在第一次世界大战之后，经济环境意味着建筑奢侈不再是现实的。作为一个回应，德国艺术家、设计师和建筑师协会、德国艺术家、设计师和建筑师协会委托领导的建筑师，如沃尔特·格罗皮乌斯、彼得·贝伦斯和勒克布西耶，展示了一种新的现代性的国内建筑。Weisenhof遗产的完成将标志着1927年的模具Wohnung(Home)展览的开始，允许顾客以降低成本、简化家务和改善生活条件的理想为基础，通过建筑亲自体验新的社会愿景。路德维希·密斯·范德·罗赫(LudwigMesvanderRohe)在协调发展的同时，认识到，一个现代建筑的展览将缺乏可信度，而没有LeCorbuiler的参与，因为他在VersuneArchitecture和L"ESPRITNouveau出版了他的思想而变得非常有影响力。1926年10月5日，他向LeCorbuiler写信，邀请他和他的表兄皮埃尔·杰纳雷特为受过教育的中产阶级家庭设计两个独立的住宅。

Following the First World War, economic circumstances meant that architectural extravagance was no longer realistic. As a response, the Deutscher Werkbund, a German association of artists, designers, and architects, commissioned leading architects such as Walter Gropius, Peter Behrens, and Le Corbusier to showcase a new domestic architecture of Modernity. The completion of the Weissenhof Estate would mark the start of the Die Wohnung (The Home) Exhibition of 1927, allowing patrons to personally experience a new vision of society through architecture based around the ideals of reducing costs, simplifying housekeeping, and improving living conditions. Ludwig Mies Van Der Rohe, who coordinated the development, recognized that an exhibition of Modern architecture would lack credibility without the participation of Le Corbusier, who had become immensely influential as a result of the publication of his ideas in Vers une Architecture and L’Esprit Nouveau. Mies, who contributed four of his own home designs to the development, wrote to Le Corbusier on October 5, 1926 inviting him and his cousin Pierre Jeanneret to design two detached residences for educated, middle-class families.

Following the First World War, economic circumstances meant that architectural extravagance was no longer realistic. As a response, the Deutscher Werkbund, a German association of artists, designers, and architects, commissioned leading architects such as Walter Gropius, Peter Behrens, and Le Corbusier to showcase a new domestic architecture of Modernity. The completion of the Weissenhof Estate would mark the start of the Die Wohnung (The Home) Exhibition of 1927, allowing patrons to personally experience a new vision of society through architecture based around the ideals of reducing costs, simplifying housekeeping, and improving living conditions. Ludwig Mies Van Der Rohe, who coordinated the development, recognized that an exhibition of Modern architecture would lack credibility without the participation of Le Corbusier, who had become immensely influential as a result of the publication of his ideas in Vers une Architecture and L’Esprit Nouveau. Mies, who contributed four of his own home designs to the development, wrote to Le Corbusier on October 5, 1926 inviting him and his cousin Pierre Jeanneret to design two detached residences for educated, middle-class families.

 Axonometric

与所有其他建筑师一样，勒柯布西耶和珍妮也得到了关于每所房子的位置、大小、预算和程序的示意图指南。这些总部位于巴黎的建筑师正忙于为国际联盟(League of国际联盟)准备提案，在整个设计和施工过程中，他们几乎没有在斯图加特待过多少时间，最终把他们的两名雇员之一阿尔弗雷德·罗斯(AlfredRoth)作为一名常驻建筑师派到了项目工地。委员会对初步设计方案感到失望，不仅收到了勒柯布西耶和詹尼埃的建议，而且还收到了其他建筑师提交的建议。除了费用超支和违反守则外，提案的范围一般比委员会预期的要大。由于预算问题和委员会要求将建筑面积减少30-40%，Le Corbuser和Jeanneret提议重新设计两栋房屋中的一栋，将其改造为两座较小的附属住宅，占用的面积与原来的单一住宅相同。这两处附属住宅后来被称为14和15住房。Deutscher Werkbund对较小的住宅表示赞赏，但仍然不满意，试图说服建筑师，只有一个单元是必要的。然而，勒柯布西耶不愿意谈判。与德国同行相比，勒柯布西耶对该委员会拥有更大的权力，因为密斯担心，如果勒柯布西耶受到过度限制，他会退出该项目。

Le Corbusier and Jeanneret, like all other architects involved, were given schematic guidelines for the location, size, budget and program for each house. The Paris-based architects, who were busy preparing their proposal for the League of Nations, spent hardly any time in Stuttgart throughout the design and construction process, eventually sending Alfred Roth, one of their two employees, to the project site as a resident architect. The committee was disappointed by the preliminary design proposals; not only those received from Le Corbusier and Jeanneret, but also those submitted by the other architects. In addition to cost overruns and code violations, proposals were generally more spacious than the committee had intended. Due to budget concerns and the committee's request to reduce the built area of their design by 30-40%, Le Corbusier and Jeanneret proposed to redesign one of their two houses, converting it into two smaller attached dwellings that would occupy the same footprint as the original single home. These two attached dwellings came to be known as Houses 14 and 15. The Deutscher Werkbund appreciated the smaller residences, but, still not satisfied, attempted to convince the architects that only one unit was necessary. Le Corbusier, however, was not willing to negotiate. Less flexible than his German counterparts, Le Corbusier had more power over the committee than the other architects because Mies was worried that Le Corbusier would withdraw from the project if he were excessively constrained.

Le Corbusier and Jeanneret, like all other architects involved, were given schematic guidelines for the location, size, budget and program for each house. The Paris-based architects, who were busy preparing their proposal for the League of Nations, spent hardly any time in Stuttgart throughout the design and construction process, eventually sending Alfred Roth, one of their two employees, to the project site as a resident architect. The committee was disappointed by the preliminary design proposals; not only those received from Le Corbusier and Jeanneret, but also those submitted by the other architects. In addition to cost overruns and code violations, proposals were generally more spacious than the committee had intended. Due to budget concerns and the committee's request to reduce the built area of their design by 30-40%, Le Corbusier and Jeanneret proposed to redesign one of their two houses, converting it into two smaller attached dwellings that would occupy the same footprint as the original single home. These two attached dwellings came to be known as Houses 14 and 15. The Deutscher Werkbund appreciated the smaller residences, but, still not satisfied, attempted to convince the architects that only one unit was necessary. Le Corbusier, however, was not willing to negotiate. Less flexible than his German counterparts, Le Corbusier had more power over the committee than the other architects because Mies was worried that Le Corbusier would withdraw from the project if he were excessively constrained.

 © Hassan Bagheri / hbarchitectural.com

Hassan Bagheri/hbArchittural.com

这两座建筑都使用钢筋混凝土来体现勒柯布西耶五点宣言的特点：皮罗提斯(利用柱子将建筑物抬到地面上方)、屋顶花园、自由规划、长长的窗户和自由外墙。这座建筑的一个关键创新是可改造的开放式生活空间，它可以细分为多个带有滑动隔间的睡房；同样，床也会从内置的大型壁橱中滑出。在展览中，有两个单位有类似的计划，这提供了一个白天使用的居住空间和晚上使用的另一个居住空间的机会。具有讽刺意味的是，这一意图被遗忘了，没有被包括在迪沃农的开幕式上，而勒柯布西耶和皮埃尔詹纳埃并不在场。

Both structures utilized reinforced concrete to embody the qualities of Le Corbusier's Five-Point manifesto: pilotis (the use of columns to lift the building above the ground plane), the roof garden, the free plan, the long window, and the free façade. A key innovation of the building was the transformable open living space that could be subdivided into multiple sleeping compartments with sliding partitions; similarly, beds would slide out of large built-in closets. For the exhibition, the fact that there were two units with similar plans presented the opportunity to set up one living space for daytime use, and the other living space for nighttime use. Ironically, this intention was forgotten and not included at the opening of Die Wohnung, which Le Corbusier and Pierre Jeanneret were not present for.

Both structures utilized reinforced concrete to embody the qualities of Le Corbusier's Five-Point manifesto: pilotis (the use of columns to lift the building above the ground plane), the roof garden, the free plan, the long window, and the free façade. A key innovation of the building was the transformable open living space that could be subdivided into multiple sleeping compartments with sliding partitions; similarly, beds would slide out of large built-in closets. For the exhibition, the fact that there were two units with similar plans presented the opportunity to set up one living space for daytime use, and the other living space for nighttime use. Ironically, this intention was forgotten and not included at the opening of Die Wohnung, which Le Corbusier and Pierre Jeanneret were not present for.

 Floor Plans

平面图

三个层次构成了两个家庭结构。两个单元的布局几乎是对称的，每个单元都由一个中央挤压楼梯提供服务。一个人从较低的层进入，在领航员支撑的人群下。里面是一个入口大厅，里面有衣帽间、炉子房、煤窖、洗衣房、女佣室和储藏室。下一个层次是主要的生活故事。在这里，楼梯后面有一个吃东西的地方，远处有一个厨房和浴室。该计划的大部分内容是宽敞、灵活的居住和睡眠空间，利用前面外墙上长长的窗户发出的充足阳光。屋顶层设有室外花园和日光浴露台。同样值得注意的是藏匿在楼梯后面的图书馆和书房；这个房间的位置意味着居民们可以工作到深夜，而不会打扰下面地板上的其他人。

Three levels comprise the two-family structure. The layouts of both units are nearly symmetrical and are each serviced by a central extruded staircase. One enters on the lower level, under the piloti-supported mass.  Inside is an entrance lobby with cloakroom, furnace room, coal cellar, laundry room, maid's room, and storage. The next level is the primary living story. Here, there is an eating space behind the stairs, and a kitchen and bathroom at the far edge. Filling the majority of the plan is the large, flexible living and sleeping space, utilizing an abundance of daylight from long band of windows along the front façade. The roof level features an outdoor garden and sunbathing terrace. Also noteworthy are the library and study concealed behind the stairs; the location of this room meant that residents could work late into the night without disturbing others on the floor below.

Three levels comprise the two-family structure. The layouts of both units are nearly symmetrical and are each serviced by a central extruded staircase. One enters on the lower level, under the piloti-supported mass.  Inside is an entrance lobby with cloakroom, furnace room, coal cellar, laundry room, maid's room, and storage. The next level is the primary living story. Here, there is an eating space behind the stairs, and a kitchen and bathroom at the far edge. Filling the majority of the plan is the large, flexible living and sleeping space, utilizing an abundance of daylight from long band of windows along the front façade. The roof level features an outdoor garden and sunbathing terrace. Also noteworthy are the library and study concealed behind the stairs; the location of this room meant that residents could work late into the night without disturbing others on the floor below.

 © Hassan Bagheri / hbarchitectural.com

Hassan Bagheri/hbArchittural.com

在由17位建筑师设计的21座建筑中，最吸引人兴趣的是14栋和15栋房屋，受到的批评既有正面的，也有负面的。虽然建筑师设法创造了一个真正进步的家庭生活模式，许多评论家认识到，有一些不切实际的细节。例如，生活故事中的27.5英寸狭长的走廊，被游客们认为是尴尬和不舒服的。此外，女佣的房间太小，被认为是无法使用的，这在其他许多房子里也发生了问题。展览期间，家政和厨房设计顾问埃尔娜·迈耶(Erna Meyer)感到，勒·柯布西耶(Le Corbuser)和詹尼埃(Jeanneret)的作品是该庄园最糟糕的作品，她失望地问道：“这就是工程师的建筑吗？”其他批评则更为普遍，认为大窗户比斯图加特更适合地中海气候。

Of the 21 structures designed by 17 architects, it was Houses 14 and 15 that drew the most interest, receiving both positive and negative critiques. While the architects managed to create a truly progressive model of domestic living, many critics recognized that there were some impractical details. The notably-narrow 27.5 inch corridor on the living story, for example, was considered awkward and uncomfortable by visitors. In addition, the maid’s room was so small that is was deemed unusable, a problem that occurred in many of the other houses. During the exhibition, Erna Meyer, a consultant for home economics and kitchen design felt that the work of Le Corbusier and Jeanneret was the worst of the Estate, disappointedly asking, "is this what he means by engineer's architecture?" Other criticism was more general, suggesting that the large windows were more appropriate for a Mediterranean climate than for Stuttgart.

Of the 21 structures designed by 17 architects, it was Houses 14 and 15 that drew the most interest, receiving both positive and negative critiques. While the architects managed to create a truly progressive model of domestic living, many critics recognized that there were some impractical details. The notably-narrow 27.5 inch corridor on the living story, for example, was considered awkward and uncomfortable by visitors. In addition, the maid’s room was so small that is was deemed unusable, a problem that occurred in many of the other houses. During the exhibition, Erna Meyer, a consultant for home economics and kitchen design felt that the work of Le Corbusier and Jeanneret was the worst of the Estate, disappointedly asking, "is this what he means by engineer's architecture?" Other criticism was more general, suggesting that the large windows were more appropriate for a Mediterranean climate than for Stuttgart.

由于第二次世界大战的结果，魏森霍夫-西德隆陷入衰败。然而，今天，经过广泛的修复努力，这些建筑作为历史遗迹得到了保护。特别是14和15号房屋已成为一个公共博物馆，供游客了解发展情况，并按当初建造的方式查看内部情况。

As a result of the Second World War the Weissenhof-Siedlung fell into decay. Today, however, after extensive restoration efforts, the structures are protected as historic monuments. Houses 14 and 15 specifically have become a public museum for visitors to learn about the development and to view the interior as it would have been built.

As a result of the Second World War the Weissenhof-Siedlung fell into decay. Today, however, after extensive restoration efforts, the structures are protected as historic monuments. Houses 14 and 15 specifically have become a public museum for visitors to learn about the development and to view the interior as it would have been built.

真正的“生活机器”，勒柯布西耶设想的建筑，设计的同样精确和逻辑的汽车和飞机。第14和第15所将这一原则发挥到了极致，产生了许多人认为是效率和实用主义的东西，以致于不切实际。迪沃农展览既是现代主义者宝贵的学习经验，也是国际风格正规化的重要时刻。建于1923年宣言弗恩建筑和1931年完成的别墅萨沃耶，他的巨著，勒柯布西耶设计的房子14和15，作为他对未来建筑的革命理想的早期表现。

A true “machine for living," Le Corbusier envisioned architecture that was designed with the same precision and logic of automobiles and airplanes. Houses 14 and 15 demonstrate this principle to the extreme, producing what many considered to be efficiency and pragmatism to the point of impracticality. Die Wohnung exhibition was both a valuable learning experience for Modernists and an essential moment in the formalization of the International Style. Built between the 1923 manifesto Vers une Architecture and the 1931 completion of Villa Savoye, his magnum opus, Le Corbusier designed Houses 14 and 15 as an early manifestation of his revolutionary vision for the future of architecture.

A true “machine for living," Le Corbusier envisioned architecture that was designed with the same precision and logic of automobiles and airplanes. Houses 14 and 15 demonstrate this principle to the extreme, producing what many considered to be efficiency and pragmatism to the point of impracticality. Die Wohnung exhibition was both a valuable learning experience for Modernists and an essential moment in the formalization of the International Style. Built between the 1923 manifesto Vers une Architecture and the 1931 completion of Villa Savoye, his magnum opus, Le Corbusier designed Houses 14 and 15 as an early manifestation of his revolutionary vision for the future of architecture.

 © Hassan Bagheri / hbarchitectural.com

Hassan Bagheri/hbArchittural.com

参考资料：Kirsch，Karin。Weissenhofsiedlong：为Deutscher Werkbund建造的试验性住房，斯图加特，1927年(纽约：Rizzoli国际出版物，1989年)。

Reference: Kirsch, Karin. The Weissenhofsiedlung: Experimental Housing Built for the Deutscher Werkbund, Stuttgart, 1927 (New York: Rizzoli International Publications, 1989).

Reference: Kirsch, Karin. The Weissenhofsiedlung: Experimental Housing Built for the Deutscher Werkbund, Stuttgart, 1927 (New York: Rizzoli International Publications, 1989).

建筑师LeCorbusier、PierJeannet位置Stuttgart、德国建筑师LeCorbuiler设计团队LeCorbuiler、PierJeannet、AlfredRoth项目年1927照片HassanBagheri/hbarchitectural.com类别外壳

Architects Le Corbusier, Pierre Jeanneret Location Stuttgart, Germany Architect in Charge Le Corbusier Design Team Le Corbusier, Pierre Jeanneret, Alfred Roth Project Year 1927 Photographs Hassan Bagheri / hbarchitectural.com Category Housing

Architects Le Corbusier, Pierre Jeanneret Location Stuttgart, Germany Architect in Charge Le Corbusier Design Team Le Corbusier, Pierre Jeanneret, Alfred Roth Project Year 1927 Photographs Hassan Bagheri / hbarchitectural.com Category Housing