Study on mutually-referential structure and effective history concerning sketches in the journey diaries of Le Corbusier

通过分析勒·柯布西耶在《东游记》(1911年)中留下的许多素描和照片的对象是在地点和构图中绘制和拍摄的原因，通过实践研究，实际上他对这些在土耳其、希腊和意大利的历史建筑和废墟中更具建筑学意义的卷册、它们的分布和构成的兴趣已经增加，在这次旅程开始之前，最能满足他兴趣的场景已经被认为是中心主题，这种领悟这一本质的能力被用于他后来的作品和写作。

After the analysis of the reasons why the objects of many sketches and photos left in the “journey to the East”（1911) by Le Corbusier were drawn and taken at the place and in the composition, through the practical research, it became in fact clear that his interests in the volumes, their distribution and composition, which are architecturally more essential in historical architecture and ruins in Turkey, Greece and Italy than those of his sketches before the start of this journey, had increased, that the scene which can fulfill his interests most surely, among the large possibility of places, objects and compositions, had been regarded as central theme, and that this ability to apprehend this essence is used for his later works and writings.