著者

藤井 由理 古谷 誠章 白石 哲雄

出版者

日本建築学会

雑誌

日本建築学会計画系論文集 (ISSN:13404210)

巻号頁・発行日

vol.85, no.778, pp.2819-2827, 2020 (Released:2020-12-30)

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This study explores similarities between spatial features of architectures designed by Charles-Edouard "Le Corbusier" Jeanneret (1887-1965) and his explorations in early Purism paintings. The study focuses on the fact that Le Corbusier had painted for his entire life. He also stated that his experiments while painting had a huge influence on his architectural works.  Through his Purism paintings, Le Corbusier wanted to stimulate viewers' senses and to elicit subjective responses in their minds. In order to do that, Le Corbusier attempted to suspend the viewer's understanding of the piece by permanently sending it back and forth between two opposite interpretations or between several alternatives. Those methods can also be seen in spatial characteristics of Chapelle de Ronchamp (see: Fujii, Furuya, & Shiraishi, 20193)). Jeanneret stated that "une œuvre d'art doit provoquer une sensation d'ordre mathématique" [art works should elicit a sensation of a mathematical order]. Similarly, he thought that generating the "sensation of a mathematical order" was an important part of his Purism paintings. Through the analysis of Jeanneret's writings and paintings, this paper clarifies which methods were employed to elicit the "sensation of mathematical order" in the viewers of Purism paintings. It is important to understand that this "mathematical order" is not something depicted in the painting itself, but rather a sensation felt by the viewers of Purism paintings  For Le Corbusier, the act of painting was about 'constructing' a greater whole by depicting specific elements in a particular way. First, he would select some commonly recognizable, yet in some ways universal, daily items. He called such items "themes-objects". Then, he tried to elicit the "sensation of a mathematical order" in the viewers by aggregating depictions of those themes-objects in his paintings. There were two types of aggregation. The first one was based on the idea of "les tracés régulateurs" [regulating lines]. The second one was based on positional adjacency achieved through aligning the outlines of several themes-objects. A coherent whole was created by the interplay between themes-objects on the canvas. This interplay is referred to as the "collective form" in this study.  In Purism paintings, achieving meaning through the composition of themes-objects was not important. Instead, the focus was purely on arranging themes-objects for the purpose of eliciting the “sensation of a mathematical order” in the viewer. In Purism paintings, stability and order are usually hard to perceive. "Collective forms" created by Le Corbusier are also relatively nebulous. Their deliberate ambiguity and lack of strong connections enables the viewer's perception of the painting's subject to be suspended between several interpretations in order to strongly stimulate their senses. Because of that, the viewer can start to subjectively perceive the interplay between themes-objects in the painting. Finally, the “sensation of a mathematical order” can emerge in the viewer.