TheNineteenth
NineteenthCentury
CenturyHall
Hall
The

Le Corbusier himself named this hall located at the center of the building and intended to be the
Le Corbusier himself named this hall located at the center of the building and intended to be theheart of the museum. Its open space rising freely up into places on the mezzanine and second floor
heart of the museum. Its open space rising freely up into places on the mezzanine and second floor
allows visitors to appreciate the complex spatial composition.
allows visitors to appreciate the complex spatial composition.

TheSecond
SecondFloor
FloorExhibition
ExhibitionRoom
Room
The

Balconies
Balconies

On a clear day, sunlight fills the hall with natural light
On a clear day, sunlight fills the hall with natural lightfrom the north-facing triangular window.
from the north-facing triangular window.

This exhibition room is arranged around theThis exhibition room is arranged around the
Nineteenth Century Hall, and the high and low
Nineteenth Century Hall, and the high and low
ceilings and walls with openings allow visitors
ceilings and walls with openings allow visitors
to appreciate the transition between open andto appreciate the transition between open andcompressed spaces.
compressed spaces.

TriangularSkylight
Skylight
Triangular

SupportingColumns
Columnsand
andBeams
Beams
Supporting
Concrete columns and beams are poured in filled
Concrete columns and beams are poured in filled
Japanese pine frames so the texture of the wood
Japanese pine frames so the texture of the woodgrain is beautifully visible.
grain is beautifully visible.

Ramp
Ramp
Ramps were often included in Le Corbusier’s design.
Ramps were often included in Le Corbusier’s design.
Visitors leisurely strolling up the ramp, are treated toVisitors leisurely strolling up the ramp, are treated toslowly changing scenery, and enjoy paintings appearing
slowly changing scenery, and enjoy paintings appearing
and disappearing behind columns, along with theand disappearing behind columns, along with thechanging appearance of the triangular ceiling.
changing appearance of the triangular ceiling.

FloorLighting
Lighting
Floor
Floor-mounted lights were installed to light the works
Floor-mounted lights were installed to light the works
from below. (They are currently not in use.)from below. (They are currently not in use.)

The two balconies overlooking the Nineteenth
The two balconies overlooking the NineteenthCentury Hall allow visitors to appreciate the complex
Century Hall allow visitors to appreciate the complex
spatial composition of the building by providing aspatial composition of the building by providing aview down onto the hall below and into the exhibition
view down onto the hall below and into the exhibition
room behind the opposite balcony.
room behind the opposite balcony.

MezzanineFloor
Floor(Clerestory(ClerestoryGallery
GalleryAs
As
MezzanineLightingDevice)Device)Lighting
A small corridor-like glass walled gallery allows
A small corridor-like glass walled gallery allows
natural light from the roof as well as artificial lighting
natural light from the roof as well as artificial lighting
to filter through into the exhibition room and theto filter through into the exhibition room and the
Nineteenth Century Hall.
Nineteenth Century Hall.
(Only artificial lighting is currently in use.)(Only artificial lighting is currently in use.)

MezzanineFloor
Floor(Balcony)(Balcony)
Mezzanine
There are three separate balcony-like rooms with
There are three separate balcony-like rooms withnarrow staircases made for meetings and for the
narrow staircases made for meetings and for the
display of smaller exhibits. (The mezzanine floor
display of smaller exhibits. (The mezzanine floor
spaces are currently not in use.)
spaces are currently not in use.)(Interior)
Modulor(Interior)
Modulor

PilotisPilotisThis was one of the essential
This was one of the essential
elements of “the five points for aelements of “the five points for a
new architecture” and the idea of a
new architecture” and the idea of a“museum of unlimited growth”, which“museum of unlimited growth”, which
Le Corbusier proposed.
Le Corbusier proposed.

PanelsofofExterior
ExteriorWalls
Walls
PanelsUnlike in traditional architecture, the exterior walls are
Unlike in traditional architecture, the exterior walls are
not required to support the weight of a building; each
not required to support the weight of a building; eachwall panel is embedded with pebbles and each panel
wall panel is embedded with pebbles and each panel
is removable. (Almost all of the panels have beenis removable. (Almost all of the panels have been
replaced to date.)
replaced to date.)

Le Corbusier designed buildings based on the
Le Corbusier designed buildings based on the
proportions of the human body. The columns
Modulor (Exterior)proportions of the human body. The columns
Modulor(Exterior)areerectedatequal
intervalsof 635cm. Most of
The concrete mullion-like narrow vertical louvers or
are erected at equal intervals of 635cm. Most of
The concrete mullion-like narrow vertical louvers orbased on Modulorslats, which are found for instance outside the windows the building is constructedbased on Modulorslats, which are found for instance outside the windows the building is constructedmeasurements
including the height of the lowof the restaurant and the museum shop, are positioned measurements
including the height of the lowof the restaurant and the museum shop, are positioned
in the exhibition room on the second floor
according to Modulor measurements. The design of the ceilingin the exhibition room on the second floor
according to Modulor measurements. The design of the ceilingand on the mezzanine floor (226cm) as well as theforecourt and the exterior wall panels are also allocated andon the mezzanine floor (226cm) as well as theforecourt and the exterior wall panels are also allocatedheight of the balcony handrail wall (113cm).
rhythmically based on the Modulor scale.
height of the balcony handrail wall (113cm).
rhythmically based on the Modulor scale.

©2017 The National Museum of Western Art, Tokyo | Design: OOOKA Hironori office©2017 The National Museum of Western Art, Tokyo | Design: OOOKA Hironori office

The National Museum of Western Art is the repository of
The National Museum of Western Art is the repository ofsomething just as important as paintings and sculpture:something just as important as paintings and sculpture:architecture; and the building itself is just as precious as thearchitecture; and the building itself is just as precious as theartworks it houses. Le Corbusier, one of the most influential
artworks it houses. Le Corbusier, one of the most influentialarchitects in the 20th Century, designed the museum, whicharchitects in the 20th Century, designed the museum, which
was completed in 1959. The building, designated as a World
was completed in 1959. The building, designated as a World
Heritage Site, is acknowledged for its important contribution
Heritage Site, is acknowledged for its important contribution
to the new architectural movement in Japan and represents
to the new architectural movement in Japan and represents“the five points for a new architecture” and is a wonderful“the five points for a new architecture” and is a wonderfulembodiment of a “museum of unlimited growth”.
embodiment of a “museum of unlimited growth”.

The National Museum of Western Art, Tokyo was
The National Museum of Western Art, Tokyo wasestablished to house and display the Matsukata
established to house and display the Matsukata
Collection, returned to Japan by the FrenchCollection, returned to Japan by the Frenchgovernment after World War II. (The founder of thegovernment after World War II. (The founder of the
Matsukata Collection was Kojiro Matsukata, theMatsukata Collection was Kojiro Matsukata, thepresident of the Kawasaki Dockyard Co., Ltd. who
president of the Kawasaki Dockyard Co., Ltd. who
had travelled extensively in Europe and built a vast
had travelled extensively in Europe and built a vast
collection of artworks)
collection of artworks)
After France stipulated that a French architect should
After France stipulated that a French architect should
design the museum to house the collection, thedesign the museum to house the collection, theworks were returned to Japan, and the Japanese
works were returned to Japan, and the Japanese
government commissioned Le Corbusier to design thegovernment commissioned Le Corbusier to design thebuilding for the new museum in 1955. Le Corbusierbuilding for the new museum in 1955. Le Corbusier
asked his three former Japanese apprentices, Junzo
asked his three former Japanese apprentices, Junzo
Sakakura, Kunio Maekawa and Takamasa Yoshizaka
Sakakura, Kunio Maekawa and Takamasa Yoshizaka
to help him supervise construction.
to help him supervise construction.
Many Japanese architects have been influenced byMany Japanese architects have been influenced by
Le Corbusier’s work and his architectural philosophy
Le Corbusier’s work and his architectural philosophy
has made an outstanding contribution to the newhas made an outstanding contribution to the newarchitectural movement in Japan.
architectural movement in Japan.

TheNational
NationalMuseum
MuseumofofThe
WesternArt,
Art,Tokyo
Tokyo
Western
The Architectural Work of Le Corbusier,Theof Le Corbusier,anArchitectural
Outstanding Work
Contribution
to the Modern Movement
aninscribed
Outstanding
theMovementon theContribution
World HeritagetoList
in Modern2016
inscribed on the World Heritage List in 2016
ル・コルビュジエの建築作品
ル・コルビュジエの建築作品－近代建築運動への顕著な貢献－－近代建築運動への顕著な貢献－
世界遺産登録年:2016年
世界遺産登録年:2016年•

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EnglishEnglish•United Nations
UnitedNations
Educational,
ScientiﬁcandEducational,
ScientiﬁcandCultural
Organization
Cultural Organization
国際連合教育科学
国際連合教育科学
文化機関
文化機関

A

W

Charles-Èdouard Jeanneret-Gris, known as Le
Charles-Èdouard Jeanneret-Gris, known as Le
Corbusier (1887-1965), was born in La Chaux-de-Fonds
Corbusier (1887-1965), was born in La Chaux-de-Fonds
in Switzerland, a town renowned for the manufacture of
in Switzerland, a town renowned for the manufacture ofwatches.
watches.
After graduating from the municipal school of decorative
After graduating from the municipal school of decorativeart, Le Corbusier experienced the new movement ofart, Le Corbusier experienced the new movement ofarchitecture, arts and crafts in Vienna, Berlin and Paris.
architecture, arts and crafts in Vienna, Berlin and Paris.
As an architect, he briefly worked for Auguste Perret
As an architect, he briefly worked for Auguste Perretand Peter Behrens, but he was mainly self-taught. His
and Peter Behrens, but he was mainly self-taught. His
design work was the result of very thorough research
design work was the result of very thorough researchfor each prototype. Then, as needed, he repeatedly
for each prototype. Then, as needed, he repeatedly
considered and refined the design until he was satisfied
considered and refined the design until he was satisfied
it was the best building for the site and environment. Le
it was the best building for the site and environment. Le
Corbusier, worked mainly in France, pursued rational,
Corbusier, worked mainly in France, pursued rational,
functional and clear design principles, and had anfunctional and clear design principles, and had anincomparable influence on 20th Century architecture
incomparable influence on 20th Century architecture
and urban planning.
and urban planning.

LeCorbusier
Corbusier
Le

遺
世界 産
遺
世界 産

•

•

World Heritage AcrossSeven Countries

1920“The Architectural Work of Le Corbusier, an
Outstanding Contribution to the Modern
Movement”, including the National Museum ofWestern Art, Tokyo, was added to the World
Heritage List at the 40th session of the World
Heritage Committee on July 17, 2016. This is
the first time the group of 17 sites across sevencountries and three continents was listed together.
These sites encompass the history of themodern architectural movement, which criticized
the style of architecture prior to the 19th
Century and attempted to change architecturein accordance with the needs of a new society.
The sites are also proof of the movement’s
influence around the world. The movement wasrecognized as an innovative solution to 20th
Century social and human needs.

Maison Domino

The Petite villa au bord du lac Léman© FLC/ADAGP/De Prins/Emden/Kieslowsky/OMG, 2016

The Maisons La Roche and Jeanneret© FLC/ADAGP/De Prins/Emden/Kieslowsky/OMG, 2016

The Maison Guiette

The Maisons de la Weissenhof-Siedlung

1926

This is one of the earlyworks of Le Corbusier
and was an expressionof a new architectural
language (elements andtechnique): free form andcolor. This house madehis work known insideand outside Belgium.
France

1928

The Immeuble Clarté© FLC/ADAGP/De Prins/Emden/Kieslowsky/OMG, 2016

France

1931

1940

The Immeuble locatifà la Porte Molitor apartments“The five points for a newarchitecture” were applied to thisapartment building. The use ofglass created a sense of unity
between the building and spaceoutside. After its completion Le
Corbusier lived in this building forthe rest of his life.

The Manufacture à Saint-Dié© FLC/ADAGP/De Prins/Emden/Kieslowsky/OMG, 2016

The Maison du Docteur Curutchet

1950
Le Corbusier
established a new
sculptural architecturewith this chapel andinfluenced churcharchitecture across theworld.

The Cabanon of Le Corbusier

The Centre de recréation du corps
et de l’esprit at Firminy-Vert

France1955

This building was
designed andestablished as a partof an urban planningscheme designed to
improve urban life.

Argentina

1949© FLC/ADAGP/De Prins/Emden/Kieslowsky/OMG, 2016

This innovative approach involves constructing a building
with a simple structure supported by reinforced precastcolumns and floors connected by staircases. Unlike
traditional architecture with buildings supported by walls
made of layered stones or bricks, the Maison Domino
structure with columns supporting the floors allows
replaceable and movable exterior walls and partitions(interior walls) and the creation of the now familiar open
space designs.
The domino concept efficiently demonstrated how tomake an elegant prefabricated structure by using preand mass-produced construction components withcompletely standardized measurements.

The Five Points for a New Architecture

Le Corbusier presented “the five points for a new architecture” considering such technical aspects asconstruction materials and methods, while incorporating concepts to create a structure to benefit thelifestyle and wellbeing of its inhabitants.

1 Pilotis

A space supported by columns. It is a comfortable
light and open space allowing free movement ofpeople and air.

2 Rooftop Garden

Generous rooftop spaces filled with plants enhance
the reinforced concrete flat roof—such gardens in thesky are impossible to create on older buildings with
their functional sloped roofs designed to repel snow
and rain.

3 Free Floor Plan (Flat Surface)

Replaceable and movable partitions (interior walls)
laid out on floors supported by columns allow thefree design of interior space.

4 Horizontal Oblong Windows

Rooms are filled with light from windows extending
the full width of the wall.

5 Free Façade

Supporting the building on columns gives virtuallyunrestricted freedom to use panels and glass forexterior walls.

The Museum of Unlimited Growth (Museum Projects)
Le Corbusier repeatedly worked on his plans for the“museum of unlimited growth” concept over a 36 year
period from 1929 until his death.
“Mundaneum, the World Museum” (1929) was his firstmuseum project. A pyramid shaped building allowed
visitors to descend spirally from the center of the top floor
exhibition room.
The Contemporary Art Museum, Paris (1931) was the firstmuseum of a square spiral form with an exhibition room
above pilotis. In order to solve the problem of an everexpanding collection, a central room was first created,around which exhibition rooms extending helically andoutwardly were to be added as the number of exhibits
increased.
Le Corbusier continued his research in to building a
museum which could be constructed relatively easily,
could accommodate a variety of exhibitions and whichlooked harmonious. He presented the prototype ofa “museum of unlimited growth” in the museum in
Philippeville planning (1939).

This is the mostsignificant standardized“Minimal House” basedon the Modulor system.

The design of the National Museumof Western Art was based on theprinciple of a “Museum of Unlimited
Growth”. The characteristics are still
relevant today.
❶Enter the central hall through pilotis
and go around the square spiralexhibition room.
❷There is a swastika shaped mezzanine
space.
❸The dimensions and locations of thepartitions (walls) in the exhibition
room are flexible and allow a variety ofdifferent spatial arrangements.

FranceModulor
226
183
140

The National Museum ofWestern Art, Tokyo

1929-

1951

1953

© FLC/ADAGP/De Prins/Emden/Kieslowsky/OMG, 2016

1926-

FranceThe Convent at Sainte-Mariede-la-Tourette

1952

The work was based on
Le Corbusier’s view ofurban life (“Radiant City”,“The Athens Charter”).
This compound had an
outstanding influence on
the architecture of the
Indian subcontinent.

1945“The five points for a newarchitecture” were applied
again several decades after the
principals were first proposed.
This house had a fundamental
influence on South American© FLC/ADAGP/De Prins/Emden/Kieslowsky/OMG, 2016 architecture.

1950

FranceFranceThis is a prototype ofa new house that wasto establish a balance
between individuals andthe group. The building
has walls of exposed
aggregate concrete.

1946

The Complex of the Capital, Chandigarh India© FLC/ADAGP/De Prins/Emden/Kieslowsky/OMG, 2016

Le Corbusier demonstrated
his principles ofprefabricated andstandardized plan andstructure. This was the firstbuilding that used steel
frames for windows andpanels instead of concrete.

FranceThe Chapel at Ronchamp© FLC/ADAGP/De Prins/Emden/Kieslowsky/OMG, 2016

Switzerland

The Unité d’habitation in Marseille© FLC/ADAGP/De Prins/Emden/Kieslowsky/OMG, 2016

This is a factory designed
to meet the social andhuman needs of modern
people. The building also
demonstrated the principlethat people working in
the factory can still feel inharmony with nature.

1927

1930

The villa is a manifesto
of Le Corbusier’s “thefive points for a newarchitecture”. This is
one of his most famous
works.

© FLC/ADAGP/De Prins/Emden/Kieslowsky/OMG, 2016

Germany

This became a prototype
of a house with precast
beams, which showcased
the new possibilities ofspace within a building
and made it possible tochange the floor plan
flexibly after construction.

© FLC/ADAGP/De Prins/Emden/Kieslowsky/OMG, 2016

1930

The Villa Savoye, together
with its gardener’s house

1924

The “Minimal house” concept
was applied to this housingdevelopment. It is a combinationof 5 square meter housing units
and is also an important workin terms of prefabrication and© FLC/ADAGP/De Prins/Emden/Kieslowsky/OMG, 2016 standardization.

Belgium© FLC/ADAGP/De Prins/Emden/Kieslowsky/OMG, 2016

France

1923

When you walk down a ramp oralong a balcony, you experience
the fluidity of space as thescenery and colors around youchange. This was the first Le
Corbusier work to which theepithet “the five points for a newarchitecture” were applied. At thistime “the five points for a newarchitecture” had not yet been
made public.

1923

Le Corbusier showed
the new architecturalform in “a minimal
house” to meet theneeds of the occupants
with minimal elements.
This is an example ofstandardized housing.

The buildings of Cité Frugès

FranceSwitzerland

1914

This priory was
designed with the
deeper principles of“the five points for a
new architecture”.

Japan

1955

113
70
43

86
54

Le Corbusier created his architectural
measurement and proportion system bylinking architecture and the human body. He
drew up two proportional sets, red and blue,
based on the following criteria: the ratio of
the height of a human (183cm) to the heightof their navel (113cm), which gives a Golden
Ratio of 1.618:1, and the overall height of ahuman with raised arms (226cm). Harmony
and rhythm are created in architecture when
Modulor measurements are added together
or a single measurement is repeated in aseries.

In some cases, the “museum of unlimited growth” is translated as the "museum of unlimited expansion",and “the five points for a new architecture” is translated as “the five elements for modern architecture”.