Architecture News

Japanese architect Kengo Kuma, a notable figure in contemporary design, frequently draws connections between his architectural endeavors and the realm of music. He views the creative process of composition and building as deeply intertwined. His close relationship with the late composer Ryuichi Sakamoto highlighted this perspective, as Kuma observed similarities between Sakamoto's innovative musical approaches and his own design principles. Sakamoto's ability to seamlessly blend Eastern and Western influences, tradition with modernity, resonated strongly with Kuma's vision for architecture that transcends conventional boundaries. This philosophy is reflected in Kuma's diverse musical tastes, spanning jazz, ambient, classical, and experimental genres, each providing a distinct lens through which he conceives and develops his spatial concepts.

Kuma's engagement with music extends beyond mere enjoyment; it serves as a wellspring of inspiration, a tool for overcoming creative blocks, and a means of reconnecting with past experiences and ideas. He cites Brian Eno's ambient works, particularly '1/1' from 'Ambient 1: Music for Airports,' as instrumental in shaping his understanding of music's capacity to create an environment, rather than merely existing within it. This concept is a cornerstone of Kuma's architectural ambition: to design spaces that evoke specific atmospheres and experiences, much like a musical piece. Furthermore, he finds resonance in the unconventional structures of artists like Cecil Taylor, who advocate for dismantling existing rules to forge new discoveries. Similarly, Beethoven's symphonies, with their intricate development from simple motifs, mirror Kuma's interest in how elemental components coalesce to form a cohesive and grander whole in his architectural projects.

The Auditory Landscape of Architectural Thought

For Kengo Kuma, the interplay between sound and physical space is not merely conceptual but a tangible source of creative energy. His musical preferences, ranging from the boundary-defying compositions of Ryuichi Sakamoto to the deconstructive jazz of Cecil Taylor, directly inform his design methodology. Sakamoto’s ability to bridge cultural and temporal divides in his music inspires Kuma to create architectural forms that similarly negotiate between different contexts and historical layers. Kuma's admiration for Mulatu Astatke's unique rhythms, which blend various musical traditions, fuels his desire to explore unconventional forms and challenge established norms in his architectural creations, emphasizing the importance of breaking free from rigid conventions to uncover novel design solutions.

Kuma's selection of music reveals a thoughtful engagement with how auditory experiences can shape and inform spatial perception. He actively seeks out pieces that provoke new ways of thinking about structure, environment, and emotional impact. Brian Eno's ambient music, for instance, profoundly influenced Kuma's understanding of how sound can actively construct an atmosphere, inspiring him to design buildings that are more than just physical containers but rather immersive environments. This approach allows his architecture to transcend purely functional considerations, aiming instead to evoke feelings, memories, and a deeper connection with the surrounding world. Kuma's artistic journey demonstrates a continuous dialogue between the ephemeral quality of music and the concrete reality of architecture, where each art form enriches and expands the possibilities of the other.

Musical Narratives in Kuma's Creations

Kengo Kuma often envisions his architectural projects as having their own soundtracks, a testament to the deep emotional and experiential resonance he finds in music. He suggests specific musical pieces that he believes would perfectly complement the experience of inhabiting his designs, creating a multi-sensory encounter for visitors. For instance, Ryuichi Sakamoto's '20220302 – sarabande' is chosen for its delicate simplicity and profound emotional depth, qualities Kuma strives to embed in his architecture, where even the smallest details carry significant meaning. This concept underscores his ambition to craft spaces that are not only visually compelling but also emotionally resonant, much like a powerful piece of music.

The architect's personal soundtrack also reflects his influences and memories, with music serving as a powerful conduit to the past. Yumi Arai's 'Hikōki-gumo' transports him to the landscapes of his youth, highlighting music's unique capacity to evoke places and emotions that may no longer physically exist. This connection to memory and history informs Kuma's designs, often leading to spaces that feel deeply rooted and resonant. His favorite album cover art, Ryuichi Sakamoto's 'Merry Christmas, Mr. Lawrence' soundtrack, further illustrates how visual and auditory elements can synergize to create a complete emotional world. Kuma's integration of musical principles, such as the gradual development of simple elements into complex structures found in Beethoven's Seventh Symphony, into his architectural process allows him to construct buildings that are both intricate and harmonious, offering a rich and contemplative experience for those who engage with them.

Artist Rirkrit Tiravanija, in collaboration with We Are Ona and chef Dalad Kambhu, unveiled an extraordinary culinary installation at Art Basel Paris 2026. This temporary dining experience, named Dalad's, features monumental stainless steel tables meticulously crafted to resemble traditional Thai fishing boats. More than mere furniture, these structures ingeniously combine dining surfaces with fully functional kitchens, integrating seating and steam pots that enable chefs to prepare and serve food directly to guests. The initiative aims to re-imagine the dining experience by fostering social interaction and placing cooking at the heart of an architectural setting, drawing inspiration from the rich culinary traditions of Thailand.

The concept behind these boat-shaped tables stems from Tiravanija's childhood memories of vibrant Thai waterways, where vendors skillfully prepared and sold boat noodle soup from their vessels. This cultural heritage deeply influenced his decision to unite the kitchen and dining areas, transforming the tables into platforms for both sustenance and cultural exchange. The modular stainless steel designs not only pay homage to the iconic silhouette of fishing boats but also symbolize their dual role as transport and trade hubs. This thoughtful integration challenges conventional restaurant layouts, bringing diners closer to the culinary process and the expertise of the chefs.

Dalad's, which ran from October 18 to 25, 2026, was the inaugural project from chef Dalad Kambhu and Luca Pronzato, founder of We Are Ona. The pop-up aimed to redefine contemporary Thai cuisine through shared experiences, offering multi-course meals served directly from the interactive tables. This venture marked Kambhu's third collaboration with We Are Ona, underscoring their commitment to blending gastronomy with innovative design. The immersive setup, accommodating up to 100 guests, encouraged a collective dining atmosphere where both chefs and patrons shared a common space, enhancing the sense of community and participation.

Luca Pronzato highlighted another inspiration for the boat-themed design: the practice of repurposing old fishing boats into floating restaurants. He noted how this approach eliminates the traditional separation between the kitchen and dining room, making the boats the foundational element of the entire installation. The integrated steam pods further dissolve these boundaries, allowing the culinary preparation to unfold directly on the communal tables, creating an intimate and engaging experience for everyone involved.

At the core of the culinary offerings was Thai-American chef Dalad Kambhu, renowned for her Michelin-starred restaurant Kin Dee in Berlin. Her distinctive culinary philosophy blends classic Thai flavors with locally sourced, seasonal ingredients. For Dalad's, she delved deeper into the connections between food, cultural heritage, and geographical context, presenting a menu that reflected these themes. The collaboration also highlighted the strong bond between Kambhu and Tiravanija, who frequently discussed the complexities of preparing authentic Thai cuisine in international settings, questioning concepts of cultural identity and culinary authenticity.

We Are Ona, established by Pronzato in 2019, consistently explores the intersection of gastronomy with art, architecture, and design. Their involvement in Dalad's aligns with Tiravanija's artistic practice, which often blurs the lines between artist, audience, and artwork by incorporating everyday activities like cooking and eating. For Pronzato, art transcends mere observation; it is a lived experience. The installation's tables provide the physical structure, but it is the dynamic interplay between chefs and guests that truly brings the artwork to life, transforming dining into a collective artistic endeavor. As Tiravanija eloquently expressed, a delightful meal shared with friends and even strangers can be a profound work of art.