Different architectural characteristics of different Asian countries.

After the 1980s, under the influence of post-present architecture, Asian architecture appeared with only the tendency to fight against pluralism, pluralism with the cleavage of Asian architectural history to deal with cultural convergence of a strategy. The so-called pluralistic understanding, from the elegant, elite culture, decomposed into elegant and vulgar coexistence, that is, elite culture and popular culture each other **** existence of culture. From the present purely technical culture into the obvious technology plus the media this combination of culture, from the three-dimensional space-time, three-dimensional culture, to the fragmented, flat culture.

That is to say, from the elite culture to the popular culture, that is, since the 1970s, there has been a tendency to architectural vulgarization, without national prejudice, without personal aesthetic influence of a culture. At the same time to break the function of the form of simple correspondence, we know a lot of buildings, the requirement is the function and form of one-to-one correspondence, that is to say, I designed the office building, your internal function should be appropriate in the external response, that is, to respond to the architectural function is not the only function of architectural aesthetics to shape the building, we can reflect our climate and environment, but also reflect our regional culture, which makes our building appeared More styles, appeared more pursuit.

This picture is of an architectural museum in Meishan, which actually uses a combination of elite culture and folk culture, using high-tech materials, but on the other hand, it's full of folk atmosphere, with a vernacular atmosphere, as Mr. Lou said just now, so a kind of architectural image.

Another multiple cleavage is the shift from a purely technical culture to a technology-plus-media culture. As we know, the most typical design technique of modernism is the use of industrialized means of production, standardized components and functions, represented by the technical aesthetics of the culture represented by what we call the machine's or the technology's. The modernist design technique is the use of industrialized means of production, standardized components and functions. Now, in the 20th century, this purely technological culture has been broken down by applying and representing technology as a means of media. That is to say, architects are expressing nature, light and shadow in terms of structure and equipment, the dynamics of the flow of the building, and so on, to create an unprecedented effect with information, advertising, and media.

This is an art museum in Sendai, Japan, where the columns are like water plants, transforming the coldness of technology into an aesthetic work that is full of human feelings and cultural flavor, and that is characterized by the culture of the region.

From the three-dimensional three-dimensional culture, to the cleavage of the plane culture, in fact, it is in many ways very rational, very rigorous, not only the external image to respond to the internal, and all the details, each elevation, between the whole and the local, between the elevation and the plane function, are a perfect, unified whole, then post-modernism this kind of pluralistic cleavage into a plane shaping, can be cleaved, can not be the same internally. It can be split, it can be different internally, it can be practiced the so-called double skin, such a shaping technique.

Then the disintegration of pluralistic values, that is to say, the architectural culture of the split has become a kind of fashion, but with the further deepening of the study of our Asian architects, they realize that, for modernism, the international style of cultural cleavage is not the ultimate goal, and ultimately it is to reconstruct its own organic system.

Another aspect that should be noted is that if the main obstacle to the development of contemporary architecture, in the early days of the international type of unity, the world's common culture, then to the 80's, the kind of multiculturalism, the emergence of the fractured culture, in fact, has also produced an impact on the architectural culture and destruction. For example, now whether it is Beijing, Tianjin, Shenzhen, Shanghai, we see are very good, but when you combine in a piece of time, in fact, each organization is the diversity of the new face, so that you simply do not have any characteristics. Therefore, we should reconstruct the architectural culture, which in addition is also a pandering culture under the influence of commerce, as well as a culture without center or regional characteristics, a variety of cultures, and a so-called counter-culture that disregards the rational rules of culture.

On the other hand, with the deepening of the concept of sustainable development, human awareness of resource conservation is growing, architecture combined with resources, this concept in the creation of architecture is increasingly returning, so in many Asian architectural creation, respect for nature, the use of nature, cleverly close to nature, this phenomenon is slowly getting back. Since the 1980s, some architects have gradually shifted to regional culture, people found that, compared to other factors, such as sunlight, temperature and other climatic conditions, as well as topography, geology, geomorphology and other geographic factors, these are stable, especially we emphasize the sustainable development, emphasized the energy saving, so this respect for the environment, for the climate, the importance of the building in the re-emphasis is even more important. The importance of this respect for the environment and climate in architecture is even more important.

This picture shows a Japanese villa, where the materials are still very advanced, but the Chinese folklore of the peach blossom garden is applied as the architectural concept. This is a building in Central Asia, where traditional culture is also reflected in modern architecture.

This picture emphasizes the idea of drawing from the gathering of people's dwellings around the world, and transforming a very modern building complex into an architectural form that is full of local flavor in the midst of the city. In other words, the architects in Asia have adopted a selective attitude towards the Western technology and the local culture of the region and expressed a new attitude of response.

On the other hand, contemporary Asian architects pay more attention to the reconstruction of culture, from purely focusing on the appearance of the form of the building to the ecological proposition of the built environment, from emphasizing the pluralistic cleavage of architectural culture to the pursuit of synthesis, from purely emphasizing the use of architectural knowledge to deal with the environment in a narrow sense to the consciously use of a comprehensive cross-cutting disciplines to deal with the problem of the environment in the broader sense of the term human settlements. Green architecture, eco-architecture, and natural architecture have also become new features of Asian architects' attention. In other words, reconstructing the system of architectural culture has become an inevitable trend in the cultural development of Asian architects.

This picture is a residential house designed by Asian architects, where we can see that, although they emphasize the modern way of life, but still lead some traditional aesthetic interests into the interior space, like the Indian architects, obviously expressed concern for climate and culture, and in the space of light and shadow effects, but also the deep cultural connotations into the modern space. The Indian architects, for example, have clearly expressed their concern for climate and culture, and have expressed the effect of light and shadow in the space, while at the same time introducing deep cultural connotations into the modern architectural space. This is a picture of the design of a bank in New Delhi, where modern art is used to express the formation of modernization in the front, and as the architectural space extends, the traditional culture of India is gradually used to create an architectural model that has no sense of place. This is also a picture of the Astronomical Museum, where a strong sense of place is characterized by a religious model, the shaping of details, and the collection of folk art in the interior.

This is a picture of a residential complex in the Asian Games Village designed by an Indian architect. We know that the Asian Games Village in Beijing is a skyscraper, but he designed a kind of low-rise residential-style building, taking into account India's hot and dry climate, and with the help of a large number of dense buildings to create more shadows to adapt to its climate and environment.

There are also many Asian architects who utilize materials and indigenous techniques to respond to folk culture or religious culture. This one was designed by a Sri Lankan architect.

The fourth is the broad sense of locality and high-tech vernacular, which is also expressed by Asian architects, that is, the use of modern materials and technologies to create buildings that satisfy the needs of a certain region, but also with a certain kind of regional characteristics. This is our comparison of the traditional regional space with the broader regional architecture, which we will not expand due to time constraints.

We can see from this diagram that the chain that connects the two levels of what we call the broad regional space and the traditional regional space is both traditional regional and international with the comfort of modern technology.

The other thing is a comparison between traditional regional architecture and broad regional architecture and international regional architecture, if you are interested, I can leave my speech high, you can see. Asian places are very vast and culturally rich and diverse, engaged in making Asian architects not only consider the cultural aspects of the majority of the yuan, but also pay attention to more specimens in the geographic climate.

Then architects from the design, from the early purely to meet the functional needs of the performance of regional cultural characteristics, but also on the regional culture of a high degree of attention. We can see from this building that the exterior is very characteristic, with a vernacular, but the interior is very advanced. Limited to time, this part will not be expanded.

The fifth part, I briefly said, we are targeting the development of urban housing, here I simply put the picture. These are some of the new urban buildings created by Asian architects, and there are some new design approaches here. That is to say, on the one hand, in order to reduce energy consumption, a variety of design means, such as the interior with a garden, a friendly living space, while respecting the environmental conditions as much as possible, as little as possible to use decorative, to the appropriate floor height, and so on, and at the same time, the clever use of light and shadow, but also the design of the Asian urban housing is also a very ingenious means. There is also the skillful use of local materials and the use of landscape to change the microclimate. Shake your head or tilt your head to the side to indicate "yes" In our country, it is customary for people to nod their heads to indicate agreement and approval, and shake their heads to indicate denial and opposition. However, in Sri Lanka, India, Nepal and other countries, people shake their heads to indicate agreement and nod their heads to indicate disagreement. Indians agree, always first head to the left or right gently slant a little, and then immediately return to the original state, people think it is "do not" or "do not want to", in fact, is to express "understand "The first thing you need to do is to make sure that you have a good idea of what you're doing.

Don't use your left hand to hand things over in Southeast Asian countries, people believe that the left hand is unclean, shaking hands with your left hand or handing things over with your left hand to the other side, the other side will think that you are contemptuous of him, or harbor ill will towards him. Therefore, when shaking hands or handing something over, you must use your right hand or both hands.

Don't eat with people of different identitiesIndians and Nepalese attach great importance to identity. In India, if you have a different status or belong to a different class, you can't eat together at the same **** table; Nepalese people also have a similar class division, in their country, the importance of "status", more than anything else.

Don't touch a child's head in India and other places people don't want others to touch any part of their head, they also don't like to touch others. They believe that the head is the highest part of the human body and the most sacred and immense part of the human body, especially the head of a child, which is considered to be the place where the gods stay, and therefore, it is never allowed to be touched under any circumstances.

Invited to dinner do not have to be polite in the concept of the Indian people, eat something to be shared with everyone, eating alone is petty and impolite behavior, so the Indian people invited people *** meal, is never in the way of false sympathy, but a sincere invitation to refuse to people outside of the rebuff of course, people are not happy.

Buying alcohol has a time limit in Thailand, there is a rule, after 2:00 a.m. are no longer allowed to buy alcohol, or will be fined by the police. In New Delhi, India, Tuesdays, Fridays, public holidays and the first day of the month are no-booze days, when even the most savvy of people can't buy alcohol.

When talking with monks to maintain a low posture to Sri Lanka and other Buddhist countries, often see people talking with monks, as long as a careful observation will find that the general public will never sit higher than the monk's seat, they must try to make their heads lower than the monk's head, such as presidents, prime ministers, but also to adhere to this principle.

Don't ride on the statue of Buddha to take pictures of the Buddhist countries in Southeast Asia, travelers, if the temple, Buddha, monks and other frivolous action, is considered a "sinful". Some tourists have been punished for taking photos of Buddha statues while sitting on top of them. Want to take back to the Buddha souvenirs, can not be placed on the ground, because in the countries that believe in Buddhism to buy the statue of the Buddha although their own, but must have a respect for it, such as when it is a plaything, placed arbitrarily or roughly move it, this behavior, will cause the country's people are not happy.