本研究は、質の異った複数のアーバンオープンスベースを対象に、各々が保有する諸特性を人々の反応行動を基調に把握することを目的としている、具体的には、VTRにより構成された刺激概念を用いて評定実験を行い、評定項目毎に各アーバンオーフンスペースの序列を抽出した、次に、それらをもとに評定項目を再整理し、その結果を各アーバンオープンスペースの諸特性把握の基礎指標とした。

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2011年3月11日の東日本大震災以降，今後の公共建築 の在り方について様々な議論がなされており，特に生活に 最も密着した集会の場である地域集会施設は，公共建築と 地域との関係を再考する議論の中心にあると言える。その ような状況の中で，今後の地域集会施設を設計する建築家 は，さらに地域との関わりを具体化することが求められる と考えられる。しかし，これまで現代の地域集会施設を設 計する建築家が，地域との関係をどのように考えまた具体 化してきたかといった思考の総体は曖昧であると言える。 したがって本論では，現代日本の建築家の地域集会施設の 設計論の中から，地域と関わりをもつ主題を抽出し，さら にその主題の具体化を領域的に分類整理すること(地域と の接点領域の分析)で，建築家の地域における社会的枠組 みに関する思考の一端を明らかにしている。

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The aim of this study is to clarify the characteristics of indoor and outdoor living spaces in contemporary Japanese courtyard houses. Firstly, furnishings of courtyards, such as floor-materials, sky-coverings and fixtures, are analyzed. Secondly, spatial connections between courtyards and living rooms are analyzed by their sectional arrangements and floor areas. Finally, seven compositional types of furnishing of courtyards and connection with living rooms are suggested. Prevalent types show a tendency of characteristics of small courtyards something like attached outdoor rooms because these courtyards are mainly furnished with artificial floor-materials and connected to adjacent living rooms. Types of the combination of artificial and natural floor-materials emerged in various spatial connections. The type of courtyard furnished with only natural floor-materials is found in the case of combination with living rooms on the upper floor.

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 This report aims to illustrate how Japanese architects extrapolated a design theme from roof garden model through analyzing text and actual composition of contemporary Japanese houses with such model as it appeared in architectural publications. Initially, two aspects of the roof garden concept were extracted from explanatory text by architect themselves, and each scheme was then subjected to a “KJ-method” analysis (originated by KAWAKITA Jiro); one is the architect's intention in adopting roof garden, the other is the architect's distinct view of the spatial character on roof garden. Secondly, the actual composition of each house was assessed with regard to vertical and horizontal positioning of the roof garden. Finally, the mediation between each architect's thinking and the final composition has been plotted in terms of this dual classification.

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 In order to clear the transition of design style, we have studied on the Duoi Keo design of wooden architectures in The Nguen Dynasty at Hue. The conclusion of this paper is as follows. : 1. To clarify the production age of the Duoi Keo design of wooden architectures, we have cleared the creation age and detailed repair of 34 wooden architectures in existence by the document and hearing. 2. We have classified the Duoi Keo design of wooden architectures to four types, A type is “両渦文型”, B type is “龍頭吐水唐草文型”, C type is “小龍頭渦唐草文型“, D type is “渦唐草文型”. 3. The transition of the Duoi Keo design is as follows. A-type →B-type →C-type and D-type. 4. We have presumed the new construction age of the wooden architectures in existence, that is that Dien Tho Ninh was built in 1820, the upstairs of Ngo Mon was built in 1921-23, and Hung Mieu was built in the middle of 19 century.

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 This study focuses on continuous thoughts of architectural expression in designing several architectures. These thoughts are one of the important methodology for executing works continuously. There are some theories in which architects and architectural critics referred to the importance of these thoughts. For examples, Shozo Baba, who is one of the authoritative editor in architectural journalism, insists that continuous thoughts of architectural expression is essential for architects to leave a mark on society through the long-term creative activity. From these points, this report aims to illustrate continuous thoughts of architectural expression by contemporary Japanese architects. In order to clarify it, design theories on a series of works by one architect on the same design theme are focused.
 Firstly the contents of each design theory were analyzed, and several descriptions of the design theme common to a series of works were extracted (Fig. 1). The meanings of these descriptions were classified into five categories, which were “theme on form”, “theme on space”, “theme on composition”, “theme on construction-technology”, and “theme on surrounding environment” (Table 1). Then most of the design theories contained “theme on form”, “theme on space”, “theme on composition”, and “theme on construction-technology”. On the other hand few design theories contained in “theme on surrounding environment”.
 Secondly continuous thoughts of architectural expression were analyzed from a viewpoint of two aspects ; one is the relationship among each work’s architectural expression, the other is the way of setting the prototype model of the architectural expression in the process of executing works. The former aspect was classified into three categories, which were “similar”, “different”, and “mixed” (Fig. 2, 3). The later aspect was classified into two categories, which were “deductive way” and “inductive way” (Fig. 4). Then, through analyzing the relationship with both two aspects, following characteristic combinations of both two aspects were found ; firstly “deductive way” and “different”, secondly “inductive way” and “similar”, lastly “inductive way” and “different” (Fig. 5).
 Consequently, the relationship between the meanings of design theme and the contents of above two aspects was considered and analyzed totally (Fig. 6). As a result, in each design theme, there are several tendencies on above two aspects were founded. Firstly in “theme on form”, “different” was found largely, regardless of the way of setting the prototype model. Secondly in “theme on space”, four combinations were found ; “deductive way” and “similar”, “deductive way” and “different”, “inductive way” and “similar”, “inductive way” and “mixed”. Thirdly in “theme on composition”, a characteristic combination was found ; “deductive way” and “different”. Lastly in “theme on construction-technology”, two characteristic combinations were found ; “inductive way” and “similar”, “inductive way” and “different”.

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 Building and space basically are the aggregate of the substance of three dimensions. In text description of buildings, architects freely uses line which is concept of one dimension and explain concept and composition of building which is three dimensions. Since the process on which we create meanings of words is based on our own mental activity, one word would have numerous meanings, which leads to polysemy. Equally, architects have described various meanings of words in terms of their linguistic activity. Meanings of line are organized by their own several recognitions to line. For these backgrounds, to consider the polysemy of line is important for evaluating the buildings created by architects. In this research we clarify polysemy of line in text description by architects.

 The flow of this research is as below:
 1. Extract the sentences that contain words associated with the meaning of line used by architects to explain their design of architecture in the architectural magazine, Shinkenchiku during 1950－2010.
 2. Extract Type of Line, Adjectival Term, and Verbal Term. Type of Line is the word described as the line or related to it. Adjectival Term is the modifier for Type of Line to express its property and a state . Verbal Term is the modifier for Type of Line to express its action.
 3. Analyze and consider the relationships between Type of Line and Adjectival Term, Type of Line and Verbal Term. After that, derive the tendencies of their relationships.
 4. Categorize the relationships by creating a matrix in which the horizon axis is the tendency of Type of Line and Adjectival Term, and the vertical axis is of Type of Line and Verbal Term then derive aspects of polysemy of line.

 As a result, four tendencies of the relationships between Type of Line and Adjectival Term were found: Line which shows system, Transfiguration of the line by a factor, Impresed line which occurs with the phenomena, Direction which occurs by visual recognition. And three tendencies of the relationships between Type of Line and Verbal Term were found: Manifestation of the line with recognition, Technical skill which completes system, Delivery and reception of the line which exists in the space.

 Through the investigation of a matrix, 25 different types of interpretations about polysemy of line were derived. Within these types, four major frameworks were found as below: Line which records the consecutive movement, Line which shows the recognizable present phenomena, Line which sumilates appearable phenomena, Line where concept of time exists with the experience, interpretation, recognition and sensitivity of the human multidimensionally. Architects have regarded these four lines in 4 phases, conception, planning design, completed building and utilization of architecture and have utilized the right line for the right place. At that time, it revealed that architects do not only provide a certain concept by line, but also influence completely other phenomena, influence it by mixing other phenomena and create the egotistical and ideal situation.

 Since time and a human being are mixed in the architecture and space that are physically three dimensions, various dimensions coexist, and the architecture and space cannot be called merely three dimensions. Also, the description about the line was able to confirm the expression to make a round trip to the dimension. Therefore, among space, time and human, it revealed that the architects regarded a building flexibly through a line by making a round trip to the various dimensions.

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 The text description of building by mimetic words is a frequently used form of communication for Japanese architects to express their architectural design intent. The mimetic words describe a material building vividly and sensually as if it gains its own life and express connotative meaning of architecture that the architect imbues through the depicted building posture and gesture. The objective of this paper is to identify material aspects of architecture rhetorically characterized by mimetic word expressions used in the explanation of works of architecture through the text description of buildings in a monthly Japanese architecture magazine, Shinkenchiku.
 The flow of this research is as below:
 1. Extract sentences which contain mimetic word expression used by architects to explain their design from Shinkenchiku published during 1950 - 2010.
 2. Extract Subjects, Mimetic words and Regulating verbs. Subject refers to a building itself or a physical constituent of architecture depicted by a mimetic word in the sentence. Mimetic word is defined as a sound-symbolic word that describes Subject in the sentence. Regulating verb is a verb of the Subject, a word grammatically forming the main part of the predicate of the sentence, to describe an action, state, or occurrence of the Subject together with the mimetic word.
 3. Classify mimetic words by the sound-symbolic meaning, then cross-reference them with subjects and regulating verbs respectively to analyze and derive semantic tendencies when they are combined.
 4. Map out material aspects of architecture rhetorically characterized by mimetic word expression with a matrix in which the horizontal axis is the tendency of meaning by the combination of the mimetic words and the subjects, and the vertical axis is that of the mimetic words and the regulating verbs.
 As a result, four semantic tendencies are found from the analysis of the combination of mimetic words and subjects: (1) Primary building component's behavioral gesture characterized by the visual configuration, (2) Environmental design element characterized by the elastic appearance, (3) Fluid environmental element that relates to the production of a space, and (4) From a part to the whole of a building grasped as grain by zooming. From the analysis of combination of the mimetic words and the regulating verbs, four semantic tendencies are found: (A) Fine-tuned movement, (B) Deviation from a steady state, (C) Manipulated joint, and (D) Correlation actualized by sharpness. In the end, 24 typical material aspects of architecture expressed in mimetic word descriptions are identified through the mapping.
 In summary, with mimetic word expressions, architects characterize the quality of architecture which is difficult to measure and describe by a single conceptual term with their sensibility through the sound-symbolic word in the text description of buildings. It recognizes architecture as a dynamic conglomeration of multiple assets and meaning ascribed to the material properties of the building constituents by assuming a human body positioned within architecture through which embraces real environments in and around which the building is set. Through the research of the mimetic word expressions, this paper revealed a lateral thinking of architects enabling the production of continuous and inclusive architecture of everyday.

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 Architects design buildings in consideration of constraints such as law, owner’s request, relationship with neighbors and their endurances. Compared with buildings, installations have less constraints and are characterized by space expression with high degree of freedom and carefully selected elements. Therefore, principles such as the features of the element and the mechanism of composition appear prominently on works. In this research, the objective is to reveal how architects perceives and realizes principles when architects perform creative activities by analyzing the text description on the installation works, which prominently expresses the principle caught by the architect.

 The flow of this research is as below:

 1. Subject of this research is 931 samples from the text description on the installation works produced by architects that refer to original creation for a principle focused by the architect in architectural magazine “Shinkenchiku” and Italian architecture and design magazine “domus”.

 2. Extract the sentences that contain words: Medium of Principle, Disposition of Principle and Action of Principle. Medium of Principle is the word described as element having the principle focused on by the architect. Disposition of Principle is the word described as role and state inherent in the Medium of Principle. Action of Principle is the word described as motion and behavior of the Medium of Principle.

 3. Analyze and consider correspondence relationships between Medium of Principle and Disposition of Principle, and Medium of Principle and Action of Principle.

 4. Based on the tendencies of correspondence analysis, frameworks of semantic contents of the principles are derived. By using them to make a matrix to identify aspects of principle of creation and categorize them into types to provide insights and draw conclusions.

 Through the investigation of the matrix between Medium of Principle, Disposition of Principle and Action of Principle, 24 typical aspects of principle of creation in text description on installations were derived.

 From these, the architect set the purpose of the installations for the three stages of his own thought, creation of space and experience of space, and found the possibility of development of creation.

 As a way of utilizing the principle, the architect finds the aspects of works by principle such as work by the principle itself and realization of latent principle. In addition, the architect finds aspects of the principle born by the works such as the principles born as a result and the principles through the construction process. The architect utilized the value of the found principle from these two aspects.

 From the 24 typical aspects obtained, how the principles relate to architectural creation is examined. It reveals groups of semantic contents with the themes of unique concepts in architecture that could exist behind and around the 24 typical aspects. As a result, six themes as the principle of building creation were found; artificiality and nature, surrounding environment, existence of building, strength, construction, human emotions. Therefore, we can say that there exists the correlation between architectural thought and method to materialize the principle. This is thought to be an important guideline for future creative activities by architects.

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 The aim of this study is to clarify the framework of architectural thoughts with the word "box" through analyzing design theories of contemporary Japanese houses. Firstly the conceptural recognitions for "box" are classified into four categories (Simplicity, Unitarity, Primordiality, and Histricity) through analyzing articles written as design theory for houses by architect. Secondly the organization forms of "box" are analyzed from two aspects. The one is the characteristics of "box" which is classified into Mass type and Volume type, and the other is the operations on "box" which shows the number of "box" to operate or not to operate. Finally relations between the conceptural recognitions and the organization forms of "box" are analyzed totally including a chronological consideration.

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 When designing buildings, architectural designers interprets traditional Japanese values that exist from the past such as transient four seasons, traditional islands' culture, Buddhism sprit and ritual or event keeping people from interacting of Japan on their own and reflect to their design. The potential “Japaneseness” are exposed in buildings created through such processes, thus buildings have various aspects, and it is especially shown in text description of buildings. In this research, the objective is to reveal how architectural designers see “Japaneseness” through their design process and embody it in buildings analyzing the text description by architectural designers.

 The flow of this research is as below:
 1. Subject of this research is 1910 samples from the text description that architectural designers refer to “Japaneseness” in architectural magazine, Shinkenchiku during 1950-2011.
 2. Extract the sentences that contain words: Typical Japanese Element, Disposition, Building Component and Operation. Typical Japanese Element is the word that indicates objects and events as Japaneseness. Disposition is the word attributes of the Typical Japanese Element. Building Component is the word of architectural component or materials reflecting Typical Japanese Elements. Operation is the word described as the act to Building Component by the architectural designers.
 3. Analyze and consider correspondence relationships between Typical Japanese Element and Disposition, Building Component, Typical Japanese Element and Building Component, and Typical Japanese Element and Operation.
 4. Based on the tendencies of correspondence analysis, frameworks of semantic content are derived. Using them to make a matrix to identify aspects of “Japaneseness,” categorize them into types and provide insights of them to conclude.

 Through the investigation of the matrix between Typical Japanese Element, Deposition, Building Component and Operation, 24 different types of polymorphism of “Japaneseness” were derived. Three different vernacular aspects how architectural designers consider “Japaneseness” are observed from: location defined by the existence of certain location, contexture cultivated on land as time passes and feelings and activities conjured up by local people. Thus, translating above with considering the time, architectural designers consider “Japaneseness” in the followings: periodic transition such as the climate depending on the location, constant shake such as relationships between internal and external space, continuous change such as contexture, and movement of sensitive or action at a certain time. Moreover, architectural designers express “Japaneseness” in three different design methods; symbolizing not buildings themselves but background scenery and deep feeling, arranging function between spaces or bringing out aspects of surrounding object, making an attraction which promotes our activities and generates feelings.

 Consequently, it is said that these elements are vague, since architectural designers in Japan set the timeline that can be seen as constant motion, and discover three vernacular aspects such as periodic, continuous and instantaneous. Moreover, they embody the feelings taken from the past in buildings and inherit them as substances, utilize the surrounding elements by operating buildings according to the vernacular elements at design process, and assume the spatial experience in the future and induce the human activities through architecture. Overall it is revealed that they see ideal buildings that are present to the location, not for advocating buildings themselves, and also assume their buildings as a catalyst that carries on the Japanese vernacular characteristics from the past to now and to the future.

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In this paper we typologically clarified the characteristics of relationship between framework and spatial composition of contemporary architectural works in terms of external volumes and internal space. First we analyzed their arrangements of walls and columns, and found several 'framework models.' Secondly we analyzed their external volume arrangement and internal spatial characteristics. Thirdly we found several types from framework models and spatial composition, and clarified their characteristics. In conclusion, we pointed out that most of models' external volumes and internal spaces were articulated according to each framework unit, and that suggests the possibility to find alternative types through relationship between framework and spatial composition.

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The aim of this study is to clarify the paradigmatic characteristics of the composition of exterior space in Japanese contem- porary architecture. Those are determined by the relation between exterior composition of building and approach space. Exterior composition of building is formed by assemblage of hierarchical manipulation on volumetric arrangements, which are depth, width and vertical. Approach space is combination of the space which is left by arranged building on a site and the position of entrance. So 11 types of composition are found. Comparing the every type, three fundamental rhetorics are clarified; emphasis of facade, extension of public space and transformation within approach space.

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