The acceptable face of the modernism in western modern architecture for Japanese avant-garde architects

日本前卫建筑师可接受的西方现代建筑中的现代主义面貌

基本信息

批准号：
08650749
负责人：
UMEMIYA Hiromitsu
金额：
$ 0.7万
依托单位：
Kobe University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C).
财政年份：
1996
资助国家：
日本
起止时间：
1996 至 1998
项目状态：
已结题

项目摘要

The modernization of a Japanese building is the process that received Western Modernism thought as a method of problem solution for a change of the established situation of an own country. The main point of the subject is two as follows;As for the first, how was the groundwork of reception formed in Japan before receiving Western Modernism thought? The second, after having received Western Modernism thought, what kind of friction occurred between the Japanese established situation?With this subject, I examined avant-garde movement of modern architecture in Japan between 1920 and 1930, as a case study, , and this study made clear next three points.1) acceptable face of expressionism : The expressionism gave big influence to a Japanese avant-garde architect. I surveyed their works and examined an initial work of Renshichiro Kawakita which was one person of an avant-garde architect. For a Japanese avant-garde architect, the expressionism was effective to deny the established situation and to elaborating an architectural plan as a utopia. 2) acceptable face of Bauhaus and De stil : It was the opportunity that elaborated a plan by an ideal figure of a building for a Japanese avant-garde architect. 3) Acceptable face of the Constructivism : The Constructivism bore fruit in application plan to an Ukraine theater international design competition in the Soviet Union, tubular steel chair made in 1930's Japan which was hanged down from Germany, practice in Japan of Bauhaus basic course curriculum.

日本建筑的现代化是接受西方现代主义思想作为解决本国既定状况的问题方法的过程。本课题的要点有二：第一，日本在接受西方现代主义思想之前，接受的基础是如何形成的？第二，在接受了西方现代主义思想之后，日本既定状况之间发生了怎样的摩擦？以此课题，我以1920年至1930年间日本现代建筑的前卫运动为个案进行考察，并进行了本研究。明确了以下三点。1）表现主义的可接受的面貌：表现主义对日本前卫建筑师产生了很大的影响。我调查了他们的作品，并研究了前卫建筑师之一的川北莲七郎的最初作品。对于日本前卫建筑师来说，表现主义有效地否定了既定的情况，并将建筑计划阐述为乌托邦。 2）包豪斯和风格的可接受的面貌：这是一个为日本前卫建筑师详细阐述建筑理想形象的计划的机会。 3）构成主义的可接受面貌：构成主义在苏联乌克兰剧院国际设计竞赛的申请方案、从德国垂下来的1930年代日本制造的管状钢椅、包豪斯基础课程在日本的实践中结出硕果。