This paper clarifies the relation between discourses on architectural works and the theory of tradition in the activities of Seiichi Shirai (1905－1983), focusing on his descriptions of his architectural works. In the present situation of criticism on Shirai, an investigation of his true intentions and to present the viewpoint that an interrelationship can be created between his images, which are generally considered to be isolated, is required. Additionally, the author has performed comprehensive researches on Shirai's theory of tradition, hence, this paper is based on these conclusions.<br> Concerning Shirai's descriptions, his statements like the theory of the people, seen in the debate on tradition in 1950s, continued after 1970s but with changing the target to people involved in the construction of his works. It can be said that this is an expression of his thinking background rather than an important aim in his designs.<br> Systematically comparing Shirai's descriptions of architectural works with his writings on the theory of tradition, the plan of “Temple Atomic Catastrophes” (1955) was the most representative project directly related to the statements in 1956 as the establishment term of the theory. These statements appeared in the essay “The Jomon style” which argued the importance of grabbing the inner potential of an object without being misled by its external form, and also in “Rice meal” which explained the concept of “Yo (utility)”.<br> After this, Shirai spend years with no descriptions when announcing a new work. It is remarkable that this term and the development term of Shirai's traditional theory (1957－1971) mostly overlapped. One of the reasons for this is that Shirai's intention to create something that exceeded consciousness was inconsistent with the act of explanation.<br> In addition, Shirai's descriptions for his stone works, “Kai-syo-kan (Computation center for Shinwa Bank's head office)” (1975) and “Seki-sui-kan (Serizawa museum of fine arts)” (1981), built after the development term, displayed the awareness that it was possible to share classics of the world as the objects inhering in himself under the creative consciousness of freeing time and space. This meant the concept of “Eurasian style” itself as the theory after the development, and this was also seen in the project “House of Kureha” (1965), which is the representative work of Japanese style.<br> Although Shirai's idea of combining heterogeneous elements in one space was noticed from the end of 1960s, based on his statements, his awareness of the internalization of world classics should be emphasized.<br> Thus, the contents and the development of Shirai's descriptions of architectural works are closely connected with the development process of his theory of tradition. Based on this conclusion, it can be highlighted that the study of the development of Shirai's traditional theory is an effective measure for connecting Shirai's isolated images today.