The modern era saw the development of machinery shorten the daily workday. To utilize the newly created leisure time, various active physical activities were developed. Entering the 1920s, we see the trend of “body culture (la culture physique).” Architect Le Corbusier (1887–1965, hereafter referred to as Corbusier) also enjoyed both playing and watching sports in his private life. In artistic creation as well, paintings depict women with healthy physiques. Reflections of body culture can be seen in both daily life and creative expression. Following the Industrial Revolution, Corbusier's “Les 5 points d'une architecture nouvelle” (hereafter abbreviated as “5 Points”) demonstrated a new aesthetic born from industrial materials and attempted to articulate the components of architecture based on the logic of machinery. The proposal of the “5 Points” shares a contemporary context with the human-centered philosophy of body culture. The purpose of this study is to examine how the “5 Points” were reflected in architectural works through their connection to “body culture.” It also aims to explore how Corbusier's ideas on body culture and the unity of dwelling were put into practice. First, I conducted discourse analysis of Corbusier's writings to examine his ideology on body culture. Next, I analyzed Corbusier's design proposals. In his residential works, I identified 17 projects where room names reflected bodily cultural spaces. I collected drawings and perspective views for these projects and analyzed the positioning and environment of bodily cultural spaces within the dwellings, as well as the morphological language employed. Based on analysis results and considerations, the meaning of the morphological language developed through the “5 Points” was derived as the “points that integrate body culture and dwelling.” This research explores the value of architectural forms and components for humans from the perspective of “body culture.”

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Urban growth in Xishuangbanna since the early 2000s has rapidly replaced Thai Lue vernacular timber stilt houses with self-built, multi-storey reinforced-concrete (RC) dwellings, intensifying vertical stacking and spatial compression. This study investigates whether the internal spatial relations through which cultural norms are enacted remain legible in these reconfigured layouts, and how verticalization alters users’ ability to read the domestic system. Selected cases across a gradient of rural, township, and urban contexts were examined. By employing Space Syntax formulas—specifically by combining conventional topological measures with an intelligibility diagnostic—the research seeks to quantitatively interpret the spatial cultural characteristics embedded in these evolving domestic configurations. Results indicate a clear configurational shift under urban verticalization. Rural dwellings tend to present higher intelligibility, meaning locally connected spaces reliably signal global accessibility. In contrast, urban multi-storey cases increasingly concentrate Integration in vertical circulation cores. This produces a “core-dependent” movement logic where circulation infrastructure dominates configurational centrality, overshadowing living spaces. Despite this shift, ritual-oriented areas remain among the deeper, more segregated nodes across all contexts, suggesting that the hierarchical ordering of traditional belief persists through relational organization even as overall depth is compressed. Ultimately, the study offers a framework for future spatial design, suggesting that contemporary self-building should prioritize preserving the underlying spatial logic—specifically regarding ritual depth, social accessibility, and transitional boundaries—to ensure cultural continuity within verticalized forms.

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While Alvar Aalto was notoriously reticent regarding the explicit articulation of his theoretical frameworks, his residential oeuvre serves as a profound architectural response to the existential challenges posed by the harsh Finnish climate-most notably the stark, physical separation between the sheltered interior and the unforgiving exterior nature. This study conceptualizes this inherent disconnection as contrast, a multifaceted term that symbolizes not only the climatic barrier but also the socio-cultural divisions between the individual and society, or the private family unit and the public sphere. The primary objective of this research is to elucidate Aalto’s sophisticated design methodology, which systematically employs the manipulation of contrast as a strategic tool to overcome these divisions and achieve a symbiotic harmony between the built environment and the natural world. Through a rigorous comparative analysis of ten seminal residential projects, utilizing detailed architectural drawings and spatial photography, the investigation focuses on two critical design indicators: the complexity of circulation planning and the strategic application of materiality on interior versus exterior wall surfaces. The findings demonstrate that Aalto successfully reconciles the human-nature dichotomy through two distinctive architectural operations. First, he introduces transitional buffer spaces-such as semi-enclosed entryways and glass-walled corridors-that orchestrate a nuanced, gradual progression from the outside world to the hearth. Second, he achieves a physical externalization of the interior by utilizing identical construction materials, most predominantly white plastered brick, which flow uninterrupted across the threshold. By deliberately minimizing visual and tactile contrast, Aalto dissolves the antagonistic boundaries traditionally necessitated by the Nordic winter, ultimately redefining the dwelling not as a fortified enclosure, but as a continuous space where the external environment exists as an organic extension of the internal living experience.

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Frank Lloyd Wright, celebrated as a master of modern architecture, underwent a profound transformation in his design philosophy over his seventy-year career. While his First Golden Age designs prior to 1914 were rooted in capturing external scenery, his focus fundamentally shifted to enriching internal life after 1914. This study investigates this ideological transition by focusing on the often-overlooked evolution of semi-outdoor spaces, specifically the porch and terrace. We conducted a comprehensive analysis of 11 residential works spanning Wright’s three distinct creative periods: the First Golden Age (1893–1910), the Lost Era (1911–1935), and the Second Golden Age (1936 onwards). Through plan analysis, sectional analysis of eave depths, and verification of spatial elements, we traced the architectural manifestations of his changing philosophy. The results highlight a clear trajectory. First, plan analysis reveals that the living–dining–kitchen configuration evolved from distinct, separated rooms into a partially integrated layout during the Lost Era, culminating in a completely unified space in the Usonian houses of the Second Golden Age. Second, sectional analysis defines the structural distinction: the porch, characterized by deep eaves offering shelter, was prominent in earlier works, whereas the terrace, featuring shallow eaves to admit sunlight, became dominant later. Additionally, the geometric art glass, a staple of his early interiors, disappeared after 1925, signaling a move towards clearer connections with nature. Ultimately, this research concludes that the Lost Era was not a period of stagnation but a critical phase of metamorphosis. It was during this time that Wright redefined the dwelling from a shelter framing views to a vessel for life, utilizing shallow eaves and integrated spaces. This evolution was essential for perfecting the Usonian House, which Wright championed as the true American style.

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This study investigates the geometric operations of “axis lines” and “Tsuzumi-shaped” compositions in Kenzo Tange’s Memorial Hall for Students Who Perished in the War, clarifying their design logic and role in generating monumentality. Although the work remained obscure due to the lack of publication at completion, the plan contains axis-like lines and successive trapezoids that suggest continuity with Tange’s early morphological strategies. Existing studies focus on landscape aspects—topography, views, and the symbolic tower—while disregarding the architectural significance of axes or Tsuzumi-shaped forms. This study therefore analyzes eleven pre–Expo ’70 works referencing axes and seven works employing trapezoids or Tsuzumi forms, extracting their characteristics and applying them to the memorial. The analysis shows that Tange’s axial principles, derived from Le Corbusier’s Palace of the Soviets, emphasize axes toward symbolic voids, orthogonal intersections forming plazas, and spatial structures guiding movement. The trapezoid and Tsuzumi analysis reveal that pairing trapezoids along their short edges was a recurring technique for reinforcing monumentality and spatial direction. Applying these criteria to the memorial identifies eight trapezoids of varying geometries and six Tsuzumi-shaped pairs, one of which closely parallels four key works—CHAHTEAU D’ART, the Greater East Asia Construction Memorial Plan, the Peace Cathedral Proposal, and the Hiroshima Peace Memorial Park Competition. The overlap between a drawn plan line and an analytically derived axis further suggests intentional axial design. In conclusion, the memorial embodies Tange’s concept of monumentality through the integrated use of axis lines and Tsuzumi-shaped forms. His technique of creating spatial tension by juxtaposing identical geometries is evident here, contributing to the solemnity appropriate for a commemorative environment.

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In recent years, there has been a strong demand for indoor environmental planning that enables optimal energy use while maintaining occupants’ thermal comfort. To achieve this, it is necessary to use objective evaluation indices that can accurately assess occupants’ thermal sensations. However, there are discrepancies between conventional objective indices and subjective results. Therefore, it is essential to quantitatively clarify the relationship between the two to evaluate occupants’ thermal comfort as a design target in environmental planning. Based on the background, this study aims to assess the relationship between PMV (predicted mean vote) and TSV (thermal sensation votes) in air-conditioned settings in temperate climate zones. In the summer of 2025, at Mie University, Tsu City, Japan, we conducted experiments in an air-conditioned laboratory. Respondents gave a total of 264 answers. This study showed that, for adults staying under air-conditioned conditions without adaptive behaviors, their thermal sensations can be predicted using the conventional evaluation index PMV. According to respondents' Thermal Sensation Votes, the operative temperature range for comfort was 24.5℃ to 27.2℃. All participants preferred 24.8℃, indicating a small preference for cooler conditions within the defined range. meanwhile at a 10% dissatisfaction level, PD (percentage dissatisfied) is comfortable at 25.1℃ to 26.3℃, and at 20%, 23.4℃ to 28.0℃. These findings provide new insights into thermal comfort evaluation in temperate regions. This study was limited to summer season and further study is needed in other seasons.

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This study examines architect Takamasa Yoshizaka’s concept of Artificial Land by comparing his later Misawa Residence with earlier works, the Own and Ura Residences. His conceptual arguments for Artificial Land—promoting liberation of the earth and development into urban planning—were consistent throughout his career. His early residences were highly experimental, focused on testing Corbusian concepts like the Dom-ino System and Modulor through layering or juxtaposition of units. But, the Misawa Residence, completed 20 years later, lacked this Corbusian-derived discourse. Instead, the residence suggests its distinctive, Instead, the residence suggests its distinctive, integrated, sculptural form, constructed in load-bearing wall RC, stems from Yoshizaka’s own theory of domain, derived from the Mud House. The challenge for high-rise Artificial Land was to integrate the shared domain, which was restricted to the ground level in earlier practices, to ensure environmental equity between floors. The Misawa Residence is interpreted as final experiment to resolve this: an attempt to replicate and layer this essential shared ground-level domain throughout the vertical structure. In conclusion, the Misawa Residence's form mimics the sculptural quality of the Mud House, and its Artificial Land is positioned as an experiment based on the house's domain theory. This marks a critical shift in Yoshizaka's practice from imitating Le Corbusier's philosophy to creating an original, philosophical application derived from his own vision of the primitive dwelling.

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