ABSTRACT
Japan entered the modern world in 1868, with the advent of the Meiji Restoration, which was initiated in response to the very real threat of foreign colonization. Multiple forms of media constantly bombard the senses in endless competition for visual and mental attention in this "empire of signs". While the use of the media is a time-honored way for architects to get noticed, this phenomenon of capitalizing on the nexus between electronic hype and a complicit curatorial underground that provides frequent, small, pop-up exhibitions certainly is. Another closely related challenge facing the next generation is how to navigate the seemingly implacable legacy of the trilogy of politicians, financial institutions and contractors commonly referred to as the Doken Kokka, or Construction State. Modernism is another recurring issue that has once again engaged the next generation of architects in Japan, just as it seems to have absorbed their predecessors and many others throughout Asia today.
