TRANSITION OF ‘NIHON-SHUMI(JAPAN-TASTE)’ ARCHITECTURE IN THE 1930s

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  • KASHIMURA Fumi
    Research Assoc., Graduate School of Fine Arts (Architecture), Tokyo University of the Arts, M.Fine Arts
  • MITSUI Wataru
    Prof., Faculty of Fine Arts, Dept. of Architecture, Tokyo University of the Arts, Dr.Eng.

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Other Title
  • 設計競技応募案からみた1930年代における日本趣味建築の意匠的展開
  • 設計競技応募案からみた1930年代における日本趣味建築の意匠的展開 : 「日本万国博覧会建国記念館設計競技」を中心として
  • セッケイ キョウギ オウボアン カラ ミタ 1930ネンダイ ニ オケル ニホン シュミ ケンチク ノ イショウテキ テンカイ : 「 ニホン バンコク ハクランカイ ケンコク キネンカン セッケイ キョウギ 」 オ チュウシン ト シテ
  • TRANSITION OF ‘NIHON-SHUMI(JAPAN-TASTE)’ ARCHITECTURE IN THE 1930s
  • 「日本万国博覧会建国記念館設計競技」を中心として
  • Through analysis of “Kenkoku Kinen Kaikan” architectural competition held in 1937

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Abstract

 ‘Nihon-shumi’ architecture is recognized as a figurative architectural style of Japanese modern architecture representing Japanese identity through historicizing elements of Japanese temples, shrines or castles. This paper analyzes a transition of ‘Nihon-shumi’ design in the 1930s dealing with the 1937 Kenkoku Kinen Kaikan Competition for a main venue of 1940 World Exposition. In the competition, there were 2 major types of Nihon-shumi designs; one had narrow eaves on flat walls, which was a typicalexpression of Nihon shumi, and another had exaggerated Japanese traditional motifsout of wooden buildings like deep eaves, pillars of a cloister or Azekura wall.

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