In the 1960s when the universalism of the International Style was fading away in western countries, its masters were either searching for alternatives or striving to transplant their paradigms into other areas where industrialisation and modernisation were prime necessities. The cultural colonisation of the East, especially the Far Eastern region including Japan and South Korea, by America began in the 1950s, and was so intense that by end of the 1960s Americanisation was regarded as the ultimate prosperity.
The active cultural exchange between Japan and America in 1950s, 60s and 70s have often been observed as peaceful and mediatory give-and-takes between the two sides by critics in cultural studies including architectural historians.

Western influences on Japanese architecture were named sometimes as 'modernisation' (Noboru Kawazoe), 'creative inspiration' (Udo Kultermann), 'cultural osmosis' (Carlo L. Ragghianti), 'industrialization and technology' (William Coaldrake), or world architecture was even contrarily termed as 'Japonization' (Reyner Banham).
Probably it would not be appropriate, or even too dangerously radical, to term a cultural exchange between two countries as colonisation, unless one is politically ruled by the other, such as in the cases of India, the Philippines, Hong Kong and early Australia.

The westernisation of Japanese architecture in the 1960s, however, was seemingly a cultural colonisation in the sense that it was controlled by America purposely and unilaterally. Its outcome was documented in the writings of an Australian critic, Robin Boyd (Fig2. 1919-1971), who also was motivated by the American master Walter Gropius (Fig1. 1883-1969).
In 1954 Walter Gropius, the founder of the Bauhaus, visited Fiji, Australia, the Philippines and, finally, Japan, his last and main destination 'under the Rockefeller Foundation's program to further cultural exchange between East and West'. Philip Goad, Australian architectural critic, observes 'the interest by western architects in post-1945 Japanese architecture was a colonising act'(Goad, 113), and quotes Isaacs about the hidden intentions of Gropius' trip to Japan which sounds somewhat maladroit but convincing enough:

"There were two hidden intentions for the visit of Mr. Gropius. One was to propagandise American culture, and the second was to relegate Japanese culture to history. The first was to demonstrate that the American culture is so superior to the Japanese that Japan cannot catch up easily; and the second was by parading the traditional low level of culture to curb or restrict the rapid development of mechanical industrialisation and preserve the Japanese system of handicraft so American control through colonialism might last longer."
(Isaacs, 328)

During his 'culture exchanging' journey Gropius met two significant figures, Robin Boyd in Australia and Kenzo Tange in Japan; significant because through this young architectural critic and the Japanese architect, Gropius was 'to fulfil his lifelong dream in which he considered Japanese worthy of study as it continued to uphold the torch of modernism'(Goad, 111). With Gropius' intentional support and encouragement, these two young figures came to introduce Japanese architecture to the world, particularly the western part of it, by publishing some major texts on Japanese architecture in the 1960s- two by Tange and another two by Boyd. While Tange simply exhibited traditional Japanese architecture by releasing 'Katsura: Tradition and Creation in Japan' (1960. Yale University Press) and Ise: Prototype of Japanese Architecture' (1965. MIT Press), Boyd recorded current architectural development in Japan with the first ever monograph on an oriental architect written in English, 'Kenzo Tange' (1962, George Braziller), and an informative study on a series of Japanese architects, 'New Directions in Japanese Architecture' (1968, George Braziller).

Boyd's role representing Japanese architectural development, therefore, not only was appraised by his hero Gropius , but also seemed to give the Japanese architects certain confidence with western megastructural themes throughout 1960s and 70s.
Here, we were content that Gropius' intention to westernise Japanese cities through Tange was a success in the 1960s and 70s, and that Boyd's status as an architectural critic also was advanced, as for him 'Japan was the meal ticket to an international reputation with support from the founder of the Modern Movement, Walter Gropius'(Goad, p.118), only if we could ignore the current chaotic situation of Japanese cities.

*Quoted references:
1. Phillip Goad (Nov. 1996); 'Robin Boyd and the Post-war Japanization of Western Ideas' from Architectural Theory Review; vol. 1; no.2; Department of Architecture, University of Sydney; pp 110-120
2. Regionald Isaacs (1991); Gropius: An Illustrated Bibliography of the Creator of the Bauhaus; Boston; Little Town