(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.

Kidosaki redux: Trans-cultural trans-location

This paper concerns a collaborative experiment in architectural design teaching and thinking developed during a workshop held at The University of Queensland in 2000. The programme explored the possibilities and the consequences of relocating location-specific architecture to a different context - a 'Trans-Cultural Trans-Location'. The project involved the careful study by Australia-based students of a house designed for a Japanese family in a dense part of Tokyo by the eminent Japanese architect Tadao Ando, and the subsequent translocation of the ideas that underlay the building to a suburban location in Brisbane, for a theoretical equivalent Australian family. This experimental project examined the universality of architectural concepts, their appreciation and the pedagogical setting. The project raised questions of: - How well do students from one culture comprehend architecture designed specifically for another – which are the areas of misunderstanding and understanding? - How can students transpose architectural ideas from one social and physical context to one that is almost entirely the opposite? - What are the limits of collaboration and exchange in design teaching and how do they reveal similarities, inconsistencies and the unexpected in the aims of the teacher and of the student? These questions suggest that in order to comprehend a design, we must understand the culture within which it originated, and that we must understand the cultures within which we work in order to design. This paper is written in two parts. The first part establishes a framework for discussing the contrast of the cultural settings studied. The second part considers the nature, conduct and results of the Studio Workshop itself.

Traditional architecture in the Pacific

Architecture of the Pacific covers a region of more than third of the earth’s surface. The sparse Pacific population spreads over some 30 000 islands, which graduate in size from small atolls to the largest island, Australia, a continent. Pacific architecture can be studied as four cultural units: Micronesia, Polynesia, Melanesia, and Australasia (Australia and New Zealand). While many of the islands of Micronesia lie above the Equator, the remaining Pacific islands are in the southern hemisphere. With the exception of Australia, most of the islands have a warm and humid tropical climate with high rainfalls and lush vegetation. Some islands lie in the cyclonic and earthquake belts. Two distinct racial groups settled the region. The indigenous people, the Micronesians, Melanesians, Polynesians, Australian Aborigines and New Zealand Maoris, migrated from Asia thousands of years ago. The second group, the recent immigrants, were Europeans, who occupied the region during the last two centuries, and pockets of Asians brought in by colonial administrations as labourers during the early twentieth century.