Hedström experienced the building as a revelation: a sequence of almost religious encounters with concrete, sky, land, and sea. The museum is dedicated to the work of three artists-Claude Monet, James Turrell, and Walter De Maria-and lets in light through geometric openings in the earth above. The class then travelled to the small island of Naoshima, to visit the Chichu Art Museum, a mostly subterranean concrete structure designed by Tadao Ando. (The tower fell into disrepair and was dismantled in 2022.) But the Metabolist future never quite arrived. It consisted of modernist, detachable, cube-shaped modules, each prefabricated according to the dimensions of a traditional Japanese tearoom. In Tokyo, Hedström and his classmates visited Kurokawa’s Nakagin Capsule Tower, from 1972, which was one of the few Metabolist structures to be built. In 1977, Kisho Kurokawa, one of Metabolism’s founders, wrote, “Human society must be regarded as one part of a continuous natural entity that includes all animals and plants.” Hedström was particularly influenced by Metabolism, a postwar Japanese architectural movement that imagined cities of the future as natural organisms: ephemeral, self-regulating, and subject to biological rhythms of growth, death, and decay. In architecture school, Hedström was drawn to Japanese principles of design and how they applied to a world-and a profession-increasingly troubled by the climate crisis. As a teen-ager growing up in rural Sweden, Hedström had been introduced to Zen meditation by his mother, Daina, and devoured manga and anime. Hedström, a twenty-five-year-old undergraduate, revered Japanese culture and aesthetics, even though he had never visited the country. At the end of his first year at the architecture school of the Royal Danish Academy, Pavels Hedström went on a class trip to Japan.
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