FORMATION OF “DECOR” IN A STUDY OF THE DECORATIVE ART MOVEMENT IN GERMANY BY CHARLES-ÉDOUARD JEANNERET (LE CORBUSIER):

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  • シャルル＝エドゥアール・ジャンヌレ（ル・コルビュジエ）のドイツ装飾芸術運動研究における「装飾」の概念構成
  • シャルル=エドゥアール・ジャンヌレ(ル・コルビュジエ)のドイツ装飾芸術運動研究における「装飾」の概念構成 : 「工業」「芸術」「類縁性」
  • シャルル=エドゥアール ・ ジャンヌレ(ル ・ コルビュジエ)ノ ドイツ ソウショク ゲイジュツ ウンドウ ケンキュウ ニ オケル 「 ソウショク 」 ノ ガイネン コウセイ : 「 コウギョウ 」 「 ゲイジュツ 」 「 ルイエンセイ 」
  • “Industry”, “Art” and “Kinship”
  • 「工業」「芸術」「類縁性」

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Abstract

<p> This paper aims to clarify the formation of "decor" focusing on the study of the decorative art movement in Germany by Charles-Edouard Jeanneret (Le Corbusier) in 1910. At first, we reorganize the subjects concerning "decor" of the interior space from the description in the report of his research study. Next, through the notebooks and sketches drawn during his German journey, we analyze specific decorative elements for each subject. And finally, we consider the relationship between the subjects.</p><p> Jeanneret's report is the result of the survey of workshops, factories, and school education facilities regarding the production of furniture that are directly related to our daily lives. His consistent logic of the description contrasts the late decorative art in France with the modern decorative art in Germany. According to Jeanneret, German decorative arts transform the "art" in France into general applied arts introducing the "industry" in Germany. The "kinship" created between the elements of the interior decoration is the outcome of the machine-production.</p><p> In the notebooks and sketches drawn during Jeannere’s journey in Germany, which is the source of his report, there are 32 direct descriptions about interior decoration. In addition to "house" (18 places) as living spaces, He also mentions building types such as "theater" (6 places) and "department store / cafe" (2 places) that are not directly related to living spaces, and study the same subject as "house".</p><p> It is the fact that in the notebook, Jeanneret inspects the decorative elements in the interior space attributed to "industry". Above all, he analyzes in detail the mobility of furniture as a mechanical product with a mechanism of rotation and folding. however, At the same time, he researches forms and colors that cannot be mechanized like works of "art", even on the subject of "industry". His interest spreads from the independent decorative elements to the method of fixing to the wall, to the color of the wall surface. That is, the "kinship" between the decorative elements as a characteristic of German decorative arts indicated in his report is established in the spatial relationship of the elements.</p><p> Jeanneret's appreciation for German decorative arts in his notebook is ambiguous. In the latter half of his study journey for the German decorative arts movement, he comes to regard the products produced in Germany as reference systems such as the Biedermeier style and the Empire style. In addition, his evaluation of material quality and color decoration is not directly linked to cost reduction through mechanization. He evaluates the color of the wall itself as a decoration, and the artistic painting works as a decorative element at the same time.</p><p> In the case of Jeanneret, there is no boundary between "industry" and "art". He verifies the quality of products and works, and questions their spatial characteristics regardless of whether they are mechanized or hand-crafted. Jeanneret's concept of "decor" in the interior space is understood by the spatial relationship of the decorative elements called "kinship", which coexists the subject of "industry" by machine technology and the subject of "arts" with human hands.</p>

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