One of Japan’s most globally celebrated architects, Kengo Kuma has carved a singular creative path, designing a constellation of award-winning structures around the world – from restaurants and residences to theatres and public spaces.
Who is Kengo Kuma?
In 1964, a ten-year-old Japanese schoolboy stood in front of Kenzo Tange’s new Yoyogi National Gymnasium in Tokyo. Struck by the beauty of the dynamic curves of concrete hovering lightly above the ground, he immediately dropped dreams of being a vet – and vowed to become an architect.
Fast-forward more than six decades, and it’s safe to say Kuma made a wise career choice.
Kengo Kuma’s approach
His architectural work is often instantly recognisable. Drawing deeply on traditional Japanese aesthetics, the atmosphere is typically minimalist, modern and crafted. A sensitivity to emptiness, a play of light and shadows, soft boundaries between inside and out, rhythmic joinery and a natural material palette (from wood and bamboo to paper and stone) are further elements written into the DNA of his spaces.
Human-scale buildings that harmonise with their setting – culturally, environmentally, materially – are key, with nature typically being the most important component for many of the projects brought to life by his prolific studio, Kengo Kuma & Associates (KKAA).
This is reflected in a litany of structures across the Japanese archipelago – take the intimacy of the layered eaves, timber joinery and plant-filled spaces of Japan National Stadium (2019), used in the Tokyo Olympics; the temple-like serenity of the clean lines, angled shadows and bamboo walkways of Nezu Museum in Tokyo (2009); and the chequered façade of travertine and air, layered and light-filtering, at private residence Lotus House (2005) in the mountains of Kanagawa Prefecture.
Outside Japan, his imprint has grown fast in recent years – as reflected in the layered horizontalism of V&A Dundee, a structural dialogue between nature, architecture and place inspired by Scottish cliffs, which opened on the city’s waterfront in 2018.
Origins and history
Tracing his creative path back to his childhood, Kuma was raised in a traditional wooden house built by his grandfather in a small town between Tokyo and Yokohama – surrounded by rice paddies, woods and farmland in an area still relatively untouched by rapidly spreading post-war urbanisation.
He has described how he was initially embarrassed by his tatami, paper and earthen-walled home, as schoolfriends began to live in shiny new housing developments along the train line. However, retrospectively, he came to appreciate the imprint of his nature-rooted childhood on his creative trajectory – expressed through his sensitivity to craftsmanship, light and natural materiality, which are formative to his design philosophy.
After ten-year-old Kuma’s decisive encounter with the sweeping concrete monumentalism of Kenzo Tange’s Olympic structure, he went on to study architecture at the University of Tokyo (under architects Hiroshi Hara and Yoshichika Uchida), before moving to New York in 1985 as a visiting scholar at Columbia University.
His stint in the US was impactful, not only in terms of exposure to America’s post-modernist architecture, but ultimately due to the perspective the distance from home gave him in relation to Japan – compelling him to buy tatami mats, study tea and delve into the layers of traditional Japanese aesthetics (in particular, reading The Book of Tea, a seminal 1906 work by Okakura Kakuzo).
Setting up Kengo Kuma & Associates and early years
Following his return to Japan around 1986, he set up his own architectural practice in Tokyo. It was a while before he settled into the architectural language for which he is so well known today, experimenting first with projects such as M2, a monumental structure for Mazda in Tokyo, created in the final throes of the bubble years.
As Japan entered a period of economic reconfiguration following the bubble collapse, Kuma increasingly found himself working on smaller projects across rural Japan – tapping deeply into an ecosystem of artisans and carpenters, using traditional construction techniques.
From this emerged a key idea which he calls ‘anti-object’, as outlined in a book of the same title, first published in 2000: the notion that architecture should not be isolated from its setting, but instead seek to dissolve the boundaries between structure and environment – interacting with the regional materials, topography, local communities and cultural identity of each place.
Anchored in this, his signature contemporary aesthetic gradually took shape, defined by a natural material palette – of timber, bamboo, paper, stone – harmonised with cleanly pared-back lines and the lightest of imprints on the setting.
Key architecture projects
Projects range from the reflective serenity of Water/Glass in Atami (1995), a private company guesthouse which appears to dissolve into its coastal setting, through expanses of water, glass and sky, to the Hiroshige Museum (2000), with the rhythmic repetition of clean lines of vertical louvres (restored earlier this year) inspired by the rain in woodblock prints by artist Hiroshige.
Harmonising with this idea further was KKAA’s first major overseas project in 2002: Great (Bamboo) Wall in China, a private residence in a development. The structure’s minimalist linear bamboo form – light-filtering and flowing quietly along an undulating ridgeline – was conceived by Kuma to dissolve into its setting, as ‘a criticism toward the conventional form of architecture that tends to seek to be an isolated object among the environment’.
The dialogue between humans, architecture and nature is an elemental cornerstone of his architectural philosophy. This is mirrored in a concept he calls makeru kenchiku, or ‘losing architecture’ – also captured in a book written by Kuma in 2004 (he has long placed importance on the value of the written word alongside his physical structures).
The key idea is that architecture should always yield to its environment, with a harmony between nature and structure – rather than architects creating monumental buildings intent on ‘winning’ by dominating the landscape.
Craftsmanship is also elemental. This is expressed in countless details – lattices, slats, screens, joints – reflecting the idea of breaking architecture into smaller, modular components, often repeated rhythmically, creating depth, texture and a timeless sense of serenity.
This can be seen in projects such as the GC Prostho Museum Research Center (2010) in Kasugai, Aichi. Inspired by a traditional interlocking wooden toy, the complexity of the intricate latticed façade was created from a three-dimensional grid that required no nails or glue.
Over the past two decades, Kuma’s output has remained prolific. Japan projects completed this year alone include Capella Kyoto, a luxury hotel inspired by the stillness of a traditional machiya townhouse; Kirishima Greenship icoia, an environmentally interactive community hub with a café, shop and botanical garden in Miyazaki; and Kannabiyama Observatory, a spiral observation deck on Mount Kannabi in Kyoto Prefecture, made up of a puzzle of vertical louvres harmonising with surrounding forests.
KKAA’s vision is not confined to structures. The studio – based in Tokyo, Paris, Shanghai, Beijing and Seoul – is also behind a cornucopia of interiors and furniture products inspired by Kuma’s architectural vision. Among them are rugs created with makers including Yamagata Dantsu and Jaipur Rugs; Kumashima textiles, made with designer Noriko Tsuiki, rooted in a centuries-old weaving tradition in southern Japan; and the organic curves of ‘Akane’ chairs, made from insect-eaten wood from Wakayama Prefecture.
The future
And Kuma is clearly showing no signs of slowing down, with countless further projects in the pipeline – as he continues to leave the lightest imprint across the globe, with the timeless appeal of his ‘losing architecture’.
Further reading: Wallpaper* interviewed Kengo Kuma earlier in 2026, when he released new monograph Substance, published by Images Publishing. More recently, Kengo Kuma: New Works was published in September 2026 by Thames & Hudson