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.

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In this short paper, the public art project planned by Izumi City, Osaka and completed in May, 2003 is reviewed and discussed. The project is named "Izumi Funeral Hall and Community Center". A glass artist, CHO Kyong Hee, collaborated with a local glass craft factory and an art producer, a coordinator took the role of art coordination to organize the project. The work employed local glass product as material for the work of art and was intended to create spaces filled with light, composing various transparent colors in a form of lines. First of all, in the first paragraph, there is a report from the art producer, the coordinator point of view, explaining the geological as well as the historical background of the city and local industry in Izumi City. Then, it reviews the process through which the project was conceived and materialized. Secondly, following processes of making the art, the artist reported the difficulties and efforts that the artist experienced in absorbing the essence of the local art craft and digesting it in the artist's own imagination. In the final paragraph, the issues and significance of the public art project collaborating with the local industry is discussed.

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I have been opend some stone sculpture exhibitions wiich the thema is "Corridor" for some years ahead. These are fain artwork representations. This paper is the report of relation between a pubric sculpture monument and the fain artwork representations, and why I use the stone material in the stream tiil recently one man exhibition. 2) What is involved in the material? It is the concept of my sculpture that I found a special quality and the sense of stones. 3) Corridor of Time The relation between the fain artworks and the hint of sculpture monument projekt in 1999. 4) Corridor...A watevein of memories. The concrpt of artworks about one man exhibition in autumn 2002. This is the report of I look back the progress artwork activeties. It is the way of thinking for fain art representation and the artworks on pubric condition.

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"Originally a Shinto shrine has nothing but a mirror (a symbolic representation of the deity). The mirror exists for people to reflect their own spirit in it and to be conscious of its existence," said the late Mr. Kuniharu Abe, who received twice the Imperial silver watch given by H.I.M. the Emperor in appreciation of his scholarship. Japanese shrines have been dedicated to all kinds of gods and have the long history that they have protected the green environment, the sacred graves around them. I think that the holy precincts of a shrine have been based on the spiritual world of ancient animism and the ethics including the loyalty that Lord Masashige Kusunoki had, the importance of learning with a pure mind that Lord Michizane Sugawara had and so on exist together with the invisible world. I think it is this existence of the illusory world around us that has supported our spiritual environments, so I focus my attention on the holy precincts of a Shinto shrine, and to explain the starting point of my own creative works I will concretely illustrate the roles of my abstract works offered to a shrine and the meanings of my formative works as the decorations of Goshintai (the object of worship placed in the main hall of a Shinto shrine). With some examples and present the results of my research.

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