日本建築学会計画系論文集
Online ISSN : 1881-8161
Print ISSN : 1340-4210
ISSN-L : 1340-4210
ル・コルビュジエの言説における彫刻と建築の音響的綜合
ル・コルビュジエの「諸芸術の綜合」の構想に関する研究 その1
名津井 卓也
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ジャーナル フリー

2017 年 82 巻 734 号 p. 1067-1077

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 In the middle of 1930s, the architect Le Corbusier (1887-1965) began to study the “synthèse des arts” and developed the theory of it in his texts, e.g., “Sainte alliance des arts majeurs ou Le grand art en gésine” (1935), “Les Tendances de l'architecture rationaliste en rapport avec la collaboration de la peinture et de la sculpture” (1937), “L'Espace indicible” (1946), “Unité” (1948), etc. In order to accomplish the “synthèse des arts”, he introduced the acoustic metaphor into his discourses. The properties of sound, which Gustave Lyon (1857-1936) taught him, served as an opportunity for conceiving an idea for the synthesis.
 The acoustic metaphor played two opposite roles. On the one hand, this metaphor performed the function of separating sculpture and architecture. This function enabled him to clarify the difference between these two arts. In his discourses, the sculpture and architecture functioned as speaker (emitter) and listener (receiver) respectively. On the other hand, this metaphor performed the function of connecting these arts. For example, though a mouth and an ear belong to different systems, the voice is conveyed from one organ to another and connects these two organs. Le Corbusier focused on the properties of voice and utilized them metaphorically in his theory of the synthesis.
 Le Corbusier's way of thinking—derived from the acoustic—simultaneously separates and connects two things. This way of thinking formed the basis for the acoustic synthesis of sculpture and architecture. In the late 1940s, he reedited the plan for Algiers (Plan-Obus) (1932) in his article “Unité”, the title of which was originally “synthèse des arts”. His task was to accomplish the synthesis of two different arts in his architectural project. For that purpose, he limited the scope of application of each art. That is to say, he regarded a building's outside as sculpture and contrastively, its inside as architecture. At that time, his way of thinking played an important role in the reinterpretation the Project A.
 Separate from his theoretical work, Le Corbusier had begun to study the properties of each art practically. On the one hand, he designed the Monument in Memory of Vaillant-Couturier as speaking object. This monument is almost massive sculpture without an internal space. He attempted to exploit the only ability of sculpture in this project. On the other hand, he began to study the properties of architecture and designed the project of La Sainte-Baume (the “Trouinade”). There was no external appearance in this architectural project. In other words, its figure was invisible from the outside. This project contrasted with the Monument in Memory of Vaillant-Couturier.
 Eventually, except for the Project A which was rediscovered and reinterpreted in the 1940s, Le Corbusier was not able to connect sculpture as “mouth” with architecture as “ear” in architectural practice from the late 1930s to the end of the 1940s. However, he began to make a series of sculptures, which were called the “plastique acoustique”. These monstrous sculptures with strange “mouth” and “ear” were the very compilation of his study in the 1930s and the 1940s.

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