60|A FONDO added to solve the problem of flooding (in this regard, note how Le Corbusier, rather than hide the pipes, used them as lighting cane - is it perhaps because he does not either matter the lumina- ries nor its mounting fixture, but the effect of “floating volume” that produ- ces lights projected directly against the ceiling and that somehow distracts the viewer’s attention from these downpi- pes? -). At the entrance, it is perhaps the lo- bby vision which approaches us to the most searched “theatrical effect”. If we understand this space as a stage in the dark, the beams of the lights direct at us, as a pointer, the elements of importance: - In the foreground, Zeiss reflectors that are projected on the vacuum for- med by the space delimited by the four columns arranged in the door shaft. - In the background, the lamp “albalite” which, situated to the back stairs and with a power of 1000 W, highlights the curved profile of the development of vertical connection element. - And, in the background, a small wall bracket set above the white porcelain sink. What does Le Corbusier want to convey with all this? Like any work of art with multiple readings, several themes: - Firstly, it is important to demonstrate that the essence is the light (no the fixtures) and the effect it has on the ar- chitectural elements (in the case of the wall bracket located behind the stairs, causes a very sharp backlight, which aproximación se realiza con vehículo, la iluminación dispuesta en el porche de la planta baja nos indica el camino de llegada, acompañando al movi- miento que da forma al volumen curvo de dicha planta. A estas luminarias se añaden pantallas reflectoras dirigidas cenitalmente colocadas en los bajantes añadidos para solucionar el proble- ma de las inundaciones (al respecto, señalar cómo Le Corbusier, en lugar de ocultar dichas tuberías, las utiliza como báculo de iluminación -¿será quizás porque no le importa ni la lumi- naria ni su soporte, sino el efecto de “volumen flotante” que producen unas luces proyectadas directamente contra el forjado y que, de alguna manera, distraerá la atención del espectador de dichos bajantes?-). Llegados a la puerta de entrada, es quizás la visión del vestíbulo la que más nos aproxima al buscado “efecto escenográfico”. Si entendemos dicho espacio como un escenario teatral a oscuras, los haces de las luminarias nos señalan,