In the 19^th century Budapest, two exhibitions were held in the park Városliget. For the first exhibition in 1885, Industry Pavilion was built as the main building at the center of the axial structure of the site, but for the Millennium Exhibition in 1896, History Pavilion, the new main building, should be emphasized more than Industry Pavilion. To solve this problem, a new entrance was planned at the end of the Andrássy Street, a radial street which connected the center of the city and the park, and a promenade circuit was introduced to connect all major pavilions in the site. History Pavilion was built as a complex of imitations of several historic buildings in Hungary and placed picturesquely on an island in a lake. After the exhibition, a square was formed at the entrance and the History Pavilion was rebuilt as a durable building. The adoption of a promenade circuit as the main traffic line and an asymmetric picturesque building as the main pavilion was unique solution at the time, since most of the sites of the world exhibitions in the 19^th century were based on classical symmetrical layout.

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Burnham is a problematic architect in the modern architectural history. In many studies, he has been criticised as a betrayer of the so-called Chicago School of architecture mainly because of his contribution to the Columbia World Fair of 1893 and his works after the Fair. Yet these works seem to have been the result of his cool judgement. The situation was changing at about 1890 on. Here, at first we discuss the complex mentality of the "progressive" clients, taking Brooks Brothers as an example. Then, we briefly survey the change of the American department store design, which was Burnham's favorite genre in his later days, from the warehouse type represented by John Wanamaker's Philadelphia store (1876) to Marshal Field's stores designed by Burnham before and after 1900. It became showy more and more as shopping became a well developed social event. This change was not confined to the department store only. Carl Condit points out that Brooks beared conflicting ambitions between having a first-class building and having the least expensive one. He also expalins this as the fundamental dilemma of all modern commercial architecture. But this dilemma was, and probably is, practically soluble as the problem of payable or not. Indeed, in his later life, Burnham produced for big businesses numerous gorgeous buildings far different, in appearence, from the "Chicago School" style. Yet, as for Burnham, he only designed payable ones in another social condition in which clients demanded elegant environment as the leisure class became prosperous.

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The early Modern Olympic Games, except for the first one, were held as a part of the International Exposition. The purpose of this study is to clarify the idea of the relationship between the early Modern Olympic Games and the Industrial and International Expositions. The following conclusions were derived; 1. "Olympia", which were held as Greek Olympic Games in 1859, 1870, 1875 and 1888, had two sections, namely, the Industrial Expositions and the athletic events. The purposes of the "Olympia" were to foster industrial development and to recover traditional culture. 2. The Paris International Exposition held in 1889 was very important for the relationship between the Modern Olympic Games and the International Exposition. The Greek Olympian Committee attended it and the sacred ruined Olympia from the German archaeological fruit was displayed, and Coubertin convened a meeting about athletics. 3. The International Exposition at that time was held as an industrial exposition under the conditions of imperialism. An anthropological section was opened and many tribal people from Asia and Africa were displayed as savages. 4. The early Modern Olympic Games were eager to join the International Exposition from the view point of internationalism, and the internationalism of the Modern Olympic Games had to receive the ideas of imperialistic internationalism. That is why anthropological events were held in the 4th Olympic Games at St.Louis in 1904.

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Takamura Koun's Old Monkey, exhibited at the World's Columbian Exposition held in Chicago in 1893, was heralded by American critics not only for the exoticism, but also for the work's realistic, volumetric sculptural rendering of the figure. Standing 119 cm high, Old Monkey attests to Koun's appreciation of the monumentality of Western sculpture. At the same time, the artist sculpted the rock upon which the monkey is perched to resemble a common okimono-an ornament placed in the traditional Japanese alcove-which is evidence of his continuing interest in Japanese craft traditions. For Koun, "sculpture" was not defined in terms of Greek conceptions of form, but rather was based on the Japanese traditions of Buddhist sculpture and okimono crafts. The origins of modern Japanese sculpture are rooted in Japanese craft traditions. Thus, even Koun's son, Kotaro, who was an admirer of Rodin and found the conception and execution of Old Monkey to be crude, sculpted small, craft-like works in wood such as Lotus Root and Pomegranate.

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17世紀以来, ドイツには参事会図書館に由来する市立図書館があり, 上層特権市民によって利用された。19世紀には下層民衆を対象とする福祉事業的な公立・私立の民衆図書館が各地に生まれたが, 市立図書館と交わるところはなかった。すべての市民が対等に利用するアメリカのパブリック・ライブラリーに接した大学図書館員ネレンベルクは, ドイツの二元体制をなくして, 全市民が平等に利用できる公共図書館を現しようとする運動を進め, 彼ら「図書会館」と名づけたドイツ型パブリック・ライブラリーが各地に生まれた。「図書会館」とは, 公立学校に対応する公立図書館, 公費経営, 法による義務設置, 利用無料, 昼夜開館閲覧, あらゆる階級の利用, 専門職図書館員など, 公共図書館の純粋理念を現する図書館である。この理念は, ナチス支配終了後の公共図書館運動によって本格的な結をみることになる。

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外来産業の受け入れの形で洋紙製造業が操業する明治中期,高知県の和紙抄紙技術者,吉井源太が,在来技術の上に西洋の化学的知識に基づく技術を取り入れてサイジング技術などの近代的な和紙抄造技術を開発した。これにより,使用可能な原料の種類が多様化し,生産能率が向上した。この結果,新しい種類の筆記用紙,複写用紙,その他用途向け用紙が手漉和紙業者によって作られた。これは手漉き和紙生産額の増加をもたらし,さらに,現代の機能紙生産の基礎ともなった。

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本稿では、オットー・サロモンの手工教育の教材集成とモデルシリーズの生成及び発展の過程を、その形成された時期と内容構成などの特徴により段階区分することができることを解明した。サロモンのモデルシリーズは、最初は当時のスロイド学校の教材を集成して作成した「モデル集成I」からそれらに順次性を与えた「モデル集成II」に、その後モデルの数を50に限定し、その中での順次性が考慮されて「モデルシリーズI」が作成された。1880年代後半から製作過程を調査分析し、「練習」を基礎として「モデルシリーズII」を作り上げ、さらに現場の要求から簡略化された「モデルシリーズIII」へと発展していった。

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本稿は，隣接諸領域において長らく術語となってきた景観を夜との関係から考察することで，景観論に若干の考察を加えることを目的とする。景観の原語とされるラントシャフトは，自然科学分野にて紹介され，方法論的発展の必要と相まって視覚的・静態的・形態的に捉えられた。他方の人文学領域においては，景観・風景の使い分けがなされてきたが，1970年代の景観の有するモダニティに対する批判的検討以降も視覚的題材がその考察の主体であった。夜を光の不在で定義すると，人間が視覚で地表面を捉えることのできない夜の地域の姿が浮かび上がってくる。これは，視覚を頂点とするヒエラルキ−を再考することでもある。同時に夜に可視化される光と闇に，近代以降，人間は都市・自然らしさという意味を見出してもきた。それは，光で演出する行為であり，星空を見る行為でもある。現代はその双方が自然と都市に混在するのである。

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