The conventional narrative surrounding the emergence of the International Style in architecture posits it as a complete rupture with the past, characterized by an aggressive rejection of nineteenth-century design paradigms. However, this view oversimplifies the transitional period. When examining early works by pioneers like Le Corbusier, one finds not a spontaneous genesis of 'machine aesthetics' but a deliberate distillation of classical proportions. Consider his Villa Savoye: while explicitly stripped of applied decoration, its underlying spatial grid is strictly governed by the Golden Ratio—a proportional system championed by Renaissance theorists. The deployment of this ancient mathematical principle in a structure renowned for its radical modernity suggests that the vanguard of the 1920s sought to sanitize, rather than obliterate, architectural heritage.
Based on the passage, the author's reference to the Villa Savoye's underlying spatial grid being governed by the Golden Ratio serves which of the following logical functions? (Select all that apply, choose 2)
- To provide concrete evidence challenging the prevailing assumption that the International Style represented a complete rupture with the pastAnswer
- BTo concede to proponents of the conventional narrative that some early Modernist buildings failed to achieve genuine architectural innovation
- To illustrate how a structure renowned for its radical modernity still fundamentally relied upon traditional mathematical principlesAnswer
- DTo demonstrate that early Modernist architects successfully pioneered the International Style by incorporating subtle classical ornamentation
- ETo prove that all subsequent Modernist architecture was entirely dependent on the proportional systems championed by Renaissance theorists