Since the age of ten, when he first saw the monumental concrete gymnasium designed by Kenzo Tange for the 1964 Tokyo Olympics, Kengo Kuma (b. 1954) has aspired to create architecture that utilizes materials in an expressive manner. Despite his early fascination with concrete, Kuma has become better known for his unusual handling of glass, wood, and stone in works as diverse as private residences, Buddhist temples, and art museums. With an acute sensitivity to maximizing a building’s setting―whether urban or rural―Tange has created such celebrated structures as the Tokyo headquarters of Louis Vuitton, adobe housing for an ancient wooden Buddha, and an observatory that is sunk into a seaside hill like Michael Heizer’s Double Negative.
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Luigi Alini is a researcher in the Technology of Architecture at the Syracuse Faculty of Architecture, University of Catania. He devotes his attention to strategies of execution in architecture, with particular reference to the connections between technique, technology, and design. He is the author of the volume Le strategie esecutive. L'integrazione delle competenze nel progette di architettura.
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Vendeur : BWS BKS, Ferndale, NY, Etats-Unis
Hardcover. Etat : New. Kengo Kuma is known the world over for buildings that bear his stamp of simplicity and site-sensitivity - whether created to house ancient artifacts, upscale corporations, or performers of Noh theater. Serenely calm, Kuma's buildings always feature a deft handling of materials and both practical and aesthetic use of horizontal and vertical louvers, cut-outs, and etchings. Among the Tokyo-based architect's most dramatic work is the Kiro-san Observatory, which eschews the traditional dome-shaped archetype in favor of sinking the facilities deep into a seaside hill. Cut perpendicularly into the hill is a staircase that gives Belvedere views of the near-lying water. Kuma's celebrated Museum of Hiroshige Ando features the ukiyo-e art of the Japanese master. By using vertical cedar poles to define the museum's slatted walls and roof, Kuma creates an effect that is similar to that used by Ando in his popular nineteenth-century woodblock prints. In the case of the Stone Museum in Nasu, Japan, Kuma has created a complex of one-story buildings that connect three restored stone buildings from the early twentieth century - a rarity in Japan, which is susceptible to earthquakes. The long, attenuated stone additions are punctuated with horizontal slits and peek-a-boo vents that de-emphasize the material's weight and demonstrate its stunning structural qualities. N° de réf. du vendeur 80489
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