• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.10
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• pp.11-18
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• 2019

This study explores the relationship between the expression of material Sensibility properties and the meaning of tectonic in the architectural space of Kengo kuma. First of all, It can be derived that The sensibility of the material is based on phenomenological meaning of the tectonic after modern architecture that also Kengo kuma has been aware of. So it derived characteristics of sensibility by material expression and meaning from the Kengo kuma's works including critical books and collection of architecture works. All derived characteristics consist of sub-sections of the case analysis to figure out correlation with expression of Material Sensibility and tectonic meaning at the Kengo kuma's works. At the ends, it was analyzed through the relationship chart.

• Korean Institute of Interior Design Journal
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• v.23 no.6
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• pp.14-21
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• 2014

Kengo Kuma is one of the features of the building is 'natural architecture'. He is saying that the construction of the building in which he is seeking is a natural material of construction is only applied to the issue as to whether the material nature, but that the relationship between humans, the environment, natural point of view in his book. Like repeating units are part of the two hundred ninety-four came mainly small ways to create a relationship, or have architectural features make up the sum of his architecture. I present a comprehensive study is reported in terms of that the 'grain' of such a small part of the unit, according to the architecture of Kengo Kuma mainly granulation characteristics of the construction of one of the practical expression studies Kengo Kuma. Is represented as louvers, check pattern, hole, granulation unit such trend, but have become developed in other directions such simple types are combined. Analysis and particle characteristics in terms of the architectural space of Kengo Kuma, serve as the purpose of the present study reveal that each of the features that have a meaning in the construction of any Kengo Kuma.

• Journal of the Regional Association of Architectural Institute of Korea
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• v.20 no.6
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• pp.9-16
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• 2018

The purpose of this research was influenced by the historical background of Japanese modern architecture by the circulation of Kuma Kengo's architectural works and he wanted to look at the values and directions he was pursuing and how they were expressed in his works. The results of the review are summarized as follows. First, metabolism was developed as a reaction of modernism in modern architecture, focusing on growth through infinite reproduction by looking at architecture and cities as organisms and by using unit space as cells. Kuma Kengo, on the other hand, argues that focusing on the possibility of decimation of unit members by sequencing the elements that make up the space smaller than the unit space is closer to an ecological architecture. Second, what Kuma Kengo says is "erase the architecture" that is naturally related to the environment and disappears when its use is exhausted. His argument is expressed in individual architectural works through 'visual erase', 'particle painting of materials' and 'independence through dependency.' Through this, Kuma Kengo's ecological architectural languages were influenced by the ecological causes of metabolism, but they differed from the perspective of seeing architectural circulation as an organism. If metabolism was intended to realize circulation with growth potential based on the module of unit space, Kuma Kengo sought to implement circulation with the extinction of the unit members of space.

• Korean Institute of Interior Design Journal
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• v.22 no.5
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• pp.114-125
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• 2013

Kengo Kuma used to be very known well as a critic before being an architect. He usually mentioned quite unique type of comments for subjects whenever his criticism, also even his works results have been able to be targets of criticism materials by his method. His works are the achievements of challenges based on his continuous dynamic criticism. Hence, to have well understanding of his architectural thinking and works result, his complexes criticism structure must be needed to understand. And also, this study is using 'KJ Method' type to analyze his architectural thinking which is complicated making by a type of non-linear. Kengo Kuma's structures of architectural thinking and critiques perspective of modern architecture have been created by 'KJ Method'. Critiques types of keywords and consequences words collected from among the local dedicated professional architecture books to get this research result. First of all, Kengo Kuma desired even modern architecture problems to be melt as a specific architecture result such as modern type of power structure. To have result, Kengo Kuma had experienced sensible activity through materials which have specific characteristic. Also place of materiality created to get relationship between environments and architecture. Secondly, he wanted to recover troubled traditional Japanese architectural perspective which blocked relationship by dichotomy as a right way. In conclusion, this research reaches Kengo Kuma's type of architecture which strongly emphasizes harmony among related components such as human being, materials, substances based on accepted natural environments and lives' principle. Also, much more specific methods have been derived by related works results analyzing which have similar characteristic as Kengo Kuma's one.

• Korean Institute of Interior Design Journal
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• v.24 no.4
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• pp.14-22
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• 2015

This study deals with a comparative analysis of wooden assembly methods between Japanese traditional architecture and Kuma, Kengo's works. Kuma, Kengo has known as an architect who pursues Japanese architectural traditions with integrated solutions for built and natural environments, and expresses a deep commitment to unexpected use of materials such as stone and wood with the clarity of structural solutions. Accordingly, his architecture focuses on the appreciation of the spatial relationship with the surrounding, its local characters, and the selection of materials. This article first examines two of wooden assembly methods that have been shown in Japanese traditional architecture such as 'two-way system' and 'one-way system'. And then, Kuma, Kengo's wooden assembly methods in his works are analyzed and compared in relation to Japanese wooden assembly methods to find out similarities and differences between them. Then, it concludes that Kuma, Kengo's approach is not only relying on the methods of Japanese traditional architecture, but also exploring creative ways beyond traditional assembly methods.

• Korean Institute of Interior Design Journal
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• v.24 no.2
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• pp.67-77
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• 2015

This study is to contemplate an ultimate goal and new methodology the architecture and space design community should pursue forward by analyzing concepts in Kengo Kuma's idea of "Anti-object" and examining his design methods and characteristics. To this end, I reviewed space design methods and features in his book of "Anti-Object" and his architectures built around in 2000. The result is as in the followings. (1) Contact is an essential concept of "Anti-object" to connect and integrate divided materials and consciousness with time and space. (2) Elimination is a meaningful way to reverse "cohesiveness" of agglomerated cluster which is a form of object and reconstruct it into the form of passive and acceptive "Anti-object". This idea is realized through overlap of material property and removal of massing. (3) Minimization is a concept of "Anti-object" to set the temporality free from constraints of materials. Three-dimensional transparent faces and lines or patterns of porous materials can be used to remove static and coercive volume. (4) A particle is a "reflector of its environment." It rebuilds one-way or disconnected communication between human and architecture into an interactive one. Kengo Kuma materializes this "particle" by exploring positional relation with physical paths, precise details and measurements.

• Korean Institute of Interior Design Journal
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• v.25 no.4
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• pp.51-59
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• 2016

Recent modern architecture shows a lot of cases that introduce natural light in indoor space, arousing diverse emotions within a minimal space by means of changes in the light. There are various causes for the background of these streams of times, and it may be said that pursuing the relationship between natural phenomena and space, using changes in light, is an important factor among them. This is closely linked to the raise of phenomenological architecture. In the case of Japan, there are many cases where the architectural language connected to the traditional architecture has been restructured to fit to modern architectural technique. The modern reinterpretation and development of the Japanese traditional effect of light and its meaning can be seen in cases of Kuma Kengo and Tadao Anndo. Of the modern architects that have used the appearance of spatial concept of light in Japanese architectural space, Kengo Kuma shows his attempt at finding identity in his designs through the acceptance and modern reinterpretation of orientalism of nature, along with the traditional and regional interpretation through materials and ways construction. It is his use oh light input used in traditional Japanese settings that have differentiated his work. On this, the present thesis intends to analyze and synthesize what impressions Kengo Kuma's unique methods of light production create in the formation of users' spatial perception, how the unique encounter of light and materials seems to perceivers, and the characteristics of his light production and expression that harmonize space, human, and nature in the visual and perceptual experience of space;

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.28-37
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• 2013

Architecture of the present time has a general tendency that focuses only in its permanence between the structure and the ground. Architecture has the temporariness. In other words, it is a losing creation. Structure of natural building materials starts its life on the ground and also ends its life on there. Natural building materials leave no building wastes on their ground. Concerns about how to let materials contain not only its physical property but also their regional relation and timely temporariness can let us express materiality of natural building materials in modern construction spaces. And also, it will be the way of recovering the value of architecture and the healing human's sensibility. Kuma Kengo made an attempt that makes the best use of materiality in his work by using them in balance and draw new materiality by a fusion of them. In here, suggestion about the ways of using weak natural materials in modern construction spaces is the main object of this paper. And we can make a progress by analyzing Kuma's expression way of materiality in his work.

• Korean Institute of Interior Design Journal
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• v.26 no.1
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• pp.91-100
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• 2017

This study aims to comparatively analyze the characteristics of light expression shown in the exhibition spaces of architects Richard Meier and Kuma Kengo, who constructed the element of invisible light into visible forms within space, using diverse techniques and components. As for the methodology therefor, it was attempted to conduct theoretical consideration of light, to experience the spaces of light by producing diverse spaces with architectural space components, that is, space, form, material, structure, and color, and to find out what space characteristics are perceived by perceivers from the interaction of the components. As for the research scope, this study intended to identify the concepts and characteristics of light and compare light in spaces, focusing on works of Richard Meier who constructed functional and mechanical spaces based on Le Corbusier's architectural language in the West and works of Kuma Kengo who claimed regionalism architecture in the East. In particular, this study intended to comparatively analyze the methods of using materials according to the filtering of light that appears different between the two architects in case that light enters into their exhibition spaces, and the effects of light production that arise from the differences, thereby pointing out the characteristics of diverse light expressions within the spaces of modern architecture. On this, this study investigated methodological differences of the two architects, who are based on East and West thoughts, in expressing light in spaces in various forms through brightness and darkness, light transmission and shadows appearing according to the nature of light, and color and materials. It is hoped that this study will provide an opportunity for promoting better understanding about other architectural cultures as well as understanding the characteristics of light in exhibition spaces.

• Korean Institute of Interior Design Journal
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• v.23 no.1
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• pp.3-13
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• 2014

After The Industrial Revolution in 18th century, constructions were done with universal material (concrete) in everywhere instead of using materials that are produced in each country because of development of industry material and transportation. This change caused the buildings to become trite with no local characteristics. Hereupon, the study intends to understand the essence of matter and restore various construction methods of each matter with the topic of 'Immateriality'. Immateriality is the revealed concept based on Materiality. Consequently the process and characteristics of immateriality shown on the works of Kuma Kengo and Herzog & de Meuron, three kinds of features can be found of immateriality expression mode. They are as in the following. First, there is a mode of transforming the shape and properties in physical or psychological way by observer. Second, there is a mode of conflating the shape and properties in physical or psychological way by observer. Third, there is a mode of mixing the shape and properties in physical or psychological way by observer.