Notes handwritten by Furuichi Koi in French are currently kept in “Furuichi Koi Collection”, the University of Tokyo (M04, M05, M07). M04 and M05 were translated into Japanese by Iguchi Shohei, but ...Japanese translation of M07 entitled Notes sur les travaux publics en Europe is not yet realized. The purpose of this report is the typing and Japanese translation of the full text of “Notes diverses” of Chapter 1 that provide an overview of the Rhone River, suspension bridges over the Durance River, roads near the Durance River, and maintenance personnel for roads.
Notes handwritten by Furuichi Koi in French are currently kept in “Furuichi Koi Collection”, the University of Tokyo （M04, M05, M07）. M04 and M05 were translated into Japanese by Iguchi Shohei, but ...Japanese translation of M07 entitled Notes sur les travaux publics en Europe is not yet realized. The purpose of this report is the typing and Japanese translation of the full text of Chapter II that provides an overview of the port facilities at Marseille, France.
The château de Versailles which had been a hunting lodge of Louis XIII became a huge Palace when the château-neuf was built from 1668 to 1670. Regarding the chronology of this château-neuf called ...envelopment, various theories have been fought since the 1940s, but the reason why many interpretations could exist is that “Palais de Versailles: Raisons générales”, one of the three documents related to this problem by Jean-Baptiste Colbert doesn’t bear the date on which it was written. The author previously evaluated former studies on the chronology of château-neuf and emphasized the differences in the interpretation of these three documents. As a result of that, it is revealed that the interpretation of "Raisons générales" is the most important. Therefore, as a next step, it is necessary to work "Raisons générales" in the construction history of château-neuf without contradiction. In this paper, I argue that "Raisons générales" should explain the adoptation of the finally realized plan by abandoning the chief architect's competition plan which is thought to have been adopted since the end of June 1669. In other words, I believe that "Raisons générales" was written last in the above three documents. Although this order has already been presented in previous studies, the reason for doing so is not indicated, so the presentation of that reason is the original purpose of this paper. As preparatory work, I already assessed the position of "Raisons générales" in former studies in my previous report, indicated difficulties for the interpretation of "Raisons générales" and carried out the work which highlights the positioning and inconsistency point in the interpretation of "Raisons générales" in these studies. In this paper, at first, after showing the Japanese translation by the author of the "Raisons générales", the points of the above work and issues are summarized and the author's answer to these points are presented. Based on the key derived from them, i.e. the dimensional data in "Raisons générales", the author adequately places "Raisons générales" in the construction history of the château-neuf of Versailles. The author indicates that the dimensions shown in the description that "L’élévation du dedans de la cour sera de 60 pieds de hauteur, et la cour n’aura que 28 toises de large sur 34 toises de longueur" at the beginning of the second part of "Raisons générales" is the key to this argumentation. The author proves the above hypothesis by comparing these dimentional data with the dimensions of the rooms of the appartement du roi shown in another document written by Cobert, "Mémoire de ce que le Roi desire dans son Bâtiment de Versailles". At that time, it also shows the reason why the dimensional data indicated in this "Mémoire" should be used rather than the measured value of the château-neuf of Versailles.
French gardens in the 17th century consist of boschi and garden roads conformed to geometric figures under the Italian garden's influence. The château is placed as one pole on the garden entrance ...side, and it is said that the château and the jardin are closely tied together to create a uniform world. The château and the jardin were planned on a grand dessin. Meanwhile, as a result of the transition of the ceiling painting theme of Galerie des Glaces directly facing the jardins, we have already clarified that there was a serious discrepancy between the world of the gallery ceiling painting depicting Louis XIV's own glorious wars and the peaceful world of the garden centered on the sculptures based on the Apollo's myth. Therefore, Versailles Palace since 1680 is not a uniform world in which the garden and the château were united together in a same iconographical program. If we discuss the unity of the garden and the château, we should examine it not only from the viewpoint of architectural planning but from various viewpoints such as iconographical program. So, in this paper, we will discuss the relationship between the three rooms, Salon de la Guerre, Galerie des Glaces and Salon de la Paix occupying an important central position. A reason for considering the relation between the garden and not the gallery alone, but the ensemble including two lateral saloons is that they were planned as one on the architectural plan and the iconographical program. At the same time, it is also a purpose of this paper to reevaluate the significance of these two saloons in the construction of Versailles. Therefore, we adopt the following three methods. We reconsider the viewpoint of spatial theory as discussed by Giedion and the viewpoint of iconographical program as discussed in our previous papers, and newly, about the two saloons, we discuss the viewpoint of how these have been used. The first viewpoint is based on the architectural design theory of the Modern Movement in Architecture, the second is an application of our previous papers' issue, and the third is newly tried in this paper. We are trying to clarify that various relationships between the two saloons and the gallery, or relationships of these three rooms with the gardens could contradict each other as we change our viewpoint. In other words, these relationships have practical and symbolic aspects, so, our aim is to clarify complicated design methods of French modern architecture. For the first viewpoint, we summarize discourses of representative histories of Versailles by Verlet, etc. Regarding the second, we summarize the points of our previous papers mentioned above and describe the iconographical program of the two saloons that was not mentioned in them, based on historical documents and previous studies. Regarding the third, in addition to various kinds of image documents, documents by Dangeau and Saint Simon are also used for clarifying how to use these three rooms under the reign of Louis XIV. That is, even if the gallery and two lateral saloons have a relationship from the point of view on the iconographical program, it does not matter about the function. However, when the decoration of the salon de la Paix was remodeled in the 18th century, efforts to maintain the iconographical symmetry of allegory of war and peace have not been abandoned. Even after losing its functional relationships, designers tried to keep iconographical relations. We can see the intention of achieving the so-called Louis XIV's grand design. Exactly in this point, the two lateral rooms played an important role for achievement of the grand design of Versailles.
Notes handwritten by Furuichi Koi in French are currently kept in “Furuichi Koi Collection”, the University of Tokyo (M04, M05, M07). M04 and M05 were translated into Japanese by Iguchi Shohei, but ...Japanese translation of M07 entitled Notes sur les travaux publics en Europe is not yet realized. The purpose of this report is the typing and Japanese translation of the full text of Chapter III’s general description that provides an overview of the urban planning of Rome City, Italy.
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