The City of Vancouver has led North American cities in commemorating Modern heritage. In 1990, City of Vancouver planners initiated the Recent Landmarks study, thus launching a progressive, specialized program aimed at documenting and conserving the city's post-war architecture. While this program has raised awareness and catalogued a large stock of Modern resources, few of the identified buildings have been protected with legal heritage designation. Thus it seemed appropriate to explore Vancouver's Recent Landmarks program in this thesis and assemble comparative information (from other jurisdictions) against which to measure it. Thus the primary purpose of this thesis is to point to contemporary heritage conservation initiatives and programs in North America that are specifically concerned with twentieth-century buildings, in order to inform heritage planning in Vancouver. The secondary purpose is to amplify current efforts to broaden and redefine the notion of structural heritage to include twentieth-century work. This thesis surveyed representatives (i.e. civic planning or cultural/landmark Department staff, and representatives of local chapters of DOCOMOMO, the international organization formed to document and conserve the works of the Modern movement) in Toronto, Victoria, New York, Los Angeles, and Phoenix. The results of the thesis show that by 1999, all but one of the five surveyed North American municipalities had addressed the issue of Modern heritage. However none of the consulted cities had developed distinct programs to address this resource. For example, while several cities reported listing Modern buildings on their heritage inventories, none of the municipalities canvassed reported the development of studies or inventories that were focused on post-war landmarks. Thus from this information, it appears that the Recent Landmarks initiative in Vancouver remains quite exceptional. This program has identified several (and spurred the designation of some) significant Modern buildings, stimulated the creation of reports and studies, and made strong attempts to engage the public. In sum, the results gleaned from this thesis survey show that the Recent Landmarks initiative remains a leader in the specialized realm of heritage conservation for Modern architecture, and that many North American cities have yet to match Vancouver's efforts.

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This thesis analyzes the problems and contradictions inherent in modernity's levelling of the fabricative and political realms. Seeking a broader perspective on the origins of aesthetic culture and aestheticized politics, it examines the relation of architecture to technology, culture, and politics. The thesis examines the consequences of the Enlightenment and "Radical Enlightenment" (understanding the rise of the modern nation-state as a direct consequence of the 18th century's yoking of history and nature) from the perspective of Japan and its encounter with modernity. Japan as a modern nation-state, neither part of the European Enlightenment nor colonized by its instruments, was able to initiate a unique discourse around the question of history and the concomitant issues of identity and nihilism. / The thesis tracks the discourse through architecture as the terms shift and become more and more indistinguishable from the Western manifestations from which the Japanese architects wished to claim distinction. / The discussion on difference and possibility---cultural identity and the creative project---as fundamental questions for a contemporary practice of architecture is undertaken through an analysis of the polar positions of Tange Kenzo and Shirai Sei'ichi.

This thesis is a study of important trends in Natal art of the period 1910-1940, with a section on related architectural developments. In Chapter One Natal's colonial background and continued dependence on Britain for cultural guidance is discussed. The foundation of art galleries and the Natal Society of Artists is followed by an examination of artworks produced until 1917. These were found to be mainly Victorian in character. Reliance on British art and an admiration for and emulation of the Royal Academy of Arts strongly influenced the organisation and development of the Natal Society of Artists. Chapter Two examines the desire, during the 1920s and 1930s, to break away from foreign influence and the conscious attempts to establish a "national" style. This phenomenon is traced through the development of landscape painting in Natal. Chapter Three, Survival versus progress, explores the relationship between the artist and the Natal public, in particular those artists who experimented with what were then held to be avant-garde styles. An uninformed public and, consequently, a pronounced hostility towards modernism bad a profound effect on the careers of many artists. Chapter Four concerns the status of the practising artist in Natal. Amateurs outnumbered professionals at all major exhibitions, and the majority of these amateurs were women. Professionalism and amateurism are defined in the text.) The history of the Durban School of Art and its role in the promotion of professionalism ends this survey on art trends. Architectural development during this period is summarised in Chapter Five with reference to the correspondences between art and architecture. Examples are architectural decoration (especially sculpture and faience), stylistic trends, the response to modernism, and the professional status of the architect. Artists and architects active in Natal during the period are identified and listed. This section includes lists of representative works and detailed references. / Thesis (Ph.D.)-University of Natal, Pietermaritzburg, 1986.

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