建築の平面形態には、その空間を体験する者の動線を決定する要素があり、人間と建築との関係に於いて重要な役割を担っていると考えられる。特に近代以降、直角構成による平面計画からの逸脱・逃避を試みる形態が現れ始めたのを皮切りに、多種多様な形態が建築の構成要素として用いられることが常識になりつつある現在、今一度この「平面形態」なるものを考えてみる必要があるといえる。本論文では、人間(空間体験者)の視点により、多種多様な建築平面形態の分類を可能にする指標(驚きの度合い)の提案を行う。その際、サンプルとして、著名な建築家の手による建築の平面形態を筆者の提案による「修正ボックス・カウント法」によって分析し、それらの結果を比較・考察するものである。

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 Industrial Revolution became a major turning point for architecture and the invention of new building materials has enabled new ways of opening windows as seen in horizontally continuous windows. Following that, boundaries between interior and exterior of buildings are diversified. In the design of main room of modern houses, architect's understanding and thoughts on its relationship to the surroundings and adjacent rooms are observed thorough the boundary conditions. The objective of this paper is to reveal spatial configuration of modern houses from comprehensive understanding of interior/exterior ambit which is composed of a main room, adjacent spaces and surroundings.

 The flow of this research is as below:
 1) Select 72 modern houses as the examples to represent the research objective.
 2) Extract the form of ambit of the selected modern houses, and typify the configuration.
 3) Extract the characteristic of the ambit, and typify the configuration.
 4) Create a matrix by the types of the form and the characteristic of the ambit to derive the configuration format of the main room of modern houses based on the interior/exterior ambits. Through the investigation of the genealogy of the format, the major spatial configurations of the main room in the overall modern houses were analyzed.

 As a result, 15 configuration format of the main room of modern houses in consideration of the form and characteristic of the interior/exterior ambits are derived. In addition, 5 major frameworks are grasped as below:
 1) The building element of the main room significantly stipulates the use of the room (composition and space).
 2) The relationship between the main room and the surroundings diversifies human behavior (human and surroundings).
 3) The main room and human behavior create strong relationship entirely (human and space).
 4) The main room and spatial composition support human act in the room (composition and act).
 5) Various border elements in interior/exterior enhance the relationship of the interior/exterior (act and relationship).

 Through the investigation on genealogy of the format of the selected modern houses based on the interior/exterior ambits, the transitions of each architect's thoughts in each period were found as well. Moreover, the differences of modern houses' composition of whole house and main room were found through the comparison with preceding investigation.

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The space of construction a certain place has been formed by the fact that it is divided into the external space and the internal space(territory) by the material boundary of the roof and the wall open part etc. Shape has occurred in the building as a substance, the building contour which forms the boundary aspect inside and outside directly is a relationship. Because of that, the designer changes relationship by the construction contour and the fact that form of the inside and outside space is operated. In addition, as a use there is a function in those segmentation. You can do the arrangement of the space where it corresponds to the respective function in those, furthermore in the material boundary the various elements which respond to function exist. We use the concept of interior/exterior that internal space and the external space and boundary are caught continually.

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Architectural space is formed by the interrelationship with two parts, substantial parts which constitute building components which form the building and empty parts like depth, expanse of space which is formed by substantial parts. On this research, we pay attention to the relationship between wall and room which lie at the base of two parts, define two kinds of factor, room floor area which means variation of rooms ' scale like concatenation and wall length which means variation of room layout like axis. Furthermore, we analyze floor plan characteristic in modern houses from both points of view, consider architecture planning of modern architects.

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 Aldo Rossi (1931-1997) had led the movement “La Tendenza” since the Venice Biennale of 1973, and attracted worldwide attention. There are some eminent architects, like Herzog & de Meuron, who was students of Rossi in the ETH Zurich, referred to Rossi's material sense close to Arte Povera.

 This paper focus on materiality of Aldo Rossi by two methods. One is through documents written by Rossi himself about architectural materials. Another is through the hands-on observations and photographies of finishes of his architectures by author.

 In Section 1, Rossi's materiality about city and architecture was discussed. He laid stress on technology of traditional cities, such as masonry and he had a strong interest in the plaster. In 1975, he used colored-plaster in his work and he associated it with the idea “povertào miseria (poverty or misery)”.

 In Section 2, Rossi's materiality in his works in 1960s was discussed. For example, in “Monument to the Resistance in Segrate (Fountain in Segrate)” shows his interest in white plaster in 1965. Then in 1969, he painted white and gray plaster in his renovated parts of “Elementary school in Broni ”and emphasized color contrast of plasters.

 In Section 3, it was shown that he contrasted plaster and other material in 1970s. In “Elementary School in Fagnano Olona”, he assembled white-plastered wall and glass roof with steel sashes. He named modern materials, such as steel, metal and glass, as “light materials” and he combined them with surface which is associated with masonry.

 In Section 4, it was shown that he accepted changes of material plans. For example, he changed color plan of “Modena cemetery”. In the same time. he deals with plaster as a material with a temporal change. Moreover it was revealed that he helped building materials show as one's life.

 For conclusion, it was revealed that Rossi handed down materiality of Modernism architects and he deals surface and materials as if they would have autonomic life in his works with plasters.

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本稿はイタリアにおける木工具を調査、収集した報告書である。主な内容は次のとおりである。 1.　 イタリアにおける主体構造全てが木材である木造建築は著しく限定される。一般的にイタリアの大工が関わる木造架構は小屋組み、床組みに限られ、架構以外の木に関わる作業は木工職人による。 2.　 イタリア北東部において、木の作業に関わる道具についてまとめられた博物館の資料に基づき、木工道具の種類と使用方法を紹介する。

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本稿の目的は，フランス，ストラスブールの大モスクの建設過程およびその利用を通じて，言説実践としてのスケールがいかに実質的な効果を生み出したのかについて，「スケールのパフォーマティヴィティ」の観点から論じることである。同モスクは，ライシテ（非宗教性の原則）が重要視されるフランスにありながら，異なる制度を持つアルザス・モーゼル地方法を活用し，地方公共団体からの資金援助を受けて2012年に建てられた。本稿では，人文地理学で発展してきた社会構築主義的な「スケール」視角に依拠し，スケール言説がモスクの建設過程および物質性にいかに作用したか，またモスクの利用を通じて新たなスケール言説がいかに再構築されているか，インタビューで得た語りを引用しながら分析を試みた。分析において，アクターや状況に応じて登場する複数のスケールが，「ここ／よそ」の区別に結び付けられていること，さらにスケールの言説実践を通じて，「ここ／よそ」の境界は絶えず問い直されていることが示された。

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