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n of indistinct ‘international style’ or – much worse – ‘Disneyfication’ of Japanese cities littered with out-of-place, or downright quirky, architecture . Japanese architects were lost in translating Western aesthetic forms for a Japanese public. Attempts to be creative were easily blurred by sublimated ideas from pre-WWII period. Likewise attempts to be traditional remains most often restricted to the production of experimental skyscrapers with “cut-outs” and occasional pagoda roofs . Many Japanese architects of that period struggle to establish an identity for themselves in an increasingly homogeneous world Isozaki, :

 

Meanwhile, the same struggle is evident at the beginning of Tadao Ando’s career. Just like many young architects across Asia today, he struggled to reconcile aspects of modern construction with aspects of local and in Ando’s case, Japanese tradition.

 

Ando’s travels to the West in his twenties taught him extensively on the precedents of 'modern masters’ such as Le Corbusier, Mies van der Rohe and Louis Kahn Dal Co, . Yet, remarkably, Ando has never been described as a ‘neo-Corbusian’, a ‘neo-Miesian’, or a ‘neo-Kahnian’. The texture of his concrete evokes memory of fine Japanese craftwork. His compositions are as spare and clean as a Japanese tea-ceremony room. By these means, Ando’s architecture embraces a contemplative, ascetic realm of stillness and abstraction. His works embodies a rare mastery of materials and light that seeks to reconnect mankind with nature, with a monastic sense of plainness. Kenneth Frampton in his essay ‘Tadao’s Ando’s Critical Modernism’ Frampton, further celebrates Tadao Ando as a critical regionalist.

 

The primary aim of this study is to dissect meaningful architectural identity constructed with ‘abstractive regionalism’ as described by Ozkan and many other scholars. To facilitate this dissection, this study suggests that an analysis of Japanese architect Tadao Ando’s works reveals the thorough infusion of Japanese aesthetics into his works from the s to s to construct a meaningful Japanese architectural identity.

 

For the dissection to be effective and thorough, the main body of this study is divided into four interrelated chapters. The succeeding first chapter offers readers a broad overview of ‘architectural identity’, as well as notions of ‘regionalism’ and ‘critical regionalism’ to form a backdrop for the arguments in subsequent chapters.

 

The second chapter clarifies the dynamic and diverse character of s and s Japan in which Ando’s architectural thoughts were formulated and expressed through his works. It further dissects arguments presented by architectural critic Kenneth Frampton in his celebration of Ando as a ‘critical regionalist’. The chapter concludes by analysing Ando’s attempts to resolve the conflict between the need to retain traditionally-based cultures and the desire to enjoy the benefits offered by global culture.

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