#books #architecture | Kuma : complete works 1988-today

Kuma : complete works 1988-today / Kengo Kuma ; Philip Jodidio.
Köln : Taschen, 2021.
460 p. : il.
/ EN / Libros / Arquitectura – Siglo XX / Arquitectura – Siglo XXI / Kengo Kuma

📕 Ed. impresa: ISBN 9783836575126
Cita APA-7: Kuma, Kengo, & Jodidio, Philip (2021). Kuma : complete works 1988-today. Taschen.
ehuBiblioteka BCG Referencia A-(0.021)B KUM
https://ehu.on.worldcat.org/v2/oclc/1269399877

[.en] From his Great (Bamboo) Wall house to the Japan National Stadium for the Tokyo Olympic Summer Games, originally planned for 2020, Japanese architect Kengo Kuma pioneered a truly sustainable approach to contemporary architecture, translating local craftsmanship and resources into a new tactile architecture. Discover the scope of his practice-defining oeuvre in this XXL monograph.

After Tadao Ando, Toyo Ito, and Fumihiko Maki, Kengo Kuma has breathed renewed vigor and lightness into Japanese architecture. Departing from the modernist skyscraper of the 20th century, Kuma traveled through his native Japan to develop a truly sustainable approach, translating local craftsmanship and resources into site-specific, timely buildings. Informed by tradition, and with both feet firmly planted in the present, this “materialist” heralds a new tactile architecture marked by its engaging surfaces, innovative structures, and fluid forms, reconnecting people with the physicality of a house. Kuma’s objective, above all else, is “just to respect the culture and environment of the place where I am working.”

To this end, Kuma shaped the China Academy of Art’s Folk Art Museum partially from discarded roof tiles; created a Chapel out of birch and moss in Nagano; and worked with local craftsmen to sculpt the V&A Dundee into a twisted, layered reflection of the Scottish coastal cliffs. With an extraordinary sensitivity for space, light, and texture, Kuma reveals unexpected qualities in materials, finding the weightlessness of stone in Chokkura Plaza and the softness of aluminum in the thatched roof of the Yangcheng Lake Tourist Transportation Center.

More recently, the architect brought his philosophy to the Japan National Stadium built for the Olympic Games, originally planned for 2020. Kuma has said the stadium could be “the catalyst that will transform Tokyo back from a concrete city. I want it to set an example that will help alter the direction of Japanese architectural design.”

In this XXL-sized monograph with some 500 illustrations spanning photographs, sketches, and plans, Kuma guides us through his entire career to date, detailing milestone projects as well as ongoing works.

#books #architecture | Kengo Kuma : topography

Kengo Kuma : topography.
Mulgrave, Victoria, Australia [etc.] : The Images Publishing Group, 2020.
296 p. : il.
/ EN / Libros / Arquitectura – Siglo XXI – Japón / Kengo Kuma 

📘 Ed. impresa: ISBN 9781864708455
Cita APA-7: Kuma, Kengo (2020). Kengo Kuma : topography. Images Publishing Group.
ehuBiblioteka BCG A-72KUMA KEN
https://ehu.on.worldcat.org/v2/oclc/1252202637

[.en] Kengo Kuma is a globally acclaimed Japanese architect whose prodigious output possesses an inherent respect and value of materials and environment, often creating a harmonious balance between building and landscape. He masterfully engages both architectural experimentation and traditional Japanese design with twenty-first-century technology, resulting in highly advanced yet beautifully simple, gentle, human-scaled buildings. He's renowned for the drive to search for new materials to replace concrete and steel, seeking a new approach for architecture in a post-industrial society, and fusing interior and exterior realms to make spaces that both create a calming and tranquil atmosphere and which "transform" topography. In the pages of this exquisitely illustrated volume, Kuma presents close to forty of his most recognized and award-winning works, including FRAC Marseille, V&A Dundee, Mont-Blanc Base Camp, and Japan National Stadium. Kuma continues to forge a new design language: in this book he offers the reader deep insight into how he has engaged with different aspects of the architectural discipline by transforming topography, construction, and representation in order to give further progress to his ideas.

#books #architecture | Kengo Kuma : my life as an architect in Tokyo

Kengo Kuma : my life as an architect in Tokyo / Kengo Kuma ; translated from the Japanese by Polly Barton.
London [etc.] : Thames & Hudson, 2021.
127 p. : il.
/ EN / Libros / Arquitectura – Siglo XXI – Japón / Kengo Kuma / Tokio (Japón)

📘 Ed. impresa: ISBN 9780500343616
Cita APA-7: Kuma, Kengo (2021). Kengo Kuma : my life as an architect in Tokyo. Thames & Hudson.
ehuBiblioteka BCG A-72KUMA KEN
https://ehu.on.worldcat.org/v2/oclc/1250018059

[.en] It was around Kengo Kuma’s tenth birthday that he came into contact with Kenzō Tange’s fishlike Yoyogi National Gymnasium, completed for the 1964 Tokyo Olympics, and determined that he would become an architect. In the intervening five or so decades, he has become one of the world’s most fascinating and influential architects. Through twenty-five stories, this intimate little publication paints a picture of how a building inspired a boy to become an architect, how Japan’s national heritage helped form his thinking, and how his professional experience has made him one of the most successful architects of his generation. This book contains something for everyone: design acumen, insights into Japanese culture, a tour of Tokyo and the heartfelt commitment to producing buildings that have meaning and longevity.

#monograficos #arquitectura | AV monografías 218-219 | Kengo Kuma : 2014-2019

Kengo Kuma : 2014-2019 / director, Luis Fernández-Galiano.
Madrid : Arquitectura Viva, 2019.
215 p. : principalmente il. 
Ed. bilingüe español- inglés.
Serie: AV monografías ; 218-219. 
ISBN 9788409146383
/ ES / EN / Monográficos / Arquitectura – Siglo XXI – Japón / Kengo Kuma
ehuBiblioteka BCG Referencia A-72(082) *AVM/218-219
https://ehu.on.worldcat.org/oclc/1126788200

It is not easy to name an architect who can invent as much, and as poetically and rigorously, as Kengo Kuma. This issue of AV Monographs takes stock of his firm’s extensive output of the past five years through 32 works and 8 projects, presenting them in five groups. From the New National Stadium of Japan which is nearing completion for the Olympic Games to the competition the studio won recently to extend the Gulbenkian Foundation in Lisbon, via works like the Victoria & Albert Museum in Scotland, the Cultural Village in the Portland Japanese Garden, the refurbishment of a traditional courtyard-house in Beijing or the Camper Store in Barcelona. This taxonomy gives a good idea of the scope of his ambition.

#books #architecture | Architecture of defeat

Architecture of defeat / Kengo Kuma ; translated by Hiroshi Watanabe.
New York [etc.] : Routledge, 2019.
VI, 174 p. : il.
ISBN 9781138390843
/ EN / JA* / Libros / Arquitectura – Filosofía
ehuBiblioteka BCG A-72.01 ARC
https://ehu.on.worldcat.org/oclc/1126314122

Kengo Kuma, one of Japan’s leading architects, has been combining professional practice and academia for most of his career. In addition to creating many internationally recognized buildings all over the world, he has written extensively about the history and theory of architecture. Like his built work, his writings also reflect his profound personal philosophy.

‘Architecture of Defeat’ is no exception. Now available in English for the first time, the book explores events and architectural trends in the twentieth and twenty-first centuries in both Japan and beyond. It brings together a collection of essays which Kuma wrote after disasters such as the destruction of the World Trade Center in New York City on 9/11 and the earthquake and tsunami that obliterated much of the built landscape on Japan’s northern shore in a matter of minutes in 2011. Asking if we have been building in a manner that is too self-confident or arrogant, he examines architecture’s intrinsic―and often problematic―relationship to the powerful forces of contemporary politics, economics, consumerism, and technology, as well as its vital ties to society.

Despite the title, ‘Architecture of Defeat’ is an optimistic and hopeful book. Rather than anticipating the demise of architecture, Kuma envisages a different mode of conceiving architecture: guided and shaped by more modesty and with greater respect for the forces of our natural world.

Beautifully designed and illustrated, this is a fascinating insight into the thinking of one of the world’s most influential architects.

#books #architecture | Under one roof : EPFL ArtLab in Lausanne by Kengo Kuma

Under one roof : EPFL ArtLab in Lausanne by Kengo Kuma / Philip Jodidio. Munich [etc.] : Prestel, 2018.
167 p. : il.
ISBN 9783791358055
/ EN / Libros / Arquitectura – Siglo XXI – Suiza / Construcciones universitarias - Suiza / Kengo Kuma
ehuBiblioteka BCG A-727.3 UND
https://ehu.on.worldcat.org/oclc/1101427510

[.en] This book looks at ArtLab, an innovative facility in Lausanne, Switzerland, intended to bridge the gap between science and the humanities on a university campus. This superbly illustrated volume presents the ArtLab project, which highlights the intersection of science, art, and the public at the Lausanne Federal Institute of Technology (EPFL) in Switzerland. Designed by the renowned Japanese architect Kengo Kuma, ArtLab is a symbolic place of art, culture, and technology. The project combines three structures: the first is a welcome area to learn about the university's research, the second structure is an exhibition space that hosts art installations, while the third pavilion houses the newly digitized Montreux Jazz Festival archives and a caf . The three pavilions are connected, constituting a single building with a folded roof, a topographical flow, and a hybrid steel and wood frame. ArtLab is located near buildings by SANAA and Dominique Perrault, forming a new heart for the EPFL campus. Kuma's building, originally entitled "Under One Roof," is an example of how innovative, problemsolving, and adaptive architecture is transforming the world.

#books #architecture | Kengo Kuma : complete Works

Kengo Kuma : complete Works / Kengo Kuma
London : Thames & Hudson, 2018 / 2nd ed.
351 p. : il.
ISBN 9780500343425
/ EN / Libros / Arquitectura – Siglo XX – Japón / Arquitectura – Siglo XXI – Japón / Kengo Kuma
ehuBiblioteka BCG A-72KUMA KEN
https://ehu.on.worldcat.org/oclc/1079228596

[.en] The quintessential Japanese architect of today, Kengo Kuma has forged a modern design language that artfully combines the country’s traditional building crafts with sophisticated technologies and materials. Associating a deep understanding and respect for native construction techniques with a more globalized outlook than many of his compatriots, Kengo Kuma’s work represents a significant generational shift in a country rich with contemporary architecture. From his iconic Glass House (1995) to the Nezu Museum in Tokyo, this is the complete record of Kengo Kuma’s built work, comprising twentyfour projects to date. Architecture historian Kenneth Frampton frames Kuma’s work in the context of post-war Japan’s flourishing architecture scene and influential figures and offers a perspective on the international acclaim of Kuma’s ideas and buildings. Projects are organized by the material themes that have come to define the architect’s output: Water and Foliage; Wood; Bamboo and Grass; and Stone and Ceramics. Kuma develops a personal and architectural reflection on each. Each building is presented through descriptive text, newly commissioned photographs and detailed drawings, this last revealing a privileged view of the refined architectonic vocabulary that characterizes Kuma’s buildings. With the close collaboration of Kuma, this major monograph fully documents a leading light of the global architecture scene, offering a rich insight into contemporary interpretations of Japan’s ancient building traditions. This beautifully produced book will be an inspiration to any designer who aims to create spaces for history and the future.

#monograficos #arquitectura | AV : monografías 167-168 | Kengo Kuma : atmospheric works 2000-2014

Kengo Kuma : atmospheric works 2000-2014 / [director = editor, Luis Fernández Galiano]
Arquitectura Viva, Madrid : 2014
207 p. : fot., planos
Ed. bilingüe español e inglés
En: AV : monografías = monographs, n. 167-168 (2014)
Kuma, Kengo, 1954.
Arquitectura -- Siglo XXI.
Sbc Aprendizaje A-72(082) *AVM/167-168
http://millennium.ehu.es/record=b1802081~S1*spi 

Plenitud del vacío / Luis Fernández-Galiano

La arquitectura de Kengo Kuma es un ejercicio ejemplar de despojamiento. Pese a la importancia que en su obra adquiere el material, todos y cada uno de los proyectos manifiestan una voluntad de desnudez que sólo cabe calificar de espiritual. La disolución de la forma mediante la luz y la fragmentación elemental de los diferentes materiales crea atmósferas de exacta serenidad y sencillez, que Juhani Pallasmaa denomina ‘líricas’ porque difícilmente pueden percibirse de otra manera, pero que también merecen considerarse ‘espirituales’, ya que elevan la experiencia estética a un plano superior de contemplación, donde —como en el mejor teatro Nō— la emoción brota de la quietud. El gran dramaturgo Zeami proponía mover el corazón de los espectadores de ese teatro japonés eliminando la danza, la música y aun la palabra, y es posible que Kuma consiga un efecto semejante prescindiendo en sus obras de recursos formales para disolver el espacio en un vacío luminoso.

Este desprendimiento de lo necesario que en Occidente asociamos a la doctrina zen, al silencio y al recogimiento como fuentes inmóviles de elegancia vital y espiritual, ha tenido muchos glosadores, pero quizá ninguno tan lúcido como Octavio Paz, que encontró en Japón una escuela de sensibilidad, porque a diferencia de la India «no nos ha enseñado a pensar sino a sentir». En su ensayo sobre la tradición del haiku, el escritor mexicano ilustra la ‘plenitud del vacío’ con Matsuo Bashō: ‘Narciso y biombo: / uno al otro ilumina / blanco en lo blanco’. «El poeta traza en tres líneas la figura de la iluminación y, como si fuese un copo de algodón, sopla sobre ella y la disipa». No muy distinto es el efecto que producen los espacios livianos de Kuma —por no hablar ya de instalaciones tan etéreas y emocionantes como las expuestas en la Royal Academy londinense—, perfecta expresión del rotundo dictamen de Paz: «el refinamiento es simplicidad; la simplicidad, comunión con la naturaleza».

En la obra del arquitecto japonés, la comunión con la naturaleza se manifiesta en la abstracción lírica del despojamiento, pero también en la paleta táctil de materiales extraídos de la tierra donde se levantan, y con los cuales crea atmósferas intangibles y mundos sutiles no diferentes a los que amaba nuestro Antonio Machado, «ingrávidos y gentiles como pompas de jabón». Su coetáneo el filósofo Miguel de Unamuno pensaba que es tarea del poeta ‘esculpir la niebla’, excavando ideas acuñadas con palabras exactas en el magma impreciso de sentimientos y reflexiones, de igual forma que el escultor extrae figuras de la piedra informe, pero el talento y el oficio artístico de Kuma se describe mejor como ‘construir la niebla’, y acaso por ello ordenamos aquí los materiales de sus obras en una secuencia de desvanecimiento, que se inicia con lo pétreo y lo cerámico, y se diluye por último en jirones de bruma con las fibras vegetales. ‘Es primavera: / la colina sin nombre / entre la niebla’. 

SUMARIO
5 / Plenitud del vacío: The Plenitude of the Void / Luis Fernández-Galiano Ruiz
6 / Atmósferas líricas: Lyrical Atmospheres / Juhani Pallasmaa
16 / Terremotos y naturaleza: Earthquakes and Nature / Kengo Kuma
21 / Pabellón de piedra Card Castle: Stone Card Castle
23 / Monumento Ceramic Cloud: Casalgrande Ceramic Cloud
24 / Casa Lotus, 2003-2005, Japón Este: Lotus House, 2003-2005, East Japan
30 / Centro cívico Chokkura Plaza, 2004-2006, Takanezawa (Japón): Chokkura Plaza, 2004-2006, Takanezawa (Japan)
36 / Museo Xinjin Zhi, 2008-2011, Chengdú (China): Xinjin Zhi Museum, 2008-2011, Chengdu (China)
44 / Villas Jeju Ball, 2009-2012, Jeju (Corea del Sur): Jeju Ball, 2009-2012, Jeju (South Korea)
51 / Refugio Chokkura: Chokkura Shelter
53 / Pabellón de aluminio: Polygonium Polygonium
54 / Oficinas Z58, 2003-2006, Shanghái (China): Z58, 2003-2006, Shanghai (China)
58 / Centro cultural Kyushu Geibunkan, 2008-2012, Fukuoka (Japón): Kyushu Geibunkan Cultural Center, 2008-2012, Fukuoka (Japan)
66 / Casa Mesh/Earth, 2009-2011, Japón Este: Mesh/Earth, 2009-2011, East Japan
72 / Centro comercial Tamagawa Takashimaya, 2010, Tokio (Japón): Tamagawa Takashimaya, 2010, Tokyo (Japan)
79 / Villa Water/Glass: Water/Glass
81 / Oficinas LVMH: LVMH Osaka
82 / Hotel The Opposite House, 2005-2008, Pekín (China): The Opposite House, 2005-2008, Beijing (China)
90 / Casa Glass/Wood, 2006-2010, New Canaan (EE UU): Glass/Wood House, 2006-2010, New Canaan (USA)
94 / Tienda Tiffany Ginza, 2007-2008, Tokio (Japón): Tiffany Ginza, 2007-2008, Tokyo (Japan)
98 / Centro de arte FRAC, 2007-2013, Marsella (Francia): FRAC Marseille, 2007-2013, Marseille (France)
105 / Taller de cerámica Kyushu: Kyushu Geibunkan (Annex 2)
107 / Tienda Sunny Hills: Sunny Hills Japan
108 / Centro de arte Besançon, 2007-2012, Besançon (Francia): Besançon Art Center, 2007-2012, Besançon (France)
114 / Museo y centro de investigación Prostho, 2008-2010, Kasugai (Japón): GC Prostho, 2008-2010, Kasugai (Japan)
120 / Museo Yusuhara Wooden Bridge, 2009-2010, Yusuhara (Japón): Yusuhara Wooden Bridge Museum, 2009-2010, Yusuhara (Japan)
126 / Oficinas de turismo Asakusa, 2009-2012, Tokio (Japón): Asakusa Culture Tourist Information Center, 2009-2012, Tokyo (Japan)
135 / Puerta principal Pacific Flora 2004: Pacific Flora 2004 Main Gate
137 / Instalación Nangchang-Nangchang: Nangchang-Nangchang
138 / Villa Gran Muralla, 2000-2002, Pekín (China): Great (Bamboo) Wall, 2000-2002, Beijing (China)
144 / Hotel Ginzan Onsen Fujiya, 2002-2006, Obanazawa (Japón): Ginzan Onsen Fujiya, 2002-2006, Obanazawa (Japan)
150 / Museo Nezu, 2004-2009, Tokio (Japón): Nezu Museum, 2004-2009, Tokyo (Japan)
154 / Hotel Garden Terrace Miyazaki, 2010-2012, Miyazaki (Japón): Garden Terrace Miyazaki, 2010-2012, Miyazaki (Japan)
163 / Prototipo Umbrella: Casa Umbrella
165 / Pabellón Hojo-an 800 años después: Hojo-an after 800 years
166 / Centro comunitario Takayanagi, 1998-2000, Takayanagi (Japón): Takayanagi Community Center, 1998-2000, Takayanagi (Japan)
170 / Casa de plástico, 2001-2002, Japón Este: Plastic House, 2001-2002, East Japan
174 / Mercado Yusuhara, 2009-2010, Yusuhara (Japón): Community Market Yusuhara, 2009-2010, Yusuhara (Japan)
180 / Casa experimental Memu Meadows, 2009-2011, Japón Este: Memu Meadows, 2009-2011, East Japan
188 / Gran Espacio Escénico Ciudad de Granada, 2009, Granada (España): Granada Performing Arts Center, 2009, Granada (Spain)
192 / Museo de la Academia de Arte de China, 2009, Hangzhóu (China): Museum at The China Academy of Art, 2009, Hangzhou (China)
194 / Casa Chiva, 2011, Valencia (España): Chiva House, 2011, Valencia (Spain)
196 / Rehabilitación de un astillero, 2012, Shanghái (China): Shanghai Shipyard, 2012, Shanghai (China)
200 / Estación de tren SUSA, 2012, Turín (Italia): SUSA Train Station, 2012, Turin (Italy)
204 / Pabellones bajo un mismo techo, 2013, Lausana (Suiza): Pavilions under one roof, 2013, Lausanne (Switzerland)

book | Material-immaterial : the new work of Kengo Kuma

Material-immaterial : the new work of Kengo Kuma / Botond Bognar.
New York : Princeton Architectural Press, 2009.
255 p. : il.
ISBN 9781568987798*
Materias:
Kuma, Kengo, 1954.
Arquitectura - Siglo XXI - Japón.
Fachadas.
Revestimientos.
Biblioteca A-72 KUMA MAT

In our 2005 monograph "Kengo Kuma: Selected Works", celebrated architect Kengo Kuma boldly declared that his ultimate aim was to "erase architecture" so that his buildings became one with their surroundings. In recent years he has pursued this goal by focusing primarily on imaginative and unexpected use of materials, creating hypnotizing surfaces that evoke subtle visual sensations by highlighting their materiality. Only by pushing a material to the limits of its capabilities does Kuma believe their true nature can be revealed. Ingenious and yet deceptively simple, this realization represented a major turning point in his desire to give his architecture a presence beyond the merely eye-catching or sculptural.

"Material Immaterial: The New Work of Kengo Kuma" presents more than thirty of the architect's recent works, including high-profile commissions such as the Suntory Museum in Tokyo and the Ondo Civic Center in Kure; the exquisite Lotus House in Zushi; large-scale urban developments like Sanlitun Village South in Beijing; as well as tea pavilions and installations that have exhibited in the United States, England, Italy, South Korea, China, Germany, and France, many of them never before published. The book also includes an extended essay on the evolution of the architect's work, from the founding of Kengo Kuma and Associates in 1990 to the present. An accompanying exhibit—the first retrospective of the architect's work, also titled Material Immaterial—displayed at the University of Illinois at Urbana-Champaign in late 2008 and will travel to locales around the world over the next two years.

Botond Bognar is the author of numerous books on contemporary Japanese architecture, including "Kengo Kuma: Selected Works". He is currently a professor of architecture at the University of Illinois at Urbana-Champaign.