The cyclically renewing Asian metropolis and its depiction in Japanese Manga comics comes under the spotlight

Although in the west 'Manga; has come to mean a particular style of Japanese Sci-fi comic, in Japanese the word just means 'comic', and it can equally apply to Mickey Mouse or Rupert Bear picture stories. To describe cartoon films, homemade or international, the. Japanese have taken the English word 'animation' and shortened it to 'Anime' Mangas and Anime are the east's answer to Warhol and Pop Art, a mega pulp and video industry with profits in billions. Its star artist is Takashi Murakami, born in 1962, who, in his 2000 'Superflat' manifesto, described Manga's defining principles of flatness and superficiality. Though they embody the essence of today's comic culture, they also have a long tradition in Japanese art history.

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Mangas and Anime create Utopian worlds with futuristic architecture and their characters, all slim, sporty and usually young, enact life and death dramas shaped, in part, by the architectures in which their graphic artists have chosen to place them. But, haven't we seen these buildings and constructions somewhere before? Since the 1980s Mangas and Anime have drawn heavily on architecture created twenty years earlier by the Metabolists, whose number include Arata Isozaki, Kenzo Tange, Fumihiko Maki and Kisho Kurokawa. Originally a tract published for the 1960 Tokyo World Design Conference, Metabolism evolved in response to the devastation left by the War, propagating the idea that in a world of continual change and growth, structures should be created to help advance social development. Cities were conceived as self-regenerating organisms on to which spare parts, extensions and replacements could be plugged and unplugged. This began the trend for megastructures. Among Japanese fashion, industrial and graphic designers, architects and planners, these ideas crucially influenced Japan's restructuring. Cyclic renewal is a belief firmly anchored in Japanese society, and globalisation means that every city's own metabolic processes have connections worldwide. Non-Japanese designers such as Archigram, Cedric Price, Hans Hollein, Yona Friedman, Superstudio, Archizoom and Raimund Abraham, were also exploring these theories.

Research by Diane Luther was the impetus for this exhibition at the Deutches Architektur Museum (DAM), with complementary shows on other aspects of Manga at various Frankfurt vensues. Mixing models and drawings of "real' architecture from their archives with scenes from Manga and Anime, the exhibition goes under the title .Neo Tokyo 3, taken from the fictional capital in the 1995 Japanese Anime TV series Neon Genesis Evangelion. When under attack, the fictional city could, conveniently, lower its skyscrapers into the ground. Apocalyptic devastation is one of the recurring themes in Manga and Anime, along with urban density, the city as a thinking machine, and monumentality. However, unlike Western Modernists, who wanted to sweep away history to create a pristine tabula rasa for their visions, the Metabolisls accepted the old and built around, over or under it in extensions completely at odds with existing aesthetic norms. This approach gives the real Tokyo its distinctive thrown together and mismatched appearance. In Manga and Anime, cities also grow out of devastation in all directions. Continually ending and beginning, as in a Pantheist Wheel of Life, is the particularly Asian ingredient in this popmedia, in which the city is never complete, or at rest. Utopias are bound to fail, but out of their ruins comes the impulse for renewal.

As with other art forms, these media, reflect the concerns of their creators and their real environment. With their origins in Japan, one of the most densely packed countries in the world, it is not surprising that labyrinthine structures, with people packed like peas in pods, is a recurring feature of storoylines. The city as machine takes inspiration from visionary architects such as Archigram, with their famous walking City, or Ettore Sottsass (who playfully envisaged "The Walking City Stuck'). These comic metropolises actually move across landscapes, and often, like icebergs, have more accommodation hidden below ground, in luxury bunkers for living and shopping, safe from the scrutiny of potential enemies. Manga city structures spread like plasma, in which no one building can be separated from its neighbour. Only in recent decades have Hong Kong, with its city skywalks and escalators, or contemporary Shanghai, caught up with the reality of Tokyo, which director Scott Ridley acknowledged was the inspiration for his cult film, Blade Runner. Packed Asian urbanity, which looks chaotic, is in fact a closely woven mesh of many organisms, and a big influence on Manga and Anime artists, some of whom are themselves architects and engineers, or are advised by research teams.

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This paper architecture is also a testbed for innovative ideas, whether on self-generating energy or passive ecological systems. The often awe-inspiring monumentality is based on, or even directly lifted from real, architect designed, or built, examples. Arata Isozaki's Cluster in the Air (1962) which proposes new architecture in space pods hovering over the older city structure, appeal's in the backdrop to the comic hero on the cover of the exhibition catalogue, Kenzo Tange;s work is also often copied; his Residential Units (1959) appear in Masamune Shirow's Appleseed' Manga story, and his Shizuoka Press and Radio Centre (1970) appears in Katsuhiro Otomo's ''Akira' Anime, both published in 2000 Tange's tent-like sports hall for the 1964 Olympics is another popular landmark.