Au XVIII^e siecle, le critique ne peut pas negliger les canons de l'Academie royale de peinture et sculpture, surtout la hierarchie des genres : la peinture d'histoire au sommet, suivie des autres genres. Diderot, par contre, est toujours pret a faire l'eloge des <<peintures de genre>>. Sous quels criteres a-t-il apprecie les peintres contemporains ? Nous portons notre attention sur son utilisation du mot <<illusion>>. On peut d'abord considerer ce mot comme signifiant une <<erreur qui semble se jouer de nos sens>>. Roland de La Porte, assez dedaigne par Diderot, nous fournit ce genre d'illusion avec ostentation dans son art du trompe-l'oeil, tandis que Chardin se fait oublier tant ses tableaux ont la force du reel. Enfin, les criteres de Diderot sont toujours bases sur l'esthetique classique.

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日本語における透視図, あるいは, 遠近法 (パースペクティヴ (perspective) ) の語源は, ラテン語のペルスペクティーヴァ (perspectiva) に由来するが, その本来の意味は「正しい視方」である.その理論的基盤は古代ギリシアのユークリッドに遡ることができる.しかし, その像を具体的に表現する技法, いいかえるならその作画 (作図) 法については説明されていない.つまり, この時点では, 現象は説明可能という意味で「科学」であっても, 「画像」を生成できないという意味で「技術」ではないということができる, ルネサンス期に具体的に図を作成するという作図法技術が考案され, 以降, 普及・発展した.その技術は, 「固定化された視点」という決定的な前提を含んでいた.見方を変えるならば, 視点を固定化するという条件を設定することで, 作画法が考案可能となったといえる.以降, 遠近法は変質し, その本来の意味である「正しい見方」から「偽りの見方」を表示する技術としての変化をとげる.一方で, 「固定化した視点」を克服するさまざまな試みも見られる.また, 近年の計算機の発展と普及は, ルネサンス以来遠近法が抱えてきた諸問題をクリアしたかに見える.他方で, 計算機による一義的な表現とは異なる手の痕跡を残した手描き画像の価値も見直されつつある.本発表は, 科学技術の視点から遠近法の歴史的変遷を俯瞰するものである.

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The plastic elements -such as the form, the color, the space and the movement- hormonize successfully. And the art expression of the Optical-Art becomes the optical illusion effect which dazzles a sense and visual perception. At this research about Optical-Art, it paid attention to "the form" which is one of the plastic elements and consider the interrelation of the patterns and the effect of the optical illusion. It is made a scientific research about visualization and optical illusion. As a result of that, this research anticipates the expression of Optical-Art.

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「層の行灯」は、和紙を何層にも重ね貼りし、透過した光の陰影の差で不思議な立体感を創出する照明器具である。この作品は明るい場所に置くと和紙に包まれた白い箱に見えるが、暗い環境で内部の照明を灯すと複雑な"だまし絵"のような立体感が現れ、より暗い環境になると立体感はさらにリアルで迫真性が表現される。和紙は楮や雁皮の灰煮和紙を使用し、重ね貼りによる照明の光に和紙そのもの色味を生かし陰影を表現している。現代の日本の住環境は、全ての部屋が相当明るくなっているが、襖や壁紙などにもこだわる日本の住宅には行灯のような小さな光での演出もおもしろく、そういった生活観が照明デザインにより再評価されることを期待している。

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After Abstract Expressionism, American art was not modeled after European art any more. Many critics regarded Abstract Expressionism as a quite new art separate from the past tradition of paintings. But Clement Greenberg defined it as the only heir to the tradition of the European paintings, particularly of Modernist paintings. He regarded the history of paintings as the dialectic development periodically fluctuating between the "plastic" and the "painterly". (These words are translated from Wolfflin's terms "plastisch" and "malerisch".) As for Modernism, Greenberg equates its essence with reinforcing "self-criticism". That's why, Greenberg asserts, Modernist art attempted to be a pure art, and Modernist painting increasingly emphasized "flatness.". But, in Greenberg's view, such painting cannot be flat enough to be the physical surface of the canvas ; inevitably it permit a strictly optical illusion of a third dimention. Greenberg's theory of formalism is based on Kant's aesthetics. According to Kant, aesthetic judgment is first made possible by an intuitive grasp of the formal element of the object in the world of phenomenon, and then by balanced faculties of transcendental cognition. So Greenberg attaches much importance to aesthetic intuition. But on that point, there are some problems, which I would like to investigate.

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　「錯視」や「だまし絵」を題材として扱ったり,学習の過程で取り上げるとき,現状では教科書や画集などの図版を用いて紹介している。図版のみによる紹介には限界があり,インタラクティブに図形を移動したり,視点を自由に動かすことによってこそ感動を持って実感することが可能となる。学校現場では,ICTの導入が加速し,パソコンや電子黒板の普及が進んでいる。タブレット端末を一斉導入する自治体も増えてきている。 　本研究は,そのような背景を踏まえ,「錯視」や「だまし絵」に関して,インタラクティブな操作や視点の移動,動画などを用いてもっともわかりやすく実感できるデジタルコンテンツをデータベース化したソフトウェア,すなわちデジタル教材を開発することである。本稿は,具体的なソフトウェアの画面を示しながら,その設計思想を論じている。

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This paper outlines Matsui's career, and clarifies the characteristics of his architectural activities in I) Tokyo, II) Milano, and III) Kagoshima period.

 

Matsui's career

I) After graduating from the Tokyo University of the Arts in 1956, he joined the Isamu Kenmochi Design Institute and was promoted to director and chief designer in 1963. He collaborated with Mikami and Sugiura, who were his classmates at the university, and this relationship continued until his later years. He was also engaged in educational activities as a part-time lecturer at Musashino Institute of Technology from 1965. In particular, being worked at the Kenmochi Design Institute was a turning point for Matsui, as he met Gregotti.

II) Matsui participated in the Gregotti office, which had begun activities in Milano since 1968, and came to play an important role as a partner architect when Gregotti Associati was established in 1974. He also was involved in education with Gregotti, who was a professor at the university. Matsui sought to obtain an Italian architect qualification (Architetto), but although he passed the qualification test, he was unable to register due to nationality issues, which prompted him to return to Japan. It is speculated that his experience in educational activities in Italy and the fact that the Department of Architecture of Kagoshima University at that time planned to invite a professor architect, led to start for his career as a professor at Kagoshima University after returning to Japan.

III) In 1983, he joined the Faculty of Engineering, Kagoshima University as a Professor of the Department of Architecture, retiring in 1997. He was also appointed to the Kagoshima Economic University in 1999 and retired in 2003. In his later years, he was also active as an artist.

Matsui's architectural activities

I) Matsui was in charge of the interior and furniture design, especially he designed furniture and fixtures with same height using modules, as well as color schemes. In this period, Matsui cultivated Kenmochi's design ideas, such as the importance of understanding the sense of scale and conveying details using the actual size drawing. In addition, through the collaboration with Kunio Maekawa and Sachio Otani, various architectural ideas and design methods were cultivated in Matsui, and it can be inferred that he had an integrated view of interior design and architecture.

II) Under Gregotti, Matsui was involved in large-scale projects such as city planning in addition to architecture, and the scope of design for him had expanded to the urban scale. Simultaneously he had a great influence on the projects and management of the office with an accurate understanding of Italian architectural culture. He also worked independently recognizing the importance of his own individual activities. The works during this period were characterized by linear composition, grid composition of square modules, using of squares in plan, elevation, and openings, aligning the top edge of building against the different ground level.

III) Matsui left behind three implementation works that are reminiscent of the works of the Milano period, but also show his unique expression using the Trompe l'oeil and color painting. He was involved in research activities related to Italy and also served as a member of urban planning and other committees.

 

In addition, Matsui contributed for the entire period, serving as a bridge between Japan and Italy to introduce each other's architectural culture.

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From the second half of the 1940's to the first half of the 1960's, as is generally known, the linguistic analytic method has dominated over Anglo-American aesthetics. Recently this aesthetics, now colled anaylitic aesthetics, has been retrospected and reexamined by the various sides. Then, we also would like to analyze and loom up its primitive figure, focussing on the William Elton (Ed.) ; Aesthetics and Language (1954). In our view, analytic aesthetics can be characterized by the following three aspects, that is, its presupposition, theme and aim. (1) Analytic aestheics presupposes that the aesthetic discourse must be fundamentally empirical scientific, and based on the fact or its experience. (2) Its main theme is to analyze the ambiguous concepts and propositions, and to clarify the aesthetic discourse. (3) Its final aim is to take up the position that there is no such thing as essence in art and, therefore, no criterion for the judicial criticism. And J. A. Passmore once called aesthetics which searches for essence or the general properties dreary. Our conclusion, however, is that not aesthetics proper but analytic asethetics is dreary, for the latter never affords any insights about aesthetic or artistic phenomena.

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