{"id":85784,"date":"2025-10-28T09:21:38","date_gmt":"2025-10-28T08:21:38","guid":{"rendered":"https:\/\/www.diasen.com\/?p=85784"},"modified":"2025-10-28T09:21:38","modified_gmt":"2025-10-28T08:21:38","slug":"biophilic-architecture-and-natural-materials-kengo-kumas-vision-between-the-mediterranean-and-japan","status":"publish","type":"post","link":"https:\/\/www.diasen.com\/en\/biophilic-architecture-and-natural-materials-kengo-kumas-vision-between-the-mediterranean-and-japan\/","title":{"rendered":"Biophilic Architecture and Natural Materials: Kengo Kuma\u2019s Vision Between the Mediterranean and Japan"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\r\n
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“I believe the Mediterranean has a long history of conversations with materials.”<\/em><\/blockquote>\r\nWith these words, Japanese architect Kengo Kuma<\/strong> opened his reflection on the deep connection between nature, materials, and architecture<\/strong>, 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.<\/strong>\r\n

Mediterranean and Japan: Two Cultures, One Dialogue with Materials<\/strong><\/h2>\r\nThe 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.\r\n\r\nThis 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.\r\n\r\nThe convergence between these two cultures lies precisely here: materials and people\u2019s lives are deeply intertwined<\/strong>, 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<\/strong> with the surrounding environment.\r\n\r\n \r\n\r\n\r\n

Biophilia as the Foundation of Design Practice<\/strong><\/h2>\r\nOver the past twenty years, biophilia<\/strong> has emerged as one of the core concepts in Kengo Kuma\u2019s 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.\r\n\r\n“Biophilia has given me many indications about the total ecosystem of a building,”<\/em> 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<\/strong>, integrating them into a broader and more complex system.\r\n\r\nWhen 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<\/strong> capable of dialoguing with its natural and social context.\r\n\r\n \r\n\r\n\r\n

Sustainability: The Guiding Principle for Every Building System<\/strong><\/h2>\r\nSustainability certainly shapes the natural and warm atmosphere of living spaces, but according to Kuma\u2019s vision, its role goes far beyond perception and emotion. Sustainability provides essential guidance for the entire building<\/strong>:from environmental conditions to natural lighting systems, from material selection to every component of the architectural organism.\r\n\r\nEvery 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<\/strong>. It is the thread that runs through every design decision, from initial concept to final realization.\r\n\r\n \r\n\r\n\r\n

Water: Material and Element of the Natural Cycle<\/strong><\/h2>\r\nThe role of water in Kengo Kuma\u2019s 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<\/strong>, and the materials used in architecture must fit into this cycle, following the same path as water itself.\r\n\r\nBut 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.<\/strong>\r\n\r\nWithin this context, the theme of material recycling <\/strong>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<\/strong>. Every material must be seen not as an isolated element but as part of a larger circular system.\r\n\r\n \r\n\r\n\r\n

A Dialogue Between Cultures for the Architecture of the Future<\/strong><\/h2>\r\nKengo Kuma\u2019s 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.\r\n\r\nBoth 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,<\/strong> but concrete responses to the sustainability and well-being needs that define our era.\r\n\r\nThe lesson that emerges from Kuma\u2019s vision is clear: architecture must once again become part of a wider conversation with materials, with nature, with natural cycles.<\/strong> Only in this way can it meet contemporary challenges without losing its identity or its bond with the land.\r\n\r\n \r\n\r\n\r\n

Diasen and the Culture of Materials as an Ecosystem<\/strong><\/h2>\r\nThe design approach described by Kengo Kuma finds a natural resonance in the philosophy of Diasen<\/strong>, a B-Corp<\/strong> 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<\/strong> in harmony with the environment.\r\n\r\nAt Diasen<\/strong>, we share this vision, placing cork at the heart of our research as the quintessential biophilic material<\/strong>: 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\u2019s principles: an architecture that listens, respects its context, and restores centrality to both people and nature<\/strong>.\r\n\r\nThrough continuous research into eco-friendly materials and innovative construction systems<\/strong>, 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\u2019s 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<\/strong> for both people and the planet we inhabit.\r\n\r\n \r\n\r\n[\/vc_column_text][\/vc_column][\/vc_row]","protected":false},"excerpt":{"rendered":"

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