Harmonious aesthetics
Japan’s Kengo Kuma, who has made waves with his uniquely designed buildings, inspires Rebecca Ilham to go on an exploratory trail to view his creations
WHEN my architect sister announced that she was coming to Tokyo with me, I knew that it would only be fair if our itinerary also respected her interests. I asked her to list down the buildings she would like to visit, but with her visiting Japan for the first time, she was quite flexible and only mentioned her wish to see NA House, a private residential home with transparent walls, designed by Sou Fujimoto, the subject of one of her assignments during her undergraduate years.
I must say that being an elder sister does give me a know-it-all air. Thus, unknown to her, I decided to take my sister on a loosely structured architecture trail that traces the recent works of famed Japanese architect, Kengo Kuma.
Why Kuma? Well, apart from the fact that his works are numerous, scattered around affluent neighbourhoods in Tokyo, this multiple 62-year-old Pfizer Award (akin to the architecture industry’s Nobel Prize) winner is known for his “disappearing” architecture philosophy.
Kuma blends his new, modern (and most of the time bordering on futuristic) designs into the surroundings where buildings are, creating a sense of harmony that is not unlike the Japanese principle of wa.
Asakusa Tourist Information Centre.
The traditional faćade of Kabuki-za that is retained by Kuma.
ASAKUSA INFORMATION CENTRE
Our first view of Kuma’s aesthetics gets us really excited. Situated by the busy intersection right opposite the imposing main gate Kaminarimon, the Asakusa Tourist Information Centre is a building that can easily be taken for granted.
Visitors might flock to it for the services offered but the glass-walled building with a wooden faćade blends so well into the shitamachi (downtown) vibes of traditional Asakusa. It is a distinctive building all the same; we ooh-ed and aah-ed at how the structure is so well-balanced, with each level looking like they had been loosely
Sunny Hills — a pineapple-like pineapple cake shop.
stacked one on top of the other.
Once inside, we skip the crowd on the ground level and climb upstairs, where we station ourselves at the best vantage point to enjoy the views of Senso-ji and Nakamise-dori from a height (while conveniently having phones charged).
We couldn’t help noticing the interior detailing that complements the building’s faćade: all wood, glass and straight lines with 3-D effects on one of the walls. Kuma delivers a good first impression on us.
NEZU MUSEUM
So from Asakusa, we continue the hunt for the next Kuma creation in the posh shopping district of Omotesando. I’ve never been a fan of this area, even though the main street is lined by designer boutiques by renowned architects. Thus, it is a huge relief to see Sunny Hills just a turn and short walk downhill away from the glamorous boulevard.
A shop looking like Taiwan-styled pineapple cake, the building is encased in a wooden, lattice-like faćade in the shape of a bamboo basket. It is simple, unassuming and humble in appearance. Unlike its flamboyant neighbours, Sunny Hills fits in with the residential ambience of where it is located. That doesn’t necessarily make it boring and uninteresting, though.
We sure find the intricate, large-scale woodwork called jugoku-gomi (which is assembled without nails or adhesive but is impossible to be dismantled once in place) interesting!
The shop assistants kindly grant us permission to look around and we waste no time in climbing up to the other floors. Decorations are minimal, but really, with its open, welcoming and clean space, Sunny Hills needs very little.
Just down the street from Sunny Hills is Nezu Museum, a private institution that houses and exhibits the Nezu family’s vast art collection which spans over three gen-