Ivry-Sur-Seine

The idea that underpinned the project for Ivry had been stated in principle with Le Vaudreuil. It became fully articulated with the Danielle Casanova building, though there were few signs of this at first. The preliminary design adapted the tiered section of the Francs-Moisins, from which it differed in one small way. The apartments were no longer strictly confined within the width of a notional grid. Those at the end of the ‘T' were displaced laterally along the cores, producing a pinwheel figure reminiscent of de Stijl. La idea en la que se basaba el proyecto de Ivry había sido enunciada en principio con Le Vaudreuil. Se articuló plenamente con el edificio Danielle Casanova, aunque al principio hubo pocos indicios de ello. El anteproyecto adaptaba la sección escalonada del Francs-Moisins, del que se diferenciaba en un pequeño aspecto. Los apartamentos ya no estaban estrictamente confinados en la anchura de una cuadrícula teórica. Los que se encontraban al final de la “T” estaban desplazados lateralmente a lo largo de los núcleos, produciendo una figura de molinete que recordaba a De Stijl. As a result, a third and sometimes a fourth aspect were added to the upper-level dwellings, with views onto one if not several terraces. The multiple aspects and the large terraces were to be of lasting significance in Renaudie's work. While the perimeter of the flats remained orthogonal, changes were underfoot inside. In one of two sketched alternatives, made in January 1969, the main bedroom formed a central alcove in the plan and was turned at 45 degrees, drawing the circulation with it and causing 45-degree splays in the corners of adjoining rooms. The diagonal had been introduced. Como resultado, se añadió un tercer y a veces un cuarto aspecto a las viviendas del nivel superior, con vistas a una o varias terrazas. La multiplicidad de aspectos y las grandes terrazas serán de importancia duradera en la obra de Renaudie.