Ideal Community Based on the ‘Primitive Hut’ : through Le Corbusier’s ‘Cabanon’

Session VI : ArchitectureLe Corbusier’s realization of the villa-shed ‘Cabanon’ in Cap-Martin in the 1950s differed from his own residence on the top floor of an apartment block he built in Paris in the 1930s. The Cabanon was a prototype of the ‘equipment’ of furniture and sanitary, a ‘primitive hut’ of the 20th century that primarily served the function of a bedroom. Le Corbusier was using this prototype to form a community of artists in Cap-Martin. This was different from the closed communities, such as the large ships in the ‘Unité d’habitation’ realized in the 1950s. The construction principle of the ‘Unité d’habitation’ was the insertion of units (cabins) into the megastructures (hull) of the bottle racks. In contrast, this community initially took the form of a grid of ‘honeycomb’ structures with 226 as the reference dimension, equipped with furniture and equipment. The Cabanon, built on the north side of the site as one of the units, has a base dimension of 366 instead of 226. And probably Le Corbusier discovered the potential of this small building during its construction. He restarted to develop the idea of this community, which had been abandoned due to various problems of acquisition of the estate and project income, and intended to use Cabanon’s achievements in the construction of an ideal community. This paper considers the ideal community that Le Corbusier found in Cap-Martin by analysing the transformation of the housing complex erection conceived as an application of Cabanon, using the drawings and correspondence documents supplemented by the Le Corbusier Foundation

Japanese Anonymous Design in International Modern Culture

This paper aims to examine the international influence of Japanese anonymous design as the inspiration of the modern movement through the examples of the theories of French architect and interior designer Charlotte Perriand (1903-1999), German modern architect Bruno Taut (1880-1938) and ‘Mingei (Folk-Crafts)’ movement leader Muneyoshi Yanagi (1889-1961), to reconsider the interactions of modern design and traditional culture. The above three experts have positive evaluations of anonymous design, especially with regard to Japanese traditional crafts and farmhouses; nonetheless, due to their differing cultural backgrounds, the points they evaluated are different. For Taut as a modern architect, the beauty of crafts in Japanese farmhouses was a new discovery. This is because the same ‘quality (qualität)’ was discovered as the product Taut was evaluating when he was in Germany. This was achieved by the sophistication of form, which is different from the handicraft of ‘innocent beauty’ that Yanagi discovered. However, in the case of Taut, the beauty of the farmer was like a Zen cosmology, included universality, and it was adapted to international functionalism. On the other hand, the Japanese farmhouse was not a new concept for Perriand. In Japan, she developed her thought examining the concept of ‘Folk-Crafts’ by Yanagi, and matured this philosophy as the spatial regard based on the ‘contact’ with natural materials that included various technological possibilities of a new design for her. Unlike Taut, this ‘contact’ extends to the ‘contact’ with nature in the farmer’s external environment. Her feel of the hand on ‘Folk-Crafts’ leads to a variety of physical gests in general in contrast with ‘practicality’ as traditional life style that Yanagi valued. This paper elucidates the differences between the questions on Japanese farmhouses by the three with different backgrounds that arise from different criteria in the interpretation of ‘technology’ and ‘function’.Session VIII : Reviewing Product Desig

Development of cross-sectional classes to express a secure house living space using various construction techniques

In this research, we aim to foster the ability to propose a sustainable living environment in a three-dimensional space trying to organize a lesson in order to clarify the image of the child in the living space: "house". First, we revealed the change of the image of the "house" of the fourth graders through the model making: the children have become conscious of their own life on the durability of the house, or the attachment to the ground through the experience of model making. In addition, we found their interest to the exterior space

ソウビ ノ セイサク ニ オケル シャルロット ペリアン ト ル コルビュジエ ノ キョウドウセイ

学術論

ソウビ ノ セイサク ニ オケル シャルロット ペリアン ト ル コルビュジエ ノ キョウドウセイ

大会発表要旨第63回 意匠学会大会　2021年9月11日～12日　オンライン開催（九州大学

平和景観試論 : 広島の都市空間の記憶とその継承に関する一考察

松尾雅嗣教授退職記念論文集 平和学を拓