著者

片桐 保昭

出版者

形の文化会

雑誌

形の文化研究

巻号頁・発行日

vol.5, pp.1-14, 2009

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Landscapes have ambiguous beauty. Most of all sciences, studying perspectives are from technological functionalism or social or cultural meaning to designing this. Present designers are using such ‘modern’ know ledges. However the designers want to express some more original and aesthetical design, they could not be refer such scientific or cultural knowledge. These knowledge are constructed from past issues so not to help to make ambiguous unnamable beauty by each designer’s objective senses. This paper aims to explain the processes of making such beauty in designed landscapes and to present the perspective how to study such 'original' 'aesthetical’ expression in landscape designing. To clear the point not explained by ‘technological’ or ‘cultural’ issues, the study uses participant observation in designing workshop in present Japan and depicts these processes as anthropological concept of practice. Soundscape designing workshop is choose therefore the genre of this, designers are very sensitive and subjective to make their own ‘original’ and ambiguous beauties in the landscapes. The observation has done for five months in one of the redevelopment building project in Tokyo with some designers, composers and dweller of the city of project was held. Data are arranged from the point never resolved by technological functionalism and social or cultural meaning in designing sounds as landscape elements. Designed sounds are not aimed from function of urban planning, social needs from dwellers, or purposed to appreciation by public. Nevertheless Designers have wanted to feel ambiguity and to express such ambiguous feeling as some ‘good’ sounds. The distinctive features of designed sounds are hardly to listen and without cadence with repetitive phrases. These sounds are made some ambiguous but 'good’ feelings in landscapes of redevelopment area by dwellers. These designed sounds are aimed and practiced to been felt to public with some ambiguous awareness without distinct purposes. Designers and publics never objectify these senses of awareness therefore without attention. These intentionally designed subtle noisy sounds are considered playing to make potentials to each person's ‘imageability’ not explained by ‘social’ or ‘functional’ issues in the landscape. Many sciences are neglected such issues in landscapes as 'noises’ or negative elements in landscapes. These practices are important to raise each persons' own sensitivity to own landscapes.