Corbu and Mies similarly perceive form as a derivative goal to determining the living rationale of the building. Corbu sees form as a reflection of the spirits beauty. He says that an Architect arranges the form that comes from “his spirit,” a form that “affects” the senses and “provokes plastic emotions,” emotions that come from the “various movements of our heart and of our understanding,” so that viewers/users can “experience the [form’s] sense of beauty” (59). The form is a manifestation of spiritual aspirations that produce outside beauty. The purpose of the form is a purpose from the living spirit. In the same way, Mies sees form as a goal only because the true essence of architecture is the life that drives it. Like Corbu, he sees that form is a “striving” for the “outside,” but only because of a “living inside” that is based on the “intensity of life” (102). Mies also mentions the “spiritual and real commitments” of the creative process (102), the same spirit that drives the meaning and purpose of form for Corbu. Corbu and Mies likewise agree that form is a goal that the fullness of life inside the building produces.
In application of the conception of form, Corbu’s writings help describe the minimalist, mechanized design of Villa Savoye that reflects the five points of new architecture, and Mies’ writings support the essence of Barcelona Pavilion as the exhibit itself. Villa Savoye follows the form of Corbu’s new architecture. The supports of Villa Savoye are the slender columns that make the house appear as floating (Corbu 99). The roof gardens provide protection from the elements and outside space (Corbu 99). Villa Savoye has a free-design ground plan with a private inner place, yet the glass walls allow the communion between inner and outer spaces (Corbu 100).