Relationship to previous research Regarding the form of Le Corbusier's façades, there already exists research on the structural methods for window opening [4] and research on the development of what he called 'le brise-soleil (the sun breaker)' devices [5, 6]. These previous research contributions do analyze the distinctive forms of the façade specific to Le Corbusier, but they do not provide a comprehensive elucidation of the varied development of the design methods of the façade in Le Corbusier's work and his design process. Regarding the Kansei research on architect, Le Corbusier, there exists already some researches on the se1f formation by journey in younger days or his idea of art [7-9]. However, they do not treat the architectural design Regarding the Kansei research on architectural space, there are less studies than on product design [10]. The main theme on building is the user evaluation [11], or the design's Kansei information system [12].

This paper aims to clarify the design method with a prototype by Le Corbusier, analyzing the transformation of the "Museum of Unlimited Growth" as prototype in Ahmedabad, India (1957). According to the analysis of the Le Corbusier Plans, the Carnets (Sketchbooks) and the documents of Le Corbusier's correspondence, the author categorizes the process of the transformation of the prototype into four parts, referring to the site plan composition. As a result, the paper finds two opposed ideas: on one hand, Le Corbusier expresses the universality of the museum "without façade" through the small, symbolic beamlike projections on the façade. On the other hand, he camouflages the façade with plants for the mitigation of the local climate. In conclusion, the paper clarifies that the creative process of Le Corbusier's prototype of Museum in Ahmedabad is the interaction between idealization and localization.

This study aims to clarify the design method exemplified in a prototype by Le Corbusier, analyzing the second realization of the "Museum of Unlimited Growth" in Tokyo, Japan (1955)(1956)(1957)(1958)(1959). According to the analysis of Le Corbusier Plans, Carnets (Sketchbooks), and documents of Le Corbusier's correspondence, the author categorizes the process of the spatial transformation of the prototype in four parts. A finding from this analysis is Le Corbusier's fundamental interest in natural light over spatial extension based on the pyramidal top light system in the grand hall, which features the "photographic wall" in the center of the museum. In conclusion, this paper points out that the museum in Tokyo reflects the origins of the museum prototype; it is the place for synthesis of the arts illuminated by natural light.

In this paper, the formation process of the "open veranda" in the realization of Residence for Lie A Hong (1968-1969) by Friedrich Silaban were analysed. Using Silaban's archives for this house project, we divided the realization process into four phases. Throughout the plan transformation, we found out that the open veranda was not only the adjustment with the tropical climate, but also the connection to the social and personal life activities. In conclusion, we can say that the open veranda was a mechanism to interpret the indigenous climate and the modern architecture in Silaban's residential design.

The study aims to clarify the relationship between Le Corbusier's global concept regarding the environment ("Sun, Space, Green") and its realization in the transformation of the architectural form of the Villa Sarabhai (1952)(1953)(1954)(1955) in Ahmedabad, India. According to an analysis of the Le Corbusier Archives, Carnets (Sketchbooks) and Le Corbusier's correspondence, Le Corbusier studied the architectural space of the Villa Sarabhai using the low-level vault to receive the wind and to merge into the landscape from the start of the project. However, in the process of this project, the rooftop form was transformed. That is, a roof garden where one could stroll freely on the vault was conceived. This horizontal layout with the "roof garden" differs from the utopian one that had been planned and achieved in the 1920's. The "roof garden" of Ahmedabad is a reflection of the relationship with the specific natural environment which Le Corbusier encountered.