Adam Caruso Ai Wei Wei Alain De Botton Aldo Rossi Alejandro Aravena Alejandro Zaera-Polo Alexis Rochas Alvar Aalto Alvaro Siza Amancio Williams Anish Kapoor Anthony Vidler Antoine Predock Arata Isozaki Archigram Bernard Khoury Bernard Tschumi Bernd and Hilla Becher Bjarke Ingels Brian Eno Buckminster Fuller Carlo Scarpa Cecil Balmond Cesar Pelli Charles Eames Charles Gwathmey Charles Moore Charles Rennie Mackintosh Christian Kerez Christo and Jeanne-Claude Claude Nicolas Ledoux Colin Rowe Communication Craig Dykers Daniel Libeskind David Adjaye David Byrne David Childs David Chipperfield David Hotson David Macaulay Diller and Scofidio Elizabeth Diller Emilio Ambasz Emilio Tunon Eric Owen Moss Eva Franch Gilabert Francis Alys Francis Kere Frank Gehry Frank Lloyd Wright Fumihiko Maki Gaetano Pesce Gilles Deleuze Giovanni Battista Piranesi Glenn Murcutt Greg Lynn Gunnar Asplund Hani Rashid Hans Ulrich Obrist Hector Guimard Herzog & De Meuron I.M. Pei Iannis Xenakis Jacques Derrida Jacques Herzog James Casebere James Kunstler James Stirling James Turrell Jean Giraud Jean Nouvel Jean Prouve Jeanne Gang Jesse Reiser John Hejduk John Pawson John Soane Jorn Utzon Joseph Grima Joshua Prince Ramus Juhani Pallasmaa julius shulman Jurgen Mayer kathryn Gustafson Kengo Kuma Kenneth Frampton Kevin Roche Konstantin Melnikov Le Corbusier Lebbeus Woods Louis Kahn Louis Sullivan Lucius Burckhardt Luis Barragan Luis Mansilla Lyndon Neri Makiko Tsukada Manuel Delanda Marcel Breuer Mark Wigley Mauricio Pezo Michael Govan Michael Graves Michael Meredith Michael Sorkin Mies van der rohe Moshe Safdie Nader Tehrani Nanako Umemoto Nathaniel Kahn Neil Denari Norman Foster Olafur Eliasson Oscar Niemeyer Otto Wagner Oulipo Paolo Antonelli Paul Rudolph Peter Cook Peter Eisenman Peter St. John Peter Zumthor Pezo Von Ellrichshausen Philip Johnson phillipe rahm Pierre Chareau Pierre De Meuron Preston Scott Cohen R.M. Schindler Rafael Moneo Rafael Vinoly Raimund Abraham Ray Eames Rem Koolhaas Renzo Piano RIchard Meier Richard Neutra Richard Rogers Richard Serra Robert Irwin Robert Slutzky Robert Smithson Robert Venturi Rod Sheard Ron Arad Ryue Nishizawa Santiago Calatrava Sara Zewde Shigeru Ban Shin Takamatsu Slavoj Zizek Smiljan Radic Snohetta Sofia Von Ellrichshausen Sou Fujimoto Stan Allen Stanley Tigerman Steven Holl Sugimoto Sverre Fehn Tadao Ando Teddy Cruz Thom Mayne Thomas Heatherwick Todd Hido Tom Kundig Tony fretton Toyo Ito Valerio Olgiati Victor Horta Vladimir Tatlin Walter Gropius Wang Shu Whitney Sander Will Alsop Wolf Prix Zaha Hadid

Entries in Toyo Ito (5)


Toyo Ito talking with Hans Obrist

Via BienalleChannel

Nice interview, wish it was a bit longer though.


Toyo Ito with Studio BananaTV: Architecture as a Whirlpool

Toyo Ito talks briefly about his design philosophy and a few selected projects including the sendai mediatheque and the serpentine pavillion.

"Architecture should not be an immobile pole fixed in the riverbed, but the whirlpool of the river. The whirlpool behaves differently than the current of the river flow but keeps a relationship with the flow and transforms gradually."


Documentary: Toyo Ito's Sendai Mediatheque

Wonderful documentary on Ito's Sendai Mediatheque. After seeing how well the buildings in Yokohoma stood up to the earthquake it made me wonder how this gem is doing.

Part 1

Part 2

Part 3

 via observadora78


Toyo Ito Interview with Embassy of Japan in UK


You have been involved in a number of projects both in Japan and overseas. Could you tell us something about what distinguishes your works and your design philosophy?

In the early 1970s I established my first office. Initially my opportunities were limited, and until the mid-1980s almost all my work concerned the design of small residential buildings. In the 1990s I finally had the opportunity to participate in public buildings and over the last ten years my work overseas, especially in Europe, has increased significantly.

Up to the 1980s I favoured buildings featuring transparency and lightness. Buildings are generally thought of as solid and immutable but, in line with the emergence of the information society people, came to seek a sense of substance rather than the substance itself. I wanted to see if I could promote virtual buildings without that solid quality.

However, with the completion of the Sendai Médiathèque in 2000, my ideas about buildings changed considerably. 'Sendai' was built by welding an enormous amount of steel, and during that process I found myself attracted to the strength of steel and a sense of substance. If we think of people, this could refer to the attraction of their inner qualities, infused with life, exceeding their surface beauty. Since then I have been seeking a dynamism that captures the momentary balance achieved during movement in my works. This could be said to be groping for a contemporary organic space.


Sendai Médiathèque in Japan (2001)

In this context, what sort of design philosophy informed the Serpentine Gallery Pavilion in London's vast Kensington Gardens that you designed in 2002? Moreover, when you were designing it, which aspects did you consider with regard to harmony with the surrounding environment?

That small, snow-white building only existed on the grass in the gardens for three months before being dismantled. However, as it was just three months I was able to experiment in a way that would have been impossible with a permanent building. In the greatest experiment of this kind that I have ever undertaken, I developed a construction system jointly with Cecil Balmond, an engineer from Ove Arup, London. By segmenting the myriad overlapping lines which a rotating square inscribed on an abstract cube's top and side surfaces at those lines' intersections, we were able to create a space with a geometry completely different from the conventional cube. I feel as if, through the use of these lines alone, we were able to do away with the usual elements of a building such as columns, beams, walls, windows and doors, and give people the experience of a totally new sense of space. Moreover, this abstract quality and the snow-white object, reflecting the green of the surrounding grass, made a beautiful contrast with the main gallery itself.


The exterior of the Serpentine Gallery Pavilion,
London, 2002

The interior of the Serpentine Gallery Pavilion,
London, 2002


In Britain, and particularly in London with its many traditional buildings, the number of post-modern buildings has risen in recent years. How do you feel about such buildings?

20th-century modernism sought buildings unrelated to their localities which could be constructed in a short time, on a large scale and economically. As a result, flat buildings based on pure geometry and without any organic qualities came to line our streets, and cities around the world became homogenised. As a reaction to this, we are now seeing a growing number of buildings featuring historical elements.

However, I believe in the possibility of creating buildings for the new, post-industrial age with the use of computer technology. One could call them new, organic buildings which explore their relationship with nature and the environment. I think that architecture should reflect the sensitivities of the people of the age in which it is created and functions.


Tod's Omotesando, Tokyo, 1997
Tod's Omotesando, Tokyo, 1997




Toyo Ito: The process in architecture