25 euro
kengo kuma and ASSOCIATES
MADE IN ITALY
MONOGRAPH.IT RISPETTO ALLE RIVISTE TRADIZIONALI SI DISTINGUE PER ALCUNE CARATTERISTICHE INNOVATIVE: È AL CONTEMPO MONOGRAFIA E RIVISTA, ADOTTA UN CRITERIO ORIGINALE DI COMUNICAZIONE DEL MATERIALE ICONOGRAFICO, DEDICANDO AD UNO STUDIO DI ARCHITETTURA UNA PARTE CONSISTENTE DI PAGINE E CONTENUTI IN FORMA ESAUSTIVA, OLTRE AD UNA “GALLERIA” DI IMMAGINI FOTOGRAFICHE DI LUOGHI, EDIFICI, CONTESTI, PAESAGGI, E UNA SECONDA PARTE MONOGRAFICA AD UNA O PIÙ CITTÀ IN TRASFORMAZIONE, CONSIDERANDO I LUOGHI URBANI CONTEMPORANEI ED IL PAESAGGIO COME ELEMENTI PERMANENTI E NECESSARI DEL PROGETTO. LA SCELTA DI QUESTI CONTENUTI È RIVOLTA A DOCUMENTARE I DIVERSI AVANZAMENTI DELLA PRODUZIONE PROGETTUALE ALLE DIVERSE SCALE, CHE SI COMPLETA CON LA SEZIONE “RICERCHE” (SARÀ PRESENTE DAI PROSSIMI NUMERI) RIVOLGENDO LA RICOGNIZIONE ALLE INNOVAZIONI DEL PROGETTO E DELLA CITTÀ CONTEMPORANEI, NELLE SUE DIVERSE ANGOLAZIONI, NELLE SCUOLE DI ARCHITETTURA. INFINE APRE ALLA DISCUSSIONE TEORICA CON UNA PARTE DEDICATA AD ALCUNE “POSIZIONI” NEL DIBATTITO, ATTRAVERSO INTERVISTE E SAGGI.
ARCHITECTURE AS SPIRIT OF NATURE
N.6
KENGO KUMA
MONOGRAPH.IT HAS INNOVATIVE CHARACTERISTICSWHICH MAKE ITDIFFERENTAMONG THE TRADITIONAL MAGAZINES. IT IS AT THE SAME TIME MONOGRAPHY AND REVIEW, IT FOLLOWS AN ORIGINAL CRITERIUM OF PICTURES’ ITINERARY. IN FACT MONOGRAPH.IT DEVOTES TO ARCHITECTURE’S STUDY SEVERAL PAGES WITH COMPLETE CONTENTS. MOREOVER THERE WILL BE A GALLERY OF PICTURES OF PLACES, BUILDINGS, LANDSCAPES TOGETHER WITH A MONOGRAPHIC SECTION FOR ONE OR MORE CITIES IN EVOLUTION THEREFORE CONCEIVING PRESENT URBAN PLACES AND LANDSCAPES AS NECESSARY AND PERMANENT ELEMENTS OF THE PROJECT. THE CHOICE OF SUCH CONTENTS IS AIMED AT SURVEYING THE DIFFERENT DEVELOPMENTS OF THE PROJECT PRODUCTION IN THE RANGE OF THE DIFFERENT SCALES. THIS WILL BE COMPLETED WITH THE FURTHER SECTION “RESEARCHES” (PUBLISHED IN THE NEXT ISSUES) WHICH WILL STRESS INNOVATION IN PROJECTS WITH REGARD TO CONTEMPORARY CITIES AND SCHOOLS OF ARCHITECTURE. FINALLY IT SUPPORTS THE THEORETICAL DEBATE WITH A SECTION DEVOTED TO SOME POINTS OF VIEW THROUGH INTERVIEWS AND ESSAYS.
KENGO KUMA
2008- Established Kuma & Associates Europe (Paris, France) 1990 - Established Kengo Kuma & Associates 1987 - Established Spatial Design Studio 1979- Completed the Master Course, Department of Architecture, Graduate School of Engineering, The University of Tokyo 1954 - Born in Yokohama, Kanagawa Prefecture, Japan TEACHING AND PROFESSORSHIPS 2009 – present Professor at the Graduate School of Architecture, The University of Tokyo 2007 – 2008 Visiting Professor at the School of Architecture, University of Illinois at Urbana-Champaign (Chicago, USA) 2001 – 2009, Professor at the Faculty of Science and Technology, Keio University 1998 – 1999, Professor at the Faculty of Environmental Information, Keio University 1994, Lecturer at the Graduate School of Architecture, Planning and Preservation, Columbia University (New York, USA) 1985 – 1986, Visiting Scholar Graduate School, Columbia University and Asian Cultural Counci (USA)
KKAA
kengo kuma and associates Architecture as Spirit of Nature
PROFESSIONAL AFFILIATIONS First class Architect in Japan Architecte DESA (Diplôme de l’Ecole Spéciale d’Architecture); Architecte inscrit au Tableau de l’Ordre des Architectes; International Fellow for Royal Institute of British Architects (RIBA) Honorary Fellow for The American Institute of Architects (AIA); Received a Ph.D from Keio University, MAIN LITERARY WORKS 2013, Chisana Kenchiku (Iwanami shoten) Kenchikuka, Hashiru (Shincho-sha) 2012, Taidanshu Tsunagu Kenchiku (Iwanami shoten) Nihonjin wa dou sumaubekika? (co-authored with Takeshi Yorou / Nikkei BP) Basho genron (Ichigaya publishing) 2011, Shin Mura-ron Tokyo (co-authored with Yumi Kiyono / Syuei sha shinsho) 2010, Kyokai (Tanko sha) Santei Shugi (co-authored with Atsushi Miura / NTT) 2008, The Origins of Materials (Graphic sha) Shizen na Kenchiku (Iwanami sinsho) Shin Toshi-ron Tokyo (co-authored with Yumi 2
MONOGRAPH.IT | KENGO KUMA & ASSOCIATES
EDITED BY MAURIZIO MUCCIOLA
Beijing TEA HOUSE©Koji Fujii/Nacasa & Partners Inc.
KENGO KUMA BIOGRAPHY
i materiali, dal più significativo a quello più nascosto!” Ma la natura è anche continua invenzione e reinvenzione, e tra gli ultimi esperimenti di architettura naturale-ecologica che Kuma sta cercando di portare avanti vi è un sistema di blocchi in ETFT (ethylene tetraluoroethylene, pubblicato tra questi progetti). Una lega tra naturale-artificiale, che viene usata in genere per strutture ad ampia esecuzione, fatta di elementi di tipo “membranoso” capaci di realizzare un edificio impilando i blocchetti come mattoni, “mattoni d’aria”, mostrati per la prima volta alla personale che Kuma ha aperto a Shangai (a giugno, durante Expo) nel 2010. Il successo di questo grande progettista, oltre al suo talento e sensibilità, della sua adesione a principi elementari del costruire, tradotti in spazi affascinanti e originali, è anche frutto di un atteggiamento di totale disponibilità umana e intellettuale, di antistar, anzi di curiosità permanente, di ricerca e sperimentazione, di equilibrio tra natura e futuro, sommati ai millenni di storia e cultura giapponese che dell’arte “paziente” di ascoltare e costruire tra la natura, hanno fatto stile di vita.
Kengo Kuma Camper Store in Milan
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Kengo Kuma working at his desk busy wiht books, object collected in his world travels and project to review
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KKAA, Cube building 10
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KKAA architects working in the By-Cube building KENGO KUMA & ASSOCIATES | MONOGRAPH.IT
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The open public space between the music conservatory and the exhibition buildings creates a spacial connection between the city and the river to the other side.
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wood joinery
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The GC museum represents a bigger scale development of the chidori module, the small structural joint is brought here to the architectural scale of this two stories building
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wood joinery
YUSUHARA WOODEN BRIDGE MUSEUM YUSUHARA WOODEN BRIDGE MUSEUM Takaoka-gun, Kochi Prefecture, Japan (2010)
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his is a plan to link two public buildings with a bridge-t yped facilit y, which had been long separated by the road in between. The museum technically bridges communications in this area. It functions not only as a passage between the two facilities but also as an accommodation and workshop, ideal location for
artist-in-residence programs. In this project, we challenged a structural system which composes of small parts, referring to cantilever structure often employed in traditional architecture in Japan and China. It is a great example of sustainable design, as you can achieve a big cantilever even without large-sized materials.
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AIR AND FLOW T-ROOM T-ROOM
21st Century Museum of Contemporary Art, Kanazawa, Japan (2005)
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n creating his tearoom Taian, Sen no Rikyu employed coarse walls of earth with plentiful bits of fiber for plastering mixed in. The walls were antithetical in mood to the rigid formality of the shoin (study) style of architecture, dominant at that time. The corners of the walls, instead of forming right angles as might be expected, were rounded and exuded a supple, organic air, like a living thing. I felt that I wanted this tearoom to be soft and supple, in a similar way, for in my mind the tearoom is a place antithetical in character to our rigid and highly regulated society. Instead of bits of fibers I have employed polyester mesh, and instead of earth, silicon, a material used in artificial skin. (Silicon is in fact created from a kind of earth). In form, it is not simply rounded but also moves in a soft, spongy way, like a living organism, through the entry and release of air. The purpose of this tearoom is to destroy the rigidity of architecture (society) and return to it the essential flexibility of living things.
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PARTICLES
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An intricate arrangement of ceramic tiles held together by a tiny and invisible steel structure, play here with light and shadows generating an always different perception of this geometry located at the center of a road roundabout
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he project of the contemporary art center (FRAC) for the region Provence Alpes Cotes d’Azur (PACA) is the 3D version of the “museum without walls” invented by André Malraux, famous French writer and politician. It is a museum without a museum, a living and moving place, where the art pieces are in a constant movement and join the logic of diffusion and interaction with the visitors. KKAA thought the FRAC as a signal in the city, which allows a better visibility to contemporary art. The building stands up as a landmark which identity is clearly asserted. It is composed with two recognizable parts: The main body along the street Vincent Leblanc contains the exhibition spaces and documentation center A small tower with auditorium and children’s workshop, offers an upper terrace on the main boulevard. These two clearly identified entities are connected between them by a set of footbridges and are unified by the envelope made by an glass skin, composed with panels with changing opacity. The building explores the theme of the windows and openings on different scales. KKAA wishes to create a particular space of creation and life, which action and effect is bounded to the entire city, as well as the surrounding district and neighborhood (cafe-terrace...).
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PARTICLES GREEN CAST GREEN CAST
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Odawara-shi, Kanagawa Pref., Japan (2011)
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he faรงade of the building is covered with planters made of aluminum die-cast panels, which provides space for facilities. The 3 (up to 6) aluminum panels, which also form planters, are made in monoblock casting. Each panel is slanted, and its surface appears to be organic, of which cast comes from decayed styrene foam. Equipment such as watering hose, air reservoir for ventilation and downpipes are installed behind the panels so that the faรงade can accommodate a comprehensive system for the building.
A combination of aluminum panels and vegetation forms this screen facade for a small residential building
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FRAC, FONDS REGIONAL D’ART CONTEMPORAIN FRAC, FONDS REGIONAL D’ART CONTEMPORAIN Marseille, France (2013)
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CASALGRANDE CERAMIC CLOUD
CREDITS Area 2697 mq
CASALGRANDE CERAMIC CLOUD
Client Casalgrande Padana spa
Casalgrande, Reggio Emilia, Italy (2010)
Project Team Kengo Kuma + Javier Villar Ruiz +
Architect + Partner Kengo Kuma & Associates
Ryuya Umezawa ColB. Team Alfonso Acocella (Università di Ferrara) +
Luigi Alini (Università di Catania) + Enrico Rombi (CCDP Reggio Emilia) + Angelo Silingardi (CCDP Reggio Emilia) + Mauro Filippini (Casalgrande Padana spa) Engineer Ejiri Structural Enjineers +
Enrico Rombi (CCDP Reggio Emilia) + Alberto Zen (CCDP Reggio Emilia) + Luigi Massa (Casalgrande Padana)
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PARTICLES GREEN CAST GREEN CAST
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Odawara-shi, Kanagawa Pref., Japan (2011)
NAGAOKA CITY HALL “AORE”
Otedori, Nagaoka-shi, Niigata, Japan (2012)
St FB-60xt6.0 溶融亜鉛メッキリン酸塩処理
上枠:L-56x75xt9.0 溶融亜鉛メッキリン酸塩処理
笠木パネル:AL PLt2.0 フッ素樹脂高温焼付塗装 裏面:グライト吹付 t3.0 X10通芯マデ3500 9.5 25.5 685
408 125 49 397 400
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St ●-Ø16曲げ加工 溶融亜鉛メッキリン酸塩処理
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ガラス:FLt19
1800
方立:St FB-50x125 ウレタン樹脂塗装 St FB-19x80x114.7 溶融亜鉛メッキリン酸塩処理
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125 176 X10通芯マデ 3150
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下がり壁:ケイカル板t10+耐水PBt12.5 AEP コマガラス受:AL形材 フッ素樹脂高温焼付塗装
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EXP.M XS-33(SW12,LW30.5) 溶融亜鉛メッキリン酸塩処理 外壁木パネル(パタパタ) :地元産間伐杉t30(防腐K4処理)+OS
1480
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90 60
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▽4FL
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129 85 100
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860.8 851.3
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NAGAOKA CITY HALL “AORE”
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S
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PARTICLES
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ガラス自重受:St FB-12x50 L135 溶融亜鉛メッキリン酸塩処理 給気用スリット(軒天内チャンバー)
△軒天レベル(1FL+5800) 軒天:有孔ケイカルt6+6+継目処理 AEP
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