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Study on a genesis of imago mundi (world image) and a architectural praxis of Le Corbusier

世界意象的起源与勒·柯布西耶的建筑实践研究

基本信息

批准号：
02650437
负责人：
KATO Kunio
金额：
$ 0.7万
依托单位：
Kyoto University
依托单位国家：
日本
项目类别：
Grant-in-Aid for General Scientific Research (C)
财政年份：
1990
资助国家：
日本
起止时间：
1990 至 1991
项目状态：
已结题

项目摘要

Through a survey of documentation collected in Fondation Le Corbusier. Paris, concerning pictorial and sculptural works. we have demonstrated how tlie thought and prexis of Le Corbusier revived the Classic tradition and what kind of significance they have in our age of modernism.During first year 1990-1991, following studies were undertaken ; analysis of different periods of works, interpretation of the themes. demonstration of an architectural meaning of these works. We noticed so-called "acoustic form" designate a phenomena of inner resonance between objects and subjective "I". Methodology of Le Corbusier concerning hermetics could be understood as a return to vital archetype in a sense of history arid semantics. An ultimate theme of this work would be interpreted as an ontological manifestation of such archetypal force through a praxis.In second year 1991-1992, through a lecture of the correspondances between Le Corbusier and J. Savina, his collaborator, (collected in Fondatiori Le Corbusier, Paris), we have demonstrated that a materialistic difference of expression as well as a common aspects through such varied modalities of artistic expression. Notion of "dessin" orthogonal axiality, "trace regulator", all these are intended to measure both dimensions of human spirit and tlie "world". This is a most important objective in an architectural pi, axis in classic tradion, that we could indentify with an ancient Greek notion, "arkhitektonike tekhne". This means also what is called by Le Corbusier "sytithese des arts majeurs".

通过对柯布西耶基金会收集的文献进行调查。巴黎，关于绘画和雕塑作品。本文通过对勒·柯布西耶的思想和理论的研究，揭示了他的思想和理论是如何复兴古典主义传统的，以及在现代主义时代的意义。2在1990-1991年的第一年，我们进行了以下研究：分析不同时期的作品，阐释主题。展示这些作品的建筑意义。我们注意到所谓的“声学形式”是指物体与主观“我”之间的内在共鸣现象。柯布西耶的隐逸方法论可以理解为在历史和语义学意义上对生命原型的回归。这件作品的一个终极主题将被解释为这种原型力量通过实践的本体论表现。在1991-1992年的第二年，通过勒·柯布西耶和他的合作者J·萨维纳之间的通信讲座，（收藏于Fondatiori Le Corbusier，巴黎），我们通过这些不同的艺术表现形式展示了物质表现的差异以及共同的方面。“设计”、“正交轴”、“轨迹调节器”等概念，都是为了衡量人类精神和“世界”的两个维度。这是一个最重要的目标，在建筑圆周率，轴在经典tradion，我们可以识别与古希腊的概念，“arkhitektonike tekhne”。这也意味着什么是所谓的勒柯布西耶“sytithese des艺术majeurs”。