Kenzo Tange and the Metabolist Movement: Urban Utopias of by Zhongjie Lin

By Zhongjie Lin

Metabolism, the japanese architectural avant-garde move of the Nineteen Sixties, profoundly prompted modern structure and urbanism. This booklet specializes in the Metabolists' utopian inspiration of town and investigates the layout and political implications in their visionary making plans within the postwar society. on the root of the group's city utopias was once a selected biotechical idea of the town as an natural technique. It stood towards the Modernist view of urban layout and ended in such radical layout options as marine civilization and synthetic terrains, which embodied the metabolists' beliefs of social change.

Tracing the evolution of Metabolism from its inception on the 1960 global layout convention to its brilliant swansong on the Osaka international Exposition in 1970, this publication situates Metabolism within the context of Japan's mass city reconstruction, financial miracle, and socio-political reorientation. This new examine will curiosity architectural and concrete historians, architects and all these attracted to avant-garde layout and eastern structure.

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Kenzo Tange and the Metabolist Movement: Urban Utopias of Modern Japan

Metabolism, the japanese architectural avant-garde flow of the Sixties, profoundly prompted modern structure and urbanism. This e-book makes a speciality of the Metabolists' utopian inspiration of the town and investigates the layout and political implications in their visionary making plans within the postwar society.

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Kawazoe’s essay thus linked the theory of Metabolism to broader concerns of mankind in the modern time. Permeating the text was an anxiety about crises confronting modern cities and a sense of urgency of putting the urban metamorphosis under control. ” If the essay was explicit in its criticism, Kawazoe’s poem turned toward ambiguity. In this poem, however, the author’s complex feelings about the future of the world could be detected. The poem consists of three sections: “I want to be a Kai (seashell),” “I want to be a Kami (god)” and “I want to be a Kabi (bacterium),” respectively.

At the end of this meeting a resolution was passed in which the participants agreed to drop the name CIAM from their activities. So the Otterlo meeting became CIAM’s final gathering. This historic meeting was documented in Oscar Newman, New Frontiers in Architecture: CIAM’59 in Otterlo (New York: Universal Books, 1961). General discussions of the significant transition of architectural culture during the post-CIAM period can be found in Joan Ockman, Architecture Culture 1943–1968: A Documentary Anthology (New York: Rizzoli, 1993); Philip Drew, Third Generation: The Changing Meaning of Architecture (New York: Praeger, 1972); and Sarah W.

Visits by foreign architects to Japan were thus viewed as important events in the country where architects and designers were eager to learn about the latest developments of modern architecture from their Western guests. Prior to the World Design Conference, Walter Gropius traveled to the country in 1953 to help solve the postwar housing crisis; Le Corbusier visited Tokyo in 1955 to prepare his design for the National Museum of Western Arts; and Konrad Wachsmann offered a series of seminars at Tokyo Institute of Technology in 1956.

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