We first designed Techan Yakitori bar at Harmonica Yokocho Kichijoji (2014), and wanted to inherit the atmosphere of those makeshift barrack streets emerging after the war, still present in Kichijoji.
At Tetchan Kichijoji project, the company Nakadai who handles scrap materials helped us with an idea of using LAN cables and acrylic balls. This time in Mitaka, they provided 300 pairs of bicycle spokes, with which we covered the entire façade and the interior. The tables and chairs are also made with the same, Allowing us to build a consistent space using spokes as the basic particles.
The spoke is in a way an ultimate structure because it connects the axle and the external wheel with tension alone, and I think that tension is close to the structure of tensegrity that we often use in our design.

かつてわれわれの手がけた焼き鳥屋てっちゃん（2014）のある吉祥寺ハモニカ横丁の、戦後焼け跡的な空気感の継承に挑戦した。
廃材を扱う株式会社ナカダイには、てっちゃんのLANケーブル、アクリル団子でも御世話になったが、今回は300組の自転車のスポークの廃材を供給してもらい、ファサードとインテリアを、スポークで覆いつくした。テーブルやチェアも、スポークで作り、空間のすべてをスポークという粒子で構成された状態をめざした。
スポークは、テンションだけを用いて車軸と外側のリングをつなぐという緊張感に満ちた極限の構造体であり、その緊張感は僕らがしばしば用いるテンシグリティの構造に通じると感じた。

We planned the station building as an intermediate area like engawa, which connects railroad and town. Half-open, the engawa is not complete architecturally, and I thought that the station building should be like that, too.
Yugawara is one of Japan’s most famous hot springs, but unlike other resorts such as Hakone or Atami, there is no tall building in Yugawara, and is rather an assembly of small inns and it feels more human.
We thought the new station should be human-friendly as well, in harmony with the town, and designed it as a semi-open, semi-outdoor building, using louvers of cedar.
Water from the hot spring flows into the space underneath the louvers, and together with light as though filtering through the leaves of a tree, steam from water suffuses the area gently and warmly.

駅とは鉄道と街とをつなぐ、縁側のような中間領域であると考えてデザインした。縁側のように、半分開いていて、建築として完結しないことが重要であると考えた。
湯河原は、日本を代表する温泉の街であるが、熱海や箱根のように大きなホテルがあるわけではなく、小さな旅館が集合したヒューマンな街である。
この新しい駅も、そのヒューマンスケールに対応した、ヒューマンでやさしいものでなければならないと考え、杉材のルーバーを用いた、半屋外的で半開放的な駅舎をデザインした。
杉のルーバーの下の、木漏れ日のような光に満たされた空間の中に、温泉の湯がひきいられ、その湯から出る水蒸気によって、駅舎全体が、よりやわらかく、暖かいものとなる。

We maintained and restored a huge shipyard of bricks built in 1972, located by the Huangpu River in Shanghai, as a new complex facility with a theatre and retailers.
A “hole” with a height of 20 m and a length of 150 m, which makes you feel the scale of a huge ship, penetrates the center of the building and creates a strong impression in the space. The effect is further strengthened with concrete columns that have supported the existing building.
The western end of the façade is covered with a translucent screen, which is made of porous bricks fixed with φ 8 mm stainless steel wire. Density of the bricks changes as if to draw gradation.
The theatre is situated at the eastern end of the building. Behind the stage is an enormous glass surface. Depending on the direction on stage, the curtain can open up and the view of the Huangpu River suddenly appears in front of the audience.

黄浦江に面してたつ1972年に完成した、レンガで作られた造船工場を、劇場、リテイラーの複合建築として保存、再生した。
巨大な船のスケールを感じさせる、高さ20ｍ、長さ150ｍの「孔」が建築の中心部を貫き、その中心に、既存建築を支えていたコンクリートの列柱が並ぶ印象的な空間を作った。
西側の端部ファサードには、有孔レンガをφ８mmのステンレスワイヤで固定して作った半透明のスクリーンで覆われ、レンガの密度はグラデーショナルに変化する。
東側の端部の劇場は、ステージの背後を巨大なガラスの面とし、カーテンをあけると、黄浦江が眼の前に出現するという演出が可能となった。

Kengo Kuma & Associates won the 1st prize for the international competition to design the Waterfront Cultural Center in collaboration with Cornelius+Vöge Aps (Associate Architects), Søren Jensen engineers (Engineering Design) and Niels Sigsgaard (Consulting architect).

The new Waterfront Cultural Center with Harbor baths at Paper Island is to highlight the significance of water in the history, culture and vibrant urban life in Copenhagen. The harbor is the gate contributed greatly to the city’s development. Waterfront has become the foreground and the background for major cultural facilities and the quality open public area that defines the urban life in the city. Our focus in design is to create an experience, and not just a standalone object, in the form of the landscape, art and architecture that are unified and defined by the water. Our design proposal strives to offer the diverse experiences of water in various states and conditions such as reflection of light and shadow, steam and flow that appeal to human senses.

Urban approach – between Cityscape and Waterscape
The project takes place in the larger development plan of the island. Its architectural form in a series of pyramid shape is in response to the masterplan guideline to work with roof profile of Christiansholm but at the same time it expresses its unique identity. What is distinctive from the rest of the masterplan building is that the architecture does not have a single front, but it is multi directional to be easily recognized and accessible from various directions. It is to offer spontaneous, open and tangible place that carries the memory of vibrant and dynamic nature of the present Paper Island. Taking advantage of the prominent corner site of the project defined in the masterplan, the ground floor plane of the indoor to outdoor and to the sea is designed in a single gesture. Landscaping the ground plane in terracing and cascading manner creates expansive, continuous perception of water surface from indoor all the way to the harbor. Our design attempts to soften and dissolve the edge and blur the sense of boundary of the land.

Architectural form – Positive/ Negative
Our strategy of generating the architectural space structure and the form is to manipulate the composition of positive and negative volumes. A series of cone shape volumes in various proportion are generated by being pushed and pulled vertically and horizontally to create particular experiences for each program. The cone shape roofs extruded above correspond to the division of pools at the ground floor. Each pool has distinctive space in the almost exaggerated scale with concentrated light and shadow through large skylights above. The level above the ground floor is defined as the “negatives” of these extruded roof volumes. It is an open air pool and hot bath that one would experience swimming and dipped in the “valley” among the architectural hills. The inverted cone in the central position works as structural core. It is the deepest void, “valley” among these roofs where outdoor stairwell is placed.

Brick Façade – New expression with traditional material
Brick is chosen to relate to the context of the area and to highlight the quality and aesthetic of the traditional Danish craft. Its haptic texture and warm natural earthy color tones of masonry would achieve the tangible skin defining interior and exterior. In our proposal we are exploring the potential of brick in its small scale texture being expressed in the large scale of the architecture. Its small units allows us to play with various openings and tectonics, screening natural lights and shadow that reflects on the water surface.
The brick façade in various level opacity and transparency is to glow with warm light at night and in cold season when dark hours last long. The perforated and screened brick skin would let soft light out in distinct manner. The dust of lights and their reflection on the water would glow at night and signals the presence of the new masterplan development and expresses itself as new unique icon.
(Yuki Ikeguchi, Partner in charge)

このたび、デンマーク・ウォーターカルチャーセンターのコンペティションにて、隈研吾建築都市設計事務所が最優秀者として選定されました。協働はCornelius+Vöge Aps (Associate Architects)、Søren Jensen engineers (Engineering Design)、 Niels Sigsgaard (Consulting architect)です。

東京ステーションギャラリーにて展覧会を開催します。

2018年03月03日(土)-05月06日(日)　(4月30日をのぞく月曜日休館)
10:00-18:00(入場は閉館の30分前まで)
入場料：一般（当日）1,100円、高校・大学生（当日）900円、中学生以下：無料
主催：東京ステーションギャラリー［公益財団法人東日本鉄道文化財団］、隈研吾建築都市設計事務所

東京駅周辺美術館学生無料ウィーク
2018年3月3日（土）から3月18日（日）の期間、受付で学生証をご提示いただくと入館料が無料になります。

くまのもの

Kengo Kuma will exhibit at Tokyo Station Gallery.

Saturday, March 03, 2018 – Sunday, May 06, 2018　(close on Mondays, except April 30)
10:00-18:00
Entrance fee: Adult 1,100JPY, High-school/University student:900JPY, Junior high school students and younger: Free
Sponsorship: Tokyo Station Gallery, KENGO KUMA & ASSOCIATES, INC.

During the week March 03, 2018 to March 18, 2018 admission is free for students who visit the museums in the vicinity of Tokyo station.(Presentation of a student ID card is required）

Kengo Kuma: a Lab for materials

アカデミーヒルズにてトークセッションを開催します。

日本元気塾セミナー
隈研吾氏と考える「世界における日本の戦い方」

隈研吾（建築家）×米倉誠一郎（日本元気塾塾長）

日時：2018年02月19日(月) 19:00-20:30
会場：アカデミーヒルズ（東京都港区六本木6-10-1 六本木ヒルズ森タワー49階）
受講料：3,500円（税込）
定員：400名

下記よりお申込みください。
申し込み

Kengo Kuma’s Talk Session will be held at Roppongi Academyhills.

Monday, February 19, 2018, 19:00-20:30
Venue: Roppongi Academyhills (Roppongi Hills Mori Tower 49F, 6-10-1 Roppongi, Minato-ku, Tokyo)
Fee: 3,500JPY
Capacity:400 seats

Tickets are available from the following link,
tickets

There is a small museum for contemporary art, near a famous hot spring resort in Kyushu which has fostered a unique local culture in the nearby town of Yufuin. In order to highlight the thickly forested mountains which frame the Yufuin basin and thus the art work exhibited in the museum, we covered the building with yakisugi (charred cedar). This is a treatment in which we carbonize the surface of a cedar panel, resulting in a much more durable material. Yakisugi has been commonly used on the exterior of buildings, particularly in western Japan. The structure appears as a deep-black volume from afar, but moving closer reveals the warmth of the wood and a unique scaly pattern of the cedar. By rowlocking the cedar panel randomly, the wall (with a height exceeding 40m) was given a strong rhythm, harmonizing with the townscape of Yufuin. The two facing exhibition rooms seem to observe each other over a shallow pool which extends from the exterior. To provide a contrast with the two minimally finished volumes, the lounge on the 2nd floor is wrapped with wood and washi, while the dry landscape connected to it is arranged as a garden for contemplating the noble presence of Yufu-dake (Mount Yufu).

温泉観光地として独自の文化を育んできた由布院にたつ、現代アートのための小さな美術館。由布院盆地を彩る青々とした山々と、展示される現代アートを引き立てるために、黒い焼杉で建物を覆った。焼杉とは杉板の表面を焼くことで炭化させて耐久性を高めた素材で、西日本では外壁材として伝統的に使われてきた。遠目では真っ黒のヴォリュームだが、間近で見ると焼杉特有のウロコ模様や木の温もりが伝わってくる。焼杉をランダムに小端立てにすることで、40mを超える壁面に深いリズムを与え、街並みのリズムとシンクロさせた。
独立した二つの展示室は、屋外から入り込む水盤をはさむ形で静かに向かい合う。ミニマルな展示空間とは対照的に木と和紙で包まれた2階ラウンジと、それにつながる枯山水の庭は、凛としてそびえたつ由布岳を仰ぎみるための前庭として調えられている。

COMICO Art House is a company-owned resort and recreational facility developed for their employees. It is built next to the COMICO Museum, which we divided into three buildings because we aimed to form a small village along the river. There is no clear boundary between the museum and the rest house, as we wanted to create a loose cluster by integrating the private and public zones between art and nature. Special attention was paid to the layout of the buildings and distances in order to secure the best view of Mount Yufu from each garden or open-air bath. Thus the roofing too emphasizes these views with thin diagonally arranged steel plates (like a flight of wild geese) toward the mountain. The interior of each building employs wood, earth and bamboo respectively to explore the potential of the material there.

COMICO ART MUSEUM YUFUINと隣接する敷地内にたつ保養研修施設。3棟に分棟することで、川沿いの小さな集落を目指した。美術館と保養施設の建物群を明確に区切らず、パブリックとプライベートの二つの場所が、アートと自然を介して一体的に感じられるゆるやかな全体性をめざした。各棟の庭園や露天風呂から由布岳を望めるように建物の配置と距離感に気を配り、薄い鋼板葺きの屋根を、山に向かって雁行させた。
3棟の内装はそれぞれ木、土、竹の自然素材をテーマにし、素材の可能性に挑戦した。

Gijang, Busan, South Korea
Art museum, Gallery and Cafeteria
Site area: 6,000 m2
Floor area: 3,300 m2

Busan, already the second largest city in South Korea due to its strategic position and unique character, is currently seeing rapid development. Trapped by mountains and the sea, the city is quickly expanding toward the north-east. Areas, which until recently were serene farmlands and quiet fishing villages are now occupied by massive condominiums, resorts, department stores and the subsequent infrastructure; highways and bridges. Gijang, is a municipality which has been a close witness to these changes.

We were asked to design a mid-size museum to exhibit the works of Nam June Paik and Chong Hak Kim in one of Gijang’s small villages. We were very excited to work with the contrast between the extra-contemporary aspects of such a museum and the bucolic character of this site. It was clear to us that our main task was to identify a strategy with which we could integrate this 3500m² museum into the small-scale, and organic configuration, of the surrounding village. We also wanted to clearly oppose the overwhelming new developments which erode the charm of the region.

Breaking the mass of the building into small volumes (each, similar in scale to the surrounding houses and farm sheds) allows the museum to integrate itself into the village. By choosing natural stone for the exterior and avoiding the direct presence of architectural elements such as doors, windows, and eaves we hope this new structure will appear as a fragment of the traditional walls which hold the terraced fields around this beautiful site. We hope in this way that the village can remain a village; that it can be a bucolic place with an exciting museum to discover, rather than a self-imposed museum, bothered by few nearby humble houses waiting to disappear.

韓国、釜山
美術館、ギャラリー、カフェテリア
敷地面積：6,000 m2
延床面積：3,300 m2

Eastern Paris, France
Congress Center, Hospitality
Surface: 30,000m2

Kengo Kuma & Associates won the 1st prize for the international competition “Inventer le Grand Paris” with the team “Balcon sur Paris”.

The project is to design a Congress Center in the strategic place of Villiers-sur-Marne situated in Eastern Paris. Interface of knowledge, the Congress Center combined with an important hospitality program will connect people and reinforce the dynamic of the new district. The project is also a unique opportunity to explore the use of timber for high-rise construction.

The building emerges from the ground as a continuity of the metropolitan garden. The natural slope of the site is accentuated to create a belvedere over the highway and the garden. With its unique shape and materiality, the project forms a lighthouse which represents the Grand Paris East entrance and a new symbol for the city of Villiers-sur-Marne. The Congress Center and hospitality program together with the other tall buildings of the project forms a coherent urban project linking the ground of Villiers sur Marne with the sky of the “Grand Paris”.

For the exterior façade, we decided to express the beauty of the wooden structure protected by high performance glazing. The project absorbs natural light during the day and gives a smooth and subtle presence during the night. For the interior spaces we decided to use only natural materials to create peaceful and warm atmospheres. The undulating movement of the timber fins in the main auditorium will envelop the audience and speakers to give the feeling of protection, a place where time is suspended.

Project team : Nicolas Cazali, Hagai Ben Naim, Isabel Soto

« Balcon sur Paris » team :
Investors : Compagnie de Phalsbourg, Codeurs et Compagnie (co-investor), Emerige (co-investor)
Architectural project : X-TU, Stefano Boeri Architetti, Oxo Architectes, KOZ Architectes, Michael Green Architecture
Landscape concept : James Corner Field Operations, Atelier Paul Arène
Structure, systems and sustainability : Equilibrium (wooden constructions), Sinteo (energy), VS-A Group (facade engineering), Lamoureux Acoustics (acoustics), Transitec (mobility), CASSO & Associés, (accessibility, fire prevention), EDF (energy, smart grid), Schneider Electric (smart building, smart grid), CSTB (consultancy), Aveltys (AMO garantie de charges), Urbagri (urban agriculture), LPO (awareness campaign), Ville Ouverte (coordination), Transdev (parking), Zenpark (parking), Ducks Scéno (Congress Center scenography)

フランス、パリ東部
国際会議場
30,000m2

このたび、フランスの国際会議場のコンペティションにて、隈研吾建築都市設計事務所が最優秀者として選定されました。協働はBalcon sur Parisです。

Project team : Nicolas Cazali, Hagai Ben Naim, Isabel Soto

« Balcon sur Paris » team :
Investors : Compagnie de Phalsbourg, Codeurs et Compagnie (co-investor), Emerige (co-investor)
Architectural project : X-TU, Stefano Boeri Architetti, Oxo Architectes, KOZ Architectes, Michael Green Architecture
Landscape concept : James Corner Field Operations, Atelier Paul Arène
Structure, systems and sustainability : Equilibrium (wooden constructions), Sinteo (energy), VS-A Group (facade engineering), Lamoureux Acoustics (acoustics), Transitec (mobility), CASSO & Associés, (accessibility, fire prevention), EDF (energy, smart grid), Schneider Electric (smart building, smart grid), CSTB (consultancy), Aveltys (AMO garantie de charges), Urbagri (urban agriculture), LPO (awareness campaign), Ville Ouverte (coordination), Transdev (parking), Zenpark (parking), Ducks Scéno (Congress Center scenography)

Kengo Kuma and Associates in Paris is recruiting an architect – BIM coordinator REVIT.

Tasks

Senior architect – BIM referent

You will be in charge of the development of a large-scale project studies, within a two architects team (project manager + assistant project manager):

BIM coordinator

At the office level, you will be a transversal referent, involved in different projects during competitions or studies phases

Requirements :

To Apply:

Please send your letter along with your CV and portfolio (PDF) to RECRUIT (Paris)
http://kkaa.co.jp/contact/recruit/paris/

Toho Gakuen School of Music is known as one of the finest colleges in the world that has produced a number of excellent artists who now lead the field of classical music. The project is to design a new school building in wood for the department of music. The building is 4-storied, fire-proofed construction that uses membrane-typed resistance, which is going to be a rare big-scale wooden building in Japan. Pine and cypress (hinoki) are used for the members because of their strength, and Noto-grown cypress (hiba) is employed for the exterior for its excellent weather resistance. In the interior, larch plywood is used intensively to express “culture of wood” with its rich texture. The large eave in the front and the outer wall are designed as a single surface of origami, for which sliding boards are applied. We then prepared a communal space that connects the building and the rest of the campus. Wide corridors are joining practice rooms, which also can be used for the students to practice individually. We provided many places in the building for people to communicate and interact, which is unusual for a conventional schoolhouse.

著名な音楽家を多く輩出し、世界の音楽界をリードする桐朋学園音楽部門の木の新校舎。メンブレン型耐火構造の採用によって、四階建ての耐火木造という、国内では稀有な大型木造建築が実現した。木軸には強度のある松とヒノキを、外装には耐候性に優れた能登ヒバ材を使用し、内装には木の質感が豊かなラーチ合板を多用し、「木の文化」を再現した。前面の大庇と外壁は羽目板を用いた、ひとつの折り紙状の面としてデザインし、大庇の下に、キャンパスと校舎をつなぐ、コミュニケーションスペースを作った。
練習室をつなぐ幅の広いコリドーは、個人練習用のスペースとしても使われ、従来の校舎建築にはない、多目的な交流空間が生まれた。

Abe Mariko

Avezzano, Nadia

Anantrungroj, Tanyaporn

Ando, Atsushi

Ando, Takaaki

Amato, Paolo

Ameno, Ritsuko

Aoyama, Akira

Aparicio Ronda, Roberto

Appelgren Hannah

Arnawout, François

Asako, Yousuke

Baba, Hidemi

Baba, Misao

Boonyasit Ornruja

Cai, Mian

Cavrois, François-Xavier

Cassin, Jeremy

Catin-Martell, Ivan

Cavaliere Francesco

Chan, Zhi Xiong

Chen, Green

Chen, Lee Jin

Chen, Shengze

Chen, Ja-Sheng

Chen, Yencheng

Cheng, Nienming

Chiang, Hsin-Hsuan

Chinea, David

Chomette, Michael

Clement, Kevin

Cui, Yuming

Darling, Naomi

Debois, Jeremy

Duval, Felicien

Dozono, Yuteki

Dong, Hanguang

Dragomir, Rozina Catalina

Fanniere, Charlie

Faliu, Mathieu

Fritz, Adrien

Fujieda, Ryusuke

Fujikake, Nami

Fujiwara, Teppei

Geinzer, Marion

Gimenez Martin, Cristina

Goto, Keita

Goto, Takeshi

Goto, Testuo

Guo, Jizheng

Guichard, Nicolas Sacha

Haba, Yuki

Hwang, Sun Woo

Hanai, Takanori

Harada, Masahiro

Harigai, Masafumi

Hayakawa, Tomokazu

He, Huishan

Hirabayashi, Masamichi

Hiratsuji, Rika

Hosomura, Kenichi

Hu Zhao Wen

Hu, Shi (Minoru Ko)

Huh, Ryang

Huang, Shanyun

Huang, Wenxin

Huelga, De La Fuente Miguel

Ishibashi, Teppei

Ishigami, Yutaka

Isono, Chihiro

Iwamoto, Masaki

Iwasada-Louvel, Sawa

Iwasaka, Kyoko

Iwase, Ryoko

Izumi, Katsuhiko

Izumi, Minako

Jin, Haiying

Jin, Qiaomu

Katagiri Kazuya

Katir, Majid

Kahng, SooYeon

Kakizoe, Masaki

Kanamori, Emi

Kanehira, Takaoki

Kanehisa, Hana

Kamiya, Shuhei

Kasai, Taiko

Katou, Masaki

Kitakami, Kotaro

Kim, NaYoung (Joenna Kim)

Kim, Yoonjin

Kinjo, Manami

Kindo, Akira

Kojima, Shinya

Komeiji, Naoko

Konishi, Nazuki

Koumpli, Eleni

Krings, Jeanne Mina

Kueny, Nadia

Kurita, Yoshihiro

Kuroda, Tetsuji

Kurokawa, Tomoyuki

Kwan, ChunSing (Magic Kwan)

Kyo, Tomotaka

Lai, Po Wei

Lee, li-cheng

Lee, Jinju

Lee, Troy

Lemoine, Louise

Li, Jingwen

Lin, Xiao

Liu, Dong

Lefebvre, Victor

Lin, Jiajia

Lobjoy, Baptiste

Lopez Arahuetes, Diego

Ma, Xin

Matini, Yassin

Mamizu, Kentaroh

Martín Sánchez Diego

Martin, Jose Antonio Juan

Matini, Yassin

Matsuda, Tatsu

Matsushima, Junpei

Matushima, Shinobu

Mestiri, Feriel

McDowell Michael

Mihara, Kuniko

Minato, Yuichiro

Minami, Masahiro

Miyakawa, Masaki

Mizuno, Sayaka

Moreau, Nicolas

Mukai Yuka

Mucciola, Maurizio

Motose, Ayumi

Momoeda, Yu

Nagasaki, Risa

Nakai, Akari

Nakamura, Satochika

Nakamura, Hiroshi

Nishikawa, Taku

Nishiuchi, Hitoe

Noda, Shinku

Obata, Ryotaro

Ochogavia Esteban

Oda, Tastuya

Ohno, Santa

Ogawa, Hironaka

Ohta, Hidetoshi

Omameuda, Kazumi

Ono Ayaka

Ootsuki, Naomi

Orellana Lazo, Miguel

Oshima, Midori

Oshio, Shoji

Paties Véronique

Park, Taylor Jihyun

Peine, Jun-Florian

Pelletier, Guillaume

Piccinelli, Maria-Chiara

Pradono, Budi

Puech, Lucien

Quan, Xianglan

Rabie, Omar

Radovic, Vuk

Reyes, Miguel

Sa, Tiago

Saita, Takeyuki

Saito, Nozomi

Saito, Hiroaki

Sandoval Illera, Laura

Sanz, Natalia

Sakai, Makiko

Sakano, Yoshinori

Sandoval Illera, Laura

Sano, Satoshi

Saraya, Ornchuma

Sasaki, Tomoko

Sato, Mikako

Sato, Shimpei

Sato, Yukako

Sawa, Marin

Sawada, Yoshihisa

Segura Sanchis, Silvia

Seki, Hiroshige

Seki, Yoshihiko

Shen, Tsai-Jung

Shimotsukasa Ayumu

Shimizu, Yuko

Shirakawa, Marie

Song, Ziwei

Stallone, Barbara

Sugai, Shigeyoshi

Sum-ying To, Stephy

Sypkens, Michael

Takahashi, Yoshikazu

Takaoka, Naofumi

Takeishi, Yoshitaka

Tanaka, Hidenori

Tanaka, Ryohei

Tatsuki Ryukichi

Temme, Katinka

Tominaga, Hiroki

Torao, Ryota

Touno, Mariko

Toyoshima, Koji

Thum-Umnauysuk, Panin

Tse, Ringo

Tsuji, Yu

Tsutsumi, Daiki

Tsuchiya, Masao

Tsukuno, Tsue

Ushioda, Yoko

Viguie, Coralie

Wakuda Junki

Wang, Haipeng

Wang, Shuobin

Wen, Xiaohui

Willis, Luke Yosuke

Woo, Shirley

Wong Susanna

Wong, Chi Kan Kenneth

Wong, Cyrus Chi Fung

Wu, Xingheng

Xu, Minjie

Yada, Toshio

Yamada, Koji

Yamada, Hirofumi

Yamaji Tetsuo

Yamane, Shuhei

Yang, Yerim

Yano, Ryota

Yao, Yao

Yasukouchi, Susumu

Yonghwan, Seo

Yoshida, Keigo

Yu, Meng-Hsin

Yuan, Francis

Yue, Chao

Yueh, Vincent W.

Zhang, Bowen

Zhang, Liqiao

Zhang, Min

Zhang, Tianyu

Zhang, Yao

Zhang, Yihang

Zhou, Xiaoxuan

青山 玲

浅古 陽介

阿部 真理子

飴野 りつ子

安藤 篤史

安藤 貴昭

石上 裕

石橋 徹平

磯野 千紘

泉 勝彦

泉 美菜子

岩瀬 諒子

岩貞 佐和

岩本 昌樹

岩坂 京子

潮田 容子

太田 秀俊

大島 碧

大槻 直美

大野 綾香

大野 三太

大豆生田 和美

小川 博央

押尾 章治

小田 達也

小幡 亮太郎

垣副 正樹

葛西 泰子

片桐 和也

加藤 匡毅

金森 絵美

神谷 修平

金原 孝興

金久 華

金道 晃

金 海英

金 奈映

北上 紘太郎

栗田 祥弘

郭 继政

姜 秀沇

京 智健

金城 真奈美

黒川 智之

黒田 哲二

關 鎮陞

小嶋 伸也

小西 菜月

古明地 直子

胡 実

胡 肇闻

後藤 圭太

後藤 武

後藤 哲夫

斉藤 望美

斎藤 浩章

崔 育銘

斎田 武亨

坂野 由典

酒井 真紀子

佐藤 晋平

佐藤 美香子

佐藤 由香子

佐野 哲史

佐々木 倫子

澤 真鈴

澤田 佳久

清水 裕子

下司 歩

白川 真理

周 瀟璇

須貝 重義

瀬木 博重

関 佳彦

ソ, ヨンハン

江 欣璇

高岡 尚史

高橋 義和

竹石 吉孝

田付 龍吉

田中 英之

田中 亮平

田 志雄

沈 彩蓉

鄭 念明

張 逸航

张 丽巧

陳 勝澤

築野 津恵

堤 大樹

辻 優

土屋 匡生

堂園 有的

富永 大毅

虎尾 亮太

豊島 浩次

董 含光

樋野 真理子

中井 あかり

中村 慧睦

中村 拓志

長崎 里紗

西川 拓

西内 一絵

野田 真紅

馬場 英実

馬場 美佐緒

花井 隆典

羽場 友紀

原田 真宏

針谷 將史

早川 友和

平辻 里佳

平林 政道

藤枝 隆介

藤掛 奈美

藤原 徹平

黄 智峯

黄 善宇

黄 文心

細村 研一

何 慧珊

松島 忍

松島 潤平

松田 達

馬水 健太郎

水野 清香

三原 久仁子

湊 雄一郎

南 雅博

宮川 昌己

向井 優佳

本瀬 あゆみ

百枝 優

安河内 進

弥田 俊男

山路 哲生

山田 康司

山田 裕史

山根 脩平

矢野 龍太

ヤン イェリム

吉田 圭吾

兪 孟馨

涌田 純樹

李 珍周

賴 伯威

林 佳佳

劉 棟

谢匡政

李 静雯

李 立丞

陶 鈊瀠

陳 哲生

岳 超

張 添羽

権 香蘭

林 梟

吴 星恒

張 遙

陳 彥呈

徐 敏杰

金 喬木

王 海鹏

王 硕斌

宋 紫薇

姚曜

袁嘉樑

陳 威誌

胡 秀芝

李 立丞

王 海鹏

王 硕斌

马 欣

蔡 勉

张 敏

闻 晓慧

Amato, Paolo

Avezzano, Nadia

Anantrungroj, Tanyaporn

Aparicio Ronda, Roberto

Appelgren Hannah

Arnawout, François

Boonyasit Ornruja

Cassin, Jeremy

Catin-Martell, Ivan

Cavaliere Francesco

Cavrois, François-Xavier

Chinea, David

Chomette, Michael

Clement, Kevin

Darling, Naomi

Debois, Jeremy

Dragomir, Rozina Catalina

Duval, Felicien

Fritz, Adrien

Faliu, Mathieu

Geinzer, Marion

Gimenez Martin, Cristina

Guichard, Nicolas Sacha

Huang, Shanyun

Huh, Ryang

Katir, Majid

Kueny, Nadia

Kim, Yoonjin

Koumpli, Eleni

Krings, Jeanne Mina

Lai, Po Wei

Lemoine, Louise

Lefebvre, Victor

Lobjoy, Baptiste

Lopez Arahuetes, Diego

McDowell Michael

Martín Sánchez Diego

Matini, Yassin

Mestiri, Feriel

Moreau, Nicolas

Mucciola, Maurizio

Orellana Lazo, Miguel

Ochogavia Esteban

Paties Véronique

Park, Taylor Jihyun

Peine, Jun-Florian

Pelletier, Guillaume

Piccinelli, Maria-Chiara

Pradono, Budi

Puech, Lucien

Rabie, Omar

Radovic, Vuk

Reyes, Miguel

Sa, Tiago

Sanz, Natalia

Saraya, Ornchuma

Segura Sanchis, Silvia

Stallone, Barbara

Sypkens, Michael

Thum-Umnauysuk, Panin

Temme, Katinka

Viguie, Coralie

Willis, Luke Yosuke

Wong, Chi Kan Kenneth

Wong, Susanna

Yueh, Vincent W.

Zhang, Bowen

Zhang, Liqiao

Zhang, Yihang

Kengo Kuma will start an online course on April 16, 2018 at MOOC.

This is the second course of “Four Facets of Contemporary Japanese Architecture” series, with the focus on the second facet: technology.

The technology portion will focus on works by architects who explored the use of technology—from techniques used for traditional crafts to computational processes—as a vehicle for their investigations into the conceptualization and production of architecture. Tadao Ando, Shigeru Ban, Manabu Chiba, Kengo Kuma, Kazuhiko Namba, and Yusuke Obuchi will visit their buildings to discuss the ideas behind their respective works.

edx.org

Kengo Kuma will start an online course on April 16, 2018 at MOOC.

This is the second course of “Four Facets of Contemporary Japanese Architecture” series, with the focus on the second facet: technology.

The technology portion will focus on works by architects who explored the use of technology—from techniques used for traditional crafts to computational processes—as a vehicle for their investigations into the conceptualization and production of architecture. Tadao Ando, Shigeru Ban, Manabu Chiba, Kengo Kuma, Kazuhiko Namba, and Yusuke Obuchi will visit their buildings to discuss the ideas behind their respective works.

edx.org

SunnyHills at Minami-Aoyamaでは日本を代表する建築家であり、当店の設計者である隈研吾氏との共同企画として、隈氏オリジナルのストーリー「クマの場所」を、同氏が描き下ろしたイラストとともに3月20日(火)から5月6日(日)まで展示いたします。

sunnyhills.com

sunnyhills.com

This project was a “re-branding” of an old luxury inn, located in Yugawara, one of the most popular hot spring regions in Japan. Fuki, the name of this inn, comes from the plant which is also known as Japanese Butterbur, or sweet-coltsfoot. Our approach was to make use of the plant to develop a more coherent image for the inn. We first focused on the Fuki’s leaf as the prototype, developing it into various patterns – forming a circular trefoil, expressing an arabesque, using it as a motif for the interior, or as a singular graphic. Centering on Fuki, we were able to produce both original products as well as materials for the inn, including a shop curtain with persimmon varnish, dying of Yukata, and a piece of Wilton-woven rug. For its size and slender stem, Fuki has a great deal of iterative potential and matches well with our design process.

湯河原温泉の老舗旅館のリブランディング。屋号である「ふき」の葉をデザインし、その葉を単体、三つ巴、唐草模様など様々なパターンに展開し、プロダクトデザイン、インテリアへと、トータルにリブランディングを行った。ふきの粒子の大きさ、茎の繊細さを生かしながら、柿渋染め抜きのれん、浴衣染め、ウィルトン織カーペットなど、様々な素材へと展開した。

For this project we found a hint for the design in the address of the building, Hinoki-cho, or cypress grove, and thought of designing a building like a tree in the heart of the city. First, we formed a mound reminiscent of the topography which formerly existed between Tokyo Midtown and Nogizaka District. This new slope is the foundation for the tree. For the podium and lobby we positioned multi layered eaves and a pool which gently merge the tower into the ground creating ‘roots’. On the ‘trunk’ we applied an aluminum panel with hinoki bark as a motif, and for the crown we employed green canopy adding a fresh view of the urban skyline. Hinokicho Tower also resonates with Tokyo Midtown’s Garden Terrace, Garden Side and the Suntory Museum all of which we designed with hinoki in mind.

檜町という地名より着想を得て、一本のヒノキのような建築を都市の中に建てようと考えた。
東京ミッドタウンと乃木坂の町の間の崖地を緑の斜面に作り換え、その新しい地面の上に、ヒノキの塔を建てた。
庇、水盤等を低層部に重層的に配置し、この再生した斜面地と溶けあう「根」を作り、建物と大地とをスムーズにつないだ。
「幹」にはヒノキの樹皮をモチーフとしたアルミの外装パネル、「樹冠」には都市のスカイラインに潤いを与えるグリーンキャノピーを配置し、東京ミッドタウンにわれわれがデザインしたガーデンテラス、ガーデンサイド、サントリー美術館とも響き合うヒノキを立ちあげた。

Kengo Kuma & Associates won the 1st prize for the international competition to design the Maritime History Museum of Saint-Malo in collaboration with Egis Grand Ouest (engineering), Lucigny Talhouet & Associés (quantity surveyor), Theatre projects (acoustics & scénography) and Volga Urbanisme & Paysage (landscape). Saint-Malo is one of the most emblematic cities in France, located in the north-east of Brittany, on the Channel coast. The aim of the future museum is to highlight its maritime prestigious history through all the eras: past, present and future.

Urban impact – a core role in the dynamism of the city
The project takes place in front of Duguay-Trouin dock and is a unique opportunity to balance with the “Intramuros” historial city fortifications. The new museum stands as a counterpoint, a new place of destination and attraction. It forms a key piece in terms of articulation between the historical city and the new districts. In opposition to the “Intramuros”, anchored on its rocks and surrounded by its ramparts, the museum rises and opens onto its territory.

Architecture & Museography – harbour spirit / flexible and evolutive platforms
Its architectural form responds to the harbor typologies and to both naval and industrial architecture facing it. The compact and vertical shape, echoing the existing silos, is a new benchmark which allows to create large urban spaces necessary for the cultural program to breathe and offers a suspended unique museum experience. From the initial request to create a belvedere above the museum, we chose to create a “belvedere museum” offering a panoramic view directly from the exhibition spaces.
Our design proposal strives to offer soft, efficient and evolutionary surfaces that can evolve over the time to absorb new collections as well as new museum practices. On the sea side, the wind sweeps and carves the volumes resulting in this volumetric singularity that characterizes the main entrance facade. This city-sea dichotomy, balance-imbalance, is highlighted and thus responds to the different contexts.

Materiality – inside / outside dichotomy
For the exterior skin we chose an engraved zinc, rough with clear shades that captures the natural light and the special atmosphere of Saint-Malo. Its use in vertical elements randomizes the building giving a visual vibration that changes according to the viewpoint of the observer and the orientation of the sun. Its texture, light gray and slightly shiny, reflects the water and the sky. The project will melt in with the landscape. It will not appear as a massive volume but as a filtered facade.

Partner in charge: Matthieu Wotling
Project team: Elise Fauquembergue, Ivana Jordanovska, Barbara Stallone.

このたび、フランスの海事歴史博物館のコンペティションにて、隈研吾建築都市設計事務所が最優秀者として選定されました。