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Professional Practice
 
Globalization and protection of local architecture
In the era of the present globalization, how can we protect the local architectural interests?
Hoshiar Nooraddin
Responses
 
Globalization and protection of local architecture
We can't protect our indigenous architecture from the influence of globalization unless we feel proud and have passion for self-reliance in architecture. It doesn't mean that I'm against international trends of globalization but there are certain aspects that give the dimension to select either local or global form of architecture.
Fariha Zuberi
Globalization and protection of local architecture
Usefull elements of architecture always get adopted and used in new praposals of a global kind. Instead of protecting local architecture, one should reallocate new meaning and function with respect to the past. We call it readoption.
Dushyant Nathwani
Globalization and protection of local architecture
It's not the design, but the designer who is "gobblized"(globalized) by the trends in the air of insecurity of the socio-economic kind. Just look at the dress the male architect wears all over the world. He thinks that dress has nothing to do with the environment. It is, as if, only a matter of taste acquired from the colonial times. The dress and the living habits of the original wearer of that dress. Look at the photographs of India's viceroy, Lord Mountbatten in his regal attire, or the maharajas, and now the presidents and diplomats of Africa and Asia, all dressed up in the three piece suit. And sweating in it. To justify the airconditioning? Not really. They have to wear it outside under the hot sun, too. The designated (desgin +ated) attire symbolically represents what is otherwise absent. Send George Bush, or Queen Elizabeth or Pope in the crowd without their regalia, the pins and stripes and medals and the plathora of body guards, and see if any one knows them to fear or to seek help from them.

So, too, is with the architectural designs. They are symbols of somethig else other than what its symbolic description says. What did Mumtaz Begum care what the Taj Mahal looked like? Or show it to the primitive or unschooled Indians and see if they see it to be a mausoleum. So is the "statue of liberty" devoid of delivering any sense of freedom in the onlooker who does not know its title.

The modern architectural designs are thus decorated chicken crates stacked high, when seen without all the hoopla attached to the big name of the architect who did it for the big sum of money. Seeing what it really is requires seeing with eyes, and not with ears. Then, doing something requires really knowing what it is for. That will determine its form related to its function. That would bring in its surrounding, the climate and weather and the elements that are to be let in or out, and so on. Then it does not matter what gender or the place the architect came from.

Almost all famous buildings all over the world fail to live up to this awareness of what is, whether of the past or of the immediate present. They are more an excercise in futility with a promoted respectability: the art for art's sake. And that requires affluence, which can't be had without the exploitation of the poor.

Shouldn't the designer know all this even before one accepts the lucrative contract?
Shailesh Dave
Globalization and protection of local architecture
In the era of the present globalization it is not only the local architectural style that should be considered but also how the local architects will be considered in the local market when they have to compete with international firms. This problem is important to understand in cases where the local architectural firms are small or not as strong as the international firms. In this case it is the local authorities responsibility to legislate systems to create better coopertaion between local and international firms to build up local architectural capacity.
Hoshiar Nooraddin
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