II

One can however reinterpret the plan as an orthogonal layout; this shows that the subtleties of Le Corbusier's plan seem to have derived from a distortion of a parallel wall layout. The drawing below shows the ground floor of the Pavillon Suisse 'straightened out'. In this version the block of student accommodation forms one of the parallel walls, and the wall at the left of the plan the other. Between them are other walls, framing the stair and the entrance, and dividing the rooms of the director's flat and office.

By comparing this straightened version with Le Corbusie-r's own plan, one can see what he gained by deviating from the parallel grain. This is an example of a subtlety of layout doing more than one thing at once. One effect is that there is more space for the private accommodation. Also the curve of the

wall tends to turn the lines of sight of the private accommodation, and of the common room, away from the block of student rooms. In addition the reception desk is turned more towards the entrance, and the stair is given a more sculptural curved form in which lines of passage interact with lines of sight. Finally, Le Corbusier takes advantage of the curve to make a bench seat, along the glass wall of the entrance of the common room, more sociable.

Le Corbusier experimented with concave as well as convex deviations from the parallel. Earlier than the Pavillon Suisse, in the early 1920s, he designed a house for a Monsieur La Roche. It stands at the end of a cul de sac in northwest Paris. On its first floor, supported above the ground on a short wall and three columns, he designed a gallery (left), in

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