This paper aims to create a hand-drawn perspective kit to give users, espcially for beginners, successful experience in architectural perspective drawing. In order to realize it, this paper provides a method for arranging the grid and a design of rulers for the handdrawn perspective kit, which allow users to draw a 2-point perspective drawing of a typical Japanese-style house. The “Plan Perspective Grid” and “Elevation Perspective Grid” are arranged on an A2 size paper, based on the composition for the perspective drawing of “Building Model” which was previously detected by the author. These two grids are arranged in order not to overlap the perspective drawing of “Building Model” so that the drawing work will not be complicated. This arrangement enables users to draw a house which is slightly larger than “Building Model”. Furthermore, the author designed a set of special rulers including “Special Straightedge”, “Rail Bar” and “Vanishing Point Stopper”. This ruler set was developed so as to minimize the number of pieces, which allows users to draw every vertical and perspective line of 2-point perspective drawing. Through study of each pattern of drawing, it was confirmed that the grid arrangement had the function of the above aim. The questionnaire result of users clarified that the ruler set also had the function of this aim. It also clarified that the beginners could get successful experience in architectural perspective drawing.

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　Kihonkei (The basic form), proposed by Tsuruzo Ishii is an useful structural concept which to be promoted establishing onto Art theory and The theory of plastic art. That is a structure not by the shape measurement such as elevation, but acquired by applying the feeling from a model directly on solid. The method is established there which turns a given solid into modern art object by releasing the sculpture shape its perceptible surface. From this, real aspect of art that composed from visible form and unperceptually feeling contents would be unfolded and drawn a principle that should be amplificated toward the modern art.

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　The Cooperative museum evolution (Co-muse) navigation system mainly uses characters to provide bilingual exhibition commentary via smartphones. The first goal of this series of experiments was to clarify the objects used in the pictograms. The second goal was to produce higher quality (improved legibility and intelligibility) smartphone pictograms by optimizing line thickness. The third goal was to demonstrate its effectiveness: 84.8% of the users thought the pictogram characters were both easy to understand and easy to see. The fourth goal was to add pictograms and characters together, and to verify which were easier to understand: it was found that pictograms were generally well appreciated. Furthermore, by additional experiments and using the system continuously, the evaluation of the pictogram system was improved. It is expected that this will result in users more rapidly gaining familiarity. More experiments are planned to further verify the utility of the system.

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　Architect Kanao Sakamoto is known that he designed many circular school buildings throughout Japan in the late 1950's.
　In this paper, firstly, the previous studies of Sakamoto's circular architectures were reviewed. The second purpose of this paper is to establish the standard models of Sakamoto's circular architecture by the designed year. To do this, we calculate the approximate diameters of Sakamoto's typical architectural works from the datasheets of his book “Circular Architecture”, and compare to the building types, the dates of design completion, and the number of stories.
　As a result, it is clarified that the standard diameters of Sakamoto's circular architectures are 25 meters in the early years, 26-27 meters in the mid-years, and 27-28 meters in the last years.

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