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

日本建筑的现代化是接受西方现代主义思想作为改变本国现状的解决问题的方法的过程。本课题的重点有二：第一，在接受西方现代主义思潮之前，日本的接受基础是如何形成的？第二，在接受西方现代主义思潮后，日本的既有局面发生了怎样的摩擦？本文以1920 - 1930年间日本现代建筑的先锋运动为个案进行研究，明确了以下三点：1）表现主义的可接受面貌：表现主义对日本先锋建筑师的影响很大。我调查了他们的作品，并检查了川北仁七郎的早期作品，这是一个前卫建筑师的人。对于一个日本前卫建筑师来说，表现主义是否定既定局面和阐述建筑计划作为乌托邦的有效方法。2)包豪斯和德斯蒂尔的可接受的面孔：这是一个机会，阐述了一个建筑的理想人物为日本前卫建筑师的计划。3)建构主义的接受面：建构主义在苏联乌克兰戏剧国际设计竞赛的应用方案、20世纪30年代日本从德国吊下来的钢管椅、包豪斯基础课程在日本的实践中取得了成果。

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.