Up to the present, the policy for the men limited human motions was carried into effect under the name of rehabilitation and industrial design had to do with its one part. But the "habilitation" as the proceeding step, that is, the education deed for the disabled persons in the process of formation of the general idea was completely failed to notice. With regard to the teaching and training materials, the great results are not realized in spite of human investigations. Especially, the education for the blinds is enforced without establishing the system of tactual education. In this report, we take note of this importance and investigate the next problems ; 1) As the first step, the conditions of the teaching and training materials are investigated con- cerning "form, function and material" from designing point of view. 2) As the case study, the tactual training material for the physical therapists is developed to materialized the former investigation. In the process of development of this tactual training material, the difficult problems exist, which are to grasp the psychological needs (sensory parameters) and the forming materials and conditions (physical parameters) under the all kinds of characteristics of the tactual form perception. In consideration of these problems, we select the soft-polyurethane form as the material and form five kinds of tactual training materials by changing forming conditions. The sensory test about these five samples is examined by the massures and the optimum forming conditions are decided.

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This study is the first step towards psychological examination into the problem of plastic expressions. Whatever medium we may use in our activities of expression, we start from the reflexion of real life in which we live. We intend to acquire, in this study, the way of examining the ex- pressional learning, through studying the perceptual learning experimentally, which is the gateway to gateway to the perception of our surroundings. We make three experiments ; Experiment I, II, III. The purpose of Experiment I, II is to give an answer to the problem "What is the object of perceptual learning?", by imitating the experiments made by Gibson and other people (1955), and by analysing the recognition procedure and the reproduction procedure. In Experiment III, we study the problem of "three-dimentional-pictorial perception", using two or three dimentional mediums of vcrious sorts. From these three experiments of perceptual learning, we may form the conclusion at least that the relation between perception and expression can be examined in differential process, that is to say, that there is differential learning of expression in its own existence, which is similar to that of perception (making close the relation between stimulus and reaction).

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"Magemono" (round chip box) is a kind of wooden ware that has heen used for many purpose from ancient times. There is one of the original place of "Magemono" at Hakata (the eastern part of Fukuoka City) in Japan. The wrighter of this study aimed at process following items, What Process Has Been Made A Formation and Harded Down Up To This Day. 1. A Variety Of Products & Their Size 2. Manufacturing Process & Tools 3. Organization Of Production In these points, we can see the fact this occupation in Hakata took its rise in the Hakozaki- Shrine governed region, where grew as the place of origin with the development of trade, and that craftsmen have kept the combination steadily after the Restration of 1868. Most craftsmen tended to industrialization in response to increasing demand for "Oribako" (folded wooden lunch box). Such tendency seems in the change of their guild, the variety of produts, the manufacturing process and tools. As ever, traditional "Magemono" 's technique was held by a leading craftsman, but recently it is shown that a craftsmanship in others on the verge of awakening. We do not deny all the possibility that these craftsmanship will be conducive to regional culture.

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The subject of this essey is a study concerning type design in practical use, through the materials of the playbills of England in mid-nineteenth century, and this report is written concerning the appearance of Sans Serifs especially. Main interesting is that how did Sans Serifs use in playbills practically, what shape did Sans Serifs appear in earlier, and how many did Sans Serifs use in playbills with Fat face, Egyptian or another. The materials are bought by the writer at the shop of Mr. Andrew Block in London, as follows. 1. Jan. 18, 1841 6. Aug. 22, 1856 11. Mar. 7, 1864 2. Feb. 8, 1841 7. Jan. 15, 1859 12. Mar. 27, 1866 3. Jun. 28, 1847 8. Jan. 25, 1859 4. Mar. 8, 1849 9. Apr. 11, 1859 5. Sep. 26, 1853 10. Apr. 15, 1861

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This study was made for the purpose of obtaining some essential data for the structural design of the chair. The loads that act on the chair are measured experimentaly, when the loads are applied statically or dynamically. The chairs used for this study are of dining room or living room type. The results obtained are summarized as follows : (1) The measured loads are shown in the table 1-table 3. (2) The direction, the magnitude and the poisition of the loads are measured that change with the sitting motion. (3) The change of the Vertical loads on the posts while the time passes are shown in the table 4, when the dynamic sitting posture is changed. By this experiment, the important value of the load that acts on the chair is obtained, when the dynamical load is applied.

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This paper treats 1830's design education movement in the history of art education in England. Main theme is the relation hetween manufactures and design education in the Industrial Revolution. Contents (1) Object of this paper. (2) Demand for design education, its social back ground. (3) Design education system. (4) Practice of design education. (5) Infuluence upon art and craft education in England. (6) Foot note and quotation. At that time manufacturer were in the habit of buying or copying much of their "ornamental" design from the French, and frequent trips to Paris for this purpose. But disquiet at continental competition in many markets where ornamental design was of commercial importance, eventually led to the appointment of the 1835 Select Committee of the House of Commons, which was required to "consider the Best Means of Extending a Knowledge of the Arts and of the Principles of Design among the People (especially the manupacturing population of the country)". The Commitee considered that the Government should aim at the development and extention of art. And the British Government at last decided to support art schools. Consequently a School of Design opend at Somerset House in 1837. Here, State-aided art training in England started. But, design education in these days strictry drew a distinction hetween art and crafts, and the aim of education trained craftsman in the factory. In the Great Exhibition which heled in 1851 at Hyde Park, "notional taste" were compared each other. The failure in the Great Exhibition lead to the extension of more specialized design education and art education general. In otherwards, to cultivate national taste, they recognized the necessity of art education for all as well as design education for specialists.

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In this paper, by means of analysing the phase of eating on the data gathered in the field survey at Makko, we intend to clarify the relationships between goods and living space. The discussed points are summarised as follows ; (1) The living system is constructed, we consider, by four factors in Ie; base of living (social, economical and value aspects), idea of living, goods for living and living space. As these factors have the organic relationships and each of the factors is changeable, the living system or the way of living in Ie is not fixed. (2) The type of living is the qualitative difference of the relationships between the four factors mentioned above. We can find the different two types of living at Makko ; Mura-type and Machi-type. Mura-type is the living of way based on agricultural production. Machi-type is one based on non-agricultural life. (3) There are two design principles which construct the living space in each type of living. One is the principle on which they intend to layout the goods for living diffusively and this is dominant in Mura-type of living. The other is the principle on which they arrange the man-made objects intensively in the living space and it is dominant in Machi-type. (4) Each space of living has so to speak the meaning and role in the living system of Ie. It is common to Mura-type and Machi-type of living that each space of living had the double meanings formerly but has one specialised functional meaning now. (5) Two principles of living space construction are not the objects which we know good from bad. Each of the principles is the functional, rational and meaningful one which is created, studied, inherited and possessed by Mura-type and Machi-type of living. (6) This paper is a monograph on goods for living and living space from the stand point of view that the important for us designers is to train our eyes on the life conducted by man-made objects. Basing on the matrix of life analysis obtained in this field survey, we intend to approach the value and semantic problems of goods for living some other time.

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