天理図書館の貴重書収集と公開の歴史をふまえながら，平成18年（2006）に開催され

出品資料を中心に，館蔵貴重書の概要を述べる。

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In 1929, the Deutscher Werkbund held the Film und Foto in Stuttgart to herald the stylistic revolution from pictorialism to the New Photography. This monumental later toured internationally, its selection reached Tokyo Osaka in 1931. Published research interprets this event as the first opportunity for Japanese modernists to view original works of the New Photography. However, it is also necessary to consider the radical format of the , as conceived by El Lissitzky Laszlo Moholy-Nagy, who employed techniques of presentation from graphic design architecture. Through the examinations of the displays of these exhibitions subsequent cases, I would like to illustrate how the concept technique of design developed in Japan under the influence of its precedents in Germany in the 1930s. The related materials represent that the form of the Film und Foto in Japan remained conservative. However, the idea of innovative forms of display soon developed, such as the design of NOJIMA Yasuzo's solo by HARA Hiromu in 1933, because the articles on the German magazines or the reports from Japanese Bauhausler YAMAWAKI Iwao provided Japanese modernists with a new model for considering space opened up alternative possibilities of display.

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This is a study on the project "Violated Perfection: the Meaning of the Architectural Fragment" in the Gallery 400, College of Architecture, Art Urban Planning, The University of Illinois at Chicago its background. The purpose of this research is that will make investigation into the truth about the reason that they used a word "Fragment" in the epoch, the relationship between the word a word "Violated Perfection", what happened in The University of Illinois at Chicago, that place the credit of two architects, Paul Florian Stephen Wierzbowski, in Chicago for the project on architectural history. No "Violated Perfection: the Meaning of the Architectural Fragment" in The University of Illinois at Chicago was ever held, as they could not get the financial support to make it happen. Consequently, "VIOLATED PERFECTION Architecture the Fragmentation of the Modern" was published as a book, authored by Aaron Betsky, from a concept developed by them. At a later time, MoMA held the "DECONSTRUCTIVIST ARCHITECTURE" based on the project "Violated Perfection", by Philip Johnson Mark Wigley. However, Florian Wierzbowski are not well known in the world. The credit of this two architects should be appreciated all over the world.

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This paper deals with "Road to Victory", a wartime propaganda held at the Museum of Modern Art, New York in 1942. This was a collaborative achievement of three men; a photographer Edward Steichen composed a sequence of 150 photographs, a poet Carl Sandberg made the captions that accompanied with the photographs, a graphic designer Herbert Bayer designed the with the photographs captions. This paper focuses on the role of Herbert Bayer who established the theory of design illustrated it by the diagrams of "the Field of Vision". In "Road to Victory", he used the methods of photo-story advertising photography to convey the message effectively controlled the relationship the position of the photographs captions in order to persuade the audience to join the war effort. The mural sized photographs or "photo-murals" were especially effective means to overwhelm the audience.

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This study is aimed at clarifying recent activity in art museum planning in Japan, by analyzing the composition of various types in term of quantity quality. The types are categorized into 3types depending upon the manner in which space is managed. The characteristics of these types are influenced by the factors such as period of holding, the frequency of exhibitions the organizational setup demanded by each type of . Other aspects, not entirely architectural in nature, affect the above factors depending upon various circumstances wherein the museum is situated the kind of materials to be exhibited.

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The Exploratorium, founded by Frank Oppenheimer, has been regarded as one of the origins of hands-on 'science' museums, while its unique rationale described in its title 'the museum of science, art human perception,' shows that it is not necessarily a simple 'science museum.' Why has it been perceived as a museum, not of 'science, art human perception,' but of 'science'? In order to explore the question, the present study examined how the Exploratorium's rationale was reflected in the , 'Exploratorium in Japan' held in 1989. Through an extended examination of the exhibit selection process using a collection of recorded documents from the Japanese side as well as an archive from Exploratorium's official management record (US side), no concrete detailed discussion on the rationale /or exhibit policy between the two sides was found to have happened during the negotiation process.

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In this paper, problems of documenting catalogs are discussed.
In chapter one, the characteristics of catalogs are investigated. From this investigation, the following are revealed: catalogs tend to have rich contents, the needs for catalogs are various, the form of catalogs also varies.
In chapter two, problems of documentation are discussed from the view points of strategy, physical logical management. In the section of strategy, as what type of material catalogs must be treated is discussed. In the section of physical management, the matter of arrangement is discussed. In the section of logical management, problems of access bibliographic description are discussed.
In chapter three, practices of documenting catalogs are introduced, such as a simple manual documentation system in a small art library, a sophisticated manual documentation system in a large art library, MARC projects concerning catalogs, a computer documentation system for catalogs DIALOG files including information of catalogs.

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This paper analyzes the issues concerning exhibiting design in a fine art museum. As a case study, the "Modem Chairs" , which was organized by the Circulation Department of the Victoria Albert Museum (hereafter cited as the V&A) held at the Whitechapel Art Gallery (hereafter cited as the WAG) in 1970, will be dealt with. It has been, hitherto, explained that this was not held at the V&A due to the lack of space. This paper, however, shows that there were another reasons for this matter by analyzing the both museums' collecting exhibiting policies.

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日本の博物館における調査研究、展示、貸借、閲覧、修理などの学芸業務に関する手順は、個々の館によってさまざまな方式があり標準化されていない．これは事務の合理化のみならず、外部への情報提供についても多大な不都合を生じている．小論では、博物館における主要な学芸業務であの「貸借」業務を素材として取り上げて、その実態を外観する．その上で図書館サービスにおけるILL(Inter-Library Loan)との対比でIML(Inter-Museum Loan)という概念を提起し、それが業務を合理化するばかりでなく、外部サービスの改善にも役立つことを指摘する．

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The objective of this research is to determine the differences in the manner of style of art museums. Art museums may be classified into 4 types as follows : 1) museums with fixed exhibitions having their own collections; 2) museums with rotating exhibitions having their own collections; 3) museums with temporary collections (leased collections); 4) museums that are a combination of 2) 3) above; styles are characterized according to the display style of the art work, supplementary communication system, furnishing or equipment systems. In this paper, we found out that there are distinctive features in the styles of the 4 types of museums as mentioned above.

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開催プロセスは高度で複雑であるため，開催の難易度が高い．本研究では2つので参与観察を行い，分析結果をモデルと比較し，開催に必要なプロセスとタスクを明らかにした．モデルにはK.マックリーン(1993)のミュージアムにおけ開催プロセスモデルを使用した．この結果，観察されたプロセスはプロセスモデルと同様であったが，プロセスへの関わり方が全体統括，タスク担当者，出品者で異なった． タスクはマネジメント，グラフィックデザイン，経験のデザインに分類でき，評価項目を明らかにされた．においてコンセプトは共通基盤であり，かつ，全体を駆動する核であった．これらのことから，繰り返し現れる法則性をパターンとし，記述や共有を行う知識記述方法パターンランゲージをでも作成することで開催手法の確立を行い，「全体必須」，「全体選択」，「部分必須」，「部分選択」に分類された40のパターンと3のルールが明らかになった．

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慶應義塾ミュージアム・コモンズで2020 年10 月に開発した新しいデジタル・ミュージアム「

RoomX（以下RoomX）」の設計思想と実装について報告する。RoomX は、新型コロナウイルス感染症の拡大を受けて、デジタル・メディアでの開催に移行した「人間交際」のためのプラットフォームである。RoomX では、作品が出会い交流を生み出すを、デジタル・メディアにのみ可能な表現によって実現するという狙いのもと、物理的な空間の軛を外した表現を試みた。その成果として、作品を繋ぐナラティヴをアクセスの度に解体し繋ぎ直すことで、作品同士の思わぬ出会いを生み出すデジタル・ミュージアムが構築された。本稿では、「 RoomX」の実践を共有し、デジタルが可能にすの新しい表現について、ナラティヴとセレンディピティの共存に焦点を当てた報告を行う。

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宮内庁三の丸尚蔵館では収蔵品情報を公開することを目的に、当館の

図録（平成5年11月～令和2年9月）をデジタル化してPDFファイルを作成し、令和3年に当庁ウェブサイトへ掲載した（令和4年に公開した当館ウェブサイトでも掲載）。図録のデジタル化とウェブ公開には著作権等への対応や画像解像度等の技術的仕様の検討が必要になるが、国内で参考にできる事例は数少ない。本発表では当館におけ図録のデジタル化とウェブ公開の概要を紹介するとともに、著作権等への対応を含む作業内容と、技術的仕様の検討結果を報告する。

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