カテゴリー Ⅰ 日本建築学会計画系論文集第 81 巻第 721 号, ,2016 年 3 月 J. Archit. Plann., AIJ, Vol. 81 No. 721, , Mar., 2016 DOI

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1 カテゴリー Ⅰ 日本建築学会計画系論文集第 81 巻第 721 号, ,2016 年 3 月 J. Archit. lann., AIJ, Vol. 81 No. 721, , Mar., 2016 DI 西洋絵画における空間表現の心理的評価と構図特性との関係の研究 STUDY N RELATINSHI BETWEEN SYCHLGICAL EVALUATIN AND CMSITINAL CHARACTERISTICS F SATIAL RERESENTATINS IN WESTERN AINTINGS * 松下希和 Kiwa MATSUSHITA The objective of the research is to analyze the psychological evaluation of the spatial representation in the Western paintings to obtain the insights to the reception of the architectural images. The psychological evaluation experiment based on the SD methods was conducted to quantitatively measure the impression of the spatial representation by the viewers. The factor analysis was conducted in order to capture the psychological evaluation structure, and 7 factors are obtained. The Cluster Analysis was performed to categorize 5 distinctive types of the reception from the psychological evaluations, <Consciousness-Types>. The analysis of the <Consciousness-Types> as well as <Element Composition> and <Focus-Zone> types obtained from the Indication Experiments showed the certain relationship between the psychological evaluations and compositional characteristics. Keywords : Western aintings, sychological Evaluation, Composition, Elements, Cosciousness-types * 東京電機大学未来科学部建築学科准教授修士 ( 建築学 ) Assoc. rof., Dept. of Architecture, School of Science and Technology for Future, TDU, M.Arch. 593

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ᛶศᯒ ࡉ ࠕ ぬ ᅗᘧ 㸦ㄆ㸧 ➃ ࠊ ᅗ ᑐࡍ ᚰ ホ౯ 㠃 ࡑ 㔊ᡂࡍ 㛫ᵓᡂ ᵓᅗ ᛶ 㛵 ศᯒᑐ ࢫ ศᯒࡍ ࡇ ࠊ ࡋ ࡍ ࠋ ࠉ ὶ ᅗ ࡍࠋ ࠉ๓ ᚋᮇ ࢧ ࢫ ௦ ௦ Ⅼ ᑐ ࡋ ࠊ ḟඖ ࡉ ࡓ 㛫 ༳ ṧ せ ࡑ ᵓ ᡂ ᢕᥱࡍ ࡓ ࡗࡓࠑᣦ ἲᐇ㦂ࠒ ᯝ ࡘ ሗ ࡋࡓࠋ ࡑࡇ ࠊ ࡎձ ᚩ ࡅ せ ᵓᡂ ᣦ పῶഴ ࡗ ࢱ 㢮ᆺ ࡋࠊ ᥥ ࡓ 㛫 ዟ ࡁ ᗈࡀ 㛵

㛵 ᛶ ㄽࡌࡓࠋ ࠉ ࡃᮏ ௦ すὒ ᥥ ࡓᘓ せ㛫㞺ᅖẼ ᤊ ࡓ ձࠑᚰ ホ౯ศᯒࠒ ࠋලయ 6' ἲ ᚰ ホ౯ᐇ㦂 ᚓࡓᚰ 㔞 ᚰ ホ౯ᵓ㐀 ศᯒࡍ ࠋղᚰ ᛶ ࡍࠑព ᆺࠒ ᢳฟࡋࠊࡑ ࡒ ᚩ 㛵 ศᯒࡍ ࠋ ࡓࠊճࠑᣦ ἲᐇ㦂ࠒ ᚓ ࡓᣦ せ ᵓᡂ ᵓᅗ ᚩ ᚰ ホ౯ ഴ 㛵 ࡍ ࠋ ࠉ㒔ᕷ ᘓ 㛫ศ㔝すὒ 㛫 ࡘ ᥈ࡗࡓ ㅖ ࢱ The Tempest The Judgment

Molo Soap Bubbles The Swing ld Man and Death Cornelia resenting Her Children View of Rome The Gleaners n the Bank of the Seine Beata Beatrix Max Schmitt in a Single Scull Snap the Whip Villa at the

Mystery and Melancholy of a Street Villa R Kizette in ink My Egypt New York, Night American Gothic Early Sunday Morning Christina s World TEM J BLB AS UTR AS VDE HAA AMH MEZ BM SBB TSW MD CC VR GLE

Rubens Jan van Goyen Claude Lorrain Johannes Vermeer Jacob van Ruisdael Meindert Hobbema J.-A. Watteau Canaletto Jean Chardin J.-H.

2 ࡀ ㄆ ࡉ ศᯒࡋ ࠋ ࠉ ࢱ ࠕ 㞟せồࡍ ⱁ ᐇ㦂ᑐ 㑅ᐃ せ㢮 ᩍ ࠊ ࢧ ࢫᚋᮇ㹼 ᖺ ᘓ እほ ල % ௨ ࢧ ࢬ 㑅ᐃ㸦 Ⅼ㸧 ࠕᩓₔ Ẽᬕ ࡋ ᑐ ࡋ ࡀࠊᡃࠎ 㛵ᚰ ᚰ ᘓ 㛵ࡋ ࠊ ࠕᘓ ࠊ ᮶ࠊࡘ 㛫㞟ᅋࡀᩓₔ ᥋ ࡋ ࡁࡓⱁ ᆺ ࡗࡓ ࡋ ࠋࡑ ࠕᐇ㝿ᆺ ࠊ ࠕ ᡤࡀ ࡁ ⱁ ὀ ࠋ ḟඖ ࡉ ࡓ 㛫 ᚩ ࡅ ᵓᡂせ ᵓᅗ ศᯒ ࡗࡓ๓ ࠑᣦ ἲศᯒࠒ ᣦ ἲᐇ㦂 ࠑᚰ ホ౯ศᯒࠒᚰ ホ౯ᐇ㦂㸦6' ἲ㸧 ๓ ᣦ ഴ ศᯒ ᚰ ホ౯ศᯒ㸦ᚰ 㔞㸧 ࠑᵓᡂせ ࠒࠑὀ ᇦศᕸࠒ 㢮ᆺ ᚰ ホ౯ᵓ㐀 ศᯒ㸦ᅉᏊศᯒ㸧 ᚩ ࡅ せ㢮 ᚰ ᛶ 㢮ᆺ ᵓᅗ ศᯒ 㓄 ᵓᡂ 㛵 ศᯒ ࠑព ᆺࠒ ᘬࡁ ࡁࠊᮏ ࡑ ࠊᚲࡎࡋ ࠕ 㞟 ᐙ ព ᅗ ௦ ᬒ ⱁ క ሙ ࠊ ࠎ ඹ ࠑ㛵 ᛶ ศᯒࠒ ᚰ 㔞せ ᣦ 㛵ศᯒ ࠑせ ᵓᡂᆺࠒࠑὀ ᇦศᕸᆺࠒ ࠑព ᆺࠒ 㛵 ᛶศᯒ ࡉ ࠕ ぬ ᅗᘧ 㸦ㄆ㸧 ➃ ࠊ ᅗ ᑐࡍ ᚰ ホ౯ 㠃 ࡑ 㔊ᡂࡍ 㛫ᵓᡂ ᵓᅗ ᛶ 㛵 ศᯒᑐ ࢫ ศᯒࡍ ࡇ ࠊ ࡋ ࡍ ࠋ ࠉ ὶ ᅗ ࡍࠋ ࠉ๓ ᚋᮇ ࢧ ࢫ ௦ ௦ Ⅼ ᑐ ࡋ ࠊ ḟඖ ࡉ ࡓ 㛫 ༳ ṧ せ ࡑ ᵓ ᡂ ᢕᥱࡍ ࡓ ࡗࡓࠑᣦ ἲᐇ㦂ࠒ ᯝ ࡘ ሗ ࡋࡓࠋ ࡑࡇ ࠊ ࡎձ ᚩ ࡅ せ ᵓᡂ ᣦ పῶഴ ࡗ ࢱ 㢮ᆺ ࡋࠊ ᥥ ࡓ 㛫 ዟ ࡁ ᗈࡀ 㛵 ศᯒࡋࡓࠋղᣦ ࡉ ࡍ せ ᚩ ᵓᡂ ᤊ ࡓ ࠊᣦ せ ࠕᘓ ࠕ ࠕᶞᮌ ࠕ ࠕࡑ ࡘ ࢦ ศ㢮ࡋࠊࡑ ഴ ࡍ ࡘ ࠑせ ᵓᡂᆺࠒ 㢮ᆺ ࡋࡓࠋࡑ ᯝࠊࠕ せ ࡀ ࡗ ᣦ ࡅ ࡍ ࡇ ࡀ ࡗࡓࠋճ 㠃 ᣦ ࡅࡓせ㸦ὀ ᇦ㸧 ᚩ ࡍ ࡓ ࠊᣦ せ㠃㓄 ࢢ ゎᯒࡋࠊ ࡘ ࠑὀ ᇦศᕸᆺࠒ 㢮ᆺ ࡋ ࡋࡓࠋմᣦ 㧗 ࡀ༳ ᙉᙅ ࡍᣦ ᗘ ప せ ࠕ௬㠃㢟 ᐃ ࡋࠊ ࡑ せ ᛶ ὀ ᇦศᕸᆺ ࢱ 㛵 ᛶ ㄽࡌࡓࠋ ࠉ ࡃᮏ ௦ すὒ ᥥ ࡓᘓ せ㛫㞺ᅖẼ ᤊ ࡓ ձࠑᚰ ホ౯ศᯒࠒ ࠋලయ 6' ἲ ᚰ ホ౯ᐇ㦂 ᚓࡓᚰ 㔞 ᚰ ホ౯ᵓ㐀 ศᯒࡍ ࠋղᚰ ᛶ ࡍࠑព ᆺࠒ ᢳฟࡋࠊࡑ ࡒ ᚩ 㛵 ศᯒࡍ ࠋ ࡓࠊճࠑᣦ ἲᐇ㦂ࠒ ᚓ ࡓᣦ せ ᵓᡂ ᵓᅗ ᚩ ᚰ ホ౯ ഴ 㛵 ࡍ ࠋ ࠉ㒔ᕷ ᘓ 㛫ศ㔝すὒ 㛫 ࡘ ᥈ࡗࡓ ㅖ ࢱ The Tempest The Judgment of aris The Blind Leading the Blind Allegory of Sight elkus Gate near Utrecht A astoral Landscape View of Delft Bleaching grounds near Haarlen Avenue at Middelharnis Mezzetin The Bucintoro at the Molo Soap Bubbles The Swing ld Man and Death Cornelia resenting Her Children View of Rome The Gleaners n the Bank of the Seine Beata Beatrix Max Schmitt in a Single Scull Snap the Whip Villa at the Seaside The House at Rueil The Sacred Grove Mont Sainte Victoire The Harvest Gray Weather, Grande Jatte The Scream La lace du Thetre Francais Landscape with Red Trees Sixth Avenue and 30th Street Mystery and Melancholy of a Street Villa R Kizette in ink My Egypt New York, Night American Gothic Early Sunday Morning Christina s World TEM J BLB AS UTR AS VDE HAA AMH MEZ BM SBB TSW MD CC VR GLE SEI BEB MAX STW VSE HRU GR MSV THA GWG SCR TF LRE SAS MMS VIR KI MEG NYN AG CHW ᐙ Giorgione L. Cranach the Elder. Bruegel the Elder J.Brueghel,.Rubens Jan van Goyen Claude Lorrain Johannes Vermeer Jacob van Ruisdael Meindert Hobbema J.-A. Watteau Canaletto Jean Chardin J.-H. Fragonard Joseph Wright Angelica Kauffmann Camille Corot Jean Francois Millet Claude Monet D. G. Rossetti Thomas Eakins Winslow Homer Berthe Morisot Edouard Manet uvis de Chavannes aul Cezanne Vincent van Gogh Georges Seurat Edvard Munch Camille isarro Maurice de Vlaminck John Sloan Giorgio de Chirico aul Klee Tamara de Lempicka Charles Demuth Geogia 'Keeffe Grant Wood Edward Hopper Andrew Wyeth ᖺ ࡘ ๓ ሗ ࡋ ࠋ ᮏ 㛫 ᑐ ࡋࡓ 㸰㸬ศᯒᑐ 㑅ᐃ ᐇ㦂ᴫせ ᕳ 㛫 ศᯒࡋࡓ 㐃 ࠊ ࠉศᯒᑐ 㑅ᐃ ࡓࡗ ࠊ ᅜ ᮏ Ꮫ 㧗 ᩍ ᾋୡ 㐲 ἲ ࡑ ᚰ ᯝ ࡘ ᚰ Ꮫ ศ㔝 ㄽࡌࡓ す ὒ ௦ ᩍ ࠊ Janson s History of Art: ࡀ ࠋ ࡎ ࡋ స ࡍ どⅬ Western Tradition ࠊ Gardner s Art Through Ages ᢏἲ ᢅࡗ ࠊ ぢ ࡀࡑ ࡅṆ ࠊ ࠉすὒ ࠊࡑࡋ 㧗㔞 ᢅ ᮏ ࡗ ࠋ ᥖ ࡉ ࡕࠊᗄఱᏛ 㐲 ἲࡀ ࡋࠊ ࡓ ᐙ ࠉ 㛫㞺ᅖẼ ࡑ ព ᵓᡂ ࡍ ࡋ ࠊ ᘓ ᐙ ቃ ࡀ᭕ ࡗࡓ ࢧ ࢫ ௦ 㛫 ᘓ ὒࠊ ᮏ ᖹ ௦ 㒔ᕷ 㛫㞺ᅖẼ ᵓ㐀 ࡑ ὀ ࡀᥥ ࡓ ල సⅭ ᢳฟࡋࡓࠋᘓ እほ ௰ ව ᵓᡂࡍ ༳ ṧ 㛵 ศᯒࡋࡓ ࡀ ࠋ ෆ㒊㛫㛫 ࡀ ࡀࠊ ᐇ㦂ホ౯ࡀᅔ㞴 ࡋࠊ ᮏ ࠊࡇ ᡭἲ すὒ ᥥ ࡓᘓ ࡑ ᮏ እほࡀᥥ ᢅࡗࡓࠋᘓ እほ ࠊ ᵓᡂせ ࡗ ࡉ 㛫 ᑐ ࠊ ࠎࡀ ᥥ 㒊ศࡀࢡ ࢬ ࡉ ࠊ㐲ᬒ ࡋ ᥥ ࡓ 㛫 ᑐࡋ ឤࡌ ඹ ᚰ ホ౯ ᵓᅗ 㛵 ࠊࡉ ࡊ ࢣ ࢫࡀ ࠋ ᩍ ࡋࠊᘓ ḟඖ ព 㛵ࡍ ゎ ࠊᘓ ᚩయ ࡀ ࡓ ᑐ እࡋࠊᮏ ࡀ ᣦࡍタィᅗ㠃㛫 ఏ㐩ຊ 㧗 ࡓ ᇶ ㈨ ᚓ ࡇ ࡍ ࠋ 㛵㐃 ࡋ ࠊ ࢧ ࢬ % 㸦 ; 㸧௨ ෆ ࡋࡓࠋ ࡓࠊಶ ᐙ ೫ ࠊ ᐙ ࡓ స 594

3 㸯㸰㸱 ᑐ ឤࡌ ᬯ ឤࡌ 㸲㸳㸴㠀ᑐ ឤࡌ ซ ឤࡌ $9(5$*( 3$6 6(, $*2 *:* 6&5 7+$ 069 9,5 ឤࡌ ᕤ ឤࡌ ෭ࡓ ឤࡌ ᬮ ឤࡌ ឤࡌ 㟼 ឤࡌ ឤࡌ ᪂ࡋ ឤࡌ ከᙬ ឤࡌ ᙬⰍ ឤࡌ ሀ ឤࡌ ᰂ ឤࡌ 㣭 ឤࡌ 㔮 ឤࡌ 㠀㣭 ឤࡌ 㟼 ឤࡌ ࡉ ឤࡌ 㛢㙐 ឤࡌ 㛤ᨺ ឤࡌ ኚ ឤࡌ ༢ㄪ ឤࡌ ឤࡌ 㞺ᅖẼ ឤࡌ ᚰᆅ ឤࡌ Ẽឤࡀ ឤࡌ ᗁ ឤࡌ ᛌ ឤࡌ Ẽឤࡀࡋࡗ ࡋࡓឤࡌ ᐇ ឤࡌ ᖹซ ឤࡌ ឤࡌ ᴦࡋ ឤࡌ ࡘ ឤࡌ ᙅ ឤࡌ ຊᙉ ឤࡌ 㛫 ࢫࢣ ឤࡌ 㠀㛫 ࢫࢣ ឤࡌ ឤࡌ 㞳ࡀ ឤࡌ ಶᛶ ឤࡌ ዟ ࡁ ឤࡌ ឤࡌ ᅬ ឤࡌ ࡋ ឤࡌ 㓶 ឤࡌ ࡔឤࡌ ࡗࡓឤࡌ ᗈࠎ ࡋࡓឤࡌ (60 9,5 %/% ዟ ࡁ ឤࡌ 㒔 ឤࡌ ⴠࡕ ࡁ ឤࡌ 6&5 ࢩ ࢡᛶ ឤࡌ ឤࡌ ឤࡌ 37) 3$6 ㄪ ࡓឤࡌ ឤࡌ ⴠࡕ ࡁ ឤࡌ ⱞࡋ ឤࡌ ᅗ ᚰ 㔞ᅗ ศᯒᑐ ရ ࡋࡓ ࡇ ࠊศᯒ ᑐ Ⅼ ࡗࡓ㸦㸧ࠋ ࠉ ࠎࡀすὒ ࡅ ḟඖ 㛫 ឤࡌ ᐃ㔞 ࡓ ࠊ 6' ἲᐇ㦂 ࠑᚰ ホ౯ᐇ㦂ࠒὀ ࡗࡓࠋ 6' ἲ ホ౯ᑻᗘ ࠊ 㒊 ὀ ཧ 㑅ᐃࡋࠊࡉ ࡅ 㛫ホ౯ࡍ ࡓ ᚲせ ᛮ ホ౯ᑻᗘ ຍ ࠊ ணഛᐇ㦂 ࡗࡓ ࠊ㸴ẁ㝵ホ౯ὀ ᚰ ホ౯ᑻᗘ ࡓ 㸦ᅗ 㸧ࠋᐇ㦂 ᪉ἲ ࡋ ࠊᑐ 㧗ゎ ᗘὀ ཎᑍ ฟຊࡋࠊ ኸࡀᗋ 㧗ࡉ ቨ ᥖ ࡋ ࠊ ᘓ Ꮫ ᘓ ࢨ Ꮫ Ꮫ ᛶ ࠊዪᛶ ὀ ࠊ ࢱ ᐙ ๓ ఏ ࡎ ὀ ࠊࡑ ࡒ ᑐゅ ಸ 㞳ほぴࡋࠊホ౯ࡋ ࡗࡓࠋ 㸱㸬ᚰ ホ౯ศᯒ ࠉ6' ἲᐇ㦂 ᯝ ࡈ 㞟ィࡋࠊᚰ ホ౯ ᖹᆒ 㸦ᚰ 㔞㸧 ᶆ ೫ᕪ ồ ࡓࠋ Ⅼ ಶ௨ ホ౯ᑻᗘ ᚰ 㔞ࡀ ௨ ࡓ ௨ ࡗࡓ Ⅼ ᚩ ᚰ ホ౯ ᣢࡘ ࡋ య ᖹᆒ ඹ ᅗ ࡍࠋࡑ ᚩ 3$6ࠚ 069ࠚ ࡗࡓࠋ୧᪉ ᬒ ᥥ ࡓ㢼ᬒ ࠊ㸺 ឤࡌ㸼㸺㟼 ឤࡌ㸼㸺㛤ᨺ ឤࡌ 㸼㸺ዟ ࡁ ឤࡌ㸼㸺 ᅬ ឤࡌ㸼㸺 ࡋ ឤࡌ㸼㸺ⴠࡕ ࡁ ឤࡌ㸼 ඹ ࡋ ホ౯ࡀ㧗 ࡗࡓࠋ 6(,ࠚ 7+$ࠚ 㢼ᬒ ᵝ ホ౯ഴ ࡀぢ ࡓࠋࡇ ᶆ ೫ᕪ ᑠࡉ ࡗࡓࡇ ࠊ㢼ᬒ ᑐࡋ ぢ ࡀẚ ඹ ࡋࡓ༳ ࡘࡇ ࡀ᥎ ࡁ ࠋ ᪉ࠊ ᬒࡀ 㢼ᬒ ࡗ ࠊ๓ᬒ ሰࡄ ࡀ 㢟 6&5ࠚ ࠊᢳ ᗁ ᬒ ᘓ ࡀᥥ 9,5ࠚ 㸺ᬯ ឤࡌ㸼㸺ᗁ ឤࡌ㸼㸺 ឤࡌ㸼㸺ࢩ ࢡ ឤࡌ㸼㸺 ࡗࡓឤࡌ㸼ホ౯ࡀ ࠉᚰ ᅉᏊ Ⲵ㔞 ኚ I II III IV V VI VII ᬯ ឤࡌ㸫 ឤࡌ ෭ࡓ ឤࡌ㸫ᬮ ឤࡌ ከᙬ ឤࡌ㸫 ᙬⰍ ឤࡌ ᚰᆅ ឤࡌ㸫 ᛌ ឤࡌ ሀ ឤࡌ㸫ᰂ ឤࡌ ᴦࡋ ឤࡌ㸫ࡘ ឤࡌ 㔮 ឤࡌ㸫ㄪ ࡓឤࡌ 㟼 ឤࡌ㸫 ࡉ ឤࡌ ឤࡌ㸫㟼 ឤࡌ ⴠࡕ ࡁ ឤࡌ㸫ⴠࡕ ࡁ ឤࡌ ኚ ឤࡌ㸫༢ㄪ ឤࡌ 㣭 ឤࡌ㸫㠀㣭 ឤࡌ ᗈࠎ ࡋࡓឤࡌ㸫 ⱞࡋ ឤࡌ 㛢㙐 ឤࡌ㸫㛤ᨺ ឤࡌ ዟ ࡁ ឤࡌ㸫ዟ ࡁ ឤࡌ ᗁ ឤࡌ㸫 ᐇ ឤࡌ ᖹซ ឤࡌ㸫 ឤࡌ ಶᛶ ឤࡌ㸫ࢩ ࢡᛶ ឤࡌ 㛫 ࢫࢣ ឤࡌ㸫㠀㛫 ࢫࢣ ឤࡌ ࡔឤࡌ㸫 ࡗࡓឤࡌ ࡋ ឤࡌ㸫㓶 ឤࡌ ឤࡌ㸫 ឤࡌ 㒔 ឤࡌ㸫 ᅬ ឤࡌ ឤࡌ㸫 ឤࡌ ឤࡌ㸫 ᕤ ឤࡌ ឤࡌ㸫᪂ࡋ ឤࡌ ᙅ ឤࡌ㸫ຊᙉ ឤࡌ ᑐ ឤࡌ㸫㠀ᑐ ឤࡌ ឤࡌ㸫㞺ᅖẼ ឤࡌ Ẽឤࡀ ឤࡌ㸫 Ẽឤࡀࡋࡗ ࡋࡓឤࡌ ᅛ ᐤ ᐤ ௨ ࠊ 㸸 ௨ ࠊࠉ㸸 ௨ ࠊ 㸸 ᮍ ࠊ ṇࠊ㯮 Ⲵ㔞 ࠉ௦ ᚰ ᅉᏊ 1R I II III IV V VI VII ᅉᏊ ᛌ㐺ᛶᅉᏊ ࢲ ࢡᅉᏊ 㛤ᨺᛶᅉᏊ ࢡᅉᏊ Ύ ᅉᏊ ᅉᏊ ࢫᅉᏊ ௦ ᚰ ᑻᗘ ᬯ ឤࡌ㸫 ឤࡌ ឤࡌ㸫㟼 ឤࡌ ᗈࠎ ࡋࡓឤࡌ㸫 ⱞࡋ ឤࡌ ᖹซ ឤࡌ㸫 ឤࡌ ࡔឤࡌ㸫 ࡗࡓឤࡌ 㒔 ឤࡌ㸫 ᅬ ឤࡌ ឤࡌ㸫㞺ᅖẼ ឤࡌ 595

10 ᑻᗘ ᵓᡂࡉ ࠊ 㛫ࡀ ࡍ 㒔 ᅬ ᗘ ࡋ 5 ゝ ࡇ ࠊࠑ ᅉᏊࠒ ࡋࠊ

㺢㺼㺵㺭㺡㺆㺍㺖 3 㟼 3 㛢㙐 ᅬᆺ ᬯ ᆺ 㒔 ᆺ 㞺ᅖẼ ࡍ ゝ ࡇ ࠑ

4 ᚩ ࡗࡓࠋᚲࡎࡋ ᬯ Ⰽㄪ㛵 ࡎࠊࡇ 㸯௨ ᚰ ᅉᏊ ࡀホ౯ ࡋ Ϯ ᚓ ࡓࠋ, ᚰ ᅉᏊ ホ౯ ࡅ ᅉ ࡋ ࠊ 㛫ࡀ どᅗἲ ࡗ సᅗࡉ 㸺ᬯ ឤࡌ㸫 ឤࡌ㸼ࠊ㸺෭ࡓ ឤࡌ㸫ᬮ ឤࡌ㸼 Ⅼࡀᣲࡆ ὀ ホ౯ᑻᗘ ᵓᡂࡉ ࠊ 㛫 ࡉ ᚰᆅ ࡉ ࡍ ゝ ࠋ ࡇ ࠊࠑᛌ㐺ᛶᅉᏊࠒ ࡍ ࠋ,, ᚰ ᅉᏊ 㸺㟼㸲㸬ᚰ ホ౯ᵓ㐀 ศᯒ ឤࡌ㸫 ࡉ ឤࡌ㸼ࠊ㸺 ឤࡌ㸫㟼 ឤࡌ㸼ࠊ㸺ⴠࡕ ࡁ ࠉ ḟඖ ࡉ ࡓ 㛫 ᚰ ホ౯ᵓ㐀 ࡍ ࡓ ࠊ ឤࡌ㸫ⴠࡕ ࡁ ឤࡌ㸼 ᵓᡂࡉ ࠊ ࡁ ࡍ Ⅼ ࡘ ᚓ ࡓᚰ ホ౯ᑻᗘ ᑐࡍ ᚰ 㔞 ኚ㔞ゝ ࠊࠑࢲ ࢡᅉᏊࠒ ࠋ,,, ᚰ ᅉᏊ ࡋ ᅉᏊศᯒ㸦 ࢡࢫᅇ 㸧ὀ ࠊᅉᏊ Ⲵ㔞 ฟࡋ 㸺ᗈࠎ ࡋࡓឤࡌ㸫 ⱞࡋ ឤࡌ㸼㸺㛢㙐 ឤࡌ㸫㛤ᨺ ឤ ࡓ㸦㸧ࠋᐇ㦂 ᙧᐜモᑐ ࡋࡓࡀࠊᚰ 㔞 ᶆ ࡌ㸼 ᵓᡂࡉ ࡇ ࠊ 㛫 ᗈࡀ ᗘ ࡋ ೫ᕪ ㄆࡋࡓ ࡇ ࠊከࡃ 㸺 ឤࡌ㸫ゝ ࠑ㛤ᨺᛶᅉᏊࠒ ࡍ ࠋ ϫ 㸺ᗁ 㞳ࡀ ឤࡌ㸼 ᶆ ೫ᕪࡀ ௨ ࠊホ౯ࡀศᩓ ឤࡌ㸫 ᐇ ឤࡌ㸼㸺ᖹซ ឤࡌ㸫 ឤࡌ㸼 ᵓᡂࡉ ࠊ ࡋ ࡓ ࠊぢゎࡉ ࡃ ᑻᗘ ࡗࡓ ࡋࠊ㝖㛫 ᛶ ࡍ ゝ ࠑ ࢡᅉᏊࠒ እࡋࡓࠋ ࡗ ࠊᅉᏊศᯒ ホ౯ᑻᗘ ࠊ ᯝ ࡋ ᅛ ࡍ ࠋ Ϭ 㸺 ࡔឤࡌ㸫 ࡗࡓឤࡌ㸼㸺 ࡋ ឤࡌ㸫㓶 ឤࡌ㸼ホ౯ᑻᗘ ᵓᡂࡉ ࠊΎ ᗘ ゝ ࠊࠑ Ύ ᅉ 20 Ꮚࠒ ࡍ ࠋ ϭ 㸺㒔 ឤࡌ㸫 ᅬ ឤࡌ㸼㸺 15 ឤࡌ㸫 ឤࡌ㸼㸺 ឤࡌ㸫 ᕤ ឤࡌ㸼ホ౯ 10 ᑻᗘ ᵓᡂࡉ ࠊ 㛫ࡀ ࡍ 㒔 ᅬ ᗘ ࡋ 5 ゝ ࡇ ࠊࠑ ᅉᏊࠒ ࡋࠊ Ϯ 㸺 0 ឤࡌ㸫㞺ᅖẼ ឤࡌ㸼ホ౯ᑻᗘ ᵓᡂࡉ ࠊ 㛫 VDE VR CC AS LRE SBB MEG TF BM GR MD STW GLE CHW SEI VSE GWG HRU THA MSV HAA MAX AMH AS J TSW BLB SCR MEZ BEB UTR AG KI VIR MMS TEM SAS NYN 25 3 ᙅ༳ 㒔 ᆺ 3 ᛌ㐺 ᅬᆺ 3 㺢㺼㺵㺭㺡㺆㺍㺖 3 㟼 3 㛢㙐 ᅬᆺ ᬯ ᆺ 㒔 ᆺ 㞺ᅖẼ ࡍ ゝ ࡇ ࠑ ࢫᅉᏊࠒ ࡍ ࠋ ௨ Ϩ㹼Ϯᚰ ホ౯ ࠊ 㸣ィᐤ ࡋ ᅗ ௦ ᚰ ᅉᏊ ࢡ ࢫࢱ ᅗ ᙅ༳ A 㒔 ᆺ %02 ᛌ㐺 ᅬᆺ &+: $ *:* ࢡ ᅬᆺ -23 %(% 76: $*2 㟼 ᬯ ᆺ A 596 A 6$6 㟼 ᬯ ᆺ ᅗ ࠑព ᆺࠒ ศ㢮 A 1<1

5 VDE, VR,, CC, AS, LRE, SBB, MEG, TF, BM GR, MD, STW, GLE, CHW, SEI, VSE, GWG, HRU, THA, MSV, HAA, MAX, AMH, AS STW J, TSW, BLB, SCR MEZ, BEB, UTR, AG KI, VIR, MMS, TEM, SAS, NYN J AG MMS 597

7 CHW HRU LRE MSV AMH VDE BM CC TF AS VR MEG SBB AS SEI THA STW MD VSE HAA GWG MAX GR GLE J BLB TSW SCR VR AS MEZ AG SEI VDE UTR BEB NYN KI TEM MMS VIR SAS 599

8 AS BM SBB VR CC VDE GR AMH GLE HRU STW THA GWG MD VSE MAX AS MSV J TSW SCR MEZ AG UTR NYN MMS SAS TEM VIR TF MEG LRE HAA CHW SEI HRU BLB BEB KI 600

9 Davies,.J.E, et al., Janson s History of Art, Eighth edition, rentice Hall, 2011 Kleiner, F. S., et al., Gardner s Art Through Ages, Twelfth edition, Wardsworth/Thomson Learning,

10 STUDY N RELATINSHI BETWEEN SYCHLGICAL EVALUATIN AND CMSITINAL CHARACTERISTICS F SATIAL RERESENTATINS IN WESTERN AINTINGS Kiwa MATSUSHITA * * Assoc. rof., Dept. of Architecture, School of Science and Technology for Future, TDU, M.Arch. The perspective drawings are remarkably useful in expressing the characteristics and atmosphere of the space, while they do not provide the information on the exact scale or dimensions. The atmosphere of the two-dimensional space is created not only by the composition of the stand-alone architecture, but also the overall composition of the background and surrounding elements, such as trees and human gures. The objective of the research is to understand the cognition and psychological evaluation of the perspective images, which represent three-dimensional architecture and spaces in the two-dimensional plane in various frameworks, scale and subject, in order to obtain the insights to our reception of the architectural representation. Following the previous paper, which reported the cognition of the two-dimensional representation of architecture, this paper continues to focus on the Western paintings as a case of the spatial representation in broader frameworks. The psychological evaluation experiment based on the SD methods was conducted to quantitatively measure the ambience perceived by the viewers. The psychological evaluation experiment was performed using the same 39 paintings as the Indication Methods, between the periods of the Late Renaissance to mid Twentieth century. 50 architecture students (22 males, 28 females) were asked to rate their impression at 6 grades between 31 sets of bi-polar adjectives, which are carefully selected through the preliminary experiment. The summary of the research outcome is as follows: 1) The paintings which received the most characteristic evaluations depicted the natural landscape. They were rated highly on the positive evaluation scales, such as <open> and <beautiful>. 2) The factor analysis was conducted in order to capture the psychological evaluation structure, and the following 7 factors are obtained. 1. Comfort Factor, 2. Dynamic Factor, 3. pen Factor, 4. Dramatic Factor, 5. urity Factor, 6. Urbanity Factor, and 7. Ambience Factor. The representative psychological evaluation scales are selected from these 7 factors. 3) To categorize the distinctive types of the reception from the psychological evaluations, <Consciousness-Types>, the Cluster Analysis was performed by taking the average ratings of the 7 representative psychological scales for the paintings as the similarity and they were classied into the following 5 types: 1. Low-Impression Urban Type, 2. Comfortable Rural Type, 3. Dramatic Rural Type, 4. Quiet, Dark and Tight Space Type, 5. Closed Urban Type. 4) 1 and 2 are mostly landscape orientation, while 3-5 are mostly portrait orientation. The landscape orientation paintings are evaluated highly on the quality and openness of the space, as the portrait orientation paintings are evaluated based on the actions and events in the space. 5) Based on the correlation analysis between the average ratings of the representational psychological evaluation scales and the number of indications obtained by the Indication Experiment, Tree elements show the correlations with most number of evaluation scales, which are mostly positive evaluations. 6) The composition which includes water elements in the lower part of the canvas has relationship between the evaluations, such as <pure>, <bright>. If such a composition also has the tree and human elements in the foreground, the evaluation <pure> and <open> are enhanced. 7) The human elements are evaluated <tight space> if the multiple number of them are placed in the foreground regardless of the depth of the background. 8) In the landscape orientation paintings, when the indication focus zone is compact and vertical, the evaluation is broad and open. (2015 年 8 月 10 日原稿受理,2015 年 12 月 4 日採用決定 ) 602

研究論文 : 論文 ORIGINAL ARTICLES Received Mar 4, 2017; Accepted Aug 11, 2017 クリエイティブクラスの作り出す都市構造の分析アムステルダムとベルリンを事例とする Analysis of Urban Structure made by

研究論文 : 論文 ORIGINAL ARTICLES Received Mar 4, 2017; Accepted Aug 11, 2017 クリエイティブクラスの作り出す都市構造の分析アムステルダムとベルリンを事例とする Analysis of Urban Structure made by Creative Class Analysis of Urban Structure made by