@article{oai:suac.repo.nii.ac.jp:00001542,
 author = {天内, 大樹 and アマナイ, ダイキ},
 journal = {静岡文化芸術大学研究紀要},
 month = {Mar},
 note = {P(論文), 近年に多い，日本とくに戦後を含めて通史的に扱った建築展には，その資料形態，資料保存の可否と場所，打ち出すべき歴史観のあり方という三つの問題点が認められる．このうち第三の点を，静岡文化芸術大学でも開催されたラトヴィア建築展の検討を通して考察する．年代順に区切った通時的展示に比べ，テーマ別展示はラトヴィアの歴史的事情，建築産業の状況から選ばれた形式であるが，ラトヴィア性を立ち上げる際の観光と実際の日常生活との関係など，検討すべき課題がある．そこで本稿では首都リガの発展史と並行した，建築物における歴史区分を提案する．ラトヴィア特にリガの建築において注目されがちなアール・ヌーヴォー様式を歴史の中に位置づけること，観光において看過されがちな木造建築をアール・ヌーヴォーとともに量を担うデザインとして位置づけること，さらに現代のラトヴィア人を取り巻く建築環境を歴史とともに位置づけることが目的である．, Comprehensive exhibitions on Japanese postwar architecture, recently burgeoning, involve three questions: forms of exhibits, feasibility and locations of preservation, and conflicts between completeness and originality of historical viewpoints. This paper probes the third point through investigating an exhibition on Latvian architecture. Compared with chronological exhibitions, thematic ones show some advantages when they intend establishing a Latvian way of thinking, Latvianness, in terms of Latvian complicated history and her turbulent situation in the building industry. They also want, however, a realistic consideration to the everyday life of her residents in spite of the touristic appeal. Consequently, we advance the historical divisions in Latvian architecture which derive from the development of her capital city, Riga. By so doing, Art Nouveau architecture, focused by historical researches of art and architecture and by the tourist industry, and Wooden buildings, often left unnoticed, will be equally established as prevalent and therefore important architectural styles in the city. Moreover, we will understand more of the contemporary built environments around her residents.},
 pages = {85--92},
 title = {都市の展開と建築：リガ、ラトヴィア},
 volume = {19},
 year = {2019}
}