Introduction
This essay explores the pivotal role of space in architecture, tracing its historical significance and examining contemporary attitudes towards space-making. It argues that while space remains the fundamental constituent of architectural practice, recent focus has shifted towards ancillary disciplines such as sociology, politics, and economics, often at the expense of spatial exploration. The discussion begins with a concise historical overview of space in architecture, followed by an analysis of contemporary neglect in the field. It then investigates the spatial poetics of two iconic modernist works—Le Corbusier’s Villa Savoye and Mies van der Rohe’s Barcelona Pavilion—to understand how these architects introduced innovative ideas about human spaces. Finally, the essay considers how these historical lessons can inspire current design processes. By blending historical analysis with case studies, this work aims to advocate for a renewed focus on space as the essence of architectural ideation.
The Historical Narrative of Space in Architecture
Space has been the bedrock of architectural thought since antiquity, serving as both a functional and symbolic element. In ancient Greek architecture, for instance, the orchestration of space in temples like the Parthenon (447-438 BC) was not merely practical but also spiritual, designed to evoke a sense of order and divine connection through carefully proportioned colonnades and open interiors (Lawrence, 1996). Similarly, Roman architecture, as seen in the Pantheon (c. 126 AD), manipulated space to create awe through vast domes and oculi, blending engineering with experiential design. During the Gothic era, cathedrals such as Chartres (c. 1194-1220) pushed spatial boundaries vertically, using ribbed vaults and flying buttresses to create light-filled interiors that symbolised transcendence (Ackerman, 1986).
The Renaissance marked a renewed intellectual engagement with space, influenced by perspectival theories and humanist ideals. Architects like Brunelleschi, through works such as the Florence Cathedral dome (1436), reimagined spatial clarity and harmony, foregrounding mathematical precision (Ackerman, 1986). By the 18th and 19th centuries, space became intertwined with social functions, evident in the grand boulevards of Haussmann’s Paris, which prioritised circulation and public interaction over mere aesthetics. Thus, historically, space was not a passive backdrop but an active medium through which architects expressed cultural, religious, and social values.
Contemporary Neglect of Space in Architectural Discourse
In recent decades, however, architectural discourse has arguably drifted from its spatial core. The rise of interdisciplinary approaches, while enriching the field, has often overshadowed space-making. Concerns with sustainability, urban sociology, and political economy have taken precedence, reflecting a broader societal shift towards problem-solving over poetic exploration. For instance, much contemporary architectural education emphasises parametric design and digital tools, often prioritising technological innovation over the experiential qualities of space (Frampton, 1995). Furthermore, global economic pressures have led to a focus on cost-efficiency and rapid urbanisation, resulting in formulaic designs that neglect spatial nuance in favour of functionality.
This shift is not without critique. Scholars like Kenneth Frampton argue for a return to “critical regionalism,” advocating for designs rooted in spatial and cultural specificity rather than generic universalism (Frampton, 1983). Indeed, the neglect of space risks diluting architecture’s unique disciplinary identity, reducing it to a mere subset of engineering or social planning. While interdisciplinary perspectives are valuable, they must complement rather than displace the primacy of spatial thinking.
Spatial Poetics in Le Corbusier’s Villa Savoye
Turning to modernist pioneers, Le Corbusier’s Villa Savoye (1929-1931) offers a profound lesson in spatial innovation. Located in Poissy, France, this residential design epitomises Le Corbusier’s “Five Points of Architecture,” particularly through its use of pilotis to elevate the structure, creating a fluid dialogue between internal and external spaces (Curtis, 1986). The villa’s open floor plan rejects traditional compartmentalisation, allowing inhabitants to experience a continuous flow of space, enhanced by horizontal ribbon windows that frame the surrounding landscape.
Le Corbusier’s approach to space is poetic in its orchestration of movement; the central ramp guides users through a choreographed journey, transforming circulation into a spatial narrative. This “promenade architecturale” embodies his belief that space should be experienced dynamically, shaping human perception and interaction (Le Corbusier, 1923). Moreover, the villa’s geometric purity and white surfaces evoke a sense of clarity and universality, redefining domestic space as a modernist ideal. For contemporary designers, Villa Savoye serves as a reminder that space is not static but a lived, temporal experience that can inspire emotional and intellectual responses.
Spatial Innovation in Mies van der Rohe’s Barcelona Pavilion
Similarly, Mies van der Rohe’s Barcelona Pavilion (1929), designed for the International Exposition in Spain, exemplifies spatial minimalism and precision. Often described as a manifesto of modernist architecture, the pavilion uses open plans and transparent materials—glass, steel, and polished stone—to dissolve boundaries between inside and outside (Tegethoff, 1985). Mies’ concept of “less is more” manifests in the pavilion’s uncluttered spatial arrangement, where walls serve not as barriers but as planes that guide movement and frame views.
The pavilion’s reflective surfaces and strategic placement of elements, such as the iconic Barcelona Chair, create a meditative spatial quality, encouraging contemplation rather than mere occupation. Mies introduced the idea of “universal space,” where fluidity and adaptability allow for multiple interpretations of use, challenging conventional notions of fixed human environments (Tegethoff, 1985). This approach can inspire contemporary architects to prioritise flexibility and minimalism, crafting spaces that accommodate diverse human needs while retaining aesthetic integrity.
Lessons for Contemporary Design Processes
Understanding the spatial poetics of Le Corbusier and Mies offers valuable insights for readdressing current design practices. First, their work highlights the importance of experiential design; space should engage users on sensory and emotional levels, not merely fulfil utilitarian needs. For instance, incorporating elements like natural light, movement, and material tactility—hallmarks of both Villa Savoye and the Barcelona Pavilion—can reinvigorate modern architecture’s often sterile outputs.
Moreover, their emphasis on fluidity and openness challenges today’s trend towards over-compartmentalisation driven by economic constraints. By adopting modular or flexible designs, architects can create spaces that adapt to evolving human needs, much like Mies’ universal spaces. Finally, their integration of context—whether Le Corbusier’s dialogue with the landscape or Mies’ interplay with reflections—reminds us that space is relational, shaped by its cultural and environmental surroundings. Therefore, contemporary design processes should prioritise contextual sensitivity, ensuring that space remains a meaningful interface between humans and their world.
Conclusion
In summary, space has historically been the essence of architecture, evolving from a symbolic and functional entity in antiquity to a poetic and experiential medium in modernism. However, contemporary architecture has somewhat neglected this core in favour of interdisciplinary concerns, risking the discipline’s unique identity. The spatial innovations of Le Corbusier’s Villa Savoye and Mies van der Rohe’s Barcelona Pavilion demonstrate how space can be a dynamic, human-centric element, offering lessons in movement, flexibility, and contextual engagement. By reintegrating these principles, architects today can address complex design challenges while restoring space to its rightful primacy. Ultimately, understanding and applying historical spatial concepts not only enriches design processes but also ensures that architecture remains a profound expression of human experience.
References
- Ackerman, J. S. (1986) The Architecture of Michelangelo. University of Chicago Press.
- Curtis, W. J. R. (1986) Modern Architecture Since 1900. Phaidon Press.
- Frampton, K. (1983) Towards a Critical Regionalism: Six Points for an Architecture of Resistance. In H. Foster (Ed.), The Anti-Aesthetic: Essays on Postmodern Culture. Bay Press.
- Frampton, K. (1995) Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture. MIT Press.
- Lawrence, A. W. (1996) Greek Architecture. Yale University Press.
- Le Corbusier. (1923) Towards a New Architecture. Dover Publications.
- Tegethoff, W. (1985) Mies van der Rohe: The Villas and Country Houses. MIT Press.
