LB 24 KENGO KUMA cam ONLINE sample PREVIEW

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KENGO KUMA Kengo Kuma was born in 1954.

Before establishing Kengo Kuma & Associates in 1990, he received his Master’s Degree in Architecture from the University of Tokyo, where he is currently a University Professor and a Professor Emeritus.

Having been inspired by Kenzo Tange’s Yoyogi National Gymnasium, built for the 1964 Tokyo Olympics, Kengo Kuma decided to pursue architecture at a young age, and later entered the Architecture program at the University of Tokyo, where he studied under Hiroshi Hara and Yoshichika Uchida.

During his Graduate studies, he made a research trip across the Sahara, exploring various villages and settlements, observing a unique power and beauty.

After his time as a Visiting Scholar at Columbia University in New York, he established his office in Tokyo.

Since then, Kengo Kuma & Associates has designed architectural works in over thirty countries and received prestigious awards, including the Architectural Institute of Japan Award, the Spirit of Nature Wood Architecture Award (Finland), and the International Stone Architecture Award (Italy), among others. Kengo Kuma & Associates aims to design architecture which naturally merges with its cultural and environmental surroundings, proposing gentle, human scaled buildings.

The office is constantly in search of new materials to replace concrete and steel, and seeks a new approach for architecture in a post-industrial society.

FUNDAÇÃO CALOUSTE GULBENKIAN Based in Portugal, the Calouste Gulbenkian Foundation promotes the development of people and organisations through art, science, education and charity, for a more equitable and sustainable society.

Founded in 1983, the Gulbenkian Modern Art Centre by British architect Leslie Martin, brings together the most complete collection of modern and contemporary Portuguese art.

In 2024 it reopens to the public reimagined by architect Kengo Kuma, with new facilities and establishing new relationships with the garden to the south of the building.

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A WHOLE THAT IS (MUCH) MORE THAN THE SUM OF ITS PARTS All texts in inverted commas and unidentified are taken from the competition proposal submitted by Kengo Kuma.

We all know that buildings, like cities, change over the course of their lives.

Often in their uses; sometimes in their inner spaces; almost always in their exterior appearance.With different rhythms, often even with objectives that seem opposite or contradictory, but always adjusting to the changes in society itself, to its understandings, needs and objectives, because both buildings and cities are always manifestations of that society’s culture.

An example of these continuous transformations that we are witnessing, often without hardly realising it, are the successive changes that have taken place in this part of the city of Lisbon, which are at the origin of the work documented here. In this case, an intervention in a building that is simultaneously the origin and the consequence of the transformations in that block, but whose repercussions extend to the city itself.

In fact, the transformation that has now taken place in the Gulbenkian Garden, by recovering the layout of the old pedestrian axis that crosses it from south to north, and opening it up to the city, has introduced changes in the dialogue between some of its parts in the urban morphology. Roughly triangular in shape, this was one of the old estates that surrounded the city of Lisbon in the second half of the 19th century, since 1852 bounded by the ring road. It was through this road, which defined the southern boundary, that the main entrance to what in 1870 became known as Santa Gertrudes Park was made. It is this old access to the garden that, with the purchase and unification of the entire property, has once again taken on importance in structuring this entire green area, which is now once again open1 to the city’s enjoyment. The old boulevard, which organised the park from the gate to the lake from the first layout, has now been restored and combined into a garden where the visitor is invited to wander through the landscape that unveils itself at every turn, in the intended “holistic integration of all elements in the landscape”.

A combination that, due to Lisbon’s complex topography, extends to the city, as this has always been an area where the various paths connect the neighbouring territories, in this case to Queluz and Sintra, intersected. The green route of this garden is thus naturally part of Lisbon’s2 so-called green corridor, as part of a continuum linking this area with the new avenues and which will be extended by an announced pedestrian3 path, through the urban park of Praça de Espanha, and then on to Monsanto.

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Again, because important urban facilities such as the Zoo, a Velodrome and an amusement park have already been installed here.

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An idea proposed by landscape architect Gonçalo Ribeiro Teles in 1976, and which has been gradually materialising over the last few years.

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A continuous route that will be continued by a raised walkway, according to the winning proposal of the competition for the arrangement of the Praça de Espanha, 2017, by the NPK studio with the RUA studio.

A call for tenders was made to twelve teams of architects, six from Portugal and six from abroad, who were asked to appoint landscape architects, resulting in the choice of the proposal submitted by the Japanese architect Kengo Kuma4.

Although it covered the whole area, the intended transformation would mainly affect the Foundation’s Modern Art Centre (CAM) building. Inaugurated in 19835, the building stood next to what was then the southern edge of the site and opened onto the old garden to the north, with its southern facade completely enclosed. Its central location in the park not only emphasised the division of the property, but also created a barrier to the intended connection between the two parts of the garden.

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Together with landscape architect Vladimir Djurovic, as designer of the park extension.

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Designed by architects Leslie Martin with José Sommer Ribeiro, Ivor Richards and José Nunes Oliveira.

With a much more experimental programme than the other buildings, it was also the one that required the most corrections and adaptations to the new functional needs, namely allowing for a better rotation of exhibitions.

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CAM - CENTRO DE ARTE CONTEMPORANEA

LISBOA PORTUGAL

Our goal here was not to create a singular piece of architecture, but to craft an environment. The art museum of the future will likely embody this—a seamless space where art and people exist in harmony.

We felt that there is no greater joy than experiencing art while a gentle breeze dances through the greenery. The Gulbenkian will surely become a model for such a museum of the future.

In Japan, there is a space between the garden and the building called “ENGAWA.” It’s one of the most cherished aspects of Japanese architecture, offering a rich, layered experience. It’s more than just a threshold— it’s a place where humans and nature meet, a space that revitalizes the spirit.

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At the Gulbenkian, we’ve created an ENGAWA using wood and white ceramic tiles. These materials, wood and clay, have long been cherished for their role in connecting people to nature, and here were used as the main materials for the ENGAWA that unites the garden and the building.

Both the Portuguese and Japanese share a deep love for wood and tiles, using them to build their homes and cities. When you look up at this ENGAWA from below it resembles a wooden ship. Ships have long been essential vehicles in the histories of both Portugal and Japan.

While neither country is large in size, they are surrounded by long coastlines, and their people have always been closely tied to the sea. Ships carried them to fish, to trade, and to explore the wider world. Here, too, this large wooden ship will become a vessel, connecting people to the world. Through this ship, imaginations will be sparked, and dreams will expand beyond boundaries.

As a result, I believe many things will come together in this new museum. Not only does the garden seamlessly connect with the building, but new walls and gates forge a deeper connection between the museum and the city of Lisbon. And through the ENGAWA, or ship, the museum reaches out—not just to the world, but to the universe beyond.

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Engawa South Entrance North Entrance Foyer Restaurant Educative area Store Main exhibition room

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Page 01 - 27 Engawa Page 28 - 29 Restaurant Page 30 North Entrance

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Page 53 Drawing Room

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ridge capping in 5mm thick aluminium sheet, anodised finishing 2mm thick ceramic stoneware cladding (900x900mm) glazed in white, glued onto metal sheeting fixing system double layer of basf polyurea waterproofing, colour to be determined lvl panelled ceiling 03 lvl beam 04 metal beam, colour painted finish 05 lath panelling made from dehydrated ash wood, section 20x190mm concealed fixing system lvl panelling 06 upper and lower eaves cladding 07 labelled high pillar 08 recessed low pillar 01 02

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Page 55 Atrium Entrance Page 58 - 59 South Elevation

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ENGAWA - CALOUSTE GULBENKIAN LISBOA, PORTUGAL 2024 Site Area 13.836 m2 Build area 700 m2 Refurbish area 5,144 m2 Client Calouste Gulbenkian Foundation Design year(s) 2019 to 2021 Construction year(s) 2021 to 2024 Lead Architect KKAA Principal(s) in charge Kengo Kuma Project team Rita Topa, Andrea Toccolini, Tuğçe Ari, Antoine Soued, Fabio Bellini, Mohammad Eimar, Romeo Chang, Philippe Chassais Local Architect OODA Landscape architect VDLA (Vladimir Djurovic Landscape Architecture) Technical and service areas TNP - Teresa Nunes da Ponte Arquitectura Images cover paper dust, page 02, 04, 58, 59 and 62 © Fernando Guerra all other images © Pedro Cardigo

SPECIAL THANKS TO

Ana Botella Andrea Federico Toccolini Benjamin Weil Carolina Ladeira Elisabete Caramelo Fernando Guerra José Manuel Pedreirinho Patrícia Rosas Pedro Cardigo Rita Topa Susana Prudêncio Tuğçe Ari

PUBLICATION DATA INFORMATION

COLLECTION LONG BOOKS VOLUME LB 24 TITLE KENGO KUMA CAM ISBN 978-989-35767-1-7 PUBLICATION DATE September 2024 EDITOR AND GENERAL MANAGER Ana Leal EDITORIAL TEAM Ana Leal, architect Filipa Ferreira, designer João Soares, architect TRANSLATIONS Margarida Sequeira PRINTING Graficamares LEGAL DEPOSIT 480255/21 RUN NUMBER portuguese edition /500 numbered copies english edition /1000 numbered copies PUBLISHER AND OWNER AMAG publisher VAT NUMBER 513 818 367 CONTACTS hello@amagpublisher.com www.amagpublisher.com

LONG BOOKS COLLECTION LB 01 DAVID ADJAYE mole house LB 02 NICHOLAS BURNS guimarães chapel LB 03 DAVID ADJAYE the webster LB 04 CARVALHO ARAÚJO casa na caniçada LB 05 ANDRÉ CAMPOS | JOANA MENDES centro coordenador de transportes LB 06 ANDRÉ CAMPOS | JOANA MENDES PEDRO GUEDES DE OLIVEIRA fábrica em barcelos LB 07 DAVID ADJAYE winter park library & events center LB 08 DAVID ADJAYE 130 william tower LB 09 BRANDENBERGER KLOTER ARCHITECTS community hall laufenburg LB 10 BRANDENBERGER KLOTER ARCHITECTS school pfeffingen

LB 11 BRANDENBERGER KLOTER ARCHITECTS double kindergarten rüti LB 12 BRANDENBERGER KLOTER ARCHITECTS school aarwangen LB 13 BRANDENBERGER KLOTER ARCHITECTS school birrwil LB 14 ANGELO CANDALEPAS the castle LB 15 PAUL MURDOCH ARCHITECTS flight 93 national memorial LB 16 ÁLVARO SIZA monte da lapa volume l LB 17 SO – IL amant LB 18 AFF spore initiative LB 19 LYNCH n2 LB 20 VIANA DE LIMA casa das marinhas LB 21 SPASM parikrama house LB 22 JOSEP FERRANDO social center LB 23 SJB 19 waterloo Street

LB 24 KENGO KUMA, CAM, is the twenty-fourth title from AMAG LONG BOOKS COLLECTION.

AMAG LONG BOOKS COLLECTION brings together a unique selection of projects that establish new paradigms in architecture.

With a contemporary and timeless conceptual graphic language, the 1000 numbered copies of each LONG BOOK will document works with different scales and formal contexts that extend the boundaries of architectural expression.

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