In 1920, many hisotrical bridges faced a threat of demolition and some conservationists and organisations acted to conserve them. This paper aimed to describe a discussion devfelopment of a historical bridge conservation, the Old Waterloo Bridge in the United Kingdom, between 1924 and 1937 in detail and to realise features of discussion of the day in the United Kingdom. The findings of this study can be London County Council, which was owner or the bridge, changed from their demolition policy of the bridge to conservation three times by conservationists protest.

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　本研究は，19世紀後半から20世紀初頭にかけて建設され，その後の近代都市計画や建築に大きな影響を与えたと考えられる郊外住宅地計画とその住宅建築を研究するものである。本年度は，イギリスにおける事例を取り上げるが，その中でも特に田園郊外の傑作，ハムステッド・ガーデン・サバーブの都市計画と建築を詳細に分析する。本年度研究報告は5章から成る。第1章では，ハムステッド・ザーデン・サバーブの開発経緯を論ずる。まず開発の背景，契機，諸組織の活動について，創設者たるバーネット夫人の活動を中心に見てゆき，次にアンウィンの全体計画とラッチェンスのセントラル・スクエアのデザイン・プロセスを追跡する。　第2章では，ハムステッド・ガーデン・サバーブに至るまでのアンウィンの都市計画例とアンウィンの主著『都市計画の実践』（1909）を分析することにより，彼の都市計画の特質を明らかにし，それを近代都市計画史に位置付けることが試みられた。第3章では，パーカーとアンウィンの住宅建築を論ずる。1870年代以降の｢住宅復興｣（Domestic Revival）において，住宅に対する新しい理論と実践が展開された。ここではそれがパーカーとアンウィンに及ぼした影響を分析し，彼等の住宅理論や作品における平面，立面構成の特色を明らかにしている。第4章では，パーカーとアンウィンの住棟配置計画を，経済性，社会性，芸術性の観点から論ずる。その内，芸術的観点から見た住棟配置計画については，1)直線，あるいは曲線道路に沿った住棟配置，2)クルドサック道路とクアドラングル型住棟配置，3)道路交差点を囲むバタフライ型住棟配置の3つの場合を分析する。第5章では，ハムステッド・ガーデン・サバーブにおけるクルドサック道路とクアドラングル型住棟配置及び道路交差点を囲むバタフライ型住棟配置の実例を詳細に分析している。

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 The history of bank buildings in Japan commenced with the establishment of the First National Bank in 1872. To date, only minimal research on the historical changes in the bank buildings constructed between 1872 and present day has been conducted.
 Focusing on building exteriors, this study aims to examine the common architectural elements in the bank buildings constructed between 1890 and 1929. This study serves as an introductory account of the historical changes in the bank buildings constructed between 1872 and present day. The Western European-style architecture introduced by the Meiji-period policy belonged to the 19th-century European eclecticism.
 Therefore, no building in that period was constructed in a unified architectural style.
 This eclectic architectural style was possibly not appreciated by the Meiji-period society. It can be presumed that people who looked at bank buildings did not look at the architectural style but rather appreciated distinct parts of the buildings' exterior.
 Therefore, this study extrapolates the architectural elements of the exteriors of the buildings constructed in the classical style and contrasts these elements with examples of such bank buildings.
 Thereafter, on the basis of the results, this study discusses the common architectural elements in the bank buildings constructed between 1890 and 1929.
 The buildings of the five major banks in Japan (Mitsui, Mitsubishi, Sumitomo, Yasuda, and Daiichi) constitute the research subjects of this study. The period chosen ranges from 1890 (when commercial banking started) to 1929 (after the Order for Enforcement of the Banking Act). Herein, 20 different architectural elements related to the exteriors of 121 individual buildings were examined and the architectural elements common in the exteriors of various buildings were analyzed.
 The results reveal that corner lots, window grilles and railings, exterior stone, basements, perrons, architectural orders, cornices, reliefs, and flat roofs are found in over 60% of the buildings.
 Considering the understanding of historical design and trends that it offers, this study can serve as a guideline for the construction of future bank buildings with new, creative designs.

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 This paper aims to clarify the formation of "decor" focusing on the study of the decorative art movement in Germany by Charles-Edouard Jeanneret (Le Corbusier) in 1910. At first, we reorganize the subjects concerning "decor" of the interior space from the description in the report of his research study. Next, through the notebooks and sketches drawn during his German journey, we analyze specific decorative elements for each subject. And finally, we consider the relationship between the subjects.

 Jeanneret's report is the result of the survey of workshops, factories, and school education facilities regarding the production of furniture that are directly related to our daily lives. His consistent logic of the description contrasts the late decorative art in France with the modern decorative art in Germany. According to Jeanneret, German decorative arts transform the "art" in France into general applied arts introducing the "industry" in Germany. The "kinship" created between the elements of the interior decoration is the outcome of the machine-production.

 In the notebooks and sketches drawn during Jeannere’s journey in Germany, which is the source of his report, there are 32 direct descriptions about interior decoration. In addition to "house" (18 places) as living spaces, He also mentions building types such as "theater" (6 places) and "department store / cafe" (2 places) that are not directly related to living spaces, and study the same subject as "house".

 It is the fact that in the notebook, Jeanneret inspects the decorative elements in the interior space attributed to "industry". Above all, he analyzes in detail the mobility of furniture as a mechanical product with a mechanism of rotation and folding. however, At the same time, he researches forms and colors that cannot be mechanized like works of "art", even on the subject of "industry". His interest spreads from the independent decorative elements to the method of fixing to the wall, to the color of the wall surface. That is, the "kinship" between the decorative elements as a characteristic of German decorative arts indicated in his report is established in the spatial relationship of the elements.

 Jeanneret's appreciation for German decorative arts in his notebook is ambiguous. In the latter half of his study journey for the German decorative arts movement, he comes to regard the products produced in Germany as reference systems such as the Biedermeier style and the Empire style. In addition, his evaluation of material quality and color decoration is not directly linked to cost reduction through mechanization. He evaluates the color of the wall itself as a decoration, and the artistic painting works as a decorative element at the same time.

 In the case of Jeanneret, there is no boundary between "industry" and "art". He verifies the quality of products and works, and questions their spatial characteristics regardless of whether they are mechanized or hand-crafted. Jeanneret's concept of "decor" in the interior space is understood by the spatial relationship of the decorative elements called "kinship", which coexists the subject of "industry" by machine technology and the subject of "arts" with human hands.

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Changes in architecture reflect interactions among social groups, each of which seems to have a certain “meaning matrix” that is the implicit knowledge required for understanding the meaning of things. Disagreements over meaning matrices occasionally bring about laws regulating the style of architecture. In this paper, the author examines the relation between law and the architecture of Japanese “lovers' inns, ” which are inns with eye-catching facades and screened entrances, catering to couples for short-time or overnight stays, from the viewpoint of the interaction of two social groups; the owners of these inns and local residents.
1) The historical changes in lovers' inns architecture are as follows:
1950s: Inns displaying hot spring symbols were located in city centers.
1960s-early 1970s: Western-style architecture appeared, and “gorgeous” motels imitating Western castles or cruisers proliferated along suburban highways.
Late 1970s-1980s: The appearance of love-hotels (lovers' inns located on urban streets) has become “subdued.”
2) The owners and planners of lovers' inns have had a tendency to use striking decor in order to attract people's attention.
3) Local residents have a desire to conceal things concerning sex, which results in demands for a “subdued” appearance and the exclusion of lovers' inns from residential areas.
4) Reflecting the viewpoint of local residents, regulations covering the appearance, the inside structure, and the location of lovers' inns have been established.
5) The relation between law, architecture, and meaning matrices is shown in Fig. 4. Owners and planners build the inns. Local residents perceive the inns' appearance through their own meaning matrix. When the architecture is not acceptable to the local residents, laws are established, which are implicitly recognized by them. The owners understand the laws and change the style of architecture.

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