Interviews med Takanao Todo

After graduating from Architectural Association School of Architecture in 2008, I have gained experience at France, Japan, and Singapore as an architectural designer. I have worked at Jean Nouvel, Tsuyoshi Tane, Lina Ghotmeh, Toyo Ito, Masaki Endo, DP Architects. I start to win architectural competition while staying at DP architects, which helps to build my career as a designer. Meanwhile, I began making ceramic from 2014 in Singapore under the ceramic master inheriting early studio pottery movement culture. I hold my first ceramic exhibition in 2016 collaborating with flower artist, Dan Takeda. It was a great turning point to become professional ceramicist ever since the exhibition. From 2019, I have moved to Thailand, Bangkok as an adjunct professor for teaching architecture / design at International Program in Design and Architecture (INDA), Chulalongkorn University.

Experiences in Architectural Association School of Architecture build my foundation of architectural / design thinking. Experiences in France thought me aesthetics in architecture. Experiences in Japan and Singapore thought me a practical skills. As an architectural designer, winning the competition in Spain, Logrono, Concentrico 03, 2017, was a great turning point, the first time I was able to crystalize my design idea into a physical form. Likewise for the ceramic, it was a great moment to hold the ceramic exhibition in 2016 with Dan Takeda at Japan Creative Center was a turning point to debut myself as a ceramicist. As I am broad in design expression, I believe that act of designing is all rooting back to a form of spatial design regardless of the scale.

1. I refrain designing until I get the concept and design. It is important for me to have a free time to gain some stimulations.

2. Design must be bold and direct. I try to communicate with wider audiences through accessible design.

3. Design is something withstand in time. Every work I do, I also involve after completion for the operations and maintenance.

There must be a joy. Joy comes from when things are having tectonic. Tectonic as in an integration of concept, context, material, and structure.

Inspiration of design comes not necessary from same design genre. It is important for the designer to analyze the structure behind the design which can inform another shape of design. It is suggested to gain experience without prejudice to expose yourself to absorb other designs.

As I am an architectural designer, and ceramicist, I would like to develop seamless design from product to architecture integrating a sense of craft. I would like to examine my idea to design a single house with high level of freedom in design.

It is essential to test your idea in competitions. It is the best way to consolidate your idea, and learning who you are as a designer.

Good to find a team of talents or friends to collaborate with. There is always a limit for a single designer to complete something.

All the production should be done in the morning while my head is fresh. Especially, having a good matcha helps to make a good start of the day. Try to work less on complicated work later in a day. In a production, good music helps a lot.

Today, all the design has a great exposure across the world instantly. In a negative way, it makes design little banal. Thus, it is good NOT to follow as a way to keep a sense of uniqueness by acknowledge the trend.

The real great design has awesomeness. It derives from a communication with material, and fosters a kind of thrill. This is also supported with the fine proportion, and details.

Moment of completion is definitely the moment, as there is always a minor corrections and adjustment during making stage. But, as the design withstand in time, there is not real sense of completion, but only the process.

My recent work "Through the Looking Prism" is the project, I have been challenging over 20 years since 2004. It was the miraculous moment when the idea become real shape, it situates at the best location, and performs more than what I expected. This is definitely my masterpiece so far.

Shiro Kuramata whom really listens to what material wants to be in a magical way. There is a great sense of proportion, spatial arrangement, joy and playfulness in his design. Every work he does inspires me.

Me as Japanese living in abroad makes me aware of the uniqueness of traditional Japan. I discover many "eternal modernity" in Japanese culture. Practicing and spreading Japanese tea culture is one of my source of inspiration.

I work mostly on my own, but when necessary, I invite my ex-students to work with me. Besides, I do many collaborations with different expats open up and even develop the design potentiality.

As myself the first diagnosed Japanese dyslexia, it is important that I gain success to prove that Japanese dyslexia can gain success. I am also a director at the Non-profit organization for supporting dyslexia in Japan.

Meanwhile, me as Japanese in foreign country, there is a needs to spread the Japanese Design Concept correctly, as so many people misunderstand Japanese design, and copy by its visual appearance.

It is pleasing to receive the design award from Italy!

There are many designer I respect from Italy such as Carlo Scarpa, and Ettore Sottsass, so I feel proud to receive this award!

In order to create a sense of silence and escape from bustling city to enjoy tea, I have applied the Japanese Design Concept, "Sichu no Sankyo", country house in the city. In order to actualize this concept, there is a need to make layers to filter the noise, and making a sequence to escape from public area to private area through the change of spatial volume and materiality.

The main focus of this project is rather than imitating Japanese style, the main focus of this project is to translate the Japanese design concept in a contemporary manner.

I am planning to design a new tea shop with the same owner. I would love to examine another Japanese design concept in more distilled and bold manner, while keeping the mood for the tea.

It took roughly 3 years to have the current condition of the tea space, and there were 3 phases in design. 1st year, the first interior renovation. 2nd year, an addition of the ceramic screen. 3rd year, an addition of the tatami space, and change in a display.

I am engaging with the Thai Japanese Tea community, and the owner was one of the member in the community. This shop manage to boost the trend in Thailand for a new standard for the Japanese Tea Space in Bangkok.

I would like to build the relationship with the same client to develop the sequel with application of other design concepts.

As myself is also a tea enthusiast, practicing Japanese tea, and making tea bowls, this project came naturally.

I respect the idea of "eternal modernity". I have made some design and proportional reference from classical Japanese tea spaces such as, Shugaku-in palace, and Tai-an by Rikyu.

Thai upper middle customers who seeks for new experiences. I am wishing that this boosting the new Thai culture.

This tea space is designed utilizing the design concept. Many similar services copy the style. There is a significant difference.

Koto means Japanese harp, which the owner possesses the antique Koto in prior to the design, and the owner took the name from it. Koto is also an essential element in Japanese Sencha Tea culture as well.

Most of the design work was done in Rhinoceros

Interpretation of the Japanese Design Concept rather than imitation.

I have collaborated with several designers. lighting designer, ambiguous lighting from Singapore advice the lighting design, Mo Jirachaisakul worked on the ceramic cladding production, and Sojorn Design Studio for constructing the additional tatami space.

Ceramic cladding at the exterior was produced using 3D print mold, and digital simulation to determine the arrangement of the tiles.

The ceramic cladding arrangement was determined by the light path, wind flow, and visual porosity simulations. It was the Chulalongkorn University research grant project, and later the academic journal was released based on the performance of the screen.

The first challenge was the original structure which was not in a good condition, therefore a major restoration was needed. The second challenge was the constructors who do not follow the design instruction, thus frequent site visit was needed to communicate with them beyond the language barrier. And the last challenge was to have the simultaneous communication with the client to align the vision together.

It is my first interior work, and it is also important for this tea space to be recognized not only as a Japanese tea space, and the interior space with a design thought.

I would improve on finding more reliable contractor, which I found later in the design stage. It is also important to make a better alignment of the vision together with the client.

not applied

I am Japanese grow up in Tokyo. I have moved to the UK from the age of 15. I studied architecture in Architectural Association School of Architecture from 2002 to 2008, receiving AAdipl, and RIBA part2.

Receiving a letter from Tadao Ando was my original motivation to become a designer.

I enjoy something unexpected happen when people plays with my works, and how the structure grows in time.

I tried many expressions, such as theater play, musician, story writer, and movie so on.

I also wanted to be philosopher, and archaeologist.

Being architectural designer and ceramicist can satisfy all, while I am best at testing various other expressions.

Architectural design, and ceramic design are the majority of my work.

I also do graphic works.

I would like to design something larger than interior or pavilions.

Visit many good works, and best to utilize it.

good designer makes something good.

great designer makes something make people think.

there must be something singular, and make us think

Good design helps people stop, think, and trying to interpret.

It is one of the best way to inherit human wisdom to the next generation.

Make my own house or tea bowls.

It is always best to design it for my own.

I would love to design a house, in a wonderful landscape, without much constraint in requirement, regulation, and cost.

Learn proportion from the classic design

Shiro Kuramata, Kazuo Shinohara, Louis Kahn, Lucie Rie, Koetsu Honami, Furuta Oribe, and Sen Rikyu

Kimbell Museum by Louis Kahn, when I enter I couldn't move, and I just had to stand and keep silent until I can start to interpret the space.

"Through the Looking Prism" is my best work so far. It combines every essence of my design, and even went far beyond. I guess a great design departs from my hands and become something else.

Simply to aim to be the higher place by spontaneous challenges, and learning

I cannot live. I would find another form of design or art work.

Design offers joy and make you think

There are so many people believe in my talent, my mother, Peter Salter, my boss, so on

There was a luck, but the eureka.

The eureka helps to integrate ideas, and let me win the competitions.

Working under someone in practice was a pain.

I am not a kind of person who can perform under the boss.

Designer should present like poet, to share the beauty and quality.

Developing the prism pavilion in different scales.

My work to remain for another 1000 years, and gives inspiration to another generation

Design to make people think

By make people think of their own society in an novel way.

Challenging maximum potential of my idea

"Cada cuba huele al vino que tiene", as my debut work in Logrono, Spain. There were so many people involved in making. I love the way local people confront in front of the project for a long time, then start to interact. Pavilions are relocated to the winery after the event. It is one of the first great experience as a designer.

More opportunities for younger generations to challenge, and build with good payment.

More towards the crafts

depends on a scale, client, and budget.

Organize all the basic requirement first, then leave it for sometime until i get the inspiration.

believe in Eureka moment

Design sets the trend

Technology gives more choices in design, and we should be optimistic about it

Rhinoceros, illustrator, photoshop, in design, and premier pro

Color gives mood and function, material gives the modesty and touch, and ambient is the consequence.

I don't like questions...

experience first, and analyze it, then understand the structure, and apply when necessary.

I have already, fabricator (Duriflex), lighting designer (ambiguous), and landscape designer (awai).

Duriflex, the fabricator helps to think together for the best possible execution.

Objet Singular, by Jean Nouvel and jean baudrillard

Precision, and simplification

Furuta Oribe

They are not helping my recognition as much as I wished so far

Color = Navy Blue

Place = Hill

Food = Sushi

Season = Autumn

Thing = Lucie Rie Tea Bowl

Brand = Issey Miyake

during the construction, contractor made a mistake, because they did not check my drawings, but looked at the rendered images...

Drinking good matcha with my own tea bowl in the morning, and thinking of my ideas to be physicalized always excite me.

I enjoy making drawings, ceramics, models, so nothing different from what I do today.

as long as human survives, our body itself will not change so much, so i believe in "eternal modernity"

please visit and experience it

My origin began when I made a letter exchange with Tadao Ando. I sent him a question, and he replied me with a book and a letter saying, "Please find your answer by yourself". This was my primal confrontation to the design thinking. Since then, I am trying to find my own answer through design.

Takanao Todo Design provides various design service from architecture, ceramic to graphic design. The studio become active from 2019 onwards. It is a design studio collaborate with many expats to form more flexible formation of the team.

I do not design.

I develop singular concept for each project, which crystalized by the details.

My work is also a total work of art, from objects, events, interior, structure, to exterior.

Above all, there must be a joy thoroughly embedded within the project.

A total work of art with joy

Something that is beyond my understanding, which makes it difficult to interpret into a form of words. Examples chairs by Shiro Kuramata has beautiful proportion, and ephemeral appearance. When I sit on his chair, there is a kind of sensation like floating, or dream-like, but words are never enough to capture this sensation.

Pavilion @ ECO park in Bangalore, India, is my first major project by winning the competition. It is a pavilion located in the center of the new business park complex. The structure was made of hollow steel structure with stainless cables to suspend screens. This project gives me a good courage to stand up as an independent designer.

My favorite material is the ceramic. All outcomes look different, and I love the part that we cannot control it 100%, thus working with wild nature in material. I enjoy sharing design through various social network platforms. I also enjoy both cutting edge robotic technology in ceramic making to traditional firing technique. I am currently seeking for a way to combine these 2 together.

There is always a moment of eureka, or god of design, when I seek for the inspiration. It comes randomly. I try not to design unless I get this moment. And I try to have various kind of activities, like walking, swimming, visiting museums, watching movie, as I do not have a control in this eureka moment.

Material fabrication, and its assembly system

More joy, especially random people appreciate the outcome, and the best moment is when they use them in unexpected way!

Some level of the involvement from the client in making is essential.

This makes design withstand in time.

In architecture, plan, then section must excite me. In ceramic, there must be a sense of rightness which avoid being boring.

Longlisting design, and this derives from the involvement of the users.

Digital tools, and robotics help to expand our expression, and we should be optimistic to these emerging technologies.

"Post Wabi" ceramic exhibition in Japan Creative Center in Singapore 2023 January. There will be another ceramic exhibition coming in June 2024 in Bangkok with the same title.

Every classic design is my inspirations. But, I also gain inspiration from other fields such as cuisine, movie, music, fashion, manga, anime, so on. Rather than relaxing, I always try to get different stimulations, which feed my ideas.

I am not sure about the style, critical regionalism could be close to what I do.

I love bold, simple, integrated, direct approach to the local unique context with narrative, while respecting the material as an expression. I would also like to make my design flexible, so that the users can determine how to interact with it.

I am based in Bangkok. But, majority of my inspiration coming from Japan. Living in Bangkok helps to respect Japanese design legacy in an objective way. Bangkok is also a great place to actualize ideas with cheap labor and material, with many opportunities.

I only work with private client.

designer can do creative interpretation of the brand would be a good desinger.

After understanding the requirement, it needs some moment to get the right idea.

Depends on a type of the project, I gather appropriate team for the project.

Frequent visit to in progress work for deciding the details.

After completion, making frequent visit to make sure that projects are growing with the users.

- Photography by Otsuji Seiji

- Tea Bowl by Lucie Rie in collaboration with Mingei Artist

- Bowl by Shoji Hamada

- Art work by Justine Lee with my tea bowl

- My own tea bowl

Wake up around 0600am with Matcha at tatami floor

Take train to the workplace, while reading books by Haruki Murakami

Eating spicy lunch for stimulation.

Drink Sparkling Manao for refreshment after work.

45 minutes gym and swimming pool exercise.

Making simple fusion pasta for dinner.

Either work, watch movie, or reading.

Sleep around 2300pm

Build real experiences

Designer is a profession comes with joy.

Sometimes monetizing is not easy, thus good to do multiple works.

It must be understood to majority of people at first glance, which I call it "direct approach"

inspiration, and physicalizing idea

most of sources are inside my head. Sketching, model making, and computer modelling helps to give some idea. Especially computer modelling with a good understanding of proportion, can be a strong tool to test ideas.

Take a good rest after a big work to prepare for the next one.

Depends on the scale, client, budget, so on...

not that I can think about...

Working at Jean Nouvel gave me many inspiring design concept such as "indication and seduction". His firm helped me to build my thinking a lot.

Tea enthusiast, Craftsman, and Ministry of culture

Small pavilions, which can examine the idea easily, and can change the way how people involve with the space. I also have a control in every detail including the afterlife of the pavilions.

Design something less ephemeral, such as designing small museum or a house with integration of crafts.

I always work with team. Especially lighting designer, and landscape designer.

The prism pavilion built for the Bangkok Design Week 2024, received a good media exposure. Client is asking to reconstruct this in Morocco.

Through email please

This design began by both exploring the potentiality of glass prism as a way to divert, reflect and refract light to manipulate the view, while challenging with the light pollution matter. These aspects hybridize well on the opportunity to place a small structure by the Bangkok's famous Chao Phraya River. In order to maximize the effect, the structural frame to be made with less disturbing design, sand-blast finish stainless steel to have less presence, while supporting glass prisms with adhesive connection minimize details with less disturbance for the view. Each angle of the glass prisms place strategically to refract the city view during day and night, while the structural support curves in quarter of circle as a way to enhance its structural performance for stand alone structure accomodate human cone of vision.

There was a certain freedom in choosing a site to install this project within Bangkok. After a careful potential site visits, the circular shaped platform attached to the existing pier has both excellent view to capture dynamic movement of the water surface caused by the river boats, and symbolic architecture representing the image of Bangkok. Thus this pier has selected as the best possible location to examine the concept.

Tea culture consider carefully about the threshold to negotiate change of the quality between inside and outside through filtering light with various light diffusers, and controlling the size and number of openings depending on the use. This inspires me to think of the alternative architectural threshold in a form of glass prisms. I would also like to design a tea house made with this material in near future!About being Japanese dyslexic, I often felt the disparity of my cognition differ from the rest. This feeling teaches me to have a sense of perspective. This project aiming also to offer a sense of perspective to learn other ways of seeing things.

Adhesive connection was not strong enough for supporting glass prisms on the stainless steel frame with a simple notch. Many glass came off and got damaged by expansion and contraction of the structure due to heat, and heavy rain weakens the glue. This lead for improving connection system to have more flexibility for protecting the glass prisms from thermal damage, and easy replacement with mechanical connection system. This installation was placed in Singapore proving that no glass prisms got damaged during the event, and able to display in an alternative location.

It was initially designed to divert views at different time of the day. When I stationed in front of the structure for the almost entire day, between 1600 PM to 1700 PM, there was a projection of the spectrum of light in rainbow color appeared through the prism glasses. It was a miraculous moment only when the direct sunlight enters at a certain angle to allow this phenomena.

The site was a perfect place to examine the performance of the installation due to its panoramic view, dynamic movement of the wave, and darkness as there were only limited amount of light installed on site. It offers tremendous view in each different time, but I personally think that from dawn to night, between 1800 PM to 1900 PM is the most dramatic time to enjoy the changes of light, while river boats get most active around that time.

Initially, it was planned to use custom made glass, but it cannot meet with the realistic budget for the design. The design was determined by the largest size of the commercial glass prism available to set the rest. Structural design aims to minimize the presence of the structure not only with its sand-blast finish, but also with the curved form, and thickness to be minimized. Thus the concept of this projects crystalized by the constrained of the size of the commercial glass prisms.

The proportion must corresponds with the size of the audience. In Thailand, average height is lower than the Western countries. It comes naturally to adjust it for offering the best experience for the majority. It was also a gentle advice from the fabricator as many workers were short, and fabricators are the one who could not experience the effect well.

I would like to develop this installation for larger scale to be used for a screen in a major architecture and panoramic view which offers the way to enjoy the darkness, questioning the idea of light pollution, and a sense of perspective. The prism has also a potentiality to be used as a threshold for space like office meeting room, and tea room where they need some privacy and visual connection to outside.

As mentioned earlier, this project demonstrate the limit of the glass prisms with adhesive connection leads to breakage by heat expansion and rain. Adhesive connection also make it hard to replace new glass prisms with stains. Thus the following to this project built in Singapore improved the connection to be made with mechanical system protects the glass prisms, and allow for easier, flexible and durable installation.

Shichu no Sankyo is the Japanese design concept which helps to create a sense of escape in the city by applying multiple filters to isolate one from urban set up to rural cozy space. Takanao and the client worked together to find a site where discreet from busy street, and setting ceramic screen and bamboo for offering impactful facade to block views. Above layers helped to actualize the concept in Bangkok urban condition.

The pattern was carefully selected for reflecting a sense of Pan Asian-pattern, easy and stable fabrication, and ability to tessellate 3 dimensionally. The wavy pattern is also allowing a view porosity from inside, blocking light, while allowing some wind to pass through the screen. The pattern is arranged as a result of the wind simulation as well. As 3D printed prototype offer rather mechanical outcome, although each one is casted by hand, Takanao applied blue colored glazing with crystalized irregular pattern which offer more hand-crafted look to give variation in its appearance.

Bangkok is a city where there is a strong focus on creating small universe within private space, thus the city is covered with full of urban pockets. The Koto Tea Space function as one of the urban espace through making a series of layers, "Sichu no Sankyo".

Takanao won research grant from Chulalongkorn University to develop a cladding system reflecting environmental performance found in Thai-modernism architecture, and design from traditional Thai ceramic cladding system. The research helped Takanao to develop a pattern which is environmentally performative yet reflecting Pan Asian design feature to update Thai Cladding design.

For the durability, and cost efficiency, Takanao selected affordable method which still allow to create a sense of unity. Therefore the wall was covered with textured paint, instead of earth-wall. Signature shelf was made with timber stain. Meanwhile, the main counter is made with Japanese Pine wood with natural lacquer to create a focus for the users.

Takanao is aiming to design a total work of art by achieving design from a sense of touch to a space of architectural space. Takanao as a ceramicist, he offers tea utensils to be used in the cafe, and creating signature ceramic cladding entrance. Takanao as an architectural designer, he considers overall composition of space, use of material, sequence, as such. In Koto Tea Space, there was a good blend between both approaches.

Takanao and the client wanted to create an exclusive Japanese tea experience from the initial design sketch. Therefore Takanao tried to maximize the customer experience by offering good view to tea serving and the signature shelf. Tatami space is a flexible space where allowing to hold tea ceremony, art display, performances, or else low table seats when needed. As both spaces are facing the corridor, it allowing easy access for the customers.

In last 20 years, consuming high-end beverage become popular in Thailand, and Japanese tea become significantly popular beverage for young Thai people followed by the specialty-coffee. This tea space challenges applying design concept of tea rather than imitating Japanese-look to contribute for architectural design approach in emerging tea culture in Bangkok.

For creating a mood for Japanese Tea Space, there must be an interplay of dark-ness, filtered light, and earthy and wooden appearance. Takanao worked with lighting designer to apply series of diffused light to high-light the counter, products, tea serving and some symbolic spaces in a controlled manner. Incoming natural light from the street is filtered by the bamboo and the ceramic screen to make layered light.

Japanese tea culture has more profound cultural layer as Sencha associating with aspiration to Classical China, and Matcha associating with Zen as self-reflection. These ideological layer in Japanese tea offers various potentiality to associate with contemporary urban living as Classical China and Zen are still relevant in a way of living. Meanwhile, rather than imitation, essential concept latent in each ideology shall be resonate with the design.