Craft wooden architecture” is a house anyone can work and construct them using only materials available at home centers. The aim of this project is to create a demand for timber that cannot be covered by the medium- and large-scale wooden buildings that recently increasing in Japan. In this study, as a first step to verify the construction of craft wooden architecture, we built a smallscale wooden sauna hut by ourselves. Through the design and construction of the sauna hut, the technical points to be considered when building a craft wooden architecture were summarized.

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　In a corner of a streetscape that once existed an extensive series of black walls, houses and a storehouse built during the Meiji, Showa, and Heisei eras still stand. Originally, these structures formed a group of buildings on a private site where three generations of residents lived. However, they all became vacant as the occupants either passed away or moved away. Since the 1980s, the author has been in charge of the architectural design for the renovation of a total of four structures on the site, including the construction of one new house. This paper discusses a case study on the formation of a public district through the revitalization of aging structures and the utilization of vacant houses.

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　This research revealed the procedure of the Japanese modern sculptor Tsuruzo ISHII’s woodwork masterpieces “Shimazaki Toson” (Toson-zo (1), Toson-zo (2)) which unexpectedly resylted in two statues. This was done by recreating the creation process of the works based on 3D sharp data of remaining wood pieces in the course of “Kidori”. The 3D data originates from scanning data of the statues and remaining wood pieces were served in the recreation of “Kihonkei” (“The Base”) and “Shinbo” (“The Armature”). Those are regarded as the important structures at the beginnig of creation. The meaning and the functions of the structures were identified by analyzing visualized 3D data. Furthermore, it can be deduced that the structural concepts of ISHII’s procedure have the concept of “movement” as the essence of modern art, which coincides with the modern art principles of “Cubism”. To obtain the final results, which are based on 3D scanning data of two “Toson-zo” statues and all the wood pieces, three 3D animation systems of the construction procedure have been completed.

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　This study deals with a theoretical reading of the plastic arts of the Japanese artist Taro Okamoto (1911-1996), on his mural titled “Myth of Tomorrow” (subtitled “Hiroshima, Nagasaki”)(1968-1969), which represents nuclear bombs as its motif. Since he proposed the “Bipolar Oppositionalism Manifesto” in 1950, he has upheld it as his artistic philosophy. In order to clarify the expression of his “Bipolar Oppositionalism”,we analyze the components and color composition in “Myth of Tomorrow” and their interrelationships making line drawings, and his attempts to deal with the tragedy of the nuclear bombs are discussed.

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