전후 일본 건축의 일본적 정체성
Problems of “Japaneseness” in Postwar Japanese architecture
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본 논문은 국제적인 동시대성을 획득하면서도 일본적 정체성을 구축하고자 한 일본 건축가들의 노력을 전후 건축사의 흐름 속에서 살펴보는 것을 목표로 한다. 일본성, 혹은 일본적 정체성은 고정되거나 선재(先在)하는 실체가 아니라 일본의 특정한 국내적 조건과 국제 건축계의 상황 속에서 구축되고 변화하는 역사적인 개념이다. 본 연구는 전후 재건기, 경제 성장기와 버블 호황기, 그리고 위기와 재난의 시기로 정리되는 전후 일본사의 흐름과, 50년대 국제주의 모더니즘에서 60년대 메가스트럭쳐, 70-80년대 포스트모더니즘, 90년대 이후의 전지구화 시대라는 건축계의 담론이 각기 교차하는 지점에서 일본 건축의 정체성이 어떻게 구축되고, 전개되며, 때로는 수정되고, 부정되는가를 살펴본다.
Abstract
This paper examines the trajectory of postwar Japanese architecture through the lens of Japanese cultural identity. The tension between international contemporaneity and local specificity played a crucial role in the formation of Japanese modern architecture. The recurrent theme of “Japaneseness” has been central to this tension. The notion of “Japaneseness” is historically constructed and socially changing. In this paper, I would like to historicize the construction and destruction of the concept of “Japaneseness” in postwar architecture from the era of postwar reconstruction to rapid economic growth, the economic bubble and its burst, and the era of globalization. In the wake of the Asia-Pacific War, Tange Kenzō tried to establish a legitimate style of postwar Japanese architecture, distinct from both eclectic wartime architecture and international modernism. Tange’s reconciliation of Japanese tradition with international modernism gave impetus to Metabolism, a movement born from the futuristic visions of architects and designers in the 1960s. If Tange focused on a formal affinity between traditional and modern design, the Metabolists attempted to translate the global interest in temporality and changeability in architecture into the language of Buddhist teaching about impermanency and change. However, the authority of Japanese cultural identity grounded in the tradition was called into question amid the rising tide of postmodernism in the 1970s and 1980s. Isozaki Arata, a postmodern architect, abandoned any propriety claim on Japanese sources and playfully made citations to various historical motifs from different cultures. This sort of challenge to Japan’s innate identity has continued in the era of globalization. Ito Toyo represents a new type of global-age star architect whose career is not restricted to geographic or cultural boundaries. Ito is less interested in ghettoizing his designs than in formulating a universal form and concept of architecture. His prizewinning project “Home for All (2012),” conceived as a response to the great east Japan earthquake, proposed, to both Japanese and foreign audiences, a new direction for the field of architecture in the era of global crisis.
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