著者

川道 麟太郎

出版者

関西大学博物館

雑誌

関西大学博物館紀要 (ISSN:13414895)

巻号頁・発行日

no.10, pp.207-228, 2004-03-31

著者

川道 麟太郎

出版者

一般社団法人 日本建築学会

雑誌

日本建築学会計画系論文報告集 (ISSN:09108017)

巻号頁・発行日

vol.385, pp.95-102, 1988-03-30 (Released:2017-12-25)

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Analogies are widely and variously used in architecture. This paper is the first part of a study for proving the state of the permeation of analogy and its significance by investigating analogies in the following three categories: the "concept", "design" and "perception" of architecture. In this paper, by referring to the "analogical design" of Geoffrey Broadbent, I deal with analogy in the category, "design". The function of analogical design can be grasped through two aspects '. One is that as a design method and the other is its effect, which relates to the symbolism and identity of architecture. Analogy begins with the recognition of similarity and is guided by it, but the similarity is not found in similar things but in rather different kinds of things. Therefore, analogical design also usually draws analogies from things other than architecture, and thus, its characteristics vividly come out. However, there are some cases where analogy is drawn from architecture and vernacular buildings. In these cases, analogy seems to get close to the meaning of "imitation", but analogy has to be distinguished from it. Comparing analogy with imitation, the former is more operative, conversive and sophisticated, while the latter is more direct, straightforward and obedient.

著者

川道 麟太郎

出版者

一般社団法人 日本建築学会

雑誌

日本建築学会計画系論文報告集 (ISSN:09108017)

巻号頁・発行日

vol.414, pp.125-132, 1990-08-30 (Released:2017-12-25)

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Le Corbusier employs metaphorical expression in many places in his writing and speech. This paper focuses, on his well-known metaphorical statements in the 'VERS UNE ARCHITECTURE', namely, "La maison est une machine a habiter", "Les ingenieurs font de l'architecture", and "Le Parthenon. Voici la machine a emouvoir", which are here referred to as metaphors of the machine. The ambiguity of them is analyzed in relation to the character of metaphorical expression itself and Le Corbusier's discourses on architecture and the machine. The initial two statements each imply ironycal meaning at the back of the stated affirmatives. This double meanings make them effective and significant. The last statement is enhanced by the ambiguous meaning of the 'machine'. In the analogy between the Parthenon and cars, Le Corbusier emphasizes their similarity, but it is clear he recognizes their disparity at the same time. It can therefore be concluded that each of these statements is ambiguous.