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rationalisation, it confirms them by suggesting that all that remains of an original, uniform body of regional architecture are ruins, fragments, bits, and pieces that have been extracted out from their original context. Thus, one could assert that any attempt to retrieve the original contents in all their original wholeness would result only in a sort of kitsch.

 

Equally, architectural historian Anthony King has warned, “these global theories ... enable those who produce or adopt them to view the world of others from one particular place, from one point of authority, from one particular social and cultural position. They produce a totalising vision or overview which is likely to be at odds with the meanings which the inhabitants ... place on the buildings themselves. In looking for ways in which to think about buildings ‘internationally’ we need to be sure that we’re not creating a new intellectual imperialism.” King, :

 

One can consequently conclude, that despite the best intentions of its leading theorists, ‘critical regionalism’ too often came to function as a fashionable formula, as a catchphrase to describe a range of difficult and diverse architectures arising from markedly different circumstances in different context. This is more so in the continent of Asia which, compared to Europe and America, generally lacks solid post-war architectural discourses. Thus, a label as sophisticated as ‘critical regionalism’ may run risk of devolving into superficial and misleading mechanism.

 

Japan and Tadao Ando.“Anytime I have looked at many examples of foreign, particularly Western, architecture, the sight of traditional Japanese architecture is, for some reason, deeply moving to me. I am made aware once more that there are many wonderful buildings in Japan. Traditional Japanese architecture offers many suggestions with respect to the question of man's relationship to nature - a relationship that is very troubled today.”

 

Building on arguments from the preceding chapter, this chapter will demonstrate that Tadao Ando’s works are situated within this backdrop of this newly defined focus on regionalism. It commences with an examination of the reasons Ando is seen by some as a reaction to the authority of modernism and the imitating scenography of postmodernism in Japan of s. It then looks back into Ando’s autodidact background, the beginning of his career and how his works and thoughts set him apart from his contemporaries.

 

Ando’s career began in the s, when Japan was a rising economic power. Thirty years since the end of World War II, the recovery this defeated nation undertook that led to its successes has been long and arduous. As the United States instilled democracy onto Japan after the war, a social revolution was set in motion, which Allinson : argues was ‘even more dramatic than the French or Russian Revolution’. The Japanese wartime slogan of 'Beastly Americans and British' was abandoned overnight as western culture was receiv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。