In previous studies, the writer has pointed out similarities between elite detached kitchen structures and vernacular houses in early modern Japan. This paper explores the role of great kitchen (5daidokoro) structures within the overall service system of the early Edo period elite residences of the daimyS class. Analysis of contemporary plans (especially the diagrammatic Yashiki-zu in Shomei) and illustrations suggests that in the largest residences, the great kitchen was used as an informal entrance to the residence as a whole, and to prepare meals for the lower household in the male part of the residence (the female zone had an entirely independent kitchen). Separate upper kitchens were used for the preparation of meals for senior household members and important guests. In smaller residences, however, the great kitchen might incorporate accommodation for household staff, and archaeological evidence suggests that this had also been the case in the simpler daimyo mansions of the sengoku period. It is suggested that the the origins of the residential plan of the early Edo period great kitchen building are probably to be sought in the mediaeval period, and relate to residential aspects of its function at that time.

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We can find out five "mainstay books" in several architectural reference books which described the technics of the Shitennoji school "Heinouchi-ke". In this paper, we intend to clarify the bibliography of each book and to analyze the composition of that. As a result, we are able to draw out the following conclusion ; composition and contents in the original text of technical books for Shitennoji school are well remained in "Shoki-shu", the other side, "Shomei" contains later various element.

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 This paper expounds on the historical transition of the cross-sectional form and design features of Noh theaters built from the Meiji era to the early Showa era. For this paper, analysis was conducted on the cross-sectional forms of modern Noh theater, and placed into five categories. As a result, the spatial characteristics of each type of theater appeared most prominently in the relation between the auditorium and the ceiling height of the auditorium.

 Next, analysis was conducted on the trends of the cross-sectional shape of the target cases, the relationship between the ceiling height of the auditorium, the roof type and the roofing material, and the ceiling finish. First, although the cross-sectional shapes do not keep unified trends of any type, there is a phenomenon where the auditorium started enveloping the stage more and more after the start of the Taisho era. Along with this, it was pointed out that the ceiling height at the auditorium area continued to grow larger.

 Next, looking at the design characteristics of the viewing area, it was determined that regardless of the type of cross-sectional shape, the roof type and roofing material are based on tiled roofs, and finished in a Japanese-style design such as coffered ceiling or board and batten ceiling. This trend also shows in the external appearance. The example cases from the Meiji era to the Taisho era were not considered Western designs at all, and the reinforced concrete structures in the Showa era also showed a design using a Japanese motif, pointing out to a trend of Japanese tastes.

 The appearance of designs conforming to Japanese tastes were often requested for appearance in design competitions in the early Showa era. However, in the case of Noh theaters, the stage, which has not changed in form since pre-modern times, is installed in the interior space. It is thought that the trial and error development of its architectural style happened in the interior viewing space rather than the exterior. Finally, what kind of Japanese expression was attempted at Noh Theater using the description of design specifications by the designer was also analyzed. In the case of the Umewaka-nogakudoh, the auditorium was designed with a functional emphasis on ventilation without matching the traditional architectural style of the Noh stage and auditorium. On the other hand, in the case of Hosyokai-nohgakudoh, the Noh stage and the auditorium are in conflict with each other because the ceiling height has risen, and the Noh stage and the auditorium employ the architectural style of temples to create harmony between the auditorium and stage.

 These techniques are similar to the Japanese tastes of the early Showa era. In the case of Noh theaters, the pursuit of an unique Japanese architectural style was triggered by the transformation of the structure of the building and the interdependence with elements of the Noh stage rather than the trend of Japanese tastes that demanded an eye for exterior design. Accordingly, there is a big aspect of design exploration of the internal space. The design decision process that extends not only to the exterior but also to the interior space can be seen as a Japanese expression unique to Noh theater.

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For the purpose of systematical studying of Japanese traditional theory of architectural design, especially about its historical and cultural meaning, we study the architectural characteristics of the orthodoxy of the architectural books on Japanese traditional houses "Yashiki-Hinagata" by treating of them from bibliographical, substantial, and theoretical aspcts. In this paper, we organized 7 types from 62 materials of "Yashiki-Hinagata", and analyzed them bibliographically. As a result, in the end of 15C, principle books were formed with the concept of "Oku", and they became memorandums with the concept of the practical design of Buke-Yashiki. In the 17c, learned books were made for the organization of systematical theory of housing design, after that they spread as miscellaneous records.

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There were many systhems of modular co-ordination about the building of military class in the Edo period. They were "Den'okushu (a part of Shoumiyou)", "Buke-hinagata", "Buke-Denkakutatejiwari", "Daiku-hinagata-taizen". "Den'okushu" was written by Heinouchi-seishin", who took service with a chief (called "Daitouryou") at the department of building construction in the Edo shogunate. Many buildings of the Edo shogunate were co-ordinated by the module of "Den'okushu". The buildings in the Edo castle were the same. "Shiroshoin" was the standard scale in there. Then, I recognized the practical process at the modular co-ordination of "Den'okushu" in "Shiroshoin". Conclusion: "Shiroshoin" was constructed by two measurment. One was "element measurment". The other was "space measurment". "Element measurment" obeyed the modular system of "Den'okushu", but "space measurment" was not. This was the design of Koura-Wakasa, Shiroshoin's architect. So, "Shiroshoin" was co-ordinated the module of "Den'okushu". At the same time, Koura-Wakasa designed creatively.

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This study makes a comparative examination of two parallel volumes in mainstay books of the Shitennoji School: "Bukekishu" of Shokishu and "Denokushu" of Shomei. Bibliographical study with close analysis of difference in composition and contents in reference to architectural practice of the time has revealed that "Bukekishu" of Shokishu is essentially identical to the original document. "Denokushu" of Shomei incorporated new chapters with the intention of developing the document into a more comprehensive manual of architectural techniques. It has been chronologically determined that "Denokushu" of Shomei was compiled in the mid - seventeenth century or, more precicely, after the 4th year of Shouou.

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This paper has been written to describe the aspect of successive diminution in a five-storied. When we make a designing issue of successive diminution in a stupa, it is important for us to make clear the aspect of line linking high eaves with low ones. For this purpose, we will extract three notions, so-called "Misumichigai", "Go-nakasumi", and "Nakahara", from the old architectural textbook "Shomyo", which was written by Masanobu Heinouchi in 1608. As a result, it is shown by examining many existing five-storied stupas that "Misumi-chigai" is a curved line toward inside, "Go-nakasumi" a straight line, and "Nakahara" a curved line toward outside.

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We can find out the design technics for the Kara-style (the style which especially adopted for the Zen-architecture) architecture in the architectural reference books described in the Edo period. In this paper, we in-tend to analyze the contents of the design technics in each book. As a result, we are able to draw out the following conclusion; the developmental process of the technics is found in the design of the brackets which have constructed in crowds, and the technics for Modular-Coordination described in the architectural reference books of "Kora-ke" have especially developed to the final design system.

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The Fujii family is a carpenters who has performed active construction activities for the Hamochi region in southern part of Sado Island at the base from the early stages of Edo to the early stages of Showa. This paper considers the carved ornament and the technique of the bracket complex for 20 works among existing the works of the Fujii family. Unlike a general chronological index, even if a time goes down, the carved ornaments shows an old form and the depth and width of carving do not change a lot. Moreover, in the bracket complex, a peculiar technique of joining a component by Yatoihozo joint is seen, and it can classify into two forms of what used Yatoihozo joint for the Odaruki, and the thing used for Tesaki-Hijiki. As explained above, the Fujii family can be positioned as a carpenter group with very peculiar technology.

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