Marc Newson's Urasando becomes the latest addition to the Tokyo Toilet project

Dark, dingy, probably unhygienic—these are the visuals that would cross one’s mind when asked to envisage a public sanitation facility. With these unpleasant stereotypes, associated closely with public toilets, the aversion that shrouds the masses does not need spelling out. Public sanitation is a crucial subject of discussion from local municipalities to global forums, owing to its role in general health and wellbeing of the population. While numerous developing nations, around the globe, are striving towards achieving ideal public health frameworks, there is one country famous for its immaculate lavatories. The concept of hospitality or omotenashi is intrinsic to the cultural fabric of Japan, it is only imminent that quintessential Japanese toilets epitomise these tenets. Marking Tokyo 2020 Olympics and Paralympics, an initiative commenced in the capital city Tokyo, reaffirming Japan’s unparalleled standards of hygiene and unique design apropos of public restrooms—that are no less than technological spectacles.

Public toilets are seldom used, even in a country as clean as Japan. This may be attributed to the abounding notion that public toilets lack aspects of quality, accessibility and inclusivity. Managed by the Nippon Foundation, the Shibuya City Government and the Shibuya Tourism Association, the Tokyo Toilet project was conceived to dismiss the misconceptions surrounding public toilets. Partaking in the initiative are a total of 17 public toilets in the Shibuya district that were in utmost need of revamping. The facilities are transformed by 16 creative pioneers, primarily belonging to the Japanese architecture and design scene, including the likes of Tadao Ando, Kengo Kuma, and Masamichi Katayama. Joining the stellar lineup of the celebrated project is seminal industrial designer Marc Newson with the Urasando Public Toilet. “I hope the toilet will become something not only magical but incredibly useful to find in Shibuya, like the many hidden gems within the city,” says Newson.

Diversity defines the Shibuya district in downtown Tokyo, a significant commercial and finance hub, and home to two of the busiest railway stations in the world—Shibuya Station and Shinjuku Station. Given its stature in the urban milieu, it is justifiable why the stakeholders identified its potential for information dissemination. The site for the Urasando toilet speaks of the metropolitan essence of Tokyo. Ensconced beneath an overpass and bordered by two roads, Urasando adorns the bustling site of the city. Conquering the overpowering and fast-paced city life, Newson envisioned the structure to induce subconscious feelings of comfort, familiarity and serenity, and subsequently embody an experience both utilitarian and welcoming for residents and tourists, alike. “My design for the toilet focusses on functionality, simplicity, and creating an inviting and enduring space,” the British designer shares.

At first glance, a vague semblance to the nation’s vernacular roots is evident. The design is an ode to vernacular Japanese design, craft architecture, in more than one way. The stone wall that greets the visitor at the very entrance, for instance, recalls Japan’s traditional stone fortification. The copper Minoko roof, on the other hand, is evocative of shrines, temples, and tearooms in rural areas. “The patina on the copper pyramidic roof will integrate the structure into the city over time, so it becomes part of the fabric of Tokyo,” Newson explains. The main body of the toilet is built out of concrete—a material that is shaped in a more dignified and refined way in Japan as compared to other countries. As these concrete walls age through time, along with the patina of the copper roof, the structure will seamlessly merge with its environment as it gradually becomes an established public utility.

Upon entering the building, one is transported to an effulgent space, visibly at odds with its fairly earthy shell. The interior design is clad in an uninterrupted pale blue-green percolating through the floor, the walls and into the ceiling, a bright haze exuding from it. As opposed to the traditional facade, the luminescent insides make the entity feel almost spaceship-like, designed to feel bright and safe. “It is important to me that the toilet feels trustworthy and honest inside and out: the bright interior is seamlessly and hygienically finished in a monochromatic green, one of my favourite colours,” Newson notes. Inclusivity and functionality reside at the core of the Tokyo Toilet project, conspicuous in Newson’s recent addition.

The layout of Urasando features three different zones for men, women, and a multifunctional space. Taking into consideration ergonomics and anthropometric standards, the universal toilet is accessible to all—from people with disabilities to pregnant individuals—each communicated through a pictogram on the wall. The toilet also offers facilities for ostomy. The fixtures that bedeck the zones only add to their efficiency. All the areas are outfitted by TOTO and are meticulously maintained by the Tokyo Toilet team. The materials palette selected for the interiors is durable and easy to clean.

The project comes forth as a crusade that harnesses creativity to alter people’s impression of what a public toilet is. It also unfolds in a time wherein the discourse pertaining to sanitation is global, and prototypes to look up to are vital. Urasando reiterates the power design holds in veering narratives and how, if done right, it can seep through the intricate layers of society and transfigure it—even with something as simple as a public restroom. Newson befittingly amalgamates Japanese principles and innovative design elements—contriving a public restroom where the disparity of gender, age or disability fades and an ideal is established for a more inclusive world.