Kengo Kuma (隈 研吾) is a Japanese architect and emeritus professor in the Department of Architecture (Graduate School of Engineering) at the University of Tokyo.
Frequently compared to contemporaries Shigeru Ban and Kazuyo Sejima, Kuma is also noted for his prolific writings.
1921
Kuma's stated goal is to recover the tradition of Japanese buildings and to reinterpret these traditions for the 21st century.
1979
After graduating in architecture from the University of Tokyo in 1979, he worked for a time at Nihon Sekkei and Toda Corporation.
1985
He then moved to New York City for further studies at Columbia University as a visiting researcher from 1985 to 1986.
1987
In 1987, Kuma founded the Spatial Design Studio, and in 1990, he established his own firm, Kengo Kuma & Associates.
1997
In 1997, he won the Architectural Institute of Japan Award and in 2009 was made an Officier de L'Ordre des Arts et des Lettres in France.
Kuma lectures extensively and is the author of numerous books and articles discussing and criticizing approaches in contemporary architecture.
2008
He has taught at Columbia University, the University of Illinois at Urbana-Champaign, and Keio University, where in 2008, Kuma was awarded a Ph.D. degree in architecture.
As a professor at the Graduate School of Architecture at the University of Tokyo, he runs a variety of research projects concerning architecture, urbanism and design within his laboratory, Kuma Lab.
Kengo Kuma & Associates employs over 300 architects in Tokyo, China (Beijing and Shanghai) and Paris, designing projects of diverse type and scale throughout the world.
His seminal text Anti-Object: The Dissolution and Disintegration of Architecture written in 2008, calls for an architecture of relations, respecting its surroundings instead of dominating them.
Kuma's projects maintain a keen interest in the manipulation of light with nature through materiality.
Although remaining in continuity with Japanese traditions with the clarity of structural solutions, implied tectonics, and importance of light and transparency, Kuma does not restrain himself to the banal and superficial use of ‘light’ materials.
Instead, he goes much deeper, extending to the mechanisms of composition to expand the possibilities of materiality.
He utilizes technological advancements which can challenge unexpected materials, such as stone, into providing the same sense of lightness and softness as glass or wood.
Kuma attempts to attain a sense of spatial immateriality as a consequence of the ‘particulate nature’ of the light and establishing a relationship between a space and the natural round around it.
Describing his practice, Kuma said “You could say that my aim is ‘to recover the place’.
The place is a result of nature and time; this is the most important aspect.
I think my architecture is some kind of frame of nature.
With it, we can experience nature more deeply and more intimately.
Transparency is a characteristic of Japanese architecture; I try to use light and natural materials to get a new kind of transparency.”
In many of Kuma’s projects, attention is focused on the connection spaces; on the segments between inside and outside, and one room to the next.
The choice of materials stems not so much from an intention to guide the design of the forms, but to conform to the existing surroundings from a desire to compare similar materials, yet show the technical advances that have made possible new uses.
When dealing with stone work, for example, Kuma displays a different character from the preexisting buildings of solid, heavy, traditional masonry construction.
Instead his work surprises the eye by slimming down and dissolving the walls in an effort to express a certain “lightness” and immateriality, suggesting an illusion of ambiguity and weakness not common to the solidity of stone construction.
In parallel, Kuma showed material innovation to support local traditional craftsmanship through his works.
Collaborating with Japanese craftsmen specialized in wood, earth or paper, he helped in maintaining the associated building techniques while modernizing them, bringing his know-how in modularity.
2010
Stone Roof, a private residence in Nagano, Japan, built in 2010, consists of a roof which is meant to spring from the ground, providing a complete enclosure to the home.
A local stone was chosen to intimately relate itself to the preexisting natural environment of the mountainside.
The exterior stonework is made light and airy by cutting each stone into thin slices and bracing each slice as a pivoting panel.
In this way, the heavy quality of the stone is diluted and provides the eye with an illusion of lightness, allowing light and air directly into the space within.
With this choice of material and construction, a new kind of transparency emerges; one that not only frames nature the way a glass curtain wall would but also deeply relates itself to the mountainside.
2016
This work led Kuma to win a Global Award for Sustainable Architecture in 2016.
Key projects include the Suntory Museum of Art in Tokyo, Bamboo Wall House in China, LVMH (Louis Vuitton Moet Hennessy) Group's Japan headquarters, Besançon Art Center in France, and one of the largest spas in the Caribbean for Mandarin Oriental Dellis Cay.
In 2016, Kuma also delved into designing pre-fabricated pavilions in partnership with Revolution Precrafted.
2020
He is the designer of the Japan National Stadium in Tokyo, which was built for the 2020 Summer Olympics.
He is married to architect Satoko Shinohara, and they have one son, Taichi, also an architect.
He is an advisor for Kitakyushu-city in Japan.
Kuma was born in Kanagawa, and attended Eiko Gakuen Junior and Senior High School.
