Kengo Kuma: The Poet of Architecture

Cities Have More Space for Cars Than for People

Just as a well-written fairy tale opens the door to a unique experience and an entire world of imagination, Kuma’s ambition is to create places that are good for people – not only indoors, but equally outdoors.

»We cannot as before only think of what is inside. People have to get out and walk in nature. Cities hardly have places to walk; they only have places for cars. We must create places so people can walk and relax outside. This is what we have to focus on in our future design,« he said in a 2020 interview with Louisiana Channel.

Nature is often the source of his inspiration. He has previously spoken about his fascination with birds’ nests, noting how birds gather materials from their immediate surroundings and build homes from what is available, allowing them to blend naturally into the landscape.

Preserving Traditional Craftsmanship

At a time when much of modern construction is dominated by steel, glass, and concrete, Kengo Kuma brings natural materials and traditional craftsmanship back into contemporary architecture. For him, a project is rarely about the building itself – it is about the atmosphere it creates. The spaces between buildings and their relationship to the surrounding environment are central to his work.

A prime example is Japan National Stadium in Tokyo, designed as an extension of Meiji Jingu Gaien Park. Trees appear to climb the stadium’s facade, and timber from all 47 Japanese prefectures was incorporated into the structure, with each region representing a distinct local culture. Even the colors of the seats were inspired by the forest floor.

»I didn't want a big concrete box in my favorite park. So I designed the stadium in a way that feels like part of the forest,« Kuma explained in his interview with Tatler.

Sushi and Sunlight: Architecture That Engages All the Senses

In Japanese, there is a word – komorebi – that describes the sunlight filtering through the leaves of trees, creating a uniquely soft and beautiful glow. It is precisely this kind of sensory experience that Kuma seeks to create: Places where people want to linger, slow down, and be present.

Anyone who has visited H.C. Andersens Hus e will understand what this means. The buildings mimic organic forms within a garden filled with multi-level pavilions, where the landscape is given at least as much importance as the architecture itself. It is the spaces between the structures that create the distinctive, almost magical atmosphere where shoulders relax, and time seems to slow down.

Kengo Kuma himself radiates a similar sense of calm. When he enters a room, it almost seems as though he has been shaped by the tranquility he strives to create through his architecture. He moves slowly, with his hands folded, taking time to think before he speaks. It reflects his philosophy that architecture should be gentle and should connect place, nature, and people.

He also has a gift for putting architecture into perspective. Although he has designed skyscrapers around the world, his metaphors remain grounded and accessible, as when he compares great architecture to great sushi.

»Sushi is a good metaphor for my architecture. The importance in sushi is to choose the best material from the place, in season,« Kuma said during a 2008 lecture at the Royal Academy of Arts in London.

This philosophy is reflected in his architecture, where he chooses materials that emerge from the specific character of each location.

Architecture in Harmony with Its Surroundings

This sensory approach has been central to his work from the beginning. In 1990, he founded Kengo Kuma and Associates, now an internationally acclaimed architectural practice. The firm focuses on bringing together light, acoustics, and even scent to create holistic experiences. Kuma is particularly known for working with materials such as stone, bamboo, and wood, all deeply rooted in Japanese building traditions.

Kuma has openly spoken about his admiration for Hans Christian Andersen’s fairy tales. He was especially moved by visiting the author’s childhood home in Odense and seeing how such a small place could contain such a vast universe of stories.

Born in Yokohama in 1954, Kuma grew up between Yokohama and Tokyo in an environment where villages existed in close harmony with forests and mountains. His childhood home was a modest wooden house built in 1942, directly connected to both nature and the local community.

»To me, every building is a house. No matter the nature of what I'm designing – when I design a museum, for example, a museum is a house, a home for art and a place for people to come, relax, enjoy,« Kuma said in his interview with Tatler.

For Kuma, neighbors are not only people but also hills, rivers, and forests. Wherever he builds, his goal is to become a friend of the place. He strives to create architecture that protects its surroundings and enters into a dialogue with them.

Wood Is the Architect’s Oldest Friend

For Kengo Kuma, wood is one of the most compelling alternatives to concrete. Looking back through history, humanity has always had a close relationship with wood – it is, as he puts it, our oldest friend. He believes architects must find alternatives to concrete.

»Concrete is the material of the industrial society of the 20th century. But from now on our environment will change and we have to create another kind of architecture,« Kuma told Louisiana Channel.

And while many of his buildings appear striking and ambitious, Kuma believes that thoughtful, humble design is ultimately better than grandiose design.