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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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871:. 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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758:. 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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148:(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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575:. 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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947:. 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.
240:. 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
626:) 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
970:, 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.
199:: 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.
559:. 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
688:. 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.
433:, 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.
920:, 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).
303:, 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
820:(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.
185:. 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
331:. They worked in coffee shops and Tokyo's International House to produce a compilation of their works that they could publish as a manifesto for the conference.
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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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189:. 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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319:(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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463:"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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1898:. 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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2038:(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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1637:"Demolition of iconic Nakagin Capsule Tower underway in Tokyo"
161:" was formed. This included the inner circle Dutch architects
1790:
1788:
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1767:
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1613:
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1479:
551:
On 1 January 1961 Kenzo Tange presented his new plan for
1755:
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1499:
1497:
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1675:
1439:
1437:
1427:
1425:
1244:
1242:
824:
aspirations and modernising influences from the West.
1553:
1551:
1014:
in 1973. Likewise, the plan for a new city center in
622:
then part of the Yugoslav Republic of Macedonia (now
2403:
2197:
1959:Goldhagen, Sarah W; Legault, RĂ©jean, eds. (2000).
852:approach to design advocating instead his idea of
2123:Metabolism 1960: The Proposals for a New Urbanism
1583:
1581:
1139:
1137:
1734:
1732:
1451:
1449:
1415:
1413:
1304:
1302:
1292:
1290:
1214:
1212:
899:Kurokawa's Toshiba-IHI Pavilion, Osaka Expo 1970
1100:
1098:
1037:Kurokawa's work included a competition win for
990:Model of the Aquapolis, Okinawa Ocean Expo 1975
883:The roof of the Festival Plaza, Osaka Expo 1970
618:The reconstruction plan of the capital city of
435:
65:
59:
1981:Kikutake Assocs, MayâJune 1970, "EXPO Tower",
1344:Koolhaas & Obrist (2011), p. 239 & 301
982:Kuwait Embassy and Chancellery of Japan (1970)
863:readily interchanges the word Metabolism with
555:(1960) in a 45-minute television programme on
85:movement that fused ideas about architectural
72:
2174:
146:CongrĂšs Internationaux d'Architecture Moderne
8:
2100:. Stuttgart / London: Edition Axel Menges.
2011:. London, United Kingdom: Pall Mall Press.
27:1960sâ1980s Japanese architectural movement
2181:
2167:
2159:
649:The Yamanashi Press and Broadcaster Centre
431:Metabolism: The Proposals for New Urbanism
284:motorbike that he had newly designed for
1934:Koolhaas & Obrist (2011), p. 673â675
1925:Koolhaas & Obrist (2011), p. 152â153
1916:Koolhaas & Obrist (2011), p. 620â630
1884:Koolhaas & Obrist (2011), p. 606â610
1875:Koolhaas & Obrist (2011), p. 594â595
1839:Koolhaas & Obrist (2011), p. 528-530
1773:Koolhaas & Obrist (2011), p. 506-507
1717:Goldhagen and Legault (2000), p. 290-292
1491:Koolhaas & Obrist (2011), p. 284-292
1473:Goldhagen and Legault (2000), p. 286â287
1266:Koolhaas & Obrist (2011), p. 190-193
1188:Koolhaas & Obrist (2011), p. 181-182
903:Japan was selected as the site for the
539:Bay Plan, project of the Metabolist and
2028:Kenzo Tange and the Metabolist Movement
1954:. London, United Kingdom: Studio Vista.
1952:New Directions in Japanese Architecture
1542:Kenzo Tange and the Metabolist Movement
1076:
907:and 330 hectares in the Senri Hills in
869:New Directions in Japanese Architecture
2052:. New York, United States: Routledge.
1988:Koolhaas, Rem; Obrist, Hans U (2011),
1197:Goldhagen and Legault (2000), p283-284
891:Kikutake's Expo Tower, Osaka Expo 1970
680:Yamanashi Press and Broadcaster Centre
368:Richards Medical Research Laboratories
706:Shizuoka Press and Broadcasting Tower
700:Shizuoka Press and Broadcasting Tower
658:Shizuoka Press and Broadcasting Tower
640:Kyoto International Conference Center
216:Massachusetts Institute of Technology
7:
1866:Koolhaas & Obrist (2011), p. 591
1830:Koolhaas & Obrist (2011), p. 507
1812:Koolhaas & Obrist (2011), p. 511
1803:Koolhaas & Obrist (2011), p. 516
1708:Goldhagen and Legault (2000), p. 289
1699:Goldhagen and Legault (2000), p. 287
1605:Koolhaas & Obrist (2011), p. 388
1566:Koolhaas & Obrist (2011), p. 363
1530:Koolhaas & Obrist (2011), p. 680
1443:Koolhaas & Obrist (2011), p. 352
1431:Koolhaas & Obrist (2011), p. 341
1371:Koolhaas & Obrist (2011), p. 186
1335:Goldhagen and Legault (2000), p. 279
1326:Koolhaas & Obrist (2011), p. 206
1317:Goldhagen and Legault (2000), p. 285
1284:Koolhaas & Obrist (2011), p. 235
1257:Koolhaas & Obrist (2011), p. 187
1248:Koolhaas & Obrist (2011), p. 185
1227:Koolhaas & Obrist (2011), p. 300
1170:Koolhaas & Obrist (2011), p. 180
1122:Koolhaas & Obrist (2011), p. 139
382:Marine City sketch by Kikutake, 1958
1045:(1975) and a city in the desert in
726:The icon of Metabolism, Kurokawa's
398:replacement of the old with the new
232:Tokyo World Design Conference, 1960
1206:Goldhagen and Legault (2000), p478
468:other land in a more natural way.
214:After the meeting, Tange left for
25:
1794:Tange & Kawazoe (1970), p. 31
829:Investigations in Collective Form
772:Investigations in Collective Form
2712:
614:Urban master plan of Skopje 1963
608:Urban master plan of Skopje 1963
280:(he arrived at the lecture on a
2121:Noboru Kawazoe, et al. (1960).
1990:Project Japan Metabolism TalksâŠ
1:
1821:Kikutake Assocs (1970), p. 69
242:Japan Institute of Architects
2145:From Metabolism to Symbiosis
1963:. Cambridge, Massachusetts:
2071:. New York, United States:
1617:Watanabe (2001), p. 148-149
704:In 1966 Tange designed the
66:
60:
2777:
2130:Metabolism in Architecture
2096:Watanabe, Hiroshi (2001).
611:
2706:
2147:. John Wiley & Sons.
2098:The Architecture of Tokyo
2067:Stewart, David B (2002).
1544:. Routledge. p. 168.
803:Tokyo after bombing, 1945
528:Plan for Tokyo, 1960â2025
421:Kikutake used a photo of
315:(the abstract image) and
225:World Health Organization
179:Peter and Alison Smithson
177:, the British architects
73:
51:
2048:Sorensen, André (2002).
2007:Kultermann, Udo (1970).
1782:Kulterman (1970), p. 284
1759:Kulterman (1970), p. 282
1512:Kulterman (1970), p. 123
1503:Kulterman (1970), p. 112
1018:was cancelled after the
1006:, and a sports city for
413:The Metabolism manifesto
83:biomimetic architectural
81:was a post-war Japanese
2719:Architecture portal
2143:Kisho Kurokawa (1992).
2128:Kisho Kurokawa (1977).
1690:Watanabe (2001), p. 157
1681:Watanabe (2001), p. 139
1596:Watanabe (2001), p. 135
1407:Sorensen (2002), p. 253
1113:Watanabe (2001), p. 123
1012:Fourth ArabâIsraeli War
762:Hillside Terrace, Tokyo
630:Selected built projects
429:The group's manifesto,
329:Katsura Detached Palace
272:architectural theorist
2751:Modernist architecture
2125:. Bijutsu Shuppan Sha.
2073:Kodansha International
2034:Pflumio, Cyril (2011)
2026:Lin, Zhongjie (2010).
1557:Lin (2010), p. 179-180
1521:Lin (2010), p. 144-145
1161:Stewart (1987), p. 181
1152:Stewart (1987), p. 178
1092:Mumford (2000), p. 6â7
991:
983:
900:
892:
884:
804:
676:
668:
660:
650:
642:
609:
548:
501:Towards the Group Form
448:Visionary Architecture
440:
426:
383:
311:(the general system),
39:
2761:Architecture in Japan
2756:Architectural history
1848:Sasaki (1970), p. 143
1540:Zhongije Lin (2010).
989:
981:
905:1970 World Exposition
898:
890:
882:
831:Maki coined the term
802:
795:Metabolism in context
785:form follows function
728:Nakagin Capsule Tower
722:Nakagin Capsule Tower
674:
667:Nakagin Capsule Tower
666:
656:
648:
637:
607:
563:in the north west to
535:
420:
381:
208:hyperbolic paraboloid
140:Origins of Metabolism
130:1970 World Exposition
126:Nakagin Capsule Tower
36:Nakagin Capsule Tower
33:
2746:Architectural styles
2663:Critical regionalism
2245:Critical regionalism
1131:Stewart (1987), p177
2511:International style
2503:Rationalist-Fascist
2447:Stripped Classicism
2380:Stripped Classicism
2360:Rationalist-Fascist
2285:International style
2191:modern architecture
2091:The Japan Architect
2043:The Japan Architect
1992:, London: Taschen,
1983:The Japan Architect
1143:Riani (1969), p. 24
1024:Presidential Palace
968:world energy crisis
779:district of Tokyo.
374:The Metabolism name
18:Metabolist Movement
2594:(1940sâlate 1970s)
2583:Mid-century modern
2551:Postconstructivism
2495:Streamline Moderne
2375:Streamline Moderne
2340:Postconstructivism
2295:Mid-Century modern
1961:Anxious Modernisms
1896:"New Shaab Palace"
1857:Lin (2010), p. 228
1747:Boyd (1968), p. 16
1669:Lin (2010), p. 119
1660:Lin (2010), p. 111
1626:Lin (2010), p. 233
1587:Lin (2010), p. 188
1575:Lin (2010), p. 186
1389:Lin (2010), p. 238
1083:Mumford (2000), p5
1060:and then towed to
1054:Okinawa Ocean Expo
992:
984:
945:Giancarlo De Carlo
901:
893:
885:
805:
789:Daikanyama Station
677:
669:
661:
651:
643:
610:
549:
427:
384:
356:Yoshinobu Ashihara
171:Giancarlo De Carlo
40:
2733:
2732:
2153:978-1-85490-119-4
2138:978-0-289-70733-3
1999:978-3-8365-2508-4
1738:Lin (2010), p. 11
1726:Lin (2010), p. 10
1464:Lin (2010), p. 32
1455:Lin (2010), p. 34
1419:Lin (2010), p. 30
1398:Lin (2010), p. 28
1380:Lin (2010), p. 27
1362:Lin (2010), p. 25
1308:Lin (2010), p. 24
1296:Lin (2010), p. 23
1275:Lin (2010), p. 18
1236:Lin (2010), p. 20
1218:Lin (2010), p. 22
1179:Lin (2010), p. 19
1104:Lin (2010), p. 26
867:in his 1968 book
294:Graham Foundation
197:Kiyonori Kikutake
181:and the American
106:Kiyonori Kikutake
16:(Redirected from
2768:
2725:Related articles
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2255:Deconstructivism
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2132:. Studio Vista.
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1353:Lin (2010), p. 2
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909:Osaka Prefecture
875:Osaka Expo, 1970
809:Burnt Ash School
732:Shiga Prefecture
675:Hillside Terrace
543:movement, 1960 (
519:Material and Man
512:Shinjuku station
278:Konrad Wachsmann
175:Georges Candilis
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2405:By start year /
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2330:New Objectivity
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2116:Further reading
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1020:1979 revolution
976:
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749:mass production
724:
702:
682:
632:
624:North Macedonia
616:
602:
600:Plan for Skopje
530:
521:
503:
494:Ise Bay Typhoon
482:
465:Kindai Kenchiku
460:
415:
376:
360:Kazuo Shinohara
305:Mitsuo Taketani
238:Aspen, Colorado
234:
142:
134:1973 oil crisis
70:
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28:
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2471:Constructivism
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2431:Prairie School
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2198:Alphabetically
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1894:Tange, Kenzo.
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859:The architect
846:megastructures
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696:adaptability.
681:
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612:Main article:
601:
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557:NHK General TV
529:
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520:
517:
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492:Surviving the
481:
478:
459:
456:
414:
411:
403:shinchintaisha
388:shinchintaisha
375:
372:
262:Kisho Kurokawa
258:Noboru Kawazoe
246:Junzo Sakakura
233:
230:
183:Shadrach Woods
141:
138:
110:Kisho Kurokawa
87:megastructures
67:shinchintaisha
26:
24:
14:
13:
10:
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6:
4:
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2:
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2687:New Classical
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2664:
2661:
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2615:Structuralism
2613:
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2570:(1930sâ1950s)
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2695:Contemporary
2647:Neo-futurism
2639:Blobitecture
2622:
2578:(1930sâ1970)
2310:Neo-Futurism
2289:
2240:Contemporary
2220:Blobitecture
2144:
2129:
2122:
2097:
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2030:. Routledge.
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2008:
1989:
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1912:
1900:. Retrieved
1889:
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1645:. Retrieved
1643:. 2022-04-12
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933:Moshe Safdie
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333:
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191:
187:urban design
163:Jacob Bakema
150:Le Corbusier
143:
123:
103:
61:metaborizumu
42:
41:
2610:(1953â1970)
2586:(1933â1969)
2562:(1933â1944)
2559:PWA Moderne
2546:(1910â1939)
2498:(1925â1950)
2490:(1922â1933)
2482:(1921â1929)
2479:Rondocubism
2474:(1920â1932)
2466:(1919â1933)
2458:(1917â1931)
2426:(1890â1910)
2423:Art Nouveau
2418:(1888â1911)
2390:Sustainable
2365:Rondocubism
2350:PWA Moderne
2210:Art Nouveau
2009:Kenzo Tange
1948:Boyd, Robin
1902:12 February
1004:King Faisal
974:Later years
926:space frame
588:not built.
585:prefectures
545:Kenzo Tange
423:Marina City
348:Jean Prouvé
344:B. V. Doshi
266:Kenji Ekuan
193:Kenzo Tange
95:Kenzo Tange
2740:Categories
2623:Metabolism
2535:Organicism
2415:Modernisme
2335:Organicism
2300:Modernisme
2290:Metabolism
2189:Genres of
1941:References
1647:2022-10-26
949:ball joint
861:Robin Boyd
854:Group Form
818:Ise Shrine
777:Daikanyama
768:Group Form
739:for Tokyo
480:Space City
458:Ocean City
407:Metabolism
393:metabolism
336:Louis Kahn
325:Ise Shrine
169:, Italian
155:Chandigarh
43:Metabolism
2679:Neomodern
2655:High-tech
2607:New Khmer
2591:Brutalism
2567:Stalinist
2370:Stalinist
2325:New Khmer
2315:Neomodern
2280:High-tech
2230:Bowellism
2225:Brutalism
1072:Footnotes
1058:Hiroshima
1039:Abu Dhabi
865:Archigram
840:borrowed
741:salarymen
561:Ikebukuro
553:Tokyo Bay
323:like the
2698:(2000sâ)
2690:(1990sâ)
2682:(1990sâ)
2674:(1980sâ)
2666:(1980sâ)
2658:(1970sâ)
2650:(1960sâ)
2642:(1960sâ)
2634:(1960sâ)
2599:Tropical
2543:Art Deco
2538:(1920sâ)
2530:(1920sâ)
2527:Futurism
2514:(1920sâ)
2455:De Stijl
2395:Tropical
2270:Futurism
2250:De Stijl
2205:Art Deco
1950:(1968).
1028:Damascus
822:Imperial
813:Buddhist
756:DoCoMoMo
715:formwork
565:Kisarazu
173:, Greek
101:studio.
48:Japanese
2626:(1959â)
2618:(1959â)
2602:(1958â)
2554:(1930s)
2463:Bauhaus
2450:(1913â)
2442:(1910â)
2215:Bauhaus
1062:Okinawa
1043:Baghdad
827:In his
708:in the
577:TĆkaidĆ
317:katachi
301:Asakusa
270:Marxist
159:Team 10
118:Marxist
64:, also
56:Hepburn
2575:Googie
2407:decade
2275:Googie
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2136:
2104:
2079:
2056:
2015:
1996:
1971:
1641:Dezeen
1066:Hawaii
1016:Tehran
1008:Kuwait
1000:Riyadh
620:Skopje
286:Yamaha
260:, and
52:ăĄăżăăȘășă
1047:Libya
1032:Syria
953:jacks
710:Ginza
537:Tokyo
2149:ISBN
2134:ISBN
2102:ISBN
2077:ISBN
2054:ISBN
2013:ISBN
1994:ISBN
1969:ISBN
1904:2022
1002:for
943:and
686:KĆfu
638:The
366:own
358:and
327:and
313:kata
282:YA-1
165:and
144:The
112:and
91:CIAM
74:æ°éłä»ŁèŹ
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1026:in
99:MIT
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