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The reason is because a sculpture\u0027s setting raises a beautiful sight, and this is because it gives people visiting a public space a message and a sense of ease. However, when a sculpture was installed in a public space, there were many cases left to the judgment of a person concerned with a sculptor and administration of the establishment till now. In the case of the person about sculptor and administration, much thought about public harmony with the space is given to the setting. If anything, the person about sculptor and administration, the setting is apt to depend on the sense of the world. On this account because I am adverse to an aim of the sculpture establishment, and an installed sculpture is inappropriate, I lost an image of public space, and there is the case that it can stream down an original message, and does not give a sense of case. In addition, when an inappropriate work was installed in a certain public space, It lost a beautiful sight visually and, it gives a person contacting with the sculpture an unpleasant psychological feeling. When work with an inappropriate image was installed in a certain public space the sculpture loses a beautiful sight visually and, besides, gives a person close against a sculpture an unpleasant feeling psychologically. The ideal method of the scene includes public space and harmony with the sculpture in question. Therefore at first, I took up the sculpture(The Line 2000 - 1)at the Hyuga cape Green Park which was an environmental sculpture that began as an object of the studies to put an appropriate sculpture in the public space. We investigated a production concept and a production process, the relations of the Hyuga cape Green Park which became the sculpture of the public space in the background, environmental sculpture and the relations of the citizens\u0027 taste image. (和文) この20年、全国の公共空間に、数多くの彫刻作品が設置されるようになった。美観を高めたり、公共空間を訪れる人々にメッセージや安らぎを与えるためである。しかし、これまで、公共空間に彫刻を設置する場合は、彫刻家や行政、設置に関わる人の見識にまかされるケースが多く、この場合、彫刻家や行政、設置に関わる人は公共空間との調和を全く考えない訳ではなかったが、どちらかと言えば、感覚的世界に頼りがちである。このため、彫刻設置のねらいとは逆に、設置された彫刻が不適切なため 、公共空間のイメージを損ない、本来のメッセージを伝えたり安らぎを与えていない場合がある。また、ある公共空間に、不適切なイメージの作品が設置された場合、美観を視覚的にそこない、そのうえ、彫刻作品に接する人に心理的に不快な感じを与える。公共空間と彫刻との調和を含めた景観の在り方が問われているのであり、そのためには、科学的なデータに基づく検討が必要と言える。そこでまず、公共空間に適した彫刻を配置する研究の為、自らが日向岬グリーンパークに設置した初期の彫刻(The Line 2000 -1)を取り上げ、その制作コンセプトと制作プロセス、公共空間における彫刻と背景になる風景の関係、環境彫刻と市民の嗜好イメージについて分析した。", "subitem_description_type": "Abstract"}]}, "item_2_description_37": {"attribute_name": "資源タイプ", "attribute_value_mlt": [{"subitem_description": "Departmental Bulletin Paper", "subitem_description_type": "Other"}]}, "item_2_description_41": {"attribute_name": "フォーマット", "attribute_value_mlt": [{"subitem_description": "application/pdf", "subitem_description_type": "Other"}]}, "item_2_publisher_14": {"attribute_name": "出版者 名前", "attribute_value_mlt": [{"subitem_publisher": "近畿大学九州短期大学"}]}, "item_2_source_id_22": {"attribute_name": "ISSN", "attribute_value_mlt": [{"subitem_source_identifier": "09164383", "subitem_source_identifier_type": "ISSN"}]}, "item_2_text_15": {"attribute_name": "出版社 カナ", "attribute_value_mlt": [{"subitem_text_value": "キンキ ダイガク キュウシュウ タンキ ダイガク"}]}, "item_2_text_16": {"attribute_name": "出版社 ローマ字", "attribute_value_mlt": [{"subitem_text_value": "Kinki daigaku kyushu tanki daigaku"}]}, "item_2_text_17": {"attribute_name": "出版年(from)", "attribute_value_mlt": [{"subitem_text_value": "2008"}]}, "item_2_text_18": {"attribute_name": "出版年(to)", "attribute_value_mlt": [{"subitem_text_value": "12-00"}]}, "item_2_text_44": {"attribute_name": "ID(XooNIps)", "attribute_value_mlt": [{"subitem_text_value": "AN10297606-20081200-0017"}]}, "item_2_text_47": {"attribute_name": "日付 記録日(XooNIps)", "attribute_value_mlt": [{"subitem_text_value": "2010-08-27"}]}, "item_2_text_51": {"attribute_name": "最終更新日(XooNIps)", "attribute_value_mlt": [{"subitem_text_value": "Oct 13, 2010 09:00:00"}]}, "item_2_text_53": {"attribute_name": "登録者(XooNIps)", "attribute_value_mlt": [{"subitem_text_value": "kurepo"}]}, "item_2_text_54": {"attribute_name": "閲覧数(XooNIps)", "attribute_value_mlt": [{"subitem_text_value": "67"}]}, "item_2_text_55": {"attribute_name": "ダウンロード数(XooNIps)", "attribute_value_mlt": [{"subitem_text_value": "72"}]}, "item_2_text_56": {"attribute_name": "XooNIps_ITEM_KEY", "attribute_value_mlt": [{"subitem_text_value": "7923"}]}, "item_2_text_7": {"attribute_name": "著者(英)", "attribute_value_mlt": [{"subitem_text_language": "en", "subitem_text_value": "Arita, Nobuo"}, {"subitem_text_language": "en", "subitem_text_value": "Hirashima, Mamoru"}, {"subitem_text_language": "en", "subitem_text_value": "Uryu, Takahiro"}]}, "item_2_text_8": {"attribute_name": "著者 所属", "attribute_value_mlt": [{"subitem_text_value": "近畿大学九州短期大学 生活福祉情報科 生活デザイン論; 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公共空間における環境彫刻 III - The Line 2000 - 1
https://kindai.repo.nii.ac.jp/records/11642
https://kindai.repo.nii.ac.jp/records/116424f0192df-8049-4194-8f3c-eac8575e7bb0
名前 / ファイル | ライセンス | アクション |
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AN10297606-20081200-0017.pdf (2.1 MB)
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Item type | ☆紀要論文 / Departmental Bulletin Paper(1) | |||||
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公開日 | 2010-10-13 | |||||
タイトル | ||||||
タイトル | 公共空間における環境彫刻 III - The Line 2000 - 1 | |||||
その他(別言語等)のタイトル | ||||||
その他のタイトル | Environmental sculptures in public spaces III: the Line 2000 -1 | |||||
著者 |
有田, 信夫
× 有田, 信夫× 平嶋, 守× 瓜生, 隆弘 |
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言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題 | Environmental Sculptures, Public Space, Sensibility image, 環境彫刻, 公共空間, 感性イメージ | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
資源タイプ | departmental bulletin paper | |||||
著者(英) | ||||||
en | ||||||
Arita, Nobuo | ||||||
著者(英) | ||||||
en | ||||||
Hirashima, Mamoru | ||||||
著者(英) | ||||||
en | ||||||
Uryu, Takahiro | ||||||
著者 所属 | ||||||
近畿大学九州短期大学 生活福祉情報科 生活デザイン論; 教授 | ||||||
著者 所属 | ||||||
スタジオCoCoRo | ||||||
著者 所属 | ||||||
近畿大学九州短期大学 生活福祉情報科 コンピュータグラフイックス; 准教授 | ||||||
版 | ||||||
出版タイプ | NA | |||||
出版タイプResource | http://purl.org/coar/version/c_be7fb7dd8ff6fe43 | |||||
出版者 名前 | ||||||
出版者 | 近畿大学九州短期大学 | |||||
書誌情報 |
近畿大学九州短期大学研究紀要 en : Research bulletin of Kyushu Junior College of Kinki University 巻 38, p. 17-26, 発行日 2008-12-01 |
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ISSN | ||||||
収録物識別子タイプ | ISSN | |||||
収録物識別子 | 09164383 | |||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Many sculptures have been installed in public spaces all over the country over these last 20 years. The reason is because a sculpture's setting raises a beautiful sight, and this is because it gives people visiting a public space a message and a sense of ease. However, when a sculpture was installed in a public space, there were many cases left to the judgment of a person concerned with a sculptor and administration of the establishment till now. In the case of the person about sculptor and administration, much thought about public harmony with the space is given to the setting. If anything, the person about sculptor and administration, the setting is apt to depend on the sense of the world. On this account because I am adverse to an aim of the sculpture establishment, and an installed sculpture is inappropriate, I lost an image of public space, and there is the case that it can stream down an original message, and does not give a sense of case. In addition, when an inappropriate work was installed in a certain public space, It lost a beautiful sight visually and, it gives a person contacting with the sculpture an unpleasant psychological feeling. When work with an inappropriate image was installed in a certain public space the sculpture loses a beautiful sight visually and, besides, gives a person close against a sculpture an unpleasant feeling psychologically. The ideal method of the scene includes public space and harmony with the sculpture in question. Therefore at first, I took up the sculpture(The Line 2000 - 1)at the Hyuga cape Green Park which was an environmental sculpture that began as an object of the studies to put an appropriate sculpture in the public space. We investigated a production concept and a production process, the relations of the Hyuga cape Green Park which became the sculpture of the public space in the background, environmental sculpture and the relations of the citizens' taste image. (和文) この20年、全国の公共空間に、数多くの彫刻作品が設置されるようになった。美観を高めたり、公共空間を訪れる人々にメッセージや安らぎを与えるためである。しかし、これまで、公共空間に彫刻を設置する場合は、彫刻家や行政、設置に関わる人の見識にまかされるケースが多く、この場合、彫刻家や行政、設置に関わる人は公共空間との調和を全く考えない訳ではなかったが、どちらかと言えば、感覚的世界に頼りがちである。このため、彫刻設置のねらいとは逆に、設置された彫刻が不適切なため 、公共空間のイメージを損ない、本来のメッセージを伝えたり安らぎを与えていない場合がある。また、ある公共空間に、不適切なイメージの作品が設置された場合、美観を視覚的にそこない、そのうえ、彫刻作品に接する人に心理的に不快な感じを与える。公共空間と彫刻との調和を含めた景観の在り方が問われているのであり、そのためには、科学的なデータに基づく検討が必要と言える。そこでまず、公共空間に適した彫刻を配置する研究の為、自らが日向岬グリーンパークに設置した初期の彫刻(The Line 2000 -1)を取り上げ、その制作コンセプトと制作プロセス、公共空間における彫刻と背景になる風景の関係、環境彫刻と市民の嗜好イメージについて分析した。 | |||||
フォーマット | ||||||
内容記述タイプ | Other | |||||
内容記述 | application/pdf |