The purpose of the study is to reveal the full picture of the relocation and reconstruction of the Former Imperial Hotel (1923-1968) designed by Frank Lloyd Wright (1867-1959) and to investigate the “preservation of the architectural style” proposed by Yoshiro Taniguchi (1904-1979), the first director of the Museum Meiji-Mura. This paper (part 2) looks at the process behind the preservation movement of the Former Imperial Hotel, which resulted in its relocation, and examines the survey records obtained by Akira Muto laboratory of Kogakuin University and the documentary photography taken by Shindo Akashi laboratory of Waseda University during its dismantling.

Alvar Aalto approached his architectural style to modernism in search of a new concept of spatial design. He recognized however the difference between the quality of Modern and his own creative sensibility, and took distance from Modern, although Paimio Sanatorium, one of his masterworks, is regarded as a representative work of Modern. Then he changed his design method to synthesize elements of Finnish regionality in his works, while sublimating the modern spatial modeling philosophy to his own creativity. The purpose of this study is to extract the spatial particularity of Aalto's architecture, which becomes clear by examining this process.

This paper examines reconstructing Aldo Rossi’s lecture in term of the word la tendenza before establishing the movement called “La Tendenza” after the XV Milan Triennale in 1973. Focusing on the lecture titled “Le teorie della progettazione (The Theories of the Project) “, the paper detects theoretical origin of tendenza during the years when Rossi taught in Politecnico di Milano as professor.

In those years, he wrote educational articles and articulated L'analisi urbane e la progettazione architettonica (The Urban Analysis and Architectural Project), first published in March 1970, for the results of the academic year of 1968/1969. The book contains four essays written by Rossi, titled “Premessa (Preface)”, “L'obiettivo della nostra ricerca Lezione. (The purpose of our research: Lecture)”, “L'idea di città socialista in architettura (The Idea of Socialist City in Architecture)”, and “Le teorie della progettazione”.

First, it considers the first volume of I quaderni azzurri (QA01), written in 19 June 1968 as Rossi’s diary. Just before the academic year of 1968/69, he catechized himself and the term tendenza appeared. Also, he associated the idea of tendenza with the term of La teoria della progettazione.

Second, it deals with the book L'analisi urbane e la progettazione architettonica, in which Rossi presents the term of tendenza for the students and assistants in his Gruppo di ricerca (research group). Judging from

“Premessa” and “L'obiettivo della nostra ricerca. Lezione”, Rossi demonstrates the idea of tendenza as common theme for the group. Following QA01, Rossi puts importance on scelta e tendenza (choise and tendency) and tries to define tendenza not as a stopgap manifest but as results of plurality of their researches.

Through “Le teorie della progettazione”, Rossi evaluates the urban projects in the 19^th century, for example, Haussmann’s reconstruction of Paris and G.A. Antolini’s Foro Bonaparte Project. For Rossi, Foro Bonaparte represents precise historical moment and una tendenza, for it anticipates modern vision of the city, with absolute force in the prominence on the map as the plan.

Then, with Paul Klee’s dairy, Rossi explains transformation from una tendenza to la tendenza inside the artist’s state of mind. In his opinion, architecture is only built for dominant class but could become “reactional architecture which could anticipate revolutionary image”. Interestingly, Rossi not only regards Bauhaus as architecture for dominant class which could have become revolutionary but also urges the audience to doubt the dogma of architectural education that succeeds Modernist Movement.

In the lecture titled “L'idea di città socialista in architettura”, presented in advance of “Le teorie della progettazione”, Rossi reckons abandoned Utopian projects to Modernism, influenced by Carlo Aymonino’s viewpoint on Tony Garnier and that of Leonardo Benevolo on the phalanstère. Finally, in the end of lecture, he cites the phrases of Leon Trotsky in Literature and Revolution (1924). Trotsky explains the art of tendenza in Soviet Union, which battles the compulsion of party’s principles to the artists. In the reversal sense that Rossi defended Stalinist architecture, he also respects the liberty of the state of mind in artist, citing from Trotsky’s phrases.

Furthermore, on Socialist City, the term tendenza referred by Rossi from 1968 to 1970 can overlap the idea of Città analoga. Rossi points tendenza for the state of mind of artist, which enables us to investigate the process of making own works toward the architecture of tendenza.