This paper aims to clarify the conception of architecture shape on sketches by Kazuo Shinohara. These sketches were mainly drawn for his residential and non-residential works, and Shinohara made their selections to keep by himself. They show various shapes of architecture, most of which are different from the realized idea. Therefore, sketches are important materials to grasp Shinohara's conception of architecture shape.
Firstly, we sorted the outline of Kazuo Shinohara drawing collection (Table 1 and 2). It contained not only sketches, but also original drawings, copy drawings and drawings for presentation. Secondly, we examined the sketches from following three aspects; contents of unit-figures which compose each sketches, number of unit-figures and the format of sheets (Fig. 1, 2 and 3, Table 3). Consequently, we found that the sketches of “House in Itoshima”, “House in Ashitaka” and “House in Hanayama No. 4” were either plan or section/elevation mostly and these all house's sites were large compared with other houses by Shinohara. On the other hand, the sketches of “House in Uehara” and “Uncompleted House Annex Project” contained both plan and section/elevation and their sites were small.
Thirdly, we focused on sketches of 6 residential works having over 50 sheets. Each unit-figure of these sketches was considered whether it had a characteristic of realized idea or not, the former was categorized as Final Conception and the latter was Non-Final Conception. Various architecture shape of Non-Final conception can be recognized as representing Shinohara's perspective of creating architecture shape (Fig. 4 and 5). According to the relationship with figures and lines, Non-Final Conception was classified into 6 categories of scheme; Individual figure, Inclusion, Division, Notch, Overlap, Adjacency, Separation (Fig. 6). Inclusion and Division were categorized as Scheme of the Inner area. Notch, Overlap, Adjacency and Separation were categorized as Scheme of the Outline of the figure.
Finally, the relationships of above 6 categories of Scheme in each of 6 residential works were analyzed (Fig. 7). We found Division in all of 6 examples. Inclusion was specific to “House under High-Voltage Lines” and “House on a Curved Road”, Notch was to “House in Uehara”, Adjacency was to “House in Hanayama No. 4”, Separation was to “House in Itoshima”. “House in Yokohama” was to what contains both Scheme of the Inner area and Scheme of the Outline of the figure. It didn't contain mostly Notch nor Separation and its Scheme consisted of a set of independent figures.
These results suggest that Shinohara tried to make an individuality in 5 residential works of the 3rd style by using a characteristic scheme which was different from previous one. In the 4th style, Shinohara found possibility beyond the logic of modernism in juxtapositions of independent figures in contrast to the 3rd style.
