'Tange and team had firmly intended Expo ‘70 to be an “experimental model of an urban infrastructure for information society” as well as an “exposition for personal experience and audience participation”, in which the personal and human experiences would remain with visitors as recurring images long after they have visited. The residential capsules about future living by Kurokawa, Awazu’s parade of interactive “cosmo capsules”, and the Metabolists' Wall of Capsules — a rare collaborative work by the Metabolists to capture the realism of architectural multiplication and transformation — were all examples of providing image–able spatial experiences. The “cybernetic environment”, as described by Isozaki, of the Festival Plaza — a single space with mechanisms that use water, movement, sound and light as elements controlled by artificial intelligence, also showed how Expo ‘70 was a culmination of the cross–disciplinary efforts of the intermedia collective. These ideas of architecture as media were first proposed by exhibition participants of “From Space to Environment” in the form of a report entitled “Report on Research and Investigation into General Performance Mechanisms that Use Water, Sound, Light, etc., in Exterior Spaces, Centering on the Festival Plaza of the Japan Exposition”.
What had resulted from Metabolism and the Environment Society’s project demonstrated how cross–disciplinary collaboration was far from a bland mix, but marked by a negotiation of heterogeneous content that could produce something new, as opposed to mere multiplications, through the regeneration of each discipline. The value of Expo ‘70 was thus beyond its complicity with commerce, but about the combinatorial creativity that it had produced — an indirect result of the “mixing chamber” in Tange’s home ten years before.’
- Excerpt from a recent article: "CrissCross: A Glimpse of the Graphic Designer’s Cross-disciplinary Collaborations in 1960s Tokyo" (The Design Society Journal Issue No. 7, p. 70-83, Sept 2013). My exploration of patterns in the motivation, mechanism and effects of graphic designer Awazu Kiyoshi's work across art, film, and architecture in 1960s Tokyo, was in response to the issue's theme surrounding “context”.
From left: Cover of Metabolism 1960 designed by Awazu: The Proposals for New Urbanism; Izumo Shrine Steel Gate (1963) designed by Awazu; installation collaboratively produced by Awazu and the Metabolists at Expo ‘70.