Exploring Kengo Kuma’s “Weak Architecture” Concept! Is Impermanence More Beautiful Than Permanence Matter?

In ancient times, architecture was deemed a safe sanctuary for protecting living creatures. Our homes are essentially akin to animal nests, constructed to shield inhabitants from external hazards. However, we must acknowledge the vulnerability of both people and buildings in the face of natural disasters. If we consistently perceive nature as our adversary, we will invariably suffer defeat.

Yet can we align architecture with the will of nature? Can architecture harmoniously coexist with nature?

An example of defensive human architecture is the Fujian Tulou, utilized by the Hakka people. They use loess and rugged stone walls to fortify their strongholds against bandits and enemy assaults.

An example of animal defensive architecture is seen in swallows, of whom often nest in clusters on human or sturdy structures. Such custom-built 'homes' not only offer warmth for their young but also serve as hiding places, resilient against raids from predators.

Japanese architect Kengo Kuma has introduced a fascinating architectural concept focused on the [integration with the natural environment].

He refers to it as 'negative architecture' (also translated as 'weak architecture'), pronounced as '负ける建筑' in Japanese, meaning 'defeated architecture'. In this article, 1.25 Inches Studio will delves into the narrative behind 'weak architecture' and its notable works.

Kengo Kuma, Japanese architect (1954–). He loves experimenting with materials in buildings.

Contrary to '胜つ建筑'（positive architecture）, negative architecture doesn't view architecture merely as a tool for profit, nor does it aim to captivate attention with exaggerated grandeur or immense architectural styles.

Kuma asserts that architects should abandon the notion of 'architecture as the protagonist', or 'architecture as a protector'. Instead, architecture should be seamlessly integrated into its surrounding environment with care and delicacy.

One of Kuma’s work in demonstrating ‘weak architecture’: China Academy of Arts’ Folk Art Museum, Interior, Kengo Kuma （2015）

Kuma studied architecture at Columbia University in New York in the early 1990s. Following the footsteps of modernist masters, he frequently incorporated exaggerated architectural elements into his works. For instance, the incorporation of massive ancient Roman columns not only served functional and structural purposes for architecture, but also began to have symbolic significance.

Automobile showroom, Kuma's postmodernist work in Tokyo in the 1990s. It is now converted to a funeral home.

Gradually, however, he came to realize that he was still inclined towards the aesthetics of traditional Japanese architecture, prompting him to embark on a quest to discover his own architectural ethos.

During Dezeen's visit, he reflected on how his perspective on architecture and nature shifted following the 2011 Tokyo earthquake disaster:

"Since the tsunami in March 2011, my attitude towards nature has changed significantly. We have learned invaluable lessons from the tsunami. It's crucial for younger generations of design students to grasp this. Previously, there was a belief that design held the power to change and control everything. However, in the face of nature's forces, one must reconsider their prior understanding of the relationship between nature and architecture."

2011.03.11, Earthquake and Tsunami struck Japan, resulted in widespread devastation. Numerous buildings were destroyed, and there were significant casualties.

Since the tsunami, Kuma has demonstrated a stronger preference for natural materials such as wood and stone, as opposed to industrial materials. Unlike traditional design approaches, Kuma now selects materials prior to commencing the design process. Enclosing his buildings with floor-to-ceiling structures, Kuma reflects an effort to engage in dialogue with the surrounding environment. Kuma's focus lies more on the experiential aspect of architectural facades rather than their appearance or form.

However, even before the tsunami, Kuma's interest in materials was evident in his previous works.

For instance, in his masterpiece, the "House of Water and Glass," transparent glass interacts with the surrounding water, visually blurring the boundaries between the interior and exterior. Kuma expresses his desire to construct a house solely utilizing water.

Water Glass House by Kengo Kuma (1995). Kuma employs glass as a primary material to dissolve the boundaries between the structure and its surrounding environment.

Nature's ever-changing dynamics, including weather patterns and daily cycles of the seasons, significantly influence architecture. Just as how nature constantly evolves, architecture should also adapt and evolve.

Water Glass House, Interior, Kengo Kuma (1995).

"The Magician of Light"

A skilled architect must comprehend the demands of each era and anticipate the role of architecture within it.

During his visit to Kenzo Tange, Kuma expressed deep admiration for him. It was during his childhood, upon seeing Kenzo Tange's Yoyogi Arena, that Kuma found inspiration to pursue architecture. He referred to Tange as the "magician of light and shadow" for the building.

As a pioneer of Japanese architecture and a modern structuralist architect, Kenzo Tange navigated through the tumult of the Second World War. Subsequently, he not only propelled Japan's [metabolism] architectural movement but also endeavored to blend traditional and modern technologies by studying Japanese traditional architecture. This fusion give birth to a new era of Japanese architecture.

National Yoyogi Stadium, Tanha Construction Three (1964).Structural and internal ceiling.

"Mr. Tange and I have both meticulously delved into Japan's historical traditions. However, our interpretations of it diverge."

Kuma has consistently been fascinated by the interplay of light and shadow within wooden architectural structures, exemplified in projects such as his Log Bridge Museum. Furthermore, he has also sought to utilize materials and concealed structures to create buildings that seemingly "blend in" with the landscape, embodying the principles of what he terms "weak architecture."

Outside the Log Bridge Museum by Kuma (2010).

Inside the Log Bridge Museum by Kuma (2010), Kuma's architecture typically features a straightforward layout and a reusable structure. His emphasis lies in utilizing raw materials, particularly wood.

Sou Fujimoto

Japanese architect Sou Fujimoto shares a similar aspiration to integrate his buildings into nature. However, unlike Kuma, he opts for pure white steel structures to craft what he perceives as "weak buildings.”

Sou Fujimoto, Japanese architect (1971–)

Fujimoto is deeply dedicated to harmonizing architecture with the environment, aiming to showcase the ambiguity of architecture in his designs.

When discussing the Serpentine Pavilion in Kensington Gardens, England, Fujimoto expressed his desire to craft a structure seamlessly integrated with the surrounding greenery.

From the initial drafts, one can observe soft, irregular lines. His building appears to float like a cloud amidst a canvas of paper.

Serpentine Pavilion Sketch, Sou Fujimoto (2013)

"When I sketch or create models, my aim isn't to achieve a distinct architectural form. Instead, I seek to comprehend architecture through human activities. Ambiguity fosters fluidity, enabling buildings to seamlessly integrate into nature. That's why many of my sketches feature scattered, unstructured lines. The drawing process, you could say, involves discerning a fixed principle from a more unrestricted one, and then bringing the building into focus from this array of vague lines." (Interview by Hans Ulrich Obrist and Shusuke Fujimoto)

Serpentine Pavilion in Kensington Garden, Sou Fujimoto (2013）

"For me, transparency is crucial in a building. It allows one to experience nature, weather, and varying climates even while inside the pavilion.”

House NA, By Sou Fujimoto. The transparent frame of the house, with minimal doors and windows, challenges the notion that a house is solely a shelter.

Fujimoto's architectural diversity encompasses blurring the boundaries between cities and buildings, bridging the interior and exterior realms of structures, merging decorations with structures, balancing personal and communal spaces, and more.

Naoshima Pavilion, in this photo, the architecture appears almost invisible, blending seamlessly with its surroundings. Fujimoto's architecture embodies a distinctive ambiguity that challenges conventional boundaries between traditional architecture and the environment.

Departing from the notion that architecture should solely act as a protective shield, Fujimoto's concept of "weak architecture" aspires for humans to reestablish connections with nature and culture.

The Japanese Philosophy of Impermanence Beauty

"I want my buildings to be non-permanent, like a rainbow."

Many contemporary Japanese architects, including Junya Ishigami, Koji Hirata, and Shosuke Fujimoto, share Kuma's appreciation for the transient beauty of nature.

Why do Japanese architects often seek to create ephemeral architecture that harmonizes with nature? To answer this question, we must delve into the philosophy of "non-permanent beauty" deeply embedded in Japanese culture.

In an interview with Project Japan: Oral History of Metabolism, Rem Koolhaas questioned Kisho Kurokawa about the distinctions between architectural aesthetics in Japan and the West.

The "Project Japan Metabolism Talks" by Rem Koolhaas and Hans Ulrich Obrist consists of interviews with architects who played pivotal roles in Japan's "metabolism" movement.

Kurokawa responded by citing the historic Ise Shrine in Japan:

"Ise Shrine, despite being 1,200 years old, undergoes renewal with new wood every 20 years. Everything we perceive is impermanent. An entire city can be devastated by war in a single day. Japanese culture emphasizes inner essence rather than outward appearances."

The Ise Shrine, with its practice of replacing new wood every twenty years, has maintained the essence of the building for 1,200 years, despite undergoing numerous replacements.

The use of wood in traditional Japanese architecture contrasts with the stone prevalent in traditional Western architecture. This distinction in materials reflects differences in environmental considerations, conceptual approaches, and aesthetic sensibilities between the two cultures. It also elucidates why many contemporary Japanese architects opt to integrate their designs with nature and prioritize the play of light rather than seeking attention through elaborate architectural forms.

What do the public and the architectural community think of Kuma's ‘Weak Architecture’?

The fragmented wooden structure and the use of transparent materials to showcase the beauty of the surrounding environment have become the central elements of Kuma's architectural style.

Both the public and the architectural community generally embrace Kuma's approach to "weak architectural aesthetics," contributing to his growing reputation in Japan and worldwide.

However, some critics raise concerns about the functionality of Kuma's designs due to his extensive experimentation with materials. They question whether certain buildings may prioritize decoration over practicality.

An illustrative example is the Sunny Hills Taiwan pineapple pastry shop in Aoyama, Japan. Kuma aimed to create a city grove reminiscent of old Japan, yet the compact wooden structure surrounding the store obstructs product display through the windows. Nonetheless, the distinctive exterior wall design ensures easy recognition of the store by the public.

SunnyHills Taiwan pineapple pastry shop in Aoyama, Tokyo, designed by Kengo Kuma, completed in 2013.

Dazaifu, Fukuoka, is widely recognized as one of the most beautiful Starbucks locations in Japan, drawing crowds due to its distinctive design. It has also become a popular spot for taking photos and sharing group shots on the internet.

Over time, the cafe has evolved into a form of "starchitecture," where it is revered as a work of art in its own right.

The intention behind the design was for the building to coexist humbly within its surroundings, allowing the environment to take center stage. However, due to its unique wooden decoration design, the building has once again become the focal point.

This phenomenon reflects an interesting aspect of architectural design. While architects control the design process, the public's perception and interaction with the architecture after its completion are beyond the architect's control.

Starbucks in Dazaifu, Fukuoka, Kengo Kuma (2008)

Does the wooden grid really fit the building around? Or is it simply simulating nature with the repetitive structure of the building?

When examining the shape of the wooden structure, it's important not to overlook the functionality of the building itself. While aesthetics are undoubtedly significant, functionality should not be sacrificed for the sake of design.

To truly understand and critique a building, whether it's created by renowned or lesser-known architects, it's essential to consider multiple perspectives. This includes not only accepting feedback from the general public but also questioning the design in various ways, such as its functionality, environmental impact, cultural significance, and more.

Interior of Starbucks in Dazaifu, Fukuoka, Kengo Kuma (2008)

There often exists a disparity between reality and the ideal, as well as between theory and implementation. However, this should not deter us from striving to bridge the gap between theory and practical projects. An architect's philosophy and beliefs are inevitably conveyed, to some extent, through their buildings. Therefore, architects should continue to aspire to align their theoretical principles with the tangible outcomes of their architectural endeavors.

Weak Architecture: In Today's World, Architecture Cannot be the Protagonist Anymore.

In today's era, the popularity of social media has promoted the phenomenon of "starchitecture," where people are primarily concerned with the visual appeal of buildings and their potential as photo-worthy locations. This trend often leads to a superficial understanding of architecture, with little regard for the unique experiences and deeper beauty that stepping into a space can offer. If architecture becomes merely an object for photography, it begs the question: has our appreciation for architecture declined in contemporary times?

In contrast to the imposing structures commonly found in cities, architects like Kuma and Fujimoto emphasize the power and beauty of smaller buildings, showcasing a new perspective on architecture.

Unlike ancient times when architecture primarily served as protection against external threats, today's challenges are different. It's time to reassess our relationship with architecture and nature. Rather than viewing architecture as the sole protagonist, it should coexist harmoniously with nature. This approach allows architecture to better reflect the cultural and ecological essence of each place, enabling people to rediscover the beauty of both architecture and nature.

Reference

1. Goodwin, D. (2019) Spotlight: Kengo Kuma, ArchDaily. Available at: https://www.archdaily.com/771525/spotlight-kengo-kuma (Accessed: 27 February 2024).

6. Otten, L. (2016) Architecture and the anti-object | Washiting University in St Louise, The Source. Available at: https://source.wustl.edu/2016/04/architecture-anti-object/ (Accessed: 27 February 2024).

7. Jones, J.P. (2020) Interview: Sou Fujimoto, Architectural Review. Available at: https://www.architectural-review.com/essays/interview-sou-fujimoto (Accessed: 27 February 2024).

Dezeen Interview：

1） Howarth, D. (2016) ‘The criteria for architecture is humbleness,’ says Kengo Kuma, Dezeen. Available at: https://www.dezeen.com/2014/03/11/kengo-kuma-interview-architecture-after-2011-japan-tsunami/ (Accessed: 27 February 2024).

2）Frearson, A. (2017) Kengo Kuma: ‘I feel embarrassed by some of my buildings’, Dezeen. Available at: https://www.dezeen.com/2017/01/20/kengo-kuma-architecture-interview-embarrassed-some-buildings-kenzo-tange-olympic-stadium/ (Accessed: 27 February 2024).

3）Howarth, D. (2021) 'I tried to create something melting into the green' - Sou Fujimoto, Dezeen. Available at: https://www.dezeen.com/2013/09/29/i-tried-to-create-something-between-architecture-and-nature-sou-fujimoto-on-serpentine-gallery-pavilion-2013/ (Accessed: 27 February 2024).

Related Books Recommendation:

Translator: J