Architecture and design features and interviews | CLADglobal.com - Kengo Kuma

Kengo Kuma, a prolific and versatile Japanese architect, has been making significant contributions to the world of architecture, marked by his recent completion of his first U.S. public commission in Portland and the ongoing construction of the stadium for the 2020 Tokyo Olympics. Kuma's architectural philosophy is characterized by a modernist interpretation of traditional Japanese design principles, emphasizing the innovative use of sustainable materials to seamlessly integrate structures into their natural and urban surroundings. His works often highlight a profound respect for context and a desire to create spaces that blend with their environment rather than dominating it. Among his notable projects is the Asakusa Culture Tourist Information Center in Tokyo, Japan, which stands near the historic Sensō-ji temple. This center employs a contemporary architectural language to reference traditional Japanese construction, presenting a vertical stack of smaller structures with asymmetrical roofs that mirrors the vibrant energy of its neighborhood. In China's Sichuan Province, the Xin Jin Zhi Museum Chengdu, situated at the base of Laojunshan Mountain, explores themes of light and water. The museum features an elegant facade draped with floating tiles, allowing natural light to filter through during the day and illuminating beautifully at night. The Komatsu Seirin Fabric Laboratory in Ishikawa, Japan, showcases Kuma's innovative approach to renovation. This three-story office building, which serves as a workspace, exhibition, and research facility, incorporates cutting-edge carbon fiber technology for earthquake resistance. This material, ten times stronger than iron and inspired by local braiding techniques, was used for structural reinforcement for the first time in this project. The LVMH Headquarters in Osaka, Japan, is a multi-use building housing boutiques and offices. Its exterior is clad in a thin layer of onyx plates from Pakistan, sliced to four millimeters and sandwiched between glass, creating a luminous stone box effect at night in the bustling city center. For the Aitoku Kindergarten in Saitama, Japan, Kuma designed an early childhood education center with multiple pitched roofs made of wood and steel, angled to reflect the town's landscape and provide a cozy learning environment. SunnyHills at Minami-Aoyama in Tokyo, a patisserie for a Taiwanese pineapple cake company, features a nest-like structure crafted from Hinoki (Japanese cypress) using the traditional "Jigoku Gumi" construction method, allowing abundant natural light to create a bright and airy interior. Green Cast in Odawara-shi, Kanagawa, Japan, is a mixed-use building whose facade consists of aluminum die-cast planters. These planters, created with monobloc casting, help cool the interiors while facilitating natural daylight and ventilation. The Yufeng Spa Resort in Yunnan Province, China, draws inspiration from the nearby holy Yunfengshan Mountain. Kuma arranged the resort buildings to mimic the flow of spiritual energy from the mountain, using locally sourced stones laid in a mosaic pattern to achieve a pixelated effect. The Mont-Blanc Base Camp in Les Houches, France, designed as the headquarters for Blue Ice, a climbing and mountaineering company, integrates with its forest environment through a facade made of thick oak panels, echoing the surrounding trees. The building's wide oak plank roof harmonizes with the terrain. The Nezu Museum of Art in Tokyo, Japan, positioned behind a bamboo row near an upscale shopping district, successfully merges urbanity with nature. Its unique roof design and bamboo-lined approach blend the interior space with the garden. In Oregon, the Portland Japanese Garden Cultural Village expansion project benefited from Kuma's expertise in traditional Japanese design. The expansion, considered the most authentic Japanese Garden outside Japan, references the Katsura Villa in Kyoto, with glass walls and wooden screens that open to integrate architecture and nature within Portland's urban forest. Finally, Kuma's design for the Japan National Stadium in Tokyo, chosen for the 2020 Olympics, pays homage to traditional Japanese temples. This "urban forest" concept incorporates plants and trees on every level, a large oculus above the track, and a latticed larch-and-steel canopy, reportedly inspired by his work on the Portland Japanese Garden. #KengoKuma #JapaneseArchitecture #SustainableDesign #ModernArchitecture #ArchitecturalInnovation #CulturalIntegration #UrbanForestConcept #MaterialInnovation #TokyoOlympics

The former residence of the late Japanese fashion designer Kenzo Takada, known as The Kenzo House, is currently on the market through Christie's Real Estate. Located in the Bastille area of Paris, the four-story home was originally constructed by Takada in 1993 within the courtyard of an 18th-century Parisian building. Takada, who founded his eponymous label in Paris, sought to create a living space that harmoniously blended Eastern and Western design aesthetics, reflecting his own cultural background and artistic vision. The initial design of the house, which took seven years to complete, aimed to incorporate elements reminiscent of Japan, providing a tranquil contrast to the vibrant Parisian atmosphere that inspired his fashion work. The property underwent a significant redesign in 2018 by acclaimed Japanese architect Kengo Kuma. Kuma's architectural philosophy, focused on a “frame of nature,” guided the renovation, emphasizing the integration of natural materials and light to foster a deeper connection with the environment. Kuma's redesign utilized organic Japanese building materials such as ceramic, stone, bamboo, and various types of wood, aligning with his belief that these materials enhance the experience of nature within architectural spaces. He championed transparency as a characteristic of Japanese architecture, employing light and natural elements to achieve a distinctive form of visual and atmospheric clarity within the home. The Kenzo House features an expansive layout including four bedrooms, six bathrooms, a music room, a fitness room, a study, an elevator, and staff studio apartments. A central aspect of the property's appeal lies in its meticulously designed outdoor spaces. The garden includes a stone pond inhabited by nishiki carp, and extensive landscape gardens featuring cherry trees, maple trees, bamboos, moss, rocks, and waterfalls, all crafted to evoke the serene beauty of a traditional Japanese landscape. A key element of Kuma's redesign involved reorienting each bedroom to face the garden, visually and materially framing the house with nature. The property also boasts a Japanese pavilion with a traditional tea-ceremony room, complete with tatami mats and shoji sliding doors, opening directly onto the koi pond. Further incorporating Japanese design, a terrace with an outdoor lap swimming pool was converted into an engawa, a traditional Japanese exterior corridor made of wooden latticing, providing a covered outdoor dining and entertaining area with lush green foliage. An elegant stone bathtub offers panoramic views of the Parisian rooftops, contributing to the sense of luxury, peace, and pleasure envisioned in the home's design. #KenzoTakada #ParisRealEstate #JapaneseArchitecture #KengoKuma #LuxuryHomes #HomeDesign #EasternWesternFusion #ArchitecturalRenovation #GardenDesign

This article presents an interview with renowned architect Kengo Kuma, focusing on his architectural philosophy, particularly his views on regionalism and the role of architects in the 21st century. Kuma, whose work spans globally and includes upcoming projects in Australia, defines architecture as “an act of producing a thing from a place.” He participated in the 2016 Regional Architecture Conference: Evoke, where Linda Cheng, associate editor of ArchitectureAu, discussed his approach to integrating local and regional characteristics into his international designs. Kuma expresses a strong preference for the term "regions" over "regionalism," which he believes can lead to misunderstandings about the inherent value of a place. He emphasizes that each region offers unique insights that are crucial for architectural design, viewing the region as "the mother of architectural design." He contrasts this perspective with the 20th-century internationalism, which was largely driven by industrialization and standardization. For Kuma, the 21st century demands a focus on individual regions and communities as the foundation for creative architectural endeavors. The interview delves into how Kuma maintains a sense of regional identity within international urban contexts and in a globalized practice. He argues that globalism does not diminish regionalism but can, in fact, enhance its value. Kuma rejects the notion that globalism has killed regionalism, suggesting instead that the world's increasing interconnectedness can highlight the diversity and distinctiveness of various regions. His method involves extensive personal travel and direct engagement with people and communities, believing that real-life experiences and conversations are indispensable for understanding and absorbing the "spirit of the place." He regards the internet as an imperfect medium that can only hint at the value of such real experiences, making physical presence and interaction a crucial first step in his design process for every project. Kuma also reflects on the concept of cultural exchange, drawing parallels with figures like Bruno Taut and Frank Lloyd Wright, who, as foreigners in Japan, illuminated aspects of Japanese culture and history that locals might have overlooked. He applies this idea to his own international projects, citing the Sydney Opera House by Jørn Utzon as an example where an architect found an ideal location that amplified his design concepts. Kuma's own project, The Darling Exchange in Sydney, is another illustration of this principle, where the unique dynamics of the Sydney waterfront and the city's open atmosphere inspired a departure from his previous designs. The interview further explores the relationship between Kuma's writing and designing processes. He considers writing a complementary yet distinct medium from design, noting that design is primarily intuitive, while writing allows him to retrospectively articulate the meaning and thought process behind completed projects. He views writing as a necessary step for clarifying ambiguities and progressing his architectural understanding. Kuma also discusses the importance of self-criticism, recalling his critique of his early M2 building commission, which he sees as pivotal for continuous self-improvement and evolution as an architect. He champions the idea that architects, like artists such as Picasso, must constantly change and adapt to remain relevant and creative. Finally, Kuma addresses the perceived arrogance among some contemporary architects, linking it to his 2008 manifesto, *Anti-Object*, which criticized "self-centred and coercive" architecture. He advocates for architects to embrace humility, warmth, and kindness, describing these qualities as essential themes for 21st-century design. Kuma suggests that architects are sometimes misused as branding tools, leading to an inflated sense of their own value. He contends that architects should emulate craftsmen in their humility, respecting materials and understanding their limitations, which forms a fundamental basis for his own work. #KengoKuma #Architecture #Regionalism #ArchitecturalDesign #CulturalExchange #DesignPhilosophy #SydneyArchitecture #ArchitecturalTheory #Interview

The article explores the evolving landscape of interior design in Kenya, highlighting key trends shaping homes in 2025. It begins by reflecting on how design trends have shifted over the years, drawing on personal anecdotes about past styles like wall units and bold wallpapers, and the impactful use of color. The author emphasizes that design is not merely about aesthetics but about creating experiences and evoking feelings of warmth and safety. Contemporary trends are influenced by culture, travel, and technology, making Kenyan homes increasingly dynamic. A significant focus is placed on "Walls That Wow," detailing how walls have transitioned from mere backdrops to central design elements. The article notes the decline of traditional wall units in favor of modern features such as fluted panels, 3D wallpaper, and floating shelves. Wainscoting is also mentioned as a popular choice for adding a touch of classic elegance. The preference for white or off-white walls is explained by their ability to reflect light, enlarge spaces, and serve as versatile canvases for other decorative elements like curtains and furniture. "Ceilings and Lights" are presented as another area where significant design evolution has occurred. No longer confined to a single central bulb, ceilings are now integral design features. Magnificent chandeliers and statement light fixtures are highlighted for their ability to elevate rooms, especially those with high ceilings, adding a grand and dazzling effect. Gypsum ceilings are also discussed as a popular modern choice, offering clean finishes, cleverly concealing curtain rods, and allowing for integrated soft lighting that creates a cozy, sophisticated ambiance, akin to show houses and hotels. Small, thoughtful details, described as "Subtle Touches with Big Impact," are shown to contribute significantly to a room's overall charm. Wooden frames around entrances, particularly in dining areas and corridors, are noted for adding structure and elegance without closing off spaces, framing views like a beautiful picture. The evolution of TV stands is also covered, from bulky wall units to movable stands, and finally to the current trend of floating TV stands. These floating units are favored for their aesthetic appeal, space-saving qualities, ability to hide cables, and the cleaner, more open feel they impart to a room, especially when paired with fluted or 3D wall panels. The article further analyzes "Furniture and Layout Shifts," pointing out a move away from the traditional coffee table as the living room's centerpiece. Instead, dining tables are gaining prominence as multifunctional hubs for family activities, remote work, and social interactions. This shift reflects a more intentional way of living. There is also a strong inclination towards simpler, uncluttered spaces, with heavy, oversized furniture being replaced by pieces with clean lines and softer tones, promoting a calm and airy atmosphere. This trend underscores the philosophy that less is more, advocating for homes that prioritize functionality and comfort over excessive display. In conclusion, the article emphasizes that modern home design in Kenya transcends mere trend-following. It is about crafting personal, warm, and intentional spaces that tell a story about their inhabitants. Homes are now seen as reflections of individuality, constantly evolving while maintaining a core sense of belonging and comfort. Ultimately, good design is about the feeling a home evokes – that quiet sense of warmth and security that signifies "home." #InteriorDesign #KenyaTrends #HomeDecor #WallDesign #CeilingDesign #Lighting #FurnitureTrends #ModernLiving #RealEstate

The article discusses the evolution of biophilic architecture from a niche concept to a mainstream design approach, emphasizing its benefits and challenges. Biophilia, defined by Edward O. Wilson in 1984, posits that humans have an innate need to connect with nature. Incorporating natural elements into built environments has been shown to improve human well-being, including lower blood pressure, reduced stress, enhanced attentiveness, and increased happiness and creativity. Beyond human benefits, biophilic design also contributes to environmental health by fostering biodiversity, decreasing energy consumption, reducing carbon emissions, and purifying polluted air. Richard Hassell, co-founder of WOHA, a Singaporean architectural firm, notes the shift in perception where developers, initially skeptical, now actively embrace biophilic principles. However, he cautions against the reduction of biophilia to a mere marketing buzzword, stressing the importance of thoughtful and effective implementation rather than just adding plants. The success of biophilic design hinges on how deeply it integrates natural elements and functions, moving beyond superficial aesthetics. MK Leung, director of sustainable design at Ronald Lu & Partners (RLP) in Hong Kong, highlights the need to quantify the quality of biophilic interventions. RLP utilizes a custom script within Rhinoceros with Grasshopper to evaluate projects based on biophilic elements a user would experience, such as views of greenery, natural sounds, scents, and sensations. This ensures that biophilic principles are consistently applied and sustained throughout a project. Examples like RLP's Garden Crescent, a residential tower with vertically linked gardens, and Echo House, a modular residential development integrating biophilic elements to soften its manufactured feel, demonstrate this commitment. Despite Hong Kong's challenging hyper-dense urban landscape and rigid building codes, biophilic design has found fertile ground. The E-Co Village, a recreational space on a former landfill site designed by AOS Architecture, exemplifies this by offering a natural environment for learning about sustainability, powered by solar energy. Corrin Chan of AOS Architecture drew inspiration from Thich Nhat Hanh's "Zen and the Art of Saving the Planet," emphasizing that humans are integral to the environment. Swire Properties' redevelopment of Taikoo Place further illustrates this trend, incorporating 6,500 square meters of public open space, inspired by traditional feng shui woods, to connect urban areas with natural ecosystems and enhance biodiversity. Richard Hassell underscores the importance of designing not only for human-centric biophilia but also for biodiversity, suggesting that a garden rich in butterflies and birds offers a more profound biophilic experience. WOHA's upcoming Faber House in Singapore, for instance, features interconnected vertical gardens and a 15-story waterfall, designed to create interconnected ecosystems. The article also addresses the critical question of environmental sustainability in biophilic design. Leung emphasizes that biophilic designs must not consume more energy than conventional designs to be truly beneficial. Hassell acknowledges the complexity of this calculation, noting that while a poorly designed green wall might be unsustainable, the wellness and mental health benefits, along with improved air quality, often justify the investment when executed thoughtfully. Ultimately, biophilic design aims to harmonize environmental support with human wellness, representing a convergence of these critical objectives. The article also mentions several other biophilic projects in Asia, including Central Park in Vietnam, which integrates engineered 'trees' for rainwater collection and solar power generation; Heatherwick Studio's 1000 Trees in China, resembling a cliffside forest; Kai Yufuin Ryokan in Japan, a hot springs resort designed with terraces inspired by rice fields; and WOHA's Pan Pacific Orchard in Singapore, known for its lush greenery and open-air spaces in a vertical setting. These projects collectively showcase the diverse applications and growing acceptance of biophilic principles in contemporary architecture across the region. #BiophilicArchitecture #SustainableDesign #UrbanPlanning #EnvironmentalSustainability #HumanWellbeing #ArchitecturalInnovation #HongKongArchitecture #SingaporeArchitecture #GreenBuildings

Kenzo Takada, a prominent fashion designer known for vibrant prints, bold colors, and unique silhouettes, profoundly influenced the fashion industry by integrating Japanese elements into Western aesthetics. His brand, Kenzo, which he founded and later sold to LVMH in 1993, became a global phenomenon. Following his departure from the active fashion scene, Takada redirected his creative talents towards home interior design, launching his furniture label K-3 less than a year before his passing in October 2020 due to Covid-19 complications. His K-3 collection continued his signature blend of Eastern and Western design principles, characterized by a rich use of color and prints. In stark contrast to the colorful exuberance of his fashion and furniture designs, Takada's personal residence in Paris, known as the Kenzo House, exhibits a serene and Zen-like aesthetic. This 13,778 square-foot home, located in an 18th-century residential building in the Bastille district, was initially built by Takada in 1993 and later redesigned by architect Kengo Kuma in 2018. The exterior of the four-story house features natural materials such as cedar shingles, teak, and clay, contributing to its tranquil and textured facade. A central feature of the home is an interior courtyard designed as a traditional Japanese garden. This garden includes a stone pond inhabited by nishiki carp and koi fish, surrounded by a variety of Japanese flora, including cherry and maple trees, bamboo, junipers, lichens, and mosses. Kuma's redesign ensured that each room of the house offered views of this natural sanctuary, creating a seamless connection between the indoor and outdoor spaces. The garden is further enhanced by carefully placed rocks and miniature waterfalls, replicating a classic Japanese landscape. Adjacent to the garden is a Japanese pavilion that houses a traditional tea ceremony room. This room is authentically appointed with tatami mats and shoji sliding doors, which can be opened to provide an unobstructed view of the koi pond. Inside the main house, the aesthetic continues with extensive use of wood. French oak louvres, beams, and floors maintain consistency with the original wooden finishes. An engawa, a traditional Japanese exterior corridor, featuring a wooden lattice, replaced an indoor lap pool, further emphasizing the home's Japanese design influences. The residence is comprehensively equipped with modern amenities and ample living spaces. It features four bedrooms, each with an en suite bathroom and a dedicated dressing room, ensuring privacy and comfort for residents and guests. Additional facilities include a music room, a study, a fitness room, and an elevator. The property also provides practical accommodations with three self-contained studio apartments for staff and two private parking spaces. This thoughtful integration of Japanese aesthetics with contemporary living defines Kenzo Takada's personal Parisian home as a unique and tranquil retreat. #InteriorDesign #HomeTour #FashionDesigner #JapaneseAesthetics #ParisHome #KengoKuma #ZenLiving #ArchitecturalDesign

Exposed brick, a material with a long and diverse history in construction across various cultures, is now experiencing a resurgence in contemporary interior design, particularly within retail spaces and furniture. This versatile material has transcended its traditional structural role, evolving into a foundational element for artistic and cultural expression, as evidenced by its application in Roman architecture and the strategic perforated designs found in the Mediterranean. Renowned architects like Louis Kahn, Walter Gropius, Mario Ridolfi, Aldo Rossi, and Renzo Piano have previously showcased brick's capacity for innovation. Today, exposed bricks, interior bricks, and brick tiles are transforming spaces, integrating historical heritage with sustainable design practices. Kengo Kuma's design for Camper's Barcelona storefront exemplifies this trend, where the architect merges Japanese and Spanish cultural influences. Kuma reinterprets traditional brick tiles, creating a unique fish-scale pattern that forms decorative matrices, displays, desks, and chairs. This approach highlights the module's versatility and its ability to serve multiple functions within a retail environment. Similarly, Japanese designer Tsuyoshi Hayashi's "Kawara Bench" collection reimagines the traditional Japanese clay shingles, Kawara. Conceived in 2014, the collection incorporates salvaged and ready-made shingle scraps into lightweight wooden structures, showcasing a sustainable and artistic use of materials. The addition of color to these pieces further expands the aesthetic possibilities of brick. In furniture design, Simone Bonanni's Obon coffee table collection for Moooi uses terracotta, celebrating its warm tones and embracing slight imperfections as part of its aesthetic. These minimalist tray tables, in various sizes and mounted on cylindrical bases, introduce an earthy touch to modern interiors. The application of brick also extends to specific regional contexts, such as Aesop's Sao Paulo store, which pays homage to Brazil's traditional cobogó bricks. Designed by Fernando and Humberto Campana, the store utilizes perforated bricks to provide natural shade and ventilation, creating a seamless flow between indoor and outdoor spaces. The design incorporates radial motifs, reflecting artisanal traditions and Mediterranean influences, similar to Patricia Urquiola's Tierras and Celosia collections for Mutina. Tierras features modular, multi-colored porcelain stoneware claddings with earthy tones, bringing tactile materiality to industrial production. Celosia, on the other hand, consists of hollow terracotta modules that use a three-dimensional effect to redefine interior aesthetics. In Aesop's Brussels location, Bernard Dubois Architects employed traditional yellow brick tiles, common in the Benelux region, referencing works by modernist pioneer Hendrik Petrus Berlage. Dubois uses basic rotations and aggregations of these tiles, laying them vertically to cover curved surfaces, creating a continuous and uniform interior that balances tradition with innovative design principles. This global reinterpretation of brick underscores its enduring relevance and adaptability in contemporary architecture and interior design, moving beyond its ancient origins to shape modern retail and living spaces. #ExposedBrick #InteriorDesign #RetailArchitecture #SustainableDesign #KengoKuma #TsuyoshiHayashi #SimoneBonanni #CampanaBrothers #PatriciaUrquiola #ArchitecturalMaterials

This project details the construction of a compact office building situated within a residential area in Kitakyushu, Japan. The primary occupant is Ecoplan Corporation, a company specializing in wildlife and vegetation studies. The architectural design, a collaboration between Furumori Koichi architectural design studio and Daiju Kuwahara, was completed in 2024 and spans an area of 444 square meters. Kyoko Omori provided the photographic documentation for the project. The lead architectural team included Koichi Furumori, Kohei Hashisako, and Kenichi Anai, with Daiju Kuwahara also playing a key role. Structural engineering was handled by Kenichiro Takashima, while Tomohiro Urata was responsible for the landscape architecture. Azuma Kensetsu served as the general contractor for the construction. The project integrates into a residential neighborhood, emphasizing a design that harmonizes with its surroundings. The choice of Ecoplan Corporation as the tenant suggests a focus on environmental considerations, potentially influencing material selection and design elements. The building’s modest size indicates a tailored approach to meet the specific needs of the company, rather than a large-scale commercial development. The involvement of multiple specialists, including structural engineers and landscape architects, highlights a comprehensive design and construction process, ensuring both structural integrity and aesthetic integration with the site's natural elements. The architecture likely considers aspects such as natural light, ventilation, and material sustainability, given the tenant's focus on environmental research. Photographs by Kyoko Omori capture various aspects of the building, including interior spaces, exterior views, and possibly details of material use. The images, which include wood and glass elements, suggest a design that incorporates natural materials and maximizes transparency to foster a connection with the outdoors. The mention of beams in some image descriptions indicates structural expression within the interior, contributing to the overall aesthetic. Aerial views and cityscape images would provide context regarding the building's placement within Kitakyushu’s urban fabric and its relationship to the broader environment. Key design features potentially include a thoughtful integration of wood, which can offer warmth and a natural feel to the office environment. Glass components would allow for ample natural light, reducing reliance on artificial lighting and enhancing the working atmosphere. The phrase "Office in the Breeze" in the title hints at a design that facilitates natural airflow and promotes a comfortable indoor climate. This could involve strategically placed windows, balconies, or other architectural elements designed to harness prevailing winds. The building's category as "Commercial Architecture" within a residential context suggests a nuanced approach to zoning and community integration, possibly requiring sensitive design choices to blend functionality with neighborhood character. The collaboration between two design studios implies a rich exchange of ideas and expertise, likely leading to an innovative and well-considered architectural solution. The project serves as an example of contemporary commercial architecture in Japan, demonstrating how design can respond to both client needs and environmental considerations within a specific urban setting. The area of 444 square meters signifies a mid-sized project that allows for detailed attention to both functional layout and aesthetic quality, potentially incorporating flexible workspaces to support Ecoplan Corporation’s research activities. #CommercialArchitecture #JapaneseArchitecture #Kitakyushu #OfficeDesign #WoodArchitecture #GlassArchitecture #EnvironmentalDesign #KyokoOmori

In a world saturated with constant information and demands on attention, Kenya Hara, MUJI's art director, champions a philosophy of "emptiness" as a path to creativity. This concept, distinct from simplicity or minimalism, is explored through MUJI's design principles and product offerings. Hara argues that true emptiness, or 'ku' in Japanese, is not an absence but a rich state of readiness to receive inspiration and possibilities. This contrasts with the Western understanding of emptiness as a void or lack, positioning 'ku' as a fertile ground for new ideas and uses. Hara elaborated on this philosophy during a visit to New York City, coinciding with MUJI's 10th anniversary in the US. He explained that 'ku' is a more fundamental state of being than simply decluttering or shedding elements, as advocated by figures like Marie Kondo. Instead, it represents an open receptacle, a willingness to pose a question and embrace a diverse range of answers. This approach is central to MUJI's brand identity, which prioritizes multi-purpose, generic goods over products with narrowly defined functions. For example, MUJI labels a piece of furniture an "oak table" rather than a "coffee table," inviting users to determine its ultimate purpose and fostering creative freedom in its application. The philosophy of emptiness also serves as a critique against over-engineered objects. Hara illustrated this by comparing a German Henckels ergonomic chef's knife with a Japanese Yanagiba knife. The German knife, designed with specific user grip in mind, anticipates and directs the user's hand. In contrast, the Japanese knife, with its flat handle, offers a less programmed tool, allowing master chefs to adapt it to their individual skills and preferences. This design choice reflects a belief that a simple, unadorned tool is not raw or poorly crafted, but rather an invitation for the user to impart their skill and interpretation. Beyond physical objects, Hara emphasizes a mental dimension to this emptiness. It involves cultivating the humility to engage with and absorb foreign ideas. He posits that "questioning is emptiness," highlighting that the act of formulating a question is itself a creative endeavor. The essence of a good question, according to Hara, lies in its capacity to elicit various replies and gather diverse thoughts. He believes that the richness derived from this kind of thinking is a crucial resource for shaping the future, emphasizing that creativity extends beyond the tangible creation of objects to encompass the conceptualization of inquiry and the embrace of diverse perspectives. #MUJI #KenyaHara #DesignPhilosophy #Emptiness #Ku #Creativity #JapaneseAesthetics #ProductDesign #Lifestyle

The 34th annual Hall of Fame awards, hosted by Interior Design magazine, convened on November 29 at the I.M. Pei-designed River Pavilion at the Jacob K. Javits Convention Center in New York. Editor in chief Cindy Allen initiated the event with a superhero-themed address, emphasizing the importance of relevancy for designers and honoring the 2018 inductees as 'Super Originals' whose work significantly contributes to making the world a better place. Publisher Carol Cisco then acknowledged the event's sponsors and expressed gratitude for the design community's contributions and the industry's unique opportunities. This year's Hall of Fame recognized five individuals for their profound impact across various design sectors, including workplace, hospitality, retail, and residential design. Their leadership and innovative approaches are expected to leave a lasting legacy on the industry. The 2018 inductees included Lisa Iwamoto and Craig Scott of IwamotoScott, Kengo Kuma, Patrick Tighe, and Marcel Wanders. Each inductee shared personal insights and perspectives on their design philosophies and careers. Patrick Tighe, an architect, spoke about design's power to uplift and illuminate in challenging times, asserting that designers can be a beacon of good. Lisa Iwamoto and Craig Scott, a design duo who have collaborated for 16 years, shared a heartfelt message of mutual appreciation. Iwamoto described herself as the 'heart' of their firm, while Scott was the 'soul,' highlighting their complementary creative partnership. Marcel Wanders expressed gratitude and humility, recalling his childhood inclination to transform everyday objects into new creations. He views his current large-scale design work as a continuation of this intrinsic pursuit, describing it as a significant opportunity and responsibility. Kengo Kuma, in his address, thanked his muse—materials. He elaborated on his continuous effort to introduce a new softness into his projects through material exploration, appreciating the extensive freedom available today to delve into material possibilities. Approximately 1,200 designers, architects, and industry professionals attended the black-tie event held within Pei's iconic glass superstructure. Notably, seven students and a faculty member from Auburn University’s College of Human Sciences Interior Design Program were present, their attendance sponsored by design luminaries Richard and Catherine Frinier. These students were selected through a rigorous academic process, recognizing their deep knowledge of the event's 35-year history and their genuine passion for the design profession. The entrance to the event was a collaborative design by architecture firm Tsao & McKown, in partnership with Sunbrella and Sunbrella Contract. Maintaining the structural concept from the previous year, which featured strategically draped Sunbrella performance fabric strips and cords suspended from the ceiling to manipulate viewer perception and direct focus towards the banquet area, the 2018 design introduced a new color scheme. This year's palette transitioned from muted tones to a gradient of warm browns, fiery reds, and creamy whites. Following the event, all the fabric used for the installation was slated for donation to Materials for the Arts, a non-profit organization. The evening concluded with Cindy Allen reiterating her admiration for all attendees, acknowledging them as heroes within the dynamic and inspiring design industry, marking another successful Hall of Fame celebration. #InteriorDesign #HallOfFame #DesignAwards #Architecture #DesignCommunity #KengoKuma #MarcelWanders #PatrickTighe #IwamotoScott

Kenzo House, the former residence of renowned Japanese fashion designer Kenzo Takada, is a luxurious, Zen-inspired property nestled within an 18th-century apartment building in Paris’s 11th arrondissement. Originally built by Kenzo in 1993, the house underwent a significant redesign in 2018 by award-winning architect Kengo Kuma, known for his work on the National Stadium for the 2020 Tokyo Olympics and the V&A Dundee. This 13,778-square-foot, four-story residence, now offered through Christie’s International Real Estate, masterfully blends Eastern and Western influences, much like Takada's own designs. The current owners, a French businessman and his family, acquired the property in 2016 after spending 15 years in Asia, where they admired Kuma's work and his philosophy of connecting architecture with nature. They commissioned Kuma to renovate Kenzo House, maintaining fidelity to Kenzo's original vision of an authentic Japanese house and garden. Kuma, in collaboration with architect Loïk Corre, who worked on Kenzo’s initial plans, reconfigured the layout to enhance harmony and fluidity, integrating the house more closely with its natural surroundings. He achieved this by adding natural Japanese building materials like cedar shingles, teak, clay, ceramic, stone, and bamboo to the exterior, enriching its texture and warmth. Internally, partition walls were replaced with timber slats, and an indoor lap pool was transformed into an _engawa_, a traditional Japanese exterior corridor crafted from wooden latticing. Large interior windows, a floating staircase, and sliding doors were installed, and all bedrooms were oriented to face the courtyard garden, bringing nature into the interior spaces. Kuma's design philosophy, centered on transparency and a deeper connection to nature, is evident throughout the renovation. He emphasizes the use of light and natural materials to create a new kind of transparency, a characteristic of Japanese architecture. The interiors feature sleek and soothing aesthetics, with French oak louvres, beams, and floors complementing the original wood finishes. Key furniture pieces, including Hans Wegner ‘Wishbone’ chairs in the dining room and Walter Knoll pieces in the living room, were selected to maintain a calm atmosphere. The landscaped Japanese garden is a highlight of the property, perfected by Kuma. It features a stone-studded pond with nishiki carp, a traditional Japanese pavilion with a tea ceremony room, a waterfall, and several outdoor terraces. The careful selection of bamboo, junipers, lichens, mosses, and cherry trees evokes the tranquility of a Japanese landscape. The property now includes four bedrooms, six bathrooms, a Japanese suite opening onto the garden, two large reception rooms, two dining rooms, two kitchens, and three self-contained studio apartments for staff. Additional amenities encompass a music room, fitness room, wine cellar, lift, and private parking. Kenzo Takada himself remarked upon returning to his former home that it was “much more Japanese than before, and much more modern,” highlighting its evolution into a living work of art that inspires a Zen lifestyle. #LuxuryLiving #KenzoHouse #ParisRealEstate #JapaneseArchitecture #KengoKuma #InteriorDesign #ZenInspired #ChristiesRealEstate #ArchitecturalRenovation

African design is increasingly gaining global recognition for its unique magnetism and rich heritage, shifting from a previously overlooked status on the international stage. This burgeoning movement is championed by a new generation of designers who are skillfully blending traditional African craftsmanship with contemporary aesthetics, bringing a fresh perspective to furniture, textiles, and art. Among these prominent figures is Chrissa Amuah, founder of Amwa Designs, a London-based studio that creates textiles, furniture, and art inspired by Ghanaian sensibilities. Her 'Asanka' table, for instance, incorporates a jesmonite interpretation of a traditional West African grinding bowl under a glass top, with its wooden base drawing from the Ghanaian Adinkra symbol Adinkrahene, representing authority and leadership. Amuah's designs often feature vibrant color combinations and off-center silhouettes, embodying a balance of strength and vulnerability. Another notable presence is Altin Studio, founded by Mehdi Kebaier and Yasmine Sfar in Tunisia. This studio celebrates local design by utilizing native materials like sea rush, clay, and palm wood. They reinterpret age-old techniques through a contemporary lens, evident in pieces like the 'Ganymede' cabinet, which contrasts woven sea-rush panels with earth-red metal, referencing satellite patterns. Their 'Petite Ourse' seat, hand-carved from palm wood, also draws inspiration from celestial themes, alluding to the 'Little Bear' constellation. From Lagos, Nigerian designer Nifemi Marcus-Bello leads Nmbello Studio with an ethos rooted in empathy and respect for people and places. His work, developed over the past decade, has garnered several awards, including the Hublot Design Prize and the Curator’s Choice: Design for Good Award. His 'Oríkì' series, particularly 'Act 1: Friction Ridge', explores materiality and form through bronze sculptural benches, named after the Yoruba practice of praise poetry, and launched with an immersive installation featuring a soundscape of his mother reciting his personalized oríkì. In Johannesburg, Thabisa Mjo, the creative force behind Mash.T Studio, produces furniture, lighting, and homeware that celebrate South Africa's diverse cultural tapestry. Collaborating with artisan communities, she incorporates materials such as colored beadwork and repurposed telecommunication wire, traditionally used by Zulu watchmen, into pieces like her 'Bright Light' pendant and '4Kona Light'. Her recent lighting collections honor Xhosa customs and circular architectural forms found in rural areas, employing vibrant palettes that signify abundance and festivity, thereby promoting local crafts globally. Rich Mnisi, a Johannesburg-born designer, initially made his mark in fashion before venturing into collectible furniture. His work bridges the gap between function and art, drawing inspiration from the women in his life, queerness, and heritage. Pieces like the 'Nwa-Mulamula' chaise, displayed at Southern Guild’s ‘Mother Tongues’ exhibition, reflect the reclining body of his great-grandmother, showcasing a striking fluidity and organic elegance. His new work, ‘Vutlhari (Wisdom)’, a light crafted from bronze and resin, also features sweeping silhouettes. Zimbabwean artist Xanthe Somers draws on her homeland's customs for her hand-built ceramic sculptures, often functional as lighting and vases. Her 'In Bad Taste' collection challenges the political aspects of design, critiquing Western overconsumption and the impact of eco-racist practices on the global South. Her work, displayed in prestigious venues like London’s V&A; Museum, features vivacious colors, exaggerated silhouettes, and thought-provoking narratives. Don Tanani, a contemporary Egyptian brand, aims to redefine Egyptian design and showcase local talent. Collaborating with designers like Lina Alorabi, whose work has been exhibited internationally, the brand focuses on reclaiming Egyptian identity through sophisticated pieces. Alorabi’s 'Moruna' collection features a conversation chair, a curvaceous sun lounger, and coffee tables with tile patterns, reflecting the dynamism of Cairo and collaboration with craft experts. Finally, South African ceramicist Chuma Maweni began his journey crafting vessels using a pit-firing technique intrinsic to the Nguni people, developing a distinctive aesthetic of dark, porous surfaces and hand-formed sculptural outlines. After opening his Cape Town studio in 2016, his work, including the 'Imbizo' dining table and stools, has been exhibited globally and acquired by institutions like the Metropolitan Museum of Art, continually celebrating traditional craft through a fresh, contemporary lens. #AfricanDesign #Craftsmanship #ContemporaryDesign #FurnitureDesign #TextileDesign #CeramicArt #CulturalHeritage #EmergingDesigners #GlobalDesign

A Cat Tree House, located in Kamakura, Japan, is a private dwelling and work studio designed by architect Tan Yamanouchi for himself, his partner, and their two cats. The design of the residence prioritizes the needs and behaviors of the feline inhabitants, integrating them seamlessly with human living spaces. Yamanouchi, drawing from ten years of observation, identified three primary cat needs: the ability to choose comfortable temperature levels, the desire to be in the same room as owners while maintaining personal space, and the necessity of multiple safe hiding spots. These considerations informed the core architectural concept of the home. The residence is structured around a large spiral staircase, or caracole, featuring multiple nooks and crannies. This central element includes an atrium with a skylight, allowing natural light to penetrate the interior. The staircase steps are designed with varied rises, based on the body measurements of the cats, resulting in 23 distinct floor levels. This stratification creates fine layers of temperature zones, enabling the cats to move freely and find their preferred climate throughout the day. The run of each step is generously set at 900 millimeters, providing ample space for cats to hide, maintain distance, or rest undisturbed. The caracole's design draws inspiration from a tamasudare, a traditional Japanese bamboo screen, influencing its loosely woven and adaptable structure. This exposed architectural feature also addresses Kamakura's highly humid climate, complementing the split-level design. A buffer space, one meter above ground level, is integrated between the raft foundation and the floor. This area facilitates airflow and accommodates hot water pipes for floor heating, contributing to effective temperature and humidity control within the house. Around the caracole, various functional spaces are arranged on different levels, including a bedroom, guest room, studio, kitchen, dining room, and bathroom. These rooms are designed not only for human comfort but also to serve as potential hiding places for the cats, particularly when guests are present. Fall prevention handrails in the atrium are inspired by Kamakura's mountain views and are crafted from delicate stainless steel. A bookshelf is integrated along the spiral steps, transforming the passage into a multi-level library for humans and cozy resting spots for cats. One section of the circular steps extends backward, leading to a window positioned at cat eye level, providing an outdoor view. The final step of the staircase is elevated to the height of a human chair, creating a porch-like area for the cats. The house's exterior form comprises two interlocking L-shaped volumes with shed roofs of varying angles. This configuration simplifies construction and harmonizes with the natural landscape of Kamakura. The architect also intentionally designed window placements and heights to allow passersby to observe the cats, integrating them into the architectural exterior and local scenery. In terms of landscape design, the garden is divided into two main zones: an Approach Zone leading to the entrance and front garden, and a Terrace Zone with a wooden deck and kitchen garden. The Approach Zone features approximately 80 species of plants, providing a diverse color palette, while the Terrace Zone hosts 20 species of edible herbs. An outdoor space covered with fragrant wood chips offers a place to sit and dine, completing the home's comprehensive design that caters to both human and feline occupants, harmonizing their needs within a thoughtfully constructed environment. #CatFriendlyDesign #JapaneseArchitecture #SpiralStaircase #ResidentialArchitecture #PetCenteredDesign #SustainableDesign #KamakuraHome #MultiLevelLiving #ArchitecturalInnovation

The article introduces the work of Japanese designer Asao Tokolo, who effectively merges art and mathematics, bridging historical and contemporary influences, and Eastern and Western aesthetics. Tokolo's designs are characterized by patterns that interlock harmoniously without repeating, a concept initially demonstrated through magnetized tiles. These tiles, when rotated, consistently match at every edge, creating endless new configurations from a single set of elements. Tokolo's inspiration draws from the traditional Japanese arabesque patterns, known as karakusa, which originated in various Western and Middle Eastern regions approximately 1200 years ago. These patterns, typically representing flora, were historically used on clothing, bedding, and ceramics in Japan. While scholarly work often focuses on the fractal geometries and repetitive nature of these patterns, Tokolo's innovation lies in creating unique tile shapes that, despite their individuality, always connect seamlessly. This approach reflects a conceptual blend of Western individualism and Eastern collectivism. Following the development of the mathematical principles behind his unique patterns, Tokolo explored various applications. He collaborated with interior designers and architects, leading to the use of his designs in ceramic tiles and wall decorations. The patterns extended beyond decorative elements for homes, appearing in public spaces such as Tokyo trattorias, where they were frosted into glass partitions. Furthermore, Tokolo's designs were integrated into fashion and automotive industries, notably adorning Ooito jackets and Volkswagen Beetle seat fabrics, demonstrating their versatility and adaptability across diverse mediums. The article emphasizes the compelling nature of Tokolo's work, particularly highlighting the original magnetic tile piece as the most remarkable example of his design philosophy. The consistent fit yet non-repeating characteristic of these patterns is described as a form of mathematical magic. This aspect of his work underscores the designer's ability to create complex, engaging patterns that offer endless possibilities for arrangement while maintaining an inherent harmony. Tokolo's designs, therefore, are not merely aesthetic but also incorporate a deep mathematical and philosophical underpinning, challenging conventional notions of pattern and repetition. #AsaoTokolo #PatternDesign #JapaneseDesign #MathematicalArt #InteriorDesign #CeramicTiles #KarakusaPatterns #DesignInnovation #ModularDesign

The Kinuta Terrace, a 36-unit apartment complex built in the 1980s and located in a residential area of central Tokyo, has undergone a significant renovation. The developer enlisted the expertise of Tokyo-based Keiji Ashizawa Design and Copenhagen’s Norm Architects to transform two of the units into model apartments. The primary objective was to offer prospective residents design inspiration and styling concepts, with a strong emphasis on integrating nature and light into minimalist interiors. Inspired by the complex's integrated courtyard, which provides direct garden access—a valuable asset in a densely populated city like Tokyo—the renovation aimed to create an atmosphere as natural as possible within the apartments. The designers sought to bring the outdoors inside while simultaneously ensuring a sense of privacy. This was achieved through a strategic reconfiguration of the apartment layouts, resulting in larger, more open living areas that are flooded with natural light. The material palette chosen for the interiors is deliberately understated, featuring natural tones such as rustic concrete walls juxtaposed with light oak flooring, further enhancing the connection to nature. A significant aspect of the project involved the development of custom furnishings. Many pieces are crafted from light cypress, pale grays, and beige, aligning with the natural aesthetic. Frederik Werner, a designer and associate partner at Norm Architects, emphasized the importance of natural materials that age gracefully and tactile textures. He believes these elements are crucial for human well-being, contributing to the longevity of products and timeless aesthetics, and helping urban dwellers reconnect with nature. The collaboration extended to Karimoku, a prominent Japanese wooden furniture manufacturer, leading to the creation of the Kinuta Collection. This 12-piece bespoke furniture line is now part of a new brand called Karimoku Case Study. While currently available only at the AXIS Gallery in Japan, plans are in place for worldwide distribution. The collection includes a pale gray sofa with a cypress frame and a coffee table with a black-tinted glass top, and many designs draw inspiration from Japanese temples and gardens, incorporating thoughtful details. Examples from the collection include the Kinuta A-S01 sofa, a simple, multifunctional piece with an oak finish and Kvadrat fabrics, designed to invite light and air into double-height spaces. The Kinuta A-CT01 coffee table features a cypress wood frame and a thin pane of black-tinted glass, its height designed to match the sofa and even allow for use while sitting on the floor, referencing traditional Japanese short-legged dining tables. The Kinuta A-DT01 dining table reflects the 'crude beauty and roughness' of the original apartment interiors, with a structure designed to echo the apartments’ geometric layout and a balance of light and heavy elements, appearing delicate from some angles and robust where needed. Another piece, the Kinuta N–SS01 bookshelf, draws inspiration from umbrella and shoe racks found near the entrances of Japanese temples and shrines. Repetitive patterns are used throughout the design, with staircases, rails, and wall panels mimicking elements of the courtyard, an architectural approach echoed in the furniture. The designers paid careful attention to light, transparency, and shadows, both within the interiors and in the exterior design of the building. Werner highlights the mutual fascination and appreciation between Japanese and Scandinavian design traditions, particularly in their shared respect for natural materials and the creation of physical and mental sanctuaries. He concludes that these sanctuaries, composed of natural elements, peace, and calm, are increasingly vital in an era of large-scale urbanization, with Tokyo serving as a prime example. #TokyoApartments #MinimalistDesign #ScandinavianDesign #JapaneseDesign #NormArchitects #KeijiAshizawaDesign #KinutaCollection #NaturalMaterials #InteriorRenovation #UrbanLiving

Architect Mariam Issoufou discusses her design philosophy and recent projects, including the Rolex Pavilion at the Venice Architecture Biennale and the upcoming Bët-bi museum in Senegal. Issoufou, founder of Mariam Issoufou Architecture and a professor of architecture heritage and sustainability at ETH Zurich, emphasizes a research-led approach that prioritizes local contexts, craftsmanship, and sustainable practices. Her work spans various regions, with a notable focus on projects within the African continent and Europe. The Rolex Pavilion, commissioned for the Venice Architecture Biennale, was designed to reflect Rolex's identity while addressing Carlo Ratti's 2025 theme of adaptation to climate change. Issoufou's design for the pavilion showcases a commitment to local materials and artisan collaboration. The facade is constructed from recycled wooden beams sourced locally, and the interior features a translucent colored ceiling crafted by Murano glassmakers, which creates dynamic light effects. The terrazzo flooring incorporates recycled Cottisso crushed glass. Issoufou aimed to honor Venice's heritage of making and to demonstrate how recycled and local materials can be used effectively in high-profile projects, similar to her work in Africa where materials like recycled metal, earth, and cement are commonly employed. Her design process for the Rolex Pavilion began by considering the unique shape of Venice, a city divided by the Grand Canal, which inspired the form and exhibition spaces of the structure. The project also focused on collaboration across different intelligences and showcased resource efficiency. Issoufou expressed pride in seeing the pavilion come together through the work of local glass, metal, and woodworkers, highlighting the successful integration of traditional Venetian artistry with contemporary sustainable design principles. Issoufou’s practice is characterized by a consistent research-led methodology across all her projects. Instead of imposing a design, she first investigates the architectural history, climate, and vulnerabilities of a specific location. Following this, she identifies and engages with local makers and their existing knowledge and skills. This collaborative and context-driven research then informs the design process, ensuring that each project is uniquely tailored to its environment and community. This approach allows the questions she asks in her projects to remain consistent, while the solutions and outcomes vary based on the specific research findings. Sustainability, for Issoufou, is an intersectional concept that extends beyond mere ecological considerations. She integrates green standards with social, cultural, and economic upliftment for the communities involved in her projects. This holistic view ensures that her architectural interventions contribute positively to the broader well-being of people and places, preserving cultural heritage and fostering economic opportunities. Beyond the Rolex Pavilion, Issoufou is currently focused on the construction phases of two significant projects: the Bët-bi museum in Senegal and the Ellen Johnson Sirleaf Presidential Center in Monrovia, Liberia. The Bët-bi museum, commissioned by the Josef and Anni Albers Foundation and Le Korsa, will be a 1,000-square-meter center for contemporary and historic African art, also serving as a temporary home for repatriated objects. Its triangular form is inspired by the Indigenous Serer people's belief system, symbolizing the relationship between elements, the living, and the dead. The museum will be built into the landscape using sustainable, traditional materials with the help of local artisans, reflecting Issoufou’s commitment to culturally resonant and environmentally responsible design. The Ellen Johnson Sirleaf Presidential Center, where Issoufou is the lead architect, involves collaborations with Sumayya Vally and Karen Richards Barnes, further exemplifying her collaborative and community-focused design ethos. These ongoing projects underscore her dedication to creating spaces that are deeply rooted in their cultural and environmental contexts while promoting sustainability and community engagement. #Architecture #SustainableDesign #VeniceArchitectureBiennale #RolexPavilion #MariamIssoufou #CulturalHeritage #CommunityEngagement #AfricanArchitecture #LocalCraftsmanship