TOYO ITO
From Traditional to Modern
目次 7
Biography Toyo Ito’s awards and exhibitions Contact information
9
Introduction Toyo Ito: Stealth Fighter for a Richer Post-Modernism Essay by Charles Jencks
19
Section I: Performance Buildings Matsumoto Performing Art Centre National Taichung Center
33
Section II: Libraries Sendai Mediatheque
Tama Art University Library
47
Section III: Museums Museum of Architecture International Museum of Baroque
61
Section IV: Offices Buildings Tod’s Omotesando Building Torres Porta
75
Index & Acknowledgement
4 伊東 豊雄
5 伊東 豊雄
Serpentine Gallery Pavilion, 2002
伊 東 ・ 豊 雄
は酒を飲むのが好きです、 そして私はそこに非常に小さな
ある日、私はゲストがリラックスしてワインを楽しむことができるホテルをデザインしたいと思います。
Toyo Ito is a renowned Japanese architect, best-known for his innovative designs and the creative uniqueness of his projects. His work has been awarded with a Pritzker Architecture Prize in 2013, the Pritzker Jury described Ito’s work by saying, that “his architecture projects an air of optimism, lightness, and joy and is infused with both a sense of uniqueness and universality.” Toyo Ito was born on June 1, 1941, in Seoul, South Korea, which was, at the time of his birth, regarded as the Japanese-occupied Korea. In 1943, Toyo, along with his mother and sister, migrated to Japan, and his father joined them a few years later. Toyo enrolled himself at the University of Tokyo, and he graduated from there in 1965. He began his professional career by working as an apprentice under the leading architects of the Metabolist School, Kikutake Kiyonori. In 1971, he started his own studio in Tokyo, originally named Urban Robot (Urbot); in 1979 he changed the name to Toyo Ito & Associates, Architects.
産しました、 そして今年はおそらく1,000本のボトルがあるでしょう。
いとう・とよお Contact information
株式会社 伊東豊雄建築設計事務所
150-0002 東京都渋谷区渋谷1-19-4 不二屋ビル Phone:03-3409-5822 / Fax:03-3409-5969
1986 – Architectural Institute of Japan Award for Silver Hut 1992 – 33rd Mainichi Art Award for Yatsushiro Municipal Museum
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Selected Awards
1997 – IAA ‘interach ‘97’ Grand Prix of the Union of Architects in Bulgaria Gold Medal 1998 – Education Minister’s Art Encouragement Prize in Japan 2000 – Arnold W. Brunner Memorial Prize in architecture from the American Academy of Arts and Letters 2001 – Gold prize of the Japanese Good Design Award 2006 – RIBA Royal Gold Medal 2008 – Frederick Kiesler Prize for Architecture and the Arts 2009 – Asahi Prize 2010 – Praemium Imperiale 2013 – Pritzker Prize for Architecture 2014 – Mathew Art Award in Berlin 2017 – UIA Gold Medal 2018 – Person of Cultural Merit
ワイナリーを建てました。去年の秋に私達は最初のワインを生
8 伊東 豊雄
Night view from O house, 2009
Toyo ito: Stealth Fighter for A Richer Post-Modernism Charles Jencks
“I want to design architecture like an unstable flowing body.”
There is a paradox about contemporary architecture during the
breaks across his face, this won’t do. Other critics, because of certain
interregnum between ruling paradigms. Architects, like politicians,
influences, have compared him to Rem Koolhaas, or because of his
adopt ambiguous positions to attract free-floating adherents from a
temperament and background have slotted him in the “Shinohara
variegated audience, the rainbow coalitions which form and break up
School”—those architects such as ltsuko Hasegawa, who have been
over single issues. Some architects take on the protective coloration
influenced by Kazuo Shinohara and have a formal commitment to the
of Modernists, black and white suits of respectability; others adopt
Silver Aesthetic.
the mix and match informality of the young professional; others still are timeless, or aggressively style less. Architecture in an era of uncertain culture cannot afford too much conviction or self-assertion,
None of this pigeon-holing seems very relevant, at least to Ito’s
personality and work as a whole. These escape classification, slide
which is why some architects, such as Peter Eisenman, have begun
beyond the categories. I have a theory, which may not be invariably
to extol the virtues of “weak form.” Others still hide behind supposed
true but seems mostly right: the better the architect, the more
functionalism—a degree zero aesthetic or Minimalism.
unclassifiable he or she is, the more different facets the work reveals on the investigation. If each individual has multiple selves which they
Toyo Ito, usually dressed in black and white and conveying his
develop—parent self, consumer self, ideal self, tentative self, as social
architecture between silver covers of an understated monograph, is
psychologists label this constructs—then any good architect exploits
often mistaken as the quintessential Modern architect of the moment.
this psychological kaleidoscope. Behind the consistent facade of silver
His lightweight steel structures and perforated aluminum surfaces
grey, Ito’s work shimmers with heterogeneity.
place him, for the unwary, in the high-tech or Late Modern tradition. His diagonal planes and flying vaults seem to confirm this reading, as much as for the fact that he studied under the Metabolist architect Kiyonori Kikutake. Kenneth Frampton likes to portray him as one of his long-suffering existential heroes, “symbolizing the void” with his harsh
Ito the Traditionalist In his talk at the RIBA in the summer of 1993, Ito presented his work obliquely as typically Japanese, alluding to itsequivalences with Noh
metallic structures, denying himself the pleasures of the heavyweight
Theatre, and its relation to Zen. With this building, the sense of sound
building like some ascetic monk lost in the silence of “spiritual stoicism”
and the sense of wind—actual events on the street—are recorded and
and empty forms. Given the laughing Buddha smile that momentarily
immediately played back graphically on the facade. An interactive
9 伊東 豊雄
Toyo Ito, RIBA, 1993
architecture reflecting moods of an evanescent and abstract kind is the equivalent of a Zen landscape painting featuring mists, mountains, and wind. Very often Ito mentioned the floating nature of his architecture, a clear allusion to what is called “The Floating World” of Ukiyo (Ukiyo means “floating world pictures,” especially the woodblock prints which depict everyday life). Uki can mean “transient,” “impermanent,” and therefore sad and evanescent, or “lively,” “gay,” and therefore dynamic and urbane. With his view of the typical nomad woman of today, flitting from stage to stage in the daily theatre of Tokyo life, it is clear he intends both ends of this spectrum. He is not censorious, nor romantic, about this new urban character, but sees his architecture depicting and furthering her life, gentle background for life in the “Simulated City,” as several of his projects are known.
Ito the Techno-Futurist 10 伊東 豊雄
The idea of the contemporary city, particularly Tokyo, as an evanescent theatre of signs and symbols, the play of information across facades
and the changing skin of the environment started in the 1960s with the rise of semiotics. The architect Minoru Takeyama was the first to apply this emergent science to the urban scene, then Roland Barthes wrote his Empire of Signs in 1970, and by 1977 Ito himself started to represent this aspect of city life: his PMT building, which became well known in the West, stretched out a strange modulating aluminum skin. This “unfunctional” extravagance was meant to proclaim its independence from interior requirements, and thereby represent the grey “superficiality” of consumer society.
To Westerners, it might just look like a sensuous version of Richard
night, when the commuters pour home from work, the aluminum skin
Meier’s world built in silver slick-tech, but for Ito, it was a more suitable
dissolves and through its perforations, the scurrying thousands are
background for life in the information society. If this life is always
entertained by images projected on liquid crystals: not one story or set
changing, alwaysa simulation of something else and if there is no
of images but a computer-scrambled assemblage of five different image
correspondence between exterior wrapping and interior function—a
sources. This “Egg of Winds” simulates the rush and colorful twinkle
consequence of electronic simulation—then the designer must propose
of an information society speeding every which way.
a suitable response. “I do not mean,” he writes in Architecture in a Simulated City (1992) “that architecture should be replaced with video images or that temporary buildings should be used. Weshould rather
The most convincing version of the Simulated City was constructed for a short time at the Victoria and Albert Museum, in the exhibit
build fictional and ephemeral architecture as a permanent entity.” In
“Visions of Japan.” This was assembled and directed by the architect
other words, the fictional signs the architect creates—images of nature,
Arata lsozaki. Here Ito created, with the help of eighteen projectors,
undulating hills, wind, mist, forest, and things that change in everyday
acrylic floors and walls of liquid crystal, an extraordinary illusion of a
life—should be enduring. Representing change in permanent form was
simulated city–a double simulacrum–where images and noises went
a goal of both the Futurists in 1915 and the Metabolists in 1960.
through all four planes of the room and the observer felt he had intruded accidentally inside someone else’s brain to float around
Since the PMT building he has produced a number of such
between firing neurons and explodingholograms. The effect was
information-foreground structures, most notably the Tower of Winds,
mesmerizing, hypnotic, disorientating, intoxicating. When I visited
and the ‘rotating oval’ for the Japanese Alphaville, known ominously as
the exhibition, on more than one occasion I found spectators lost in
“Okawabata River City 21 Town Gate B.” During the day the rotating
a trance: indeed once I found the old-time Archigrammer, Ron Herron,
oval looks very much like a hostile intruder, perhaps an aluminum boat
sitting cross-legged on the floor soaking in this electronic nirvana,
or blimp tethered awkwardly between two ugly tower blocks. But at
trying to fathom its secrets for his own liquid crystal buildings.
11 伊東 豊雄
Yatsushiro Municipal Museum, 1991
For Ito, there is a kind of nullity or nihilism inherent in the meaningless a succession of frenetic images that shoot across this electronic
landscape—a “white noise” that characterizes the information age, a noise full of every sound but without melody, theme or significance. Coming from an Eastern culture he feels this nullity itself can be deep with meaning; certainly with aesthetic potential. So it is turned into a sublime dreamscape, the equivalent of Freud’s oceanic experience. But here cars, neon, and moving crowds take the place of the ocean. Again the “floating world” becomes the operative metaphor as he describes the installation “... clouds or mist ...the luminous floor is a light controllable “floating floor.” The image slowly flows on its resinous surface as if it were floating on still water and the substances seem to melt and disappear.” We are here back in the electronic nirvana of the Futurist Medardo Rosso, who insists on the transience of appearances. Underneath it all, Rosso insists, “we are all of us merely lighting effects”—that is what x-rays and quantum physics tell us we are. This “backward Futurism”, the metaphysics of 1910, reveals a lot 12 伊東 豊雄
about the strengths and weaknesses of the contemporary avantgarde. On the one hand, the advance guard today tends to sacrifice plot for information; narrative and quality for a huge quantity of random imagery—it does not understand that the basic truth of the information age is not the quantity of data but its significance, its meaning and how it coheres together in a story. On the other hand, Ito’s Simulated City certainly does convey the aesthetic equivalent of the consumer society, and it turns the unpromising world of hype and movement into a new ecstatic experience. He perhaps has captured the poetry of our Southeast view from O house, 2009
electronic wasteland–so a formal inventiveness, as displayed in the Victoria and Albert exhibit, redeems conceptual poverty.
13 伊東 豊雄
Day view from O house, 2009
14 伊東 豊雄
Ito the Poet Behind all the high-tech, hard-edged materialism, behind the cold steel and grey concrete which color everything in the twilight of an
advanced industrial wasteland, is a personality that does not mind declaring itself poetic. The disarming, indeed charming-aspect of Ito is his humorous light touch, his modest irony. One might overlook Ito in a crowd of big-name architects; certainly he disappeared into the background of individualists and superstars when I saw him in Nara in May 1992: Jean Nouvel, with his brand image of black on black and rolled up jacket-sleeves; Jim Stirling and Richard Rogers, with their dayglo shirts and aggressively casual appearance; Charles Correa, the personification of the Holy Man and Hindu Sage. A hundred such individualists all asserting their special genius made Ito’s quiet, understated, black and white presence all the more interesting if one could perceive it. I’m not sure this modesty is altogether a virtue; after all, Kisha Kurokawa laments the conformity inherent in a consensual culture: “The Japanese bang in the nail that sticks out.”
Kaohsiung National Stadium, 2009
Nevertheless, Ito’s light touch and restraint have power in a profession given to heaviness and the macho personality. This airy quality is most evident in his “nomadic” furniture: thin structures, balloon shapes, tent-like struts that easily lift off the ground and disappear. Behind his floating world is the deep metaphor of the tent. Sometimes it becomes explicit, as in the Silver Hut, the house he built for his family between 1982-4. Here he imagines himself the archetypal nomad in the urban desert, living off a second or third nature of discarded domes, paper-thin building elements and anything to hand. He is the “ad host,” the handyman, the bricoleur, the savvy consumer, assembling his ‘primitive hut’ from the silver cast-offs together of one’s a classical over-productive society. The idea of cobbling together one’s classical hut from geodesic domes and used car panels has been around—and in practice—since the Hippy domes od Drop City in the 1960s. But
The Museo Internacional del Barroco, 2016
none of these examples, to which Ito alludes, reaches the aesthetic and conceptual sophistication of his home. Structured on the module this set of parallel vaults also alludes to the classical temple and the work of Louis Khan—all of that while still being a modest lightweight structure. What sets the Silver Hut and the Silver Aesthetic of Ito apart from Western work in the same genre is this poetic allusiveness, like Fumihiko Maki, Ito takes advantage of the small power tool revolution to bring handicraft and individual choice to the building site. Admittedly, this is only possible within a Japanese building context, which is not, as it is in the West, cramped by legislation and legal documents. One can still make creative decisions with high-tech materials at the last moment, and hence the whole industrial aesthetic has a poetic dimension, flexibility, and ease of the spontaneous gesture, which is lost in the West.
Ito the Post-Modernist The historic and poetic allusions which are definitely present are also definitely displaced into new code. It says of the lightweight screens in his house: “They are like shoji, but if I use paper it’s too classic.” The allusion must be transformed; tradition must be acknowledged and displaced at the same time. An understated double-coding and its overstated variety is the hallmark of American Post-Modernism is evident everywhere. This double meaning pulls together different eras
15 伊東 豊雄
of the Tatami mat, divided by thin walls that could be shoji screens,
and opposing discourses; it cuts across the usual boundaries of the
again a usage from the past, storing artifacts in the air as in the old
audience and carries on the Post-Modern agenda the binding of time
Japanese Shoso-in, is transformed in the present, but without explicit
and disparate audience in a new way.
reference. It is the double-coding of an underground Post-Modernist working away by stealth, disguising the many layers of reference behind
Because Ito is a Post-Modernist dressed as a Modernist, his message
an industrial vernacular.In such work, Ito positions his architecture at
has an unlikely freshness that takes one by surprise. Can he really see
the juncture between traditional Japan and the computer age and
high-tech steel as the flexible equivalent of paper or wood or even the
reveals the eternal hidden in the ephemeral. Such antitheses and
spontaneous brushstroke of the Zen ink painting? What does he mean
doublecoding challenge us to look again at the customary way
by the title of his RIBA talk “Architecture as Garden: Garden of light,
we classify architects and question the categories of architectural
Garden of mind, Garden of microchip?” What is this deep metaphor of
production. If a metallic building can be as delicate, humorous and
the garden, coding the non-natural to the organic? Ito’s commitment
flexible as this, the twenty-first century can rewrite the doleful history of
to underlying metaphor, and “green architecture,” mark him as the
machine age architecture which has bored and imprisoned us by turns.
quintessential Post-Modernist. The materials and imagery he uses would put him outside the accepted tradition of the Greens—after all, aluminum is one of the most energy-expensive materials available.
Notes
But his thin structures always sit very lightly on the earth and often
1 Kenneth Frampton, “Ukiuo-e and the Art of Toyo Ito”, Space Design,
16 伊東 豊雄
burrow one or two stories underneath it, connecting architecture to the landscape, saving energy with earth berms and understating the impact of the man-made. The small museum in the Kumamoto Prefecture is a case in point. Old trees on the site were carefully preserved as the billowing steel vaults bent this way and that around them. The museum was itself conceived as an artificial park, digging below ground and thereby pushing up a green mound of earth near the entrance. Over this gentle grass slope (a “fictional or simulated hill”) stretches a flat bridge, a gently curved art only three inches deep, that hovers just one or two feet over the earth as a bow stretched tautly. Everything is done to increase the lightness of the building, its floating quality; the very antithesis of contemporary museums in the West.
Where are collections are housed in mausolea and temples as if art consisted of relics to be hoarded and worshipped, Ito places artifacts under tent—like shapes behind glass and perforated metal and most unusually locates the storage space in a huge, hovering cylinder. This, the flying wedge of Zaha Hadid, or the extruded egg of Will Alsop, or the flying beam of Kazuo Shinohara, may be the fashionable shape that these precedents suggest, but it is also an ingenious solution to keeping works of art. Usually, this storage space is put out of sight, underground, a subconscious not accessible to the public. But,
86:09 pp144-7 2 Toyo Ito, “Space/ Simulation/ Visions of Japan”, 1991
学の授業を受けているわけではあり
ませんが、小さい頃から建築学につ
いてよく知っているようにすることが
大切だと思います.
17 伊東 豊雄
子供たちが音楽や美術のように建築
18 伊東 豊雄
13 伊東 豊雄
M s t s u m o to Pe r f o r m i n g A r t C e n te r
N a t i o n a l Ta i c h u n g T h e a t e r
P ER FO R M A NCE BUI L DI N G S
19 伊東 豊雄
パフォーマンスビル
I would like to use architecture to create bonds between people who live in cities, and even use it to recover the communities that used to exist in every single city.
20 伊東 豊雄
MSTUSUMOTO PERFORING ART CENTER Nagano, Japan, 2004
This Arts Center is the main facility for Japan’s largest musical event: the Saito Kinen Festival. The complex consists of a large, 1,800-seat hall that can be used for opera performances, and a 250-seat theater. In 1999, our proposal was selected through a competition process. The site is unusually deep and narrow compared to its frontage, so we decided to take a drastic approach in the arrangement of the theater. We configured the facility so that the large hall is turned backwards to the front of the building, and built a gently sloping staircase around the site, as well as a foyer in the deepest part of the building. This design alleviated the inherent difference between the front and back sections of the site. Our idea of making the whole building into a theatrical space was emphasized by the threedimensional circulation, which made one feel as if he was being drawn into the facility from the streets. Beneath the foyer, we were able to create a dressing room that captures light from the outside. The back-to-back configuration of the large and small halls not only made the services from the center of the site possible, but also put the maximum volume of flytower at the center of the building, which helped to reduce volume impact at the edge of the neighboring residences and a nearby shrine. Thus a single layout solution enabled us to achieve multiple effects beyond our imagination. The entire building is wrapped in a gentle GRC panel curtain wall inlaid with numerous glass pieces of various shapes. By reinforcing interiority and controlling light, we attempted to physicalize the experience of gradually melting into the thick darkness of the stage.
まつもと
市民芸術館 Aerial view
所在地
長野県松本市
構造
鉄骨鉄筋コンクリート造、部鉄骨造
期間 規模
2000.11 – 2004.3
地下2階、地上7階、塔屋1階
敷地面積 9,142.50m2 建築面積 7,080.02m2
延床面積 19,184.38m2
First floor plan
23 伊東 豊雄
Matsumoto Peforming Arts Center, 2004
24 伊東 豊雄
私たちが世界を川のように見れば、建物を建てることは一般的に木の杭を川の中に急落させるようなものです。 ステークは 流れますが、流れとは関係ありません。
多くの 場 合 、地 域 の 特 定
Entrance hall view
Entrance: northeast view
25 伊東 豊雄
Entrance: east view
の 文 字 が 外 国 人 によって最 初 に 識 別 さ れ る可 能 性 が ありま
Foyer on second floor
建物全体が優しいGRCパネルカーテンウォールの象眼細工で包まれています
さまざまな形の多数のガラス片を使って。
26 伊東 豊雄
21 伊東 豊雄
NATIONAL TAICHUNG THEATER Taiwan, China, 2016
This is a theater complex planned in Taichung City, a major city in the central area of Taiwan. The requirement includes; series of theater spaces with the seating capacity of 2014, 800, and 200; enough practice rooms and back spaces; a restaurant and commercial facilities, and a public park space around the building for the daily bustle of activities. This project has the most complex configuration in its structure system after our Sendai Mediatheque project. In detail, there is a huge cave-like space produced by three-dimensional curve surfaced reinforced concrete shells, whose curved surfaces were derived from the grid that repeats itself in a simple regularity. The cave space is transformed in complex manner by housing three theatrical spaces inside of the cave space, and it develops two pairs of tubal space in either vertical or horlzontal orientations. We named this structural system as Catenoid. Two layers of Cate no id forms a single pair, while those layers repeatedly open or close in reversal manner. This pair is then repeatedly stacked in vertical orientation to form the whole unit. This is based on the spatial concept of the unrealized Forum for Music, Dance and Visual Culture in Ghent,but there are some qifferent points; because of the close relationship of the building programs to the surrounding urban environment in Ghent case, we suggested a space based on the concept of a three-dimensional networking of city streets to bring in the urban context into the interior space.
台中国家 歌劇院
Aerial view
所在地
台湾台中市
構造
鉄筋コンクリート造
期間 規模
2005.9 –2016.9
地下2階, 地上6階
敷地面積 57,020.46m2 建築面積 8,308.2m2
延床面積 51,152.19m2
Longitudinal section S=1:1000
29 伊東 豊雄
National Taichung Theater, 2016
Main lobby: ortheast view
職員は、何らかの方法で人々を制御するためにデザインを使用したい傾
向があります。 しかし、空間を楽しみたい人々をコントロールすることは、
Stairs: front view
30 伊東 豊雄
都市計画とデザインにとって前向きなビジョンではありません。
31 伊東 豊雄
これは台中市、 大都市で計画さ れている劇場の 複合施設です 台湾の中心部。
Entrance: northeast view
32 伊東 豊雄
27 伊東 豊雄
Because there are a lot of big cities in the world
people who live in cities
ライブラリー
Sendai Mediathque
L IB R ARI ES
Ta m a A r t U n i v e r s i t y L i b r a r y
33 伊東 豊雄
have become more isolated than ever.
34 伊東 豊雄
SENDAI MEDIATHQUE Miyagi, Japan, 2000
Sendai Mediathque stands along Jozenji street, a main avenue in Sendai famous for its stately rows of zelkova trees. Completed in August 2000, five and a half years after the open competition held by Sendai City, this project rises 8 stores from ground level with 21,600 square meters in total floor space. In the early stages of planning, four different functions were proposed for the facility: an art gallery, a library, a visual image media center and a service center for people with visual or hearing disabilities. During the competition, however, we were asked to combine these programmer together and show a revolutionary form of architecture. From the competition through the basic design process, our main objective was to break free from conventional art museum or library archetypes; we carefully analyzed each programme, eventually re-composing them to create a “Mediatheque.” The basic design was developed through consultation with specialists from various fields and through numerous hearings for the exchange of opinions with Sendai’s citizens. Since such discussions are endless, flexibility is required in the architectural ‘hardware’ that can respond to any development or can accommodate any programme in the future. We did not change our idea after the competition; rather than a formalist architecture, ours is a simple yet conceptual proposal consisting of three plain elements: “plate,” “tube” and “skin.” The “plate” element is a place to enhance the different forms of communication between people or between people and things. The ground floor opens to the outside with a cafe, shops and square.
せんだいメデ
ィアテーク
Southeast view
所在地
宮城県仙台市青葉区
構造
鉄骨造 + 鉄筋コンクリート造
期間 規模
1995.4 - 2000.8
地下２階、地上７階
敷地面積 3,948.72m2 建築面積 2,933.12m2
延床面積 21,682.15m2
Longitudinal section S=1:1000
37 伊東 豊雄
Sendai Mediatheque, 2011
私がこの種の作業のために留意しているのは、環境の中で私のアーキテクチャーを強調することではありません。
C U LT U R A L F A C I L I T I E S SHOULD BE FROM NOW ON. 既成概念を超えて新しい時代の建築を切り開くために、挑戦的な態度で公 共プロジェクトに取り組もうとしています。
Entrance: northeast view
38 伊東 豊雄
Aerial view
Entrance: night view
39 伊東 豊雄
Entrance: southeast view
私が若い頃に受けた最高のアドバイスは、 「あなたの頭で考えないこと」 でした。全身で考えてください。
Looby view
住宅のような小規模建築の場合は、できるだけ快適な空間を作り出すために、
できるだけクライアントの要求に耳を傾け、 それを受け入れようとします。
それどころか、私自身の考えを持ち込むことによって環境を強調するためです。
N E W I N T E R I O R S PAT I A L Q U A L I T I E S TOYO ITO 36
40 伊東 豊雄
TAMA ART UNIVERSITY LIBARY Tokyo, Japan, 2007
This is a library for an art university located in the suburbs of Tokyo. Facing the main entrance gate, the site lies behind a front garden with trees and stretches up a gentle slope. In addition to enriching the library space for the entire campus, from the early stages of planning it was strongly requested that we create a space capable of enhancing communication between students and professors. Our first idea was to create a wide-open gallery space on the ground level separate from the library that would serve as an active thoroughfare for people crossing the campus on the way to other buildings. This gallery has the same grade as the site and creates the sensation that the sloping terrain and the front garden’s scenery continue within the building. The space can be used for lectures and performances, and as a cafe where students can get together and relax. Series of continuous but asymmetrical concrete arches shroud both floors, crisscrossing each other as they trace curved lines. To minimize the thickness of these arches we adopted a special structural system in which central steel plates are sandwiched on both sides by a layer of concrete. This construction system allowed the cross-joint columns to connect to the ground in an extremely slim shape; the spans of the arches vary from 1.8 to 16 metres, but the thickness is kept to a uniform 200 mm. The space is gently divided by the crossing of the arches yet remains continuous. Bookshelves and reading tables with undulating forms stretch through the space.
多摩美術大学 図書館
Reading area
所在地
東京都八王子市
構造
鉄骨 + コンクリート造、一部鉄筋コンクリート造
期間 規模
2004.4 – 2007.2
地下1階、地上2階
敷地面積 159,184.87m2 建築面積 2,224.59m2 延床面積 5,639.46m2
Section S=1:1000
43 伊東 豊雄
Tama Art University Library, 2007
View from reding areas
Reading tables along windows
View from northeast
View from southeast
Reading areas and open-stacks
THE BIGGEST CHANGE IN MY PHILOSOPHY HAS BEEN MY UNDERSTANDING OF NATURE.
46 伊東 豊雄
1960年代の夢は1970年代に消え始めた。
M USE U MS
Museum of Architecture
International Museum of
The Baroque
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ミュージアムた
The economy collapsed, and so did the optimism of the Metabolists.
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MUSEUM OF ARCHITECTURE Ehame, Japan, 2011
The museum is located on a hilly site overlooking the Seto Inland Sea in the southwest of Omishima, a small island blessed with abundant nature with its orange groves and beautiful sunsets. The definition of the museum emerged only gradually. The project was originally the initiative of a wealthy art collector, Atsuo Tokoro, and his gallerist, Koji Hasegawa, who together had built a small museum on the island in 2004 to house Tokoro’s collection of contemporary sculpture. When Tokoro decided to build an annex to the facility, Hasegawa recommended that he approach Ito for the job. Ito’s initial proposal had a fluidly organic concrete shell roof, a “transparent jellyfish or sea cucumber” in the words of Tokoro. This version was never realized— changes to the local administration delayed the project for several years. Ito had set about articulating a new architectural vision, based on structure, nature and the body. As his educational mission burgeoned and rubbed off on his clients, the project metamorphosed from an annex for sculpture into space for architectural exhibition and discourse—with the star exhibit being the work of Ito himself. The resolution is a museum split into two separate buildings, each described as a “hut”—a moniker that signals the presence of a primal architectural theme. “The Steel Hut’ and “The Silver Hut” cater to the two distinct functions of the institution, one a space of exhibition, the other a venue for discussions and workshops. The paired naming of these two works reveals them as binary twins, embodying complementary qualities, principles, even chapters in Ito’s life.
伊東豊雄建築
ミュージアム
Silver Hut and Steel Hut
所在地
愛媛県今治市
構造
スティールハット:鉄骨造、一部鉄筋コンクリート造 シルバーハット:鉄筋コンクリート造、一部鉄骨造
期間
規模
スティールハット:2008.7 – 2011.3 シルバーハット:2009.4 – 2011.5
スティールハット:地上２階 / シルバーハット:地上２階
敷地面積 6,295.36m2（全体）
建築面積 スティールハット:194.92m2 / シルバーハット:168.32m2 延床面積 スティールハット:168.99m2 / シルバーハット:188.32m2
Section detail: S=1:1000
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The Museum of Architecture, 2011
Northeast view
Silver Hut
問題はそれだと思います アーキテクトはメッセージを 建築界 Silver Hut
Southeast view
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Steel Hut: inside view
54 伊東 豊雄
INTERNATIONAL MUSEUM OF THE BAROQUE Baroque, Mexico, 2016
The Museo Internacional del Barroco (MIB) is the work of Pritzker Architecture Prize-winner, Toyo Ito in Mexico that recently opened its doors in February 2016. The project aims to develop a concept that exposes the heritage of Puebla and Mexico during the Baroque period, the fundamental principles of the aesthetics of the same movement and the projection in all areas of European and Latin American societies of the 17th and 18th centuries. The body that confirms the Museo Internacional del Barroco is an approach to share, expose, and underline the importance of the artistic movements of the past which have been central in the history of our country, and in this case, the world. It is a way to make contact with visitors, to create a contemporary space that contains the Baroque language as the museographic direction, to keep consistency with the visitor-space-history connection and to share the identity that has generated its roots. The MIB is located in Puebla, offering thematic content with an emphasis in the global scope of the Baroque, showing collections from different countries as well as services and activities developed particularly in the field of education, literature, multimedia, and visual contents. The museum completes your visit with a library, store, auditorium, and restaurant to enjoy the magnificence of the space.
バロック・インターナ
ショナルミュージア
ム・プエブラ
Overall view
所在地
プエブラ、 メキシコ
構造
壁：サンドイッチPC壁工法、 スラブ：バブルデッキ工法
期間 規模
2012.8 – 2016.2 地上2階
敷地面積 50,000m2 建築面積 9,855m2
延床面積 18,149m2
First floor S=1:1500
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Museo Internacional del Barroco, 2004
私のデザインアプロ 58 伊東 豊雄
Entrance: southeast view
Lobby hall: south view
建築のユーザーと
バロック・インターナショナルミュージアム・プエブラ
ローチは 常に議論を通して Entrance: southeast view
バロック・インターナショナルミュージアム・プエブラ
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バロック・インターナショナルミュージアム・プエブラ
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T O R R E S P O R TA
We have to base architecture on the environment.
オフィスビル TO D ’ S O M OT E S A N D O B U I L D I N G
私たちは環境に基づいてアーキテクチャを構築する必要があります。
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OFFICES BUI L DI N G S
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Located in the fashionable Omotesando area of Tokyo, this building was built especially for TOD’S, an Italian shoe and handbag brand. The lower levels of this seven-story building are used as a shop, with the middle and upper levels containing offices and a multipurpose space.
TOD’S OMOTESANDO BUILDING Tokyo, Japan, 2004
Located in the fashionable Omotesando area of Tokyo, this building was built for TOD’S, an Italian shoe, and handbag brand. The lower levels of this seven-story building are used as a shop, with the middle and upper levels containing offices and a multipurpose space. Since the site is L-shaped and has a narrow frontage, in order to give the building a unified volume we enclosed the site with a wall that gives the impression of a row of zelkova trees. This exterior surface serves as both graphic pattern and structural system and is composed of 300 mm thick concrete and flush-mounted frameless glass. The resulting surface supports floor slabs spanning 10-15 meters without any internal columns. This concrete structure, however, is not simply used as in conventional architecture to express the volume or the massiveness of the walls. More than being merely a pattern or a structure, this building instead acquires a new dimension relating to the notion of the surface. Trees are natural objects that stand by themselves, and their shape has inherent structural rationality. The pattern of overlapping tree silhouettes also generates a rational flow of forces. Having adapted the branched tree diagram, the higher up the building, the thinner and more numerous the branches become, with a higher ratio of openings. Similarly, the building unfolds as interior spaces with slightly different atmospheres relating to the various intended uses. Rejecting the obvious distinctions between walls and openings, lines and planes, two and three dimensions, transparency and opaqueness, this architecture is characterized by a distinctive type of abstraction. The tree silhouette creates a new image, with a constant tension generated between the building’s symbolic concreteness and its abstractness.
TOD’S
表参道ビル Entrance: Southeast view
所在地
東京都渋谷区
構造
鉄筋コンクリート造、一部鉄骨造
期間 規模
2002.4 – 2004.11 地下1階、地上7階
敷地面積 516.23m2 建築面積 401.55m2
延床面積 2,548.84m2
Longitudinal section S=1:1000
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Tod’s Omotesando Building, 2004
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I FIND MYSELF MORE AT HOME WORKING ON THE SMALLER ISLANDS OF JAPAN.
Party room on sixth floor Entrance: front view
Windows flush with wall 67 伊東 豊雄
私は自分の仕事に 一つの夢を見ます, 建築は等しくある べき自然。
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TORRES PORTA
Tokyo, Japan, 2005
It is one of the series of expansion plans started in 2002, for Barcelona trade fair convention center called Montjuic 2. This particular project is the complex building including the office space, a hotel, a spa facility, and conference halls. The site is in the city of L’Hospitalet de Llobregat, located between the airport and the center of Barcelona. Because of its location, we intended to provide a role to the building as a gate to the whole complex of this convention center, by providing twin towers facing the west entrance hall of the convention center across the plaza. The two towers are configured as an hotel wing in an organic volume with a simple circular core, and as an office wing in simple rectangular volume with an organic core. We considered the dynamic contrast in volume between those two towers would produce a boldness to be the symbol of the town. The volume of the organic form is defined by the locus of a curve rotating as it rises up. The shape of the plan of this curve is controlled by six points on the curve, while those points are clustered in half and batch processed for scaling to produce the impression of the volume rising up smoothly with oscillation. The rising curve with rotation gradually expands larger as it reaches to higher floor levels, while its rotation angle also gradually increases. By this operation, the higher floor levels concentrated with the suit rooms will achieve the view toward the surrounding city scape. The core of the office wing with a rectilinear silhouette is also generated by the locus of a curve rising up with rotational movement. This core is sectioned by the rectangular surface of the glass to reveal its section shape. Those two towers are in the complemental relationship for each other, as they transform the expression of a static architecture into the expression of the kinematic volume that is twisted and rotated within the notion of time.
トーレス・ポル タ・フィラ
South aerial view
所在地
バルセロナ、 スペイン
構造
鉄筋コンクリート造
期間 規模
ホテル棟：2004.6 - 2010.1/ オフィス棟：2004.6 - 2009.5 ホテル棟：地下2階、地上26階、塔屋１階 オフィス棟：地下3階、地上24階、塔屋１階
敷地面積 ホテル棟：5,775.55m2 / オフィス棟：4,801.55m2 建築面積 ホテル棟：4,801.08m2 / オフィス棟：4,049.73m2
延床面積 ホテル棟：34,688.10m2 / オフィス棟: 45,419.59m2
Site plan S=1:1000
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Torres Porta, 2009
A SILENT POO OF W AT E R . . . .
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This inspires me to design an image, and from there I work out the best way to realise this vision.
Entrance hall and reception of hotel wing
初めは、 これは強くありませんでした。長年にわたり、 そして
私がより多くの経験を積むにつれて、 これは変わりました。 そ れは今私の仕事において非常に重要です North view from bottom
私は森林伐採、静かな水のプール、 流れる川を夢見るかもしれません.
TO REALISE THE
Overall view from southeast
V I S I O N. . .
Instead, I prefer my projects to resemble a whirlpool, possessing its own space, but simultaneously completely integrated into the river’s currents.
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View from bottom
Index
Sendai Mediathque
Museum of Architecture, Steel Hut
Tod’s Omotesando Building
Page 20~25 Program: theater Structue: steel reinforced concrete 7 stories, 2 basements.
Page 34~39 Program: theater & library Structue: steel reinforced concrete 7 stories, 2 basements.
Page 48~53 Program: museum Structue: steel frame 2 stories.
Page 62~67 Program: retail, office Structue: reinforced concrete, steel frame 7 stories, 1 basement.
National Taichung Theater
Tama Art University Library
Torres Porta
Page 26~31 Program: theater Structue: steel reinforced concrete 6 stories, 2 basements.
Page 40~45 Program: library Structue: steel reinforced concrete 2 stories, 1 basements.
Museo International del Barroco Page 54~59 Program: meseum Structue: prestressed concrete wall 2 stories.
Page 68~73 Program: retail, office Structue: steel panel and concrete 9 stories, 1 basements.
74 伊東 豊雄
Matsumoto Performing Arts Center
森林伐採、静かな水のプール、流れる川
を夢見るかもしれません。 これは私がイ
メージをデザインすることを促し、 そこか
ら私はこのビジョンを実現するための 最良の方法を考え出します。
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私が今プロジェクトを始めるとき、私は
Second published in United States in 2020 All right reserved Designed by Xinjian Li Art Direction: Stephanie Knopp
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71 伊東 豊雄
Toyo Ito: From Traditional to Modern