naoki takeda

This paper discusses the variations and typology of subculture contents that is influencing on urban space. Generally, subculture contents as seen in fictions had been separated from the real world. These days, some people seems to overwrite realworld influenced by the fictional stories. As a result of such overwriting real world with fictional stories, we have statues, institutions, vehecles, and other forms of existance of various subculture contents in the real world. This implies that subculture is not only the leisure of spare time, but the subject of some sort of devotion.

This paper discusses the differences between public art works and subculture-inspired art works such as anime and manga that have appeared in urban space. While public art in Japan started as an additional element of the urban landscape to improve urban aesthetics, many other aspects emerged such as providing cultural experience, improving urban real estate values, and revitalizing the downtown. On the contrary, the major purpose of introducing subculture-inspired artworks, such as manga and anime characters in the urban space is clear; to attract more visitors and to revitalize the area. However, subculture-inspired artworks are introduced into many different mediums; gigantic statues or museums for the attractive destinations, small statues and decorations along the street, vehicles and so on. These are all employed to help citizens to understand and sympathize the subculture characters and stories, that leads to the recognition of local identity, which is definitely far beyond the initial purpose. As a result, subculture-inspired art occupies an important position as local monuments, like conventional public artworks.

This paper discusses the variations of public art programs in Japan. Discussion starts with public sculpture programs that formed the typical image of public art in Japan, "Sculptures on the Streets and Parks", dated from early 1960s. We tried to categorize the different types of art in public context emerged after the controversies over the typical public art works. As a result, we found three different intentions to revise the typical style of public art as follows; 1) Integration with architectural/urban development project, 2) Preference of temporary installation over permanent work, 3) Strong partnership with the community. These trends of public art revision achieved distinct outcomes from what the United States of America developed during 1980s.

Readymade sculpture installation program has a simple administrative procedure: select appropriate sculpture from the catalogue, purchase it, and install it. Therefore, sculpture itself has no relationship to the site where it is installed, and the sculpture cannot obtain site specificity. This paper analyzed the first program of this kind in Nagano city initiated in 1973, similar program in Asahikawa city initiated during the same period, and the public sculpture program for Odori park in Yokohama city from 1978 to 1981. Here, Akira TAMURA's statements are important. In conclusion, these municipal administrations recognized readymade sculpture installation as a suitable way to obtain a collection of sculptures with diluted monumentality that is desirable for ideologically diverse society. After the cold war and the decline of bubble economy, however, these sculptures seem to be turned into a symbol of admiring prosperity and capitalism.

Sculpture Installation Program in Sendai City started in 1978 is known for introducing made-to-measure process. This program was, however, influenced by the sculpture installation on Nusamai Bridge in Kushiro City, Hokkaido, in 1977, which arose from "Peace Sculpture" movement from 1950s. Sendai's program is considered as combination of "Sculpture in Town" movement after 1961 and "Peace Sculpture" movement from 1950s. As a result, Sendai's Sculpture Installation Program was the first of regaining site specificity into "Sculpture in Town" Program. While autonomy was the prime interest of fine art during the cold war, site specificity is often neglected although outdoor sculpture should have it in nature. Sendai's program led the trend to regain site specificity, with Nusamai bridge project as its predecessor.

Sculpture Symposium and Public Sculpture Installation Program first met in Hachioji City, 1976. Hachioji City employed Sculpture Symposium as artwork acquisition process for the administration, while introducing the symposium as cultural and educational event for the community. In Hachioji, Sculpture Symposium itself played an important roll in the community, increasing public interest during the symposium period providing the opportunity to join the artwork creation. Meanwhile, employing Sculpture Symposium as sculpture supply system damaged the site specificity of the artwork and public involvement for the symposium. In conclusion, however, Sculpture Symposium Scheme first launched in Hachioji which is followed by many municipalities gradually obtained ideal solutions as Public Sculpture Installation Program which follows the original ideas of Sculpture Symposium.

This paper discusses the revision of Public Art installation in the United States during 1980s. Discussion starts with art installation programs that formed the typical image of Public Art, "Giant Abstract Sculpture sits in front of Modern Architecture", dated from early 1960s. Problems and controversies on these artworks in public places are analyzed and we found two possible frameworks that solve these problems, 1) Artwork and artist should consider not only physical conditions of the site, but social conditions around the site. 2) Public controversies and increasing interest on the artwork could strengthen the public role of the artwork itself. Then we analyzed the projects on these two frameworks and show two reasons why public art in the United States changed during 1980s, 1) Once installed as the medium of political propaganda of free world against the Socialist nations during the cold war, public demand for the public art changed after the cold war ended and a new public role was expected. 2) More artists changed their position on the role of art. These artist are more interested in making their works in the social context rather than making isolated and autonomous existence.

Rehabilitation of devastated natural landscape is one of the major concerns of today's society. In fact, many attemps have already been done under the scientific approach. However, restoring aesthetic quality of the natural landscape is not always fully concerend. This paper analyses the aesthetic oriented land reclamation projects by the artists concerning environmental issues. Land reclamation as art project displays the possibilities to offer an alternative approach to rehabilitate devastated natural landscape, besides extending the social function of public art project.

There are four major types of selection scheme on public sculpture installation by the local government ; 1) Outdoor Sculpture Exhibition of Ube City, 2) Catalogue Selection of Nagano City, 3) Sculpture Symposium of Hachioji City, and 4) Site Specific Contract of Sendai City. This paper focuses on one of these schemes, Outdoor Sculpture Exhibition, as part of the local public sculpture installation program. Ube and followers like Kobe, Hatano, Odawara among other municipalities, explored the possiblities of Outdoor Sculpture Exhibition scheme, and many variations have been emerged as a result. This paper analyzes the revisions of the selection scheme and the purposes of the Outdoor Sculpture Exhibition as sculpture installation program.

This paper analyses collaboration of sculptors in Sculpture Symposia held in 1970s and 1980s. The outcomes of these symposia are more like landscape design rather than pure sculpture. Thus, it is important to review the movement with its ideas and methods as well as its outcomes as part of the landscape design history. In conclusion, sculptors sought for the anonymous design which did not depends on the certain individual, but depends on the unified ideas of participating artists through discussion, with respect to the public landscape. This shows an important fact when we deal with the quality of landscape design.

City of Hachioji was the first municipality that introduced the Sculpture Symposium as part of the Sculpture in Public Place Program. This paper analyzed the development process of the ideas, concepts, and outcomes of the Sculpture Symposia before the first Hachioji Symposium held in 1976, and how Hachioji city administration combined the symposium with the public sculpture policy. In conclusion, Hachioji city administration was not interested in the underlying ideas and concepts of the sculpture symposium. Their major concern was the administrative advantages of the symposium scheme. Therefore, important ideas and concepts of the sculpture symposium developed during 1960s and 70s were lost in the subsequent sculpture symposia initiated by the local governments. Sculpture in Public Place Program and Sculpture Symposium were not successfully combined.

Ube City's sculpture installation project began in 1961. As a ‘town planning through sculptures project’ this marked a first attempt to install sculptures as works of art within an urban context according to a long term, evolving plan. It was also the first time in Japan that a large number of abstract works were selected for installation. However, results from an analysisinto the expectations held by the people involved in the project early on reveala wide difference of opinion. Indeed, there was a great difference in the expectations held by those representing Ube City and the artists. The former were seeking to improve the urban environment through sculpture while the latterexpected to be able to produce their creations free from any public interferenceor conditions. The art critic Hijikata Teiichi acted as mediator between the conflicting parties and was instrumental in bringing together the sculpture installation project with an outdoor sculpture exhibition to help resolve the differences. This initiative in itself served as a significant contribution to the development of sculpture.

This paper analyzes how street objects in the urban landscape contribute to attractive cityscape. We picked up Kobe Harborland area as a case study. As a result of the research, we found that many objectsion the area do not belong to the formerly known categories. Moreover, it is interesting to seethe fact that public artwork which used to be considered as the typical of high culture change its character and the role in the cityscape when installed with other shopping mall display objects which has typical characteristics of subculture. In conclusion, different types of street objects in theurban landscape in Kobe Harborland contribute urban attraction with their uncategorizable characters andequal value.

As economy spiraled down in the late 90s in Japan, public art craze that have installed a great number of sculptures in the public places has quickly disappeared. Some of the reasons why public craze have gone are, however, based on the lack of the consideration of the public interest besides the economic reason. In the United States or in Europe, new kind of public art emerged in late 1980s. These artworks did not follow the form of existing so-called public art that are mostly sculptures installed in the public places. This paper analyses these public artworks, which are often called as "New Genre Public Art," to rectify the problems of public art in Japan today.

This paper analyzes the collaborative process to design public space, the decision making process based on the various design concerns of different designers and artists. We chose sculpture symposium as a case study, since the outcomes of the symposium are typically landscape architecture rather than sculptures placed in the public space and their concern is more simplified in the formal issues which describe decision making process more clearly. Although this analysis is based on the collaboration of sculptors, it helps to develop the desirable types of collaboration between landscape architects, architects, designers, and artists. In conclusion, two major types of collaboration were found to well function when different design intentions from different professions met. This implies the possible working process of public space design through collaboration of designers and artists from various background.

Since the modernist art began to be installed in the public places, there has been contradiction between the artwork and the public interest. This paper analyses the impact of the artwork installed in the public context according to the relation between architects and artists working for the design development of the public place. Two pioneer projects were selected as they represent the different states of the architect-artist relations. And we compared the spatial characters of artworks installed in the public context. As a result of this study, we clarified how the different states of architect-artist relation took shape in the visual landscape during the design development of the public places.

This report offers a study and analysis into the purpose and content of early sculpture installation projects of the 1950s before pre-planned sculptural installations became more developed. Results of the study show that many sculptures in the 1950s were installed in praise of a new ideology such as the post-war social values, pacifism and liberalism. It was also around this time that nude male and female statues first appeared in public spaces. Therefore it can be said that projects from this time have the features of pre-war bronze statues as well as the more recent, modern sculpture installation characteristics. Projects in the 1950s exhibited intermediate characteristics and were clearly within a transition period between two different stages.

Analysis of the systems employed by local governmental organizations in Japan for selecting sculpture installation projects for public spaces reveals the following. There appear to be four basic systems. Firstly, there is the ‘outdoor sculpture exhibition’ system. This system aims to acquire new pieces by holding an exhibition of such works. Secondly, there is ‘the purchasing of existing works’ system in which appropriate pieces are selected from works already created. Then there is the ‘sculpture symposium’ system in which a symposium is held with the intent to acquire already existing works. Lastly, there is the ‘order made’ system in which original works are commissioned to an artist. In this system, the location of the installation can be factored into its production. There have been variations on each of these basic systems and modified versions have therefore also developed.

This study analyzed reason and social background of control and removal-destruction towards sculptures in public spaces in Japan and considered an essential significance for existence and characteristics of sculptures as fine arts which are installed in public spaces frequently now. As a result of considering the following conclusions were obtained: 1) The sculptures as fine arts have just as the essential significance for existence which is to represent social will as sekibutsu (stone Buddhist image)s in Edo era and dozo (bronze statue)s from Meiji era to World War II. 2) The characteristics of the sculptures as fine arts are tending hard to be understood the essential significance by observers of the sculptures on account of theme of works is not consistent with the essential significance and tending to be estimated contents of works variously by observes of the sculptures on account of it is not standards for contents of works concretely and contents of works vary from work to work.

This study aims to analyze viewpoints of citizens' evaluation on cotents of sculptures in the Urban Environment.<BR>By setting up a casestudy into the area where are a large number of sculptures and filling out questionnaires, I analyze consciousness of inhabitants on sculptures which are installed immediate their life areas.<BR>As a result, I explain following contents.<BR>a) The viewpoints of citizens' evaluation on cotents of sculptures in the Urban Environment<BR>b) Contents of factors existing in the Urban Environment.<BR>c) A relation between the factors and citizens' evaluation in appropriateness of contents of sculptures in the urban environment.