詳細検索結果
以下の条件での結果を表示する: 検索条件を変更
クエリ検索: "フリーズ" 建築
284件中 1-20の結果を表示しています
  • *海沼 潤, 松永 竹男, 鈴木 雅博
    全国会議(水道研究発表会)講演集
    2021年 2021 巻 5-29
    発行日: 2021年
    公開日: 2022/12/31
    会議録・要旨集 フリー
  • 長田 年弘
    西洋古典学研究
    2012年 60 巻 25-36
    発行日: 2012/03/23
    公開日: 2017/05/23
    ジャーナル フリー
    This paper aims to analyze the meaning of the Parthenon frieze against the backdrop of the votive culture on the Acropolis. The composition of the Parthenon frieze could be summed up as a procession of the mortals to the seated gods who receive their offerings. The gods and men face each other, and so the theme and iconographical type accord well with the characteristics of a votive relief. The frieze relief shows remarkable similarities with the so-called adoration reliefs. Parallel examples are the votive reliefs Acropolis Museum no. 581 (ca. 490 BCE) and no. 577 (ca. 480-70 BCE). In the genre of the adoration reliefs the difference in the height of the gods and mortals is always clearly expressed, while on the other hand the closeness of these two groups is also vividly rendered by their gestures or direct body contact. The rendering of this god-protege relationship seems important when we interpret the mes- sage of the Parthenon frieze. Compared to the votive reliefs, the Parthenon frieze is however in one point very different: namely, in that most of the former monuments were dedicated privately, seldom by the public. It becomes therefore significant to investigate the development of the public votive monuments on the Acropolis. So far as we know, most of the votive monuments on the Acropolis of the sixth and fifth centuries BCE were dedicated by private citizens or groups. Before the construction of the Parthenon only a few public monuments were set up on the hill, e. g. the Bronze Athena, and the bronze chariot group commemorating the Athenian victory over Boeotia and Chalkis. Many private monuments stood around them. On the other hand, under the democratic regime in Athens official documents began to be inscribed on a stele and dedicated on the Acropolis. In this respect the first Athenian tribute list was of special importance because it resembled the Parthenon sculpture. From the sociological point of view, both could have functioned as a showcase for the Athenian Empire. The Parthenon frieze seems to have demonstrated that Athens was, as the Olympian gods' protege, in a particularly privileged position. It becomes clear that the type of a votive relief was intentionally chosen when designing the frieze. It was supposed to send a message to the viewer: it is the polls that placates the gods and enjoys a special relationship with them, not an individual citizen. The action of the offering itself remained, but the individual demonstration of honor was removed from the relief. The fine art produced under the Periclean democracy seems to have emphasized the predominance of the community over the domestic, while showing to the outside world that Athens enjoyed a special status of the gods' protege.
  • 星 和彦
    建築
    史学

    1990年 14 巻 2-22
    発行日: 1990年
    公開日: 2018/09/13
    ジャーナル フリー
  • 暑中・寒中コンクリート
    喜多 達夫, 谷口 裕史
    コンクリート工学
    1993年 31 巻 3 号 88-93
    発行日: 1993/03/01
    公開日: 2013/04/26
    ジャーナル フリー
  • ラファエッロによるイオニア式オーダーの解釈とその影響
    飛ヶ谷 潤一郎
    建築
    史学

    2004年 43 巻 91-124
    発行日: 2004年
    公開日: 2018/09/13
    ジャーナル フリー
  • 長田 年弘
    西洋古典学研究
    1996年 44 巻 60-72
    発行日: 1996/03/15
    公開日: 2017/05/23
    ジャーナル フリー

    The frieze of the Siphnian Treasury is famous for its monumental relief sculpture, which summarizes the whole development of the archaic Greek art. This paper presents a new interpretation of the north side of this frieze, representing the Gigantomachy, the fight between the Olympian gods and the giants. Despite the remarkable discovery in 1985 of the numerous inscriptions on the relief surface of the north frieze, which indicate the names of the sculptured gods and giants, several important relief figures remain anonymous. In this paper, we consider the problem of identifying two figures, a female figure at the east end of the frieze and a male at the west end. The scene in the west end : the warrior represented at the far right of the frieze, who fights on the side of the gods, has previously been identified variously as Ares, Briareos(a Titan)or Karneios(a local Spartan god). However, we find the theory by Vian more convincing than these hypotheses. Vian suggested that this figure represents one of the giants who has deserted his side. The episode of the betrayal in the Gigantomachy is known from a hellenistic literary version by Diodorus Siculus, who reveals the name of this cowardly giant, Mousaios. Because of this act, Diodorus says, all giants were destroyed by the Olympian gods. The scene in the east end : on the right of the Hephaistos, two goddesses are represented. Moore reconstructed still another goddess to the right of these figures and regarded these three goodesses as representing Moirai, the goddesses of Fate. However, Moore does not seem to have made a strong case. The two preserved goddesses differ from each other not only in size but also in costume. So the two goddesses most probably belong to different levels of hierarchy : the left smaller figure being perhaps a lesser goddess, while the right one a higher Olympian deity. According to our theory, it is possible that this left smaller figure represents Gaia, goddess of the Earth. Gaia is the mother of the giants and so often appears in scenes representing the Gigantomachy. She is depicted as intervening in the fight asking the Olympian gods not to destroy her children. The representation of the goddess in this frieze seems to correspond to the conventional iconography of Gaia. She holds up the left arm, bent in a right angle at the elbow. In the iconographical tradition of Greek art, this gesture indicates that she is speaking and seems to support our interpretation, because representation of a goddess who is not taking part in the fight between the gods and giants could be no other than Gaia herself. It seems that no serious consideration was previously given to this gesture. There are also several vase paintings from the sixth century B. C. depicting the Gigantomachy, in which Gaia appears. In these examples she is represented as intervening in the fight using almost exactly the same gesture as the figure in the Siphnian frieze. If this interpretation is accepted, the next question should be as following : what is the Gaia in this frieze saying, and to whom? A parallel example should help us to solve this problem. The vase painting of the slaughter of Troilos by Achilleus on the famous Frangois vase from the sixth century B. C. provides an appropriate parallel. On this vase, the successive events are depicted in one picture, demonstrating the development of the story. The left part of the vase painting represents the beginning of the story(the warning to Troilos by Apollon) , in the center the main scene(the slaughter of Troilos by Achilleus)and on the right, the end of the story(the father king, Priamos, hears about the catastrophe). It seems that the same narration system with a three-part composition was also adopted in the Gigantomachy frieze of the Siphnian Treasury. The goddess Gaia was, like Apollon, known to the ancient Greeks for her predictions. The Gaia in our frieze also seems, like the

    (View PDF for the rest of the abstract.)

  • 松本 靜夫
    建築
    史学

    2007年 49 巻 170-175
    発行日: 2007年
    公開日: 2018/06/28
    ジャーナル フリー
  • 林田 義伸
    日本
    建築
    学会計画系論文集

    1999年 64 巻 523 号 293-300
    発行日: 1999/09/30
    公開日: 2017/02/03
    ジャーナル フリー
    The purpose of this paper is to analyze the design of the stoa of Zeus in Athens. Through the analysis of the dimensions and their proportions of the building, the following conclusion was given. 1) As initial dimension and proportion, the width of the stoa was given as 150 ft., and the width of the wings as one-fourth of whole length of the stoa. 2) The axial intercolumniation of the wings was the basis for the proportional relationships of the stoa. 3) The small difference between the width of the wings and the depth of the stoa occurred from angle contractions.
  • 岩田 千穂, 吉武 隆一, 伊藤 重剛
    日本
    建築
    学会計画系論文集

    2012年 77 巻 678 号 1967-1976
    発行日: 2012/08/30
    公開日: 2012/10/15
    ジャーナル フリー
    Ancient Messene, Greece, was founded by Epameinondas in 369 B.C.. Kumamoto University Architectural Mission for Greek classical Architecture has surveyed, since 2007, the architectural remains of the theater including more than a hundred of blocks from walls, columns, etc., in order to reconstruct its form of 2nd century A.D. The authors analyzed each block in detail and tried to reconstruct the scene building which would have been built in 2nd century A.D. and reached the conclusion that the scene building was 12.2 m high and two-storied with rows of Corinthian, Lotus-Acanthus, and Ionic columns on the front.
  • 秦 明子
    美学
    2014年 65 巻 2 号 124-
    発行日: 2014/12/31
    公開日: 2017/05/22
    ジャーナル フリー
  • 土居 義岳
    日本
    建築
    学会計画系論文集

    2005年 70 巻 587 号 229-234
    発行日: 2005/01/30
    公開日: 2017/02/11
    ジャーナル フリー
    The French Academie Royale d'Architecture discussed on the ideal size of interior cornices in 1710. The analysis from the Minutes and the Reports reveals that the ideal view distance was from 8 to 18 pied (feet) and that these scales correspond exactly to the interior scales of the Parisian hotel residences in the 17^<th> and 18^<th> century. And contrary to Vitruvius who took the ratio of two optic angles, the Academie made use of the optic angle of cornice.
  • 星 和彦
    日本
    建築
    学会計画系論文報告集

    1988年 390 巻 117-127
    発行日: 1988/08/30
    公開日: 2017/12/25
    ジャーナル フリー

    James Gibbs (1682-1754) seems to have referred to some architectural books of the Italian Renaissance in the process of establishing his proportional system of the orders described in his Rules for Drawing the Several Parts of Architecture (London, 1732). Andrea Palladio was quoted twice in his book and he kept in his library the books by Alberti, Cataneo, Palladio, Scamozzi, Serlio and others, which were later bequeathed to the Radcliffe Trustees in 1754. Moreover, Gibbs already said in the "Introduction" of his earlier work, Book of Architecture (London, 1728), "...these Designs should be done in the best Tast (taste) I could form upon the Instructions of the greatest Masters in Italy". It has so far been pointed out that Palladio's influence was evident in the Rules for Drawing and Gibbs's library played an indispensable role in his architectural practice. But the argument for how much Gibbs depended on Italian architectural books including Palladio seems not to have been discussed thoroughly. Taking it into consideration that Gibbs criticized the modular system which was commonly adopted in the late Renaissance, books such as Vignola's regola delli cinque ordini d'architettura (1562. Gibbs did not have the book, but C. A. Daviler's Cours d'architecture qui comprend les orders de Vignola was included in his possession), Palladio's I quatro libli dell'architettura (1570. Gibbs had an edition of 1601 published in Venice and also an English version of 1715) and Scamozzi's I'idea dell'architettura universale (1615) must have been good guides for his studies of the orders. The present author would like to inquire into the comparisons of Gibbs's orders with those of the above-mentioned architectural books of the Italian Renaissance and also with Perrault's Ordonnance des cinq especes de collones selon la methode des anciens (1683. Gibbs kept an English version of 1708), which was regarded as having an effect on the method of propotioning the order in the Rules for Drawing. This present paper consists of the following three sections '. $1 Proportional comparisons between the principal parts, and the essential parts of the order $2 Compositional and proportional analyses of the essential parts $3 Comparisons of the profiles of Palladio, Vignola and Gibbs. The result of the comparison of the heights of the column (Table 1) shows that Gibbs's system completely coincides with that of Vignola's. The progression of the column heights is not necessarily equivalent to that of Palladio's, but the proportion of the entablature to the column corresponds with that of Palladio's and Scamozzi's. In the proportional comparisons of the essential parts of the entablature (Table 2), Gibbs's ratios often accord with Perrault's, Vignola's or both of them. However, Gibbs's manner of proportioning the pedestal is different from that of the Renaissance sources. Furthermore, each author varies in the proportion of the pedestal to the column, and he adopts his own ratio of one essential part to the others (Table 3), except that Perrault and Gibbs fix the ratio between cap, dado and base regardless of orders. The comparative analyses of components of the essential parts of the order shows that Gibbs coincides with the Renaissance authors in allotting the cornice, capital and base of the column (Table 4, Figs. 1-5, 7). It is probable that Palladio and Vignola also would have been much more referred to than the others. But Gibbs does not imitate them directly for he changes the details of the mouldings, for example, the projection of members like corona and the thickness of fillets. Especially the compositional and proportional relationship of the Ionic and Composite architraves and capitals is characteristic. His Ionic architrave has two fascias, whereas all the

    (View PDF for the rest of the abstract.)

  • 石川 康介
    日本
    建築
    学会計画系論文報告集

    1992年 434 巻 127-134
    発行日: 1992/04/30
    公開日: 2017/12/25
    ジャーナル フリー
    Serlio dealts with mainly architectural order in his Fourth Book of Architecture and he exlpains many design of church, palazzo, porta and so on in it. There are ionic palazzo fagades and corinthian ones in seventh and eighth chapter, and two of them represent whole form of palazzo. This paper analyses these two palazzo design by applying the method of constructing a porta. The results of the analysis in this paper are as follows ; The method of constructing a porta is used in the square that relates to whole form of palazzo to decide geometrically the diameteter of column. The whole form of palazzo is derived from an applied fundamental square, and this square is also used for designing its facade composition by applying the method of constructing a porta. The facade composition is previously decided by square, and some parts of it are decided by architetural order.
  • 野村 久康
    西洋古典学研究
    1956年 4 巻 91-99
    発行日: 1956/04/05
    公開日: 2017/05/23
    ジャーナル フリー
  • 鈴木 雅之
    イギリス・ロマン派研究
    2009年 33 巻 156-160
    発行日: 2009/03/20
    公開日: 2017/01/17
    ジャーナル フリー
  • 吉武 隆一, 林田 義伸, 伊藤 重剛
    日本
    建築
    学会計画系論文集

    2004年 69 巻 585 号 207-212
    発行日: 2004/11/30
    公開日: 2017/02/09
    ジャーナル フリー
    Messene, an ancient city in Peloponnesos, Greece, was founded by Epaminondas, the Theban hero, in 369 BC. The Sanctuary of Asklepios (or the Asklepieion) was the main sanctuary of the town and located in the center beside the Agora. The sanctuary was excavated by A. K. Orlandos during the years from 1950s to 1970s. However, he passed away after that, leaving the research uncompleted. The authors reinvestigated the remaining peristylar stoas of the sanctuary, and tried to reconstruct the Corinthian order of the outer and inner colonnades together with the roof structure. The investigation of the traces of the wooden structure revealed us that the roof was built sloped all the way toward the court being supported by sloped beams. However, the outer halves of the interior of the stoas had ceilings which sloped toward the back walls, forming the interior as if the roofs were built sloped toward both sides.
  • 杉山 真魚, 千代 章一郎, 田所 辰之助
    日本
    建築
    学会計画系論文集

    2021年 86 巻 790 号 2767-2778
    発行日: 2021/12/01
    公開日: 2021/12/01
    ジャーナル フリー

     The paper analyses Baillie Scott’s words and drawings to clarify the range of his conception of ‘decoration’ in his theory of house building.

     Section 2 focuses on his background to uncover his references to house design and decoration, discussing his activities from two perspectives: one, the significant influence of the Arts and Crafts movement on British architecture at the end of the 19th century; and two, Scott’s reputation in Europe at the beginning of the 20th century.

     Section 3 categorises 16 of Scott’s writings on house building into four groups in chronological sequence: (a) articles about suburban houses; (b) articles about country houses and cottages; (c) his book Houses and Gardens; and (d) studies on the rational and British character.

     Section 4 examines three meanings Scott ascribed to ‘decoration’. The first, superficial pretentiousness, resulted from his negative attitude towards commercial decoration, such as painting woodwork and covering walls and ceilings with wallpapers, which he considered merely superadded ways to conceal structures. The second meaning, decoration as architectural clothing, considers the relationship between buildings and decorations. In Scott’s view, a building’s decoration should represent the clothing of architecture with pattern and colour. This required not a superficial but an organic evaluation of the relationship between architectural decoration and other interior factors, such as furnishings or floorplans, to which decorative designs are applied. This section focuses on the relief imparted by constructive features, the architectural embellishments connecting with furnishings, and heraldic decoration to create interiors with ‘homely comfort’. The third meaning is structural decoration. Scott thought that a building without artistic pattern and colour should possess real structural beauty to which decoration provides the finishing touch. This manifested as the expression of structural facts by strengthening the texture and colour of natural materials. The goal of this treatment was an outside appearance akin to ‘the earth’s crust’—built structures that harmonised with nature.

     Section 5 summarises the range of Scott’s conception of ‘decoration’ in his theory of house building with a précis in table form of the subject matter and related keywords. It is thought that Scott’s subject matter gradually deepened from decoration as architectural clothing to structural decoration. This variation would require the extension of the meaning of the word ‘decoration’. Meanwhile, the expected effect of the finishing touch changed from ‘homely comfort’ to ‘the earth’s crust’. The latter relates to the essential problem of human common sense to nature. This section deals with a discussion of common decoration and its relation to the significance of the effect of ‘the earth’s crust’. It also refers to the problem of relationships between components of a house.

  • 井上 正樹, 飯島 眞人, 佐々木 晴夫
    コンクリート工学
    1995年 33 巻 4 号 35-43
    発行日: 1995/04/01
    公開日: 2013/04/26
    ジャーナル フリー
    旧法務省本館, 通称「赤れんが棟」はドイツから招いたエンデ&ベックマンによって設計され, 1895年 (明治28年) に竣工したものである。第2次世界大戦の東京大空襲により大きな被害を受けたため, 創建当時とは大幅に意匠を変更して復旧され, 現在に至っていた。今回の保存・改修工事では, 既存の屋根, 木造床などを撤去した後, 鉄筋コンクリート床を新設するなど各種の構造補強をして現存するれんが躯体を構造体として利用した。また, 軒蛇腹,
    フリーズ
    窓飾り石等にはPC擬石を用いて創建当時の外観に復原した。ここでは, 当工事を進めながら行われた各種調査結果, およびPC擬石を用いた外観の復原について報告する。
  • 石川 康介
    日本
    建築
    学会計画系論文報告集

    1991年 425 巻 131-139
    発行日: 1991/07/30
    公開日: 2017/12/25
    ジャーナル フリー
    In this paper, I examined two church types which included in Sebastiano Serlio's Fourth Book on architecture and clarified their composing method by using some squares which are related to the'width of their fagades. The results are as follow ; The method of constructing a porta is used for decide diameter of column in these church facades. The square which length of sides are 24 diameters of column (or widths of pilaster) is fundamental for these church facades, and it is used for decide the whole form of the facade. The geometrical scheme of constructing a porta which is included in Serlio's First Book is one of his architectural design methods.
  • ブルネッレスキの実験主義
    稲川 直樹
    建築
    史学

    2022年 78 巻 42-71
    発行日: 2022年
    公開日: 2023/04/20
    ジャーナル フリー
feedback
Top