The Tokyo Toilet Project: Rethinking the Design of Public Restrooms

An Unexpected Side of Architecture

Public restrooms are among the most ordinary facilities in a city. People enter, use them, and continue with their day. Their purpose is straightforward, and their design is often treated as a practical necessity rather than an opportunity for architectural expression.

Yet a restroom is also a public space. It must accommodate different people, provide privacy, maintain hygiene, and offer a comfortable experience within its surroundings.

In Shibuya, Tokyo, an unusual architectural initiative challenged conventional expectations of what a public restroom could be. Known as THE TOKYO TOILET, the project brought together architects and designers to reimagine 17 public restrooms across the district.

Rather than giving every facility the same appearance, the project invited different creative perspectives. Each location became an opportunity to explore architecture, materials, spatial organization, accessibility, and the relationship between public facilities and everyday urban life.

The result is a collection of distinctive spaces that encourages people to look at an often-overlooked part of the built environment in a different way.



A symbolic illustration of thoughtful restroom design, where cleanliness, accessibility, nature, and public well-being come together.


A Project Built Around Everyday Needs

THE TOKYO TOILET was initiated by The Nippon Foundation in cooperation with Shibuya City. Its purpose extended beyond creating visually striking architecture.

Public toilets can carry negative associations. They may be perceived as dark, dirty, unpleasant, or unsafe, discouraging people from using them. Accessibility can also be a challenge for older people, people with disabilities, and families with young children.

The project sought to address these concerns by creating public restrooms that could be used comfortably by people of different genders, ages, and abilities.

Sixteen architects and designers were invited to contribute their ideas across 17 locations. Their approaches differed considerably, demonstrating that a small functional building could offer many possibilities for architectural expression.

The project also recognized that design alone could not guarantee a good experience. Cleaning, maintenance, and the long-term care of these facilities were essential parts of its vision.


Seventeen Restrooms, Many Architectural Expressions

One of the most interesting aspects of THE TOKYO TOILET is its architectural diversity.

Rather than following one uniform design language, each facility responds to its own location and creative concept. Some use bold geometric forms, while others explore natural materials, transparency, simplicity, or sculptural architecture.

The individual designs can be understood as small architectural experiments, each examining how a public facility might interact with its users and surroundings.


The Transparent Restrooms at Yoyogi Fukamachi Mini Park

Designed by architect Shigeru Ban, the public restroom at Yoyogi Fukamachi Mini Park is among the project's most recognizable designs.

Its exterior uses transparent glass walls that become opaque when the restroom is locked. When unoccupied and unlocked, the interior can be seen from outside.

This unusual approach addresses two common concerns associated with public restrooms: cleanliness and privacy.

Before entering, visitors can see the interior and check whether the facility is occupied. Once someone locks the door, the glass becomes opaque, providing privacy.

The design introduces an unexpected relationship between transparency and enclosure. A restroom, traditionally understood as a completely private space, becomes visually open when unoccupied.

It also raises an interesting architectural question: how can a building communicate its condition and intended use through its physical design?


A Walk in the Woods at Nabeshima Shoto Park

Another distinctive example is the restroom designed by Kengo Kuma at Nabeshima Shoto Park.

Instead of presenting a single conventional building, Kuma created a group of five small structures covered with cedar louvers. Their arrangement forms a village-like composition within the park's greenery.

The structures are connected by a winding walkway, creating an experience that feels closer to walking through a small woodland settlement than approaching an ordinary public facility.

The design also considers different user needs. Its separate facilities accommodate functions such as wheelchair access, childcare, and personal grooming.

Here, spatial design becomes especially important. The arrangement of individual structures, the connecting pathway, and the surrounding vegetation work together to shape the visitor's experience.


The Circular Approach at Jingu-Dori Park

Designed by Tadao Ando, the restroom at Jingu-Dori Park explores a more restrained architectural language.

Its circular composition creates a distinctive presence within the surrounding urban environment. The form emphasizes geometry, simplicity, and the relationship between the building and the public space around it.

Rather than relying on elaborate decoration, the design demonstrates how a clear architectural form can give a small facility a recognizable identity.


Architecture, Privacy, and Spatial Design

Public restrooms present particular challenges for spatial design.

Unlike many other buildings, they must balance several requirements within a relatively compact area. Visitors need clear entrances, convenient circulation, adequate separation, and a sense of privacy.

Accessibility introduces additional considerations. Door widths, turning spaces, fixtures, signage, and circulation routes all influence whether a facility can be comfortably used by different people.

THE TOKYO TOILET offers several ways to approach these challenges.

Some designs emphasize separate structures and individual entrances. Others use carefully arranged internal spaces or distinctive exterior forms to communicate how the facilities are organized.

The transparent restroom at Yoyogi Fukamachi Mini Park is especially interesting because its exterior communicates occupancy and privacy through a change in material appearance.

These examples show that spatial design is not simply about arranging rooms. It also involves understanding how people approach, enter, navigate, and experience a space.


Materials and the Character of Place

Materials contribute significantly to the identity of each restroom.

Cedar louvers, glass, concrete, metal, and other architectural materials are used in different ways throughout the project. Their textures, colors, transparency, and structural qualities influence how each facility relates to its surroundings.

At Nabeshima Shoto Park, cedar creates a connection with the surrounding greenery. At Yoyogi Fukamachi Mini Park, transparent glass introduces a striking contrast between the building and its environment.

These choices demonstrate that materials are not merely construction components. They can communicate a design concept, establish atmosphere, and influence how a building is perceived.

The surrounding environment matters, too. A restroom located within a park has different spatial relationships from one positioned beside a busy station or along an urban street.

Each facility becomes part of a larger setting rather than an isolated architectural object.


Accessibility and Inclusive Design

An important principle behind THE TOKYO TOILET is that public facilities should welcome a wide range of users.

Accessibility is not an additional decorative feature. It is part of the fundamental design of a public building.

The project considers different needs through its facilities and layouts, including wheelchair access and spaces intended for families and people who require additional assistance.

The official project information states that wheelchair access is possible at all 17 locations, although individual facilities have different specifications.

This highlights an important distinction between architectural appearance and architectural performance.

A visually unusual building may attract attention, but its success as a public facility also depends on whether people can use it comfortably, safely, and independently.

Good design must consider both.


Maintenance as Part of Design

A public restroom does not become successful simply because its architecture is innovative.

Cleanliness, maintenance, and long-term management directly influence the experience of using the facility.

THE TOKYO TOILET placed considerable emphasis on these practical responsibilities. Regular cleaning and maintenance were incorporated into the project, recognizing that even the most carefully designed restroom would lose its value if it were not properly maintained.

This is an important lesson in understanding public architecture.

Buildings are not finished when construction ends. They continue to exist through everyday use, cleaning, repairs, and the care provided by the people responsible for them.

The project was completed in 2023, after which responsibility for the facilities was transferred to Shibuya City in April 2024.

Their continued upkeep is therefore part of the story, not simply an administrative detail.


A New Perspective on Public Space

THE TOKYO TOILET demonstrates how an ordinary urban facility can become an opportunity for architectural exploration.

Its 17 locations present different approaches to form, materials, accessibility, privacy, and spatial organization. Some attract attention through unusual appearances, while others express their character through simplicity and their relationship with the surrounding environment.

Together, they encourage a broader understanding of public architecture.

A city is not defined only by its famous museums, monuments, shopping districts, and residential buildings. It is also shaped by the smaller facilities that support everyday life.

Public restrooms may occupy modest spaces, but their design can influence how welcoming, accessible, and comfortable a city feels.


The Character of an Everyday Place

Perhaps the most interesting achievement of THE TOKYO TOILET is the way it changes our expectations.

A restroom does not need to be an architectural landmark to deserve thoughtful design. It can be modest in scale and practical in purpose while still expressing creativity, consideration, and a strong relationship with its surroundings.

By bringing together different architectural perspectives, the project reveals the possibilities hidden within an everyday building type.

It reminds us that architecture is not only about creating impressive structures. It is also about shaping the spaces people depend on, often without giving them much thought.

And sometimes, an unexpected place is where a new way of seeing architecture begins.


Illustration Note:

This illustration was created using AI generation to visualize the ideas behind THE TOKYO TOILET Project. Rather than depicting a particular restroom or architectural design, it uses symbolic imagery to explore the values that contribute to better public restroom environments.

At the center, the white toilet represents the essential function of a public restroom. Surrounding it, water droplets and flowing water symbolize cleanliness and hygiene, while leafy branches and park scenery represent nature and the relationship between public facilities and their surroundings.

The figures of people with different ages and abilities highlight accessibility, inclusion, and the importance of designing public spaces that welcome everyone. Glass structures suggest transparency and openness, while architectural forms and urban greenery represent the integration of public restrooms into the wider city environment. The open hand adds another dimension: care, dignity, and consideration for everyday human needs.

Together, these elements express a simple idea: a public restroom is more than a functional facility. Its design can contribute to comfort, accessibility, cleanliness, and a more welcoming public environment.

The Citrus Landscapes of the Amalfi Coast

Along the southern coast of Italy, the landscape rises dramatically from the Mediterranean Sea.

Steep mountains meet the water, villages follow the contours of the cliffs, and houses, gardens, paths, and terraces appear to grow naturally from the terrain. Among these layers of landscape and settlement, citrus cultivation has become an important part of the character of the Amalfi Coast.

The most familiar symbol is the lemon.

But here, the lemon is more than a fruit. It belongs to the landscape.


A Landscape Shaped by Citrus

The Amalfi Coast is not a broad agricultural plain. Its steep terrain leaves little level ground, so cultivation has historically adapted to the slopes.

Across the hillsides, terraces supported by stone walls create cultivated spaces where citrus trees can grow. These terraces form another layer of the coastal landscape, connecting agriculture with the settlements above and below them.

Lemon groves can be found around houses, along paths, and across terraces overlooking the sea. The result is a landscape in which cultivated land and inhabited space are closely intertwined.

The gardens are not separate from the villages.

They are part of them.



The citrus landscapes of the Amalfi Coast.


The Lemon and the Character of Place

The citrus landscape contributes to the visual identity of the coast.

Green foliage and bright yellow fruit appear against pale walls, warm stone, terracotta roofs, and the blue Mediterranean. The combination creates a palette that has become strongly associated with the region.

Yet the character of the Amalfi Coast comes from more than color.

It comes from the way these elements occupy the same terrain.

A house may stand beside a lemon terrace. A stairway may pass between garden walls. A path may lead from a settlement toward a cultivated slope. A pergola may provide shade above a terrace while vegetation grows around it.

Architecture, agriculture, and landscape become difficult to separate.


Architecture Among the Terraces

The architecture of the Amalfi Coast developed within this dramatic geography.

Buildings often follow the steep terrain rather than attempting to flatten it. Houses and settlements are layered across hillsides, connected by stairways, narrow paths, terraces, and small open spaces.

Gardens and cultivated terraces occupy the spaces between them.

This creates a distinctive relationship between building and landscape. The surrounding terrain is not simply a backdrop for architecture. It helps determine how buildings are arranged and how people move through them.

The same principle can be seen in the use of terraces.

A terrace can be a garden, a working agricultural space, an outdoor living area, or a transition between different levels of a house. Its function can change, but its relationship with the surrounding landscape remains essential.


Ceramics and the Visual Language of the Coast

Another part of the region's visual character can be found in its ceramics.

Across the Amalfi Coast, colorful ceramic work has become an important part of local decorative traditions and architecture. Majolica-style surfaces may appear on floors, walls, stairways, tables, terraces, and other architectural elements.

Their patterns often draw from the Mediterranean environment, with botanical forms, geometric designs, marine colors, and regional motifs.

Citrus imagery can appear within this decorative vocabulary as well.

This creates an interesting connection between the cultivated landscape outside and the decorative landscape of architecture. The lemon groves are part of the physical environment, while citrus-inspired forms can also become part of the visual language used to decorate the spaces where people live.

The landscape begins to appear again in the architecture.


Positano and Beyond

Positano is perhaps one of the most recognizable places associated with the visual character of the Amalfi Coast.

Its steeply layered buildings, terraces, gardens, stairways, and sea views make it an especially vivid example of the relationship between settlement and terrain.

But the citrus landscape belongs to a much larger coastal setting.

Amalfi, Ravello, Atrani, Maiori, Minori, and other communities contribute their own variations to the landscape. The character of each place is shaped by its particular position on the coast, its architecture, vegetation, terrain, history, and relationship with the sea.

For Locus, this distinction matters.

The story is not simply about Positano.

It is about a regional landscape in which many individual places share a broader cultural and environmental character.


Living With the Landscape

One of the most distinctive qualities of the Amalfi Coast is the way human settlement appears to coexist with difficult terrain.

The mountains are steep. The agricultural terraces are labor-intensive. Paths and stairways follow changing levels. Buildings adapt to slopes rather than ignoring them.

The result is a landscape shaped over generations through continuous interaction between people and their environment.

Citrus cultivation is part of this story.

So are the stone walls, terraces, gardens, houses, ceramics, paths, and settlements.

Each belongs to a larger network of relationships.


A Cultural Landscape

The citrus landscapes of the Amalfi Coast demonstrate how the identity of a place can develop through many seemingly different elements.

Agriculture influences the landscape.

The landscape influences architecture.

Architecture creates spaces for gardens and everyday life.

Local craftsmanship adds color and pattern.

The sea and mountains establish the setting for everything around them.

Together, these relationships create a recognizable sense of place.

That is why the citrus landscape is worth looking at beyond the lemon itself.

The important story is the landscape that surrounds it.


The Character of the Amalfi Coast

A place does not need to be defined by a single building or landmark.

Sometimes its identity emerges from an entire landscape.

On the Amalfi Coast, citrus terraces, hillside settlements, Mediterranean gardens, colorful ceramics, stone paths, and the sea form a continuous environment. The boundaries between cultivated land, architecture, and everyday life become wonderfully fluid.

The lemon is one visible expression of that landscape.

The place itself is the larger story.

The Citrus Landscapes of the Amalfi Coast remind us that a region can become recognizable not through one object, but through the relationships between its land, architecture, culture, and people.


Image Note

This illustration was created using AI generation to visualize the cultural landscape of the Amalfi Coast. Rather than focusing on a single landmark or decorative object, the composition brings together the elements that contribute to the character of the region: steep Mediterranean terrain, terraced citrus groves, hillside settlements, gardens, stone terraces, winding paths, traditional architecture, colorful ceramic details, and the sea.

The illustration is inspired by the visual character of Italian coastal travel art, with hand-painted textures, Mediterranean colors, and expressive architectural details. Citrus trees are integrated throughout the landscape to represent their relationship with agriculture, settlement, and the visual identity of the coast.

The scene combines these elements into one continuous landscape, reflecting how architecture, cultivation, craftsmanship, and the natural environment come together to shape a distinctive sense of place along the Amalfi Coast.

The Mouth of Orcus

I was carved from the stone of this land and placed among the trees of Bomarzo.

My enormous mouth opens toward the path, while my hollow eyes and broad features give me the appearance of a giant creature emerging from the landscape.

Visitors know me as The Mouth of Orcus, the Ogre, or L'Orco. I am one of the most recognizable sculptures within the Sacro Bosco di Bomarzo, also known as the Park of the Monsters, in Viterbo, Italy.

But I am not alone here. 


Among the Sculptures of Bomarzo

My home is the Sacro Bosco, a remarkable sixteenth-century garden created at the initiative of Francesco Orsini, also known as Vicino Orsini, lord of Bomarzo.

The garden was begun in the 16th century, with the commonly cited date of 1552 associated with its creation. Unlike the formal Italian gardens being developed at aristocratic villas of the period, this place was designed as an unusual landscape filled with monumental sculptures, mythological figures, fantastic creatures, and small architectural structures.

The architect Pirro Ligorio is associated with the design of the garden.

Here, sculpture and landscape were never meant to exist entirely apart.

The trees, rocks, paths, buildings, and carved figures became part of one strange and immersive environment.



An ancient stone face awakens beneath the twilight canopy, where golden thoughts drift into the forest.


Carved from Peperino

Much of the sculpture in the Sacro Bosco was carved directly from blocks of peperino, a local volcanic stone found in the Tuscia region.

I belong to that stone.

My surface has weathered through centuries of exposure to the landscape. Unlike a sculpture placed inside a museum, I remain outdoors, surrounded by vegetation and the changing atmosphere of the woodland.

That setting is essential to my identity.

I am not simply a stone head.

I am a stone head within Bomarzo.


A Mouth That Becomes a Space

My most striking feature is my enormous open mouth.

A staircase leads visitors into the interior.

This changes the experience of encountering me. From outside, I appear as a gigantic anthropomorphic mask or monstrous head. From within, the visitor occupies the space inside the sculpture itself.

The boundary between sculpture and architecture becomes difficult to define.

The visitor does not merely look at me.

The visitor enters me.


What Do I Mean?

That question has followed the Sacro Bosco for generations.

Scholars and visitors have proposed different interpretations of the sculptures and their arrangement. Some have looked for literary references, symbolic meanings, magical or mysterious themes, or even an initiatory journey through the garden.

But there is no universally accepted interpretation that explains the entire park.

The uncertainty is part of the historical character of the place. Official Italian tourism sources likewise note that the Sacro Bosco does not have one definitive interpretation.

I therefore do not need to tell you what I mean.

I can simply remain here.

Stone.

Mouth.

Eyes.

Path.

Forest.


The Garden Around Me

The path through the Sacro Bosco leads visitors past many different works.

There are sphinxes near the entrance, mythological figures, enormous creatures, a giant turtle carrying Victory, an elephant, a dragon, Neptune, the famous leaning house, and other sculptures and structures distributed through the vegetation.

The experience comes from moving through the landscape and encountering these works one after another.

The garden does not reveal everything at once.

It asks the visitor to walk.

And walking changes what can be seen.


Every Thought Flies

One of the park's most famous inscriptions appears on the great mask that has become its symbol:

“Ogni pensiero vola.”

“Every thought flies.”

The phrase has often been considered in connection with the enigmatic character of the Sacro Bosco, although its precise intended meaning remains uncertain.

Perhaps that uncertainty is appropriate.

The garden was not created as an ordinary catalogue of perfectly explained objects.

It was created as an extraordinary environment.


Still Among the Trees

Centuries have passed since the garden was created.

The Renaissance world that produced me is gone.

The people who first encountered these sculptures have long disappeared.

Yet the path remains.

The trees continue to grow around the stone.

Visitors continue to arrive.

They stand before my face, look into my hollow eyes, and wonder about the enormous mouth before them.

Some enter.

Some remain outside.

And I remain where I have always been, part sculpture and part place, embedded in the strange landscape of Bomarzo.

I cannot tell you exactly what I was intended to mean.

History has not given us a single answer.

But perhaps that is one reason I am still remembered.

I was carved into a garden where questions were allowed to remain questions.

And my mouth is still open.


Image Note

Image Note:
This artwork is a generative AI-assisted interpretation inspired by The Mouth of Orcus (L'Orco), the monumental monster-head sculpture in the Gardens of Bomarzo, Italy. The composition reimagines the sculpture within an overgrown Renaissance-inspired grove, using warm twilight, weathered stone, moss, ivy, and luminous particles to create a contemplative atmosphere.

The glowing particles emerging from the mouth symbolize thoughts, memories, and imagination escaping into the surrounding world. Rather than presenting the sculpture as purely frightening, the image explores its mysterious and dreamlike character.

Created with generative AI from a detailed artistic prompt and visual reference, with the intention of exploring how AI can translate an existing artistic concept into a new painterly interpretation. The resulting image is an imaginative reinterpretation, not a historical reproduction of the original sculpture or painting.

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LAHAN bisnis properti memang sangat menguntungkan. Karena, dengan bertambahnya jumlah
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Itulah yang membuat harga properti akan terus menerus naik tiap tahun.
Bagi Anda yang ingin mulai berbisnis properti, kunci utamanya adalah memilih properti yang tepat. Didik Eko Tjahjono, fasilitator dari Didik Real Estate School (DRES) memberikan beberapa tips untuk memilih properti yang menguntungkan dan mudah dijual.

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