著者

水漉 あまな 藤岡 洋保

出版者

日本建築学会

雑誌

日本建築学会計画系論文集 (ISSN:13404210)

巻号頁・発行日

vol.63, no.503, pp.203-210, 1998-01-30 (Released:2017-02-02)

参考文献数

130

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This Paper shows the kyoto's role in forming the Ancient Shrines and Temples Preservation Act(1897) was decisive. To help recover Kyoto's economy, since 1881 Kyoto had been trying to preserve old edifices in its shrines and temples as its symbols. But for lack of sufficient fund, Kyoto began to carry on a campaign to form a national law to preserve those old edifices; Kyoto even proposed a preservation bill referring to the ones abroad and ask other prefectures to join the campaign. Kyoto's propositions were introduced in some articles of the Act.

著者

武藤 清 藤岡 洋保

出版者

日本建築学会

雑誌

建築雑誌 (ISSN:00038555)

巻号頁・発行日

no.1229, pp.17-20, 1985-01

著者

藤岡 洋保

出版者

一般社団法人 日本建築学会

雑誌

日本建築学会論文報告集 (ISSN:03871185)

巻号頁・発行日

vol.300, pp.115-123, 1981-02-28 (Released:2017-08-22)

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This paper shows the changes of the exterior design of Tokyo municipal elementary school buildings built of reinforced concrete and points out that pursuit of clarity, rather than that of rationalism, is shown in the simple exterior design after 1931 which is characterized by whitish smooth surface with only rectangular windows.

著者

藤岡 洋保 三村 賢太郎

出版者

一般社団法人日本建築学会

雑誌

日本建築学会計画系論文報告集 (ISSN:09108017)

巻号頁・発行日

no.394, pp.62-70, 1988-12-30

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The art historian Takao Itagaki began to review architecture in 1929. He became one of the first architectural critics in Japan. He noticed a new trend in 'modern art' after World War I. He thought that 'machine civilization' as 'the spirit of the time' prevailed throughout 'modern art' and that architecture was one of the most characteristic arts of 'machine civilization,' which led him to review architecture. He had reviewed architecture in the 1930s and in the early 1940s, when modern architecture was introduced and practiced by the young architects in Japan. He convinced the new architecture should have been based on rationalism. He made much of practicing rationalism rigidly; he hated its skin-deep understanding and its vulgarization. But for him practicing rationalism was not the aim but the precondition for the new architecture. He thought practicing rationalism did not necessarily promise the realization of a new beauty which could express 'modern age.' It was the beauty that he really wanted the architects to realize. He pointed out some factors of architectural beauty; dimension, color, light effect and texture of materials. His reviews on the new buildings at that time showed coincidence with his architectural idea. He praised some buildings which were based on good understanding of rationalism and were exquisitely designed such as the Tokyo Central Post Office (1931; extant), the Tokyo Hospital for the Postal Staff (1937; demolished) and the Minsitry of Railroad Main Office (1937; extant).

著者

増田 泰良 西澤 英和 藤岡 洋保

出版者

日本建築学会

雑誌

日本建築学会計画系論文集 (ISSN:13404210)

巻号頁・発行日

vol.73, no.634, pp.2773-2782, 2008-12-30 (Released:2009-10-28)

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The Ferro-Concrete structure technology was introduced into Japan in 1890s. In this paper, we try to show that a purpose of the spread played an important role for introduction of Ferro-Concrete in Japan. Various calculation formulas and sign of Ferro-Concrete ware introduced into Japan passing many separated ways and coexisted. It is thought that when it establish a law in 1920 and standardized Ferro-Concrete structure technology, economical conditions would be considered for the spread of this technology. However, the policy for the spread was changed by the damage of Kanto Earthquake(1923). And a deformed bar against the policy of the spread was removed at that time. It is thought that the introduction of Ferro-Concrete would be typical example of process to introduce new technology in Japan.

著者

藤岡 洋保

出版者

一般社団法人日本建築学会

雑誌

建築雑誌 (ISSN:00038555)

巻号頁・発行日

vol.101, no.1245, pp.80-81, 1986-04-20

著者

藤岡 洋保 佐藤 由美

出版者

一般社団法人 日本建築学会

雑誌

日本建築学会計画系論文報告集 (ISSN:09108017)

巻号頁・発行日

vol.447, pp.109-118, 1993-05-30 (Released:2017-12-25)

被引用文献数

3 3

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This paper shows how the concept of "space", which was first developed in, Germany in the late 19th century, was introduced into and developed in Japan, analyzing the articles on the four major Japanese architectural magazines between 1887 and 1960. Until the 1920s, the word kukan (space) had rarely been used in them. The concept of "space" began to be developed in the 1930s. From the 1950s on, it has been utilized by Japanese architects, especially the team led by Kenzo Tange. Their, move implies that at that time modern rationalism began to gain ground in many Japanese architects' thoughts.

著者

増田 泰良 西澤 英和 藤岡 洋保

出版者

一般社団法人日本建築学会

雑誌

学術講演梗概集. F-2, 建築歴史・意匠 (ISSN:13414542)

巻号頁・発行日

vol.2003, pp.625-626, 2003-07-30

被引用文献数

1

著者

増田 泰良 藤岡 洋保 山崎 鯛介 瀧口 克己

出版者

日本建築学会

雑誌

日本建築学会計画系論文集 (ISSN:13404210)

巻号頁・発行日

vol.71, no.607, pp.163-169, 2006-09-30 (Released:2017-02-17)

被引用文献数

1 1

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This paper tries to show the significance of the material the architect Keiji GOTO(1883-1919) left. According to our research, this collection is made up of 7,150 items, whose dates cover almost all of his life. Most of this collection is visual documents. These documents would be the base of his knowledge of architecture. This collection includes the information to show the processes of his designs of his works. And the documents of the structural engineering in this collection include the information on his interest and the sources of his knowledge. And it indicates that he was interested in the ferro-concrete and the statically indeterminate structure and that he studied structural theories and tried to diffuse these new methods. It could trigger a reevaluation of him and could be an example of the introduction of new technology in Japan.

著者

青柳 憲昌 藤岡 洋保

出版者

日本建築学会

雑誌

日本建築学会計画系論文集 (ISSN:13404210)

巻号頁・発行日

vol.71, no.603, pp.191-198, 2006-05-30 (Released:2017-02-17)

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Reinterpreting initial works (8 out of 22 buildings in total) of the Horyuji Restoration Activities (1934-66) executed under Goichi Takeda's direction, this paper points out the following 3 items: 1) Takeda played an important role for drawing up the restoration guideline with field working experts and applying his (their) idea to each reconstruction. 2) In Takeda's restorations, original designs of architecture - forms and colours - were recreated by adopting revived techniques of ancient carpenters whereas posterior alterations were eliminated. 3) This restoration was criticized by various scholars of national or architectural history for not maintaining historical value or patina, which consequently modified the restoration guideline after Takeda's death.

著者

藤岡 洋保 黒岩 卓

出版者

一般社団法人日本建築学会

雑誌

日本建築学会計画系論文報告集 (ISSN:09108017)

巻号頁・発行日

no.409, pp.161-168, 1990-03-30

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Hosin Kuroda (1885-1967) offered a few criticisms on various kinds of buildings in downtown Tokyo in the Tokyo Asahi Newspaper from November 25th through December 4th, 1910. On December 5th two architects wrote in the same newspaper that he was the first to try to openly review new buildings. Since the authors can find several architectural criticisms in other papers and magazines which were ahead of Kuroda's, what the architects said was not true. But if we define the word on 'an architectural critic' as the one who has been offering criticisms on newly-built buildings and on architectural trends for some time, we can say Kuroda was the first architectural critic in modern Japan ; he had written many articles to review new buildings in the 1910s and the 1920s. He studied esthetics at the Tokyo Imperial University where he found an interest in architecture. He had been asserting that in architecture 'truth', 'good' and 'beauty' should have come together. In his theory, 'truth' meant that real structure and material should not have been covered by others, and 'good' did that function should have been made much of. These two suggest that he was influenced by the European Medeavalists in the late 19th century. And in his thoughts 'beauty' should have come from several esthetic theories at that time. Among them 'unity in multiplicity' was the most important to him. In his criticisms on buildings, the authors can see some coincidence with his architectural idea, but he was apt to review buildings chiefly through the point of 'unity in multiplicity,' which means that 'beauty' was the most important to him, although he had kept declaring for a happy coincidence of 'truth', 'good' and 'beauty.'

著者

藤岡 洋保

出版者

一般社団法人 日本建築学会

雑誌

日本建築学会論文報告集 (ISSN:03871185)

巻号頁・発行日

vol.331, pp.139-146, 1983-09-30 (Released:2017-08-22)

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Shizuoka City Hall and Shizuoka Public Hall were designed almost in the same period by the same architectural office. But the design policies shown in the elevations of these two buildings were quite different; the elevation of the City Hall had much classical ornament and the elevation of the Public Hall had little. Moreover, such design policies were spontaneously taken by the architectural office. This shows the coexistence of classicism and rationalism which ought not to coexist. Changing the way of designing the elevation in accordance with the architectural type enabled this coexistence, that is, what architectural type was was very important to the architect when he determined the elevation and rationalism was not thoght to be applied to every architectural type. Such way of thinking could be visible among Japanese architects in the early Showa era and this Shizuoka's case is a good example of it.

著者

藤岡 洋保 岡崎 敦子

出版者

日本建築学会

雑誌

日本建築学会計画系論文報告集 (ISSN:09108017)

巻号頁・発行日

vol.405, pp.149-155, 1989

被引用文献数

1 1

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It is well known that the population in the suburban area around the city of Tokyo grew rapidly between the 1900s and the 1930s, especially right after the Kanto Earthquake in 1923 and that many new residential districts were developed then. The aim of this paper is to show not a few people moved to suburban area at that time by checking the addresses, occupations and income taxes of the people who were listed on the 1921 version and 1931 version of a famous who's who called "Jinji-Koshinroku". The number of the people who lived in Tokyo Prefecture and who were carried on the 1921 version of "Jinii-Koshinroku" is 6,672. Checking their addresses and occupations, it can be clear that there was a tendency that places to live in were connected with those to work at : many wealthy merchants lived in Nihonbashi-ku, many businessmen in Shiba-ku and not a few bureaucrats in Kojimachi-ku. And around 1921, not a few people who belonged to the middle class already lived in Toyotama-gun, one of the counties surrounding the city of Tokyo. Out of the 6,672, 3,497 were listed on the 1931 version of "Jinii-Koshinroku". Among them, 2,184 were selected as valid samples to be inspected. 1,256 out of the 2,184 persons did not change their addresses. 928 did. 47 % of them moved outwards, only 10 % inwards. Many among the people that emigrated from the city of Tokyo to its suburban area were businessmen, bureaucrats and officers, who belonged to the middle class and whose income was not so big. The suburban districts where many moved in at that time were Shibuya-cho, Yoyohata-cho, Sendaeaya-cho, Nakano-cho in Toyotama-gun.

著者

青柳 憲昌 岩月 典之 藤岡 洋保

出版者

日本建築学会

雑誌

日本建築学会計画系論文集 (ISSN:13404210)

巻号頁・発行日

vol.77, no.678, pp.1997-2005, 2012-08-30 (Released:2012-10-15)

被引用文献数

1

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A five-year “National Treasure Important Art Structure Emergency Repair Project” was undertaken from 1946 in the wake of World War II but at first made little progress. It was found necessary to establish a new “National Treasure” classification in order to justify the large number of historic buildings to be included under a limited national budget. The undeniable appeal to national sentiment shown in the new definition of “National Treasure” was seemingly related to the contemporary slogan “Build the Cultural Nation.” The Council of Cultural Properties appointed by the Ministry of Education finished designating most of these structures by 1955. The revised concept comprised three overlaid values: Scarcity in terms of age or uniqueness, Representativeness of style and each period's characteristic building types, and Aesthetic Value, whether in design or construction.

著者

藤岡 洋保 朝田 十太

出版者

日本建築学会

雑誌

日本建築学会計画系論文集 (ISSN:13404210)

巻号頁・発行日

vol.64, no.524, pp.311-318, 1999-10-30 (Released:2017-02-03)

参考文献数

61

被引用文献数

1 2

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This paper shows the relationship between the notion of "culture" and architecture in Japan between the 1930s and the 1950s, delving into a history of the building-type called bunka-kaikan (literally, cultural complex). The situation surrounding this building-type radically changed after the war; from the tool for cultural propaganda to the one for the enlightenment, from the facilities of "Japanese culture" to "international culture," whose meaning was actually vague. No architects thought such change might be important architecturally, nor reconsidered the notion itself. They simply regarded the building-type as given and tried to find its design possibilities in its multi-function character.

著者

藤岡 洋保 黒岩 卓

出版者

一般社団法人 日本建築学会

雑誌

日本建築学会計画系論文報告集 (ISSN:09108017)

巻号頁・発行日

vol.409, pp.161-168, 1990-03-30 (Released:2017-12-25)

---

Hosin Kuroda (1885-1967) offered a few criticisms on various kinds of buildings in downtown Tokyo in the Tokyo Asahi Newspaper from November 25th through December 4th, 1910. On December 5th two architects wrote in the same newspaper that he was the first to try to openly review new buildings. Since the authors can find several architectural criticisms in other papers and magazines which were ahead of Kuroda's, what the architects said was not true. But if we define the word on 'an architectural critic' as the one who has been offering criticisms on newly-built buildings and on architectural trends for some time, we can say Kuroda was the first architectural critic in modern Japan ; he had written many articles to review new buildings in the 1910s and the 1920s. He studied esthetics at the Tokyo Imperial University where he found an interest in architecture. He had been asserting that in architecture 'truth', 'good' and 'beauty' should have come together. In his theory, 'truth' meant that real structure and material should not have been covered by others, and 'good' did that function should have been made much of. These two suggest that he was influenced by the European Medeavalists in the late 19th century. And in his thoughts 'beauty' should have come from several esthetic theories at that time. Among them 'unity in multiplicity' was the most important to him. In his criticisms on buildings, the authors can see some coincidence with his architectural idea, but he was apt to review buildings chiefly through the point of 'unity in multiplicity,' which means that 'beauty' was the most important to him, although he had kept declaring for a happy coincidence of 'truth', 'good' and 'beauty.'

著者

木村 儀一 藤岡 洋保 岩橋 幸治 山崎 鯛介 中山 伸

出版者

日本建築学会

雑誌

日本建築学会計画系論文集 (ISSN:13404210)

巻号頁・発行日

vol.69, no.578, pp.163-168, 2004-04-30 (Released:2017-02-09)

参考文献数

3

被引用文献数

1 1

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This paper tries to show the significance of the material the architect Sutemi Horiguchi(1895-1984) left in Meiji University to delve into his design and architectural thoughts: According to our research, this collection is made up of 4,705 items, whose dates span the years between 1919 and 1965 covering most of his whole career as an architect. Most of them are working drawings and documents relating to building. The collection includes the information on buildings and projects unknown to be his works and on materials to show processes of some famous buildings, which could triggar a reevaluation of him.

著者

藤岡 洋保

出版者

一般社団法人 日本建築学会

雑誌

日本建築学会論文報告集 (ISSN:03871185)

巻号頁・発行日

vol.291, pp.111-119, 1980-05-30 (Released:2017-08-22)

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This paper points out the expansion and systematization of the Architectural Section of Tokyo Municipal Office for the reconstruction of buildings destroyed or burned by the Kanto Earthquake, showing names and careers of its members called "Gishi" as well as the changes of its system and the amount of its work.

著者

藤岡 洋保 深谷 康生

出版者

一般社団法人 日本建築学会

雑誌

日本建築学会計画系論文報告集 (ISSN:09108017)

巻号頁・発行日

vol.419, pp.99-106, 1991-01-30 (Released:2017-12-25)

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The Japanese government built twenty-two pavilions for seventeen international expositions before World War II. All the pavilions but one had Japanese-style elevations : motifs of traditional architecture were applied. Such designs were based on either specific building types in specific eras or famous old edifices, but such models were not accurately traced on the elevations of the pavilions, but modified applying motifs in different eras freely. This suggests what the architects thought: they tried to make a "modern Japanese-style," although their way belonged to eclecticism of the 19th century.

著者

阿部 聡子 藤岡 洋保

出版者

一般社団法人日本建築学会

雑誌

学術講演梗概集. F-2, 建築歴史・意匠 (ISSN:13414542)

巻号頁・発行日

vol.2008, pp.291-292, 2008-07-20