FORMATION OF THE NOTION ON “EQUIPMENT” BY LE CORBUSIER

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  • ル・コルビュジエにおける「装備」概念の変容
  • ル ・ コルビュジエ ニ オケル 「 ソウビ 」 ガイネン ノ ヘンヨウ

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Abstract

 The turn of the “decorative art” in the 20th century has not yet discussed under the assumption of the negation of “decoration” by modernism in architecture. In this context, this paper aims to elucidate the formation of the notion on “equipment” by the Architect Le Corbusier (1887-1965), using his all kinds of books and his correspondences conserved in Le Corbusier Foundation in Paris.<br> Several periods were divided for this purpose: the question of “furniture” and the birth of the notion of “equipment” before 1920's, the theorization of “equipment” in 1920's, and its transformation after 1920’s.<br> In the youth of Le Corbusier, under his real name Charles-Édouard Jeanneret, he made out the report of Study on the Movement of Decorative Art in Germany (1912) to investigate the production method by Deutscher Werkbund, while he was influenced by the French Architect Auguste Perret who pursued the possibility of the reinforced concrete and its classicism. In this condition, he could not settle his notion on “furniture”: “mobile furniture” or “fixed furniture” in his viewpoint of human comfort.<br> It was the 1920's that Le Corbusier referred directly to the notion of “equipment” (Decorative Art of Today, 1925). His unique notion of “equipment” has come from the consideration about “furniture”, in particularly, the question of “storage cabinet”. According Le Corbusier, the “storage cabinet” is an “object-member” (object like the limbs), which has to fit with the body dimensions. Hence, his notion of “equipment” is extended to, not only desk and chair, but also “clothing”. On the other hand, independent objects of body size, for example wallpaper, carpet, tapestry, or heating apparatus, what are called “decorative arts” do not belong to the category of “equipment”.<br> After the 1920's, the notion of “equipment” proposed by Le Corbusier was more developed. He has been placing the treatment of wall “color” in the notion of “equipment” (Talks with Students, 1943). Moreover, he has been regarding even “window” which is opened out on the wall as “equipment”. “Window” is a devise for the natural light instead of chandelier as the decorative art, and it is also a devise for the control of the natural environment (Modulor 2, 1955).<br> As a result, it can be seen that the Le Corbusier's notion on “equipment” has been spreading from “furniture” to the devise for the control of the natural environment. In conclusion, it is pointed out that such a formation of his notion is closed connection with his notion of “wall”: In the 1920's, Le Corbusier proposed the tree types of installation: incorporate on the wall, lean against the wall and detach from the wall. However, he has come to incorporate all devises of “equipment” on the wall.<br> Therefore, the element of “mobile” is only the human body. All element of “fixed” is equipped with the wall. However this kind of “wall as equipment” have to have the function of “clothing” at the same time. Le Corbusier's “wall” is more ambiguous: although it is immovable, it is also flexible as devise for the control of the natural environment.

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