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. Each of the previous eighteen 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 18th Pavilion, we take a look back at all the previous pavilions and their significance to the architecturally-minded public.
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.
The “Home-for-All” is a project that is built upon the premise of “thinking together and creating together” with the community. It is an architectural manner that goes further than simply supporting the people affected by the disaster to question the most fundamental meaning of the future of public architecture. I would like students to present proposals that build from and go beyond the concept of “Home-for-All” from a perspective that takes into consideration of people living in our society today. - Toyo Ito
At first, books were kept in chests but as they became published in bulk they moved into the cupboard. The doors came off and the bookcase began to evolve. Today, bookcases can be integral architectural elements that shape space and, in some cases, even light. In celebration of International Day of the Book on April 23rd, ArchDaily compiled this round-up of architecturally, innovative bookcases.
Scroll down to see inventive architectural book storage from Alberto Kalach, ARCHSTUDIO, Toyo Ito, and more.
The Pritzker Prize is the most important award in the field of architecture, awarded to a living architect whose built work "has produced consistent and significant contributions to humanity through the art of architecture." The Prize rewards individuals, not entire offices, as took place in 2000 (when the jury selected Rem Koolhaas instead of his firm OMA) or in 2016 (with Alejandro Aravena selected instead of Elemental); however, the prize can also be awarded to multiple individuals working together, as took place in 2001 (Herzog & de Meuron), 2010 (Kazuyo Sejima and Ryue Nishizawa of SANAA), and 2017 (Rafael Aranda, Carme Pigem, and Ramon Vilalta of RCR Arquitectes).
The award is an initiative funded by Jay Pritzker through the Hyatt Foundation, an organization associated with the hotel company of the same name that Jay founded with his brother Donald in 1957. The award was first given in 1979, when the American architect Philip Johnson, was awarded for his iconic works such as the Glass House in New Canaan, Connecticut.
The Pritzker Prize has been awarded for almost forty straight years without interruption, and there are now 18 countries with at least one winning architect. To date, half of the winners are European; while the Americas, Asia, and Oceania share the other twenty editions. So far, no African architect has been awarded, making it the only continent without a winner.
Eyeglasses: the quintessential accessory of the architect. They are mini pieces of architecture you can wear, and an outward expression of your inner persona. Whether they be square, round, or wire-frame, black, white, tortoiseshell, or bright neon tones, they represent our visionary ideals. As such, many of the most iconic spectacles have an interesting history behind them; so here are the stories behind seven of the most recognizable eyeglasses in the architecture world.
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.
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.
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.