Japanese and Chinese ancient buildings come from the same sect and even have similar basic structural forms. However, Japan’s modern architectural culture is slightly ahead. They have produced several generations of master architects who combined the traditional oriental culture with modernity. The organic combination of architecture creates modern architecture suitable for local development, breaking away from the shackles of completely Westernized architectural design. This is a relatively advanced place. Ancient Chinese architectural culture, especially wooden structures, are at the pinnacle of architectural modeling and technology, but modern architecture The development is unsatisfactory. One reason is that wood is not suitable as a material for modern construction. In other words, the construction method we are best at has been overturned and needs to be re-explored. I personally feel that I have not "understood it" and am still moving other people's things. This may also be related to China's local government management model, right? Mass-produced things are suitable for post-war reconstruction work. Is the war just over? Differences between Eastern and Western architectural concepts: Chinese people have always regarded subtlety as beauty. This is a virtue of the Chinese people, a kind of civilization, and something that belongs to human nature. Chinese art pays attention to a kind of artistic conception beauty, which is hazy and lyrical, and often expresses the artist's subjective consciousness itself. Objective things are only carriers of expression, such as poetry, words and language are all carriers, and the artist integrates personal feelings. Western art focuses on directly praising objective things. They are more concerned with the existence form of beauty and focus on expressing the object of knowledge rather than the subject of knowledge - human emotional factors. The impact of the differences between Chinese and Western art on Chinese and Western interior design 1. Characteristics of Western interior design Experts from British interior decoration magazines believe that since the 1990s, the biggest feature of bedroom design is to increase the sense of space. Space is the greatest asset of a home. Interior decoration and design is to maximize the space capacity. A home is not only designed for looks, but more importantly, it should be practical. In other words, it should look comfortable and be convenient to use. Therefore, people no longer play tricks, but try to make their homes more casual, spacious and comfortable, more rational and practical. At present, modern home decoration also advocates returning to nature, reflecting the original appearance of people and things, and showing the characteristics of people's living environment. This makes the design and craftsmanship close to nature and returns to nature. The reason why people now advocate nature is because in the city The pace of work and life in middle school is fast, and people are nervous. Living in a reinforced concrete forest all day long makes people feel even more oppressive. Coupled with environmental pollution, people long for tranquility, yearn for nature, and seek physical and mental relaxation. 2. Characteristics of my country’s interior design. The interior design of traditional Chinese architecture is usually characterized by symmetrical indoor spatial forms. In most palaces and halls, beams, brackets, etc. serve as interior design expressions with their dual functions of structure and decoration. an artistic image. In terms of decoration, the patterns on a large number of architectural interior ceilings, furniture, furnishings, etc. all implicitly express expectations and wishes such as joy and peace, glorious lintels, longevity and happiness, and prosperity of the home. In terms of spatial layout, in addition to fixed partitions, there are also movable screens, semi-open covers, shelves, etc. that are combined with furniture. These half-open and half-closed transparent partitions create a subtle and restrained atmosphere, which is the traditional Chinese style. Culture has a hidden spirit, which is reflected in both concealment and appearance. Examples of building layers Fundamentally speaking, the difference between Chinese and Western architectural art comes first from the difference in materials: traditional Western architecture has long been based on stone; while traditional Eastern architecture has always been based on wood. This difference in building materials provides different possibilities for their respective architectural arts. The difference in architectural form between China and the West is a manifestation of cultural differences. It reflects the difference in material and natural environment, the difference in social structure and form, the difference in people's thinking methods and the difference in aesthetic realm. 1. The difference in building materials reflects the differences in material culture and philosophical concepts between China and the West. From the perspective of building materials, before the emergence of modern architecture, all mature building systems in the world, including Indian architecture that belongs to oriental architecture, were basically built with masonry as the main building material. Belongs to masonry structural system. Such as the pyramids of Egypt, the temples of ancient Greece, the Colosseum and aqueducts of ancient Rome, and the churches of medieval Europe... all are built of stone, and all are historical witnesses left in this "stone history book" . Only classical architecture in my country, including neighboring Japan, North Korea and other regions, uses wood as the main structure of the house. It belongs to the wooden structure system, so it is known as the "history book of wood".
The choice of materials in Chinese and Western architecture is not only due to different natural factors, but more importantly, it is the result of different cultures and different concepts. It is a common reflection of different minds in architecture. The primitive economy in the West based on hunting has created a primitive mentality of heavy objects. From the Westerners' affirmation of stone, we can see that Westerners' rational spirit of seeking knowledge and truth emphasizes that man is the master of the world in the relationship between man and nature, and that man's strength and wisdom can defeat everything. China's economic model based on primitive agriculture has created a primitive civilization that emphasizes selection, collection, and storage. The traditional Chinese philosophy derived from this promotes the cosmology of "the unity of nature and man". "Unity of man and nature" is a revelation of the relationship between man and nature. Nature and man are closely connected as a whole, and man is a link in nature. The Chinese people choose wood as a basic building material because they value its close relationship with life. and relationships, paying attention to the results of its traits and life relationships. 2. The layout of the architectural space is different, reflecting the differences in institutional culture and personality characteristics between China and the West. From the perspective of the spatial layout of the building, Chinese architecture is a closed group spatial pattern, spread out on the ground plane. No matter what kind of buildings in China, from residences to palaces, they almost all have the same pattern, similar to the "siheyuan" model. The beauty of Chinese architecture is also a "collective" beauty. For example, the palaces of the Ming and Qing Dynasties in Beijing, the Ming Tombs, and the Confucius Temple in Qufu are large-scale building complexes with multiple courtyards. Various buildings are arranged in a regular manner with subjects and guests in front, back, left, and right, reflecting the social structure of ancient China. The introversion characteristics of the form, patriarchal thoughts and etiquette system. Contrary to China, Western architecture is an open, single spatial pattern that develops to high altitudes. Comparing the Forbidden City in Beijing and the Louvre in Paris, which were built and expanded in similar periods, the former is a magnificent and majestic building group composed of thousands of individual houses, forming a series of courtyards around the axis, with an unusually large plane; the latter It adopts the upward expansion and vertical superposition of "volume" to form a majestic and majestic whole from a huge and changeable shape. Moreover, since the city-states of ancient Greece and Rome, colonnades, doors and windows have been widely used to increase information exchange and transparency, and to surround the building with external space to highlight the physical image of the building. This is related to the fact that Westerners have often communicated with each other through maritime exchanges and implemented slave democracy within society. The extroverted character and scientific and democratic spirit of ancient Greece not only influenced ancient Rome, but also the entire Western world. At the same time, if Chinese buildings occupy the ground, then Western buildings occupy the space. For example, the Colosseum in Rome is 48 meters high, the "Pantheon" is 43.5 meters high, and the medieval Hagia Sophia has a central The dome of the hall is 60 meters above the ground. High The most splendid work of Renaissance architecture, St. Peter's Basilica, 137 meters. This majestic and majestic building not only reflects Westerners' enthusiasm for worshiping gods, but also makes use of advanced scientific and technological achievements to give people a spiritual power to work hard. 3. The different development of architecture reflects the difference in attitudes towards innovation between China and the West. From the perspective of architectural development process, Chinese architecture is conservative. According to literature, the architectural forms and materials used in China have remained unchanged for 3,000 years. Unlike China, Western architecture often changes, and its structures and materials evolve more rapidly. It has been more than 2,500 years since the first temples appeared on the Acropolis of Athens, Greece. During this period, the architectural forms throughout ancient Europe continued to evolve and change. From the classical column style of ancient Greece to the arch and dome roof technology of ancient Rome, from the pointed arch, cross arch and flying buttress technology of Gothic architecture to St. Peter's Basilica in Rome during the European Renaissance, no matter in terms of image, proportion, decoration and space layout have undergone great changes. This reflects the spirit of Westerners who dare to find new ways and be innovative. 4. The difference in architectural value reflects the differences in aesthetic concepts between China and the West. From the perspective of architectural value, Chinese architecture focuses on information, while Western architecture focuses on physical objects. The structure of ancient Chinese architecture does not rely on calculations, quantitative analysis, or formal logic. Instead, it relies on master-apprentice methods, teaching by word of mouth, practice, and experience. Our understanding of ancient architecture, especially those before the Tang Dynasty, mostly comes from literature. The imperial mausoleums and residences of the past dynasties were all operated according to the theory of Feng Shui and the principle of the mutual generation and restraint of the five elements. In order to seek harmony with the heaven, earth and all things in nature, to seek good fortune and avoid evil, and to attract wealth and blessings, we borrowed the power of mountains and rivers to build settlements close to mountains and facing plains.
This kind of "looking up at the astronomy and looking down at the geography" is a unique culture in China. The geometric aesthetics and mathematical logic pioneered by Pythagoras and Euclid in ancient Greece, the rationalist "Harmonious Beauty Theory" of "integrity" and "order" founded by Aristotle, and their influence on the entire Western civilization. Structure has a decisive influence, and the paths of all sciences and arts are determined by this idea. Looking at the history of Western architecture, it is not difficult to find that the structural awareness of Western architectural beauty is actually geometric shapes; the "control line" of the shape of the Partilon Temple in Athens is two squares; from the dome of the Pantheon in Rome to the ground, it is exactly It can be embedded into a sphere with a diameter of 43.3 meters; the "control line" of Milan Cathedral is an equilateral triangle, the facade of the Arc de Triomphe in Paris is a square, and its central arch and "control line" are two full circles. Even natural objects such as landscaping, flowers and trees, after artificial pruning and deliberate carving, present neat and orderly geometric patterns. With its detachment from nature and control over nature, its "artificial beauty" is the same as that of Chinese gardens. This natural sentiment of "although it is made by man, it seems to have come from heaven" forms a sharp contrast. As early as 2,000 years ago, Vitruvius, the architectural theorist of the Augustan period in ancient Rome, proposed the classic three-element view of architecture of "applicability, solidity, and beauty" in his famous "Ten Books on Architecture". Later generations regarded it as a guide and passed it down from generation to generation. At the beginning of the 17th century, architect Henry Wooden proposed that excellent buildings must meet three conditions; "sturdiness, practicality and joy." Westerners regard "sturdiness" and "practicality" as the first and second principles for evaluating excellent buildings. Therefore, when China's ancient buildings were destroyed or "disappeared" with the passage of time, the buildings of ancient Greece, ancient Rome, and ancient Egypt in the West were still intact, interpreting their own culture with physical objects. Through the comparison of Chinese and Western architecture, we can see the differences in conceptual culture, institutional culture, and material culture between China and the West. 1. Traditional Chinese architecture is mainly made of wood. Ancient Chinese architecture has adopted the wooden frame structure for a long time. Most of the ancient buildings that have been preserved today are also of wooden structure. Even though some brick pagodas and underground tombs are made of masonry, their appearance still imitates the form of wooden structures. It can be seen that wooden structures played an important role in ancient China. The dominance of architecture. The wooden frame structure uses wooden columns and wooden beams to form the frame of the house. The weight of the roof is transmitted to the columns through the beams, and then to the ground through the columns. The wall does not bear or bear the main weight in the structure of the house, but only serves as a partition. Therefore, there is a saying in Chinese that "the house does not collapse when the wall falls" and "tear down the east wall to make up for the west wall". From a large number of ancient buildings with wooden frames, we can see that their wooden frames have three basic methods, namely the beam-lifting type, the bucket type and the well-dry type. 1) Lifting beam structure is the main form of wooden frame in ancient Chinese architecture. The characteristic of this kind of structure is that on the horizontal paving layer on the column top or column net, several stacked beams are set up along the depth direction of the house. The beams are shortened layer by layer, and short columns or wooden blocks are padded between layers. Columns or triangular braces form a triangular roof truss. Between adjacent roof trusses, purlins are set up at both ends of the beams on each floor and small columns in the middle of the uppermost beams, and rafters are set up between the purlins to form the spatial skeleton of the double-slope roof house. The weight of the roof of the house is transmitted to the foundation through rafters, purlins, beams, and columns (when paved, it is transmitted to the columns through it). The beam-lifting structure already existed in the Spring and Autumn Period at the latest. The earliest image seen so far is the Eastern Han Dynasty courtyard portrait brick unearthed in Chengdu, Sichuan. It had matured in the Tang Dynasty, and two types, the hall type and the hall type, represented by the main hall of Foguang Temple in Wutai, Shanxi and the main hall of Tiantai Nunnery in Pingshun, Shanxi, appeared. The large-scale woodwork part of "Building French Style" mainly talks about lifting beams. It clearly states that there are two types of more important building structures: hall type and hall type, and uses pictures to illustrate the difference between the two. 2) Bucket structure, also known as vertical stick type. The characteristic of the bucket-type frame is that a row of columns is erected according to the number of purlins along the depth direction of the house. Each column is equipped with a purlin and rafters are placed on the purlins. The roof load is directly transmitted from the purlins to the columns without the use of beams. There is a pillar under each purlin that falls to the ground, which is its preliminary form. Depending on the size of the house, different structures such as 'three purlins, three columns and one penetration', 'five purlins, five columns and three penetrations'... 'eleven purlins, eleven columns and five penetrations' can be used. As the number of pillars increases, so does the number of layers. The advantage of this structure is that it can use smaller materials to build a larger house, and because the columns and penetrations form a network, the structure is solid and has good wind resistance. The disadvantage is that there are many columns and beams in the house, which cannot form a relatively open internal space. . The method of using columns to support purlins in a bucket-type frame may have a certain relationship with the early vertical frame and has a long history. The image of the Han Dynasty's bucket-frame houses can be seen in the portrait stones of the Han Dynasty.
3) Well dry structure is a house structure that does not use columns and beams. This kind of structure is made of round logs or rectangular and hexagonal timbers stacked up in parallel layers, and the ends of the timbers are interlocked at the corners to form the four walls of the house, which is shaped like the wooden fence on an ancient well. Short columns are erected on the left and right walls. Ridge-bearing purlins constitute a house. The well-dry structure has been used in tomb coffins of the Shang Dynasty in China, and is still used in Han tombs. The earliest images and documents of dry-well houses seen so far belong to the Han Dynasty. Among the bronzes unearthed from Shizhai Mountain in Jinning, Yunnan, there is a well-dry house with a double slope roof. There is a record in "Huainanzi" that "the plank road is extended, and the chickens live in dry wells". The well-dry structure requires a large amount of wood and is very limited in terms of absolute size and opening of doors and windows. Therefore, it is not as versatile as the beam-lifting frame and the bucket-type frame. At present, there are only a few houses built using this structure in the northeastern forest areas and southwest mountainous areas in China. The well-dry structure residential house in Nanhua, Yunnan is an example of a well-dry structure house. It has bungalows and two-story buildings, all rectangular in plan, two rooms wide, and covered with a cantilevered roof. The roof is constructed with a short central column at the top of the left and right side walls supporting the ridge purlin. The rafters are placed on the ridge purlin and the well logs on the top of the front and rear eaves. The depth of the house is only two rafters. 2. Stone is the main material in Western buildings. As representatives of ancient Western architecture, the ancient Greek and Roman empires mostly used stone as the main material for their buildings. The early Greek buildings, like those in China, were also made of wood and were prone to decay and fire. By AD By the end of the 7th century BC, except for a few buildings made of wood, they were all built of stone. The typical form of large stone temples is the corridor type. Therefore, the artistic treatment of pillars, beams and eaves basically determines the appearance of the temple. Various improvements in Greek architectural art also focused on the form, proportion and mutual combination of these components. In the 6th century BC, they were quite stable and had a complete set of practices. This set of practices was later called "column" by the Romans. There are usually the following column styles: Doric columns and Ionic columns in ancient Greece. The Doric, Ionic, Corinthian, Tuscan and Combination columns in ancient Rome. Traditional Chinese architecture pays special attention to the "beauty of lines" and pays attention to the gracefulness, flow and rhythm of lines. It is good at using lines to shape and convey emotions. Therefore, Chinese painting, whether it is painting tools or painting language, is all related to lines. The wooden beams and columns used in traditional Chinese architecture can exactly adapt to the artistic appeal of this "line". Therefore, whether it is the outer contour of a single building or the skyline of a group of buildings, traditional Chinese architecture has something in common with the heavy outline and delineation in Chinese painting. Even in music and art, such as traditional Chinese music and Peking Opera, it seems that a kind of linear flow can be felt. Western architecture pays attention to "volume beauty". Under the historical conditions of the highly developed natural sciences of ancient Greece and ancient Rome, people had a special understanding of numbers and geometric figures, and attached great importance to the logical geometric pity of the objects of expression. Beautiful architecture is composed of clear geometric shapes, geometric proportions, and definite quantitative relationships. Therefore, they often rely on the combination of numbers and geometric shapes to shape the formal beauty of the building, and irregular stones can exactly meet this demand. In painting, they pursue realistic art, aiming to create a sense of volume and space of objects. They have an innate desire to conquer everything. It seems that the more realistic the painting, the more they conquer this thing; in terms of music, they The traditional music of China emphasizes a rich sound, which embodies a "sense of volume". In addition, the difference in building materials can also show the difference in aesthetic sentiment between China and the West. The wood is light, mature and soft, giving people a warm, friendly and aesthetic feeling. Chinese people are more emotional and pursue a kind of artistic conception, seeking harmony and emphasizing emotion. The stone is cold and hard, giving people a cold and stiff feeling. , in line with Westerners’ rationality, objectivity and practicality. The beauty of harmony in the shape and layout of Chinese and Western architecture The artistic style of traditional Chinese architecture is based on the beauty of "harmony". Although the buildings in my country's pre-Qin period also had high pavilions and beautiful palaces, majestic, magnificent and masculine beauty, with the influence of Confucian "neutralization" thought, after the Han Dynasty, traditional Chinese architecture that showed confrontational strength Masculine beauty gradually moves towards "harmony" and implicit beauty. The closed internal space combination, the tortuous architectural sequence level, the gentle and soothing architectural rhythm and the solemn and natural architectural decoration design give people an aesthetic and psychological feeling of intimacy, warmth, ease and comfort. In traditional Chinese architecture, most buildings are grouped in a planar layout, with individuals subordinate to the whole and pursuing harmony.
As Mr. Li Zehou said: "Chinese architecture makes full use of the possibilities and characteristics of wooden structures. From the beginning, it was not aimed at a single independent building, but at a huge spatial scale, spread out in planes, and connected to each other. It is characterized by coordinated group architecture. It emphasizes the overall organic arrangement of multiple buildings. 2. The force of confrontation. The artistic style of Western classical architecture focuses on expressing the beauty of the confrontation between man and nature. The texture of stone, concrete and other building materials is stiff, cold, rational and lacks human touch. In terms of the physical structure of the building, Western classical architecture displays the eternity and sublimity of the building with exaggerated shapes and shocking scales to reflect the power of man. Those precise geometric proportions, those tense domes and pointed arches, those proudly standing temples and temple altars, all show a kind of opposition and conquest of nature, which arouses people's aesthetic emotions such as surprise, excitement, terror, and more. Even the garden architecture based on the natural beauty of mountains and rivers contradicts the Chinese-style "harmony of nature and man", and instead expresses the theme of opposition between nature and man, and man's victory over nature. In the eyes of Western gardeners, natural scenery is not an object of imitation, but an object of transformation. Therefore, the landscaping of Western classical gardens is mainly based on buildings that reflect the power of man-made power. Landscapes, flowers and trees are no more than foils for traditional buildings. Moreover, the landscapes, flowers and trees here are not kept in their natural growth state, but are pruned into various regular patterns. The layout of the garden is also divided into regular geometric shapes according to human will, showing the fighting spirit of ancient Westerners who dared to conquer nature. The spatial sequence of Western ancient buildings adopts the form of vertical development to high altitude and tall and upward. At the same time, Western classical architecture highlights the individual characteristics of the building. Spires and independent monuments can be seen everywhere. Every unit building spares no effort to express its own style and charm, and there is absolutely no similarity. This reflects the emphasis on subject consciousness and individual concepts in traditional Western culture. 1. In terms of the method of creating space, the West establishes indoor space, and walls play an important role. First, the space is established through the wall, and the roof is like a lid, just a covering. In the east, on the contrary, the roof is the most important element in establishing space. The space is defined by a roof supported by columns and then filled with walls. 2) The second difference lies in the state of the space itself. The emphasis in the Western world is on active space, the interior space that serves the purpose of the building itself. In the East, however, the main emphasis is on negative space, the external space around the building. 3) The third area is that the basic architectural principles and styles of the East have not been fully developed, while the styles of the West have continued to improve. In the East, an architectural style is simply repeated. However, the West is increasingly emphasizing the personality of a building as an independent individual. The result is continuous changes in architectural styles and characteristics. Why did Japanese architecture rise? In the tide of world architectural development, Japanese architecture is undoubtedly eye-catching. As a product of the combination of economy, culture, and technology, Japanese contemporary architecture has created epoch-making works in the history of architecture. Japanese contemporary literature, art, and music do not seem to have achieved such high achievements as Japanese contemporary architecture. The Chinese architectural community has always paid attention to the development trends of the Japanese architectural community and has achieved many research results. Academician Ma Guoxin's "Japanese Architecture Essay" (China Architecture Industry Press, 1999 edition) is an important work in this regard. "Japanese Architecture Essay" includes long and important papers such as "A Brief Analysis of Japanese Architectural Culture - Absorption and Creation" and "The Fourth Wave of Internationalization of Japanese Architecture", as well as articles on Tange Kenzo, Kurokawa Kisho and The special study of Japanese female architects also covers Japan's outdoor museums, Japan's Katsura Palace and its overhaul, Japan's Murayama Sui, Wright and Japan, etc. The content is very rich, showing the author's profound knowledge. The most attractive thing about this book is of course the author's wonderful discussion of the modern pace of Japanese architecture and the new developments in the new era. Ma Guoxin believes that Japan has a unique and strong traditional culture, an inherent unique architectural concept, and at the same time it tolerates and absorbs foreign cultures. In terms of creative methods, there are many theories and schools in Japan. For example, the older generation architect Murano Togo has always maintained a certain distance from modern architecture; Tange Kenzo has been committed to the modern architectural movement in Japan, making it gradually popular in Japan. Japanese architecture dominates; the visual language used by Arata Isozaki is to find the language he thinks is appropriate in the context of the world; Kisho Kurokawa wants to express the theme of modern Japan in Eastern ideas; Tadao Ando Shimizu The simplest texture of concrete embodies low technology - high manual technology.
These architects each have different stances and methods, and there are three main views: One is to work hard to study and refine Japanese characteristics, and then use modern techniques to realize them. The second is the pursuit of "invisible" universality, that is, how to express the Japanese spirit in an ambiguous form. The third is a new eclectic approach between Japan and the West, but sometimes it is completely Japanese style at first glance, but it is only superficial content. In actual creation, Japanese architects often sway and hesitate between these viewpoints, trying to find new combining points and a new way out. The "internationalization of Japanese architecture" discussed in this book is also an issue of interest to readers. From the second half of the 1980s to the early 1990s, Japan experienced an unprecedented "bubble economy" and a temporary construction boom. Foreign architects, especially European and American architects, poured into the Japanese construction market in large numbers, and with this came the “fourth wave” of internationalization of Japanese architecture (in the words of Japanese architectural historian Hiroyuki Suzuki). In this book, Ma Guoxin discusses the fourth wave of Japanese architectural internationalization and analyzes the profound external and internal reasons. From world-class masters to rising stars, from architectural design to interior design, from Europe to the United States, the most eye-catching masters include Graves, Eisenman, Tschumi, and Pei in the United States, and Foster and Rogers in the United Kingdom. , Stirling, Italy's Piano and Rossi, Switzerland's Botta, etc. have all left works in Japan, indicating that Japan has become the center and hotspot of countless architectural activities in the world. This wave, for example, Suzuki Hiroyuki believes that the pursuit is a kind of "contemporaneity", that is, it is not only the pursuit of an exotic atmosphere but the same level of content as other countries' "current", and it is the "equality" between Japanese architecture and foreign architecture. ". Ma Guoxin believes that from another perspective, it has not yet completely reached the point of "equal equality". The introduction itself is a kind of learning, which means paying a certain price. This wave will have a profound impact on the Japanese architectural community. There are complex contents between this foreign architectural culture and Japanese native architectural culture. They not only exist with each other for a certain period of time, but also have a fierce conflict, which will cause changes in the overall structure of the Japanese building system. "Stones from other mountains can be used to attack jade." The problems encountered by the Japanese architectural community in the process of absorption and creation are also worthy of consideration by the Chinese architectural community. With Western architectural culture taking the dominant position, the Japanese architectural community has made a strong response, and Japanese architectural culture has therefore become an important part of contemporary world architecture. Kenzo Tange, Arata Isozaki, Tadao Ando, ??etc. have also become internationally renowned architects. However, despite China's long-term struggle, it seems that it has not yet been able to play a major role in building international forums. Throughout the 20th century, probably the only Chinese architect who could leave his name in the history of world architecture was Dai Nianci. He was a master of classicism with conservative tendencies (“conservative” here refers to a cultural attitude, not a derogatory connotation). However, architects who strive to create modern Chinese architecture are not noticed by the international architectural community because they fail to solve global problems. Architects who pursue innovation sometimes end up with "brave sacrifice". Facing the current situation of Chinese architecture, the development of Japanese architecture should be worthy of our deep thought.