With award winning architect Mr. Toyo Ito at the helm, Toyo Ito & Associates has soared to the skies.
Japan’s urban landscape saw a major construction boom over 50 years ago, leaving many aging structures in need of maintenance and restoration. Cracked water and sewage systems in older buildings constructed under outdated regulations now require updates, including seismic retrofitting. While the scrap-and-build approach continues to reshape cities like Tokyo and Osaka, this trend is expected to slow by 2040 due to the nation’s declining population. What is your assessment of Japan’s current architectural landscape, and what are the key challenges the industry will face in the coming years?
Conducting anti-seismic and rehabilitation measures on aging structures is very costly. I live in an apartment that is over 60 years old, and it doesn’t meet the current standards of seismic resistance. If buildings were to go into rehabilitation, the costs would be so high that the residents would most surely leave. This kind of story is seen all across Japan and is hindering any progress.
Traditionally, the Japanese mindset is referred to as “scrap and build,” as you mentioned, and that is because the core material for buildings is wood. The idea is that the cost is cheaper to just scrap the entire building and start again. This is why, even nowadays, Japanese construction companies have a scrap-and-build mindset.
There are areas in Tokyo that I walk by, and whenever I pass them, I notice that they are constantly replacing old wooden structures with new types of reinforced concrete, creating tall skyscrapers. Personally, I am critical of this approach. Traditionally, the Japanese people lived in harmony with nature, but by replacing traditional wooden homes with skyscrapers, construction companies are destroying that harmony. Local communities are also highly disturbed by the introduction of massive skyscrapers.
The population decline in Japan is very obvious these days, and even in major cities like Tokyo and Osaka, the signs point to future population decline. I want to ask the question, “If the population is going to decline, why do we need to pursue the redevelopment of buildings so aggressively?” The economic benefits are often cited as the core reason, but I would counter that with the fact that once you remove the human-nature harmony, you also destroy some of the beauty in the individual architectural design that is synonymous with Japan. Additionally, by standardizing buildings, you are also standardizing human beings. This approach really poses a huge risk to individuality.
Every city in the world is either in the process of growing, degenerating, or regenerating, and all of these stages are accompanied by a unique set of challenges. New and upcoming cities must do urban planning to avoid issues like congestion or overcrowding while also maintaining their cultural identity and regional sense of purpose. Can you talk about how you’ve adapted your architectural designs throughout your career to new upcoming cities, not only in Japan but across the world?
A fundamental concept I’ve always stuck to in my work is the creation of harmony with nature. In university, I was trained in 20th-century modernist architecture. However, instead of focusing on modernism, I reflect on the traditional relationship between nature and humanity, and seek new ways to apply it to architecture. Creating relationships between humans, buildings, and nature has been the key pursuit of my work.
Around 160 years ago, we lived through the Meiji Restoration period, which considered Western ideas as the absolute answer to developments. The Japanese mindset was considered a bit outdated compared to Western society. People have been pursuing this Western idea in all aspects of industry. People are finally now realizing that Japan has its own rich tradition and culture, meaning that there are many elements that should be kept. For example, while many might believe that high rooms in skyscrapers are attractive, it is my belief that being more connected with nature and the traditions of Japan is more important. It is my mission to visualize and reflect this in my work, voicing the unvoiced want towards this traditional Japanese aspect.
As an alumnus of the University of Tokyo’s Department of Architecture, you later extended your own studio in Tokyo called Urban Robot in 1971. In 1979, you renamed the company Toyo Ito & Associates, achieving enduring success and earning numerous accolades, including the Architectural Institute of Japan Award and the prestigious UIA Gold Medal. Can you talk about where your passion for architecture comes from and some of the key products you’ve done over your more than 50 years in the architectural industry?
Reflecting back on my career, there are two aspects that I want to emphasize. I established this firm back in 1971, and the 1970s were a turning point for the Japanese economy with the sudden oil shock and environmental disaster. I established my company during an age of economic downturn. At that time, I didn’t have much to offer, and I only had two or three staff members. It was during this period that I learned to see society more critically, something that has become a core essence of my design work.
Modernism has taken over Japanese architecture, but the key question is how to revive this interconnectivity of human beings and nature. This has been an ongoing topic that I’ve always been challenged with, and I haven’t reached a satisfactory level yet. These two aspects of the era and interconnectivity have been the driving force of my work.
Has your architectural philosophy been well embraced on an international scale? What strengths do you bring to building projects beyond just Japan?
There is a distinct difference between Japanese society and overseas. When talking about architecture projects, while the number of Pritzker Architecture Prize laureates in Japan surpasses that in the US, these architects aren’t as widely recognized in Japan. Individual architects in Japan need to have a more critical analysis of the present culture and propose countermeasures to the situation. Often, clients will delegate work, but they aren’t interested in discussing what we create, and while this does create more freedom, it means that our thoughts are not so well understood. Overseas is different, and in locations such as Mexico or Taiwan, for example, clients are very involved in discussions and planning. Even the local communities are interested in projects, so in these situations, I feel like we can convey more of our thoughts before the actual construction. For individual architects, perhaps overseas is a more comfortable environment compared to Japan.
Are there any new international projects you would like to work on?
We have a few projects ongoing in Taiwan and Albania. I haven’t been to Albania yet, but I’ve heard that the President is really into construction and architecture. Over Zoom, we discussed urban planning and condominium designs.
One of your most notable projects in Japan is the Sendai Mediatheque, which was opened in 2001 and was celebrated as a pioneering example of integrating emerging forms of media information into an architectural design, creating a space that transcends traditional notions of libraries and war museums. How does this building embody your own architectural philosophy, and what innovative design elements define the project?
Mediatheque was a new concept in Japan, and Sendai was the first place to amalgamate this notion of a library, theatre, and museum space. When the idea was proposed, we instantly knew this was something we were interested in. At the time, many locals voiced criticisms questioning the need for such a building without walls but with “Tubes”. There was one year of discussions, and it took us six years to complete the project.
The main concept was to make the space more fluid and flexible. It has now been twenty years since the establishment of the Sendai Mediatheque, and we still see many people gathering to use the facilities. When presenting a new design, it is difficult for others to understand the meaning of the idea. Basically, projects such as this are beyond imagination, but once the project is complete, it is tangible and understandable. Until we reach that point, however, anxiety will arise in the local community. Dealing with this anxiety has been a constant challenge.
Sendai Mediatheque. Courtesy of Sendai Mediatheque.
Sendai Mediatheque. Courtesy of Sendai Mediatheque / Photo: Izuru Echigoya.
What is the biggest challenge or obstacle currently that you would like to overcome? What technology would you like to see developed to liberate architectural design?
The advancement of computers and IT technologies has pushed forward architectural drawings, essentially by making them more three-dimensional. It is hard, however, with the advent of AI to determine how these technologies will continue to grow in the future.
I strongly believe that AI will not replace humans. Rather, they will augment human power, basically becoming a tool to better express ideas. In the future, the mindset and ideas will be even more valued as they are augmented by AI and IT technologies. This will help transform innovative ideas into reality.
In 2015, the United Nations adopted the 203 Agenda for Sustainable Development to promote environmental sustainability and push towards achieving carbon neutrality by 2060, a commitment that Japan is also actively pursuing. What does sustainability mean to you, and how are you integrating environmental sustainability into your architectural designs?
Of course, I should preface my answer by saying that sustainability is very important. In modern times, sustainability is a black-and-white approach. The Western ideas revolve around creating more energy efficiency using insulation, creating a barrier to retain coolness inside. The Asian concept is more of wooden structures that gradationally connects outside and inside, allowing for air conditioning to be set higher while retaining a cool temperature. This will reduce the amount of energy required.
What was your most memorable moment as an architect?
The Sendai Mediatheque is my representative work, and I strongly associate myself with this project. As mentioned earlier, my criticism of society has been the driving force of my work, but that was only until the completion of Sendai Mediatheque. I was worried at the time that my society's critical design would not be accepted by society at large, but once the project was completed, I was relieved to hear the appreciation from people. This gave me the strength I needed to move forward with more projects. It was the first time I was appreciative of my position as an architect.
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