LC2015 - Le Corbusier, 50 years later

In August 1965, Le Corbusier, recognized as the most important architect of the twentieth-century, passed away in the Mediterranean Sea waters. For this reason, the Architectural Design Department at the Polytechnic University of Valencia, with the support of the Le Corbusier Foundation in Paris, promotes this international conference in Valencia.

Le Corbusier was one of the most prolific architects in the creation of links between ideas and images, between visual arts and architecture, between history and modernity. The power of his ideas was continually being tested and confirmed by his architectural work. In his projects, writings, paintings and sculptures he worked out different visions of what should match architectural modernity, which drew on a personal background built upon diverse ideological references. If there is any outstanding feature in his career, it is the transversal condition of his creative work. This idea of transversality enables us to open this conference to artists, historians, book publishers, photographers, thinkers and, of course, architects.

URI permanente para esta colecciónhttps://riunet.upv.es/handle/10251/84541

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  • Item type: Capítulo de libro , Access status: Abierto ,
    La Villa Sarabhai. La riqueza de lo ambiguo
    (Editorial Universitat Politècnica de València, 2016-03-03) García González, Andrea; Mas Llorens, Vicente; Santatecla Fayos, José; Departamento de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura; Grupo de Investigación en Arte y Arquitectura Contemporánea
    [EN] Villa Sarabhai is considered by many critics to be a paradigm of "architecture femelle", because it absorbs the setting and has vaulted spaces, which are elements associated with a rustic, folkloric, and even primitive, architecture. However, the evolution of the project shows that Le Corbusier did not intend to integrate the villa into the landscape or pay tribute to traditional architecture. Le Corbusier kept evolving. He added new twists to his consolidated architectonic strategies and defied classification: he generated a free plan by using walls; he transformed the garden terrace from a room without a ceiling into a prairie; and, instead of laminating the space in vertical, he laminated it in horizontal. Nevertheless, the aim of his architecture remained constant since the 1920s, generating a permanent feeling of bewilderment. Inside Villa Sarabhai, visitors are not able to confirm if they are in a building which is anchored to the ground, or in one which is resting on it; in an orthogonal construction or in a vaulted one; up or down; inside or outside; not even sure whether what they perceive is real or a representation of reality. The ambiguity becomes the means for reaching the architectonic richness.
  • Item type: Capítulo de libro , Access status: Abierto ,
    Búsquedas para el establecimiento de una relación armónica con el paisaje. Dos exploraciones paralelas
    (Editorial Universitat Politècnica de València, 2016-03-03) Mejía Vallejo, Clara Elena; Deltell Pastor, Juan; Departamento de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura; Grupo de Proyecto Arquitectura
    [EN] The projects for Sainte-Baume and Cap Martin continue a line of investigation previously undertaken by Le Corbusier into medium-density housing built with load-bearing walls, such as the Maisons Loucheur (1929), Maisons Murondins (1940), Maisons pour Maîtres et Contremaîtres for the S.P.A. (1940), and the Unités Transitoires (1944). However, these two later projects signal a new direction—focused on the association of residential units to form a coherent and unified whole, and on analyzing their relationship with the surrounding landscape. Alongside his ongoing reflection on metrics and the optimization of interior layouts, Le Corbusier worked intensively on sectional studies, seeking appropriate ways for the architecture to connect with the ground, and to establish both a physical and visual dialogue with the immediate and distant natural environments. In parallel, there emerges a deeper inquiry into the material definition required to support this relationship. From these foundations, a multi-layered dialogue is constructed, involving reflections on form and proportion, materiality and constructive syntax, and, ultimately, on the desired relationship between humanity and nature.
  • Item type: Capítulo de libro , Access status: Abierto ,
    Criterios de combinación de colores para la arquitectura en Salubra I: estudio de tonos
    (Editorial Universitat Politècnica de València, 2016-03-03) Serra, Juan; Llopis Verdú, Jorge; Torres Barchino, Ana María; Giménez Ribera, Manuel; Departamento de Expresión Gráfica Arquitectónica; Escuela Técnica Superior de Arquitectura; Instituto Universitario de Restauración del Patrimonio; Centro de Investigación en Arquitectura, Patrimonio y Gestion para el desarrollo Sostenible
    [EN] We have carried out a new study of the color combinations selected by Le Corbusier in the ‘claviers’ for the Salubra wallpaper company in 1931, by analyzing them in the Natural Color System NCS, which allows us to understand the perceptive variables of colors (hue, blackness and chromaticness) as well as their combination criteria. In this paper, the selected hue ranges are discussed, and those absent ones. We aim to find out the underlying order in the color combinations by studying the similarities and contrasts of their hues in NCS. We demonstrate graphically some principles in Le Corbusier’s color preferences, such as the usual resource of contrasting cool with warm colors, something slightly different to the traditional contrast of complementary colors. The complete work has been published in Color Research and Application © Wiley Periodicals. Color combination criteria in Le Corbusier's Purist architecture based on Salubra claviers from 1931.
  • Item type: Capítulo de libro , Access status: Abierto ,
    Maisons Jaoul, confort higrotérmico y su percepción en la arquitectura de tipología unifamiliar de Le Corbusier
    (Editorial Universitat Politècnica de València, 2016-03-03) Martin-Fuentes, Daniel Vicente; Departamento de Expresión Gráfica Arquitectónica; Escuela Técnica Superior de Arquitectura
    [EN] Trying to achieve a better understanding of the higrothermic performance of The Maisons Jaoul of Le Corbusier, they are studied from different approaches: theoretical, empiric, numeric and perceptual. The aim is to understand profoundly this emblematic building of the domestic architecture of the XX century. For that, the study analyses the project, but also compares and contrasts a series of data coming from the two houses which have a very similar volume and compactness but orthogonal orientation to finally take account of the perception of the actual inhabitants. Conclusions are revealing and strengthen the idea of how exceptional the Maisons Jaoul are in the architect's production.
  • Item type: Capítulo de libro , Access status: Abierto ,
    El epígono de El Modulor: La serie amarilla en las investigaciones de Rafael Leoz
    (Editorial Universitat Politècnica de València, 2016-03-03) López Díaz, Jesús; Ruiz Suaña, José Antonio
    [EN] The Spanish architect Rafael Leoz de la Fuente (1921-1976) before finishing his studies in 1955, began to collaborate with other partners in the realization of social housing projects. His experience in the work of the Poblado Dirigido de Orcasitas, led him to initiate a research process to which he dedicated much of his work. The theoretical works of the architect had an important dissemination and international impact, to a large extent, due to his friendship with Le Corbusier and Jean Prouvé. Personal tuning and coincidence of interests between them, led Le Corbusier to propose to Rafael Leoz as a member of the Cercle d'Études Architecturales in Paris in 1962. Within this ambitious project of theoretical research Rafael Leoz established two consecutive goals, on one hand, the abstract spatial planning, to later organize and build a specific space in which people dwell. From publications of Rafael Leoz and original documentation of his files, this paper tries to clarify personal and professional relationships between Le Corbusier and Rafael Leoz. Also pretends to establish some links between the Modulor of Le Corbusier and Rafael Leoz investigations. Moreover it will show Leoz’s modular and dimensional proposals from the Yellow Series both as a complement and a result of the Red and Blue series of the Modulor, reaching the development of organizations of social housing
  • Item type: Capítulo de libro , Access status: Abierto ,
    La forme du temps à Moscou
    (Editorial Universitat Politècnica de València, 2016-03-03) Ponce Gregorio, Pedro; Departamento de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura
    [EN] It was around september the second, 1931, on a private letter dispatched by some B. Breslow acting as Comercial Representative of the URSS in France, when Le Corbusier received the invitation to participate in the contest of the one that would be for many the essential building of the country, the Palace of the Soviets in Moscow. A building that for that matter would not only enbodies russian´s working class will, but also should become in the same way, there where the El Salvador cathedral was built, the artistic-architectural monument of the still struggling soviet capital. This and not else is the point in which the actual "shape of the time" it is enrolled: on the developed by the project inside the number 35 of the rue de Sèvres in Paris, in order to dust off part of that creative trace veiled by history, this is, to walk back along the line of the Soviets.
  • Item type: Capítulo de libro , Access status: Abierto ,
    INFLUENCIAS PINTORESCAS DE LE CORBUSIER EN EL PABELLÓN BRASILEÑO DE OSAKA´70
    (Editorial Universitat Politècnica de València, 2016-03-03) García-Gasco Lominchar, Sergio
    [EN] Iñaki Abalos develop in “Atlas pintoresco” a research about Modern Movement and its relationship with nature and landscape. The author provides an analysis which unmask the picturesque elements in the work of Le Corbusier. These elements, even being "latent" in its earliest theoretical postulates, gradually and "almost secretly" will take over his way of projecting to conquer all scales of architecture in its final stage. Some of the architectural features of the so-called Paulista School seems to have influences of the later work of Le Corbusier. Paulo Mendes pavilion for the World Expo Osaka'70 can serve to establish an analysis of some of the picturesque aspects of Le Corbusier underlying brazilian architecture in general and Paulo Mendes in particular.
  • Item type: Capítulo de libro , Access status: Abierto ,
    Team10 out of CIAM: Sobre el papel de Le Corbusier. Identificación y legado
    (Editorial Universitat Politècnica de València, 2016-03-03) Campos-Uribe, Alejandro; Departamento de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura
    [EN] Albeit different versions of Team 10 birth and dissolution of CIAM exist, all of them coincide in its disruptive nature. This article tries to prove, far from the canonical representation of the end of CIAM and by studying the documents that went through Le Corbusier’s atelier in Paris; that many of the ideas of Team 10 were already present inside CIAM and that Team 10’s creation had the support of several of CIAM’s founding members. It is especially important Le Corbusier’s personal backing. Le Corbusier, who through letters and drawings understood very soon that it was the time to step aside and give way to the new generation. In fact, it was vital to the creation of Team 10, without whom it would not have been possible.
  • Item type: Capítulo de libro , Access status: Abierto ,
    HABITAR EL AIRE
    (Editorial Universitat Politècnica de València, 2016-03-03) Perez Rodriguez, Marta; Departamento de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura
    [EN] Into the ideas enunciated by Le Corbusier there are two paths starting apparently from parallel and opposite worlds, but finally coming to converge in a same place. With the construction of the “Pavillon de l’Esprit Nouveau”, in 1925, it is defined the new outside space linked to modern life. This is given simultaneously from the collective with the “immeuble-villa”, and from the individual, la villa, although both succeed as coexistent processes. This emptiness was called by Le Corbusier “jardin suspendu”, and the order to define it, will be the same used to build the whole system. From inside, this garden will fail to be an outside to be conceived from the same mechanisms that work into the house. So, what is this space? It is simply what Le Corbusier designed, a rich space duality. In the other side, and opposite the house, an outside emerges always, like a boundless extent of the natural. Which way can it be arranged? How can it be linked again to the human? It exists only one possible answer, one unique gesture, the architectonic one, which emerges with the construction of a plan. With it, vertical and horizontal positions arise: those lines that link again the man with his laws. With it, this emptiness doesn’t exists anymore, it has changed becoming in a new space. What is this space? Again, a rich ambiguity.
  • Item type: Capítulo de libro , Access status: Abierto ,
    Entre les lignes ou de bouche à l'oreille. Le Corbusier en roumain
    (Editorial Universitat Politècnica de València, 2016-03-03) Ponta, Radu
    [EN] The paper focuses on Le Corbusier as author of books and looks at his inverted image such as it is developed in the Romanian architecture culture. The idea arises from the curious fact that the professional literature seems to have programmatically avoided him. In this paper, the Romanian author Le Corbusier will be the uneven sum of three partial images: the first is provided by the reflection of corbusean ideas in the writings of Romanian modern architects between the two World Wars. The second is given by the collection of Le Corbusier's writings, translated and edited by Marcel Melicson in 1971. And finally the third is that of the 1987 centennial exhibition hosted by the Bucharest architecture school. Together these three images testify to the peculiar shapes that Le Corbusier's ideas take in the recent Romanian professional literature and also to the subtle displacement of meaning that these "translations" suggest.
  • Item type: Capítulo de libro , Access status: Abierto ,
    Le Corbusier Roof-Spaces
    (Editorial Universitat Politècnica de València, 2016-03-03) Como, Alessandra; Smeragliuolo Perrotta, Luisa; Forni, Isotta
    [EN] From technical solution, the roof-garden became a key spatial theme within Le Corbusier’s work and creativity, evolving to become a fundamental component of his vision for the contemporary city. The roof garden is an open space in which to cultivate both the mind and body, and to experience a direct relationship with nature; through plants, the sky, and the sun, the urban and the natural world are combined together in the surroundings. This article follows the principal steps of Le Corbusier’s research, starting with his initial experimentation in his own apartment studio in rue Nungesser-et-Coli, through to the complex development at the Unité. It follows how the roof garden becomes an optical device toward the horizon and a strong evocative instrument. The relationship with the nature and the horizon are the key of readings of several selected design projects which demonstrate at the same time the continuity of the research and the richness of the variations on the theme itself. The roof garden is one of the most fertile topics of Le Corbusier’s legacy, evident in contemporary architectural developments.
  • Item type: Capítulo de libro , Access status: Abierto ,
    Le Corbusier and São Paulo – 1929: Architecture and Landscape
    (Editorial Universitat Politècnica de València, 2016-03-03) Pianca, Guilherme
    [EN] This article looks into Le Corbusier’s urban proposal for the City of São Paulo, as formulated during his journey to South America in 1929. It highlights the relationship between Architecture and Landscape exposed by Le Corbusier’s plan. This paper sets out to investigate the analysis that the innovative Swiss architect performed of the geography and morphology of São Paulo. It contrasts to the works and plans carried out by technicians and engineers at that time. In order to explain how Le Corbusier’s treatment of nature and landscape differs from them, we study the extent to which Le Corbusier’s plans show design approaches, which were unusual in terms of Western History and Memory. He also looks into the relationship between Le Corbusier’s work, on the one hand, and new technological elements and changes in the visual culture at that time, on the other hand, thus seeking to highlight certain obscure spots within Le Corbusier’s work. This study aims at bringing forward some speculations and methods present in the work of Le Corbusier on cities. It deals with contradictory aspects in Le Corbusier’s work in order to deepen our understanding of contemporary urban problems.
  • Item type: Capítulo de libro , Access status: Abierto ,
    Rem Koolhaas: Le Corbusier through the Looking-Glass
    (Editorial Universitat Politècnica de València, 2016-03-03) Villanueva Cajide, Beatriz
    [EN] The present work aims to recover the part of Le Corbusier´s theoretical production that can be defined as Manifesto to analyze it since its comparison with the analogue written by Rem Koolhaas. Due to the brevity of the present paper it will be focus on the analogies between two main Manifestoes: Towards an Architecture (Le Corbusier, 1923) and Delirious New York (Rem Koolhaas, 1978). The dialectic between these two Manifestoes is summarized in four main points: the intention of the text -rasion d´être-, its structure, the tone they used for the correspondent Manifesto and the relationship with the architectonic work of the authors. As we will see, theoretical and audiovisual strategies are duplicated from the master to the pupil who, on top of that, is able to reinterpret and manipulate them in a way that makes possible for his Manifesto to be considered even more efficient than Le Corbusier´s, at least, in its intention to involve the largest number of people. This is possible thanks to the knowledge that Koolhaas has over media, cinema and latests technologies that allows him to express what could be identified with Le Corbusier´s original ideas but in a contemporary way, so they seem to be brand new and much more understandable for today´s society. In this way, Koolhaas could be understood also as a kind of Le Corbusier living in the world Through the Looking-Glass organized as Lewis Carroll did in his famous book Alice´s Adventures in Wonderland. Through the Looking-Glass and What Alice Found There
  • Item type: Capítulo de libro , Access status: Abierto ,
    THE INEVITABLE ORDER: Revisiting the Calibrated Biomimetics of Le Corbusier’s Modulor
    (Editorial Universitat Politècnica de València, 2016-03-03) Itham Mahajan, Rajini
    [EN] Biomimetics is a philosophy in Architecture that addresses issues not through mimicry but by understanding the rules governing natural forms. Biomimetics has gained popularity in the past few decades but it would be more apposite to state that this philosophy may have had its origins many years previously in the conceptualization of the Modulor, as Le Corbusier strived to unite Mathematics, Physiology & Design. Common knowledge shows that disturbed by application of generic Imperial and Standard systems of measurements, the Modulor was ideated to help perceive the built environment as a physical extension of the human body. Le Corbusier’s attempt to develop a harmonious scale towards the measurement of the absolute has been criticized for adopting industrial efficiency; though alienating human emotion was farthest from Corbusier’s thought. What then is the architectural paradox in comprehending The Modulor as the universal proportioning system- racial differences in anthropometry, mechanizing architectural built forms within and without or simply an apprehension of losing mannerisms in architecture? Trying to unravel the mysteries of nature through analytics of the numbering system, Corbusier was consumed by the all-pervasive need to find answers to eternal questions in scientific spirituality. This paper explores the inevitable order of Le Corbusier’s universe, revisiting the conceptualization of the Modulor, its relevance to architectural philosophies in general and Biomimetics in particular and the universal application of the same as a governing factor in Design methodologies.
  • Item type: Capítulo de libro , Access status: Abierto ,
    Complejidad y contradicción en Le Corbusier
    (Editorial Universitat Politècnica de València, 2016-03-03) Such Sanmartin, Roger
    [EN] In 1966 Robert Venturi publishes Complexity and Contradiction in Architecture. This book represents one of the most serious allegations against the limitations of the modern architecture. Conceived as a visual essay, with a collection of examples from different times and places, the text of Venturi denotes a strong hostility against the functionalist positions of the orthodox Modern architecture. Paradoxically, in the book of Venturi, Le Corbusier appears as the most mentioned architect and the Villa Savoye -by surprise- as the most quoted work. In opposition of the classical view of Le Corbusier’s work, the analysis of Venturi represents a new fresh look and alternative view of his theoretical positions. Through his multiple strategies based on the phenomenology of complexity and contradiction, Venturi discovered the intense and vibrant architecture of Le Corbusier who, without ever renouncing his modern convictions, he didn’t succumb to them.
  • Item type: Capítulo de libro , Access status: Abierto ,
    El lugar del arte en arquitectura. Los “lieux porte-voix, porte-paroles, haut-parleurs” de Le Corbusier en su discurso del Convegno Volta, 1936
    (Editorial Universitat Politècnica de València, 2016-03-03) Chacón, José
    [EN] In 1936 the Convegno Volta took place in Rome and it was dedicated to discuss the relationship between architecture and the figurative arts. Among the participants there was Le Corbusier, who presented a speech where he clearly establishes the fundamentals of the place of art in architecture, a key point in his later Synthèse des arts. After a manifesto of Modern Architecture, Le Corbusier states that in certain exceptional cases there can be “collaboration” between architecture and art, with the scope of “increasing human pleasure”. His attention is placed upon painting, sculpture and design; and as a response he proposes polychromy and “precise and mathematic points” where a “strong and worthy” artist can speak and let his discourse be felt. These places are communicative: “lieux porte-voix, porte-paroles, haut-parleurs”. Although inexistent then, they will be materialized years later in the way of the idea of the Synthèse des arts.
  • Item type: Capítulo de libro , Access status: Abierto ,
    Le Corbusier -hombre y arquitecto- en Cap Martin
    (Editorial Universitat Politècnica de València, 2016-03-03) Martínez Duran, Anna
    [EN] The text reflects the life experience of Le Corbusier in his humble hut of Cap Martin, where he establishes its particular pact with the nature, that finally becomes a pact with his life. The cottage was built in 1952 as an attached room to the snack bar that runs Robert Rebutato, plumber in Nice, fisherman, who met Le Corbusier during his stays in the E 1027. In the following years the architect endorses the site: L'Étoile Mer, its terrace, the carob tree and the work shed. It is the Mediterranean, but also the friendship with the fisherman, which will bind him to this place, until the day of his death on the rocks. This relationship is shown in several murals, including the portraying of the two friends "À l'Étoile de Mer règne l'amitié". The architect works too on some projects in this place: Roq et Rob and Unités de Vacances series. In these last ones Le Corbusier found to stay during his visits to the coast, but after the death of Yvonne in 1957, he chooses not to carry out their projects, and keep staying at Le Cabanon, the minimal cell room, parasitized to L’Étoile de Mer. He decides not to occupy the territory, keeping virgin it, building the minimum to maintain the maximum empty. Some drawings attest to the exchange of properties between Le Corbusier and Rebutato. In exchange to a large wedge of land that includes the cabin, the architect deliveries the Unités de Camping to Robert. So he becomes owner of an extension of rocks where isn’t possible to build anything, in the way to keep the landscape intact and protect its loneliness.
  • Item type: Capítulo de libro , Access status: Abierto ,
    La mirada de Pedro Vieira de Almeida a Le Corbusier: una visión desde Portugal en la segunda mitad del siglo XX
    (Editorial Universitat Politècnica de València, 2016-03-03) Lopes Dias, Tiago
    [EN] Pedro Vieira de Almeida (Lisbon, 1933 – Matosinhos, 2011) is one of the most prominent critics and theorists of architecture in the second half of the 20th century in Portugal. In 1963, he presented at the Oporto School of Fine Arts a thesis entitled “Essay on architectural space”, clearly influenced by the thoughts of Bruno Zevi. Until the Carnation Revolution (1974), he will combine his professional practice as an architect with an intense critical activity, developed mainly in newspapers and cultural magazines. Since his early work, a remarkable ability to use innovative concepts in the critical analysis of buildings have been put forth, with major consequences in his historiographical studies, developed throughout his life through publications or retrospective exhibitions on key architects. The following paper proposes a reflection on the legacy of Le Corbusier based on Vieira de Almeida’s theoretical work, linking some texts written between 1965 and 1970 with his research carried out in his last years of life. This diachronic study highlights the central role of Le Corbusier in Vieira de Almeida’s critical approach to rationalism, by means of notions as: “criticism as a basic condition of creation”, poetic-symbolic and mythical aspects of architecture, or the more instrumental concept of “thickness”.
  • Item type: Capítulo de libro , Access status: Abierto ,
    Le Corbusier. Arquitectura urbana: Millowners Association Building y Carpenter Center
    (Editorial Universitat Politècnica de València, 2016-03-03) Fontana, Maria Pia; Mayorga, Miguel
    [EN] The work of Le Corbusier is a comprehensive exploration of urban and architectural solutions which show continuity relationships between city and building, architecture and environment, interior and exterior space throughout elements of integration and / or mediation used by the Swiss master like ramps, lower volumes, incoming and outgoing, open floor plans and thick facades. The Association Millowners Building (1954) located in the city of Almedabad in India, and the Carpenter Center for Visual Arts at the Graduate School of Design of Harvard (1961 to 1964) located in the city of Cambridge, in the United States, are two buildings that have some characteristics in common, like a basic volume, use of reinforced concrete, using similar facade elements and a projected ramp gives a recognizable and distinctive character of both buildings. Different authors compared the two buildings as Giedion 1967 or 1975 Frampton, and have stated that one has been based on the other. However, a comparative analysis verifies that although the ramp is the most obvious common element, it plays a very different role in the definition of urban relationships of each of the buildings with their immediate environment and the city. Moreover other elements configure crucial aspects in the relationship between the buildings and the urban space creating architectural solutions and interesting relations that are crucial for the definition of the relationship with the environment and the urban character of every building.
  • Item type: Capítulo de libro , Access status: Abierto ,
    Brise-soleil: principios y transformación en la obra de Le Corbusier
    (Editorial Universitat Politècnica de València, 2016-03-03) Morel Correa, Silvia; Anzolch, Roni; Pedrotti, Renato
    [EN] Le Corbusier attitude on the epidermal surface of buildings changes when he realises, in the 1920s, that the problems caused by membranes of insufficient thick with large glazed areas. During the 1930s decade, Le Corbusier worked mainly in warm countries, and the invention of the brise-soleil seemed to be the answer to the problems of heat gain. The brise-soleil, in the work of Le Corbusier, played two important roles: one as an element of adaptation to the climate and the other as an element of composition of facade. The aim of this paper is to rescue the importance that Le Corbusier gave to this element, so it treats the evolution and transformation of the brise-soleil, in his own work. The methodology of the work consists of an analysis of works chosen for their relevance on the issue from an environmental point of view, based on the studies of Almodovar, D. Siret and Requena, considering the solar orientation and solar shading in the winter and summer solstice (Le Corbusier argued that there were at least two hours of solar penetration in winter). In the same way, from the architectural point of view, it treats aspects such as the architectural form, integration in the whole, insert on the facade and compositional importance.