This article examines Le Corbusier’s architectural design processes, paying special attention to his concept of “ineffable space”. Le Corbusier related “ineffable space” to mathematics, arguing that both mathematics and the phenomenon of “ineffable space” provoke an effect of “concordance”. He also argued that when the establishment of relations is “precise” and “overwhelming”, architectural artefacts are capable of “provoking physiological sensations”. For Le Corbusier, the sentiment of satisfaction and enjoyment that an architectural artefact can provoke is related to a perception of harmony. This article analyzes the reasons for which Le Corbusier insisted on the necessity to discover or invent “clear syntax” through architectural composition. He believed that the power of architectural artefacts lies in their “clear syntax”. Particular emphasis is placed on the relationship of Le Corbusier’s theories of space with those of Henri Bergson and the De Stijl movement. At the core of the reflections that are developed here are Le Corbusier’s “patient search” (“recherche patiente”) and the vital role of the act of drawing for the process of inscribing images in memory. For Le Corbusier, drawing embodied the acts of observing, discovering, inventing and creating. This article also relates Le Corbusier’s interest in proportions and his conception of the Modulor to post-war Italian neo-humanistic approaches in architecture. It intends to render explicit how Le Corbusier’s definition of architecture was reshaped, shedding light on the shift from defining architecture as clear syntax to defining architecture as the succession of events.

中文翻译：

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勒柯布西耶不可言喻的空间与同步：从作为清晰句法的建筑到作为事件连续性的建筑

本文检视勒柯布西耶的建筑设计过程，特别关注他的“不可言喻的空间”概念。勒柯布西耶将“不可言喻的空间”与数学联系起来，认为数学和“不可言喻的空间”现象都引发了“和谐”的效果。他还认为，当关系的建立是“精确的”和“压倒性的”时，建筑人工制品能够“引发生理感觉”。对于勒·柯布西耶来说，一件建筑艺术品可以唤起的满足感和享受感与和谐感有关。本文分析了勒柯布西耶坚持通过建筑组合发现或发明“清晰句法”的必要性的原因。他认为建筑人工制品的力量在于其“清晰的句法”。特别强调勒柯布西耶的空间理论与亨利柏格森和风格派运动的关系。在这里展开的反思的核心是勒柯布西耶的“患者搜索”（“recherche patiente”）以及绘画行为在将图像铭刻在记忆中的过程中的重要作用。对于勒柯布西耶来说，绘画体现了观察、发现、发明和创造的行为。这篇文章还涉及勒柯布西耶对比例的兴趣和他的概念 对于勒柯布西耶来说，绘画体现了观察、发现、发明和创造的行为。这篇文章还涉及勒柯布西耶对比例的兴趣和他的概念 对于勒柯布西耶来说，绘画体现了观察、发现、发明和创造的行为。这篇文章还涉及勒柯布西耶对比例的兴趣和他的概念战后意大利新人文主义建筑方法的模范。它旨在阐明勒柯布西耶对建筑的定义是如何被重塑的，阐明从将建筑定义为清晰的语法到将建筑定义为事件的连续性的转变。