Architects: James Maccormick
Year: 1970
Demolition Year: 2014
Australia’s pavilion at the 1970 Japan World Exposition in Osaka, designed by James Maccormick, diverged from traditional national identity markers by incorporating Japanese cultural elements. Aiming to enhance Japanese views of Australia and showcase its industrial strength, the pavilion featured a stylized lotus canopy made from Australian steel. This design, directed by the Department of External Affairs, underscored Japan’s growing economic importance to Australia and marked a shift in Australia’s approach to international relations in the Asia-Pacific. Katsushika Hokusai’s The Great Wave off Kanagawa served as a key motif, further integrating Japanese artistic heritage into the pavilion’s design. Despite its significance, historical accounts often overlook the pavilion and Australia’s participation in Expo ’70.
After the Expo, the pavilion was relocated to Yokkaichi City due to the sister port relationship between Sydney Port and Yokkaichi Port. Unfortunately, the foundation managing it dissolved in November 2013, leading to the pavilion’s demolition as no other organization accepted its stewardship.
The Australian pavilion at Expo ’70 in Osaka utilized Japanese cultural references to redefine Australia’s global identity. Japan became Australia’s main trading partner in 1966, significantly shifting from traditional economic ties with Britain. As an exercise in cultural diplomacy, Pavilion 7 aimed to present Australia as more than just a supplier of raw materials. This effort used hybrid architecture that symbolized Australia’s evolving economic and political landscape, highlighting its modern capabilities and cultural awareness.
Australian Identity and World Exhibitions
Historically, Australia’s participation in international expos focused on primary products and rural imagery, reflecting its economic relationship with Britain. This changed with the 1967 Montreal and 1970 Osaka expos, where Australia presented independent pavilions. These pavilions projected a modern, industrial nation. The 1970 pavilion, designed by James Maccormick and Robin Boyd, illustrated a strategic shift in Australia’s self-representation, moving away from pastoral imagery towards a more complex national identity that acknowledged its changing international relationships.
Australia and Japan
The 1957 Australia-Japan Agreement on Commerce re-established strong economic relations between the two countries, disrupted by the Depression and WWII. By 1966, Japan had become Australia’s largest trading partner, with Australia supplying essential raw materials for Japan’s post-war development. Prime Minister Harold Holt’s vision of Australia as a ‘bridge’ between Asia and the West emphasized Japan’s strategic importance. However, post-WWII tensions and perceptions of cultural differences remained challenges. The Expo ’70 pavilion aimed to address these issues, highlighting shared values and modern capabilities to improve Japanese perceptions of Australia.
1970 Japan World Exposition
Expo ’70, the first official international exposition in Asia, symbolized Japan’s post-war rehabilitation and its aspirations for modernization. The expo’s theme, ‘progress and harmony for mankind,’ resonated with Japan’s goals and provided a platform for redefining national identities. Japan’s emphasis on industry and technology challenged traditional Western views of the East. This context allowed Australia to present itself as a modern, industrialized nation, shifting away from its previous image focused on rural and natural resources.
Australia at Expo ’70
Australia’s pavilion at Expo ’70, guided by the Department of External Affairs and designed by James Maccormick, aimed to create a connection with the Japanese audience by showcasing values and technological capabilities respected in Japan. The ambitious design featured a lotus-shaped canopy made from Australian steel, suspended by a cantilever arm. This symbolized Australia’s industrial prowess and cultural understanding.
Several key Japanese cultural references were incorporated into the pavilion’s design:
- Lotus Canopy Roof: Inspired by the base of a Japanese temple column, the lotus-shaped canopy was a nod to traditional Japanese architecture and the cultural significance of the lotus flower.
- Suspended Roof and Cantilever Arm: The canopy was suspended from a giant cantilever arm, symbolizing mastery over nature, a theme resonating with Japanese interests in engineering and the natural environment.
- Underground Tunnel Entrance: The main exhibition area was accessed through an underground tunnel that required visitors to make a 90-degree turn, echoing the design elements of Japanese buildings and gardens where pathways often include unexpected turns to enhance the element of surprise and discovery.
- Tomoe Symbol: The twin circular shapes of the pavilion’s canopy roof and exit structure were based on the interlocking forms of the Japanese tomoe symbol, representing balance and harmony.
- Nature and Minimalism: Various design elements aimed to appeal to the Japanese appreciation for nature and simplicity, including the pavilion’s minimalistic form and the delicate balance between robust structural engineering and refined design.
- Exhibition Content: The pavilion incorporated 360-degree projection screens that displayed images of Australian life and nature, blending modern technology with natural themes.
Despite internal conflicts and mixed architectural reviews, the pavilion attracted large visitor numbers. Australia’s innovative pavilion at Expo ’70 reflected its growing economic ties with Japan and highlighted a broader shift in its international outlook. By embracing a hybrid architectural approach that integrated Japanese cultural references, Australia demonstrated its readiness to engage more deeply with its Asia-Pacific neighbors. This pavilion represented a pivotal moment in redefining national identity, moving away from traditional symbols and towards a more nuanced representation that acknowledged the complexities of modern international relationships.
References
“Australia’s Pavilion at Expo ’70 and Changing International Relations” -Carolyn Barnes and Simon Jackson, Faculty of Design, Swinburne University of Technology, Australia
