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ed with great fervour. In particular, the American lifestyle depicted in Hollywood films seemed like a shining dream come true to Japanese of the time Allinson, :.

 

However, it must be noted that Japan’s receptiveness of foreign cultures, and in particular the cultures of empires, has historically been a long-standing practice. For more than a thousand years, Japan has lived with awareness of neighbouring China and Korea, and later in the empires of Portugal, the Netherlands, Germany, and England. In comparison to these neighbours and empires, Japan is small and isolated. The only way it could maintain its sovereignty was to make continual attempts to absorb foreign cultures, to study them, and while establishing friendly relations with the larger nations to preserve its own identity Kurokawa, :.

 

Subsequently, during the reign of Emperor Meiji at the end of nineteenth century, the Modern Movement, which began in Europe, quickly influenced Japan. The Secessionists and Bauhaus Movement were introduced to Japan, led by several architects with the likes of Kur Maekawa, Junzo Sakakura, Takamasa Yoshizaka, who worked as disciples to Le Corbusier and Arata Endo to Frank Lloyd Wright.

 

This receptiveness to Western culture continued after the war, increasing in strength through the care of architects Kenzo Tange and Arata Isozaki. Moreover, architects at that time often positioned themselves on the global stage by laying claim to the entire historical legacy of world architecture. If Isozaki can claim that “the Katsura Palace, the Parthenon, the Capitoline piazza ... live in a time and place equidistant from us,” Isozaki, : then it can be argued that Japanese architects have shifted from isolation to a closer connection with the world community to ever before.

 

However, it did not last long. Kurokawa : suggested that Isozaki and Tange's works may have belong to the last generation of architects receptive to the West. The St Mary’s Cathedral in Tokyo , completed by Tange in has been the subject of much controversy due to the immense scale the parabolic forms it imposes on a tight urban fabric. Nevertheless, it is described as one of the last outstanding modernist works in Japan right before the arrival of the ‘new wave architects’ Kurokawa, :

 

Tadao Ando the Self-taught Architect.Likewise, it was during the height of World War II Ando was born Minato-ku, Osaka. He spent his childhood in a post-war Osaka, raised by his grandmother.

 

It is worth noting that the higher education Ando received was fine arts and not architecture. According to Matsuba :, after graduating from high school, Ando enrolled in the Semi Mode Seminar, ‘Legendary School of Arts’, which was established by artist Fushi Nagasawa. He later taught himself the technique of interior designing and technical drafting while working as interior designer for many tea houses and cafés in 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。