{"product_id":"155707","title":"Kuma Kengo All My Work ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/3jYDOVghDDzJMxLS0Dq9BYpgq3UDQr.png?v=1765018891\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e Kuma Kengo, All My Work \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/goods\/116613381\/XL\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eBook Introduction\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cdiv\u003e What commonalities can we find between the \"Bamboo House\" that appeared at the beginning of the promotional video for the opening ceremony of the 2008 Beijing Olympics directed by Zhang Yimou and the National Stadium at the Tokyo Olympics, which we will witness live in 2021?\u003cbr\u003e It is not so grand or solid as to overwhelm the surroundings, but it is airy, warm and breathable, and it sits most comfortably on the spot where it stands, giving way to paths in all directions.\u003cbr\u003e The person who designed both buildings is Kengo Kuma, an architect famous for his \"losing architecture\" and \"three-jesus principle.\" \u003cbr\u003eLet's take a look at the architectural philosophy of Kengo Kuma, who has pursued a new publicness through small, low, and slow architecture, breaking away from the architecture of the past that has made great contributions to severing relationships and connections and supporting the capitalist economy, and his footsteps over the past 30 years, along with 55 works personally selected by Kengo Kuma, through vivid photographs.\u003cbr\u003e\n\n\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cul\u003e\u003cli\u003e You can preview some of the book's contents.\u003cbr\u003e \u003cspan\u003ePreview\u003c\/span\u003e\n\n\u003c\/li\u003e\u003c\/ul\u003e\u003c\/div\u003e\n\u003c\/div\u003e \",\"\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eindex\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e Entering\u003cbr\u003e Border Architect · Connecting the Local and the Global · Tricycle\u003cbr\u003e\u003cbr\u003e \u003cb\u003e1st period 1986-1991\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Behind the Chaos · Borderline and Anti-Asceticism · Fascination with the Shabby, Not the Ornamental · Shabby Geometry\u003cbr\u003e\u003cbr\u003e 55 Hand-Chosen Works｜01-03\u003cbr\u003e 01.\u003cbr\u003e Ten Styles of Homes · 02.\u003cbr\u003e Izu's Furogoya · 03.\u003cbr\u003e M2\u003cbr\u003e\u003cbr\u003e \u003cb\u003eSecond period 1992-2000\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003eArchitecture is a sin · The erasure of architecture · From erasure to garden · From digital to experience · Relationships and materials learned from Taut · Japan encountered in New York · Small places encountered after the collapse of the bubble economy · Things possible through conversations with engineers · Tohoku opened my eyes to the outdoors · Low cost is the theme of architecture\u003cbr\u003e\u003cbr\u003e 55 Hand-Chosen Works｜04-13\u003cbr\u003e 04.\u003cbr\u003e Girosan Observatory · 05.\u003cbr\u003e Automatic Garden · 06.\u003cbr\u003e Water\/Glass · 07.\u003cbr\u003e Venice Biennale 95 Japanese Pavilion Exhibition Hall Composition · 08.\u003cbr\u003e Moributai Miyagi Prefecture Toyomamachi Traditional Performing Arts Center · 09.\u003cbr\u003e Basic Concept for the 2005 Japan International Exposition · 10.\u003cbr\u003e Kitakami River? Canal Exchange Center Water Cave · 11.\u003cbr\u003e Nakagawamachi Bato Hiroshige Art Museum · 12.\u003cbr\u003e Stone Art Museum · 13.\u003cbr\u003e anti-object\u003cbr\u003e\u003cbr\u003e \u003cb\u003e3rd period 2001-2015\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003eConnecting with large-scale spaces through wooden architecture · Awareness of noise in China · From Cold War architecture to architecture of US-China conflict · The relationship between architects and cats · Breathing life into holes\u003cbr\u003e\u003cbr\u003e 55 Hand-Chosen Works｜14-41\u003cbr\u003e 14.\u003cbr\u003e Bamboo House · 15.\u003cbr\u003e One Omotesando · 16.\u003cbr\u003e Falling Architecture · 17.\u003cbr\u003e Murai Masanari Memorial Museum of Art · 18.\u003cbr\u003e Oribe's Tea Room · 19.\u003cbr\u003e Lotus House · 20.\u003cbr\u003e Krug×Kuma · 21.\u003cbr\u003e Chokura Square · 22.\u003cbr\u003e Tea House · 23.\u003cbr\u003e Casa Umbrella · 24.\u003cbr\u003e Water Branch House · 25.\u003cbr\u003e Nezu Museum · 26. GC Proso Museum Research Center · 27.\u003cbr\u003e Glass\/Wood House · 28.\u003cbr\u003e Ceramic Cloud · 29.\u003cbr\u003e Yusuhara Wooden Bridge Museum · 30.\u003cbr\u003e Memu Meadows · 31.\u003cbr\u003e Starbucks Coffee Dazaifu Tenmangu Omotesando Branch · 32.\u003cbr\u003e Aorenagaoka · 33.\u003cbr\u003e Asakusa Culture and Tourism Center · 34.\u003cbr\u003e Hojoan 800 Years Later · 35.\u003cbr\u003e Marseille Center for Contemporary Art · 36.\u003cbr\u003e Bejangsong Arts and Culture Center · 37.\u003cbr\u003e Kabukiza · 38.\u003cbr\u003e Sunny Hills Japan · 39. \u003cbr\u003eDarius Milhaud Conservatory of Music · 40.\u003cbr\u003e Daiwa Ubiquitous Academic Research Center · 41.\u003cbr\u003e China Academy of Art Folk Art Museum\u003cbr\u003e\u003cbr\u003e \u003cb\u003e4th term 2016-2022\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Discovering My Own Way · Aoyama and the Forest · Relationships and Sustainability, Not Cutting · The Way of Calling Trees · From Particles to Quantum · From Cooperative Houses to Shared Houses · From Atelier to Laboratory · Graphics, Landscape, Fabric · Local Networks\u003cbr\u003e\u003cbr\u003e 55 Hand-Chosen Works｜42-55\u003cbr\u003e\u003cbr\u003e 42.\u003cbr\u003e Jubako · 43.\u003cbr\u003e Portland Japanese Garden Cultural Village · 44.\u003cbr\u003e V\u0026amp;A Dundee · 45.\u003cbr\u003e The Exchange · 46.\u003cbr\u003e Meiji Jingu Museum · 47.\u003cbr\u003e National Stadium · 48.\u003cbr\u003e Point? Line? Plane · 49.\u003cbr\u003e Takanawa Gateway Station · 50.\u003cbr\u003e Kadokawa Musashino Museum \u0026amp; Musashino Reiwa Shrine · 51.\u003cbr\u003e Hisao \u0026amp; Hiroko Taki Plaza · 52.\u003cbr\u003e Haruki Murakami Library · 53.\u003cbr\u003e Greenable Hiruzen · 54.\u003cbr\u003e Creating a small architectural street in Sakaimachi · 55.\u003cbr\u003e Minamisanriku Town Revival Project\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e \",\"\u003cdiv\u003e  \u003ch5\u003e\n\u003cb\u003eDetailed image\u003c\/b\u003e \u003c\/h5\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e\u003cimg src=\"https:\/\/image.yes24.com\/momo\/TopCate4070\/MidCate002\/406914321.jpg\" border=\"0\" alt=\"Detailed Image 1\"\u003e\u003c\/div\u003e\u003c\/div\u003e \",\"\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eInto the book\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e Even though I was a New Yorker who scoffed at all architectural styles, including modernism and postmodernism, the only person I felt affinity for was Frank Owen Gehry, who was starting to make a name for himself in Los Angeles.\u003cbr\u003e Because his architecture was, in a word, shabby.\u003cbr\u003e His architecture, with its unassuming use of rugged shingle roofs and cheap, thin plywood, was so shabby that it almost made me want to describe it as truly beautiful.\u003cbr\u003e It seemed as if he was using shabbiness as a weapon to criticize modernist architecture.\u003cbr\u003e Modernist architecture was the uniform of the industrial age, so the foundation of its beauty was the shiny luster and smooth texture of industrial products, as well as the flawless precision and precise fit.\u003cbr\u003e Gary's shabbiness seemed to mock the gloss, smooth texture, and precision of the industrial age. \u003cbr\u003eIf postmodernism is nothing more than a nostalgia for a pre-modern era, Gehry's shabbiness seemed to foreshadow the architecture that would follow.\u003cbr\u003e\u003cbr\u003e --- p.40~41\u003cbr\u003e\u003cbr\u003e I felt strongly that architecture itself is a criminal activity, as it involves consuming limited resources and energy to build buildings on limited, precious land.\u003cbr\u003e Adolf Loos once declared that 'ornament is a sin', and I felt the same way: 'architecture is a sin'.\u003cbr\u003e But I couldn't feel any such guilt in the buildings of the Osaka World Expo.\u003cbr\u003e How can we create architecture that is firmly rooted in guilt and seems to be squeezed out of it?\u003cbr\u003e\u003cbr\u003e --- p.61\u003cbr\u003e \u003cbr\u003eAlthough I was interested in Taut's handicrafts, such as the wooden boxes my father had and the chairs and lighting fixtures in the Inoue residence, I had never been drawn to Taut's architecture until that day.\u003cbr\u003e There was something overwhelming about the obsession with materials in the pavilions made of iron and glass, but in terms of form, it lacked the sharpness seen in the architecture of Le Corbusier or Mies van der Rohe, and gave off a dull and heavy feeling.\u003cbr\u003e However, the ‘vacation villa’ did not have a ‘form’ in the first place.\u003cbr\u003e The 'Vacation Villa' was built by taking advantage of the gap in the basement of an existing wooden house built on a steep cliff face, but it had only a small interior and an entrance facing the sea, so it was impossible to find any 'form'. \u003cbr\u003eTaut took advantage of these adverse conditions to create a mysterious 'relationship' between the sea and humans.\u003cbr\u003e ‘Form’ can be captured in a photograph, but ‘relationship’ cannot be captured.\u003cbr\u003e I paused for a moment in the place called 'Vacation House' that Taut had created, and for the first time I put my body into the 'relationship' and was completely overwhelmed by that 'relationship'.\u003cbr\u003e\u003cbr\u003e --- p.75~76\u003cbr\u003e\u003cbr\u003e How to design your relationship with your surroundings.\u003cbr\u003e It is very difficult to convey the subtleties of 'relationships' in a game called a contest where competition is conducted with limited drawings and models.\u003cbr\u003e But what really comes to the fore when a building is completed in its place and people start using it is the 'relationship'.\u003cbr\u003e When 'relationships' are well designed, they can create a strong connection with the building, and the building and the people living in that place can become one.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e --- p.294\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e \",\"\u003cdiv\u003e\u003ch5\u003e \u003cb\u003ePublisher's Review\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e  \u003cdiv\u003e\n\u003cb\u003eA huge volume, opening and dismantling a closed box\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Heidegger defined architecture as “a bridge, not a tower.”\u003cbr\u003e The tower exists alone, but the bridge connects two places.\u003cbr\u003e Kuma Kengo was also greatly influenced by Heidegger's words, and since the 1990s, he has been criticizing the \"volume play\" that has become a fad, and has been seeking ways to open and dismantle closed volumes.\u003cbr\u003e So the houses he designed are like bridges, tunnels, and holes that connect people and nature, people and people, people and the world, this side and the other side.\u003cbr\u003e There are many ways to decompress a volume.\u003cbr\u003e The exterior space, such as the eaves, is the main character, a hole is made in the center of the building to allow for a breeze, a tunnel is created to connect the exterior and interior, and a central plaza is created to encourage movement from all directions. \u003cbr\u003eBeing locked in a closed box made of concrete is something that Kuma Kengo himself finds suffocating and unbearable.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e How unfortunate is humanity, dependent on closed boxes that faithfully fulfill their function as commodities.\u003cbr\u003e Kengo Kuma argues that during the period of rapid economic growth in the 20th century, the production of 'objects' played a crucial role in moving society, but in the 21st century, the production of objects only destroys the environment and creates further exploitation and injustice, and he repeatedly advocates and realizes liberation from closed boxes.\u003cbr\u003e What supports this are the 'methods' he has honed through countless trials and errors and challenges over the past 30 years.\u003cbr\u003e Rather than industrial materials like concrete or steel, they also use weak materials like wood, ceramic, and glass without hesitation.\u003cbr\u003e There is no regret or fear of breaking or rotting.\u003cbr\u003e Because architecture, like people, is born, grows old, dies, and decays. \u003cbr\u003eKuma Kengo's method is to repeatedly dismantle the volume and break it into small particles, which then leads to dismantling and connecting it as a quantum unit.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003cb\u003eArchitects must run like long-distance runners.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e \"Kengo Kuma, All My Work\" contains the secret of how Kengo Kuma was able to run tirelessly and steadily at a similar pace as a long-distance runner, even while crossing the boundaries between the industrial and post-industrial eras.\u003cbr\u003e Divided into four periods, from 1986, when he took his first steps as an architect, to his recent thoughts and activities, the book shows in detail how his thoughts have changed and developed, and how his ideas, which advocated for the Three Lows, were realized and completed in his works.\u003cbr\u003e Unusually, it includes episodes of 55 works he personally selected and included, along with photos.\u003cbr\u003e In a word, it is the culmination of Kuma Kengo's work.\u003cbr\u003e\u003cbr\u003e \u003cbr\u003eKengo Kuma says that architecture is a product of credit.\u003cbr\u003e If you don't build up your credit bricks one by one, work won't come your way.\u003cbr\u003e It's difficult to jump suddenly.\u003cbr\u003e To do this, you need the physical strength, stamina, and mental fortitude of a long-distance runner who can continuously build up bricks.\u003cbr\u003e To achieve this, the method that Kuma Kengo has been consistently implementing since the first period is the 'three-wheeled vehicle' method.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e The first wheel is a large project.\u003cbr\u003e The second wheel is a small project, like a small pavilion.\u003cbr\u003e When you open an architectural office and start working, you inevitably end up taking on large-scale projects.\u003cbr\u003e However, for Kengo Kuma, small pavilions and installations also hold great importance.\u003cbr\u003e Because you can create what you want and send a message to the world without the entanglement of other people's interests.\u003cbr\u003e The third wheel is the act of writing. \u003cbr\u003eWriting is a wheel that makes him look back at what he is doing and what architecture should be like.\u003cbr\u003e I hope that this book will allow you to discover what kind of works were born from the process of these three wheels interacting and achieving balance.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e \"]\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e GOODS SPECIFICS \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eDate of issue:\u003c\/strong\u003e January 18, 2023\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 372 pages | 732g | 145*210*23mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9791162182338\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN10:\u003c\/strong\u003e 1162182334 \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/center\u003e\n\n\n\u003c\/center\u003e","brand":"LIBRAIRIE COREENNE","offers":[{"title":"Default Title","offer_id":43891760824362,"sku":"155707","price":46.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/ec41369ffc70f4aa1c30a411ef61a39d.jpg?v=1765341048","url":"https:\/\/librairie.coreenne.fr\/en\/products\/155707","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}