Sem categoria - 31 de agosto de 2020

kengo kuma architecture style

Reputed and adored in Japan and beyond, Kengo Kuma is a major figure of contemporary architecture. Besides his evocation of Japanese forms and materials, it is precisely all the modern obsessions that he ignores — sleek designs, a privileging of style over function — that signify what is traditionally “Japanese” in his architecture. The effect is less of a craft being renewed than an abstract monument to that craft, and to an architect, too. His numerous constructions inspired by nature include a Parisian hotel which is to open in the 13th arrondissement of the French capital, just next to the Bibliothèque François Mitterand, in 2022. The renowned theorist took Kuma and his other students on a two-month trip through the Sahel, where they visited and documented village structures of nomadic peoples. Frequently compared to contemporaries Shigeru Ban and Kazuyo Sejima, Kuma is also noted for his prolific writings. For the decades that followed the postwar era, the Modernism of Le Corbusier and Mies van der Rohe dominated cities and even small towns across the world. Kengo Kuma Explains How His Architectural Style was Formed by Financial Crisis By the 2000s, the deference was gone, and a slick, glass-and-metal neo-modernism — exemplified particularly by Gehry, Hadid, Rem Koolhaas and Sir Norman Foster — set the tone for much architecture up until the financial crisis of 2008. No longer would it be assumed, as was common in the 1980s, that Japan would become the world’s biggest economy.

But the unmistakable reference suggests that Kuma has never quite abandoned his old combativeness.The use of wood to achieve hallucinatory effects continued into Kuma’s projects outside Yusuhara.

To track this work — from the During his years in Yusuhara, Kuma was theorizing his own work with some frequency, and his substantial body of writing reveals a repeated turning over of the same ideas and experiences, much as he constantly comes back to wood to see what else it can accomplish. The injury he sustained to his hand was permanent. Kengo Kuma and Associates is now a global firm with 200 employees, and like most architecture practices, they accept commissions for, and compete for bids on, enormous condominium towers and luxury hotels. “I don’t like granite,” he said.

Im folgenden Jahr wurde Time & Style mit der Herstellung des GC-Stuhls für Kumas GC Prostho Museum Research Center in Kasugai beauftragt, welcher einen formalen und materiellen Dialog mit der holzpuzzleartigen Inneninstallation des Architekten führt, die sich über den gesamten Raum erstreckt. “I know that area very well,” he said, matter-of-factly noting that Hadid’s scheme simply “would not fit.” “I go by it every day,” he said, as if that alone was the reason he was building the stadium.Though the resulting plan is inevitably a compromise among a number of demanding parties — Taisei Corporation (a construction company), Azusa Sekkei Co. (a design firm) and the government of Japan itself — it is, like much of Kuma’s work, rather simple in its initial impression and as unobtrusive as a massive stadium can be. He lost his ability to draw in detail or fasten a button (Kuma’s habitual uniform now is a suit with a T-shirt), and — as is perhaps typical of near-death experiences — he was at once shaken and, by his own account, liberated by the experience.

He is the most famous Japanese architect Americans have never heard of, mostly due to his sparse record of building outside of East Asia; he has only one public commission in the United States, At 63 and admired in Japan, he is now poised to achieve international renown, despite having built comparatively little abroad, and having repeatedly written that he wants to “erase” his trade, to create a “defeated architecture.” His potential status as a globally known architect may hinge on one building alone, one that, given what sparked his interest in his craft, seems almost fated: the National Stadium for the 2020 Olympics in Tokyo, the site of which is about a mile from Tange’s masterpiece.

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