Daily insights for city builders, delivered every morning at 6 AM ET. I’m Brandon Donnelly — a Toronto-based real estate developer and founder of Globizen. I’ve been writing here since 2013.
It has been well documented that Tokyo tends to build a lot of housing. And the argument goes that this has helped to maintain a certain level of housing affordability. The city is constantly building and rebuilding. It also has different views about housing. Now, we could, of course, debate how much of its relative affordability is a direct result of supply but, regardless, there seems to be a lot of it. In 2014, the city of Tokyo saw 142,417 housing starts, according to this recent FT article. This is compared to ~5,000 units across the Bay Area (2015 data), 83,657 units for the state of California, and 137,010 units for all of England.
If you’re wondering how Toronto is doing, here are the latest numbers:
# of units included in BPs issued (housing starts) for Toronto: 18,737 in 2019; 19,239 YTD in 2020 (Note: given multi year construction period, Toronto in the last few years has had about 45k units under construction at any one time)
The house is setback from its south property line as a result of the surrounding context. A south-facing green space is then introduced, preserving one of the existing trees.
Given that the house serves as a multi-generational household, a central “staircase” is introduced that visually connects all three floors of the house and serves to mitigate any sort of feelings of social isolation across the families.
(The staircase-like structure is only partially functional.)
Finally, the staircase is then expanded outward to connect with the broader city. As you can see from the context plan below, the staircase is on axis with a neighboring city street.
I have a fascination with “small” Japanese homes. Many, or perhaps most of them, would be illegal to build in a place like Toronto. This one here in Tokyo, called Jewel, is only 1.4m wide on its narrowest elevation. See above photo. Designed by Apollo Architects & Associates, the ~80m2 home was built on a “flagpole” site. Narrow approach. More site area in the back. Here is a plan of the ground floor (via Dezeen) to give you a better sense of what I’m talking about:
According to Dezeen, the client is a fan of minimal design and, in particular, the work of John Pawson. His work was a source of inspiration for the project. But if you read the article closely, you may notice that he is referred to as the “British architectural designer Pawson.” I learned last week, following this post, that John Pawson is not a licensed architect. Hence the carefully chosen language. I guess there’s hope for those of us who are not architects.
Few are able to do “small houses” quite like the Japanese. Below is the Flat House in Tokyo by Yoshinori Sakano Architects. Completed in 2011, it was designed for a young couple in their twenties who wanted to build a home that was like a “small art museum.” Looking at these photos, I bet many of you will be surprised to know that the site area is only 100.10m2. The building footprint is only 49.00m2. And the total floor area is 79.36m2. This is the kind and scale of housing that is now permissible on many of Toronto’s laneways. And here, in Tokyo, you can see that it is serving as a family home. (The working kitchen is quite a contrast with the rest of the house.)
Click here for a short video (by Monocle) about Tokyo’s nascent “kitchen car”, or food truck, scene. (The soundtrack is fun.) Historically, street food stands, or “yatai,” have had a questionable reputation in Japan. They proliferated across the country following World War II when times were tough and food was being rationed. But as Tokyo prepared to host the 1964 Olympics, local governments began to clamp down on yatai. They were seen as unhygienic and a place for drunks to hang out. There may have also been a sense of shame around the country’s post-war struggles. Whatever the case may be, these new food trucks have — aided by technology — changed the way people eat on the street.
The 2020 Summer Olympics, which will be held in Tokyo, have added 5 new sports, one of which is skateboarding. As someone who grew up skateboarding as a teenager, and is all too familiar with being chased out of public spaces, this lends a great deal of legitimacy to the sport.
It’s hard to think of a sport that is more closely connected with architecture and, more specifically, public architecture. Curbed’s recent long-form article about “the public spaces that shaped skateboarding” is a good reminder of that. Here is an excerpt (EMB refers to Embarcadero Plaza in San Francisco, which was previously known as Justin Herman Plaza):
When skateboarding debuts at the Tokyo Olympics next summer, some three decades after the first polyurethane wheels hit the bricks at EMB, it will have completed the long, improbable trip from criminal act to social and institutional acceptance. But even as an Olympic sport, skateboarding will remain a direct physical response to the varied terrain of American public architecture.
Interestingly enough, one could go on to argue that the history of skateboarding is really steeped in the adoption of public spaces that had, in many cases, failed to serve their intended purpose. In other words, skateboarders were often the only people using these urban spaces:
“What made Justin Herman Plaza attractive to skateboarders and work for skateboarders was its inappropriateness to the traditional city scale and function,” King says. “You had all these planners and architects in the 1950s and ’60s saying cities need these grand, celebratory spaces—and they really didn’t.” But apparently skaters did.
Welcome skateboarding to the 2020 Summer Olympics in Tokyo.
Last summer, photographer Parker Woods spent two weeks walking over 100 miles in Tokyo with a peach-colored (”momo” in Japanese) backdrop and a metal c-stand. He used this accessory to “contextualize his first encounter with Japanese culture.”
In some cases, it functions as you would expect: as a backdrop for the new people that he encountered along his walking journey.
But in other cases, the backdrop is simply inserted into the urban environment. Sometimes rolled up amongst a pile of metal tubes. And sometimes fully erected in the middle of a busy road.
This is an interesting photography project based in one of my favorite cities in the world, and so I wanted to share it on the blog. All of his photos were shot on Kodak film. It’s also giving me some ideas for my own photos.
If you’d like to buy a copy of the book ($40), you can do that here. There’s a limited run of only 250 copies. If you’d like to read a bit more about the project (and see a few additional photos), you can do that here on VSCO.
This month’s issue (May 2017) of Monocle magazine is a special “design & property” edition. It includes their annual property survey (shown above), which showcases interesting projects and people from around the world.
I was excited (but not surprised) to read the editor’s letter at the beginning of the issue and learn that the Monocle folks “think all the time” about launching their own property company. I would love to see how they execute on a development project, because I am sure it would question conventional norms.
Ian Gillespie of Westbank (headquartered in Vancouver) is featured and interviewed under the heading: “a more beautiful city.” Here you’ll hear him say that they build Porsches and not Fords. I also learned that they acquired a district energy company called Creative Energy, which they are looking to bring to Toronto and Seattle.
Because it’s a property issue, the ads are also tailored to that, so you get a good cross section of international projects. This morning was my first time seeing One Park Drive in Canary Wharf – London’s first residential tower by Herzog & de Meuron.
So if design and property also happen to be your jam, you may want to pick up the May issue of Monocle.
A lot of that has to do with how design and technology seem to permeate the culture. But it also has to do with how dichotomous the culture feels to me. On the one hand they’re at the forefront of design and technology, and on the other hand they are very much steeped in tradition. It has always felt like a unique and special place to me.
So today on ATC I thought I would share a piece of Japanese architecture that I found on Dezeen. It’s a 47.55 square meter (512 square foot) apartment in Tokyo that was recently renovated by Yuichi Yoshida & Associates.
Here are three views of the main living area:
Here’s the view from the main entrance:
Here’s the walk-in-closet/storage area (notice how the exposed concrete walls have been dabbed with plaster):
And here’s the floor plan (I’m guessing sub entrance means secondary entrance):
The first thing that struck me was the lack of a traditional bedroom. It’s basically a nook with a bed and sliding doors. But that was obviously done to give more space to the remainder of the apartment and the main living area, which they label as the “reception area.” The idea was that this space could be used for both living and working, and so they wanted a large open space.
The other thing that stood out for me was the amount of storage and shelving throughout the apartment. There’s a bookshelf as you walk in. There are drawers under the bed. There’s a walk-in-closet with floor to ceiling shelving. And if you look closely at the upper track for the sliding bedroom doors, you’ll see a small ledge that was purposefully created for storage and display.
It all seems very Japanese to me.
It’s a small space and yet there’s no absolutely zero clutter. I love how organized everything seems. For many of you, this space may be a bit too sparse (even with that hammock!). But there’s something really nice about the simplicity of it all. It’s peaceful.
