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2014, vol. 6, iss. 1, pp. 29-42
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"International" style architecture in the 1930s Japan: The vernacular and monumentality
"Internacionalni" stil arhitekture u Japanu tridesetih godina - vernakularnost i monumentalnost
Shizuoka University of Art and Culture, Faculty of Design, Japan
Abstract
After mastering Western architecture in the 1910s, Japanese top architects have been confronted with two problems: creating their own style based on Japanese traditions and climatic or seismological conditions and educating common people on taste for architecture beyond superficial imitation of the Western one. First of all, an elite and initially expressionist architect Horiguchi Sutemi discussed non-urban-ness that connects Japanese tearooms and Dutch rural houses. This was through his modernist interpretation of function, his experience in the Netherlands and his reaction against the administrative viewpoints on city and architecture in the 1920s. Secondly, despite his former distant stance on monumentality, his request of the world-wide supreme expression to some projected monuments revitalized his own inclination. Seemingly his attitudes toward monumentality changed and the property of the monuments that honored the war victims or enhanced national prestige opposed the "international" feature of modern architecture. Although these points may hide his consistency, we can find his continuous dualism: one is the functionality that prevailed over architectural discourses at that time including Horiguchi himself and another is his expression that provided a local vernacular practice with the position in the world. These arguments enable us to cast a potential understanding among modern architects in those days in a new light.
Sažetak
Nakon ovladavanja Zapadnom arhitekturom hiljadu devetso desetih, japanske vrhunske arhitekte su bile suočene sa dva problema: kreiranjem sopstvenog stila koji se bazira na japanskim tradicijama i klimatskim ili seizmološkim uslovima i obrazovanjem običnih ljudi da stvore ukus za arhitekturu izvan površne imitacije onog sa Zapada. Pre svega, jedan od elite i prvobitni ekspresionista arhitekta Horiguči Sutemi je diskutovao o ne-urbannosti koja povezuje japanske čajane i holandske seoske kuće. To je izrazio putem svog modernističkog tumačenja funkcije, svog iskustva u Holandiji i reakcijom protiv administrativnih stavova o gradu i arhitekturi iz dvadesetih godina. Drugo, uprksos svom ranijem udaljenom stanovištu o monumentalnosti, njegov zahtev za vrhunskim izražavnaje nekih projektovanih spomenika širom sveta je revitaliziralo njegovu sopstvenu sklonost. Naizgled njegovi stavovi prema monumentalnosti su se promenili i osobina spomenika koji su odavali počast žrtvama rata ili podizala nacionalni ugled bila je suprotstavljena "internacionalnoj" odlici moderne arhitekture. Iako ove poente mogu da prikriju njegovu doslednost, možemo da pronađemo njegov kontinuirani dualizam: jedno je funkcionalnost koja je prevladala nad arhitektonskim diskursom tog doba i Horiguči je isto tako smatrao a drugo je njegov izraz koji je lokalnoj vernikularnoj praksi obezbedio poziciju u svetu. Ovi argumenti nam omogućavaju da među moderne arhitekte iz tog doba ubacimo potencijalno razumevanje ali u novom svetlu.
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