“I believe the Mediterranean has a long history of conversations with materials.”
With these words, Japanese architect Kengo Kuma opened his reflection on the deep connection between nature, materials, and architecture, sharing a vision that intertwines two cultures that appear distant yet are profoundly connected: the Mediterranean and Japan. It is a dialogue that goes beyond geography to embrace a design philosophy rooted in place, sustainability, and respect for the ecosystem.
Mediterranean and Japan: Two Cultures, One Dialogue with Materials
The nature of the Mediterranean possesses unique characteristics and a distinctive beauty that reveals itself through an extraordinary richness of materials. Iron, special stones, and the warmth of the climate have over time generated a diversity that architecture has learned to interpret and enhance, establishing an unbreakable bond with this natural variety. Mediterranean architecture is deeply tied to this diversity, a relationship consolidated over centuries.
This condition finds a surprising echo in the Japanese context. Although Japan is not a vast country geographically, it presents remarkable natural diversity: multiple types of trees, stones, and natural resources have allowed Japanese architects to develop a design tradition that has worked with these materials for generations.
The convergence between these two cultures lies precisely here: materials and people’s lives are deeply intertwined, both in the Mediterranean and in Japan. The conditions are surprisingly similar, creating a shared foundation for an architecture that listens to the land, respects local resources, and builds spaces in harmony with the surrounding environment.
Biophilia as the Foundation of Design Practice
Over the past twenty years, biophilia has emerged as one of the core concepts in Kengo Kuma’s architectural practice. Although his personal preference remains wood, the biophilic approach has greatly expanded the understanding of material use, providing insights that go far beyond surface aesthetics.
“Biophilia has given me many indications about the total ecosystem of a building,” the architect emphasizes. Biophilic architecture does not merely involve applying natural materials to surfaces for aesthetic effect. The true goal is to use natural materials as part of the ecosystem, integrating them into a broader and more complex system.
When this philosophy is extended to the entire building, the construction itself can become part of the ecosystem of the country. This systemic approach represents a fundamental paradigm shift: natural materials are not just decorative finishes but active elements that contribute to creating a living, balanced environment. Bringing this idea to the scale of the whole building means turning every architectural project into a piece of a wider system capable of dialoguing with its natural and social context.
Sustainability: The Guiding Principle for Every Building System
Sustainability certainly shapes the natural and warm atmosphere of living spaces, but according to Kuma’s vision, its role goes far beyond perception and emotion. Sustainability provides essential guidance for the entire building:from environmental conditions to natural lighting systems, from material selection to every component of the architectural organism.
Every system of the building is guided by sustainability. Without this guiding principle, Kuma argues, architectural design can no longer move forward. Sustainability is therefore not an added value or an optional feature to be considered at the final stages of a project, but the essential and indispensable condition for creating architecture in our time. It is the thread that runs through every design decision, from initial concept to final realization.
Water: Material and Element of the Natural Cycle
The role of water in Kengo Kuma’s design philosophy is yet another example of how nature can be integrated into architecture at multiple levels. Water is part of nature, part of the natural cycle, and the materials used in architecture must fit into this cycle, following the same path as water itself.
But water is not only an element to be considered in building systems: in some projects, it becomes one of the main materials. In the Nasu Museum and the Brion-Vega Museum in Portugal, Kuma used water as a full-fledged design material. This choice responds to multiple reasons: water is aesthetically beautiful, but above all, modern water is part of the natural cycle, representing a deep connection between architecture and environment.
Within this context, the theme of material recycling emerges strongly as one of the most important roles for contemporary architects. In an era when natural resources are limited and the environmental impact of construction is increasingly evident, rethinking materials in terms of cycles and flows becomes both an ethical and design responsibility. Every material must be seen not as an isolated element but as part of a larger circular system.
A Dialogue Between Cultures for the Architecture of the Future
Kengo Kuma’s reflections offer a vision of architecture deeply rooted in materiality and place, yet projected toward the future. The dialogue between Mediterranean and Japanese traditions is not an academic exercise or a mere stylistic comparison, but a practical necessity for addressing the challenges of contemporary living.
Both cultures have developed, over centuries, a particular sensitivity toward natural materials and environmental context. This cultural heritage is today a precious resource for rethinking how we design and build our living spaces. Biophilic architecture, the mindful use of natural materials, and the integration of buildings within local ecosystems are not passing trends, but concrete responses to the sustainability and well-being needs that define our era.
The lesson that emerges from Kuma’s vision is clear: architecture must once again become part of a wider conversation with materials, with nature, with natural cycles. Only in this way can it meet contemporary challenges without losing its identity or its bond with the land.
Diasen and the Culture of Materials as an Ecosystem
The design approach described by Kengo Kuma finds a natural resonance in the philosophy of Diasen, a B-Corp company from the Marche region of Italy, specialized in architectural systems based on cork and natural materials. As the Japanese architect emphasizes, natural materials are not mere surfaces but living elements capable of creating sustainable building ecosystems in harmony with the environment.
At Diasen, we share this vision, placing cork at the heart of our research as the quintessential biophilic material: natural, tactile, and evolving, able to combine aesthetics, technical performance, and living comfort. Our commitment to promoting an ethics of materials and creating beauty that lasts over time perfectly aligns with Kuma’s principles: an architecture that listens, respects its context, and restores centrality to both people and nature.
Through continuous research into eco-friendly materials and innovative construction systems, Diasen supports designers and architects in creating buildings that do not merely define spaces but bring them to life integrating them into the landscape and enhancing people’s well-being. The dialogue between the Mediterranean and Japan, between tradition and innovation, between materiality and sustainability, continues to provide valuable guidance for designing regenerative environments that truly improve the quality of life for both people and the planet we inhabit.
