![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2023\/12\/Ryounkaku_destruction_Great_Kanto_earthquake.jpg\")
<\/figure><\/li>![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2023\/12\/Shimbashi_Station_after_Great_Kanto_earthquake-1.jpeg\")
<\/figure><\/li><\/ul>Image 1: Ryounkaku destruction Great Kanto earthquake, circa 1923 https:\/\/commons.wikimedia.org\/wiki\/File:Ryounkaku_destruction_Great_Kanto_earthquake.jpg<\/a>
<\/a>
<\/a>Image 2: Shimbashi Station after Great Kanto earthquake, 1923 https:\/\/commons.wikimedia.org\/wiki\/File:Shimbashi_Station_after_Great_Kanto_earthquake.JPG<\/a>
Japanese modernist era was kickstarted by the destruction of the Great Kanto Earthquake (1923) and ended by the Pacific War (1942-1945). The Earthquake struck with a magnitude of 7.9\u00a0and what didn\u2019t get destroyed by the earthquake was quickly taken by fires that spread through the city. Tokyo and Yokohama were burned to the ground by the end resulting in an estimated 140,000 deaths, and 700,000 people left homeless.<\/figcaption><\/figure>\n\n\n\n<\/p>\n\n\n\n
Tokyo’s reconstruction after its destruction led to a new era in art, one that emphasized the combination of Western culture and traditional Japanese culture. The construction of the subway specifically was Tokyo’s celebration of modernity. The Subway consisted of four stations and connected the recreation park and zoo area of Ueno with the temple, shopping, and river precinct of Asakusa. The futuristic novelty of riding the subway was so popular at the time that people would wait 2 hours for the 5-minute ride.<\/p>\n\n\n\n
Evolution in Fashion and Gender Roles<\/h2>\n\n\n\n
![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2023\/12\/Khalili_Collection_of_Kimono_K044-1-802x1024.jpg\")
<\/figure><\/li>![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2023\/12\/Khalili_Collection_of_Kimono_K047-807x1024.jpg\")
<\/figure><\/li>![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2023\/12\/Khalili_Collection_of_Kimono_K065-811x1024.jpg\")
<\/figure><\/li><\/ul>Image 1: Kimono for a Woman Motif: Key fret, between 1930 and 1950, machine-spun pongee silk (meisen), plain weave; hand-tied selectively dyed warp and weft threads (heiyo-gasuri), Japan
https:\/\/commons.wikimedia.org\/wiki\/File:Khalili_Collection_of_Kimono_K044.jpg<\/a>
Image 2: Kimono for a Woman Motif: Skyscraper and city lights, between 1930 and 1940, machine-spun pongee silk (meisen), plain weave; stencil-printed warp and weft threads (heiyo-gasuri), Japan
https:\/\/commons.wikimedia.org\/wiki\/File:Khalili_Collection_of_Kimono_K047.jpg
<\/a>
Image 3: Kimono for a Woman Motif: Arrow feathers, between 1920 and 1930, machine-spun pongee silk (meisen), plain weave; hand-tied selectively dyed warp threads (hogushi-gasuri), Japan https:\/\/commons.wikimedia.org\/wiki\/File:Khalili_Collection_of_Kimono_K065.jpg<\/a> <\/figcaption><\/figure>\n\n\n\n<\/p>\n\n\n\n
The Moga: Modern Girl<\/strong><\/p>\n\n\n\n
An acceptance of women in the workplace on top of an expanding consumer culture and modern modes of transport and recreation activities, created more jobs for women. These modern young women were considered the first generation of females in Asia to be liberated from traditional roles. Before this women would stay with family and help with home duties, or in rural families take over farm work. This opening of jobs and modern movement influenced many young women to leave their homes and head to the city. To some, these modern young women endangered traditional values, but they became an integral part of the Japanese economy. These women became avid consumers of fashion and chose to wear what they found fashionable and not what was seen as acceptable by their parents. Modern Women would wear Western-inspired clothing however would still wear traditional kimonos as a sentiment to Japanese culture. Kimonos featured vibrant geometric patterns to accompany the movement of modernity and these outfits included beaded handbags, picnic baskets, bakelite hairpins, parasols, headbands, and straw hats.<\/p>\n\n\n\n
<\/p>\n\n\n\n
The Mobo: Modern Boy<\/strong><\/p>\n\n\n\n
The modern boy’s outer attire reflected the idea of a Japanese man’s dignified outer appearance, not indicating inner feelings and personality. Aspects of a mobo personality and interests could be revealed by the designs featured on the undergarments and outer coat worn over the kimono. Undergarments were covered with repeating patterns known as omoshirogara depicting cars, boats, and planes, vinyl records, and comic book characters. Coats were dark and plain but concealed intricate illustrations on the haura (interlining of coat). These designs were only revealed in personal settings or at parties and feature designs depicting basketball players, films, travel, and literature. A popular trend was depicting dramatic composition between traditional and modern Japan. Examples would be a scene of travelers on a road with a modern car making the same trip at fast speeds between Kyoto and Tokyo or Samurai on horseback with soldiers in tanks going across a battlefield.<\/p>\n\n\n\n
Metabolist Architecture<\/h2>\n\n\n\n
The Metabolist movement emerged from the 1960 World Design Conference in Tokyo. It proposed that architecture should not only embrace new technologies and the enormous scales of the post-war period but also develop living, self-generating systems that could adapt over time. The movement was founded by a group of young architects with the core group including Kiyonori Kikutake, Kisho Kurokawa, Fumihiko Maki, and critic Noboru Kawazoe, all heavily influenced by their professor Kenzo Tange.<\/p>\n\n\n\n
<\/p>\n\n\n\n
Connection to Buddhist Ideas<\/strong><\/p>\n\n\n\n
The Japanese word for metabolism is shinchintaisha (\u65b0\u9673\u4ee3\u8b1d) which gives implications into a spiritual perspective, close to the Buddhist concept of impermanence, which is the meaning of renewal, replacement, and regeneration. From a biological point of view metabolism explains chemical reactions occurring in a living body, and how cells adapt and move to sustain life. Both these meanings acted as a frame of reference for the group’s designs and were a step closer to an architecture that was based on the natural circle of life <\/p>\n\n\n\n
<\/p>\n\n\n\n
Kurokawa stressed the importance of undefined “in-between spaces” with a flexible meaning, such as verandahs or connecting rooms and hallways. He referred to these spaces as \u201cen-space\u201d and \u201cma-space\u201d, two concepts taken from Japanese Buddhist thinking. \u201cEn\u201d roughly translates to \u201cchance\u201d or \u201cact of fate\u201d while \u201cma\u201d translates to an interval of time or space and has various meanings such as \u201cbuffer zone\u201d, \u201cboundary zone\u201d or simply \u201croom in an apartment\u201d. Through these concepts, Kurokawa related his plazas and verandahs to these ancient Buddhist ideas.<\/p>\n\n\n\n
Osaka World Expo ’70<\/strong><\/p>\n\n\n\n
![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2023\/12\/Takara_Group_Pavilion_Osaka_Expo70_April_1970_by_Kingei_Marui-683x1024.jpg\")
<\/figure><\/li>![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2023\/12\/EXPO_TOWER-768x1024.jpeg\")
<\/figure><\/li><\/ul>Image 1: Takara Group Pavillion, Osaka Expo’70, 1970, Osaka, Japan
Image 2: EXPO TOWER, 1970, Osaka, Japan https:\/\/commons.wikimedia.org\/wiki\/File:EXPO_TOWER.JPG<\/a><\/figcaption><\/figure>\n\n\n\n<\/p>\n\n\n\n
Expo 70 was the first world fair held in Japan and took place in Osaka prefecture in 1970. The expo exhibited countries’ accomplishments in terms of architecture, technologies, and economic development and also aimed to display new promises of technology to achieve peace and stability in the world. The master plan of the expo was commissioned to Kenzo Tange, a prominent figure in contemporary Japanese architecture and the former professor of the Metabolist group. With the help of another 12 architects including the Metabolist group, they designed and organized several elements for the fair.<\/p>\n\n\n\n
The Symbol Zone, Osaka Expo ’70<\/strong><\/p>\n\n\n\n
![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2023\/12\/Tower_of_the_Sun-766x1024.jpg\")
Image 1: Tower of the Sun, June 2014, Osaka, Japan<\/figcaption><\/figure>\n\n\n\n As a central piece of the fair, the designers created a place where people from around the world could interact and socialize. They named it the Symbol Zone, a large plaza covered by a gigantic metal-framed roof. The Tower of Sun was placed in the middle of the plaza, made by Taro Okamoto, and was 70 meters tall. The tower served as a representation of the different faces of the sun during the seasons. Osaka Expo had more than 64 million attendees and 77 countries were invited to participate.<\/p>\n\n\n\n
Nakagin Capsule Tower<\/strong><\/p>\n\n\n\n
![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2023\/12\/2018_Nakagin_Capsule_Tower_02_cropped.jpg\")
<\/figure><\/li>![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2023\/12\/Capsule_from_Nakagin_Capsule_Tower_Building_DSCN0159-1024x768.jpg\")
<\/figure><\/li>![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2023\/12\/2018_Nakagin_Capsule_Tower_02_1_cropped2-1-1024x1024.jpg\")
<\/figure><\/li><\/ul>Image 1: Nakagin Capsule Tower, 3 January 2020 , Japan https:\/\/commons.wikimedia.org\/wiki\/File:2018_Nakagin_Capsule_Tower_02_cropped.jpg<\/a>
Image 2: Capsule from Nakagin Capsule Tower Building, 6 October 2011 , Japan https:\/\/commons.wikimedia.org\/wiki\/File:Capsule_from_Nakagin_Capsule_Tower_Building_DSCN0159.jpg<\/a>
Image 3: Nakagin Capsule Tower, 3 January 2020, Japan https:\/\/commons.wikimedia.org\/wiki\/File:2018_Nakagin_Capsule_Tower_02_(1)_cropped2.jpg<\/a><\/figcaption><\/figure>\n\n\n\n<\/p>\n\n\n\n
Nakagin Capsule Tower was built in 1972 and designed by Kisho Kurokawa, this building is the closest thing that the metabolist group got to materializing their dreams. A tower made of 140 individual capsules plugged into two interconnected concrete cores. The capsules were designed with premade steel parts and made to be identical and compact. They measured 2.5 m y 4.0 m and fit all basic needs: a bathroom, air conditioning, storage, a bed, and a desk. The capsules were replaceable and had a 30-year life span and although the original idea was to replace the capsules with newer ones, it never ended up happening. In 2007, 80 percent of the residents of Tokyo voted in favor of replacing the building with a newer one. Kurokawa proposed a plan to renovate the building by replacing the old capsules with new ones but the plan ended after his death the same year, the building was eventually demolished last year in 2022. Before its demolition, the Nakagin Capsule Tower represented a memory of a utopia that never got the chance to be built and a rare physical example of experimental architecture from post-war Japan.<\/p>\n\n\n\n
Bibliography<\/h2>\n\n\n\n
URBAN, FLORIAN. \u201cJapanese \u2018Occidentalism\u2019 and the Emergence of Postmodern Architecture.\u201d Journal of Architectural Education (1984-)<\/em>, vol. 65, no. 2, 2012, pp. 89\u2013102. JSTOR<\/em>, http:\/\/www.jstor.org\/stable\/41820041. <\/p>\n\n\n\n
LIN, ZHONGJIE. \u201cNakagin Capsule Tower Revisiting the Future of the Recent Past.\u201d Journal of Architectural Education (1984-)<\/em>, vol. 65, no. 1, 2011, pp. 13\u201332. JSTOR<\/em>, http:\/\/www.jstor.org\/stable\/41319216. <\/p>\n\n\n\n
Obradovic, Peter. \u201cThe Metabolism Movement – the Promised Tokyo.\u201d Sabukaru<\/em>, sabukaru, 10 Dec. 2021, sabukaru.online\/articles\/the-promised-tokyo.<\/p>\n\n\n\n
Wang, Author: Tian. \u201cA Brief History of Metabolism in Architecture.\u201d Journal<\/em>, 12 Apr. 2022, architizer.com\/blog\/inspiration\/stories\/history-of-metabolism\/. <\/p>\n\n\n\n
BUNTROCK, Dana. \u201cMETABOLISTS.\u201d Metabolists, architecture-history.org\/schools\/METABOLISTS.html. <\/p>\n\n\n\n
Lizzie Crook |12 April 2022 Leave a comment. \u201cDemolition of Iconic Nakagin Capsule Tower Underway in Tokyo.\u201d Dezeen<\/em>, 2 Aug. 2022, www.dezeen.com\/2022\/04\/12\/nakagin-capsule-tower-demolition-begins-tokyo\/. <\/p>\n\n\n\n
Biography<\/em>, architecture-history.org\/architects\/architects\/KUROKAWA\/biography.html. <\/p>\n\n\n\n
\u201cKiyonori Kikutake.\u201d Tokyo<\/em>, projectarciutattokyo.wixsite.com\/tokyo\/kikutake. <\/p>\n\n\n\n
Minner, Kelly. \u201cFumihiko Maki 2011 AIA Gold Medal Winner.\u201d ArchDaily<\/em>, ArchDaily, 10 Jan. 2011, www.archdaily.com\/102633\/fumihiko-maki-2011-aia-gold-medal-winner. <\/p>\n\n\n\n
Japanese Modernism | NGV<\/em>, www.ngv.vic.gov.au\/exhibition\/japanese-modernism\/. Accessed 24 Oct. 2023. <\/p>\n\n\n\n
Japanese Modernism: Between Earthquake and War | NGV<\/em>, www.ngv.vic.gov.au\/essay\/japanese-modernism-between-earthquake-and-war\/. Accessed 24 Oct. 2023. <\/p>\n\n\n\n
Yamada, Chisabur\u03bf\u0302. \u201cJapanese Modern Art.\u201d Monumenta Nipponica<\/em>, vol. 3, no. 2, 1940, pp. 567\u201378. JSTOR<\/em>, https:\/\/doi.org\/10.2307\/2382598. Accessed 24 Oct. 2023.<\/p>\n\n\n\n
Munsterberg, Hugo. \u201cTradition and Innovation in Modern Japanese Painting.\u201d Art Journal<\/em>, vol. 27, no. 2, 1967, pp. 151\u201355. JSTOR<\/em>, https:\/\/doi.org\/10.2307\/775110. Accessed 24 Oct. 2023.<\/p>\n\n\n\n
Perkins, Sam. \u201cThe Propaganda Kimonos Japan Kept Hidden from Outsiders.\u201d Atlas Obscura<\/em>, Atlas Obscura, 16 Nov. 2016, www.atlasobscura.com\/articles\/the-propaganda-kimonos-japan-kept-hidden-from-outsiders. <\/p>\n\n\n\n
Brown, Phil. \u201cThe Relationship between Japanese and Modernist Architecture.\u201d Medium<\/em>, Design Culture & History, 26 Oct. 2017, medium.com\/design-culture-history\/the-relationship-between-japanese-and-modernist-architecture-7faef7e3b1ab. <\/p>\n\n\n\n
Image Sources:<\/strong><\/p>\n\n\n\n
https:\/\/commons.wikimedia.org\/wiki\/File:Tower_of_the_Sun.jpg<\/a><\/p>\n\n\n\n
https:\/\/commons.wikimedia.org\/wiki\/File:Khalili_Collection_of_Kimono_K044.jpg<\/a><\/p>\n\n\n\n
https:\/\/commons.wikimedia.org\/wiki\/File:Khalili_Collection_of_Kimono_K047.jpg<\/a><\/p>\n\n\n\n
https:\/\/commons.wikimedia.org\/wiki\/File:Khalili_Collection_of_Kimono_K065.jpg<\/a><\/p>\n\n\n\n
https:\/\/commons.wikimedia.org\/wiki\/File:Shimbashi_Station_after_Great_Kanto_earthquake.JPG<\/a><\/p>\n\n\n\n
https:\/\/commons.wikimedia.org\/wiki\/File:Ryounkaku_destruction_Great_Kanto_earthquake.jpg<\/a><\/p>\n\n\n\n
https:\/\/commons.wikimedia.org\/wiki\/File:2018_Nakagin_Capsule_Tower_02_cropped.jpg<\/a><\/p>\n\n\n\n
https:\/\/commons.wikimedia.org\/wiki\/File:2018_Nakagin_Capsule_Tower_02_(1)_cropped2.jpg<\/a><\/p>\n\n\n\n
https:\/\/commons.wikimedia.org\/wiki\/File:Capsule_from_Nakagin_Capsule_Tower_Building_DSCN0159.jpg<\/a><\/p>\n\n\n\n
![\"\"](\"https:\/\/commons.wikimedia.org\/wiki\/File:Shimbashi_Station_after_Great_Kanto_earthquake.JPG\"){kind=spacer}
<\/figure><\/li>![https:\/\/commons.wikimedia.org\/wiki\/File:Ryounkaku_destruction_Great_Kanto_earthquake.jpg<\/a>](\"https:\/\/commons.wikimedia.org\/wiki\/File:Ryounkaku_destruction_Great_Kanto_earthquake.jpg\"){kind=link}
![https:\/\/commons.wikimedia.org\/wiki\/File:Khalili_Collection_of_Kimono_K044.jpg<\/a> Image 2: Kimono for a Woman Motif: Skyscraper and city lights, between 1930 and 1940, machine-spun pongee silk (meisen), plain weave; stencil-printed warp and weft threads (heiyo-gasuri), Japan](\"https:\/\/commons.wikimedia.org\/wiki\/File:Khalili_Collection_of_Kimono_K044.jpg\"){kind=link}
![https:\/\/commons.wikimedia.org\/wiki\/File:Khalili_Collection_of_Kimono_K047.jpg <\/a>Image 3: Kimono for a Woman Motif: Arrow feathers, between 1920 and 1930, machine-spun pongee silk (meisen), plain weave; hand-tied selectively dyed warp threads (hogushi-gasuri), Japan](\"https:\/\/commons.wikimedia.org\/wiki\/File:Khalili_Collection_of_Kimono_K047.jpg){kind=link}
![https:\/\/commons.wikimedia.org\/wiki\/File:2018_Nakagin_Capsule_Tower_02_cropped.jpg<\/a>Image 2: Capsule from Nakagin Capsule Tower Building, 6 October 2011 , Japan](\"https:\/\/commons.wikimedia.org\/wiki\/File:2018_Nakagin_Capsule_Tower_02_cropped.jpg\"){kind=link}
![https:\/\/commons.wikimedia.org\/wiki\/File:Capsule_from_Nakagin_Capsule_Tower_Building_DSCN0159.jpg<\/a>Image 3: Nakagin Capsule Tower, 3 January 2020, Japan](\"https:\/\/commons.wikimedia.org\/wiki\/File:Capsule_from_Nakagin_Capsule_Tower_Building_DSCN0159.jpg\"){kind=link}
![https:\/\/commons.wikimedia.org\/wiki\/File:2018_Nakagin_Capsule_Tower_02_(1)_cropped2.jpg<\/a><\/figcaption><\/figure>\n\n\n\n<\/p>\n\n\n\nNakagin Capsule Tower was built in 1972 and designed by Kisho Kurokawa, this building is the closest thing that the metabolist group got to materializing their dreams. A tower made of 140 individual capsules plugged into two interconnected concrete cores. The capsules were designed with premade steel parts and made to be identical and compact. They measured 2.5 m y 4.0 m and fit all basic needs: a bathroom, air conditioning, storage, a bed, and a desk. The capsules were replaceable and had a 30-year life span and although the original idea was to replace the capsules with newer ones, it never ended up happening. In 2007, 80 percent of the residents of Tokyo voted in favor of replacing the building with a newer one. Kurokawa proposed a plan to renovate the building by replacing the old capsules with new ones but the plan ended after his death the same year, the building was eventually demolished last year in 2022. Before its demolition, the Nakagin Capsule Tower represented a memory of a utopia that never got the chance to be built and a rare physical example of experimental architecture from post-war Japan.<\/p>\n\n\n\nBibliography<\/h2>\n\n\n\nURBAN, FLORIAN. \u201cJapanese \u2018Occidentalism\u2019 and the Emergence of Postmodern Architecture.\u201d Journal of Architectural Education (1984-)<\/em>, vol. 65, no. 2, 2012, pp. 89\u2013102. JSTOR<\/em>, http:\/\/www.jstor.org\/stable\/41820041. <\/p>\n\n\n\nLIN, ZHONGJIE. \u201cNakagin Capsule Tower Revisiting the Future of the Recent Past.\u201d Journal of Architectural Education (1984-)<\/em>, vol. 65, no. 1, 2011, pp. 13\u201332. JSTOR<\/em>, http:\/\/www.jstor.org\/stable\/41319216. <\/p>\n\n\n\nObradovic, Peter. \u201cThe Metabolism Movement – the Promised Tokyo.\u201d Sabukaru<\/em>, sabukaru, 10 Dec. 2021, sabukaru.online\/articles\/the-promised-tokyo.<\/p>\n\n\n\nWang, Author: Tian. \u201cA Brief History of Metabolism in Architecture.\u201d Journal<\/em>, 12 Apr. 2022, architizer.com\/blog\/inspiration\/stories\/history-of-metabolism\/. <\/p>\n\n\n\nBUNTROCK, Dana. \u201cMETABOLISTS.\u201d Metabolists, architecture-history.org\/schools\/METABOLISTS.html. <\/p>\n\n\n\nLizzie Crook |12 April 2022 Leave a comment. \u201cDemolition of Iconic Nakagin Capsule Tower Underway in Tokyo.\u201d Dezeen<\/em>, 2 Aug. 2022, www.dezeen.com\/2022\/04\/12\/nakagin-capsule-tower-demolition-begins-tokyo\/. <\/p>\n\n\n\nBiography<\/em>, architecture-history.org\/architects\/architects\/KUROKAWA\/biography.html. <\/p>\n\n\n\n\u201cKiyonori Kikutake.\u201d Tokyo<\/em>, projectarciutattokyo.wixsite.com\/tokyo\/kikutake. <\/p>\n\n\n\nMinner, Kelly. \u201cFumihiko Maki 2011 AIA Gold Medal Winner.\u201d ArchDaily<\/em>, ArchDaily, 10 Jan. 2011, www.archdaily.com\/102633\/fumihiko-maki-2011-aia-gold-medal-winner. <\/p>\n\n\n\nJapanese Modernism | NGV<\/em>, www.ngv.vic.gov.au\/exhibition\/japanese-modernism\/. Accessed 24 Oct. 2023. <\/p>\n\n\n\nJapanese Modernism: Between Earthquake and War | NGV<\/em>, www.ngv.vic.gov.au\/essay\/japanese-modernism-between-earthquake-and-war\/. Accessed 24 Oct. 2023. <\/p>\n\n\n\nYamada, Chisabur\u03bf\u0302. \u201cJapanese Modern Art.\u201d Monumenta Nipponica<\/em>, vol. 3, no. 2, 1940, pp. 567\u201378. JSTOR<\/em>, https:\/\/doi.org\/10.2307\/2382598. Accessed 24 Oct. 2023.<\/p>\n\n\n\nMunsterberg, Hugo. \u201cTradition and Innovation in Modern Japanese Painting.\u201d Art Journal<\/em>, vol. 27, no. 2, 1967, pp. 151\u201355. JSTOR<\/em>, https:\/\/doi.org\/10.2307\/775110. Accessed 24 Oct. 2023.<\/p>\n\n\n\nPerkins, Sam. \u201cThe Propaganda Kimonos Japan Kept Hidden from Outsiders.\u201d Atlas Obscura<\/em>, Atlas Obscura, 16 Nov. 2016, www.atlasobscura.com\/articles\/the-propaganda-kimonos-japan-kept-hidden-from-outsiders. <\/p>\n\n\n\nBrown, Phil. \u201cThe Relationship between Japanese and Modernist Architecture.\u201d Medium<\/em>, Design Culture & History, 26 Oct. 2017, medium.com\/design-culture-history\/the-relationship-between-japanese-and-modernist-architecture-7faef7e3b1ab. <\/p>\n\n\n\nImage Sources:<\/strong><\/p>\n\n\n\nhttps:\/\/commons.wikimedia.org\/wiki\/File:Tower_of_the_Sun.jpg<\/a><\/p>\n\n\n\nhttps:\/\/commons.wikimedia.org\/wiki\/File:Khalili_Collection_of_Kimono_K044.jpg<\/a><\/p>\n\n\n\nhttps:\/\/commons.wikimedia.org\/wiki\/File:Khalili_Collection_of_Kimono_K047.jpg<\/a><\/p>\n\n\n\nhttps:\/\/commons.wikimedia.org\/wiki\/File:Khalili_Collection_of_Kimono_K065.jpg<\/a><\/p>\n\n\n\nhttps:\/\/commons.wikimedia.org\/wiki\/File:Shimbashi_Station_after_Great_Kanto_earthquake.JPG<\/a><\/p>\n\n\n\nhttps:\/\/commons.wikimedia.org\/wiki\/File:Ryounkaku_destruction_Great_Kanto_earthquake.jpg<\/a><\/p>\n\n\n\nhttps:\/\/commons.wikimedia.org\/wiki\/File:2018_Nakagin_Capsule_Tower_02_cropped.jpg<\/a><\/p>\n\n\n\nhttps:\/\/commons.wikimedia.org\/wiki\/File:2018_Nakagin_Capsule_Tower_02_(1)_cropped2.jpg<\/a><\/p>\n\n\n\nhttps:\/\/commons.wikimedia.org\/wiki\/File:Capsule_from_Nakagin_Capsule_Tower_Building_DSCN0159.jpg<\/a><\/p>\n\n\n\nhttps:\/\/commons.wikimedia.org\/wiki\/File:Takara_Group_Pavilion,Osaka_Expo%2770(April_1970_by_Kingei_Marui).jpg<\/a><\/p>\n\n\n\nhttps:\/\/commons.wikimedia.org\/wiki\/File:EXPO_TOWER.JPG<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"Overview My goal for this project and my research was to provide an outlook into an era of art that…<\/p>\n","protected":false},"author":115,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-5122","post","type-post","status-publish","format-standard","hentry","category-uncategorized","wpcat-1-id"],"_links":{"self":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/5122","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/users\/115"}],"replies":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/comments?post=5122"}],"version-history":[{"count":10,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/5122\/revisions"}],"predecessor-version":[{"id":5428,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/5122\/revisions\/5428"}],"wp:attachment":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/media?parent=5122"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/categories?post=5122"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/tags?post=5122"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/commons.wikimedia.org\/wiki\/File:2018_Nakagin_Capsule_Tower_02_(1)_cropped2.jpg\"){kind=link}
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