The UIA (International Union of Architects) has announced the winners of the 2017 UIA Gold Medal and Prizes. Established in 1961, the UIA Prizes are awarded every 3 years to “honour professionals whose qualities, talents, and actions have had an international impact on the diverse sectors of architectural practice.” This year, a total of 46 nominations were considered by the Secretariat.
In his latest video, filmmaker Vincent Hecht takes us inside Toyo Ito's Tama Art University Library. The project is notable for its effortless geometry, with the entire building comprising a series of simple concrete arches which, when combined, create a complex "emergent grid" which allowed for great flexibility in the building's plan. Hecht's video shows how this geometry works in practice, as the elements of the library snake through the building's light, open interior.
As one of the leading architects of Japan's increasingly highly-regarded architecture culture, 2013 Pritzker Laureate Toyo Ito (born June 1, 1941) has defined his career by combining elements of minimalism with an embrace of technology, in a way that merges both traditional and contemporary elements of Japanese culture.
This article is part of our 'Innovative Materials' series where we ask architects about the creative process behind choosing the materials they use in their work.
The Museo Internacional del Barroco (International Baroque Museum) by Toyo Ito is located 7km from Puebla, Mexico. The place is noted for its easy access, not only for cars, but also for being connected to a network of bike paths and public transport. In this interview we spoke with Alejandro Bribiesca Ortega and Miriam Carrada.
The encounter between CAMPO and Le FRAC Centre-Val de Loire of Orleans produced MISUNDERSTANDINGS, a project which, addressing one of the most important archives of architectural experiments worldwide, opens a reflection on the operative value of museums and collections for the contemporary discourse and practice of architecture.
This article was originally published on Autodesk's Redshift publication as "Toyo Ito’s Next Architectural Feat: Revitalizing Omishima Island in Japan."
A 10-year project in the making, the gargantuan cultural beacon is made of biomorphically curved concrete walls that wind together like a knot of arteries, creating an otherworldly experience for arts patrons. It’s every bit the landmark project you’d expect from 2013’s Pritzker Prize Laureate, but its rapidly approaching completion triggered a vital question: Where to go from here?
Designed in 2006, and under construction since 2009, Toyo Ito & Associates much anticipated Taichung Metropolitan Opera House has finally officially opened. The design is notable for its cavernous, curved and folded interior forms, which produce a dramatic and complex section that is neatly resolved into a rectilinear exterior form. Taiwan-based photographer Lucas K Doolan visited the new Opera House to study its impressive internal spaces and its presence in the surrounding urban environment.
For Paul Lewis, Marc Tsurumaki and David J. Lewis, the section “is often understood as a reductive drawing type, produced at the end of the design process to depict structural and material conditions in service of the construction contract.” A definition that will be familiar to most of those who have studied or worked in architecture at some point. We often think primarily of the plan, for it allows us to embrace the programmatic expectations of a project and provide a summary of the various functions required. In the modern age, digital modelling software programs offer ever more possibilities when it comes to creating complex three dimensional objects, making the section even more of an afterthought.
With their Manual of Section, the three founding partners of LTL architects engage with section as an essential tool of architectural design, and let’s admit it, this reading might change your mind on the topic. For the co-authors, “thinking and designing through section requires the building of a discourse about section, recognizing it as a site of intervention.” Perhaps, indeed, we need to understand the capabilities of section drawings both to use them more efficiently and to enjoy doing so.
Lasting for close to two decades now, the annual Serpentine Gallery Pavilion Exhibition has become one of the most anticipated architectural events in London and for the global architecture community. With this year’s edition featuring not just one pavilion but four additional “summer houses,” the program shows no sign of slowing down. Each of the previous sixteen pavilions have been thought-provoking, leaving an indelible mark and strong message to the architectural community. And even though each of the past pavilions are removed from the site after their short summer stints to occupy far-flung private estates, they continue to be shared through photographs, and in architectural lectures. With the launch of the 16th Pavilion this month, we take a look back at all the previous pavilions and their significance to the architecturally-minded public.
In this article, written by Christian Dimmer and illustrated with photographs by Max Creasy, the post-earthquake and tsunami coastal architectural landscape of the Japanese Prefectures of Aomori, Iwate and Miyagi are presented and studied.
Few disasters were as complex and their implications as hard to grasp as the compound calamity of earthquake, tsunami, nuclear meltdown that hit the North-East of Japan on March 11, 2011. While over 500 kilometers of coastline were devastated, the disaster unfolded in each of the hundreds of towns affected differently depending on local topographies, urban morphologies, existing landscape formations, collective memory of past disasters and preparedness, and the social ties within the communities.
The latest video in French architect and filmmaker Vincent Hecht’s Japanese Collection series features the Gifu Media Cosmos by Toyo Ito. The library/gallery features an undulating wooden ceiling and multiple large, suspended translucent funnels that define areas for different activities. A series of intermittent openings in the roof allows natural light into the space.
Yamagiwa has just released a new version of Toyo Ito's popular Mayuhana lamp - Mayuhana Ma Black. "Ma," meaning "true" or "genuine," represents the new lamps darker color that is, as the company describes, "more deep and profound."
"Mayuhana Ma Black is light in darkness. It is the quintessential quality of light found in Japan that reminds me of ‘In Praise of Shadows’ by Junichiro Tanizaki," says Toyo Ito.
Columbia University Graduate School of Architecture, Planning and Preservation (GSAPP) hosts a conversation among five of the most influential contemporary Japanese architects: Toyo Ito, Kazuyo Sejima, Sou Fujimoto, Akihisa Hirata and Junya Ishigami. Moderated by Columbia GSAPP professors Jeffrey Inaba and Kenneth Frampton, the conversation aims to explore the relationships and creative exchanges among this prominent group of architects and designers.
A new exhibition, opening later this month in London, aims to examine the varying ways that cities and communities have been re-imagined in the aftermath of natural, or man-made, disasters. Including work by Yasmeen Lari, ELEMENTAL, OMA, Shigeru Ban, NLÉ, Toyo Ito, Metabolism (Kenzo Tange and Kurokawa Kisho) and Sir Christopher Wren, who redesigned London in the aftermath of the Great Fire of 1666, the exhibition will primarily explore contemporary responses to earthquakes and tsunamis. Posing questions about the fragility of architecture, our relationship to nature, and the power of architects to instigate change, it will ask whether we are facing a paradigm shift in the way that cities and communities recover from destruction.
The Council on Tall Buildings and Urban Habitat (CTBUH) has shortlisted four buildings for the annual "Best Tall Building Awards." Considered to be the four best skyscrapers of the year, the buildings have been named from each of the four competing regions in the world - Americas; Asia and Australia; Europe; the Middle East and Africa - from nominees representing 33 countries. One of the buildings will be crowned the world's best at a ceremony this November.
The four top skyscrapers for 2015 are...
In this installment from the Berlage Institute, Toyo Ito opens a discussion on his traveling exhibition Blurring Architecture, the first iteration of which took place in Aachen. Explaining that architecture is often thought of as a very solid element, Ito meditates on the concept of distortion and shifts in contemporary ideas of architecture. Rather than considering architecture as static, he argues for an "ambiguous boundary" that is "not about form" but rather about the "conception of architecture." Considering the effects of the economy and politics on architecture, Ito pushes deep into philosophical notions of what architecture is and does, and how inquiry shapes the physical form of designs.
This post was originally published in The Architectural Review as "Size Doesn't Matter: Big Ideas for Small Buildings."
Taschen’s latest volume draws together the architectural underdogs that, despite their minute, whimsical forms, are setting bold new trends for design.
When economies falter and construction halts, what happens to architecture? Rather than indulgent, personal projects, the need for small and perfectly formed spaces is becoming an economic necessity, pushing designers to go further with less. In their new volume Small: Architecture Now!, Taschen have drawn together the teahouses, cabins, saunas and dollhouses that set the trends for the small, sensitive and sustainable, with designers ranging from Pritzker Laureate Shigeru Ban to emerging young practices.
Though it seemed a compromise was met last October, when Japan’s minister of education, Hakubun Shimomura announced plans to reduce the cost and scale of the Zaha Hadid-designed Tokyo Olympic Stadium, the debate rages on.
Pritzker laureates Toyo Ito and Fumihiko Maki have launched an online petition to “defend the ginko tree-lined landscape of blue sky and Jingu Outer Gardens” from the construction of Hadid’s “oversized” stadium.
The petition (now with more than 13,000 signatures) urges the Japan Sports Council, who hand selected Hadid’s winning design alongside Tadao Ando, to reconsider upgrading the existing Meiji Jingo Gaien Stadium and the gardens surrounding it. This solution, they believe, is a more affordable and sustainable alternative that would prevent the relocation of nearby residents.
Take a tour though Zaha Hadid’s 2020 Olympic Stadium and share your thoughts about the design (and petition), after the break...