In this paper, by means of analysing one hand the design idea of modern pioneers in the begining of twenty centuries and the other hand the present social problems related to industrial design in a rural society, we intend to cralify the meaning and context of design survey which is to start in the field of design study. The discussed points are summarized as follows ; (1) Design survey stands on the recognition that the most impotant for us is to plan and design our daily lives with the mass-produced products in which we must involve our own mes- sages. (2) Design survey means to recognize the relationships between designed products, men, lives and society mainly by means of field survey. (3) Design survey has its proper purpose which is to cralify the invisible law between goods and life from the standpoint of social sciences and cultural sciences. (4) Design survey is to approarch to setting the design criteria which is discussed in the field of design methodology.

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Storage is one of the essencial facilities of house. If a variety of storage in a house is insufficient, it is difficult to get at and uneconomic in space usage, we fail to organize and protect the things for maintaining orderly living routine. Storing itself, however, is not an essence of living, but one of inevitable spacial means in the ordinary house. Japanese way of living has been changed in seversal aspects during the past decades. Despite the shortage of the living space, as far as kitchen storage and spuce are concerned, numbers of new kitchen equipment and variety of food have been introduced. Therefore the storage of the space and the introduction of the equipments and foods have created a kind of chaos in the average kitchen space. By means of research and study on the existing stuation of actual kitchen storage, the author tried to cralify the basic principles which exist behind its usage ; storing principles of food materials influenced by several factors such as ; 1) Controled temperature (ex. egg, meat, butter, fish, etc., .. in refrigerator) 2) Weight (ex. soy sauce, sake in large sized bottle, rice, oil etc., ... under the sink) 3) Seasoning items (salt, sugar, accent... the place close to cooking apparatus) 4) Preserving temperature and shape (ex., vegitable and fruit... in refrigerator and/or under the sink) 5) Stain (potato... under the sink) 6) No definite position (dry food and canned food) The other group of storing objects were kitchen equipment like pan, bowl, kettle, knife, scale, rice cooker, toaster etc... Storing principles of these equipment were as following, 1) Frequency of use 2) Efficiency of handling equipments from the stand poin of economizing human energy 3) Size (ex. knife and fork were stored in drawer) 4) Energy out let (electric equipments were placed under the restricted area of the energy outlet) 5) Weight (heavy equipments were placed at low level storages)

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The aim at Layout Method that we are going to try a logical description in this study, does not necessarily mean the manysided material lives surrounding us, hardwares like shelters, installations and tools ect. It means the Living Space general that the subject in daily lives create for its use or mind in a prearranged situations and means the attempt to research into the matter independently. This study aims at the approach for the flexible study that users in the living space take a important role. In our living activity based upon an organized relation of instalations and tolls in our house, the two following typical subjects will be a clue to the study. One of them is that tools is the factor of the layout from the standpoint of the whole living space. Another is that tocls are in disorder daily unconsciousness. That is effective in aesthetic study, the process of the arrenngement, in the aim at the Layout of tools in living space and in way to express the beautifull, is the essential point of the study. This has brought into being the new idea that tools exist as a controller of a series of household appliances. In this case, we come across a adovocate to try to study the cause and effect between the situation in living space and the living earrelation among men and tools. Moreover, it is much important for us to study how to come into contact with tools and to what extent to display our attitude toward them, that we might not be thrown into confussion in thecorrelative activity between us and tools. And when we come to these realization, if we study the history of living space and tools from the point of view, how humanbeing have paid far more attention and efforts to bring order into living space, we could expect the far-reaching effectiveness possible. Because the living tools and living space have been in steady progress, and it is necessary for direction and meaning of these changes to be innestigated at the much greater intervals of time, and we realize that we can't reproduce these changes in our laboratory, The study of the living space must be deepened through the synthesis of these various approaches.

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Thoughthere was a break in the post-war period, Kinetic Art has made a marked progress since it was linked to electronics and mechanical engineering. As forerunners in Kinetic Art, Marcel Duchamp, Alexander Calder, Laszlo Moholy Nagy, and Man Lye have been eager to make use of technology to represent a high achievement in formative art of light and movement. The trend of Kinetic Art after the World War II has been represented by Bruno Munari, Lucio Fontana, Nicolas Schoffer. Kinetic Art has dynamics as its common subject and it is roughly divided into three groups according to the kinds of their movements: 1.formative works like Mobile which are driven by such natural forces as torces as the wind and water 2.relief works, such as Agam's works, which vary themselves in accordance with the viewer's movements. 3.self-moving pieces operased by motors or other powers. This paper is chiefly concerned with thethird type…the self-moving one. With the remarkable development of technology, Kinetic Art has grown into Kinetic Art as an environmental formative art as Sibanetics has been introduced (as by Schoffer) into this field to make more complexed movements possible, light, colour and sound being coordinated. We here try to getat the dynamics of formative art visually instead of digging into its mechanism.

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This deals with visual communication designs in the Age of high mass consumption. It is in this age that visual communication designs themselves have reached the mature stages for the first time. The reason can be sought in the fact that modeling hitherto belonged to each field has been synthesized and that abstractc onceptions of visual communication designs havecome into generally accepted ideas. This means that the means of visual communication can be employed not only for commercial publicity but also for all possible fields in which they will be required. It is to be noted also that modeling of visual communication is produced in many cases not by a single artist but by plural artists collaborated. This shows that visual communication designs are produced from an organized body. It can be said to correspond to the conditions in economic puberty defined by W.W.Rostow. In this age of high mass consumption, such social influence over visual communication designs causes them to present quite a new development in its expression. What is typical of visual communication designe in this age is Swiss and American style. This example clearly shows how much visual communication designs reflect its society. Now there is a problem posed before visual communication designs themselves in this age of high mass consumption. That is, it concerns what phenomena are represented by them. This may be explained as follows. The designs in question take part in the designs related to the appearances of things that belonged to other design fields, provided that visual communication designs act on the sphere in which they lie beyond fundamental visual communication. But another problem, that of designs subdivided into each field and now integrated into one field, arises. It is posed as turning-point to one direction since the Industrial Revolution from the standpoint of designs.

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