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一种解决问题的方法来改变自己国家的既定状况的过程。本课题的主要观点有两点：首先，在接受西方现代主义思想之前，日本的接受基础是如何形成的？第二，在接受了西方现代主义思想之后，日本的既有情况发生了怎样的摩擦？通过这个主题，我考察了1920年至1930年间日本现代建筑的前卫运动，作为一个案例研究，这个研究明确了接下来的三点。表现主义的可接受面貌：表现主义对一位日本前卫建筑师产生了很大的影响。我考察了他们的作品，并考察了先锋派建筑师川喜田仁一郎的最初作品。对于一位日本前卫建筑师来说，表现主义有效地否定了既定的情况，并将建筑计划作为乌托邦来阐述。包豪斯和德·斯蒂尔的可接受的面貌：这是一个机会，由一个理想的人物为一个日本前卫建筑师详细阐述了一个建筑的计划。3)建构主义的可接受面貌：建构主义在苏联乌克兰剧院国际设计竞赛的应用方案、1930年代从德国悬挂下来的日本钢管椅、包豪斯基础课程在日本的实践等方面取得了成果。

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.