Japanese-Architecture

Toyo Ito spent five decades teaching Japanese architecture to dissolve the line between building and atmosphere; in 2026, at eighty-four, he turned around at Triennale Milano and dedicated the show to someone else. Andrea Branzi: Continuous Present, open at the Palazzo dell’Arte until 4 October 2026, is conceived by Ito as a posthumous reading of the Florentine radical who died in 2023. The institutional curators of record are Stefano Bassoli and Francesca Alessandrini, but the conceptual force is Ito’s, and reading the show without the rest of his work — White U, Silver Hut, the Tower of Winds, Sendai Mediatheque, the TOD’S facade, Tama Library, Taichung — is to miss the argument. This piece walks the Toyo Ito architecture lineage from a concrete U-shape built for his sister in Nakano in 1976 to a Milan exhibition that argues a different Italian read of the same questions Ito has been asking in Japan for fifty years. ...

Capella Kyoto, opened in spring 2026 by Kengo Kuma & Associates on the site of a former elementary school in Miyagawa-cho, is the most fully realised expression yet of Kuma’s argument that a hotel can be made by applying machiya wisdom — smallness, layered roofs, inner courtyards — at 89 rooms. It is the Capella brand’s Japan debut, the third Kuma-designed structure clustered in this corner of Higashiyama, and a building that asks to be read against the grain of contemporary Japanese architecture — against Tadao Ando’s concrete monasticism, SANAA’s diagrammatic lightness, and Junya Ishigami’s atmospheric near-absence — as an argument for craft, depth, and the slow accretion of small material decisions. ...

Three statements anchor Japanese design at Milan Design Week 2026: Junya Ishigami’s Vitra pavilion — 280 square metres held up by 47 hair-thin steel columns at Weil am Rhein — Theaster Gates’s Chawan Cabinet at Prada Home, Via Montenapoleone 6, and Toshiko Mori becoming, this April, the first woman to take the AIA Gold Medal for Architecture in the Institute’s 119-year history. Around those three poles, a denser map: Koyori’s Salone debut, Karimoku’s “A Thoughtful Stay,” Hosoo’s “Wave Weave” with Carsten Nicolai, Kengo Kuma’s rugs at the Crespi Bonsai Museum, Noritake at Alcova’s Baggio Military Hospital, We+ casting aluminium from foundry burrs at Galleria Rubin, Roberto Sironi salvaging kominka beams with Sansui at Rossana Orlandi, and Hideo’s plant-derived bioresin tubs in Pavilion 10. This is the lineage; this is the map. ...

Toshiko Mori is the first woman to receive the American Academy of Arts and Letters Gold Medal for Architecture — and her 17 April 2026 award places a Japanese-American architect in the same US institutional canon Tadao Ando entered in 2002. The Toshiko Mori Gold Medal is not a career capstone delivered late; it is a re-positioning. The Academy, founded in 1898, rotates its Gold Medals among artistic disciplines, so architecture recognition is irregular — which is what makes the 2026 cycle load-bearing. It arrives in the same year Shigeru Ban takes the AIA Gold Medal, the same year Junya Ishigami opens his pavilion on the Vitra Campus, and the same year Peter Zumthor’s David Geffen Galleries open at LACMA. Read together, these four events redraw the map of what Japanese architecture in the West actually means. ...