Kengo Kuma
JOANNA HELM
Interview
KENGO KUMA
Kengo Kuma is certainly one of the most recognised and expressive Japanese architects today. His (re)interpretations of traditional Japanese architecture include dynamic surfaces, innovative structures, the use of sustainable materials, an original way of thinking about the relationship between light and space and, last but not least, fluid forms that invite a reconnection with nature.
He is the founder of Kengo Kuma & Associates, which employs over 150 people and is involved with hundreds of architectural projects around the world. An advocate of less is more, he usually reuses materials, lending his work a certain harmony with its environment.
His buildings blend into the landscape by manipulating traditional elements, creating constructions that often mimic their surroundings. The mixture of traditional and high-tech produces extremely simple while sophisticated projects, easily identified throughout Japan and other parts of the world.
Kuma’s projects adapt to different types of challenges. In addition to the Olympic Stadium in Tokyo, he was responsible for designing the imposing VA museum in Scotland, various Starbucks stores, birdhouse facilities in France, universities, restaurants, community centres, even the Casa Wabi chicken coop in Mexico.
Admired the world over, this architect is remembered primarily for his wooden (or mixed) structures, which arise from an unpretentious but ever-rigorous pattern of assembly. In addition to this, his representation drawings dazzle for their complex details and ingenuity.
Respect for Japanese building traditions is an integral part of his cultural legacy, as is the way materials and forms establish a dialogue with the setting. This is possibly the cornerstone of Kuma’s sensitive and delicate architecture.
In our interview, the iconic architect comments on the many influences that have shaped his work. He discusses his project at the Gulbenkian Foundation in Portugal, his sustainable use of wood, and the impact that the ongoing pandemic has had on his profession.
Explaining his architectural philosophy, Kuma reveals the importance of creating something that truly values its surroundings. He also describes how he analyses each location’s natural characteristics and influences to develop the forms of his different projects, always considering the sustainable potential of wood as a building material.
FUNDAÇÃO CALOUSTE GULBENKIAN
CERAMIC-LINED WOOD INSPIRED
BY THE PORTUGUESE GARDEN
PORTUGAL
2022
1
How have your background and upbringing shaped your design principles and philosophies?
I was brought up in a typical suburban town, which was surrounded by wooded hills (satoyama in Japanese) and nature. Being far from big cities nurtured my way of thinking, I think.
2
What aroused your interest in solutions that expanded the different uses of materials and sustainability?
It takes time to develop ideas on using different materials to their maximum potential. We now have various methods to work with natural materials, such as wood or paper, which are my favourites. Saying that, they are simply the results of our accumulated trials and errors. We keep on studying every day.
3
How does your architecture relate to the remarkable use of wood and concern for nature and the surroundings?
We use wood, not only as a good material for architecture but also in the hope it revives a healthy cycle. It absorbs a great deal of CO2, and when there’s a balance between planting and felling trees, it enriches river and sea water. This eventually leads to an ideal cycle that sustains nature.
MONT-BLANC BASE CAMP
NATURAL OAK BOARDS
USED AS CLADDING
FRANCE
2016
MEDITATION HOUSE
IN THE FOREST
WOOD ENTWINED LIKE A TRELLIS
GERMANY
2018
MÊME
RECYCLED MATERIALS
AS A TRANSLUCID FAÇADE
JAPAN
2011
4
One of your projects in Portugal involves expanding the Gulbenkian Foundation gardens and redesigning one of the museum’s entrances. The clear Japanese influence combines with Portuguese traditions, creating unity and identity. What design decisions were taken regarding this?
One of the features of Japanese architectural tradition is “mending buildings, little by little.” I think we share this idea with the Portuguese. We were so impressed by the garden’s beauty that we wanted to pay our respects by “expanding it, little by little,” rather than effecting drastic change.
5
The project has various layers, from the permeable roof to a very particular, subtle and delicate formal composition. What were the main challenges regarding the new and existing elements, as well as the implementation on site?
The existing building was a typical box type. So, to connect it seamlessly to the garden, we used thin and layered eaves, which is one of the features of traditional Japanese architecture.
GC PROSTHO
A WOODEN GRID
AS A SHOWCASE
JAPAN
2010
6
How much does Portuguese architecture influence that of the Gulbenkian expansion?
I find Portuguese architecture warm, simple but never industrial (hard and cold). And that is well-reflected in the existing building.
7
The connection between the Modern Art Collection building (CAM) and the new garden is made via a wooden canopy roof, inspired by the “Engawa” spaces of Japanese architecture. Could you explain what an Engawa space is and how this new interpretation works today?
The canopy came from the idea of Engawa, as you say, and we used it as an architectural solution for places experiencing this terrible pandemic. Engawa is an important, semi-outdoor connection between garden (outside) and house (inside), which helps people avoid being confined to a closed building.
HISAO & HIROKO TAKI PLAZA
PRECAST CONCRETE ELEMENTS CREATING
A LAYERED ROOF
JAPAN
2021
8
Could you share your ideas about the new construction and architectural paradigms in relation to nature that emerged during the COVID-19 pandemic?
COVID made it clear that closed and crowded spaces are unhealthy and stressful. New designs for the post-COVID future will prioritise the power of natural light and wind. We can already see such changes in many buildings.
9
What do you think the biggest issues shaping architecture will be in the next 10 to 20 years?
Our lifestyle will change drastically. We could say that it’s already changing because of the pandemic and other conditions. Working in a closed, stifling office in a big city is no longer efficient. Now everyone is required to find or develop their own working space. That’s a big challenge, and our office is addressing this issue too.
GREEN CAST
ALUMINIUM PANELS AS VERTICAL PLANTERS
JAPAN
2011
