2). However, these art forms possess notable differences because their purposes and intentions lack the modernist expectations in terms of characteristics and traits that guide their architectural make. Despite the current similarities and differences, Villa Savoye and teapot have played a significant role in defining visual practice especially when finding an attachment with modernist concepts such as functionalism and formalism.
Le Corbusier’s Villa Savoye and Marianne Brandt’s Teapot have significant influence in the domain of visual art particularly in the promotion of the modernist concept. This is through following the procedural expectations of form follows function essential in exposing the indicative characteristics and traits symbolic with modernism in art. For instance, Le Corbusier’s Villa Savoye is attached to the modernist concept in terms of form follows function through its magnificent five-point architecture that represents the overall impression of architecture in the context of meeting global standards (Butterworth 2013, p. 2). Additionally, the cost and concern associated with Le Corbusier’s Savoye is associated with the architectural changes found in the shape of the building in regards to the form follows function principle.
In other words, the Villa, according to Savoye, had to attain certain goals and objectives in his immediate society such as accommodating the Jews and acting as a historical French monument in the specifically in 1965. However, Marianne Brandt’s Teapot has interesting traits that differ with those of Le Corbusier’s Villa Savoye. Functionalism, for example, is infused into the German’s art with concentration of modernist concepts in the overall display of the teapot such as Bauhaus style and integration of the tea infuser to meet the form follows function principle. Consequently, in the