Exclusive Highlight on TAXI Design Network
Interview with Toyo Ito, Toyo Ito & Associates, Architects

TAXI >>Hello Toyo. You once said, “Architecture has to follow the diversity of society, and has to reflect that a simple square or cube can’t contain that diversity.” How has this personal philosophy reflected itself in your works over the years? Toyo Ito>>I am not necessarily denying that architecture in the simple form of the cube has been dominant in the 20th century. However I would like to point out that in many cases, contemporary architecture tends to pursue only simplicity of construction and economic efficiency through industrial mass production, becoming merely an inhuman box. I think that we need to formalize a more fluid generative order in architecture so as to reflect the growing complexity and diversity in the relationship between our society and nature.

TAXI >>You seem very at ease with the concept of interaction with nature and unveiling hidden layers of society, as can be seen by your projects “Silver Hut”, “Tower of Winds”, and “Egg of Winds”. How do you see this form of creative interaction and confrontation between landmark and society playing out in the future?

Toyo Ito>>The theme for architecture and urbanism in the 21st century is the global environment. In other words, it is about how we can maintain a good relationship with nature and create a sustainable environment. For this reason, architecture can not be a functional object like a machine, but is required to be something more diverse and complex, similar to biotic systems in the natural world.

TAXI >>I read that you had initially wanted to become a baseball champ, but decided to pursue architecture instead. What or who were your earliest influences in this aspect.

Toyo Ito>>It was just because I realized that I didn’t have enough talent to become a professional baseball player. Although still now, I guess I like baseball more than architecture…

TAXI >>Do you think it is important for young architects to immediately try to develop a signature style, or is it imperative for them to associate themselves with as many diverse influences as possible before they transform these into something distinctive of their own?

Toyo Ito>>Of course it is the latter. Architects should try different things throughout their lives. For me, it is time to stop doing architectural design when my style becomes fixed.

TAXI >>Your first studio was called “Urban Robot” (urbot), which later you changed to Toyo Ito & Associates, Architects. Why “Urban Robot” in the first place, and why the change later on?

Toyo Ito>>We named our office “Urban Robot” because initially I wanted to design computer software as well as architecture in the firm with my friends. I sought to create high-tech architecture like a robot. I changed the name because I got tired of being asked the question “What is `Urban Robot`” so many times.

TAXI >>How important to you think is the relationship between man in society and his surroundings, something which you have been addressing all these years in fusing the physical and virtual worlds that we live in?

Toyo Ito>>In contemporary society, our behavior has been already overlaying the physical and virtual bodies. In particular, with the internet and mobile phones being so ubiquitous, we have obtained a somesthesia beyond time and physical distances. As a result, I think our sense of space has been changing.

TAXI >>I love your Sendai mediateque, which I feel is the epitomy of architectural stimulation and interaction. You once commented that the Sendai mediateque project combines natural and artificial concepts in the form of an aquarium, creating “an artificial environment designed for keeping live aquatic plants and animals for study or exhibition, esp. a tank of water with transparent sides”. Why do you think this form of interaction is important in orchestrating such a structure?

Toyo Ito>>I have not described the Sendai Mediatheque as an “aquarium”. ???only expressed my image of tubes like seaweed swaying in a cube like an aquarium. I don’t mean more than that.

TAXI >>What is the WORD, which you think would reside and reverberate in the design world for the next 10 years?

Toyo Ito>>As I mentioned in my answers for questions 1 and 2, it is all about redefining a relationship between the global environment and design.

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Exclusive Highlight on TAXI Design Network
Interview with Edmund Cheng, Chairman, DesignSingapore Council

TAXI >>Hello, Edmund. Congratulations on yet another successful year of the Singapore Design festival. In your opinion, what has been the biggest difference that has presented itself during the 2007 SDF, as opposed to its inception in 2005? Edmund Cheng>>When we first conceptualized the Singapore Design Festival, it was important to us to differentiate it from the many other design festivals around the world. We wanted the Singapore Design Festival to focus on the design process and conceptualisation of ideas, as opposed to merely showcasing static end products of the design process. That’s the difference in our festival…we encourage interactive and live presentations of the design process and its end products.

Ultimately, the festival has to create buzz and excitement. It has to initiate designer-to-designer, designer-to-customer, supplier-to-designer conversations that lead to new ideas, new products and new possibilities.

In 2007, DesignSingapore did something a little different by commissioning a feature event, Utterubbish.

This unique design event was a presentation of ideas, works and exhibits by 30 leading international and local designers and creators on how design creates value for individuals, society and the world. It fully integrated an exhibition, conference, talks and workshops, a publication and a retail concept store to engage audiences in the role and direction design plays in creating a sustainable future.

TAXI >>You said: "The strategic blueprint for 2017 reinforces the vital role that design plays in the development of Singapore as a global city. The job of design for tomorrow is to give valuable form and true human meaning to material culture. More importantly, tomorrow's designer is also responsible for the triple bottomline of economic, social and environmental value." With regards to the Singapore 2017 design brief, what steps have already been put in place to realise this vision?

Edmund Cheng>>The Singapore Government supports and invests in design infrastructure. The country is building on the momentum created by established initiatives and will take the lead in the following areas:

i) Creative learning culture: We want to cultivate a creative learning culture particularly from young. Over the years, Singapore has seen a number of learning institutions, like the National University of Singapore, Nanyang Technological University, Lasalle College of the Arts to name a few, offer design as part of their curriculum. The Ministry of Education is also currently studying the feasibility of a 4th university in Singapore and design could be one of the disciplines in a new cross-disciplinary approach to education.

ii) Design as a Driver of New Value Creation: A key focus for DesignSingapore is getting businesses to understand how design gives them a competitive edge which in turn increases their bottomline. Last year, the Council set up the Design for Enterprise unit which aims to be a one-stop focal point that businesses can turn to for all design-related issues.

iii) Developing a Strong Design Eco-system: While it is important to have an environment where design professionals have opportunity to create and flourish, it is equally important that the public, organizations and businesses are receptive to design too. DesignSingapore has been tasked with sustaining and promoting a design-conducive environment for Singapore.

TAXI >>How do you anticipate the locals will react to DesignSingapore's vision of the future of design in Singapore, in the years to come?

Edmund Cheng>>As a young nation, Singapore is open to innovative and creative ideas. In the 2006 World Economic Forum study, Singapore's Design Competitiveness ranking rose from 22 in 2000 to 16 in 2005. This marked improvement in just 5 years is indicative of Singaporeans' receptiveness to 'future-proofing' our economy through good design. This is very much aligned to DesignSingapore's direction and vision of the future of design in Singapore.

TAXI >>Between the three sectors of healthcare, education and ecology, can you share with us what will be the focus of the DesignSingapore Council in the year 2008?

Edmund Cheng>>These 3 sectors should be viewed in a holistic manner instead of individual components. It is necessary to have a balanced focus. We ensure that sustainability of design is achieved from the programmes that the Council develops and implements.

TAXI >>For Singapore to establish itself as a design hub, what do you think needs to be modified in the mindsets of the people before this can be realised?

Edmund Cheng>>Internationally, Singapore designers are gaining recognition, receiving well-respected accolades and winning awards. This is a good sign for Singapore designers as they capture mindshare among the design community. This helps to establish Singapore as a Design Hub with top quality designers producing creative works. To change mindsets, we need to show that our designers have the necessary talent to put Singapore on the world map for design.

TAXI >>The International Advisory Panel has brought together some of the most important and influential industry players in the global arena. How is Singapore drawing upon their expertise to help realise its dream of becoming a Design Hub, and what, do you think, is the appeal that Singapore holds for them?

Edmund Cheng>>In pursuing and positioning Singapore as an international Design Hub, we must actively engage in dialogue and consult with both the local and international design community. Through the IAP, we look forward to drawing on the collective wisdom of the best brains from the international design community.

IAP members lend their expertise in:
- Providing a global perspective on the scenarios, trends and challenges that would impact the development of design in Singapore

- Advising on international best practices

- Proposing how Singapore can leverage its strengths and address its weaknesses so as to use design to increase its international competitiveness

- Providing feedback on design and design promotion issues identified by DesignSingapore

Singapore's appeal lies in its ambition to realise the aesthetics of the city. Singapore recognises that design is integral for its future economic development, and has made design a national agenda.

TAXI >>You've had to wear many hats, being the Chairman of DesignSingapore Council, the Chairman of Mapletree, and Deputy Chairman of Wing Tai Holdings. What, in your opinion, is the most difficult aspect of all these positions that you occupy?

Edmund Cheng>> I can’t say there is any particularly difficult aspect that I face. However, what is constantly on my mind is how to convince people that design can make a difference in their life, work, and environment. I believe good design creates value in all sectors, both private and public.

TAXI >>What is the WORD, which you think would reside and reverberate in the design world for the next 10 years?

Edmund Cheng>> Design Thinking…because to “futureproof” Singapore, we would need to apply design thinking in all areas from processes, products, to services and more so that we are able to make life better for all.


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