From the images above, we can clearly see that the red volume, blue volume and white volume demonstrate the circulation, wet private space and dry private space seperately. The semi-transparent volume and the transparent volume show the semi open and open space respectively.
Firstly, I am going to talk about a terminology which I'm going to refer in the rest of my interpretation --- Piano Nobile
Piano Nobile (from http://en.wikipedia.org/wiki/Piano_nobile)
The piano nobile (Italian, "noble floor" or "noble level") is the principal floor of a large house, usually built in one of the styles of classical renaissance architecture. This floor contains the principal reception and bedrooms of the house.
The piano nobile is often the first (European terminology, 2nd floor in US terms) or sometimes the second story, located above an (often rusticated) ground floor containing minor rooms and service rooms. The reasons for this were so the rooms would have finer views, and more practically to avoid the dampness and odors of the street level. This is especially true in Venice where the piano nobile of the many palazzi is especially obvious from the exterior by virtue of its larger windows and balconies and open loggias. Examples of this are Ca' Foscari, Ca' d'Oro, Ca' Vendramin Calergi, and Palazzo Barbarigo.
Larger windows than those on other floors are usually the most obvious feature of the piano nobile. Often in England and Italy the piano nobile is reached by an ornate outer staircase, which negated the need for the inhabitants of this floor to enter the house by the servant's floor below. Kedleston Hall is an example of this in England, as is Villa Capra in Italy.
Most houses contained a secondary floor above the piano nobile which contained more intimate withdrawing and bedrooms for private use by the family of the house when no honoured guests were present. Above this floor would often be an attic floor containing staff bedrooms.
The living zone, expressed as a piano nobile, has an orthogonal deployment within the rectilinear slab, while being divided on a diagonal into public and private areas separated by the ramp. In the public area the part-glazed box of the salon merges into the open and yet part-closed terrace.
Le Corbusier controls this spatial interpenetration by his handling of solids and opaque and transparent planes, permitting views through in different ways. The ribbon windows are left out of the long side of the terrace giving a narrow frame for the vista and horizontal glazing to the ramp gives views within and without.
Here, I especially want to talk about the large terrace in the second floor, which i reckon can not only be part of the public space but also can be a part of the private space. For the visitors of the villa, in order to access the terrace in the piano nobile, they must go through the door nearby the ramp. Therefore, the terrace can be interpreted as a public space. While for the family members, compared with the bedroom space simultaneously, this terrace can be considered as public space.
As the vehicle for the promenade architectural, the central location of the ramp provides contrasting experiences as one moves from confined enclosure to the sense of spatial expansion of the terrace. The continuity of the ramp is a reminder of the interrelationship between the three levels of the villa.
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