Intermediate Space by Kosuke Ino

Intermediate Space The Comparison Between Kisho Kurokawa and Aldo van Eyck

Kosuke Ino

Introduction

Reciprocal Relationship

In-between / Intermediate space

Flexibility / Adaptability

Culture / Nature Paradigm

Conclusion

Introduction An intermediate space is a realm between contradicted entities, for instance, interior/exterior, modern/ tradition, and nature/culture. This was particularly argued as a criticism of modernism architecture by Team 10

[1]

which was organised after the dissolution of the CongrĂ¨s internationaux d'architecture

moderne (CIAM) in 1953.[2] In this era, vast array of urgent dwellings were erected in response to the housing shortage caused by the Second world war, and these buildings lacked the consideration of relationship between individual/society, and people/buildings. In this context, it was argued by Team 10 that space which accommodates multiple functions should be taken into account to cater to the demands from different entities rather than creating space for a particular function. This argument led to the notion of an intermediate space which sits between opposite entities. Dutch architect Aldo van Eyck (1918-1999) and Japanese architect Kisho Kurokawa (1934-2007) share some similarities on their theories of 'relativity' which is associated with an intermediate space. They both belonged to Team 10 and they were critical to modernism architecture and the solutions to dwelling shortage by CIAM after the war. However, Team 10 branched some movements, and two architects' thoughts and design were nurtured within 'Dutch structuralism' and 'Japanese Metabolism'.

The cover of the magazine Forum. (1959-67) showing 'another idea' against CIAM 's urban planning Forum is the Dutch architectural magazine published from 1959 to 1967. The concepts of Otterlo Circle, in-between, threshold were discussed by Dutch architects, Aldo van Eyck, Herman Hertzberger, Joop Hardy etc.

Although the position of two architects resonates as a part of the same organisation, their points of view were divergent. The comprehension of architectural and urban space for van Eyck and Kurokawa were derived from anthropological and biological disciplines. This is identical from their upbringing, interests, and research subjects. Van Eyck is a son of the Dutch poet, Pieter N. van Eyck

[3]

and his perspective of pantheism, ''the idea of the unity of the cosmos or

the universe and the divine'',[4] affected van Eyck's childhood. This holistic view led to his theory on relativity (see reciprocal relationship) and also his interests in ''archaic principles of human nature''

[5]

With this fascination with culture and human nature, he visited Dogon in 1960 in order to investigate not only just local buildings, but also people's artefacts, a point of view to the world, and cosmology.

1. Team 10, An organisation of young architects at the head of Alison and Peter Smithson, Aldo van Eyck, and Georges Candilis, organised in 1953. Kurokawa was invited in several meetings, and proposed megastructure related with Metabolism at meeting in 1962. Van Eyck also participated in that meeting. (ref. Team 10 in search of a Utopia of the present) 2. Max Risselada and Dirk van den Heuvel, Team 10 1953-81. 3. Pieter N Eyck interests in patchiest and symbolist poets at his school ages. This might be a fundamental experience of theory of relativity. 4. Harm Lammers, Potentially. 5. Francis Strauven, Aldo van Eyck: the shape of relativity. p380

The work of Kisho Kurokawa by Kiyoshi Awazu illustrating a combination of several theories of metabolism

image from TEAM10 in search of a Utopia of present by Max Risselada (top) Project Japan by Rem Koolhaas (bottom)

[6]

between people, neighbours, and nature, and this term is originated from biological system of Kyo-shei (symbiosis). This fostered Kurokawa's interest in ''the principle of life''

[7]

and most of his theories were

rooted from biological principles, for example, metabolism, cluster, and network. Hence, judging by their backgrounds, their thoughts were coming from different angles of culture and nature, and attitudes towards architecture were determined based on these perspectives. Considering the fact that both belonged to same organisation with similar banner, but have different perspectives, this essay will focus on comparison of two architects, Aldo van Eyck and Kisho Kurokawa The structure of two architects' theories about relationship and an intermediate space is fundamentally common, even if they put importance differently. The essence of their thoughts is 'reciprocal relationship', and, to some extent, their theories, interpretations, and architectural design are derived from this relationship of opposite entities. In this sense, 'in-between' or 'intermediate space' can be

present, and future, and people and changeable surrounding environments. Reciprocal relationship, hence, has two aspects of space and time. Accordingly, this essay will draw out similarities and dissimilarities in their theory of 'relativity', 'intermediated space' as spatial equivalence of relativity, and 'paradigm' within two architects will be examined in terms of the spirit of the age.

6. expressed in different character. 7. Kisho Kurokawa, Rediscovering Japanese Space. p4

Similarly, Kurokawa comments on Levi-Strauss's binary opposition' against the and Kisho Kurokawa and it plays fundamental role in their architectural theories

tendency of westernised culture, ''each culture has its own distinct character that

and design approaches.

can at the same time be linked to every other culture in the world,'' no superior culture but ''a multidimensional culture''.

[11]

[10]

and there is

This way of understanding

Dutch structuralism can be the most influential movement in 1960s on their

of culture from Levi-Strauss's structuralism links to Kurokawa's view of symbiosis

theory of relativity. It is widely disseminated analysis in the field of linguistic,

which is his anticipation of architectural era after modernism. He expressed the

anthropology, philosophy, and architecture. French anthropologist LĂŠvi-Strauss

new ere as 'the age of life', moreover, 'symbiosis' replaced by 'the age of machine'

brought structuralism into anthropological discourse, and he introduced a common

in modernism. The term 'symbiosis', which is a key word of 'life', is defined as

structure of 'binary oppositions' within society which can identify all culture and

''the relationship of mutual need, while opposition, competition, and contradiction

human behaviours. In other words, every culture should be comprehended by

remain''.[12] In this sense, symbiosis allows a diversity of culture, value, and religion

relationship of oppositions.[8]

to be synchronised within the structure and system of life.

This anthropological approach influenced van Eyck's interest in relationship

It can be confirmed that both van Eyck and Kurokawa stressed the significance

between architecture/society, shown in 'Otterlo circle' which was presented at

of different entities, its relationships, furthermore, its mutual needs and reciprocity were highlighted. However, this was expressed by means of anthropological and

including three different cultural references of houses, structure, and temple.

biological references.

While, the right circle illustrates a diversity of human beings expressed by sculptures of woman, child, and men. Within one circle, it shows the reciprocal correlation between a variety of culture, history, and diversity, and within two circles, relationship between architecture and society are illustrated. The message reciprocal relationship. This comprehends his anthropological view to the world. He claims that ''In each culture, as a result of the geographic, climatic, cultural, or religious circumstances, certain aspects of man are exaggerated. In other countries, other aspects of man are expressed more clearly, but they are all aspects which are universally human.''

[9]

Here, the complexity of the world and

culture should be respected, but simultaneously, understood within universal structure of 'human'.

Journal of Aesthetics & Culture. Forum, p200

10. Kisho Kurokawa, Rediscovering Japanese Space. p16 11. ibid 12. Kisho Kurokawa, From the Age of Machine to Age of Life.

Otterlo circles by Aldo van Eyck (1959)

'par nous' (by us), 'pour nous' (for us) in French 'is architecture going to reconcil basic values?' (left circle) 'man still breathe in and out, is architecture going to do the same?' (below both circles) This metaphor of man's breathe was frequently used to explain reciprocal relationship with humanised architecture.

Metabolism sketch by Kisho Kurokawa anticipation of how architecture relates each other in the city as reference to biological concepts of cells and network.

image from Aldo van Eyck:The shape of relativity (left) image from Kisho Kurokawa website: http://www.kisho.co.jp (right)

An in-between and intermediate space are spatial notion introduced by both Aldo van Eyck and Kisho Kurokawa based on theory of relativity. This notion indicates only spatial quality of architecture and cities, whereas theory of relativity and architectural realm which sits between two opposite entities, such as exterior/ interior, public/private, and part/whole. The concept of 'in-between space' by van Eyck and 'intermediate space' by Kurokawa were broached as criticism of modernism in structuralism, and metabolism. Van Eyck mentions about modernism architecture that there is a ''tendency to erase every articulation between spaces, i.e. between outside and inside, between one space and another.''

[13]

Here, he emphasises the lack

of an appreciation to oppositions and its relations. Furthermore, contrary to

Domino structure by Le Corbusier

modernism continuous space / Euclid a prototype of housing mass production. The introduction of prototype was condemnation of the subject due to depreciation of relation between people and surroundings.

modernism buildings, he proposed a novel concept of in-between space which is ''articulation of transition [...] which induces simultaneous awareness of what is significant on either side''.

[14]

On the other hand, Kurokawa questions about

in modernism, although different identities, traditions, and cultures lie in different places.[15] Similarly to van Eyck, Kurokawa suggests an intermediate space as a counter concept of modernism architecture, referring to ''shared space and buffer zones between two or more multiple parties or elements that oppose or contradict one another''.[16] Therefore, both point out an absence of respects of ambivalent entities in modernism architecture, and also highlights the importance of relationship between these entities. This resulted in the proposal of in-between or intermediate space as an architectural concept. Although an intermediate space has been similarly introduced as a criticism of modernism, its space was diversely interpreted and explained in the anthropological and biological ways by van Eyck and Kurokawa.

14. ibid. 15. Kisho Kurokawa, From the Age of Machine to Age of Life. 16. ibid

Concept diagram of Sonsbeek Pavilion by Aldo van Eyck polarity / non-Euclid

incomplete geometry.

image from dezeen:http://www.dezeen.com/ (top) Aldo van Eyck:The shape of relativity (bottom)

In-between space was stemmed from the concept 'das Zwischen' (in-between in [17]

in relation to opposition between individualism

themselves, but in-between them (he called this the real third), and he was adverse to the polarity of individualism and collectivism[18] Van Eyck approved this, ''the real third is [...] something that happens between both in a dimension only accessible to both. The in-between acquiring form.''

[19]

This argument, moreover, reached to in-between

space as the concrete architectural forms in which people encounter themselves and their acquaintance, namely ''the door, window, balcony, and threshold''. [20] [21]

, in other words, reciprocal

relationship. Van Eyck applied in-between in human relationship to spatial realm. Here, it seems evident that van Eyck's view to architecture is 'humanisation'[22], in which relationship between human individuals is embodied. Conversely, Kurokawa exploited intermediate space along with the metaphor of ecocorridor and the biodiversity of pieces. He saw the world, the cities, and architecture as the biodiversity, and he presumes relations in ecosystems can be applied to binary opposition existing in the urban space. Kurokawa explains, ''eco-corridors serve the important role of connecting isolated ecosystems in order to maintain the biodiversity of species''.[23] This idea of ecosystem is utilised in his architectural concept, as ecocorridor is equivalent to intermediate space. Likewise van Eyck, this intermediate space is regarded as common ground between two ambivalent entities.

Dogon people using baskets in the market Van Eyck found humanisation of architecture in non-Western culture where archetypal characteristic is embraced. He particularly focused on the relationship between Dogon people’s inhabitations and their world perspectives. Dogon people capture the world as enormous human organisms, so world consists of various elements but all related each other, as human body is comprised of individual but structural organs.[1] This cosmology is reflected in inhabited environments, for instance, ‘’ the large tribal houses and smaller family dwellings as its breast and belly’’.[2] This relationship between whole and part, and projection their views into thoughts from Dogon study, ‘’the artefact - whether small or large, basket or

providing intermediate space, shared space and buffer zones between two or more [24]

representing the cosmic order.’’ [3]

Kurokawa's

perspective of intermediate space is derived from biological discipline, particularly in

1. Francis Strauven, Aldo van Eyck: the shape of relativity. p381 2. ibid. p385

this case, ecological discipline in terms of synchronicity with ecosystem.

3. Aldo van Eyck, 'Dogon: Mand-Huis-Drop-Wereld', Forum.

17. between). He criticise polarity of individualism and collectivism, and van Eyck quotes his thoughts that

18. Francis Strauven, Aldo van Eyck: the shape of relativity. p355 20. Francis Strauven, Aldo van Eyck: the shape of relativity. p356

23. Kisho Kurokawa, From the Age of Machine to Age of Life. 24. ibid.

images from Aldo van Eyck: The Shape of Relativity

The architectural concepts of in-between, or intermediate space were attempted to be exemplified in architectural projects by both Aldo van Eyck and Kisho Kurokawa. The orphanage

[25]

by van Eyck and Saitama Prefectural museum

[26]

were extracted as remarkable examples in order to highlight intermediate space in their actual design. The orphanage was designed in late 50s in Amsterdam, and the concept of inmust be like a small city if it is to be a real house, a city like a large house if [27]

This analogy explains the polarity and relationship

between whole/part, internal/external, and large/small in the orphanage. Abundant features of in-between space can be discovered in the orphanage, but

Patio and threshold

This space has access to inner street, dormitory wing, living room and exterior space. Not only for children to play but also it exists for in-between between other rooms.

Innter street

materials are applied to this space, rough and outsidelike materials such as concrete and clinkers are used, and the walls are made out of contrasting glazed glasses and bricks, which provides open and close senses.

The patio,enables people to access to each interior, and exterior spaces, is exterior without roof, however, it is enclosed by walls of adjacent spaces, and it provides interior-exterior feature to the space. Moreover, the thresholds are designed in these areas, and this plays significant role in demarcation and reconciliation between inside and outside. Herman Hertzberger explains this

sense the excitement and adventure of the great unknown. Yet at the same time, [...] he feels secure in the knowledge that his mother is nearby.''

[28]

Therefore,

the threshold becomes realm where comfortable home and adventurous outside coexist, and the stair turned into a form for sitting rather than only stepping.

Threshold, by Herman Hertzberger a boy sitting in a doorstep as an intermediate space between interior and exterior

25. designed in 1955-57, built in 1958-60 26. designed in 1978-9, built in 1980-82 Forum. 28. Herman Hertzberger, Lessons for students in architecture.

images from Aldo van Eyck: The Shape of Relativity (top left, right) Lessons for students in architecture by Herman Hertzberger (bottom)

ground plan, Orphanage in Amsterdam by Aldo van Eyck (1955) The whole space consists of unity arising from consistent modular system and repetition of square units.

Axonometric, Orphanage in Amsterdam One of the module for junior students including inter street, patio, and threshold.

space which transforms people's experiences. The building is composed out of large and small modules, which accommodates 5.5 metres domes for community space and 2.7 metres architraves for residential space.

images from Aldo van Eyck: The Shape of Relativity (left) drawin by auther (right)

In addition to thresholds, the inner streets are designed as intermediate space between rooms, and interior/ exterior. Although they follow parallel and vertical lines and creates meandering corridor, the movement is diagonal, which decentralises the constitution of spaces and demarcated space between interior and exterior yet vanishes the sense of separation between two spaces simultaneously. Additionally, Alison and Peter Smithson point out the potential of the street space as an interstice between interior/exterior, the street is not only a mean of access but also an arena for social expression.''

[29]

The

between space. Kurokawa also claims a vital role in Japanese street space as intermediation of interior/exterior space. He explains that traditional Japanese street space was used not only for transportation, but also for living, communication with neighbours as extension of interior space.

[30]

Furthermore, taking an example of a

eaves, and Kurokawa discovers it has the third quality of the space other than interior and exterior. In more detail, it belongs to interior space, however, it is open and part of garden simultaneously. This space, moreover, is utilised as socialising area of the house with guests and neighbours.[31] In this sense, the characteristic of Kurokawa's intermediate space resonates with van Eyck's in-between as multifunctional space for the encounter and communication as well as basic functions. As an architectural design by Kurokawa, Saitama Prefectural museum of modern art is a building where an intermediate space by subtracting a part of square volume of the building and constructed lattice walls to have a sense of inside-outside. However, comparing with the amount of writing about intermediate space Kurokawa produced and descriptions about his actual buildings, he put the importance on theoretical writings and analysis of Japanese traditional space, and his design might not be fully successful to express his thoughts. Most of his projects are, moreover, experimental and hardly accepted by the public due to its novelty and has been utilised as a subject of analysis for van Eyck's theory.

29. Alison and Peter Smithson, Urban Structuring. 30. Kisho Kurokawa, Action Architecture. The Philosophy of Symbiosis online book on Kisho Kurokawa website

Saitama Prefectural Museum of Modern Art (1982) by Kisho Kurokawa The facade are projected and lattice walls create inside/outside space

Child at the entrance of the Orphanage.

Life of the streets by Nigel Henderson (1951)

Children's unregulated expression on the streets Nigel Henderson illustrates multi functional space on the streets by photograph of children playing. Shown in Team 10 meetings in 1953 by Alison and Peter Smithon.

Engawa in Japanese traditional house.

The space works as intermediate space and utilised for communication as well as access. The space promotes many activities.

image from Team 10 in search of a utopia of the present (top left) Nigel Henderson, Parallel of life and art by Victoria Walsh (top right) website http://iplusi.exblog.jp (bottom)

Flexibility and adaptability is a temporal concepts which accompanies theory of

As a design strategy of dwellings after the war, both Dutch structuralism and

relativity. This is evident in strategy of the postwar rebuilding within structuralism

Japanese metabolism concentrated on the themes of flexibility, transition, and

by Team 10 and metabolism by Japanese architects in 1960s. Their thoughts and

adaptability within the relationships, although the perspectives were segregated into

designs can be treated as the same attitudes with van Eyck and Kurokawa, when

biology and anthropology. Van Den Heuvel points out ''Dutch structuralism is about the ideas of the relations between the user and architecture, [...] making open-

The strategy of the prevalence of housing typologies by CIAM resulted in an absence of 'core' in society.

[32]

Van Eyck comments against CIAM's urban

planning, ''We are confronted by the task of creating inhabitable cities in a country which is already almost inhabitable.''

[33]

themselves and the way they are linked are conceived to facilitate multiple uses and future growth and change.''

[36]

Comparing with this, Schalk illustrates that

Metabolism architecture ''strove to mediate between urbanism of large technical,

In other words, typological dwellings in

and institutional infrastructures and the individual freedom with an architecture

response to certain functions can not adapt changing activities and demands

of customised cells and adaptable temporary configurations of dwellings, which

over the time, which means the disparagement of relation between people and

could expand and shrink according to need.''

[37]

the surroundings. Therefore, the objective of the strategy was centralised in the While, a movement of Metabolism proposed an urban utopia along with

which express that the whole dwellings consist of individual boxes. This way of

postwar rebuilding in Japan. The term 'Metabolism' is a biological metaphor, meaning ''the anabolic and catabolic processes of a living body'', at the same

shifting inner boxes. While, Tange showed his linear future urban proposal on Tokyo bay by making analogy to the growth of a spine of mammals. Along with linear

reincarnation''.

[34]

This biological metaphor was applied to postwar urban planning

in Japan consisted of genetic architecture. The devastation of atomic bombings

ground like the growth of cells. (fig. 19) Hence, both instances advocates the

compelled Japanese architects to draw an optimistic vision of the city, and [35]

These movements are summarised that architectural and urban space should grows reacting to surroundings and transformations of time. The resilience

be understood and considered within structure which identifies oppositions and

of Japanese culture after the damage of bombings was perceived from the

its relationships. The solutions to catastrophe of the war in both Netherlands and

perspective of adaptation to the environment, putting differently, the consideration

Japan were similarly implemented in terms of adaptability of architecture based on

of relationship between individual/society.

a singular module, but different points of view from anthropological and biological

Notably, the two movements rooted in different discourses consequently reached similar approach with regard to correlation between individual/society and house/ city oppositions by introducing system to capture them.

Structuralism in Dutch Architecture. Forum. Arts. 35. Rem Koolhaas and Hans Ulrich Obrist, Project Japan Metabolism Talks.

36. Max Risselada and Dirk Van Den Heuvel, Team 10, 1953-81: in Search of a Utopia of the Present. 37. Meike Schalk, The Architecture of Metabolism. Inventing a Culture of Resilience, Arts.

Match boxes by Herman Hertzberger

presented in Forum 'the story of another idea in 1959.

Marine City by Kenzo Tange This was a part of city planing in Tokyo, 'Plainning Tokyo 1960'. This responded to devastation of bomb in the war and a population expansion in a rapid growth period, in other words, changing surrounding environments.

Cell and spine sketch by Kenzo Tange the infrastructure on the Tokyo bay was planned with reference to linear spine, which will expand as different size of cells.

images from Structuralism in Dutch Architecture (top) The Architecutre of Metabolism . Inventing a Culture of Resilience (bottom left,right)

While Van Eyck contributed to the architectural projects of adaptable postwar rebuilding as a member of CIAM, he developed theoretical concept about time in relation to epistemology, in other works, perception of the time. Van Eyck's understanding of temporal human experience at present is not linear from past to future, but ''a temporal span experience, shifting in the continuum of consciousness where past and future converge.''

[38]

Therefore, human experience is 'progressive'.[39] Again,

this anthropological approach was applied to the building environments and architecture by humanising them. The urban environments progress as human experiences reciprocally progress within dialectic structure between past, present and future. Kurokawa confirms the two aspects of symbiosis; space and time, and metabolism, as explained above, refers to adaptability of architecture to transforming world over the time. He claims that ''metabolism [...] should be apprehended as a thing -or as a process- that evolves from past to present and from present to future.'',[40] putting differently, metabolism is symbiosis of the past, present, and future. The temporal evolve of architecture can be seen in Kurokawa's observation in metabolism of Japanese space. He was fascinated by Katsura Detached Palace (Japanese Traditional villa) is the differences of techniques, design, and appearance in the palace, depending on places and gardens as it was expanded several times over 150 years. Isozaki expresses Katsura as a spatially and temporally multi-layered space.[41] embodied in various locations. Therefore, there are no dominant forms as whole in Katsura. For example, Shoin style (traditional Japanese residential architecture) and Sukiya style (a spaces which were rebuilt in different time were admired as perfect beauty with each cycles

[42]

out its progression is dialectic. There is a cohesion in their thoughts that, they differently saw the progression as analogy of the human experience, and the growth of life.

39. Harm Lammers, Potentially. 40. Kisho Kurokawa, Rediscovering Japanese Space. 41. Arata Isozaki, Mitateno syuhou: Reading Japanese space. p75 42. Rem Koolhaas and Hans Ulrich Obrist, Project Japan Metabolism Talks. p385

Nakagin Capsule Tower (1972) by Kisho Kurokawa Individual capsules are inserted into structure

Axonometric of inhabitable sell

Nakagin capsule tower was experimentally designed as metabolism architecture in respond to present/future binary opposition. The concept of the building was inhabitable cells which could adapt and be replaced depending on economic and life transformations and the prefabricated cells are inserted in megastructure.

School in Nagele (designed in 1959-55, built in 1955-56) this is the project that van Eyck put his thoughts of relativity and in-between into practice. The opposition of part/whole are took into consideration by layout similar but different size of geometry. Plan, School in Nagele

Katsura Detached Palace divided into multi-styles which extended over the time

Plan, Katsura Detached Palace Shoin style is a formal building style for samurai class and Sukiya style is a free style for ordinary people

images from Aldo van Eyck: The Shape of Relativity (top left, right) Japanese architecture and Garden design(bottom left, right)

the consistency was discovered that two architects, Aldo van Eyck and Kisho Kurokawa put common emphasis on their ideas, yet they are rooted from opposite perspectives of culture and nature. This might be attributed to 'the spirit of the age' in 1960. One of the most contributing factor to the spirit of 60s was post war reconstruction. In this era, every country including Netherlands, and Japan was obliged to resilience and rebuild from the devastation of the war. In this context, two architects attempted to introduce novel concepts of architecture and urban planning. A lack of appreciation to relation of people and surroundings from CIAM's postwar strategy resulted in the concept of reciprocal relationship, and the impermanence of architecture due to the war drove an attention to the concept of life and adaptability. The thoughts caused after the war for van Eyck and Kurokawa were towards similar consequences as the consideration of two ambivalent entities within the structure. VIA 1, Ecology in Design (1968)

published by University of Pennsylvania

term in 1960 and 70s. The ecology was initially discussed as a part of biology responding to the environmental issues, however, the idea of ecology comprises not only nature and science but also culture. In this sense, culture was regarded not as isolated from nature but as a part of ecological evolve.[43] In fact, both van Eyck and Kurokawa were conscious of paradigm of ecology, as it is evident from van Eyck's writing on architectural magazine 'VIA: Ecology in design' [44] and Kurokawa's 'From the Age of the machine to the Age of Life'.[45] In the first issue of 'VIA', van Eyck explains his theory within the framework of the term according to relationship of people who are living there, ''environment is for PEOPLE, that is the least obvious thing I could possibly have said!'' [46] Yet, the relationship between people and the environment is still reciprocal. Therefore, it could be said that his analogy of humanised architecture in each argument converge into human ecology.

43. Peter Finke, Die Ă&#x2013;kologie des Wissens. 44. VIA 1 Ecology in Design, published in 1968 by University of Pennsylvania. VIA is a magazine published by

The Philosophy of Symbiosis

cosmology in Dogon, and reciprocal relationship along with the term of ecology. 45. From the Age of the machine to the Age of Life, by Kisho Kurokawa published in 1959. It is an essay about will be replaced by age of machine in modernism. VIA 1 Ecology in Design. p122

images from VIA1 Ecology in Design Kisho Kurokawa's website http://www.kisho.co.jp

On the other hand, Kurokawa anticipated the shift ''From the Age of the machine to the Age of Life'' and the word 'life' encompasses not just the principle of nature but ecological system. From this angle, he proposed the concept of symbiosis and explains ''the symbiosis of ''Place'' is synonymous with the symbiosis of all of the species on the face of the earth'',[47] and every human culture can be synchronised in the same way of symbiosis of human and nature. Hence, Kurokawa's biological approach to culture and architecture plays a role in the sense of ecology. Above all, there was a cultural and natural paradigm as ecology in van Eyck and Kurokawa's theory. This is regarded as common spirit existing in the particular era, in this case, the resilience from the war and ecology which can comprehend both anthropology and biology. Van Eyck says in the sentences about tradition and modern argument, ''you use the language -the spirit- of the period in order to solve the problems of the period''.[48] Additionally, Kurokawa comments about his expectation of a new era, ''Many new movements and knowledge age''.[49]

47. Kisho Kurokawa, From the Age of Machine to Age of Life. 49. Kisho Kurokawa, From the Age of Machine to Age of Life.

The theories of two architects Aldo van Eyck and Kisho Kurokawa, who contributed to architecture and urban plan especially in postwar era, were examined in this essay. They shared some similarities as members of team 10 and dissimilarities affected by upbringing. Considering them, the essay aimed to show these differences based on the theories of

These three concepts by two architects were summarised that, first of all, reciprocal relationship between entities is fundamental to understand world and culture, and secondly, intermediate space is architectural alternative of reciprocal relationship, which sits inbetween opposite entities. Finally, the temporal relationship between past, present, and

These common approaches were developed from the perspective of anthropology and biology, for van Eyck, the humanisation of architecture, for Kurokawa, architectural analogy of life and science. These similarities and dissimilarities were interpreted as cultural and natural 'ecology', in other words, reciprocal relationship between people and environments. This paradigm of ecology might be the spirit of the age in 1960s underlying Aldo van Eyck and Kisho Kurokawa's thoughts.

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Smithson, Alison and Peter. Urban Structuring (Studio Vista. London,1967) Strauven, Francis. Aldo van Eyck: the shape of relativity (Architecture and Natura, Amsterdam,1998) Tange, Kenzo. Architecture and the city (Eikoku press. Tokyo, 2011) Van Eyck, Aldo. 'Dogon: Mand-Huis-Drop-Wereld', Forum 17, number 4, 1963 Van Eyck, Aldo. essay 'The Child, the City and the Artists' (1959) Van Eyck, Aldo. 'A Miracle of Moderation'. VIA 1 Ecology in Design. (University of Pennsylvania, 1968) Van Eyck, Aldo. The Playgrounds and the City (Stedelijk Museum, Rotterdam, 2002) Van Eyck, Aldo. 'The story of another idea', Forum, volume.7, 1959

Kurokawa, Kisho. Rediscovering Japanese Space. (Weatherhill, New York, 1988) Forum, 1962 Lammers, H. Potentially,Unrevelling and reconnecting Aldo van Eyck in research of an approach for tomorrow. (2012) Risselada, Max. and Van Den Heuvel, Dirk. Team 10, 1953-81: in search of a Utopia of the present (Rotterdam : NAi, 2005)

Van Heuvel, WimJ. Structuralism in Dutch architecture. (10 publishers, Rotterdam, 1992) Walsh, Victoria. Nigel Henderson: Parallel of Life and Art (Thames & Hudson. London, 2001)

cover: The Otterlo Circles (left) from The shape of relativity Metabolism sketch (right) from Kisho Kurokawa's website http://www.kisho.co.jp front pages: Team 10 in search of a utopia of the present Lessons for students in architecture by Herman Hertzberger Nigel Henderson, Parallel of life and art by Victoria Walsh website http://iplusi.exblog.jp

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