extents Despite the perception described above. (Verschaffel. the Bois de Boulogne.Eliel Saarinen Seine River Bois de Boulogne City as a room Eiffel Tower E R S E D X L Boundaries Radius of Scale Villa dall’Ava D I S and space P .” .

(OMA) Strategy Pliancy sustains complexity through inner flexibility that relies on external forces. fragmenting. One manipulates spaces that operate in the smaller scales of interior rooms. (Lynn) By treating the landscape and architecture as pliant. while the other manipulates spaces that operate in the scale of the city. through such strategies of folding. the rooms of the outside... instead of repression through fixed points or arrest through contradictions.. (Kipnis) Folds Fragments Terra .Site The villa is situated on a hill which slopes steeply toward the Seine. Koolhaas succeeded in creating both an architecture of Information and Deformation.. These external forces join the disparate elements within smooth mixtures.

are diagrams of the forces that have influenced them.Kitchen Garage Storage Entrance Front Yard Rm2 Degrees of Privacy Private D’Arcy Thompson states that forms.Program Materiality Glass Public Back Yard. in total defiance of the cult of the picturesque that characterizes the surrounding buildings. from steel boxed walls. net fencing time in history on the roof and. textures. together.Kitchen Front Yard Open Stone Entrance Garage Pool Storage Concrete Concrete Concrete Steel Rm1 Steel Rm2 Materials The 6th The 4th determinant of form is the materials used.Dining. colors. corrugated aluminum cladding.Living.Living. The choice of exterior materials reflect aesthetics and functionalities of varying degrees of privacy. translucent etched glass walls.Dining. to transparent fishbowl glass walls. in an ironic nod towardscurrent next-door villadom.” (Ayers. Materials of . 329) Rm1 Pool Back Yard. (Rudolph) determinant The form rejection of the picturesque of is the aesthetic is shown in Villa dall’Ava’s “choice of materials awareness of – raw concrete. and stone crazy-paving cladding architectural – and in the blandly utilitarian way the house’s exterior is put strategies.

134) The 2nd determinant of form is functionality. Bedroom 2 Dining Contradiction The site was small. it was already a kind of interior. (Rudolph) 1 Footprint Entrance Form Follows Function Fo p ot rin t Shapes in nature tells us something about its inner workings much like architecture. a philosophy evident in Villa dall’Ava. where the essence of a site is manifested in the form of the building. (OMA) Exterior Forces Programmatic Landscape as frame . Sullivan believes that the form of the building always follows its function. the real house ends at the walls. It is not an object!” (Koolhaas.. the other for the daughter. Mau.the house as a frame to describe its environment. 181) D’Arcy Thompson states that forms. It is only a preliminary enclosure. where the “others” begin.Bedroom 1 Pool “. (Koolhaas. colors. textures. Mau. are diagrams of the forces that have influenced them. Mau. 134) Interior Forces Prep Regulatory Force Kitchen Library Basement R Storage 2 Garage The zoning regulations described a kind of pyramidal pretzel that the house could not violate. (Sullivan) The client wanted a glass house with a swimming pool on the roof and two separate “apartments” – one for the parents. The site was surrounded by walls. It had to have the smallest possible footprint. (Koolhaas. The small rectangle of the glass house represents the minimal footprint.. The house was big.

135) 9 0 1 9 8 9 1 9 8 8 1 e age Leverag ect ever or ’s L b h ig Ne of ar chit Client’s 1 9 Moved-in We moved in to finish the house. (Koolhaas. (Koolhaas. They won. (Koolhaas. Mau. Mau. 135) 8 7 9 Deserted In the end. (Koolhaas. They moved in because it was still unfinished. There had never been a house on the site. That was the last thing that went fast. 135) 1 9 Issue Does etched glass count as a wall? It was debated all the way to the French Supreme Court. they became very unhappy. 135) Power Path Power Lost 1 9 Fight 8 6 We got permission to build. (Koolhaas. the lawyers deserted the clients. Mau. When the neighbors learned what was happening. Mau. They had to argue themselves.5 8 Introduction Permit Client meets architect The permit process went very fast. Mau. 135) ibility Built House 1 Political cred P o w e r 1 9 9 .

In this house the domestic body becomes a part of the house through the synchronization of domestic habits with experiential moments created by the architecture. 329) Glass Envelope closed Outside Glass Envelope open Fluidity The program between the two intimate rooms acts as a fluid connection of social spaces. exchange. namely the habitual processes and flows of domestic life. Morphology and metabolism are linked through this process. (Ayers.Inside Boundaries Its glass envelope can in places be slid entirely back allowing the living room and garden to merge as one. (Weinstock) Fluid . etc. This process will cease without a constant source of energy. Metabolism Flow Plan Flow Section Intensity of Use Metabolism is the processing of energy. excretion. of matter. which involves the transformation. recycling.

As a particular case.” (Ayers. 329) Tension embodied by the structure derives from the dynamics of domestic life within the house.Tensile Stress Body in Tension Structure Parents Room Daughter’s Room Domesticity Family Ownership Growth Independence Privacy “Although one reads these structure pilotis as traditional load bearing supports. pulling the accommodation box down towards the ground and preventing it from flying upwards under the effect of the heavy cantilever of the parents’ accommodation box at the other end of the building. simply between child and parents. they are in fact in tension. Daughter’s Room Growth oo nts R Pare m Independence Dom ity estic ily ip Privacy Fam Own ersh Tension Release in tension . Villa dall’Ava is also embodying the tension between itself and its neighbors. which it deliberately seeks to antagonize.

” (Ayers. the Villa dall’Ava seeks to antagonize its neighbors (and the classic Modernist design alternatives to 19thC villadom .Villa Savoye). in service of the search for authentic. but at the same time parodying the comfortable. reproducing.Source: Villa Savoye The Image “The imagery of the Villa Savoye’s famous pilotis is here wickedly subverted. (Vilder) The tortured image of Villa Savoye challenges the perception of home to be replaced by an understanding of the precarious nature of comfort. 329) Villa dall’Ava shows a shift away from rigid modernist theories through the dissection and mutilation of a Modern icon. 329) Delete Invert Skew Stretch Stretch Stretch Hollow Delete Multiply Product: Villa dall’Ava Tortured . original human experiences. (Vilder) “Even while sharing exactly their programme.” (Ayers. domestic middle-classness they represent.

(280 pages).. 1991.1979. ISSN 0261 6823 (112 pages). 329. “The Building in Pain: The Body and Architecture in Post-Modern Culture. pp. Architectural Association. Academy Press. OMA. No102. France. 213-215.. 3-10. pp. “S. pp. Bruce. “The Tall Building Artistically Considered. Jencks and K. University of Minnesota Press. 2010. pp.” in AA Files 19. http://oma. Otero-Pailos. Jorge.” in Folding in Architecture. Rem and Mau. Theories and Manifestoes of Contemporary Architecture. Kipnis.html. Louis. 132-193. No102 ISS: 00038504 pp:8-15. ed. Verschaffel. Anthony.” in Kindergarten Chats and Other Writings.” OMA: The Monacelli Press. Kropf. Jeffrey.L.XL. 202-213. ISBN 13 978-0-470-01469-1 (378 pages). Koolhaas. 2010. 119-145. Rudolph. ISBN 0-486-23812-1 (252 pages). “Villa dall’Ava. Michael.eu/projects/1991/villa-dall-ava. Bart. “The Forms of Metabolism. 2003. “Considering Rem Koolhaas and the Office for Metropolitan Architecture: What is OMA. Vidler. Lynn. Sources . Dover Publications. “Architectural Curvilinearity: The Folded. 164.Ayers. (1346 pages). “Towards a New Architecture. pp.” in C. Rotterdam. Paris. Lynn. (183 pages).” Edition Axel Menges. Andrew. Folding in Architecture. Sullivan. 1993. AD Profile 1993. the Pliant and the Supple.M. pp. 1995. Wiley- Academy.” in The Architecture of Emergence: The Evolution of Form in Nature and Civilisation.” NAi Publishers. Inc.” in G. Paul. Greg. 2006. “The Six Determinants of Architectural Form.” in Architecture’s Historical Turn: Phenomenology and the Rise of the Postmodern. John Wiley and Sons Ltd.. (137 pages). xi-xxxv. Weinstock. AD Profile. eds. “The Architecture of Paris: An Architectural Guide. ISS: 00038504 pp:40-49.” A private residence consisting of two apartments and a pool\r\n . “Architectural Intellectuality at the Dawn of Postmodernism. (296 pages).

html.eu/ projects/1991/villa-dall-ava. .Part 2 Photo Credit: OMA. http://oma.

a modern and iconic house that embodies characteristics shared both by 19thC villa and modern villa typologies. thereby making Villa Dall’Ava vicariously reflective of the machine age as well. but also starts to lose its aura as it moves away from the original. but also re-appropriates it in its free state by using only what is useful to him. this reproduction frees the work. note: condition & technique diagrams are overlaid 19thC Villa Derivative 3 19thC Villa Villa Dall’Ava Creation of Aura Loss of Aura Tension Stability Tense Condition TECHNIQUE as reproduction . Le Corbusier’s villa is rich in symbolic values and associations of its time (the machine age architecture) according to Banham. In the case of Villa Dall’Ava. According to Walter Benjamin. the architecture conforms to its site as well. The Villa Dall’Ava is a series of derivative forms and bodies taken from Le Corbusier’s Villa Savoye. which reveals that even through Koolhaas’ attempts at subversion.19thC Villa Villa Savoye 19thC Villa Derivative 1 Stable Condition 19thC Villa Derivative 2 Villa Dall’Ava produces a condition of tension by antagonizing the neighboring 19thC villas & a few of Le Corbusier’s modern versions of the 19thC villa also found in the neighborhood. Koolhaas does not only copy the original. thereby losing the aura of the original but creating a new aura that replaces it. Koolhaas craftily does this through the subversion of Villa Savoye.

This privacy is now succeeded by an extermination of protective spaces. The dynamics of the dwelling as a whole is affected.Private Previous Condition Present Condition For Jean Baudrillard. the idea of the private. thereby transforming them into somewhat public spaces. accumulated. and silent sexual obscenity of former times. Present Condition Previous Condition Public Starting point End point Attached Program Exterminated Private Survived Private Survived Public TECHNIQUE of extermination . where the interior is clad behind fortified stone facades and small windows. is validly represented by the 19thC villas. This process of extermination loosens the perception of domestic spaces for both exterminated and survivors. In Villa Dall’Ava. a forced extroversion of interiority. interior spaces. this idea of forced extroversion is exercised by Koolhaas through the use of transparency. even by a few changes. exposing to the outside the percieved private.

its being there is a difference that affects the existing 19thC villas.1800 19thC Villas Levi Bryant states that the ontic principle is the theory that beings are and become through their differences. and exclusive. where both villa types are subject to revision because of their differences. 1900 WW1 Modernism WW2 Suburbia 1950 Post-Modernism Villa Dall’Ava Construction 1991 Bilbao These differences creates a difference in each villa’s characteristics and is ever changing through time. note: condition & technique diagrams are overlaid 2000 Villa Dall’Ava “Norm” 19thC Villa Historical Influence Cultural Favor TECHNIQUE of Difference . and the latter as rustic. secretive. and have the status of hypotheses subject to revision and rejection. fluctuating across the norm and in between extremes. exhibitionistic. This difference affects the cultural perception of the former as daring. the same applies. and antagonizing. (Bryant) In the case of Villa Dall’Ava and its neighbors. Since Villa Dall’Ava is a stark contrast to its surroundings.

or the glass windows may be slid open. extending the interior space onto the yard. existing in separate times but in the same space.Villa Dall’Ava’s programmatic liquidity relates to this idea of situations. Villa Dall’Ava is revealed as an architecture that is layered with situations. liquidity is achieved and a number of situations arise. aided by architectural boundaries. thereby creating two situations existing in separate times. floor-to-ceiling glass windows that look onto the back yard may be covered by sliding curtains to create an intimate interior space. morning piano practice study christmas eve living room 4:30pm 12:00am summer afternoon tea break living room Space (extended space) Situation Space SPACE as Collage Time . This incorporates the aspect of time due to the Villa’s flexibility for change. its transparent. For example.after a 6 pack bathroom after a big meal bathroom 3:00am 3:00pm 8:00pm late night deadline study 10:00am Tom McDonough writes about the Situationists having practiced montage aesthetics and the construction of situations due to their interest in a vocabulary of liquidity and the allowance of the fourth dimension of time to dissolve built form. Through the mechanics of various boundaries.

Koolhaas deliberately allows for the human body. not just to intrude. the tall.The Villa Dall’Ava embraces Bernard Tschumi’s concept that there is no architecture without violence. narrow. a rich and dynamic dance between bodies and space. The architecture retorts through the use of compression and release of space. but to gracefully intrude into the villa’s spaces by crafting spaces that reciprocates violation of the human body. labyrinthine. For example. Through the careful consideration of ritual. through a display of violent relationships between body and space. This seemingly disfunctional relationship thereby creates the opposite. in keeping with the dance of tension that Villa Dall’Ava eminates. ramped hallway compresses the flow of circulation before it releases and emerges onto the living room looking out into the back yard. Compression Violence Body Space SPACE Violent . Koolhaas weaves domestic life into the architecture by creating smooth flowing circulation paths that branch into domains.

dining room pool living room bedroom kitchen bathroom According to Martin Heidegger.Spaces rough smooth opaque transparent enclosed open interior exterior Villa Dall’Ava Shared Program 19thC Villas Spaces rough bedroom bathroom living room kitchen dining room pool smooth opaque transparent enclosed open interior exterior The villa acts not just as an object but as a frame within its context. but also delineates the spaces of its neighbors. Found spaces Boundaries pool living room dining room kitchen bedroom bathroom Joined spaces Boundaries SPACE as Locale . This framing is also a record for the cultural change in Parisian Villadom. a result of both villa types framing each other. the Villa sustains its intent of tension and antagonization through various implementation of boundaries. It provides a counterpoint by which the surrounding context can be analyzed. where something begins its essential unfolding. For example. a move away from the intense privacy of the past. These boundaries not only delineate spaces within and around the Villa. As a counterpoint. These spaces are freed within a boundary. Villa Dall’Ava’s transparency is a counterpoint to the neighboring19thC villas’ opaqueness. a locale makes space for a site through a founding and joining of spaces.

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