11. 7月 2021

「パビリオン・トウキョウ2021」全9作品。新国立競技場を中心とする複数の場所に、建物やオブジェを設置し、自由で新しい都市のランドスケープを提案する世界初の試みです。観客は、地図を片手に宝探しのように、あるいは散歩のかたわらに、世界で活躍する建築家やアーティストたちがそれぞれの未来への願いを表したパビリオンを巡ることができます。This project is a world-first experiment to propose unrestrained and new urban landscape by installing architectures or objects at locations mainly around the National Stadium. Like a treasure hunt with map or during a walk, visitors can go around the pavilions in which the globally renowned architects and artists express oneʼs hope for the future.


「生きている東京」を — いつの頃からか、東京では再開発という大きなエリア改造が多数進行している。どこも、便利でクリーンで見違えるように変身し、私たちはそこでたくさんの恩恵をうけ、豊かな生活を満喫している。一方、区立青山小学校出身の私には、かつて青山通りを偉そうに走っていた都電、その車庫のあった旧「こどもの城」辺りの空虚なほど広い空、渋谷駅では戦後の悲しみに遭遇し怖かった記憶が残っている。街にはそんな心に残るシーンが必ず仕込まれていた。実は今回の「パビリオン・トウキョウ2021」という企画は、そんな都市の物語を新たに作ることを目指している。コロナ禍により世界が大きく変化しようとしている2021年、夏。その年に、存在し得ない不思議なパビリオンが東京の街に出没したという事、それが多くの人の心の中に少しだけでも届いたなら、この企画は大成功です。開催中の67日間、そんな「生きている東京」を実感してください。(パビリオン・トウキョウ2021実行委員長 和多利恵津子)
Living Tokyo – Since some time ago, Tokyo has been undergoing a number of major area remodeling projects called redevelopment. Everywhere has been transformed into something convenient and clean, and we are receiving many benefits and enjoying a rich life there. On the other hand, as a graduate of Shibuya Aoyama Elementary School, I still have memories of Toden (Tokyo streetcar train) that used to run along Aoyama street proudly, the empty wide sky around the former ”Kodomo no Shiro (Childrenʼs Castle)” where the Toden garage used to be, and the frightening memories of post-war sadness around Shibuya station. The city always had such memorable scenes in it. In fact, this project, PAVILION TOKYO 2021, aims to create a new story of the city. It is the summer 2021, a year in which the world is changing dramatically under the pandemic. In that year, the mysterious pavilions that could not possibly exist will appear in the city of Tokyo, and if the scenes shall reach even a small part of the minds of many people, this project will be a great success. During the 67 days of the exhibition, we hope you will experience the “living Tokyo.” (Etsuko Watari: Chairman of Executive Committee of Pavilion Tokyo 2021)

photo: ToLoLo studio


藤森照信は、日本を代表する建築史家であるとともに、45歳で建築家としてデビューした異色の存在です。代表作に「ラ コリーナ近江八幡」の「草屋根」、「銅屋根」、「多治見市モザイクタイルミュージアム」などがあります。新国立競技場の斜向かいに建つ茶室「五庵」は、これまで藤森が数多く作ってきた茶室の最新作です。

photo: ToLoLo studio
Tea House “Go-an” / Terunobu Fujimori

“After all, I like heights. Not only can you see the entire tea house well, but from there you can also view the stadium. A tea house requires otherworldly characteristics. Instead of it just standing on the ground, it requires height. Once you climb up and enter through the narrow and dark crawl-in entrance, you see a completely different scenery. This effect is unique to tea houses”(Terunobu Fujimori)

Terunobu Fujimori(1946- )has been creating architectural works integrated with nature. The base of the Tea House “Go-an” is covered in grass. The charred cedar(yakisugi)used for the upper exterior walls, are made by burning and carbonizing the surface of cedar wood. The char layer on the surface of the wooden boards protects them from deterioration and enhances fire resistance. After entering the waiting room on the ground floor and taking the ladder to the tea room upstairs, you can view the new Japan National Stadium out of the large window. Fujimori, not only is Japanʼs leading architectural historian, but a maverick figure who made his late debut as an architect at the age of 45. His representative works include “Kusayane(Grass roof)” and “Douyane(Copper roof)” in La Collina Omi-Hachiman, and “Mosaic Tile Museum Tajimi”. The Tea House “Go-an” which stands just opposite of the Japan National Stadium is the latest of many of the tea houses that he has created.

photo: Kazuyo Sejima & Associates



photo: Kazuyo Sejima & Associates
Suimei / Kazuyo Sejima

“It can be said that Hama-rikyu is a garden that coexists with water. I thought about adding water into that scenery, to depict modern society. The winding stream looks as if it is still when viewed from a distance. But when you look at it closely, you realize that it is flowing quietly. This slowly flowing water represents the connection between the past, present and future.” (Kazuyo Sejima)

Kazuyo Sejima (1956-) was particular about creating a pavilion somewhere where you could sense both history and modernity at the same time. The Hama-rikyu Gardens is a representative Daimyo Teien (feudal lordʼs garden) of the Edo Period, with a tidal pond (a type of pond formed with seawater that changes its shape depending on the rise and fall of the tide) and two duck hunting sites. Sejima was convinced that this traditionally styled garden which stands in stark contrast to the skyscrapers of the neighboring Shiodome district is “a place where you can access both historical and modern aspects of Tokyo”. She created a pavilion inspired by a winding stream (a type of waterway built in gardens of the Heian Period), to match the various waterways that are in the Hama-rikyu Gardens. The shallow water filled inside the waterways created using mirror surfaces, glitters as it reflects the sky and surrounding scenery. The pavilion is installed on the former site of the “Enryokan” State Guesthouse of the Meiji Period. The title “Suimei'' is a word that describes how clear water shines beautifully under the light of the sun and moon. It has been named with the hope of imagining a bright future from the ever-changing water surface, which at the same time reflects the history of Tokyo. 

Sejima is Japanʼs leading architect who creates connections between the interior and the exterior, and designs park-like spaces where all kinds of people can spend quality time. Her representative works include “21st Century Museum of Contemporary Art, Kanazawa”, “Louvre Lens” (as projects by SANAA) and “The Sumida Hokusai Museum”.

photo: Keizo Kioku
Cloud pavilion(雲のパビリオン)/設計:藤本壮介



藤本壮介は、自身が「原初的な未来の建築」と表現する建築・都市・風景を生み出し、世界中から注目を集めている建築家です。主な作品に「武蔵野美術大学美術館・図書館」、ロンドンの「サーペンタイン・ギャラリー・パビリオン2013」、フランス モンペリエの「LʼArbre Blanc」、最新作「白井屋ホテル」など。2025年日本国際博覧会(大阪・関西万博)の会場デザインプロデューサーを務めています。

photo: Keizo Kioku
Cloud pavilion / Sou Fujimoto

“It has an exterior but doesn't have walls, yet an inner space exists. Moreover, the three-dimensional inner space is extremely complex and dynamic. Clouds cannot be realized with architecture, yet they make us feel like there is something architectural to them.” (Sou Fujimoto)

Sou Fujimoto (1971-) designed a cloud-shaped pavilion. He expresses his admiration for clouds, and his belief that they are “the ultimate architecture that envelopes all kinds of things for its immense size”. Inspired by clouds that float over various countries, regions and environments, as if they were a “big roof of the world”, he designed the pavilion under the concept “a place for everyone”, to symbolize diversity and tolerance. This pavilion is installed at two completely dierent locations, Yoyogi Park and Takanawa Gateway Station - a park and a recently built train station building. By placing the exact same thing in different locations.

Fujimoto not only aims at visualizing the differences of each location, but to express the concept of a cloud enveloping various places at the same time. Representative works include “Musashino Art University Museum & Library”, “Serpentine Gallery Pavilion 2013” in London, “LʼArbre Blanc” in Montpellier, France, and his latest work “Shiroiya Hotel”. Fujimoto is also the Expo Site Design Producer of the Japan Association for the 2025 World Exposition (Expo 2025 Osaka, Kansai, Japan).

photo: ToLoLo studio
Global Bowl/設計:平田晃久



平田晃久は建築を「生成する生命活動の一部」と捉え、生物や植物などの生態学の原理を設計に取り込んでいます。蝶々が花々の間を飛ぶように、隙間が重なり合って生まれる多様な領域を「からまりしろ」と呼び、そのような建築を作ることを目指しています。主な作品に「Bloomberg Pavilion」、「Tree-ness House」、「太田市美術館・図書館」など。

photo: ToLoLo studio
Global Bowl / Akihisa Hirata

“These days, I think that the architecture we design should embody a “different dimension” which pierces through the mediocre reality”. (Akihisa Hirata)

The bowl-like structured pavilion by Akihisa Hirata (1971-), allow people to walk through it and even sit on it, is constructed using twisted geometry which loosens and strengthens the boundaries between the inner and outer space at the same time. In other words, while forming a small closed area in the city, at the same time it connects with the outer world. The premises of the United Nations University is the place where you can feel the huge void in the city, which is created from the neighbouring public open space and the curve of Aoyama Street. This pavilion is placed in the center of this void, as if it were an observational facility. This architectural work created by assembling wood which has been cut using the latest Japanese three-dimensional cutting technology, stands with both a strong sense of materiality and something resembling the fineness of a craftwork. A hole-like space bringing various contexts in the city will be realized.

Hirata regards architecture as “a part of our generative vital activities”, and incorporates principles of ecology into his designs. He uses a unique keyword karamarishiro (potential (shiro) for something to tangle (karamari)) to express the diverse areas formed from multiple overlaps of space, like the butterfliesʼ movement from one flower to the other. Hirata aims to translate this concept into architecture. Major works include “Bloomberg Pavilion”, “Tree-ness House”, and “Art Museum & Library, Ota”.

photo: Shuji Goto


photo: Shuji Goto
Kokage-gumo / Junya Ishigami

“There is an old residence in Kudanshita, which was built in 1927 (the second year of the Showa Period) by Mankichi Yamaguchi, a wealthy businessman. Architects including Tachu Naito, who designed the Tokyo Tower, were involved in its construction. In the old but beautiful garden of this residence, I built a canopy that gently shields us from the sunlight, which will be present only this summer.
In order for the newly built canopy to blend in with the historical scenery, I thought of giving it an aged look from the beginning. Specifically, I plan to fill the garden with wooden pillars and roofs, which have been burnt using the Yakisugi technique (traditional Japanese method of wood preservation by slightly charring the surface of cedar wood). By adjusting the fire heat, the surface of the cedar wood is carbonized, and some parts of the wooden structure are burned away. The wooden structure that spreads widely across the garden is burnt to form its flexible shape, so that it can be placed to avoid the existing old trees growing thickly in the garden. The carbonized jet-black wooden structure has a similar appearance to an abandoned house too. It looks as if it transformed from a new building to a ruined house, and underwent the transition of a building due to aging in an instant. The black wooden structure covers and hides the surrounding skyscrapers which were non-existent in the early Showa period, and the countless beams of light that pour through the holes in the structure blend with the sunshine filtering through foliage. As the modern scenery that peeps through the trees disappears and the strong sunshine of the summer softens, visitors share the same ancient time that flows within the garden. The jet-black structure is the cool shadow that drifts in between the old trees on a summerʼs evening.” (Junya Ishigami)

photo: ToLoLo studio
ストリート ガーデン シアター/設計:藤原徹平



藤原徹平は、産業、アート、演劇など、建築の周りにある様々な事物を越境しながら思考する建築家です。主な作品は「クルックフィールズ」、「那須塩原市まちなか交流センター くるる」、「稲村の森の家」、「リボーンアートフェスティバル2017会場デザイン」など。

photo: ToLoLo studio

“We can say that gardening is the smallest scale of order in a city like Tokyo. Through this pavilion, I want to present the story of the plants and streets in Tokyo” (Teppei Fujiwara)

When the project initially started in 2018, Teppei Fujiwara (1975-) who was interested in the history of streets as the origin of theatre, was planning to design a pavilion under the theme of “a street-like theatre”. However, after reflecting on the immense changes over the past year, he saw it as an opportunity to rethink the role of how theatre can help to find a response. Fujiwara decided to create “a theatre for plants and people” where the gardening culture inherited from the Edo Period is presented as a continuous legacy of our relationship with the natural world. The completed pavilion is made of an open wooden framework, designed to enable plants to grow entangled with the people and culture of the city. The “plant beam” is a structural beam that also plays home to a diverse collection of vegetation. A small architectural element that creates a place for plants to belong, which can also be used as furniture for people to sit on and rest. This pavilion is a story of how plants and people come together in Tokyo. A new kind of garden within the city where people can experience the growth and evolution of vegetation. We hope that you can participate in some of the activities on oer and join in this longstanding urban culture of making gardens in Tokyo.

Fujiwara is an architect who develops deep thinking within and between various themes relevant to architecture such as industry, contemporary art and performing arts. His representative works include “KURKKU FIELDS”, “Nasushiobara Community Center Kururu”, “Inamura House and Gardens” and venue design of “Reborn-Art Festival 2017”.

photo: ToLoLo studio




photo: ToLoLo studio
© AIDA Makoto
Tokyo Castle / Makoto Aida

“What I want to emphasize is the opposite of permanence - temporariness, unreliableness, paltriness - as well as the bravery in trying to withstand such characteristics. Iʼll never know what the outcome will be like unless I try creating it. Sink or swim, I will try. I want to dedicate the outcome to Japan of today - or more specifically to Tokyo”.(Makoto Aida)

Makoto Aida(1965-)created two castles made out of cardboard and blue tarps. These are both reliable materials as they are durable even though they are cheap. They also share asimilar characteristic, as they both symbolize temporariness instead of permanence. Aida has been using these materials for his works since 1995. By utilizing these two materials, this pavilion becomes a representation of human beingsʼ resilience. It is also a criticism towards modern sculpture which only uses heavy, hard, expensive and long-lasting materials. The stone mound on which this pavilion is installed was built during the construction of the Meiji Jingu outer gardens, using what once used to be the stone walls supporting the Edo Castle. It was designed and constructed by architectural engineer Toshikata Sano, who led the barracks construction after the Great Kanto Earthquake and also promoted the use of reinforced concrete in primary school buildings. The cardboard and blue tarp castle standing on the stone mound is a message of encouragement - “letʼs get through this together”- from Tokyo to various regions in Japan that still suer from the damages left by disasters. It also represents a strong sense of determination to face disasters that Tokyo is likely to experience someday soon.

Aida moves freely to and from between society and history, across the borders between contemporary and pre-modern, east and west. His distinctive style featuring elements of bizarre contrast or scathing critique has earned him a sizable following amongst people of all ages. His works are not just limited to two-dimensional works, but varies across a wide range of media such as sculpture, performance arts, film, literature and manga. His works related to urbanism include “Shinjuku Castle” (1995), “Grand Plan to Alter Shinjku-Gyoen National Garden”(2001) and “2nd Floorism

photo: Keizo Kioku
©YAYOI KUSAMA Yayoi Kusama / The obliteration room 2002–present
Collaboration between Yayoi Kusama and Queensland Art Gallery. Commissioned Queensland Art Gallery. Gift of the artist through the Queensland Art Gallery Foundation 2012 Collection: Queensland Art Gallery, Australia. Cooperation: OTA FINE ARTS
オブリタレーションルーム/作: 草間彌生




photo: Keizo Kioku
©YAYOI KUSAMA Yayoi Kusama / The obliteration room 2002–present
Collaboration between Yayoi Kusama and Queensland Art Gallery. Commissioned Queensland Art Gallery. Gift of the artist through the Queensland Art Gallery Foundation 2012 Collection: Queensland Art Gallery, Australia. Cooperation: OTA FINE ARTS
The Obliteration Room / Yayoi Kusama

“For example, by covering my entire body with polka dots, and then covering the background with polka dots as well, I find self-obliteration. Or I stick polka dots all over a horse standing before a polka-dot background, and the form of the horse disappears, assimilated into the dots. The mass that is ʻhorseʼ is absorbed into something timeless. And when that happens, I too am obliterated.” (Yayoi Kusama,
“Infinity Net: The Autobiography of Yayoi Kusama”, 2002)

This is a participatory installation where visitors cover a room painted entirely white with brightly colored stickers in the shape of dots. Throughout the exhibition, the room gradually “obliterates” as it becomes covered in dots. “Self-obliteration” has been a long-standing theme for Yayoi Kusama (1929-) since the 1960s. As the polka dots cover up bodies and spaces, everything - including her own body and others - disappears into them.

She is one of the most important Japanese artists, continuing to work energetically in and outside Japan today. From a young age, she experienced visual and auditory hallucinations, and began creating net and polka-dot pattern pictures. In 1957, she went to the United States alone, and began making net paintings and soft sculptures, as well as organizing happenings and developing installations that made use of mirrors and lights, establishing herself as an avant-garde artist. Overcoming various obsessions, she discovered an artistic philosophy of self-obliteration via the obsessive repetition and multiplication of single motifs. Aside from her artistic activities, she has also published a number of novels and poems. Her representative works include “Infinity Net”, “Dots Obsession”, “Pumpkin” and “My Eternal Soul”.

photo: Keizo Kioku
“2020-2021”/作:真鍋大度 + Rhizomatiks



photo: Keizo Kioku
“2020-2021” / Daito Manabe + Rhizomatiks

“In this work, we will exhibit a dierent TOKYO 2020. A wild and ecstatic state of Tokyo is created with Artificial Intelligence, by utilizing various data that has been collected since the first State of Emergency Declaration in the spring of 2020 up until now. Characteristics of the data which were initially supposed to be utilized and information related to events that were canceled, are continuously extracted and abstracted into text and images. Although they appear as light on display screens, one can only see its phantasms.” (Daito Manabe + Rhizomatiks)

Rhizomatiks pursues new possibilities in technology and expression and works mostly on experimental projects with a strong research and development focus. Engaged in almost all the stages of a project, from development of software and hardware to operations, they are working on R&D projects and creation, thinking about the relationship between humans and technology. Through collaboration works with artists, researchers, scientists and others, Rhizomatiks is bringing to the world cutting-edge expressions and research.

【Tokyo Tokyo FESTIVAL スペシャル13 パビリオン・トウキョウ 2021】

特別参加:真鍋大度 + Rhizomatiks

主催:東京都、公益財団法人東京都歴史文化財団 アーツカウンシル東京、パビリオン・トウキョウ2021実行委員会



Tokyo Tokyo FESTIVAL Special 13
Date: July 1st -September 5th, 2021
Opening Hours: Varies for each pavilion. Please refer to the official website for the latest information.
*Please note that some pavilions are closed on certain days and that some venues require admission fees or advance reservations.
Venues: Several venues in Tokyo, mainly around National Stadium 

Pavilion Creators: Terunobu Fujimori / Kazuyo Sejima / Sou Fujimoto / Akihisa Hirata / Junya Ishigami / Teppei Fujiwara / Makoto Aida / Yayoi Kusama
Additional Creator: Daito Manabe + Rhizomatiks

Organizers: Tokyo Metropolitan Government, Arts Council Tokyo (Tokyo Metropolitan Foundation for History and Culture), and Executive Committee of Pavilion Tokyo 2021

Planning: WATARI-UM, The Watari Museum of Contemporary Art 

Official Website:

Posted by Neoplus Sixten Inc.
藤森照信 茶室「五庵」のためのドローイング
関連イベント 「パビリオン・トウキョウ2021展 at ワタリウム美術館」

会期:2021年6月19日(土)- 9月5日(日)



会場:ワタリウム美術館 東京都渋谷区神宮前3-7-6

展覧会についてのお問合せ:TEL: 03-3402-3001(ワタリウム美術館)

Related event
“PAVILION TOKYO 2021” exhibition at WATARI-UM, The Watari Museum of Contemporary Art
This exhibition shall be held, so that many people will know PAVILION TOKYO 2021 deeper, and enjoy visiting the Festival. The process of creating the pavilions, sketches, plans, models and the materials actually used shall be shown in the exhibition space. Movies of creators talking about their pavilionʼs concept, will also be on display, along with a “special chronology table” showing their projects and works, documents, and movies produced by Kensaku Kakimoto.

June 19 – September 5, 2021
Closed on Mondays (except Aug. 9)
Open Hours: 11:00-19:00
Admission Fee: 1,000 yen
Free for those in high school or younger / Free for those who possess a physical disability

Note: Please refer to the PAVILION TOKYO 2021 ocial website ( for information about how to
enter and entrance restriction.

Participating Creators: Terunobu Fujimori / Kazuyo Sejima / Sou Fujimoto / Akihisa Hirata / Junya Ishigami / Teppei Fujiwara / Makoto Aida

Venue: WATARI-UM, The Watari Museum of Contemporary Art. 3-7-6, Jingumae, Shibuya-ku, Tokyo

Contact about the exhibition: TEL: 03-3402-3001 (WATARI-UM, The Watari Museum of Contemporary Art)