Outdoor sculpture, which came to the fore with the advent of the Hakone Open-Air Museum in 1969, was widely used in the 1980s. Cities supported enormous outdoor sculptures for parks and plazas, and major architects planned for sculpture in their buildings and urban layouts. Outdoor museums and exhibitions burgeoned, stressing the natural placement of sculpture in the environment. Because hard sculpture stone is not native to Japan, most outdoor pieces were created from stainless steel, plastic, or aluminum for "tension and compression" machine constructions of mirror-surfaced steel or for elegant, polished-aluminum, ultramodern shapes. The strong influence of modern high technology on the artists resulted in experimentation with kinetic, tensile forms, such as flexible arcs and "info-environmental" sculptures using lights. Video components and video art developed rapidly from the late 1970s throughout the 1980s. The new Japanese experimental sculptors could be understood as working with Buddhist ideas of permeability and regeneration in structuring their forms, in contrast to the general Western conception of sculpture as something with finite and permanent contours.