20世紀の建築の変容の要因は, 線遠近法に代表されるルネサンス以来の奥行き概念といかに関連するのか?本稿では, 19世紀から20世紀にかけての建築変化の様態を20世紀を代表するル・コルビュジエに求め, その建築空間の変質と奥行き表現との関係を例証した. その結果, 以下の点を明らかにした. 1) 立断面図においては, 「形の輪郭」表現に特化する傾向が見られる. 2) ピュリスムに由来する色彩による奥行きの導入が見られる. 3) スケッチにおいては, 遠景における奥行きの短縮, および, 内部空間における奥行きの誇張という線遠近法の規則からの逸脱が見られる. 4) 戦後には「肌理」と「陰影」が復権し, 意図的な奥行きの表現が見られる.

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 The study aims to reveal Charles-Edouard Jeanneret’s theories of urban morphology in the unpublished manuscript “La construction des villes” through the concept of parti, and to clarify the ideological background of the manuscript. This paper deals with the parti of city blocks.

 In chapter one, the background and structure of “La construction des villes” are briefly reviewed. Emery’s edition of “La construction des villes” consists of the esquisse of 1910, texts of 1910, and résumé of 1915. This study deals with the texts of 1910, which is the main part of the manuscript.

 In chapter two, the meaning of parti is examined. It is known that parti referred to the basic concept or layout of architecture in École des Beaux-Arts in the nineteenth century. However, it is not clear what parti means in urban design. In “La construction des villes, ” there are eighteen instances of the word parti, and the word often refers to the elements consisting of a city, such as city blocks, streets, and plazas. Jeanneret applied parti, which had been used in architecture, to urban design to mean the types of elements of the city, and discussed parti as a theme of the manuscript mainly regarding city blocks, streets, and plazas.

 In chapter three, the manuscript is examined carefully. This study deals with the elements of a city: namely city blocks, streets, and plazas, in that order. First among the subjects of this paper is the city block.

 In chapter four, descriptions of the parti of city blocks, including sentences without the word parti, are extracted. These partis are then classified into three patterns: type of courtyard, grouping, and isolation. To evaluate them, Jeanneret used the following criteria: hygiene, the number of houses per city blocks, the economy of façades, the beauty of residential yard perspectives, the diversity of street perspectives, street-facing façades, and the use of the right angle. These criteria are classified as practical or aesthetic. The former is based on principles of hygiene and of economy and consists of hygiene, the economy of façades, and the number of houses per city block. The latter comprises the beauty of residential yard perspectives, the diversity of street perspectives, street-facing façades, and the use of the right angle. It is founded on principles of the use of the right angle, diversity of perspectives, and visual closure. Furthermore, it is noteworthy that Jeanneret praised visual closure and criticized open space by using the word “vide.” On the one hand, the principles of visual closure and diversity of perspectives have a picturesque caractère, while on the other hand the use of right angle has a monumental caractère. Jeanneret evaluated positively both monumental right angles and picturesque curves, and signs of Le Corbusier’s preference for right angles seem already apparent.

 In the concluding chapter, analogies between famous housing plans and Jeanneret’s diagrams are pointed out. The row house diagram criticized by Jeanneret for its monotony resembles an industrial village in nineteenth-century England, for example, and the hexagonal diagram by Jeanneret is similar to the hexagonal alternative to rectangular plans in early nineteenth- and twentieth-century America. Therefore, it is suggested that Jeanneret’s thoughts on housing development did not stray from the norms at that time.

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Current studies on the polychrome architecture in nineteenth century France tend to overlook the activities of the manufacturers who had made large contributions to the progress of enamel ornaments. This study tries to reveal the caracteristic of enamel lava invented and developed by the manufacuturers Mortelèque and Hachette who collaborated with the architect Jacques Ignace Hittorff, ardent agitator of the theory of architectural polychromy. Analysis of this technic shows that the enamel lava had a high durability due to the porousness of the lava which prompted Hittorff to apply it to the exterior ornaments.

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Au debut de XX^e siecle, Paul Richer, un professeur d'anatomie artistique, a identifie un crane decouvert au musee de l'homme comme etant celui de Rene Descartes qui avait disparu depuis 1650. Cette identification n'a pu se faire qu'en maniant les diverses techniques de reproduction comme le dessin, la photographie et le moulage. Cet article se propose donc d'examiner le procede de figuration du corps de Richer a travers la conception du <<figural>> avancee par Jean-Francois Lyotard darts Discours, Figure. Depuis les annees 1990, la problematique du figural, situee a un niveau virtuel entre langage et figure, provoque des polerniques dans les domaines de l'histoire de l'art, du cinema et des nouveaux media numeriques. Ce concept permet de debattre des proprietes ephemeres et virtuelles des images trans-mediatiques. Cependant, cela porte le risque de tomber dans la supposition d'une attitude passive et dans le manque d'analyse technique. En examinant le procede de Richer, qui analyse et modele le corps imaginaire, it faut donc d'une part verifier le figural contenu dans les processus virtuels des technologies reproductives variees, et d'autre part, presenter sa valeur au debut du XX^e et du XXI^e siecle.

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本稿は『ユルバニスム』へと結実するル・コルビュジエの探求の足跡を、「ルネサンス・デ・シテ」の活動において主導的な役割を果した米国の都市計画家ジョージ・ビー・フォードとの関連から考察するものである。そのため、まず昀初にフォードの経歴と業績を概観し、その都市計画の特質を明らかにする。次に、その特質がル・コルビュジエによってどのように評価され、どのように「現代都市」の制作に反映されたのかを検証する。結論は以下の通りである。１）「現代都市」の対角線街路はランスの再建プランにおけるフォードの意図を忠実に反映している。２）「現代都市」の摩天楼はフォードから学んだ「ゾーニング条例」の基本理念を反映したものではないかという可能性を指摘できる。３）「現代都市」の空港はフォードが提示した敷地の問題に対する解答ではないかという可能性を指摘できる。

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Ralph Adams Cram was a prolific American architect and a devoted Anglo-Catholic in the Episcopal Church. In the late nineteenth century, Cram was among the youth who suffered from the weightlessness of life in Nietzschean term. Cram converted from Unitarian to Episcopalian in his mid-twenties and set out on the endeavor to restore the meaning of life through his church architecture based on the teachings of Anglo Catholicism.

Anglo Catholicism was an outgrowth movement of the Oxford movement in England and spread among Episcopalians in the U.S. during and after the Civil War. It placed emphasis on Catholic heritage rather than the Anglican communion and was closely associated medievalism of the day. Cram, as a rising ecclesiastical architect, tried to transplant the fifteenth-century English-Gothic-style church architecture in the U.S., whose development was, in his view, forcibly cut short by the Reformation. Through his writings, moreover, Cram engaged in a sharp rebuke of individualism, which he saw as coming from Protestantism and as shaping U.S. capitalism and imperialism in his day. Cram advocated the restoration of medieval organic communities and the unity of people based on social justice and equality.

This paper argues that Cram sought to recover the existentialism of life in an era when expressions of human diversity, including sexuality, were suppressed in the standardized middle-class norms of Protestantism that had spread through a variety of progressive social reforms. It also claims that the Cram’s attempt was to create a sort of communes for people to take refuge from ever-expanding and encroaching ‘biopower’ in the Progressive era America.

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L. -P. Baltard, who occupied the chair of architectural education at the Ecole Polytechnique from its establishment to 1797, drew up the "Tablequ analytique pour servir a l'etude de l'architecture", which completely represented his theory of architectural education at the Ecole. This paper attempts to analyze the "Tableau" and to clarify the significance of its presence at the beginning of the 19^<th> century. The "Tableau", which was not an exact table, actually expressed a way in which all the principles of architecural theory at the time could be considered simultaneously, and indicated that the relationships between the various ideas had more importance than each idea alone. J. -N. -L. Durand, succeeding Baltard, considered this "Tableau" and established another classification for architecture: "elements-parties-ensembles" based on practical building construction.

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II faut souligner le recit du voyage par Le Corbusier, c'est a dire, son attention a l'etude des folklores. Car, c'est cela qui constitue une science pour son architecture. Or, les natures mortes de Le Corbusier se transforme en reoresentation du corps humain en mil neuf cent trente et quelques. II est certain que ce motif orovient de ses voyages des annees 30. On peut trouver meme figure du corps humain dans ses sketches dessines aux voyages. Que signifie ce corps humain dans ses oeuvres? Dans le projet pour "Villa au bord de la mer"(1916), se trouve l'escalier caracteristique qui exprime un mouvement vif. Ce proiet montre son depart de 1'architecture moderne. Or, il nous faut remonter jusqu'a son voyage d'orient en 1911 pour trouver l'idee ,de mouvement vif du corps humain. D'ailleurs, les carnets de Le Corbusier dans ses voyages de 1929 a des annees 30 dessinent les hommes naturels la-bas. Ceux-la se montrent plein de sante en vivant a l'air. Le mouvement vif du corps s'unit aux hommes naturels dans ses peintures des annees 30 Ainsi, le corps humains se definit chez Le Corbusier. Le nu feminin dans sa peinture dite "Le nu feminin couche, bateau et coquillage (1932)" exprime l'existence du corps dans la Nature. Par le canal de ses voyages de 1929 a des annees 30, la force qui unit les natures mortes dans ses peintures se developpe' et se transforme en celle du corps humain. Les representations des mains de Le Corbusier se manifestent la. On peut indiquer une difference entre l'architecture des annees 20 et celle des annees 30. En supprimant la fenetre horizontale de l'allege des annees 20, Le Corbusier fait le pan de verre des annees 30. Ce signifie le orobleme de lumiere chez lui. Le voyage d'Amerique du Sud l'elucide. En un mot le corps humain avec les mains caracteristiques des annees 30 forme celui du Modulor (1946) dans le developpement de sa peinture et de son architecture.

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