The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Volume XLII-5/W1, 2017

GEOMATICS & RESTORATION – Conservation of Cultural Heritage in the Digital Era, 22–24 May 2017, Florence, Italy

VILLA STEIN-DE-MONZIE BY LE CORBUSIER (1926-1928):

CONSERVATION STRATEGIES BETWEEN RESEARCH AND EDUCATION

C. Balletti, S. Di Resta, P. Faccio, F. Guerra , M. Pandolfo

IUAV University of Venice, Dept. of Architecture Construction Conservation

(balletti, sara.diresta, paolo.faccio, guerra2, marta.pandolfo)@iuav.it

Commission II, WG II/8

KEY WORDS: Le Corbusier, modern heritage, conservation, laser scanning, photogrammetry

ABSTRACT:

The paper focuses on the educational experience produced during the International Workshop, organized by the IUAV University of
Venice and dedicated to both the understanding and conservation of the maison Stein-de-Monzie “Les Terrasses”, an emblematic
work of Le Corbusier’s early career period.
The villa, located in Garches (Vaucresson), was designed and built between 1926 and 1928, the exact same years when Le Corbusier
was elaborating the “Five Points of Architecture” (1927): the building is the first complete application of these principles, while it
represents an evolution of the maison Dom-Ino’s structural scheme.
Nowadays, both the interior spaces and the external surfaces of the maison Stein-de-Monzie show profound changes caused by
problematic events leading to the present-day appearance of the building, in many cases misrepresenting the original design goals.
The building’s integrated instrumental survey (laser scanning, photogrammetry, topography) allowed to document and understand
the history of the villa beyond the mere and well known project phase, contributing to the definition of the actual construction
characteristics and to ascertain both the material consistency and the state of conservation. The knowledge acquisition process –
supported by survey data – constitutes a prerequisite to outline the design of new solutions, which could effectively express the
cultural choices connected to the conservation of the Twentieth-Century built heritage.

Villa Stein-de-Monzie, also known as Les Terrasses, together to the First of the Five Points, was realized with reinforced
with Villa Savoye, likely represents the most paradigmatic work concrete pillars with a section of 20 cm, with a maximum pace
in Le Corbusier’s career. Villa Stein actually represents the of 5 m. The pillars, rearward from the interior of the façades,
maturity and the accomplishment of the formal, architectural «crash with the solution of the joists of the reinforced concrete
and conceptual elements experimented by Le Corbusier during slabs, which, not being homogeneous in the two directions, does
the ten years preceding the construction. not completely corresponds to Le Corbusier’s poetical
Art collector Michael Stein and Madame de Monzie, contracted ambitions» (Fanelli G., Gargiani R., 1998; authors’ translation).
a young Le Corbusier with the idea of a building where the Therefore, the load bearing structure is independent from the
architect could combine comfort, luxury and formal research. other components of the constructions in order to allow a free
With this premise, the architect designed the building with a articulation of the layout.
clear architectural scheme which could define a housing space As stated in the Second Point, on the Southern side of the
totally free from its structural framework. roofing, a terrace would have been realized protected by walls
Although the most renown customers were the Stein, the house on the two far ends. Accessible by means of a winding staircase,
was built on the Chemin plain, an estate owned by Gabrielle de the panoramic viewpoint allowed to enjoy a view of Paris in the
Monzie, to whom most of the official documentation was distance. The metal staircase with its balustrade recalls the deck
addressed (Benton T., 2008). When the building was of a ship, reflecting Le Corbusier’s appreciation of naval
commissioned, Le Corbusier was still little known; the decision architecture. The Third Point defines the choice to design a free
in favor of the architect was jointly taken by Michael Stein and interior plan: clear of load bearing walls, the internal space
Gabrielle de Monzie, who contributed to a great portion of the including the floor and the roof would have allowed any internal
building’s costs. partition. The architect chooses to modulate the pillars
From the dates reported on the archival sources we could distribution pace following an A-B-A-B-A pace, allowing a
suggest that Le Corbusier started to draft the project during clear separation between the main settings and the service
spring of 1926 and produced the executive papers during the rooms. The distributional scheme proceeds on the basis of a
summer of the following year. defined program: at the ground floor, the main entrance and the
Precisely in 1926, Le Corbusier elaborated his famous Five large living room, the entrance area and the secondary
Points of Architecture, publishing the volume in two versions; restrooms, the garage and the technical room. The second floor
one edited by Alfred Roth for the Werkbund’s exhibition in (Fig. 1) should have hosted the living room with the library, the
Stuttgart, within his essay Zwei Wohnhäuser von Le Corbusier dining room and the kitchen. On the third floor were located
und Pierre Jeanneret, and the second one on the magazine two bedrooms with private bathrooms, while on the penthouse
L’Architecture Vivante. were four bedrooms, two of them supplied with a bathroom.
The villa in Garches actually represents the first emblematic Almost all the partitions follow the orthogonal grid of the pillars
application of these principles. Differently from the villa La which are often incorporated into the dividing walls. The curved
Roche-Jeanneret, which was realized just three years before and walls, common to all floors, recall the pure and plastic shapes
was still employing load bearing masonry, villa Stein, according represented in Le Corbusier’s paintings of the same period.

This contribution has been peer-reviewed.

doi:10.5194/isprs-archives-XLII-5-W1-615-2017 615
 The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Volume XLII-5/W1, 2017
GEOMATICS & RESTORATION – Conservation of Cultural Heritage in the Digital Era, 22–24 May 2017, Florence, Italy

Finally, in accordance to the Fourth and Fifth Points, the

façades of the villa would have visually and physically
expressed the Le Corbusier’s idea of a free façade characterized
by long strips of ribbon windows.
Therefore, the villa shows construction aspects which are
oriented to allow the creation of a machine d’habiter able to
free-stand the structural framework. The building was built by a
team of 18 entrepreneurs (Ward J., 1984) acting as executive
mediators between the ideas of the architect and the best
opportunities to fully realize the building. Fundamental in this
process was the Parisian engineer George Summer, who was
specialized in béton armé constructions.
Le Corbusier paid great attention to the slab’s characteristics:
«The general skeleton of the building will be made by a pan de
béton armé – pillars and slabs. The slabs will have no ribs in
sight» (Le Corbusier, Jeanneret P.; authors’ translation).
At the core of the Swiss architect’s thoughts were not the Figure 1. Second floor slab, scale 1:50,
construction techniques (although fundamental instrument for March 29, 1927 [FLC 10548]
achieving the planning goals), instead he believed essential to
obtain «straight slabs in their lower face allowing to build free
partition walls without the requirement to overlap one over the
other» (Le Corbusier, 1929).
Summer was assigned the excavation of the parcel on the 15th
April 1927, while the same day he sent Le Corbusier one of his
eleven structural plans (Avenue Junot, Propriété de Madame de
Monzie, slabs and foundation plans, drawings, FLC 10547-548-
549-560-563-575 576-578-561-515-564).

Beyond the original project

Differently from other works, perfect expression of the
International Style, Les Terrasses is far from appearing a simple
reinforced concrete monolith. Clearly visible in the first
buildings of Le Corbusier, the purist idea of the Swiss architect
is actually confirmed in Vaucresson through a clear will to
conceal the construction characteristics of the building below a
smooth skin of painted plasters: in the architect’s idea, a
skeleton of reinforced concrete (Fig. 2) defined by a frame of Figure 2. Northern façade, building site [FLC L1-10-8]
pillars and straight slabs was aimed to enable a free articulation
of the plan.
The outcome was reached thanks to a new patent by Summer
(Summer G., a). He invented a process that enabled to pour the
slabs directly on site with a concavity to the top, which were
probably finished with bricks. The historical images from the
building site show the composition of this slab realized with
concrete beams poured on site (Fig. 3). Further archival
documentation (Building site photography, FLC L1-10-6)
testifies how the walls of the villa had been realized with hollow
bricks and mâchefer concrete blocks of various dimensions,
successively encased by gypsum plaster (for internal surfaces)
and by ciment pierre – specifically ciment simili-pierre Poliet &
Chausson – for the façades (Le Corbusier, Jeanneret P.,
Propriété de Madame de Monzie. Description Générale,
typescript, FLC H1-4-24/29). No insulation was expected to
address the problem of infiltration of rainwater on the terraces,
nor to contain the issue of heat loss from the walls.
Although at the end of the 1920s Le Corbusier was committed Figure 3. Internal view of the building site, first floor
to various other projects, during the construction of Villa Stein [FLC L1-10-3]
he visited the site several times. In some occasions, the visits
brought to relevant changes on the original project’s idea. In In terms of the project definition, the higher contribution of the
fact, the building plans register changes, afterthoughts and Summer company regarded the choice to increase the section of
sometimes revisions, some of them deriving from the relation the pilotis north to the ground plan and, on the second floor, the
with the Summer construction company. change of their section to an airplane wing shape, most likely to
The typescript «Mémoire n.1» (Summer G., b), compiled by the improve the strength in coincidence of the large tie-beams for
company in March 1928, reports the removal of the circular the suspension of the external entrance roof (Rue de Sèvres,
opening on the external terrace in correspondence to Madame Stein de Monzie, details of the entrance roof, drawing 872, FLC
de Monzie’s bedroom. This was probably due to the excessive 10443).
space taken by the opening.

This contribution has been peer-reviewed.

doi:10.5194/isprs-archives-XLII-5-W1-615-2017 616
 The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Volume XLII-5/W1, 2017
GEOMATICS & RESTORATION – Conservation of Cultural Heritage in the Digital Era, 22–24 May 2017, Florence, Italy

It needs to be stressed that the position of the tie-beams of the

entrance roof (Fig. 4) does not allows a continuity of the
construction axes between the two structural elements, leaving
to assume a discrepancy in the relationship between the
structure’s geometry and the rhythmic composition of the
façade. Another important change was finally represented by
the doubling of the facade’s little pillars, which does not appear
in the executive plan for the first version of the project.
The villa was completed in 1928 and inhabited by the Stein
family for seven years. In opposition to the architect’s will, the
interiors were furnished with their oriental textiles, Italian
Renaissance furniture and their art collection.
In 1934, Michael Stein, concerned about the events that would
lead to the outbreak of the Second World War, decided to sell
the villa.

A significant transformative path

In 1935, the villa was bought by a Norwegian banker, known as Figure 4. Detail of the Northern façade, current state
Mr. Steen. The new owner contacted the Swiss architect to [Di Resta, 2015]
realize a new marble covering for the façades (Rue de Sèvres,
Stein de Monzie, Northern and Southern façades with marble
covering, drawing, FLC 10529-530. The new covering project
was never realized), a fireplace (Rue de Sèvres, Stein de
Monzie, plan and section of the chimney, drawing, FLC 10457),
new steel and glass furniture (designed by Charlotte Perriand)
and to resolve a series of construction defects arising only seven
years after the inauguration of the building. During WWII the
villa was completely abandoned (Ward, 1984). In 1959, the
heiress of the Société Immobilier de Saint Cloud, Dorethee
Kieling, decided to subdivided the villa in four smaller
apartments, one on each floor, thereby breaking the unity of the
system and significantly altering the distribution features.
Nowadays, the internal spaces of the villa, as they were defined
by the original project, have partially disappeared precisely
because of the subdivision of the villa in apartments. If, from
the outside, the perception of the building remains unvaried,
only partially modified by the traces of time on the plasters and
metal elements, the adaptation to the new residential standards Figure 5. Detail of the South-East corner, current state
has actually produced many transformations. [Di Resta, 2015]
Altered in the spatial features and in the material consistency of
the surfaces (Figg. 5-6), the only unvaried characteristic of Le
Corbusier’s original project is probably the structural frame
built in reinforced concrete, testimony of a complex
experimental work and outcome of a solid collaboration
between the architect and a knowledgeable executing company.
Carried out with the collaboration of professors in architectural
conservation, survey, history of architecture and construction
techniques, the Workshop was addressed to the students of the
Master Degree “Architecture for the New and the Ancient” at
IUAV University in Venice.
The first aim of the workshop was to cross-reference
information deriving both from the archival research and the
activities in situ. This approach allowed to reconstruct the
history of the villa as traced so far in this paper. The historical
account attempted to offer a wide view, far from being just a
project and construction chronicle, instead attempting to recount
of the articulated path that brought to the creation of the
Figure 6. External surfaces decay, Eastern façade, current state
architecture that we can experience nowadays, highlighting its
[Di Resta, 2015]
material consistency and the sometimes-problematic
transformations it has undergone.

This contribution has been peer-reviewed.

doi:10.5194/isprs-archives-XLII-5-W1-615-2017 617
 The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Volume XLII-5/W1, 2017
GEOMATICS & RESTORATION – Conservation of Cultural Heritage in the Digital Era, 22–24 May 2017, Florence, Italy

In fact, it is clear that they could never correspond: the project

design represents a drawing that foreshadows time and it is
projected into the future. Indeed, the term "project" originates
from the Latin pro-iacere which means “to push forward”,
having a definite meaning prompting intention as well as
prefiguring time.
Conversely, the survey design looks back: it studies, represents
and defines a present configuration determined by past events. It
represents a post quem design.
Project and survey designs have the working outcome in
common; nonetheless, among the two designs are the
construction work, the site, the employed matter, and the skilled
workers; these are all elements introducing new geometries. The
temptation to superimpose the two designs could be
overwhelming as the time proximity between the two phases
allows us to follow through the building events and to
reconstruct transformations leading to the visible differences
Figure 7. External surfaces decay, Eastern prospect, current between the two designs’ outcomes.
state [Di Resta, 2015] In conclusion, the problem is moderately related to the
closeness or remoteness of the construction, or to assessing the
differences based on historical events: project and survey
simply are two different designs in terms of their origin, nature
and scope.
Surveying, as analysis, studies the form of the architecture
through the geometries of the building, geometries that play an
essential role in the processes of conception, construction and
comprehension which have involved the building over its
lifetime. But survey isn't only an analysis of geometries: it is
instrumental to the other analyses since it provides a metric and
topological basis on which to spatially locate the phenomena
being studied. Frequently, very different phenomena are
correlated by the fact that they have the same position or are
reciprocally located according to their own logic.
Therefore, if we lend survey this essentially documentary value,
it is worthwhile to think about the possibilities offered by the
current techniques for realization of surveys and representations
that allow us to document the work of Le Corbusier in
Figure 8. Internal surfaces and frames decay, current state accordance with our knowledge and conservation.
[Di Resta, 2015] The survey becomes a very complex operation both from the
methodological and operational point of view. It requires
Surveying maison Stein-de-Monzie critical interpretation abilities for a correct comprehension of
The integrated survey (laser scanning, photogrammetry, the surveyed object from which the correct strategies can be
topography) was jointly undertaken by educators and students at derived to obtain the best result from the survey operations. As
Iuav University in Venice, allowing to reconstruct the is well known (Balletti c. et al, 2014, Balletti c. et al, 2015,
building’s history, to define the current building features and to Remondino et al., 2010), there is a variety of techniques
determinate the physical/material consistency and the state of available to generate three-dimensional survey information
conservation. necessary to understand differences between design and reality.
Surveying contemporary architecture implies several important These techniques can be characterised mainly by the scale at
considerations that lay at the basis of a shared teaching and which they might be used which is related to the size of the
learning experience. object to be measured, or to the complexity of the object
In planning restoration works for 20th century architecture, the (English Heritage, 2011).
implementation of instrumental survey is not very common, as Digital photogrammetry and terrestrial laser scanning could be
most of the time this kind of intervention is not required or, used to provide a greater number of measurements for similar
simply because, the original project’s documentation object sizes, and therefore, are suitable to be integrated for more
(autographic documents, site sketches, photographs, video complex objects acquisition.
documentation, direct evidence left by labourers and The Villa, as seen today, was surveyed with a range image laser
collaborators) are still accessible and sufficient to inform Focus3D by Faro. The instrument, well known in the field of
restoration interventions. This approach is also based on an architectural surveying (Balletti c. et al, 2013), has shown itself
economic reason, since instrumental survey of complex to be particularly suited to the acquisition of data both internally
architectures can be a quite expensive endeavour. and externally. These applications are related not only to
Nonetheless, this approach is also debatable as it is based on a documentation but also to the sectors of restoration and
flimsy preconception: namely, a direct and unvaried relationship industry. The apparatus is extremely rapid and its dimensions
between design and construction. and weight are limited. This laser scanner, endowed with a wlan
Although the categories which characterize the project, such as (wifi) which allows one to manage the scanning at a distance
the geometry, are common to the survey and project design, the removed from the work area, is characterized by a range
two represent different exercise. between 0.6 and 120 m and an accuracy of ±2mm for distances
ranging from 10 to 25 meters.

This contribution has been peer-reviewed.

doi:10.5194/isprs-archives-XLII-5-W1-615-2017 618
 The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Volume XLII-5/W1, 2017
GEOMATICS & RESTORATION – Conservation of Cultural Heritage in the Digital Era, 22–24 May 2017, Florence, Italy

Figure 11. Scheme of the topographic net

The image-based techniques, using algorithms derived from

Computer Vision, such as the well known Structure from
Motion, (Remondino et al. 2006), are able to automatically
perform the whole pipeline reducing time both for images
orientation and 3D reconstruction. Nowadays we can work with
software applications (such as Photomodeler, used for this
case), which automatically perform camera self-calibration and
offer the possibility use several cameras and sensors (as it was
for the Villa) to obtain dense point clouds or 3D.

The representation of the Villa

Considering the state of art of Cultural Heritage’s
documentation, it is necessary to evaluate which model of
representation of the digital data has to be chosen. In a society
in which visual communication now has a fundamental role in
disseminating information, the 3D model, appropriately
adjusted through today’s technological possibilities, can provide
a message that is easily perceived and extremely incisive in
Figure 9-10. The laser scanning point clouds communicating information about Heritage.
The overlapping and the integration of Geomatics with
The instrument provided the precision necessary for the Computer Graphics is clear: alongside the more traditional
surveying of the Villa. Its ample visual field (a vertical of 305° Monge projections, where vectorial restitutions are integrated
and a horizontal of 360°) renders it particularly suited to with orthophotos and-rectifications, three-dimensional models,
constricted urban areas. The velocity of the scans (up to 976.000 also texturized, are more often proposed and they can be
points/sec) and that selected for this project (244 kpt/sec) visualized through animation or applications of virtual reality.
allowed for a reduced scanning time (about 7-8 minutes per Using the point cloud generated by laser scanning, and
scan). Each acquired point is characterized by an RGB value Pointools Edit software, plans of the different floors of Villa
thanks to the integrated digital photo camera with a 70 Stein were obtained, just slicing the data through horizontal
megapixel resolution. planes; moreover the four facades and three sections, projecting
Every scan was placed to identify 3 target at least, trying to the pointcloud on vertical planes. All representations were made
avoid all the elements that could create noise, such as people, at a scale of 1:50.
animals or vegetation. For a better understanding of the space inside and outside the
30 scans were acquired in the ground floor , inside and outside maison, a digital 3d model was done, such as an effective
in the garden, 34 scans covered the first floor, 2 were at the support to document the current status of the Villa and also as a
second floor, 17 at the third floor and, finally, 14 scans along base for any other forms of communication and dissemination,
the stairwell. Totally 97 point clouds and 1.767.481867 points regarding its history, oriented to a wide public.
were acquired. Based on the comparison between the representations produced
The acquisition of the scans was accompanied by topographical by the survey of the state of Villa Stein and some historical
support for a greater control of the cloud alignments in the same drawings, published by Le Corbusier in the Oeuvre Compl.te
reference coordinates system; a Leica TCR 1103 theodolite was 1910-1929, it was easy to see a strong discontinuity.
used not only for control point acquisition, but even to realize The historical analyses has shown that today’s villa is the result
the local reference system. of numerous transformations and changes that occur over time,
To integrate laser scanning data, the external facades and the from the beginning of his design process.
terrace on the roof was surveyed by unconventional digital Nowadays the original design spaces of Villa disappeared, as
photogrammetry. the building was divided into five separate apartments that have
altered the functionality designed by Le Corbusier.
The only invariant to the initial project is the structural grid, still
visible today, such as the only testimony to the work performed
by the Architect.

This contribution has been peer-reviewed.

doi:10.5194/isprs-archives-XLII-5-W1-615-2017 619
The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Volume XLII-5/W1, 2017
GEOMATICS & RESTORATION – Conservation of Cultural Heritage in the Digital Era, 22–24 May 2017, Florence, Italy

Conclusions
We have already stressed how the internal spatial subdivisions
and the external surfaces of the Stein-de-Monzie’s villa appear
profoundly modified due to historical events that involved the
building until today, often overturning the original project’s
ideas and goals. The understanding of the project and
construction procedure and the awareness of the events
involving the villa can and should guide the survey and
restoration projects planning, in terms of the research question
to be addressed and the opportunities for the survey and
conservation exercises to answer those questions.
A direct knowledge of the architecture, archival sources and
documentation – preserved by the Fondation Le Corbusier,
supporter of the workshop – allowed to achieve highly relevant
results, both from a research and teaching points of view.
In the first place, it allowed to ascertain the actual geometrical,
constructive and conservative characteristics of the building as
exemplified by the images presented in this paper.
It also allowed to document a rich stratigraphic matrix,
characterizing today’s surfaces of a highly transformed
architecture.
Figure 12. Plan of the third floor
Ciment pierre plasters appear in areas were successive plasters
coverings are falling off (Fig. 7), calling for a thorough
stratigraphic study in order to recall their extension and state of
conservation, prior to an evaluation over the opportunity to
restore and bring them back to light.
Further detailed studies are also required on the internal
surfaces (Fig. 8), which have undergone even more trenchant
transformation over time. These studies should be addressed to
verify the existence of gypsum plasters below the more recent
plasters layers.
A direct relation with the building enabled students, in the
middle of their training path, to confront with a fundamental
research question which characterizes 20th century architecture
and its own fate: many symbolic buildings of the century are
nowadays altered in their material consistency and affected by
obsolescence phenomena caused by, both, the construction
Figure 13. North façade techniques and the new instances of living.
Leveraging, among the other type of data, on the data acquired
through the instrumental survey, the knowledge acquisition
process constitutes a prerequisite to inform the design of new
solutions, which could effectively express the cultural choices
connected to the conservation of the cultural heritage site.

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Figure 15. View of the model

This contribution has been peer-reviewed.

doi:10.5194/isprs-archives-XLII-5-W1-615-2017 620
 The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Volume XLII-5/W1, 2017
GEOMATICS & RESTORATION – Conservation of Cultural Heritage in the Digital Era, 22–24 May 2017, Florence, Italy

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Figure 16. Rendering of one of the room in the original design

Figure 17. Rendering of the same room today

This contribution has been peer-reviewed.

doi:10.5194/isprs-archives-XLII-5-W1-615-2017 621