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region work quietly to offer an alternative response to this phenomenon. Ozkan described their approach as ‘abstract regionalism’: abstracting elements from the past in order to derive building form. However, he argued that abstract regionalism as ‘a very difficult and fine aesthetic to follow’, while positing it as “the line of practice which separates a solemn, praiseworthy, regionalist achievement from a worthless pastiche or a pot-pourri of the past ... and the line is very thin and delicate”. Ozkan, :

 

One can observe that these architects’ abstractive approaches most often incorporate the abstract qualities of a building, for example, massing, solids and void, proportions, sense of space, use of light, structural principles in their reinterpreted form. They endeavour to focus on the existence cultural issues and define them in terms of design elements the prevalent culture of the region concerned.

 

Examples of the practice of ‘abstract regionalism’ as described by Ozkan can be found during a recent symposium entitled ‘Sustaining Identity’, organised by Victoria and Albert Museum London in November . In the event, a host of architects from Asia were invited to speak. The list included architects from China: Wang Shu, Li Xiaodong, and Kongjian Yu; and from India Bijoy Jain. Alongside with their counterparts, Europe’s Juhani Pallasmaa and Africa’s Francis Kéré, their works were lauded by the symposium organisers as ‘resistance to homogenisation by prioritising place, the senses and memory.’ V&A Museum,

 

Japan.Out of this vast continent however, one island nation stood out for having gone through this ‘resistance’ a couple of decades earlier than its neighbours.

 

The architectural scene in s and s Japan, in many ways is similar to the rest of the continent today. Japan’s economy underwent spectacular growth in the decades following WWII. Deregulation of bank interest rates threw the nation into overdrive. The nation was buying up vast quantities of expensive international real estates, taking control of shares in global corporations while hanging canonical works of Western art in private Tokyo boardrooms Daniell, :. Similar to today’s China and India, the world responded with a mixture of admiration and hostility, fear and fascination.

 

Like today’s Shanghai or Dubai, Tokyo and Osaka in the s were able to support an unprecedented quantity of innovative if indulgent architecture. Not only did the bubble period incubate Japan’s talented young architects, it offered the Western avant-garde commissions to build in Japan on the most generous terms imaginable. They even generated their own epithet: ‘bubbly’, most famously used by architect Arata Isozaki with regard to Rafael Vivoly’s spectacular Tokyo International Forum commissioned at the height of the bubble. Daniell, :

 

This bubble period is further characterised by quick imitatio本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。