35 research outputs found
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·äœçãªããã»ã¹ãç解ããã«ã¯äžè¶³ããŠããããã«æãããããã§æ¹ããŠãããžã®æå³ãèªè§£ããå±èŠ§äŒã«å«ãŸããªãäœåãåæããããã§ããå€åœ¢ããšããçææ¹æ³ãæ瀺ãããã®ã§ãããRecently, the correlation between architecture and fashion were argued. It is a shelter with which the human body is covered, and a social canon that stands according to the particular Zeitgeist and cultural values. In addition, there is a background that architect and fashion designer\u27s collaborations actually increased. However, the most significant one is that the parallel concept and design process of works. âSKIN+BONESâ art exhibition held in MOCA(2006) explores the common visual and intellectual principles that underlie both fashion and architecture. MOCA Curator of Architecture & Design Brooke Hodge examines themes such as shelter, identity, tectonic strategies, creative process, and parallel stylistic tendencies including deconstruction. In this bulletin, I explore the formal system in deconstrutivistâs work and extract the transformation process in fashion and architecture. It generates difference of mode
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ããããããã®å¶äœæå³ãå³é¢ãåçã䜿ãæããã«ãããThe Kobe Design University team produced an installation work âRain of Silver, Gold Ringsâ with a great quantity of used buttons, on September 2011. It had won the competition âKOBE Biennale 2011: Kokashita Art Projectâlocated on the vacant stores in the Motomachi Kokashita(under the elevated railroad) shopping street. In this article, two representatives of the team threw light on the each intention of the work, with drawings and photo
Using the Acropora digitifera genome to understand coral responses to environmental change
Despite the enormous ecological and economic importance of coral reefs, the keystone organisms in their establishment, the scleractinian corals, increasingly face a range of anthropogenic challenges including ocean acidification and seawater temperature rise1, 2, 3, 4. To understand better the molecular mechanisms underlying coral biology, here we decoded the approximately 420-megabase genome of Acropora digitifera using next-generation sequencing technology. This genome contains approximately 23,700 gene models. Molecular phylogenetics indicate that the coral and the sea anemone Nematostella vectensis diverged approximately 500 million years ago, considerably earlier than the time over which modern corals are represented in the fossil record (~240 million years ago)5. Despite the long evolutionary history of the endosymbiosis, no evidence was found for horizontal transfer of genes from symbiont to host. However, unlike several other corals, Acropora seems to lack an enzyme essential for cysteine biosynthesis, implying dependency of this coral on its symbionts for this amino acid. Corals inhabit environments where they are frequently exposed to high levels of solar radiation, and analysis of the Acropora genome data indicates that the coral host can independently carry out de novo synthesis of mycosporine-like amino acids, which are potent ultraviolet-protective compounds. In addition, the coral innate immunity repertoire is notably more complex than that of the sea anemone, indicating that some of these genes may have roles in symbiosis or coloniality. A number of genes with putative roles in calcification were identified, and several of these are restricted to corals. The coral genome provides a platform for understanding the molecular basis of symbiosis and responses to environmental changes
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¬éç¹å¥è¬çŸ©ãäžå¿ãšããã«ãªãã¥ã©ã ãžã®çµã¿èŸŒã¿ãç 究ææã®å ±åãšç€ŸäŒãšã®ã³ãã¥ãã±ãŒã·ã§ã³ãé²ããããã®ã¡ãã£ã¢ãšããŠã®æžç±åºçããšããäžé£ã®æŽ»åãšé£åãããã®ã§ãããããã§ã¯ãåºçããããäžå±±è±ä¹/ã¹ã±ããã³ã°ãïŒæ°å®¿æžæ¿åïŒã«ã€ããŠè§£èª¬ãè¡ããããã¯ããã«1 æ¬ã®ç·ããããããã«ç·ãå ããããã®ãã³ããšã«ããã«çŸãã空éãå€ãã£ãŠããããã®ã¹ã±ããã®æ¹æ³ã¯äžå±±æ°ãæ®æ®µã®èšèšããã»ã¹ã«ãããŠãè¡ã£ãŠããã¹ã±ããã®æ¹æ³ã§ãããæèã®æ çµã¿ãåºãã次å
ãè¡ãæ¥ããªããèšèšãé²ããŠãããšããç¬ç¹ãªæ¹æ³è«ã瀺ããã®ã§ããããã®ã¹ã±ããã®æãæ¹ãæžç±ãã¶ã€ã³ãã®ãã®ã«åæ ãããè©Šã¿ããããªã£ãããŸãã§ãçµµæ¬ã®ããã«èŠãã芪ãã¿ãããç·æžãã®ã¹ã±ããã«ã¯ãéããªã奥ã®æ·±ããã¶ã€ã³ã®ææ³ãé ãããŠãããIn early June 2009, Prof. Yuichiro Kodama arranged forNakayama to address our Department of EnvironmentalDesign. At this special guest lecture, he presented anoverview of his projects since going independent fromItoâs office, giving us insight into the rigorous reasoningthat shapes his spaces while yet allowing a remarkablesensitivity toward fragile ephemera: clover growing on aprospective house site, thick weeds in a field designatedfor a kiosk design competition in Hokkaido. Using linedrawings to illustrate how he expands upon a basicframework of spatial concepts, his secret seems to lie inthat wondrous window of consciousness he invokessomewhere between two and three dimensions. InNovember, toward this book, Nakayama gave a privatelecture at his office to only a few people involved with theediting, design and publishing
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å ±ãªãã©ã·ãŒã«åºã¥ããåŠç¿ãšç 究ã®ããã®æ¹æ³è«ã¯ãããŸã 確ç«ãããŠããªãããã®ããã«ã©ãŒãã³ã°ã»ã³ã¢ã³ãºãšããæ°ããç°å¢æŽåã®ç念ãšæ¹æ³è«ãå¿
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éšçãªå€§åŠå³æžé€šã§ã¯ããã®èšèãçšãããšãããã§ã«å®è·µãå§ããŠããããšãããã£ããThe way people browse and study at university libraries has changed significantly as IT was introduced and spread rapidly. The boundary between university archives and reading rooms has became ambiguous as resources at libraries increasingly became available online. âLearning Commonsâ demonstrates the new concept of browsing and learning at libraries on the back of universal access to IT. We conducted a survey for university libraries across Japan and have received a number of questionnaire back. In fact, the environment surrounding libraries, regardless of their public, private, or academic functions, has changed markedly long before the concept of âLearning Commonsâ was introduced. What we discovered through the survey is, however, that a majority of university libraries have not yet established any systematic way of educating users how to use IT to maximise their learning opportunities. Although having said that, we did find that there are several university libraries that have started distributing progressive know-how to users unconsciously adopting the concept of âLearning Commonsâ
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é«æ ¡ãšã®SDGsãããžã§ã¯ãã«ã€ããŠã¯ãé«æ ¡åŽã®å€æã«ããå®æœããã«ã¯è³ããªãã£ãããThis research was conducted as part of art projects for the ART SETOUCHI. The aim of the Setouchi Triennale is to reevaluate and revitalize the region and culture of the Seto Inland Sea. In this context, the research members have been working on the island area of Sakaide City, Kagawa Prefecture. In the 2021 Project, we created artwork to participate in Art Triennale to be held at the Seijima site starting in April 2022. I n the creation of the artwork we received the cooperation of Sakaide City officials, local volunteers, and residents of Sei Island.ãFour works were exhibited in four locations at the exhibition site. An embankment by the sea, a road over the mountains, an old traditional house, and a closed kindergarten.ãAll of them are site specific works that take advantage of the unique nature and culture of the island as well.ãOn the other hand, the SDGs project with a high school in Sakaide City, which had been planned as another community contribution project, was not implemented due to a decision by the high school, which feared COVID 19 pandemic
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ã®å°åäœæ°ãšã¢ãŒãã€ãã³ãã®é¢ããã«ã€ããŠè«ããŠãããAs Shamijima Art Project, our KDU members participated in Setouchi Triennale and some relative art events such as field work, workshops and exhibitions. In 2016, we executed âTree Shades of Redâ exhibition in Setouchi Triennale spring term and âMemory of ShamijimaïœTo See the Nextïœâ in autumn. The issue of this paper is âLocal Collaborators concerned in Art Projectsâ. They are necessary to make independent local art project. We assort collaborators into follows; 1. Artist(our team), 2.Workshop participators, 3.Voluntary citizen, 4.Student staff of KDU, 5. Setouchi Triennale staff, 6. Sakaid City staff, 7.Artist or Researcher in Kagawa, and 8.Visitors. Then we particularly mention in 2, 3, 6and7 as local collaborators and argue the quality and process of co-creative art work
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äœäººã察象ã«ããã€ãã³ããâ£å€§åŠé¢ã®éžæç§ç®ã®ã²ãšã€ã§ãã倧åŠé¢ç·åãããžã§ã¯ããæ²åŒ¥å³¶ã¢ãŒããããžã§ã¯ããã«ãããŠãæ
åœæå¡ã®æå°ã®ããšãåŠçãè¡ã£ããã¹ã¿ãŒãåšèŸºå°å³ãªã©ã®å°å·ç©ããã³ã¹ã¿ããçšããŒã«ãŒãªã©ã®ã°ããºäŒç»ã»å¶äœã§ãããThis report assesses all the activities carried out in âShamijima Art Project by Kobe Design Universityâ which was held as a part of Setouchi Triennale 2013 Spring term (20th March and 21st April 2013), together with the images of the project outcomes. The following four types of work have been completed in the project; â Works of art and architecture created by six teachers of KDU(including assistants and a research assistant) in three different venues (Nishinohama Beach, Nakandahama Beach and Fomer-Shami Elementary and Junior High School), â¡Workshops for the local people held in the preparation period, ⢠Events for both the local and general visitors during the Triennale period, and ⣠Poster, map and other graphic design works and goods productions such as staff costume created by students under the supervision in the one of the Kobe Design University graduate schoolâs optional subjects which is also called âShamijima Art Projectâ
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ã£ãŠããããŸãããã®2013 幎ã®ææãããšã«æ²åŒ¥å³¶ã§ã®ãããžã§ã¯ãã¯2014 幎床ãç¶ç¶ããããšã決å®ããŠãããâShamijima Art Project by Kobe Design Universityâ was held as a part of Setouchi Triennale 2013 Spring term (20th March to 21st April 2013). Complete works of the spring term project were reported on bulletin of last year â2013â. Since then the project was continued under the subvention of the University.In the summer term of the Trinnale, some member of research inspect the another area of Setouchi and consider the way of community formation by arts or architectural design.In autumn, we planned a second exhibition and workshop titled âwe remember the Shamijimaâ. The main subject of the show is retrospect of spring term project. But then two particular programs are executed. âPossible futures Sakaideâ show the fictional cityscape. These works are represented by high-school students of Sakaide city. At the workshop for children, salt and shell of Shami-beach is the matter.At present, Shamijima Art Project progress to 2014âs new program
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ãªåœ¢ã«ãã瀟äŒãšã®é£æºã®äžã§åé¡ãçºèŠããææ¡ãè¡ãå®è·µçãªç 究ãé²ããããBy studying design responses to major changes in social structures created by computerization and networking as well as to shifts in the human and natural global environments, we aim to develop fundamental design education curricula and new teaching methods to foster their practical application.ãOne particularly important subject to consider in framing the âpost-designâ future is the disappearance of the physical body from the contemporary info-environment. While our research may focus on the evolving topography of design itself, the various projects and intercollegiate workshops we plan and conduct should problematize diverse concerns as bridges to society and propose ideas for further practical investigation