抄録
Although Minoru Ooka and Kiyoshi Asano first set up the restoration policy until the fire in 1949, their idea, regarding original design of architecture as the concept of preservation, was not fully realized due to the following problems caused by those buildings' peculiarities. To preserve artistic value of the wall paintings in the Main Hall brought many arguments, until the fire, for and against complete dismantlement method that was considered to provide a basis for their policy. Additional structural reinforcement, aimed to remove all the structural supports of Edo-period, arouse hostile objections from those who advocated technical (e.g. structural system) or material authenticity. Those buildings' well-known appearance to the Japanese public functioned as a constraint not to change the profile of buildings. Having these difficulties, this project can be reinterpreted as a symbolic case that overtly shows an aporia in architectural preservation.
