The Founding of Bunriha Kenchiku Kai : "Art" and "Expression" in Early Japanese Architectural Circle, 1888-1920

AMANAI Daiki

doi:10.20631/bigaku.57.4_69

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Other Title

分離派建築会結成の理論的背景 : 初期日本建築界における「芸術」と「表現」
ブンリハケンチクカイケッセイノリロンテキハイケイショキニホンケンチクカイニオケルゲイジュツトヒョウゲン

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Description

The author examines architectural theories that lead to the founding of Bunriha Kenchiku Kai (Secessionist Architectural Group) in 1920, in line with four phases focusing on the understandings of "expression". First of all, the notion of architecture was divided into "art" and "science/utility" when it was introduced to Japan from the West. Secondly, the "art" was relegated to a lower importance through Sano Toshikata's nationalistic view of architecture. Sano's follower Noda Toshihiko subordinates architectural design only to the theory of structural mechanics. Their understandings of "expression" were unilinear. Thirdly, Goto Keiji, Noda's adversary in study, believed that principles of architectural design are to be rediscovered within architects' self: he became an predecessor of Bunriha. Moreover, a Bunriha architect Horiguchi Sutemi insisted on "life" and "faith" within one's instinct. But their discussions deemed architecture only as reflections of the "self/life". Finally, the integration of self and architecture took place when another Bunriha architect Morita Keiichi discovered "inner demand" in the "beauty of dynamics" of the building. However, his understanding of "expression" remained unargued by the surrounding architects due to the theoretical constraints. This has affected our view of Bunriha.

Journal

Aesthetics

Aesthetics 57 (4), 69-82, 2007

The Japanese Society for Aesthetics