Why is the Western architectural culture more ancient than the Eastern?

Japan and China have the same ancient architecture, even the basic structural forms are similar, but Japan's modern architectural culture is a little ahead of the curve, they have several generations of architectural masters, the traditional culture of the Orient and modern architecture organic combination of modern architecture to create a modern building suitable for the local development of modern architecture, free from the constraints of completely Westernized architectural design, this is a more advanced, the ancient Chinese architectural culture, especially wood-frame construction is the most advanced, but modern architectural development is not as satisfactory. Wooden architecture was the best in terms of shape and technology, but the development of modern architecture is not as good as it should be, one reason is that wood is not a suitable material for modern architecture, which means that our best construction methods have been overthrown, and we need to find out how to build again, and also, I personally think that we haven't "integrated", but we still use other people's stuff, which may have something to do with the local Chinese government's management style. I think it's also a function of the Chinese system of government that mass-produced things are suitable for post-war reconstruction, and now that the war is over, what are the differences between Eastern and Western architectural concepts? Differences between Eastern and Western architectural concepts The Chinese have always been beautiful in their subtlety, which is a Chinese virtue and a civilization, something that belongs to human nature. Chinese art is concerned with the beauty of a mood, it is hazy lyrical, often more in the expression of the artist's subjective consciousness itself, the objective thing is only the carrier of expression, such as poetry, words and language are the carrier, and the artist into the personal feelings. Western art favors to praise the objective things directly, they are more concerned about the existence of the form of beauty, favoring the performance of the object of knowledge, but not in the performance of the main body of knowledge - the emotional factors of human beings. Differences between Chinese and Western art on the impact of Chinese and Western interior design 1, the characteristics of Western interior design British interior magazine experts believe that: since the 1990s, the biggest feature of the design of the living room is to increase the sense of space. Space is the greatest wealth of the room, interior decoration and design is to try to increase the capacity of space, the room is not just to see the design, more importantly, it should also be practical, in other words, it is to look comfortable and easy to use. Therefore, people no longer play tricks, but try to make the room become more casual, spacious and comfortable, more rational and practical. Now, the modern room decoration also advocate the return to basics, reflecting the original appearance of people and things, and show the characteristics of people living in the environment, which makes the design and craftsmanship approach close to nature, back to nature, now the reason why people advocate nature, because of the fast pace of work and life in the city, people's mental tension, while living in the steel and concrete forests all the day long, the sense of oppression. Coupled with environmental pollution, people long for peace and quiet, yearning for nature, seeking to relax physically and mentally. 2, the characteristics of China's interior design Chinese traditional architectural interior design, usually also manifested as a symmetrical indoor space form, in most palaces and halls, beams, arches, etc. are its structure and decorative dual role as an artistic image of interior design performance. Decoratively speaking, a large number of buildings indoor ceiling wells, furniture, furnishings, etc. above the pattern, all implicitly expresses the joy and peace, shining lintel, longevity and good fortune, family and prosperity and other expectations and wishes. From the spatial layout, the interior in addition to fixed partitions, there are mobile screens, half-open cover, Pokou racks, etc. and furniture combined, these half-open and half-closed permeable partitions resulting in a subtle and restrained atmosphere, the traditional Chinese culture has a hidden spirit, are reflected in this also hidden and present. Architectural layers as an example Fundamentally, the difference between Chinese and Western architectural art first comes from the difference in materials: traditional Western architecture has long been based on stone as the main body; while traditional Eastern architecture has always been based on wood as the framework. This difference in building materials provides different possibilities for their respective architectural arts. The difference in the form of Chinese and Western architecture is a manifestation of cultural difference, which reflects the difference in the material and natural environment, the difference in the form of social structure, the difference in the method of human thinking as well as the difference in the aesthetic realm. 1. The difference in building materials reflects the difference in material culture and philosophical concepts between China and the West. From the point of view of building materials, before modern architecture, all the world's mature architectural system, including the Indian architecture belonging to the Oriental architecture, basically, are to masonry as the main building materials to create, belonging to the masonry structure system. Such as the Egyptian pyramids, ancient Greek temples, ancient Rome's Colosseum, aqueduct, medieval European churches ...... are not built of stone, is not the "stone history book" left in the history of the witness. Only China's classical architecture, including neighboring Japan, Korea and other regions is to use wood to do the main frame of the house, belonging to the wood structure system, and therefore known as "the history of wood". The choice of materials for Chinese and Western architecture, in addition to different natural factors, more importantly, is the result of different cultures, different concepts, is a general reflection of the different nature of the heart in the building. The primitive economy of the West, which is mainly based on hunting, creates a primitive mentality that emphasizes on materials. From the affirmation of the Westerners on the stone, can be seen in the Western people seeking wisdom and truth of the rational spirit, in the relationship between man and nature emphasizes that man is the master of the world, human strength and wisdom can overcome all. China's primitive agriculture-based economy has created a primitive civilization that emphasizes selection, collection and storage. The traditional Chinese philosophy, derived from this, advocates the cosmology of "the unity of heaven and mankind". The "unity of man and nature" is the revelation of the relationship between man and nature, nature and man are closely connected to the whole, man is a link in nature, the Chinese will be selected as the basic building materials, it is the importance of its affinity with life, the importance of the relationship between its characteristics and life results. 2. 2. The layout of architectural space is different, reflecting the difference between Chinese and Western institutional culture and character traits. From the point of view of the spatial layout of buildings, Chinese buildings are the spatial pattern of closed groups, spread out on the ground plane. No matter what kind of architecture in China, from houses to palaces, almost all of them are a pattern, similar to the "courtyard" pattern. The beauty of Chinese architecture is also a "collective" beauty. For example; Beijing Ming and Qing palaces, the Ming Tombs, the Confucius Temple in Qufu, that is, to heavy courtyard sets and constitute a large-scale complex, a variety of buildings before and after the left and right have a master and a guest arranged in a regular manner, reflecting the ancient social structure of China's ancient inward-looking features of the structure of the form of patriarchal thought and rituals and religious systems. In contrast to China, Western architecture is open and monolithic, with a spatial pattern that evolves towards the sky. Comparing the Forbidden City in Beijing and the Louvre in Paris, which were built and expanded in the same era, the former is a magnificent and imposing architectural group consisting of thousands of individual houses, forming a series of courtyards around the axis, with an unusually large plan spread; the latter adopts the upward expansion of "volume" and vertical stacking, with huge and varied forms, forming a lofty and imposing structure. The latter uses "volume" upward expansion and vertical stacking, by the huge and rich in changes in the form, forming a towering, majestic and spectacular whole. Moreover, from the beginning of the ancient Greek and Roman city states, the extensive use of colonnades, doors and windows to increase information exchange and transparency, to the external space to surround the building, in order to highlight the physical image of the building. This has to do with the fact that Westerners often interacted with each other by sea and practiced slavery and democracy within their societies at a very early stage. The outward-looking character of ancient Greece and the spirit of science and democracy influenced not only ancient Rome, but also the whole Western world. At the same time, if Chinese architecture occupies the ground, Western architecture occupies the space, for example, the Colosseum in Rome is 48 meters high, the Pantheon is 43.5 meters high, and the medieval Hagia Sophia, with its central hall dome 60 meters above the ground, is the most splendid building of the High Renaissance. The most brilliant work of Renaissance architecture, St. Peter's Basilica, is 137 meters high. This solemn and majestic buildings certainly reflect the fervor of the Western worship of God, more is the use of advanced scientific and technological achievements to give people a kind of upward spiritual force. 3. 3. The different development of architecture shows the difference between Chinese and Western attitudes towards innovation. From the point of view of the architectural development process, Chinese architecture is conservative. According to the literature, the forms and materials used in Chinese architecture have remained unchanged for 3000 years. In contrast to China, Western architecture has often sought change, and its structures and materials have evolved more dramatically. It has been more than 2,500 years since the first temples appeared on the Acropolis in Greece, during which time the architectural forms of the whole of European antiquity have been constantly evolving and changing. From the ancient Greek classical columns to the ancient Roman arches, vaulted roof technology, from the Gothic architecture of the pointed coupon, cross arches and flying buttresses technology to the European Renaissance era of St. Peter's Basilica in Rome, no matter from the image, proportion, decorations and spatial layout, have undergone great changes. This reflects the westerners, dare to find a new way, the spirit of innovation. 4. The difference in architectural value, showing the difference between Chinese and Western aesthetic concepts. From the point of view of architectural value, Chinese architecture focuses on information, while Western architecture focuses on real objects. The structure of ancient Chinese architecture does not rely on calculation, does not rely on quantitative analysis, does not use the formal logic of the method of conceptualization, but by the master with the apprentice way, the word of hand, by practice, by experience. Our understanding of ancient architecture, especially before the Tang Dynasty, is mostly based on information from the literature. The mausoleums of the emperors and the houses of the people were all operated according to the feng shui and the principle of the five elements of life and death. In order to seek harmony with heaven and earth and all natural things, in order to avoid bad luck, attract wealth and good fortune, in borrowing the power of the landscape, the settlement building seat by the mountains, facing the plains. This kind of "looking up to observe astronomy and geography" is a unique culture in China. In ancient Greece, Pythagoras and Euclid pioneered geometric aesthetics and mathematical logic, and Aristotle laid the foundation for the rationalist "harmony and beauty" of "unity" and "order", which brought a decisive influence on the structure of the whole Western civilization. The structure of the entire Western civilization has brought a decisive impact on all the sciences and arts, and their paths have been determined by this concept of destiny. Turning to the history of Western architecture, it is not difficult to find that the Western architectural beauty of the shape of the consciousness is in fact geometric; Athens, the shape of the Parthenon "control line" for the two squares; from the dome of the Pantheon in Rome to the ground, can be embedded into a 43.3-meter diameter sphere; Milan Cathedral "control line" is a square; the "control line" is a square; the "control line" is a square. control line" of Milan Cathedral is a square triangle, the fa?ade of the Arc de Triomphe in Paris is a square, its central arch and the "control line" is two whole circles. Even like landscaping, flowers and trees and other natural objects, after artificial trimming, deliberately carved, also presented a neat and orderly geometric pattern, it is its transcendence of nature, harnessing the natural, "artificial beauty" and Chinese gardens that "although made by man, like from the sky "The natural mood, forming a sharp contrast. As early as 2000 years ago in ancient Rome during the period of Augustus, architectural theorist Vitruvius in his famous "Architecture Ten Books" put forward the "applicable, strong, beautiful" this classic view of the three elements of the building, is the posterity as a guideline for generations. 17th century architect Henry Wooden put forward the excellent buildings must have three conditions; "strong, strong, beautiful", "artificial beauty" and Chinese gardens that "although made from the sky" natural mood, forming a sharp contrast. The early 17th century architect Henry Wooden suggested that a good building must have three conditions; "solidity, utility, and pleasure." In the West, "solidity" and "utility" are the first and second principles for evaluating good buildings. Therefore, when China's ancient buildings were destroyed or "disappeared" with the passage of time, the buildings of ancient Greece, Rome, and Egypt in the West are still well preserved, and they interpret their own culture with real objects. Through the comparison of Chinese and Western architecture can be seen in the concept of Western culture, institutional culture, material culture on the different. 1. Chinese traditional architecture in the material of wood-based Chinese ancient architecture early adopted the wooden frame structure. Now the vast majority of the preserved ancient buildings are also wood structure, even though some brick construction of pagodas and underground crypts, although the use of masonry, but their appearance is still imitated in the form of wood structure, visible wood structure in the Chinese ancient architecture of the dominant position. Wooden frame structure, that is, the use of wooden pillars and wooden beams to form the skeleton of the house, the weight of the roof is transmitted through the beams to the pillars, and then through the pillars to the ground. Walls do not bear the main weight in the structure of the house, but only the role of partition. Therefore, the Chinese language has "wall down the house does not collapse," "demolition of the east wall to make up for the west wall," said. From a large number of wooden structure of ancient buildings, can see their wooden frame has three basic ways, namely, lifting the beam type, through the bucket type and well dry type. (1) Raised beam type structure The main form of wooden frame in ancient Chinese architecture. This structure is characterized by the top of the columns or columns on the horizontal paving layer, along the depth of the house in the direction of the frame several layers of stacked beams, beams shorten layer by layer, layer pads short columns or wood blocks, the top layer of beams in the middle of the columns or triangular braces, the formation of a triangular roof frame. Between neighboring roof frames, purlins are erected on the two ends of the beams in each layer and on the small columns in the middle of the beams in the uppermost layer, and rafters are erected between purlins, constituting the spatial skeleton of the house with double-slope roofs. The weight of the roof of the house is transmitted to the foundation (and to the columns when there are paving works) through rafters, purlins, beams and columns. The raised-beam structure was already in place by 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. In the Tang Dynasty, it matured and two types, the hall type and the hall type, represented by the Great Hall of Wutai Foguang Temple in Shanxi and the main hall of Tiantai Temple in Pingshun, Shanxi, appeared. The construction method style "of the large woodwork part of the main talk is to raise the beam type beam, clearly put forward the more important building frame has a hall type, hall type two types, and with a diagram to illustrate the difference between the two. (2) through the bucket type structure is also known as standing paste type. Through the bucket type structure is characterized by the depth of the house along the purlin number of rows of columns, each column on the frame of a purlin, purlin rafters, roof loads directly from the purlin to the columns, without the use of beams. One column under each purlin is its preliminary form. According to the size of the house, different frames can be used such as 'three purlins and three pillars through', 'five purlins and five pillars through'...... 'eleven purlins and eleven pillars through', etc. ' and other different structures. With the increase of columns, the number of layers worn also increases. The advantage of this structure is that it can use smaller materials to build a larger house, and because of the columns and wear to form a net, the structure is solid, good wind resistance, the disadvantage is that the house columns, square more, the shape is not a more open internal space. Through the bucket type frame to column purlins, may have a certain relationship with the early longitudinal frame, there is a long history. In the Han dynasty portrait stone can be seen in the image of the Han dynasty through the bucket type structure of the house. (3) well dry structure a kind of house structure without columns and beams. This structure to round wood or rectangular, hexagonal wood parallel to the upward layer stacked, at the corner of the wood end cross bite, forming the four walls of the house, shaped like an ancient well on the wooden fence, and then in the left and right sides of the wall on the short columns to bear the ridge purlin constitutes a house. China's Shang Dynasty tomb coffin has been applied to the well dry structure, the Han tomb is still applied. The earliest image and literature of the well dry type house are belong to the Han dynasty. In Yunnan Jinning Shizhai Mountain unearthed in the copper has a double slope roof of the well-dried house. In the Huainanzi, there is a record of 'Yanlou Stacks, Chicken Roosts in the Well Dry'. The well-dried structure requires a large amount of wood, and is very limited in absolute scale and the opening of doors and windows, so it is not as versatile as the lifting-beam structure and the piercing-double-double-double structure. At present, there are only a few houses built with this type of structure in the forested areas in the northeast and the mountainous areas in the southwest of China. Yunnan Nanhua well-dry structure houses are examples of well-dry structure houses. There are bungalows and two-story buildings, all of which are rectangular in plan, with a two-room face and overhanging roofs. Roofing practice is the top of the left and right sidewalls are neutral short columns bearing ridge purlin, rafters on the ridge purlin and front and rear gable walls on the top of the well dry wood, the house is only two rafters deep. 2. Western building stone-based As a representative of the Western ancient architecture of ancient Greece, the Roman Empire, most of its building decision to stone as the main material, the early Greek buildings, as in China, is also a wooden frame, easy to rot and fire, to the end of the 7th century BC, in addition to a few with wood, has been built entirely of stone. The typical type of large stone temples was the peristyle, so that the artistic treatment of columns, frontal squares and cornices basically determined the appearance of the temple. Various improvements in Greek architectural art were also centered on the form, proportions, and interlocking of these elements. In the 6th century BC, they have been quite stable, there is a set of practices, this set of practices later by the Romans called "columns", usually the following types of columns: the ancient Greek Doric columns, Ionic columns, Kerins columns, and portrait columns; see Figure Doric columns, Ionic columns, Corinthian columns in ancient Rome, Tasi Gan column type and combination of column type. Chinese traditional architecture pays special attention to the "linear beauty", pay attention to the lines of the gentle, flowing and rhythmic rhyme, good at line modeling, line to convey feelings. Therefore, Chinese painting, whether it is a painting tool or a painting language, has nothing to do with lines. Traditional Chinese architecture takes wooden beams and pillars to adapt to the artistic influence of this "line". Therefore, whether it is the outline line of a single building or the skyline of a group of buildings, traditional Chinese architecture has the same thing with the heavy hook and stroke of Chinese painting. Even in music art, such as Chinese traditional music Beijing opera, seems to feel a line of flow. Western architecture pay attention to the "volume of beauty", in ancient Greece, ancient Rome, under the historical conditions of the high development of natural science, people have a special understanding of the number and geometry, and attach great importance to the performance of the object is rich in the logic of geometric pity. The beauty of the building is a clear geometric form and geometric proportionality and determine the number of relationships constitute. Therefore, they often use the combination of numbers and geometric shapes to shape the formal beauty of architecture, and irregular stones can precisely meet this demand. In painting, they pursued the realistic art, in order to shape the object's sense of volume, sense of space for the purpose, they have an innate desire to conquer everything, as if the more realistic the painting, is to conquer the thing; in music, their traditional music emphasizes on the sound of the thick, reflecting a "sense of volume". In addition, the difference in building materials can also be seen in the different aesthetic moods of the East and the West. Wood is light and soft, giving people a warm, friendly, aesthetic mood feeling, Chinese people are more emotional, the pursuit of a mood, seeking harmony, heavy feelings of the psychological; stone cold and hard, giving people a cold, hard feeling, in line with the rationality of Westerners, objective and practical. Harmony between Chinese and Western architectural modeling and layout The artistic style of traditional Chinese architecture is based on the beauty of "harmony". Although China's pre-Qin period of architecture has also had a high platform, the beauty of the palace, majestic, magnificent and brilliant masculine beauty, but with the influence of Confucianism, "neutralization" ideas, after the Han, China's traditional architecture to show the strength of the confrontation of the masculine beauty gradually towards "harmony" and subtle beauty. The beauty of "harmony" and subtlety. Within the closed internal space combinations, Yu Yu commissioned the building sequence levels, the building rhythm and rhythm of the gentle, soothing and heavy, natural architectural decoration design, to give a person friendly, warm, leisurely, comfortable aesthetic psychological feelings. Most of the traditional Chinese architecture is a group layout that unfolds to the plane, where the individual is subordinate to the whole and harmony is pursued. As Mr. Li Zehou said: "Chinese architecture makes maximum use of the possibilities and characteristics of wooden structures, and from the very beginning, it does not aim at a single independent individual building, but is characterized by a group building with a huge spatial scale, spreading out in plan, connecting and cooperating with each other. It emphasizes the organic arrangement of the plan as a whole between multiple buildings. " 2. The power of confrontation The artistic style of Western classical architecture focuses on the beauty of the confrontation between man and nature. The texture of stone, concrete and other building materials is hard and cold, with a strong rational color and a lack of human feelings. In terms of the shape and structure of the building, the Western classical architecture to exaggerate the shape and shocking scale to show the eternity of the building and the sublime, in order to reflect the greatness of human power. Those sophisticated geometric proportions, those full of tension vaults and arches, those proudly standing temple, temple altar, everywhere shows a kind of confrontation and conquest of nature, thus triggering people surprised, excited, horror, and other aesthetic emotions. Even the natural beauty of the landscape as the theme of the garden architecture, but also a reversal of the Chinese "unity of man and nature", and the performance of man against nature, man will win the day as the theme. In the eyes of the Western gardeners, the natural scenery is not an object of imitation, but the object of transformation, and thus the landscape of the Western classical gardens to reflect the artificial greatness of the building is the main, landscape, flowers and trees, but the accompaniment of the type of building. And here the landscape flowers and trees are not to maintain the natural growth of the state, and was pruned into a variety of regular patterns. The layout of the garden, but also according to the will of the people divided into regular geometric shape, showing the ancient westerners are brave to conquer the spirit of resistance to nature. The spatial sequence of the Western ancient architecture adopts the form of vertical development to the height, standing upward. At the same time, the Western classical architecture highlights the individual characteristics of the building flaunted, the spire of the building, the lonely and independent memorial columns can be seen everywhere. Each unit of the building, have spared no effort to express their own style charm, never the same. This reflects the traditional Western culture attaches importance to the subject consciousness, emphasizing the individual concept. 1 method of creating space, the western establishment of interior space, the wall plays an important role. First of all, the first through the wall to establish the space, the top plus the roof is like a lid, just a cover only. In the East, on the contrary, the roof is the most important factor in establishing space. The space is established through the roof, which is supported by pillars, and then the walls are filled in. 2) The second difference lies in the state of the space itself. The Western world emphasizes positive space, i.e., the internal space that serves the purpose of the building itself. In the East, however, the main emphasis is on the negative space, i.e., the external space around the building. (3) The third difference is that the basic architectural principles and styles of the East have not been fully developed, whereas the Western styles have progressed. In the East, an architectural style is simply repeated. In the West, on the other hand, the individuality of the building as a separate entity was increasingly emphasized, and the result was a continuous change in architectural style and character. Why is Japanese architecture on the rise? Japanese architecture is undoubtedly remarkable in the tide of architectural development in the world. As a product of the combination of economy, culture, and technology, contemporary Japanese architecture has created epoch-making works in the history of architecture. Japan's contemporary literature, art and music do not seem to have such high achievements as Japanese contemporary architecture. Chinese architectural circles have been paying attention to the development trend of Japanese architecture, and have achieved a lot of research results. Academician Ma Guoxin's Essays on Japanese Architecture (China Construction Industry Press, 1999) is an important work in this regard. Japanese Architecture Essay" includes "Analysis of Japanese Architectural Culture - Absorption and Creation" and "The Fourth Wave of Internationalization of Japanese Architecture" which are very important long essays, and there are also special studies on Kenzo Tange, Kisho Kurokawa and Japanese women architects, and also involves Japanese field museums, Japanese Katsura Rikyu and its overhaul, Japanese village Yamamizu, Wright, and Japanese architecture, and it is also a very important work. village landscapes, Wright and Japan, and other issues, is very informative and demonstrates the author's vast knowledge. The most fascinating aspect of this book is of course the author's fascinating discussion of the recent pace of Japanese architecture in the modern era and the new developments in the new era. According to Ma Guoxin: Japan has a distinctive and strong traditional culture with an inherent unique architectural outlook, while at the same time there exists a tolerance and absorption of foreign cultures. In terms of creation method, there are many theories and schools in Japan, such as the old architect Murano Togo has always maintained a certain distance from modern architecture; Kenzo Tange has been committed to Japan's modern architectural movement, which has gradually dominated the Japanese architectural world; Isozaki Shin uses a visual language, which is to find out what he thinks is appropriate in the world's literature; Kisho Kurokawa wants to express the theme of modern Japan in the idea of the East; and Ando Kikyo wants to express the theme of modern Japan in the thought of the East; and Ando Kikyo wants to express the theme of modern Japan in the thought of the East. expression of modern Japanese themes; and Tadao Ando's cleanest texture of Shimizu concrete embodied low skill - high manual technique. Each of these architects has a different position and method, with three main points of view: one is to try to study and refine the characteristics of Japan, and then use modern methods to realize them. The second was to pursue the universality of "formlessness", that is, how to express the spirit of Japan in an ambiguous form. Thirdly, it is a new and foreign eclectic approach, but sometimes at first glance, it is completely Japanese style, and it is only the surface content. In practice, Japanese architects often wavered and floundered between these points of view, trying to find a new point of convergence and a new way out. The "internationalization of Japanese architecture" discussed in this book is also an issue of interest to the readers. from the second half of the 1980s to the beginning of the 1990s, Japan experienced an unprecedented "bubble economy", which led to a momentary architectural boom. Foreign architects, especially those from Europe and the United States, flooded into the Japanese architectural market, leading to the "fourth wave" of internationalization of Japanese architecture (in the words of Japanese architectural historian Hiroyuki Suzuki). In this book, Ma discusses the fourth wave of internationalization of Japanese architecture and analyzes the profound external and internal reasons for it. From world-class masters to rising stars, from architectural design to interior design, from Europe to the U.S., the most notable masters such as Graves, Eisenman, Quemi, and I.M. Pei from the U.S., Foster, Rogers, and Stirling from the U.K., Piano and Rossi from Italy, and Porta from Switzerland have all left their works in Japan, demonstrating that the country has become the center and hotspot of countless architectural activities in the world. This wave, as Hiroyuki Suzuki believed, pursued a kind of "contemporaneity", i.e., it was not only the pursuit of an exotic flavor, but also the content of the same level as that of other countries "at present", and it was the "equalization" of Japanese and foreign architecture. It is the "equalization" of Japanese and foreign architecture. Ma Guoxin, on the other hand, believes that from another perspective, it has not yet reached the point of "parity", and that the introduction itself is a kind of learning, which means that a certain price has to be paid. This wave will have a profound impact on the Japanese architectural world. This foreign architectural culture and the Japanese local architectural culture contains a complex content. They have both the aspect of each other's ****existence for a certain period of time and the aspect of generating a fierce conflict, which will cause changes in the overall structure of the Japanese architectural system. "The stone of other mountains can 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. In the case of the dominance of Western architectural culture, the Japanese architectural community has made a strong response, and Japanese architectural culture has thus become an important part of contemporary world architecture. Kenzo Tange, Shin Isozaki, Tadao Ando and others have become internationally recognized architects. China, on the other hand, seems to have failed to play a major role in the international architectural arena despite its long struggle. Throughout the 20th century, I am afraid that the only Chinese architect who has left his name in the history of world architecture is Dai Nianci, a classical master with conservative tendencies (the word "conservative" here refers to a cultural attitude and is not pejorative). The architects who tried to create modern Chinese architecture were not noticed by the international architectural community because they failed to solve the world's problems. The architects who pursued innovation sometimes ended up with "brave sacrifices". In the face of the current situation of Chinese architecture, the development of Japanese architecture should be worthy of our deep thoughts.