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service functions including elevators, toilets and pipes and grouped them into 16 reinforced concrete cylindrical towers, each with an equal 5 metre diameter. These he placed on a grid into which he inserted the functional group facilities and offices. These inserted elements were conceived of as containers that were independent of the structure and could be arranged flexibly as required. This conceived flexibility distinguished Tange's design from other architects' designs with open floor offices and service cores â such as Kahn's
Richards Medical Research Laboratories. Tange deliberately finished the cylindrical towers at different heights to imply that there was room for vertical expansion.
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860:. Indeed, the two groups both emerged in the 1960s and disbanded in the 1970s and used imagery with megastructures and cells, but their urban and architectural proposals were quite different. Although utopian in their ideals, the Metabolists were concerned with improving the social structure of society with their biologically inspired architecture, whereas Archigram were influenced by mechanics, information and electronic media and their architecture was more utopian and less social.
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747:. However, in 2007 the residents voted to tear the tower down and build a new 14-story tower. In 2010, some of the remaining habitable pods were converted for use as budget hotel rooms. As of 2017, many capsules had been renovated and were being used as residential and office spaces, while short-stay renting such as Airbnb or other lodging provisions had been banned by the administration of the building. The tower was demolished in April of 2022.
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137:(CIAM) was founded in Switzerland in 1928 as an association of architects who wanted to advance modernism into an international setting. During the early 1930s they promoted the idea (based upon new urban patterns in the United States) that urban development should be guided by CIAM's four functional categories: dwelling, work, transportation, and recreation. By the mid-1930s
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564:. Originally it was intended to publish the plan at the World Design Conference (hence its "1960" title) but it was delayed because the same members were working on the Conference organisation. Tange received interest and support from a number of government agencies but the project was never built. Tange went on to expand the idea of the linear city in 1964 with the
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936:. Although Tange was obsessed with the theory of flexibility that the space framed provide he did concede that in reality it was not so practical for the actual fixing of the displays. The roof itself was designed by Koji Kamaya and Mamoru Kawaguchi who conceived it as a huge space frame. Kawaguchi invented a welding-free
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government administration and retail districts as well as a new Tokyo train station and highway links to other parts of Tokyo. Residential areas were to be accommodated on parallel streets that ran perpendicular to the main linear axis and people would build their own houses within giant A-frame structures.
229:. They suggested that rather than a four yearly conference in Aspen there should be a roving conference with Tokyo as its first setting in 1960. Three Japanese institutional members were responsible for organising the conference, although after the Japan Industrial Design Association pulled out only the
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The capsules were constructed of light steel welded trusses covered with steel sheeting mounted onto the reinforced concrete cores. The capsules were 2.5 metres wide and four metres long with a 1.3 metre diameter window at one end. The units originally contained a bed, storage cabinets, a bathroom, a
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in the south east. The perimeter of each of the modules was organised into three levels of looping highways, as Tange was adamant that an efficient communication system would be the key to modern living. The modules themselves were organised into building zones and transport hubs and included office,
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In his essay "Space City", Kurokawa introduced four projects: Neo-Tokyo Plan, Wall City, Agricultural City and
Mushroom-shaped house. In contrast to Tange's linear Tokyo City Bay Project, Kurokawa's Neo-Tokyo Plan proposed that Tokyo be decentralised and organised into cruciform patterns. He arranged
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Unlike the more rigid membership structure of Team 10, the
Metabolists saw their movement as having organic form with the members being free to come and go. Although the group had cohesion they saw themselves as individuals and their architecture reflected this. This was especially true for Tange who
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One of the seven projects produced by the students was a perfect example of his vision. The project consisted of two primary residential structures each of which was triangular in section. Lateral movement was provided by motorways and monorail, whilst vertical movement from the parking areas was via
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shell roof. It is a single space divided by storage units with the kitchen and bathroom on the outer edge. These latter two were designed so that they could be moved to suit the use of the houseâand, indeed, they have been moved and/or adjusted about seven times over the course of fifty years. At one
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theories and biological processes. Their manifesto was a series of four essays entitled: Ocean City, Space City, Towards Group Form, and
Material and Man, and it also included designs for vast cities that floated on the oceans and plug-in capsule towers that could incorporate organic growth. Although
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After the 1970 Expo, Tange and the
Metabolists turned their attention away from Japan towards the Middle East and Africa. These countries were expanding on the back of income from oil and were fascinated by both Japanese culture and the expertise that the Metabolists brought to urban planning. Tange
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The execution of the designs evolves through the phases with exterior forms becoming more independent of the interior functions and new materials being employed. For example, the first phase has a raised pedestrian deck that gives access to shops and a restaurant and this was designed to be extended
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Otaka had first thought about the relationship between infrastructure and architecture in his 1949 graduation thesis and he continued to explore ideas about "artificial ground" during his work at
Maekawa's office. Likewise, during his travels abroad, Maki was impressed with the grouping and forms of
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For Marine City, Kikutake proposed a city that would float free in the ocean and would be free of ties to a particular nation and therefore free from the threat of war. The artificial ground of the city would house agriculture, industry and entertainment and the residential towers would descend into
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Metabolism is the name of the group, in which each member proposes further designs of our coming world through his concrete designs and illustrations. We regard human society as a vital processâa continuous development from atom to nebula. The reason why we use such a biological word, metabolism, is
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in which he investigated three urban forms: Compositional-form, Megastructure and Group Form. The
Hillside Terrace is a series of projects commissioned by the Asakura family and undertaken in seven phases from 1967 to 1992. It includes residential, office and cultural buildings as well as the Royal
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Tange organised the spaces of the three firms by function to allow them to share common facilities. He stacked these functions vertically according to need, for example, the printing plant is on the ground floor to facilitate access to the street for loading and transportation. He then took all the
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around the bay. Unlike Tange however its simple presentation graphics put many people off. Kurokawa's plan consisted of helix-shaped megastructures floating inside cells that extended out across the bay. Although the scheme's more convincing graphics were presented as part of a film the project was
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After his 13 May lecture, Louis Kahn was invited to
Kikutake's Sky House and had a long conversation with a number of Japanese architects including the Metabolists. He answered questions until after midnight with Maki acting as translator. Kahn spoke of his universal approach to design and used his
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The group also searched for architectural solutions to Japan's phenomenal urban expansion brought about by its economic growth and how this could be reconciled with its shortage of usable land. They were inspired by examples of circular growth and renewal found in traditional
Japanese architecture
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Kurokawa had won commissions for two corporate pavilions: the Takara
Beautillion and the Toshiba IHI pavilion. The former of these was composed of capsules plugged onto six point frames and was assembled in just six days; the latter was a space frame composed of tetrahedron modules, based upon his
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Although the building was expanded in 1974 as Tange had originally envisioned, it did not act as a catalyst for the expansion of the building into a megastructure across the rest of the city. The building was criticised for forsaking the human use of the building in preference to the structure and
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in 1959 inspired Kurokawa to design the Agricultural City. It consisted of a grid-like city supported on 4 metre stilts above the ground. The 500 metres square city sat on concrete slab that placed industry and infrastructure above agriculture and was an attempt to combine rural land and the city
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The Wall City considered the problem of the ever-expanding distance between the home and the workplace. He proposed a wall-shaped city that could extend indefinitely. Dwellings would be on one side of the wall and workplaces on the other. The wall itself would contain transportation and services.
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in April 1960. In responding to the scarcity of land in large and expanding cities he proposed creating "artificial land" that would be composed of concrete slabs, oceans or walls (onto which capsules could be plugged). He said that the creation of this "artificial land" would allow people to use
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The publication included projects by each member but a third of the document was dedicated to work by Kikutake who contributed essays and illustrations on the "Ocean City". Kurokawa contributed "Space City", Kawazoe contributed "Material and Man" and Otaka and Maki wrote "Towards the Group Form".
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Kikutake's Expo Tower was situated on the highest hill in the grounds and acted as a landmark for visitors. It was built of a vertical ball and joint space onto which was attached a series of cabins. The design was to have been a blueprint for flexible vertical living based upon a 360m3 standard
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Tange envisioned that the Expo should be primarily conceived as a big festival where human beings could meet. Central to the site he placed the Festival Plaza onto which were connected a number of themed displays, all of which were united under one huge roof. In his Tokyo Bay Project Tange spoke
615:) following a major earthquake was won by Tange's team. The project was significant because of its international influence as well as an international model case for urban reconstruction. It is a major breakthrough for the Metabolist movement to realise their approach on an international scale.
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Tower-shaped City was a 300 metre tall tower that housed the infrastructure for an entire city. It included transportation, services and a manufacturing plant for prefabricated houses. The tower was vertical "artificial land" onto which steel, pre-fabricated dwelling capsules could be attached.
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to begin a four-month period as a visiting professor. It is possible that based upon the reception of Kikutake's projects in Otterlo he decided to set the fifth year project as a design for a residential community of 25,000 inhabitants to be constructed on the water of Boston Bay. Tange felt a
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Kikutake's Ocean City is the first essay in the pamphlet. It covered his two previously published projects "Tower-shaped City" and "Marine City" and included a new project "Ocean City" that was a combination of the first two. The first two of these projects introduced the Metabolist's idea of
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Ocean City was a combination of both Tower-shaped City and Marine City. It consisted of two rings that were tangent to one another, with housing on the inner ring and production on the outer one. Administrative buildings were found at the tangent point. The population would have been rigidly
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district of Tokyo. This time using only a single core Tange arranged the offices as cantilevered steel and glass boxes. The cantilever is emphasised by punctuating the three-storey blocks with a single-storey glazed balcony. The concrete forms of the building were cast using aluminium
959:, critics were calling the Expo a dystopia that was removed from reality. The energy crisis demonstrated Japan's reliance both on imported oil and led to a re-evaluation of design and planning with architects moving away from utopian projects towards smaller urban interventions.
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construction cabin clad with a membrane of cast aluminium and glass that could be flexibly arranged anywhere on the tower. This was demonstrated with a variety of cabins that were observation platforms and VIP rooms and one cabin at ground level that became an information booth.
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natural desire to produce urban designs based upon a new prototype of design, one that could give a more human connection to super-scale cities. He considered the idea of "major" and "minor" city structure and how this could grow in cycles like the trunk and leaves of a tree.
188:: the Tower-shaped City and Kikutake's own home, the Sky House. This presentation exposed the fledgling Metabolist movement to its first international audience. Like Team 10's "human association" concepts, Metabolism too was exploring new concepts in urban design.
548:. The design was a radical plan for the reorganization and expansion of the capital in order to cater for a population beyond 10 million. The design was for a linear city that used a series of nine-kilometre modules that stretched 80 km across Tokyo Bay from
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which included retail, offices and entertainment on an artificial ground over the station. Although Otaka's forms were heavy and sculptural and Maki's were lightweight with large spans, both contained the homogeneous clusters that were associated with group form.
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in the 1980s, both Tange and Kurokawa revisited their earlier ideas: Tange with his Tokyo Plan 1986 and Kurokawa with his New Tokyo Plan 2025. Both projects used land that had been reclaimed from the sea since the 1960s in combination with floating structures.
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and the group further interpreted this to be equivalent to the continuous renewal and organic growth of the city. As the conference was to be a world conference, Kawazoe felt that they should use a more universal word and Kikutake looked up the definition of
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Maki and Otaka's essay on Group Form placed less emphasis on the megastructures of some of the other Metabolists and focused instead on a more flexible form of urban planning that could better accommodate rapid and unpredictable requirements of the city.
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and other architects had moulded CIAM into a pseudo-political party with the goal of promoting modern architecture to all. This view gained some traction in the immediate post-war period when Le Corbusier and his colleagues began to design buildings in
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about the living body having two types of information transmission systems: fluid and electronic. That project used the idea of a tree trunk and branches that would carry out those types of transmission in relation to the city. Kawazoe likened the
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controlled at an upper limit of 500,000. Kikutake envisaged that the city would expand by multiplying itself as though it was undergoing cell division. This enforced the Metabolist idea that the expansion of cities could be a biological process.
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in a factory that normally built shipping containers, it is constructed of 140 capsules plugged into two cores that are 11 and 13 stories in height. The capsules contained the latest gadgets of the day and were built to house small offices and
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Both Kikutake and Kurokawa capitalised on the interest in Tange's 1960 plan by producing their own schemes for Tokyo. Kikutake's plan incorporated three elements both on the land and the sea and included a looped highway that connected all the
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Kenzo Tange joined the Theme Committee for the Expo and along with Uso Nishiyama he had responsibility for master planning the site. The theme for the Expo became "Progress and Harmony for Mankind". Tange invited twelve architects, including
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and Kenzo Tange. As Tange had just accepted an invitation to be a visiting professor at Massachusetts Institute of Technology he recommended his junior colleague Takashi Asada to replace him in the organisation of the conference programmes.
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concepts of regeneration. Although Metabolism rejected visual references from the past, they embraced concepts of prefabrication and renewal from traditional Japanese architecture, especially the twenty-year cycle of the rebuilding of the
677:. As well as two news firms and a printing company the building needed to incorporate a cafeteria and shops at ground floor level to interface with the adjoining city. It also needed to be flexible in its design to allow future expansion.
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were set aside as the location. Japan had originally wanted to host a World Exposition in 1940 but it was cancelled with the escalation of the war. The one million people who had bought tickets for 1940 were allowed to use them in 1970.
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into one entity. He envisaged that his Mushroom Houses would sprout through the slab of Agriculture City. These houses were shrouded in a mushroom-like cap that was neither wall nor roof that enclosed a tea room and a living space.
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elevators. There were open spaces within for community centres, and at every third level there were walkways along which were rows of family houses. The project appeared to be based upon Tange's unrealised competition entry for the
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Kawazoe contributed a brief essay entitled "I want to be a sea-shell, I want to be a mold, I want to be a spirit". The essay reflected Japan's cultural anguish after the Second World War and proposed the unity of man and nature.
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to refer structures that house the whole or part of a city in a single structure. He originated the idea from vernacular forms of village architecture that were projected into vast structures with the aid of modern technology.
422:, was published at the World Design Conference. Two thousand copies of the 90 page book were printed and were sold for „500 by Kurokawa and Awazu at the entrance to the venue. The manifesto opened with the following statement:
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that we believe design and technology should be a denotation of human society. We are not going to accept metabolism as a natural process, but try to encourage active metabolic development of our society through our proposals.
909:, Otaka and Kikutake to design individual elements. He also asked Ekuan to oversee the design of the furniture and transportation and Kawazoe to curate the Mid-Air Exhibition which was sited in the huge space-frame roof.
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the ocean to a depth of 200 metres. The city itself was not tied to the land and was free to float across the ocean and grow organically like an organism. Once it became too aged for habitation it would sink itself.
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headquarters in Geneva and both projects paved the way for his later project, "Plan for Tokyo â 1960". Tange went on to present both the Boston Bay Project and the Tokyo Plan at the Tokyo World Design Conference.
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and the aluminium has been left on as a cladding. Although conceived as a "core-type" system that was included in Tange's other city proposals, the tower stands alone and is robbed of other connections.
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Bamboo-shaped Cities along these cruciforms but unlike Kikutake he kept the city towers lower than 31 metres to conform with Tokyo's building code (these height limits were not revised until 1968).
292:, Tokyo and he used it as a meeting place for progressive scholars, architects and artists. He often invited people from other professions to give talks and one of these was the atomic physicist,
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Kawazoe, Maki and Kurokawa had invited a selection of world architects to design displays for the Mid-Air Exhibition that was to be incorporated within the roof. The architects included
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By day Asada canvassed politicians, business leaders and journalists for ideas, by night he met with his young friends to cultivate ideas. Asada was staying at the Ryugetsu Ryokan in
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to reflect the ruined state of firebombed Japanese cities and the opportunity they presented for radical re-building. Ideas of nuclear physics and biological growth were linked with
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who was one of Tange's students. In turn these two men scouted for more talented designers to help, including: the architects Masato Otaka and Kiyonori Kikutake and the designers
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was invited to the CIAM '59 meeting of the association in Otterlo, Netherlands. In what was to be the last meeting of CIAM, he presented two theoretical projects by the architect
809:(to which Tange and Kawazoe were invited in 1953). The sacred rocks onto which the shrine is built were seen by the Metabolists as symbolising a Japanese spirit that predated
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for ocean research and a plug-in floating A-frame unit containing housing and offices that could have been used to provide mobile homes in the event of a natural disaster.
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Some smaller, individual buildings that employed the principles of Metabolism were built and these included Tange's Yamanashi Press and Broadcaster Centre and Kurokawa's
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Megalopolis Plan. This was an ambitious proposal to extend Tokyo's linear city across the whole of the TĆkaidĆ region of Japan in order to re-distribute the population.
174:. The Team 10 architects introduced concepts like "human association", "cluster" and "mobility", with Bakema encouraging the combination of architecture and planning in
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and started to design the building exteriors to better match the immediate environment. The project acted as a catalyst to the redevelopment of the whole area around
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in subsequent phases but the idea, along with the original master plan, was discarded in later phases. By the third phase Maki moved away from the Modernist maxim of
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in mind, there was never a demand for them. Nobuo Abe was a senior manager, managing one of the design divisions on the construction of the Nakagin Capsule Tower.
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colour television set, clock, refrigerator and air conditioner, although optional extras such as a stereo were available. Although the capsules were designed with
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The conference had its roots with Isamu Konmochi and Sori Yanagi who were representatives of the Japanese Committee on the 1956 International Design Conference in
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and Kiyoshi Awazu. Kurokawa was selected because he had recently returned from an international student conference in the Soviet Union and was a student of the
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as an example of how new design solutions can be reached with new thinking about space and movement. A number of the Metabolists were inspired by this.
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Expo '70 has been described has the apotheosis of the Metabolist movement. But even before Japan's period of rapid economic growth ended with the
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Kikutake proposed that these capsules would undergo self-renewal every fifty years, and the city would grow organically like branches of a tree.
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roof of the Festival Plaza to the electronic transmission system and the aerial-themed displays that plugged into it to the hormonal system.
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as modular units (with a short life span) that attached to structural framework (with a longer life span). Maki would later criticise the
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Metabolism developed during the post war period in a Japan that questioned its cultural identity. Initially the group had chosen the name
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178:. This was a rejection of CIAM's older four function mechanical approach, and it would ultimately lead to the break-up and end of CIAM.
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point a small children's room was attached to the bottom of the main floor with a small child-sized access door between the two rooms.
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in Osaka where Tange was responsible for master planning the whole site whilst Kikutake and Kurokawa designed pavilions. After the
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Some of the projects included in the manifesto were subsequently displayed at the Museum of Modern Art's 1960 exhibition entitled
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308:(the solution as built), which he used to summarise his own design process from a broad vision to a concrete architectural form.
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452:"artificial land" as well as "major" and "minor" structure. Kawazoe referred to "artificial land" in an article in the magazine
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the World Design Conference gave the Metabolists exposure on the international stage, their ideas remained largely theoretical.
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The young Asada invited two friends to help him: the architectural critic and former editor of the magazine Shinkenchiku,
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as being symbolic of the essential exchange of materials and energy between organisms and the exterior world (literally
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During the preparation for the 1960 Tokyo World Design Conference a group of young architects and designers, including
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Tange & Kawazoe, MayâJune 1970, "Some thoughts about EXPO 70 - Dialogue between Kenzo Tange and Noboru Kawazoe",
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to safely distribute the load and worked out a method of assembling the frame on the ground before raising it using
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Kikutake's vision for floating towers was partly realised in 1975 when he designed and built the Aquapolis for the
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After the World Design Conference Maki began to distance himself from Metabolist movement, although his studies in
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Whilst discussing the organic nature of Kikutake's theoretical Marine City project, Kawazoe used the Japanese word
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The conference ran from 11â16 May 1960 and had 227 guests, 84 of whom were international, including the architects
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prepared the publication of the Metabolism manifesto. They were influenced by a wide variety of sources including
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vernacular buildings. The project they included to illustrate their ideas was a scheme for the redevelopment of
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The project was designed by Tange and other members of his studio at Tokyo University, including Kurokawa and
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and the Japan Association of Advertising Arts were left. In 1958 they formed a preparation committee led by
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and Kurokawa capitalised on the majority of the commissions, but Kikutake and Maki were involved too.
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was erected in the Ginza district of Tokyo in 1972 and completed in just 30 days. Prefabricated in
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In 1961 Kenzo Tange received a commission from the Yamanashi News Group to design a new office in
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Constructed on a hillside, the Sky House is a platform supported on four concrete panels with a
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1887:. Aga Khan Visual Archive, Aga Khan University, Massachusetts Institute of Technology Libraries
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for the title of his 1976 book which contained numerous built and unbuilt projects. He defined
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for the planned 1974 Pan Arab Games. However, both were put on hold by the outbreak of the
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Sasaki, Takabumi, MayâJune 1970, "reportage: A Passage Through the Dys-topia of EXPO'70",
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The Making of a Modern Japanese Architecture: From the Founders to Shinohara and Isozaki
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continued to be of interest to the Metabolists. In 1964 he published a booklet entitled
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with those of organic biological growth. It had its first international exposure during
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in Tokyo displayed small apartment units (capsules) attached to a central building core.
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The Making of Urban Japan - Cities and planning from Edo to the twenty-first century
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2027:(in French) Master's thesis, Strasbourg, Institut national des Sciences appliquées.
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Helix City that could grow in 14 different directions and resemble organic growth.
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and exposed the Japanese architects' work to a much wider international audience.
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Je est une cabane dans le désert. Notes sur l'espace et l'architecture japonaise.
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and Peter and Alison Smithson. Japanese participants included Kunio Maekawa,
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Awazu designed the booklet and Kawazoe's wife, Yasuko, edited the layout.
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in his Japanese-English dictionary. The translation he found was the word
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in a biological sense.) The Japanese meaning of the word has a feeling of
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Danish Embassy and is situated on both sides of Kyƫ-Yamate avenue in the
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Tange's projects included a 57,000 seat stadium and sports center in
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which he thought would better accommodate the disorder of the city.
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remained a mentor for the group rather than an "official" member.
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Since 1996, the tower was listed as an architectural heritage by
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to illustrate the idea of capsules plugged onto a central tower.
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1626:"Demolition of iconic Nakagin Capsule Tower underway in Tokyo"
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540:
On 1 January 1961 Kenzo Tange presented his new plan for
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aspirations and modernising influences from the West.
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in 1973. Likewise, the plan for a new city center in
611:
then part of the Yugoslav Republic of Macedonia (now
2392:
2186:
1948:Goldhagen, Sarah W; Legault, RĂ©jean, eds. (2000).
841:approach to design advocating instead his idea of
2112:Metabolism 1960: The Proposals for a New Urbanism
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1128:
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888:Kurokawa's Toshiba-IHI Pavilion, Osaka Expo 1970
1089:
1087:
1026:Kurokawa's work included a competition win for
979:Model of the Aquapolis, Okinawa Ocean Expo 1975
872:The roof of the Festival Plaza, Osaka Expo 1970
607:The reconstruction plan of the capital city of
424:
54:
48:
1970:Kikutake Assocs, MayâJune 1970, "EXPO Tower",
1333:Koolhaas & Obrist (2011), p. 239 & 301
971:Kuwait Embassy and Chancellery of Japan (1970)
852:readily interchanges the word Metabolism with
544:(1960) in a 45-minute television programme on
74:movement that fused ideas about architectural
61:
2163:
135:CongrĂšs Internationaux d'Architecture Moderne
8:
2089:. Stuttgart / London: Edition Axel Menges.
2000:. London, United Kingdom: Pall Mall Press.
16:1960sâ1980s Japanese architectural movement
2170:
2156:
2148:
638:The Yamanashi Press and Broadcaster Centre
420:Metabolism: The Proposals for New Urbanism
273:motorbike that he had newly designed for
1923:Koolhaas & Obrist (2011), p. 673â675
1914:Koolhaas & Obrist (2011), p. 152â153
1905:Koolhaas & Obrist (2011), p. 620â630
1873:Koolhaas & Obrist (2011), p. 606â610
1864:Koolhaas & Obrist (2011), p. 594â595
1828:Koolhaas & Obrist (2011), p. 528-530
1762:Koolhaas & Obrist (2011), p. 506-507
1706:Goldhagen and Legault (2000), p. 290-292
1480:Koolhaas & Obrist (2011), p. 284-292
1462:Goldhagen and Legault (2000), p. 286â287
1255:Koolhaas & Obrist (2011), p. 190-193
1177:Koolhaas & Obrist (2011), p. 181-182
892:Japan was selected as the site for the
528:Bay Plan, project of the Metabolist and
2017:Kenzo Tange and the Metabolist Movement
1943:. London, United Kingdom: Studio Vista.
1941:New Directions in Japanese Architecture
1531:Kenzo Tange and the Metabolist Movement
1065:
896:and 330 hectares in the Senri Hills in
858:New Directions in Japanese Architecture
2041:. New York, United States: Routledge.
1977:Koolhaas, Rem; Obrist, Hans U (2011),
1186:Goldhagen and Legault (2000), p283-284
880:Kikutake's Expo Tower, Osaka Expo 1970
669:Yamanashi Press and Broadcaster Centre
357:Richards Medical Research Laboratories
695:Shizuoka Press and Broadcasting Tower
689:Shizuoka Press and Broadcasting Tower
647:Shizuoka Press and Broadcasting Tower
629:Kyoto International Conference Center
205:Massachusetts Institute of Technology
7:
1855:Koolhaas & Obrist (2011), p. 591
1819:Koolhaas & Obrist (2011), p. 507
1801:Koolhaas & Obrist (2011), p. 511
1792:Koolhaas & Obrist (2011), p. 516
1697:Goldhagen and Legault (2000), p. 289
1688:Goldhagen and Legault (2000), p. 287
1594:Koolhaas & Obrist (2011), p. 388
1555:Koolhaas & Obrist (2011), p. 363
1519:Koolhaas & Obrist (2011), p. 680
1432:Koolhaas & Obrist (2011), p. 352
1420:Koolhaas & Obrist (2011), p. 341
1360:Koolhaas & Obrist (2011), p. 186
1324:Goldhagen and Legault (2000), p. 279
1315:Koolhaas & Obrist (2011), p. 206
1306:Goldhagen and Legault (2000), p. 285
1273:Koolhaas & Obrist (2011), p. 235
1246:Koolhaas & Obrist (2011), p. 187
1237:Koolhaas & Obrist (2011), p. 185
1216:Koolhaas & Obrist (2011), p. 300
1159:Koolhaas & Obrist (2011), p. 180
1111:Koolhaas & Obrist (2011), p. 139
371:Marine City sketch by Kikutake, 1958
1034:(1975) and a city in the desert in
715:The icon of Metabolism, Kurokawa's
387:replacement of the old with the new
221:Tokyo World Design Conference, 1960
1195:Goldhagen and Legault (2000), p478
457:other land in a more natural way.
203:After the meeting, Tange left for
14:
1783:Tange & Kawazoe (1970), p. 31
818:Investigations in Collective Form
761:Investigations in Collective Form
2701:
603:Urban master plan of Skopje 1963
597:Urban master plan of Skopje 1963
269:(he arrived at the lecture on a
2110:Noboru Kawazoe, et al. (1960).
1979:Project Japan Metabolism TalksâŠ
1:
1810:Kikutake Assocs (1970), p. 69
231:Japan Institute of Architects
2134:From Metabolism to Symbiosis
1952:. Cambridge, Massachusetts:
2060:. New York, United States:
1606:Watanabe (2001), p. 148-149
693:In 1966 Tange designed the
55:
49:
2766:
2119:Metabolism in Architecture
2085:Watanabe, Hiroshi (2001).
600:
2695:
2136:. John Wiley & Sons.
2087:The Architecture of Tokyo
2056:Stewart, David B (2002).
1533:. Routledge. p. 168.
792:Tokyo after bombing, 1945
517:Plan for Tokyo, 1960â2025
410:Kikutake used a photo of
304:(the abstract image) and
214:World Health Organization
168:Peter and Alison Smithson
166:, the British architects
62:
40:
2037:Sorensen, André (2002).
1996:Kultermann, Udo (1970).
1771:Kulterman (1970), p. 284
1748:Kulterman (1970), p. 282
1501:Kulterman (1970), p. 123
1492:Kulterman (1970), p. 112
1007:was cancelled after the
995:, and a sports city for
402:The Metabolism manifesto
72:biomimetic architectural
70:was a post-war Japanese
2708:Architecture portal
2132:Kisho Kurokawa (1992).
2117:Kisho Kurokawa (1977).
1679:Watanabe (2001), p. 157
1670:Watanabe (2001), p. 139
1585:Watanabe (2001), p. 135
1396:Sorensen (2002), p. 253
1102:Watanabe (2001), p. 123
1001:Fourth ArabâIsraeli War
751:Hillside Terrace, Tokyo
619:Selected built projects
418:The group's manifesto,
318:Katsura Detached Palace
261:architectural theorist
2740:Modernist architecture
2114:. Bijutsu Shuppan Sha.
2062:Kodansha International
2023:Pflumio, Cyril (2011)
2015:Lin, Zhongjie (2010).
1546:Lin (2010), p. 179-180
1510:Lin (2010), p. 144-145
1150:Stewart (1987), p. 181
1141:Stewart (1987), p. 178
1081:Mumford (2000), p. 6â7
980:
972:
889:
881:
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639:
631:
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537:
490:Towards the Group Form
437:Visionary Architecture
429:
415:
372:
300:(the general system),
28:
2750:Architecture in Japan
2745:Architectural history
1837:Sasaki (1970), p. 143
1529:Zhongije Lin (2010).
978:
970:
894:1970 World Exposition
887:
879:
871:
820:Maki coined the term
791:
784:Metabolism in context
774:form follows function
717:Nakagin Capsule Tower
711:Nakagin Capsule Tower
663:
656:Nakagin Capsule Tower
655:
645:
637:
626:
596:
552:in the north west to
524:
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197:hyperbolic paraboloid
129:Origins of Metabolism
119:1970 World Exposition
115:Nakagin Capsule Tower
25:Nakagin Capsule Tower
22:
2735:Architectural styles
2652:Critical regionalism
2234:Critical regionalism
1120:Stewart (1987), p177
2500:International style
2492:Rationalist-Fascist
2436:Stripped Classicism
2369:Stripped Classicism
2349:Rationalist-Fascist
2274:International style
2180:modern architecture
2080:The Japan Architect
2032:The Japan Architect
1981:, London: Taschen,
1972:The Japan Architect
1132:Riani (1969), p. 24
1013:Presidential Palace
957:world energy crisis
768:district of Tokyo.
363:The Metabolism name
2583:(1940sâlate 1970s)
2572:Mid-century modern
2540:Postconstructivism
2484:Streamline Moderne
2364:Streamline Moderne
2329:Postconstructivism
2284:Mid-Century modern
1950:Anxious Modernisms
1885:"New Shaab Palace"
1846:Lin (2010), p. 228
1736:Boyd (1968), p. 16
1658:Lin (2010), p. 119
1649:Lin (2010), p. 111
1615:Lin (2010), p. 233
1576:Lin (2010), p. 188
1564:Lin (2010), p. 186
1378:Lin (2010), p. 238
1072:Mumford (2000), p5
1049:and then towed to
1043:Okinawa Ocean Expo
981:
973:
934:Giancarlo De Carlo
890:
882:
874:
794:
778:Daikanyama Station
666:
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416:
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345:Yoshinobu Ashihara
160:Giancarlo De Carlo
29:
2722:
2721:
2142:978-1-85490-119-4
2127:978-0-289-70733-3
1988:978-3-8365-2508-4
1727:Lin (2010), p. 11
1715:Lin (2010), p. 10
1453:Lin (2010), p. 32
1444:Lin (2010), p. 34
1408:Lin (2010), p. 30
1387:Lin (2010), p. 28
1369:Lin (2010), p. 27
1351:Lin (2010), p. 25
1297:Lin (2010), p. 24
1285:Lin (2010), p. 23
1264:Lin (2010), p. 18
1225:Lin (2010), p. 20
1207:Lin (2010), p. 22
1168:Lin (2010), p. 19
1093:Lin (2010), p. 26
856:in his 1968 book
283:Graham Foundation
186:Kiyonori Kikutake
170:and the American
95:Kiyonori Kikutake
2757:
2714:Related articles
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2121:. Studio Vista.
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898:Osaka Prefecture
864:Osaka Expo, 1970
798:Burnt Ash School
721:Shiga Prefecture
664:Hillside Terrace
532:movement, 1960 (
508:Material and Man
501:Shinjuku station
267:Konrad Wachsmann
164:Georges Candilis
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2105:Further reading
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1009:1979 revolution
965:
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738:mass production
713:
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621:
613:North Macedonia
605:
591:
589:Plan for Skopje
519:
510:
492:
483:Ise Bay Typhoon
471:
454:Kindai Kenchiku
449:
404:
365:
349:Kazuo Shinohara
294:Mitsuo Taketani
227:Aspen, Colorado
223:
131:
123:1973 oil crisis
59:
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2460:Constructivism
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2420:Prairie School
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2187:Alphabetically
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1883:Tange, Kenzo.
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848:The architect
835:megastructures
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685:adaptability.
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601:Main article:
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546:NHK General TV
518:
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491:
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481:Surviving the
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403:
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392:shinchintaisha
377:shinchintaisha
364:
361:
251:Kisho Kurokawa
247:Noboru Kawazoe
235:Junzo Sakakura
222:
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172:Shadrach Woods
130:
127:
99:Kisho Kurokawa
76:megastructures
56:shinchintaisha
15:
13:
10:
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2559:(1930sâ1950s)
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2511:(1920sâ1970s)
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2508:Functionalism
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580:With Japan's
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103:Fumihiko Maki
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2699:
2684:Contemporary
2636:Neo-futurism
2628:Blobitecture
2611:
2567:(1930sâ1970)
2299:Neo-Futurism
2278:
2229:Contemporary
2209:Blobitecture
2133:
2118:
2111:
2086:
2079:
2057:
2038:
2031:
2024:
2019:. Routledge.
2016:
1997:
1978:
1971:
1949:
1940:
1919:
1910:
1901:
1889:. Retrieved
1878:
1869:
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1654:
1645:
1634:. Retrieved
1632:. 2022-04-12
1629:
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946:
930:Hans Hollein
922:Moshe Safdie
919:
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341:Paul Rudolph
322:
310:
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301:
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224:
210:
202:
194:
190:
180:
176:urban design
152:Jacob Bakema
139:Le Corbusier
132:
112:
92:
50:metaborizumu
31:
30:
2599:(1953â1970)
2575:(1933â1969)
2551:(1933â1944)
2548:PWA Moderne
2535:(1910â1939)
2487:(1925â1950)
2479:(1922â1933)
2471:(1921â1929)
2468:Rondocubism
2463:(1920â1932)
2455:(1919â1933)
2447:(1917â1931)
2415:(1890â1910)
2412:Art Nouveau
2407:(1888â1911)
2379:Sustainable
2354:Rondocubism
2339:PWA Moderne
2199:Art Nouveau
1998:Kenzo Tange
1937:Boyd, Robin
1891:12 February
993:King Faisal
963:Later years
915:space frame
577:not built.
574:prefectures
534:Kenzo Tange
412:Marina City
337:Jean Prouvé
333:B. V. Doshi
255:Kenji Ekuan
182:Kenzo Tange
84:Kenzo Tange
2729:Categories
2612:Metabolism
2524:Organicism
2404:Modernisme
2324:Organicism
2289:Modernisme
2279:Metabolism
2178:Genres of
1930:References
1636:2022-10-26
938:ball joint
850:Robin Boyd
843:Group Form
807:Ise Shrine
766:Daikanyama
757:Group Form
728:for Tokyo
469:Space City
447:Ocean City
396:Metabolism
382:metabolism
325:Louis Kahn
314:Ise Shrine
158:, Italian
144:Chandigarh
32:Metabolism
2668:Neomodern
2644:High-tech
2596:New Khmer
2580:Brutalism
2556:Stalinist
2359:Stalinist
2314:New Khmer
2304:Neomodern
2269:High-tech
2219:Bowellism
2214:Brutalism
1061:Footnotes
1047:Hiroshima
1028:Abu Dhabi
854:Archigram
829:borrowed
730:salarymen
550:Ikebukuro
542:Tokyo Bay
312:like the
2687:(2000sâ)
2679:(1990sâ)
2671:(1990sâ)
2663:(1980sâ)
2655:(1980sâ)
2647:(1970sâ)
2639:(1960sâ)
2631:(1960sâ)
2623:(1960sâ)
2588:Tropical
2532:Art Deco
2527:(1920sâ)
2519:(1920sâ)
2516:Futurism
2503:(1920sâ)
2444:De Stijl
2384:Tropical
2259:Futurism
2239:De Stijl
2194:Art Deco
1939:(1968).
1017:Damascus
811:Imperial
802:Buddhist
745:DoCoMoMo
704:formwork
554:Kisarazu
162:, Greek
90:studio.
37:Japanese
2615:(1959â)
2607:(1959â)
2591:(1958â)
2543:(1930s)
2452:Bauhaus
2439:(1913â)
2431:(1910â)
2204:Bauhaus
1051:Okinawa
1032:Baghdad
816:In his
697:in the
566:TĆkaidĆ
306:katachi
290:Asakusa
259:Marxist
148:Team 10
107:Marxist
53:, also
45:Hepburn
2564:Googie
2396:decade
2264:Googie
2140:
2125:
2093:
2068:
2045:
2004:
1985:
1960:
1630:Dezeen
1055:Hawaii
1005:Tehran
997:Kuwait
989:Riyadh
609:Skopje
275:Yamaha
249:, and
41:ăĄăżăăȘășă
1036:Libya
1021:Syria
942:jacks
699:Ginza
526:Tokyo
2138:ISBN
2123:ISBN
2091:ISBN
2066:ISBN
2043:ISBN
2002:ISBN
1983:ISBN
1958:ISBN
1893:2022
991:for
932:and
675:KĆfu
627:The
355:own
347:and
316:and
302:kata
271:YA-1
154:and
133:The
101:and
80:CIAM
63:æ°éłä»ŁèŹ
23:The
1015:in
88:MIT
86:'s
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2064:.
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1753:^
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2051:.
2010:.
1992:.
1966:.
1895:.
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68:)
66:)
60:(
35:(
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