Arata Isozaki - born in 1931, completed his Ph.D. in architecture at the University of Tokyo in 1961. In 1963, he founded the new design studio of Isozaki, and became an architect who has been active in the international architectural world for decades. In 1967, he won the Japan Architecture Society Award. His works are mostly large public buildings, and the design style is especially innovative and airy. Works include: art galleries, art galleries, opera houses, observatories, office buildings and residential areas. In recent years, a large number of works have been designed, especially the Disney headquarters building in Florida, the Kyoto Concert Hall in Japan, the Modern Art Museum in Munich, Germany, the Centennial Hall of Nara, Japan, the Laguna Human Science Museum in Spain, and the 21st Century Science Memorial in Ohio, USA. The Italian Florence Fashion Memorial, the Japanese Gunma Observatory and the China Grand Theatre Program Competition are the most famous.
Reporter: There are many cities in China and many developers are building some buildings with different appearances. They are often referred to as “avant-garde buildingsâ€. What do you think of this trend?
Arata Isozaki: I look at the eyes of a foreigner from different times. I am now feeling a very obvious trend, and this feeling is becoming more and more clear, that is, from the 1980s, there is A neoliberal economic form, the influence of this form in China is very large. I think that simply summarizing "neoliberalism", we can understand that everything in our lives, including culture, including architecture, is consumed as a commodity. Although China is still socialist, it has been affected by neoliberalism. Especially in the past 20 years, the construction of socialism with Chinese characteristics must have been influenced by it, and the result of this influence is the relationship between real estate and architecture, and the new relationship under the new social form.
Reporter: What kind of new relationship?
Arata Isozaki: As a developer, how much can the house sell, how much it can be developed, and the sale of real estate as a commodity, but the changes here are in the past when the socialist system was very thorough, mainly by the state. These things are planned by the state. In the past 20 years, individuals have begun to have the right and ability to buy and sell houses as commodities. The sale of real estate is of course a good way for real estate developers to sell well. In fact, how to sell well, there are several ideas that everyone is very familiar with. The key is to sell a package, for example, cheap, packaging is very important. The selling point when selling as a whole is very important. This intermediate design has become a point in the package. We are now discussing how to better integrate the selling point of the property into the design as an architect, and make this package even more Gorgeous. There must be differences between the various packages, and there must be different highlights between the other packages. There can be no different highlights.
Reporter: So architectural design has also become a commodity that is consumed.
Isozaki New: Yes. This is also a phenomenon that China is more advantageous than any other country in the world. After 2000, I paid more attention to China and paid more attention to it. I found that after the 1950s, all kinds of architectural forms in the world only took five years in China, and they were not in the same time. consumption. That is to say, China's consumption of design is growing at an alarming rate, which means that what was designed yesterday seems to be old today. From the history of architecture, we can see that in the 19th century, the architectural form or architectural culture at that time basically took a century to be consumed. It was considered old, but it was upgraded to almost ten years after 20 years. But today, especially in China, it has been upgraded to a feeling of change every year, which causes the design to change every day and keep changing. The designer has been forced to an era of constant change. In this way, for developers, the difference in the connotation of housing from the perspective of housing is not great. It is enough to have such a dozen changes. This has turned into a pursuit of superficial changes, resulting in the The design that is being said becomes something that is inconspicuous. The architect is very poor, and the relationship between the architect and the developer becomes very contradictory. Moreover, this situation is simply a pursuit of a change, and it does not have a recommendation for a larger goodfeel for architecture and culture. After the produced things are consumed, they become garbage, and China’s current phenomenon has reached its limit. At the same time, the city has become a trash can that throws away garbage. The old urban planning system is planning the city, leading to a completely contradictory result. This city that has gradually become a trash can, how to be people-oriented and make life better, is not changed through the urban planning system, through the daily change of design, we need a new standard of measurement introduced. This new measure is not something that people living in China other than China can comment on, but people in this country need to dig.
Reporter: Do you think there is no real “avant-garde architecture†in this era of architectural consumerism?
Arata Isozaki: As a person of our age, I experienced the era of the cultural revolution in the 1960s, especially in the world in 68 years. At that time, China was the Cultural Revolution, and my architecture also experienced that era. After the Cultural Revolution of 1968, I thought that the so-called "avant-garde" modern architecture was over in that era. I have always had this understanding. The so-called "avant-garde architecture" is an intrinsic term that was proposed after the 1960s. “Avant-garde architecture†is the building that walks in front. The so-called avant-garde architecture in history is a relatively active building. At that time, there is a target point for this. Towards this goal, standing at the forefront of the goal, what is standing at this point is called "avant-garde." After 1968, the cultural revolution no longer existed. This is because "avant-garde" has such a goal here, and the 1968 revolution made this goal disappear. Utopia has disappeared, that is, the avant-garde has no target, and there is no basis for existence. After that, I think the reference point that appeared should be an architectural review. It was very active in the next 20 years. It was not just a comment on other people's works, but also a analysis of his own works. In the comments, "avant-garde" was reborn. The architects who were reviewed only survived, and the architects who could not be commented eventually disappeared. In the process, there have been many famous critics. However, since the 9/11 incident, even the reference points for comments have disappeared or are not very active. This period is called the “post-criticism periodâ€. The comments have not kept up with the development of society and the development of various cultural developments in the society. Today, artists and architects need to have a direct dialogue with the rapid changes of society in the absence of vitality.
Reporter: I heard that you have been appointed as the chief planner of the project for the 2016 Olympic Games in Fukuoka, Japan. Can you describe the Fukuoka Olympic Games that you planned with us?
Arata Isozaki: The ideas I have presented here are completely different from the ideas of all the Olympic Games that have been held before, and the Olympic Games in Beijing that have not yet been held. In the 20th century, the model of the Olympic Games was basically fixed, and it was based on the capital city of a large country. By 2008, the capitals of major East Asian countries, Tokyo, Seoul and Beijing, have hosted the Olympic Games. I think that the new round of the 21st century Olympic Games should not be confined to the capital city, but should emphasize the "local urban characteristics." As the Olympic Games, we should return to the spirit of the Olympics. It should be regional. Therefore, I proposed the concept of the East Asian Olympic Circle. It should be a city around the East China Sea, including Japan and South Korea. Why should I propose such a work? This is like a comment in the middle of the post-review period.
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