本研究は戦前の大阪・中之島の水辺景観の構成の特徴について，橋梁単体と，橋梁と建築の景観的関係に着目し，橋梁設計に関わった技術者の思想・手法とプロポーションに着目した分析により明らかにし，また相互の関係を示した．
　水辺景観の構成の特徴は実景として橋梁の水平性と塔・建築の垂直性の対照によりプロポーションが獲得されたことであり，橋梁設計との関係は4つ確認できた．(1)多くの建築と一体的に望める橋梁は橋のたもとに塔を設け，橋梁の水平性を強調する．(2)橋詰の建築と一体的に望める橋梁はその建築により橋梁の存在を強調する．(3)単体として望まれる機会が多い橋梁は構造形式により水平性を強調する．(4)橋梁と建築の意匠的関係が重要となる視点位置を有する橋梁の中には建築と意匠的統一を図った橋梁が存在する．

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In Japan the first notable modernization in bridges started in 1910's in the main city planning projects. The bridges were designed with careful study as one of the important elements of modern Westernized urban space which planners aimed to build. In this paper the author surveyed bridges in Osaka City before World War II and reports the cases which can be highly valued from the urban design point of view. The main results are as follows;
There were a few cases in which bridges were designed in a set of other urban elements that were large buildings facing the bridge, a pedestrian street along the river side and the Nakanoshima park in the civic center.
The arrangement of the arch bridges, which were regarded as the best form to build beautiful urban space, reflected not only the geological conditions but also the importance of the location.
The aesthetic ideal in bridge design had shifted from the decorative and rather classic beauty to the simple and polish one based on structural form as advance in engineering technology and realization of economic efficiency.

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BEFORE WORLD WAR II THERE WERE MANY BRIDGE DESIGN PROJECTS AND WRITINGS WHICH COULD BE HIGHLY VALUED FROM THE VIEW POINT OF BRIDGE AESTHETICS AND URBAN DESIGN. THIS PAPER AIMS TO IDENTIFY THEM WITH TRENDS IN BRIDGE DESIGN THOUGHT, FOCUSING ON THE MAIN BRIDGE ENGINEERS AND OTHER AUTHORS. IN THE 1910'S, URBAN DESIGN ASPECTS OF BAROQUE STYLE HAD CARRIED GREAT WEIGHT WITH STREET BRIDGE DESIGN. THE RECONSTRUCTION WORK AFTER THE KANTO GREAT EARTHQUAKE IS CONSIDERED TO BE A SOURCE FOR TRENDS IN BRIDGE AESTHETICS. IN THE 1920'S AND 30'S ARCHITECTS, BRIDGE ENGINEERS AND LANDSCAPERS PARTICIPATED IN THE AESTHETIC DEBATE, AND ESTABLISHED THREE STREAMS; FORM ORIENTED, STRUCTURE ORIENTED AND LANDSCAPE ORIENTED. THE AESTHETIC IDEAS OF MODERNISM IN STRUCTURE EMERGED AS SIMPLICITY OR POLISH AMONG BRIDGE ENGINEERS, TOGETHER WITH ADVANCES IN STRUCTURAL TECHNOLOGY BOTH INSIDE AND OUTSIDE JAPAN. THESE INFLUENCES ARE SIGNIFICANT IN THINKING OF THE PRESENT RATHER CONFUSED TRENDS OF BRIDGE DESIGN IN URBAN AREAS.

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 This study is aimed to clarify what kind of thought does Naoki have as the engineer of urban planning in Osaka city. Naoki had been worked for seven years for Osaka city, and it seems that he had given the significant impact on making the framework of the “Great Osaka”
 On the influence of the First World War, Osaka city faced rapid increase of urban population and needed to plan the development of urban functions. In April of 1917, urban improvement plan committee had been installed in Osaka city for the survey and design to create the improvement plan of Osaka city. In 1918, city development division had been installed in Osaka city and Naoki became the director. After Osaka city had changed the division from the city development division to the urban planning division, Naoki had become the director of that division. As the engineering leader in Osaka city, he promoted the urban planning projects such as city development project, urban planning project and the land readjustment project.
 Naoki had always minded the dangers of falling into idealism through the projects. He prefer realistic plan to ideal plan as the engineer. He had been believed that it was important to make the plan on the view of the geographical conditions and social conditions of the land. And he had also believed that the awareness of citizens was crucial for the implement of the plan.
 During planning the boundary line of Great Osaka in the suburbs, he thought that it is important to make not the “surgical” based urban planning but the “preventive” based urban planning as “creative urban planning”. His western visit for survey from 1920.1 to 1921.4 had realized him that western cities had been made it a priority to the development of suburbs than the improvement of old cities. On the contrary, Japanese cities had been promoted preferentially by the latter method than the former method.
 He had been believed that the land readjustment project was the best method for the implementation of Great Osaka which was the expansion planning of Osaka city. He had been contributed to make the plan of Great Osaka with his faith as the engineer.
 From this study, it became cleared that his faith and how he had been contributed to make the plan of Great Osaka. In addition, it also became cleared that he grasp the “Garden City” thought positively from his experience of visit the garden city in UK, however he had estimated that it had not been realistic method for Osaka city without any change.

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　本研究は，大阪市街地における第一次都市計画事業により架設された全154橋の橋梁意匠に着眼し，その骨格をなす高欄，親柱及び照明柱といった［橋梁付属物］を手掛かりに，市街地における展開や実態の特徴を解明しようとするものである．本研究では分類化した［橋梁付属物形式］に加えて，全橋共通で把握可能な［橋梁諸元・立地条件］及び［設計思想との対応］に関する要素を総合的に導入した数量化III類を行い，橋梁意匠を【橋梁デザインの格】と【橋梁付属物形式の趨向】の軸により位置づけ，6パターンの橋梁群に類型化した．各橋梁群は，市街地空間における一定のエリア及び空間軸でまとまりをもって展開され，事業期間における［橋梁付属物形式］の趣向の変遷を明らかにした．

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　戦前期における市区改正条例が準用された都市は河川・運河・港湾を核とした水辺市街地であり，わが国でもいち早く都市改造が実施された．これらの都市では各種の都市計画事業に伴い多くの橋梁が架設された．橋梁は都市美を構成する重要な要素として，中でもアーチ橋は都市美形成に適するものとして位置づけられ，景観形成上重要な箇所に適用される傾向にあった．近代都市が構築されようとしていた最中，各都市で街路，河川・運河，建築物などの要素との関係性を踏まえた総体的な橋梁デザインが実施されていた．東京や大阪の市街地においてはこれらの橋梁デザインが群・面的な景観デザイン形成へと昇華し，特に大阪においては，一連の橋梁群としてのデザインコンセプト「変化と調和」のもとに確立されていた．

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After World War 2, bridge technology in Japan has been developed rapidly with high economic growth. Consequently, it is thought that important bridges exist which denote bridge technology development. However, too many bridges were constructed to be found their value. Therefore in this research, the genealogy chart of bridges constructed at the high economic growth period was made through the document investigation and the hearing investigation, and bridges that had played an important role in that was specified, and the characteristic at the high economic growth period as the background of the bridge design was organized. As a result, 28 important bridges were specified, and it is clarified that there were “The engineer's challenge” and “Overcame of the construction condition” in the background of the bridge development. Additionally, it was confirmed that there were conversion periods in the design system and the design subject in 1960's.

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　地盤沈下を背景に，東京と大阪では防潮堤，防潮水門等による高潮対策が講じられてきた．東北地方太平洋沖地震以降は，津波への対応強化が進められている．また，東京や大阪では近年の水質改善等にともない，河川や臨海部での水辺利用による地域活性化が積極的に図られている．
　こうした新たな社会状況下において，今後の高潮対策では防潮方式の多角的かつ抜本的な検討が必要であると考える．東京と大阪では，高潮対策における防潮方式に違いがあり，東京では陸地を防潮堤で囲い込む「輪中方式」が，大阪では河川本川に大型防潮水門を設置する「防潮水門方式」がそれぞれ採用されている．本研究は，高潮対策事業の経緯等から東京と大阪における防潮方式に違いが生じた要因を探ることにより，今後の防潮方式の抜本的な検討に寄与することが目的である．

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　本研究は，明治後期から戦前期の大阪市において実施された大阪市営電気軌道事業により建設された橋梁群を対象として，大阪市建設局橋梁課保管の設計図面や大阪市公文書館保管の設計計算書，大阪府の統計資料などを用いて，橋梁デザインの思想と特徴を明らかにするものである．

　本研究の結果，1)各橋梁の構造形式，意匠，建設費などの基礎情報や分布状況に関する分析から，路線毎に橋梁の構造形式や建設費を統一する計画や思想が存在した可能性が示唆されること，2)意匠上及びアーバンデザイン上の3つの主な特徴として「同一路線上の橋梁における構造形式や高欄意匠の統一」「特定路線上の橋梁における高欄意匠の多種性」「架設地点の場所性を考慮したアーチ橋の限定的な採用」が挙げられることを明らかにした．

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