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ISBN 9781568984681
Publication date 6/1/2005
8.5 x 11 inches (21.6 x 27.9 cm), Paperback
208 pages, 187 color illustrations
Rights: World;
Carton qty: 14;
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Evanescent. Restrained. Ethereal. These are some of the words used to describe the architecture of Kengo Kuma, one of the most heralded of a new generation of Japanese architects. A recent article in Architecture writes of Kuma that "he strives to give his buildings the qualities of a rainbow, composed of shimmering particles, more illusion than object, that change as you look at them.
" Increasingly the focus of international renown, Kuma's work is characterized by a delicate simplicity and minimalism, incorporating a wide range of ephemeral transparencies. Their ineffable vibrancy is achieved largely by the extensive and skillful use of screens: metal, wooden, bamboo, and even stone louvers or slates, as well as paper, plastic, and glass surfaces or membranes. His use of new, sophisticated, and efficient technologies, his sensitivity to site, and his attention to the ecological and prevailing social context of his work are all explored in Kengo Kuma: Selected Works, the first full-length monograph on the work of this enormous talent. Included are all of Kuma's most recent projects, including the Museum of Ando Hiroshige, the Stone Museum, the Horai Onsen Bath House in Atami, Louis Vuitton Tokyo Headquarters, and the Nagasaki Prefectural Museum.
Kengo Kuma: Selected Works is an essential addition to the library of anyone interested in the best contemporary architecture.
Botond Bognar is Professor of Architecture and Associate at the Center of Advanced Study, University of Illinois. He is author of numerous books on Japanese architecture including The Japan Guide.
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Editorial Reviews
LA Architect:
"Kuma is the poet of translucency. . . This handsomely illustrated volume is an ideal compendium of his first 15 years, and it builds anticipation for what is to come."
Architectural Record:
"This gorgeously illustrated volume is the first full-length monograph on the 53-year-old Kuma. In it, Bognar describes the varied stages Kuma has passed through in trying to erase architecture, while placing his work within the context of recent Japanese architecture. "
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