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Review: Metabolism: The City of the Future

2012; University of California Press; Volume: 71; Issue: 3 Linguagem: Inglês

10.1525/jsah.2012.71.3.408

2150-5926

Dana Buntrock,

Urban and Rural Development Challenges

Review Article| September 01 2012 Review: Metabolism: The City of the Future Metabolism: The City of the Future. Mori Art Museum, Tokyo. 17 September 2011–15 January 2012. Dana Buntrock Dana Buntrock University of California, Berkeley Search for other works by this author on: This Site PubMed Google Scholar Journal of the Society of Architectural Historians (2012) 71 (3): 408–409. https://doi.org/10.1525/jsah.2012.71.3.408 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Dana Buntrock; Review: Metabolism: The City of the Future. Journal of the Society of Architectural Historians 1 September 2012; 71 (3): 408–409. doi: https://doi.org/10.1525/jsah.2012.71.3.408 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the Society of Architectural Historians Search Today we often regard Japan’s Metabolists as young dreamers proffering technologically advanced, audaciously overscaled schemes. A show at the Mori Art Museum in Tokyo—the first retrospective dedicated to the group—underscored instead Metabolism’s ideological origins and, more importantly, unearthed a treasure trove of artifacts. The exhibition opened with a single image: a 1953 photograph of Kenzo Tange’s celebrated central structure at Hiroshima’s Peace Park. The Metabolists’ debut was still seven years away, via a booklet distributed at the 1960 World Design Congress in Tokyo that featured four architects—Masato Otaka, Kiyonori Kikutake, Fumihiko Maki, and Kisho Kurokawa—and others from related disciplines: author and editor Noboru Kawazoe, industrial designer Genji Ekuan, and graphic designer Kyoshi Awazu.1 Adjacent Japanese and English wall text used to isolate this image argued that Tange, though not a member of the movement, was its progenitor; the point was then followed by additional photographs of Peace Park interspersed... You do not currently have access to this content.