Isamu Noguchi (1904-88) started to design many gardens from the 50s, and might give grate influences to architects as collaborator. The purpose of this study is to make clear the meaning of garden design concept by quantitative analysis of sentences in A Sculptor's World, which is known as autobiography and work theories during a period from the 50s to the 60s.
 The followings are 4 subjects as meaning of garden we revealed:
 1. Garden as a relationship between objects 2. Garden as imaginative dimension of infinite
 3. Garden as experience of human being 4. Garden as a whole

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The most visited art museums in the world are characterized by their long histories and their locations in densely populated metropolises. However in order to think about the art museum management in the age of globalization, it will probably need a management style with a new perspective. Without a long history and being away from a metropolis, Louisiana Museum of Modern Art in Denmark has achieved an international reputation. It has become one of the models for art museums in suburban areas. It may suggest an effective art museum management style for the 21st century. This paper investigates one of the features of Louisiana, that is to emphasize the interplay between “art, architecture, and landscape,” based on the museum's vision and the development of the sculpture park. Their vision aimed at filling the gap between the people and the arts by providing a relaxed environment. In order to realize it, they built a museum which harmonizes the arts and the landscape, and eventually developed a sculpture park. Together with their active participation in the international art scene, they could create a unique landscape of its own.

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本研究は，1950年代から60年代にかけての野外彫刻の場として公園が果たしてきた役割を考察することを目的とするものである。この時期の両者の関係に着目すると，①公園を背景として彫刻を設置する事例と，②公園の構成要素として彫刻を取り込んでいる事例とに大別できる。前者は，戦後の街頭美化運動と結びつきながら，企業による社会貢献事業として推進されてきた側面が大きく，個人の作品が鑑賞されることに重きが置かれる。一方で，後者は特定の機能を持った構造物として設置されるため，使用されることに本質がある。その中でも，本稿ではプレイ・スカルプチャーの受容に焦点を当てた。北欧から世界に広がっていったこの遊具は，抽象彫刻の造形性を取り入れながら，児童が遊び方を創造することが重視される。結果的にこれらは遊具としての機能に特化されていったのだが，ここにはもうひとつの野外彫刻のあり方を見出すことができる。

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The purpose of this study is to clarify the role of curator through Arthur Drexler's works on exhibition “Japanese Exhibition House” in the Museum of Modern Art, New York. This study focuses on his preparation of the exhibition, relationships to contributors, and requirements to the architect. Through this study, his role as a curator becomes clear in following points: 1. Thorough research based on on-site observation, 2. Persuasive financial management. 3. Respectful discussion with architect.

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The purpose of this paper is to make clear the concept of work on ‘GARDENS FOR UNESCO’ project. In interpreting the concept, “a sculptor's world,” which is main literature of Noguchi is chosen as basic literature. And we hold interview with Touemon Sano, who was Japanese gardener and collaborator of the project. The research is advanced by analyzing two sides; one is the external side: social and political issues, the other is internal side: Noguchi's words regarding his garden thought. In conclusion, we suggested that Noguchi was able to create epoch-making garden by grasping deeply spirit of Japanese nature's thought.

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