Kuma Words 21
Kuma Words 21
Recently, I was able to visit Le Corbusier’s apartment (completed in 1935) in Paris, where he resided, and I was guided by the architect who was actually in charge of its restoration.
Since we have become so acclimated to the impression of his apartment from black and white photos, and given the combination of glass block and black steel, my expectation was something of a businesslike, function-oriented architecture. However, to my pleasant surprise, the interior, and especially the top floor where he resided, betrayed my previous intuition completely. I could still feel his presence, even the warmth of his life.
I realized that most of us have only experienced Corbusier’s early works in monochrome, giving an altered impression of the architect.
To give you an example, the atelier where he painted had an exposed masonry party wall, providing warmth and gentleness to the space. Near this wall there was an old wooden shelf (see photo) that was passed on to Corbusier by his Swiss father, a clock smith, prompting a wonderfully humble moment.
I was also able to lay in his 90cm-high steel bed – at this height I felt as if I were floating above the town of Paris.
The closets where he kept jackets and coats was only 60cm wide for himself and his wife, which made me think about the non-materialistic nature of Corbusier. He believed only in the body and lived with it throughout his life, without paying the slightest attention to decorations – even in his clothing.
I also noted a pale blue grout between the white tiles, another detail masked by black and white photography. Everything was fresh and warm, and gave a direct message to us. The shower booth was made with thin concrete like a cave (see photo) and it reminded me of Corbusier’s residence in Algeria, which I know was his favorite.



コルビュジエ自身がパリで住んでいたアパート(1935竣工)を、リストレーションを担当した建築家の案内で訪れることができた。
ガラスブロックと黒い鉄骨を組み合わせた外観の写真の印象で、即物的な機能主義建築を想像していたが、彼が住んでいた最上階のインテリアは、いい意味で予想を完全に裏切るものであった。コルビュジエという身体の生々しさが伝わってきて、彼の体温を直接感じることができた。 われわれは初期コルビュジエ作品の白黒写真でコルビュジエに出会ったので、コルビュジエを誤解してきたのではないかと感じた。
たとえば、彼が絵を描いていたアトリエの壁は、隣の建物と共有する粗石積の共有の壁が露出され、暖かく、やわらかかった(写真)。その壁に置かれていた、古い木製の棚(写真)は、スイスの山奥の時計職人であった彼の父親から譲り受けたもので、感動的なまでに粗末であった。
高さが90cmもあるスチールフレームのベッドに横たわってみたが、その高さだと、身体がパリの街の上に浮いているように感じた。
コートやジャケットを掛けるクロゼットは、彼の分も妻の分も60cmしかなく、彼が自分の身体以外のデコレーション ―たとえば服- に全く関心がなく、身体だけを信じ、身体とだけ生きた人間だったと感じた。
白いタイルの目地につけられた淡いブルーにも、いままでの写真からは気づかなかった。すべてが生々しく、暖かく、直接的だった。シャワーブースは、薄いコンクリートで洞窟のように作られていて(写真)、彼が愛したというアルジェリアの住居を思わせた。


