The final results were really quite stunning, with wire traveling not only from nail to nail but extending as well to the walls, ceiling and adjacent exhibition spaces. The model had become truly complex, suggesting a rhizomatic city of ahierarchical networks of infrastructure and program. Already, Isozaki had initiated a critical development in the metabolist's project, suggesting for the first time the potential for real urban and architectural complexity. Real complexity, then, is possible only when it is liberated from conventional notions of organic totality. Moving beyond the biomorphic model toward a more natural or even semi-autonomous one, as the exhibition experiment demonstrated, whereby the sovereignty of the individual designer or creator is opened up to an array of external forces and interventions, Isozaki emphasized the need to consider diverse forces in order to foster true complexity.
Complexity is possible only when it is liberated from linear, teleological time.
Without such liberation, there can be no potential for real emergence, dissipation and density. In the mid-1960s, due primarily to the advent of information technology, the focus of architecture shifted from a conception of complexity viewed in terms of a biological model to one of information. This shift was registered not only in the work of Isozaki but in that of many of his contemporaries, including Archigram, Superstudio and Archizoom. They arrived at a concept of open or virtual architecture consistent with the conditions of informational network systems or cybernetic environments. These and other practices were negotiating both the physicality of megastructure and the virtuality of an 'informatic' network, an approach that can be seen today in the work of Rem Koolhaas and Bernard Tschumi, whose respective theories of 'bigness' and 'event-space' seem particularly relevant to a discussion of the actual and the virtual.