Architecture in Ta'aroha

Architecture in Ta'aroha is that architecture carried out any time in what is now Ta'aroha, and by Ta'arohan architects worldwide. Its diversity and long history spans from ancient times, the Aunic Empire, the early modern period, and the present day. Early modern Ta'arohan architecture is the conjunction of foreign styles (typically Eduran) exposed to the influence of native imagery, materials, and techniques. The world wars left a creative emptiness that would eventually be filled by the contemporary Neo-Aunic school, characterized by its bright colors, sharp angles, and distinct eclecticism.

Pre-Aunic period
The ruins of the ancient city of Puru'âita in the northern part of the country is considered by most to be the best-preserved site of the pre-Aunic period, giving a good view into the nature of regional architecture during this time. Most of the ancient city, like other sites from this era, were built from adobe. Puru'âita was a prosperous and planned city on the shores of Lake Myesakã'y between 800 to 350 BCE. The city has impressive stone carvings and complex underground drainage systems that once controlled the flow of rainwater. Many structures there are related to religion amd political functions, such as the Temple of the Moons, the terraced platform burial mound Mbóiyvyty, and the Palace of Putuni. One of the city's most spectacular monuments is the Tatasẽ. The Tatasẽ is a terraced platform with an initial stack of seven superimposed platforms with a stone retaining wall of 18 meters. Clad in sandstone, it is surrounded by several well-reserved drainage systems.

Located north of the city is the Ógahecha, which was used previously as an observatory. The most representative symbol of the site is the two huge sun gates cut from andesite, one of the best preserved sites from the period. There are several niches at the sides of the door, and a well-designed bas-relief above. Around the site are 48 red sandstone columns, with many carved stones set into it. These columns represent the positions of the planet's moons at various intervals, together forming a giant calendar throughout the site. The ancient ruins of the city of Puru'âita have been listed as a World Forum International Heritage Site, as well as a Site of National Importance by national and provincial governments in Ta'aroha.

Aunic period
Most structures attributed to the Aunic period were made of fieldstones or semi worked stone blocks and dirt set in mortar; adobe walls were also quite common, usually laid over stone foundations. The material used for buildings depended on the region of the empire. For instance, in coastal regions they used large rectangular adobe blocks, while in the northern highlands they used local stone. The most common shape in Aunic architecture was the rectangular building without any internal walls, roofed with wooden beams and thatch. There were several variations of this basic design, including gabled roofs, rooms with one or two of the long sides opened, and rooms that shared a long wall. Rectangular buildings were used for different functions, from humble houses to palaces and temples. Two-story buildings were infrequent; when they were built the second floor was accessed from the outside via a stairway or high terrain rather than from the first floor. The most common composite form in Aunic architecture was the latape'a, a rectangular enclosure housing three or more rectangular buildings placed symmetrically around a central courtyard. Latape'a units served different purposes, as they formed the basis of simple dwellings as well as temples and palaces. Several latape'a grouped together formed blocks in Aunic settlements.

Extraordinary manpower was needed for large construction projects. The Aunic Empire employed a system of tribute from its vice-kingdoms that required all males between 15-50 to work on large public construction projects. The empire's builders constructed their cities with locally available materials, usually including limestone or granite. To cut these hard rocks, they used bronze or iron tools, usually splitting the stones along the natural fracture lines. The stones were moved by teams of men pulling with ropes, as well as by domesticated sloths. Large stones were rolled up with wood beams on earth ramps. Usually the walls of Aunic buildings were slightly inclined inside and the corners rounded. This led to them having a great deal of seismic resistance, thanks to high static and dynamic steadiness, absence of resonant frequencies, and stress concentration points.

Early modern period
With the arrival of new techniques and materials from the outside world, architecture in the region changed radically. Many nobility adopted Eduran tastes and build grand palaces in styles meant to imitate those of Edury. Likewise, foreign methods for making bricks and adobe allowed for the average person to build more easily as well. However, many indigenous elements remained. Even as they grew, cities tended to be centered around one or several large plazas, much as the cities of the Aunic Empire. The architecture of this period can be found in most cities in Ta'aroha, the most representative being the city of Y’etêmbi, at the base of the mountain Yvatyaña. Y’etêmbi was among the largest suppliers of copper in the world during this period, considered by some to be the largest industrial park of the time. As a result, the site was home to a great deal of Eduran capital and machinery, and by extension, Eduran-style structures. Not only did this lead to various pieces of industrial infrastructure meant for mining, but also structures related to daily life, including houses, taverns, assembly halls, and even houses of worship.

After the Ta'aroha Declaration, the architecture style in Ta'aroha changed in a wave of nationalistic spirit, with many adopting elements evocative of old Aunic architecture while retaining certain characteristics. However, due to constant war and social unrest, development in the field of architecture was stunted. Following Amapytu Ubirata's coup to take control of the Ta'arohan government, new structures were designed and constructed for what he described as "mass experiences," in which thousands could gather and take part in the patriotism of community events, and listen to speeches made by Ubirata and his allies. These architectural forms are seen by some as one of the key predecessors to the Fundadismo style, which would later emerge wholly in Ventora. Architectural styles under Ubirata took cues from ancient Aunic ones in that the buildings constructed were generally very large and symmetrical with rounded edges. The buildings purposefully conveyed a sense of awe and intimidation through their size, and were made of limestone and other durable stones to last for centuries. The buildings were also very plain, with little or no decoration, and lacked much complexity in design. All these aspects helped the dictatorship exhibit absolute and total rule of the population. Ubirata used architecture as another source of propaganda to display to the world the strength, pride and power of his regime. Even following Ubirata's death, similar principles such as those found in Fundadismo became dominant, brought to Ta'aroha by Kanasa architect Peteî Hara.

Contemporary era
Neo-Aunic architecture is the most recent architectural movement to have taken hold in Ta'aroha, primarily situated in the country's urban south. Ta'arohan architect Morotĩ Tupahoja has been described as the "best known architect" of the Neo-Aunic school. Tupahoja began as a civil engineer, but has since designed over 60 neo-Aunic structures since 2005. The neo-Aunic school first developed following the dissolution of Ta'aroha's military junta, allowing for new political and cultural freedoms that had previously been repressed. As part of this cultural rebirth, many designer looked back into Ta'aroha's history for inspiration, using those designs as their muses.

Two primary sub-parts of the neo-Aunic school exist: the mbujape and ñai’ũ. Bbujape is especially prevalent in the urban south, and is characterized by bright, colorful exteriors that evoke Aunic elements in less direct ways. Likewise, ñai’ũ utilizes more traditional materials and layouts, being more common in the country's rural north.