The article delves into the formation of modernist interpretations of traditional Japanese architecture during wartime discourse, focusing on Kishida Hideto's critique of "Japanese taste" and "Japaneseness" in architecture. It examines the debate surrounding the design of the Japanese Pavilion at the Paris Universal Exposition in 1937. It highlights the transition from "Japanese taste" to "Japaneseness" and its implications for modern architectural design in Japan.