The project started with an analysis of contact zones from a meta-theoretical perspective. A literature review helped develop an understanding of the methodological lessons that could be learnt from the disciplines that first introduced the concept and how it developed through other disciplines. Next, I conceptualised what a contact zone is in the field of architecture, how an architectural contact zone comes into being, who its possible protagonists are, and why its formation happens at a particular time and place. After giving a precise definition of an “architectural contact zones” as “important points of encounter between different architectural cultures in which ideas, approaches and tools are negotiated, selectively borrowed, partially adopted or rejected, bringing about an inter-referenced new form of architectural knowledge”, I set out multiple examples of architectural contact zones. Competitions, exhibitions, congresses, biennales, summer meetings, and reconstruction aid programmes all serve as drivers of architectural culture, yet each has its own internal logic. An international colloquium and accompanying methodological work organised in an early stage of the project was a key moment, sharing the initial findings to colleague-historians and receiving critical yet valuable feedback for the next stage.
In the second stage, the project looked at the operational aspects of architectural contact zones and carefully examined the mechanism behind the Shinkenchiku Residential Design Competition. By studying the competition briefs, the particulars of the winning entries and multiple honourable mentions, the judges’ final remarks, and the accompanying debates published in the journals Shinkenchiku and Japan Architect, as well as the wider ‘after-effects’ disseminating into both Japanese and English literature, I systematically analysed how the architectural contact zone of the competition is established, accessed, maintained, and promoted. I also traced the development of each of the 48 competition editions, from the initial theme set by the judge to the way it affected the wider architectural debate. In this process-oriented approach, I analysed in detail to what extent the vision of the judge transformed in multidirectional ways: both influencing and being influenced by interaction with a new cultural context.
