Alexander Pollard

13568290
Project Kurokawa: Rede ning the
ARCH13-120
boundaries of architecture for an
Nov 2020
Instructor:

Adrian Carter

‘Age of Life’
Word count: 2748

Abstract Kisho Kurokawa (黒川 紀章), born 1934, devoted

his life towards solving issues both inside and out
of architecture that have only struck us today.
The following paper explores his architectural
philosophy in a bid to find answer to our most
pressing global ecological and humanitarian
issues.

Introduction At the impressionable age of 10, witnessing the

firebombing of his hometown Nagoya in World
Devastated by mass bombings, post war Japan
War II made the impermanence of architecture needed to rebuild
devastatingly clear to a young Kishō Kurokawa. Koolhaas, 2011
His father, a pure modernist architect, was a
great influence but a local buddhist priest proved
to be a good friend and a powerful guide. These experiences gave Kurokawa great
reason for becoming an architect. “It was his belief that consciousness is the root of
everything that led me to combine architecture and philosophy.” (Kurokawa, 1988)

Whilst studying at Kyoto University in 1958, Kurokawa was invited to attend the
International Conference of Architectural Students, held in Leningrad. This was during
a left-wing movement among Japanese students, of which Kurokawa was a part. Being
an admirer of constructivist avant-garde, it ultimately ended in his disillusion of
communism. Still bewildered by the collapse of CIAM and the Bauhaus a year prior,
entering Tange Lab for his postgraduate study would allow these revelations to settle,
moving Kurokawa to write his first manifesto, predicting a ‘Transition from the Age of
the Machine to the Age of Life’ (Koolhaas, 2011). More precisely, a shift away from
mechanical principles towards living principles. This very statement set a path for his
philosophy and, subsequently, his architectural career.

Foundations of For the upcoming world design conference held in Tokyo, “We have in Japan an
Metabolism 1960, Kenzo Tange arranged a team of the nation’s brightest aesthetic of death,
young architectural talents, most notably; Arata whereas you
Isozaki, Kiyonori Kikutake, Masato Otaka, (westerners) have an
Fumihiko Maki, industrial designer Kenji Ekuan, aesthetic of eternity.
and critic Noboru Kawazoe. Twenty-six years old The Ise shrines are
when Metabolism began, Kisho Kurokawa was the rebuilt every twenty
youngest, most precocious, and most photogenic years in the same

 group member, and would soon become the most
form, or spirit;
prolific. (Koolhaas, 2011)
whereas you try to
A modern take on ‘taisha-zukuri’, the term preserve the actual
metabolism is an indirect translation of 新陳代謝 Greek Temple, the
The metabolists meet
for dinner, taken by (shinchintaisha), meaning ‘renewal of old with the original material, as if
Kenzo Tange
new’ (Kurokawa, 1977). Throughout his career, Kurokawa’s it could last for
Koolhaas, 2011
elaborate use of neologisms allows him to manifest habitual eternity.” Kisho
philosophical ideas, necessary for an artist who will Kurokawa -
Page 1 manipulate it in his own way. Kurokawa notes the Ise Shrine Metabolism in
The Metabolists’ promoted radical, avant-garde architectural Architecture, 1977

fi

 themes such as capsules, cores, proliferation, artificial ground, floating cities, and
‘mega-forests’ promising an exciting future (Koolhaas, 2011).

The Metabolists’ first exposure came in the form of a series of solutions for
inhabiting Tokyo Bay to combat the unconstrained urbanism taking over the
Kantō plain. Multiple members submitted proposals in what would have been
one of humankind’s most significant infrastructure projects. Working alongside
Tange, Kurokawa proposed a plan inspired by the growth of mammals’ spine in a
beautiful and efficient layout, with 138m tall A-frames creating artificial land,
allowing each resident to build a house to their taste. Individually, Kurokawa’s
abstract thinking was expressed in a ‘Human-Type Plan’, housing functions
relative to their respective location in our bodies. Later, Ocean City consisted of
interconnected floating helixes arranged in a biomorphic manner. Now
projecting across the Japanese archipelago, Linear City: Metamorphosis
Tokyo bay plan in expanded on this idea, growing like bacteria strings, free from dependence on a
collaboration with choked urban centre. In the linear city, nature and urban life exist in parallel with
Tange
‘cells’ bound with road and street systems that spread like veins (Koolhaas, 2011). De-
Koolhaas, 2011
centralised cities are becoming a commonly discussed topic today and answer the
problems Kurokawa put forward.

EXPO 70 in Osaka was metabolisms’ brightest “The capsule is cyborg

opportunity to make its mark on the world, of architecture. Man, machine
which Kurokawa was an integral part of the and space build a new organic
planning committee. Kurokawa designed three
body which transcends
pavilions for the expo. First, the Takara
Beautillion, an effeminate megastructure with
confrontation. As a human
an unfinished aesthetic. Second, the Toshiba being equipped with a man-
IHI Pavilion, featuring a space frame comprised made internal organ becomes
of tetrahedron units housing a theatre raised a new species which is neither
and lowered by hydraulics. Furthermore, 30 machine nor human, so the
meters up inside ‘The Big Roof’ was his capsule transcends man and
proposal for a capsule for living, placed equipment.” - Kisho
alongside slightly more anxious visions by Kurokawa, Capsule
Archigram, Christopher Alexander, and Yona Declaration, 1969.
Friedman (Koolhaas, 2011). 
Inside the Nakagin
Capsule tower The concept of capsules birthed the tendentious Nagakin Capsule tower, the purest
Nakamoto, 2020 example of which the movement was materialised, and perhaps his most well-known
work. Located near Tokyo’s Ginza business district, the vision was that the
capsules would travel around Japan following their homo-movens, the man
who spends much of his time traveling. These capsules sold quickly, with 30%
owned as accommodation by companies and another 30% used as house
extensions for playrooms, studies, or studios, creating another Kurokawa
neologism, ‘time community’ (Kurokawa, 1977). Unfortunately, economic
complications never saw the concept taken off, and today, despite the capsules
far outliving their intended life span, it is a masterpiece in disrepair, soon to
become victim to the vicissitudes of high-value real estate development
(Nakamoto, 2020).

Though little known, Kurokawa initially won the Centre Pompidou architectural
competition with his metabolic entry (Kurokawa, 1992), until it overturned in Rogers
and Piano’s favour (Koolhaas, 2011). This begs the question, with such an influential
project, what effect could this have had on modern architecture? We may have seen a
more significant impact of metabolism in architecture, though we still often see waves
of the movement reflected in science fiction pieces such as Bladerunner or Katsuhiro
Otomo’s Akira (Gardner, 2020).
Metabolism for
Today It takes only a walk outside to discover evolution is the best designer. Our entire
beautiful and delicate natural world is crafted on this principle and is ruthlessly
Page 2 efficient. However, we are progressing faster while our life cycles grow longer.

 Evolution must be catalysed to keep pace, by doing so forms an answer to what has
been lost among our cities. We may not be able to predict the future, but using
evolutionary systems allows us to be flexible and respond in a manner that does not
necessarily have to be correct the first time, as it will correct itself, not to say we
shouldn’t put our best guess forward in designs to aid with the pace of evolution.
Allowed to evolve in the right manner, you could predict our built environment to
emulate familiar patterns found in nature, such as the parallel between our solar
system and clusters of blood cells, re-represented in a city plan.

Today would have been the perfect time for metabolism to rise, and we may see
it rise again. Disasters such as the COVID-19 pandemic have disrupted our world
in unparalleled ways that our rigid built environment cannot handle. Technologies
such as advancements in artificial intelligence can simulate evolutions we could
only predict and even craft some incredible out of the box solutions the human
mind may not be able to conjure. A wave of Neo-Metabolism has begun to sprout
with architects such as Chris Precht crafting architecture for flexible programs and
uses while adding sustainable design strategies. His A Thousands Yards pavilion
draws parallels to Kurokawa’s Pompidou entry (Precht, 2019). It is also common
to see student work using modular construction or predicting evolutionary
timelines, whether they are aware of metabolism or not; it makes sense in today’s
economic and social environment. 
A Thousand Yards
Pavilion, Chris Precht
Patrik Schumacher’s Parametric City is an example of how computer-based
Precht, 2019
architecture can miss the mark (Schumacher, 2010). Though mathematically perfect,
computers do not have a heart or a soul, meaning they struggle to create desirable
human environments. There are but billions of minute parameters that make a city
that could never all be considered at once. The metabolist city understood this.
Allowing human nature and time to build a city among a flexible
system allows for personable solutions that a universal solution could
never account for. Today in multi-residential design, the end-user is
almost forgotten, whereas metabolism empowers the end-user with
the luxury of choice and personalisation, which is incredibly important
to human nature yet increasingly oppressed in our globalised world.

Gaining recognition amongst Japan’s most influential, Kurokawa’s

Outside of metamorphosis from architect (solely) into media icon and political
Architecture player accelerated. Kurokawa’s profound perspectives on architecture
and society led him capture the attention of the Japanese public, as
he grew to become a profound public figure. He could often be
found among Tokyo’s top nightclubs around this time, considered as
Japan’s best-dressed man; he would often feature in Playboy
magazine, contrary to the often preoccupied and elusive perception
of architects. Between 1974-1991, through a 15-minute monologue
on NHK news, his unique perspectives and assertive way of Achieving levitation -
talking alongside some best selling books made his voice resonate Kurokawa style
with the Japanese public (Koolhaas, 2011). Koolhaas, 2011

He began to lead the institute of social engineering, a think tank serving the
Japanese government. He believed architecture should engage with philosophy,
economics, sociology, politics, science, art, culture, and other fields. Over 36
years, 480 studies were undertaken as a direct report to the government, of which
most were never published. Kurokawa’s studies may have been more influential
Kurokawa’s mirrored
Space Capsule Disco
than we know. One report from 1972, radically reimagined Japan for leisure and
in Akasaka, Tokyo decentralisation using STOL and VTOL transport systems, with Japan morphing into an
Koolhaas, 2011 organic network of various infrastructures (Koolhaas, 2011). This is a fantastic example
of how design thinking can be used to solve issues outside the profession, and I believe
should be encouraged. We have had politicians become architects such as Thomas
Jefferson or Albert Speer, but rarely the other way around.
Page 3



 After the Metabolist movement dissolved, Kurokawa resurrected his philosophy of

Towards symbiosis, one he had developed concurrently with metabolism after studying the
Symbiosis Buddhist co-living theory, Tomoiki. He also believed metabolism did not allow him the
freedom for the forms he wanted to create. Kurokawa’s definition of symbiosis differs
from concepts like harmony, coexistence, and compromise, sparking new, creative
relationships out of opposition and contradiction (Kurokawa, 1994). Symbiotic
relationships are positive in the fact that each party tries to understand each other
despite their differences. This sparks a level of creativity that neither party could
achieve alone. The philosophy of symbiosis comprises various dimensions; past and
the present, tradition and technology, nature and man, different cultures, art and
science, regionalism, and universalism. The one component Kurokawa took from
modernism for his new philosophy was abstraction, a design tool he believed could
produce multivalent meanings (Kurokawa, 2001).

He collated the synthesis between eastern and western formal traditions with his
concept of intercultural architecture. In these projects, abstract geometrical forms are
used, which in ancient times symbolised a vision of the universe that transcended
ancient cultures. Kurokawa believed they possess a universality that all cultures can
share, yet also has a distinct historical meaning depending on its context. Moreover, he
believed that when combined and placed in symmetry, they become classical, yet in
an asymmetric layout, they become modern (Kurokawa, 2001),

The liberation of Kurokawa’s designs with the philosophy of symbiosis

lead to some controversial yet highly intellectual proposals. One
unrealised project was a German-Japanese cultural centre, housed in a
building part of Albert Speer’s monumental plan for Berlin. The political
implications of the building questioned whether it should be replaced or
not. Kurokawa kept the existing building, proposing a cylindrical glass
annexe and a series of traditional tori gates leading up to imposing
colonnade, a fascinating symbiotic juxtaposition. In the courtyard of the
Hiroshima City Art Museum, the stone pillars have a slight discolouration
at the base. This granite was exposed to the atomic bomb, displaying that
even the land itself witnessed the events (Blackwood, 1993).
Abstract juxtapositions
in Berlin
Possibly Kurokawa’s largest-ever project, Kuala Lumpur International Airport was an
Blackwood, 1993
opportunity for the architect to apply symbiosis on a city-wide scale. Our worldwide
urbanisation has brought the destruction of natural habitats, leading to the severing of
ecosystems (Kurokawa, 1992). To combat this issue, 100 square kilometres of new
rainforest was planted as part of the masterplan. Kurokawa’s research found that an
eco-corridor just 20 meters wide was sufficient to support diverse animal and plant
species’ movement. In addition, he developed a ‘Multimedia Super Corridor’, a
scheme for informational infrastructure for the eco-media city, planned an ‘Intelligent
City’, aiming to replicate the success of silicon valley (Kurokawa, 1992).

Symbiosis is a philosophy that begins to tie architecture into society and

politics, much like Kurokawa’s career. In human to human terms, it is a wise
yet profound perspective that goes against the notion that we should be
likeminded to avoid conflict instead, celebrating our differences and findings
unique ways to coexist. Racism, sexism, and discrimination of national origin
are rampant in our increasingly globalised world. I believe we have the
opportunity to maintain and express our culture with mutual respect for one
another, without the need for whitewashing as found here in Australia
between aboriginals and European settlers, and even today with East Asian
and South American immigrants. Many of the world’s greatest inventions are
birthed out of symbiotic relationships. Though it may not always be our
choice to interact with those we conflict with, science has proven the Symbiosis of man
symbiotic relationships are incredibly effective. In a bid to dismantle our and machine
invisible social barriers and live in a truly globalised society, symbiosis may re ected in a
kakakuri puppet
be what we need to move forward.
Kurokawa, 1992
Page 4
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 Symbiosis In Dropping his longstanding refusal to enter politics in 2007, Kurokawa made a bid for
Politics the Tokyo Governorship running alongside his wife, actress Ayako Wakao representing
his very own Symbiosis Party (Gardner, 2007). A manifestation of project Kurokawa, he
hoped to provide a party for the people. The flag for the party was symbolic, or be two,
one for Japan, and another replacing the rising sun with a green circle, no either or.
However, his reluctance to think inside the box again led to further disappointments,
and he was humiliated.

Just three months later, Kurokawa passed “All those factions, I don’t
away from heart failure on October 12th, understand the di erences. Do
2007, aged 73 (Gardner, 2007). Potentially a you? What Japan needs is
result of his relentless work ethic to build his someone to create a party for the
vision of a better society for all. Despite the people. That is what I was trying
Symbiosis Party’s failure, he had
to o er. Young people understood,
unknowingly and successfully established the
Green Party in Japan to help provide
but they’re too young to vote. I
environmental protection (Stott, 2020). have 3 million supporters
Despite being smaller than green parties worldwide, but what good has that
elsewhere in the world, the movement is done me here?” - Kisho Kurokawa
gaining traction in Japan. (Je s, 2007)

Re ection Throughout his career, Kurokawa was undoubtedly ahead of his time, predicting and
attempting to solve issues through both architecture and politics that have only begun
to emerge now. We live in a world today that he would be outraged by.

Though his prediction 60 years ago of a ‘transition from the machine age to an age
of life’ may never have come to fruition despite his best attempts, an ‘age of life’ is
becoming an increasingly desirable and potentially necessary vision of the future.
The rapid development and globalisation of the world since the industrial
revolution had left us lost to articulate exactly what we are chasing. Greed, a trait
hidden inside all of us, has brought war, inequality, and discrimination within the
human race. An increasingly complex and demanding society goes against hard-
wired human nature.

Forward thinking political solutions such as universal basic income, strong climate
commitments, and pacifying militaries have recently been gaining ground and
could be the articulation of what is needed to create this paradigm shift into an
‘Age of Life’. The mistreatment of our planet and human rights is a fundamental
global issue that requires innovative thinking to craft solutions to our ecological
Extracts from “Kisho and humanitarian challenges. However, this is no easy task and will need a
Kurokawa His Works: collective effort to rectify these issues, which is why as architects, we must be aware of
Capsule, Metabolism,
Spaceframe, these challenges and practice towards making the world a better place. Taking
Metamorphose” inspiration from Kurokawa, the profession may benefit from forming closer ties to
Koolhaas, 2011 politics to both share philosophy and regain power in control for our built environment.

Conclusion Given the the wide ranging challenges requiring radical solutions, one could anticipate
the re-emergence of such avant-garde thinking. In the same way that Metabolism and
other architectural movements such as Archigram or Super-studio emerged as a societal
reaction in the 60s and 70s due to a glimmer of hope. Some may be focused on
technology, others humanity, and maybe some essentialists stirred by a reaction to
consumerism, but the nexus they form will redefine architecture for the next century. It
is up to us, young architects, to dictate what this could be. As such, I conclude with a
need for the next Kurokawa. Architects must live not five, or even ten as recent, but
twenty years ahead to keep architecture up to pace with our rapidly developing world.
Innovations in technology, material, and construction will transcend architecture, while
humbleness in sustainability, ecology, and humanity keep it grounded to the
Page 5 fundamental human perception of which has defined all architecture.
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 It is the Buddhist backbone of Kurokawa that maintained a humility throughout his

philosophy despite his reluctance to think inside the box. In a bid to transcend
architecture into a new dimension, we need to both acknowledge this humility to
deconstruct the current complexities of architecture in an attempt to purify it. Only
then should we take our next steps forward and even outside of the boundaries of
architecture to articulate a paradigm shift towards an ‘Age of Life’ as of Kurokawa's
prediction, envisaging a better tomorrow for humankind.

“Architects were
living in such a small
world and I thought
this was foolish…”
Kisho Kurokawa
Linear City:
Metamorphosis
(Koolhaas, 2011)
Kurokawa, 1992

References

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[Motion picture]. New York, NY: Michael Blackwood Productions.

Gardner, 2020
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Je s, 2007
Jeffs, A. (2007, November 10). Late architect Kisho Kurokawa's mecca built on
philosophy. Late Architect Kisho Kurokawa's Mecca Built on Philosophy.

Koolhaas, 2011
Koolhaas, R., Obrist, H., Ota, K., Westcott, J., & Daniell, T. (2011). Project Japan:
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Kurokawa, 1977
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Kurokawa, 1992
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Kurokawa, 1994
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Arts/Arts/Fate-of-Tokyo-s-original-capsule-tower-hangs-in-balance

Precht, 2019
Precht, C. (2019). A Thousand Yards Pavilion. Retrieved November 29, 2020, from
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Schumacher, 2010
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Stott, 2020
Stott, R. (2020, April 08). Spotlight: Kisho Kurokawa. Retrieved November 29, 2020,
from https://www.archdaily.com/616907/spotlight-kisho-kurokawa

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