Top management who deals with strategy making are in the forties, with good knowledge of geoscience/petroleum engineering and the experience of commercial and financial areas. They have run one of the core assets of the company as the operator. They understand the importance of the technological advances and the protection of the environment. Key assumption they make are steady demand growth of oil and gas and stable oil price (15-20$/bbl). Also they are excited of the new grand opening of business opportunities such as Former Soviet Union and South America.
Currently, the features of their strategies are the management of reserves including purchase or disposal of the fields, the optimization of exploration, development & production, the geographical spread of their assets, merge & acquisition and the pipe line business. The emphasis upon gas venture (field development, LNG, IPP etc., ) is in line with the growing environmental consciousness and consumer's power. The alliance is either partnership of similar companies or different ones. The former mainly aims at streamlining and the latter, complementing. Anyhow it is “give & take” process. Owing to the information technology, the leaner organization becomes possible and contributes to speedy decision making and drastic cost cutting.

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Trisha Brown, who is a founding member of Judson Dance Theater, has been interested in the relation between the moving body and the surrounding space—the space not only as room in which the body moves but also as device which instructs and inspires the body how to move. As the minimalist object is the function of the space, her dance is highly influenced by the condition of what is surrounding the body. The aim of this paper is to focus on this relation examining her different but connecting two fields of practice that is to say dance and drawing.
Many of Brown's drawings are drawn with one stroke, where the line on paper is the trace of continuous movement of body. The aesthetical criteria look less important. Nevertheless the eye plays leading role there, because some rules concerning the points to pass are given. The hand led by eyes must choose one point to pass among the apexes of imaginary grid each time. This game-like drawing keeps her conscious of present.
The same approach can be seen in her dance piece. In Locus (1975), Brown invented “Imaginary cube.” The dancer is at the center of Imaginary cube and touches each apexes according to the given order. By doing so, she unexpectedly leave dance between two apexes. The rule is not in dancer but in space, and the dancer keeps referring to the cube around her. Dancer's body is now free of role of expressing any idea. On the other hand, Imaginary cube works as tool to invent choreography.
Since 1979, Brown has given performances at theater with proscenium arch. She questions the theatrical space and tries to turn its stressing atmosphere into advantage. For example she invents the floor pattern according to which one dancer's movement interferes with another dancer's movement. The space with some rules can be used as device to make dance.

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本稿は，スカイスクレイパー（超高層）に関する既往研究を展望し，今後の研究の方向性について模索したものである．最初に，スカイスクレイパーの関連用語を，主にCTBUHの定義を用い実例を示しながら整理した．次に，スカイスクレイパーに関するこれまでの研究を，類似した研究テーマ（経済変動，経済効果，高さと経済性，高さ競争，高さ規制，地理学からのアプローチ）ごとにまとめて総括的に検討を行った．スカイスクレイパーを対象とした研究のうち，地理的視点を伴うものは僅かしかない．このため最後に，スカイスクレイパーに関する今後の地理学における研究の方向性と可能性について，以下の４つの論点を提示した．立地分布：都市システム研究を援用して，マクロとミクロレベルで立地分析を行うことが可能である．立地要因：垂直的な利用形態が，平面的な利用に較べ如何に有利かを実証的に示す必要がある．地域差：形状，総数，用途，分布状態，それらの動態変化等を調べることで，特徴的な地域差が見つかる可能性が高い．垂直的機能分化：主要用途であるオフィス，集合住宅，複合用途に関し実際の質的活動を調べることにより，高さによる利用傾向が見つかる可能性がある

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