(FAB11_2_003) Authentic Japanese architecture after Bruno Taut: the problem of eclecticism

This paper will examine attitudes to eclectic stylistic borrowing in Japan in the twentieth century in light of the concept of authenticity. I am particularly interested in how an earlier claim correlating European modernist and traditional Japanese architecture continues to colour conceptions about what is an 'authentic' response for Japanese architects to make to contemporary conditions. Non-Western and vernacular architectures generally have been the repository for touristic desires for regional authenticity and difference. Yet Japan's unique role in the development of modernist architecture has given a peculiar intensity to the demand for its architecture to resist a perceived postmodern decadence.

(FAB12_1_002) 'Would you know the new, you must search the old': William Lethaby's 'Architecture, Mysticism and Myth' (1891) and the 'Hypnerotomachia Poliphili' (1499)

Published in the final months of 1891, Architecture, Mysticism and Myth was the first architectural treatise written by the late nineteenth-century English architect and theorist William Richard Lethaby (1857-1931).' Documenting the characteristic attributes of the architectural myth of the "temple idea", and its presence amongst architectures of multiple ancient cultures, the text was endowed with a distinctly historical tone. In examining the motives behind myth, which Lethaby defined as the interaction and reaction between the natural universe and the built environment, Lethaby also injected a series of theoretical considerations into the text. It is clear that Lethaby's interest in the temple idea was not limited to its curious, prolific presence in past architectures, hut also embraced a consideration of what lessons the temple idea may contribute to the struggle of the late nineteenth-century English architect to define an "art of the future".

(FAB12_2_019) National identity at Arakawa & Gins’ Site of Reversible Destiny—Yoro, Japan

This paper examines the manipulation of forms of the traditional Japanese stroll garden at Site of Reversible Destiny, a tourist park designed by the New Yorkbased collaborators Shusaku Arakawa and Madeline Gins. Landscape and its representations are central to the construction of national identity in Japan since the cultural distinctiveness of the Japanese people has been argued to rest on their unique relationship to nature and the country’s idiosyncratic geography. The stroll garden of the larger estates and palaces of the Edo period (1615–1867) developed out of earlier temple gardens and most public parks in contemporary Japan are in the grounds of these historic sites or reproduce their forms.

The myth of the nation: Historiography of New Zealand architecture since 1907

This paper considers the relationship between the recent historiography (of the last quarter century) of “New Zealand architecture” and the historical notion of “New Zealand-ness” invoked in contemporary architecture. It argues that a more recent programmatic uptake of post-War discussions on national identity and regional specificity has fed the tendencies of practicing architects to defer to history in rhetorical defences of their work: the beach-side mansion as a contemporary expression of the 1950s bach; a formal modernism divorced from the social discourse adherent to the historical moment that it “restates”; and so on. The paper will consider instances in the historiography of New Zealand architecture where historians have compounded, consciously or accidentally, a problem that is systemic to the uses made by architects of historical knowledge (in the most general examples), identifying the difficulties of relying upon the tentative conclusions of an under-studied field in developing principles of contemporary architectural practice under the banners of New Zealand-ness, regionalism, or localism, or with reference to icons of New Zealand architectural history. At the heart of this paper is a reflection on historiographical responsibility in presenting knowledge of a national past to an audience that is eager to transform that knowledge into principles of contemporary production. What, the paper asks, is the historical basis for speaking of a New Zealand architecture? Can we speak of a national history of architecture distinct from a regional history, or from an international history of architecture?