As Expo 2025 Osaka unfolds under the theme ‘Designing Future Society for Our Lives,’ the Qatar Pavilion by Kengo Kuma & Associates introduces an architectural meditation on dualities: land and sea, tradition and innovation, Qatar and Japan. Located on the waterfront site of Yumeshima Island, the pavilion brings together the fluidity of fabric, the solidity of timber, and the stories etched into coastlines, both real and remembered. Inside, an exhibition has been curated and designed by OMA / AMO, led by Samir Bantal. See designboom’s previous coverage here!

The pavilion, photographed by Iwan Baan, comes together in the form of a sweeping architectural gesture shaped like a dhow, the traditional sailing vessel once vital to trade and pearling in the Arabian Gulf. Its curving white canopy, suspended from a finely joined timber frame, evokes both a sail catching the breeze and the tensile calm of Japanese and Qatari wood craftsmanship. The architects note that the dhow is more than symbolic. It is a shared vernacular that represents human-scale exchange across water.

The Qatar Pavilion evokes a traditional dhow sailing vessel | image © Iwan Baan

Kengo Kuma Blends Heritage Through Craft

Kengo Kuma & Associates’ Qatar Pavilion is a celebration of construction methods as much as form at Expo 2025 Osaka. The pavilion incorporates timber joinery techniques drawn from both Qatari and Japanese traditions, creating a structure that appears both ancient and futuristic. According to the design team, this synthesis of techniques reflects a respect for cultural continuity and a shared sensibility rooted in the sea. The architects set the tone with an entry framed by poetic verse. Outside the pavilion, vitrines display poems by Sheikh Jassim bin Mohammed bin Thani and Ahmed bin Hassan Al-Muhannadi, printed against coastal imagery. The visuals replicate the gradient of the Gulf’s waters — deep indigo fading to aquamarine — as seen by sailors returning to shore.

A sequence of transitions define the experience, as the interior leads visitors from the maritime realm into the arid terrain of inland Qatar. A series of sand samples, each distinct in tone and texture, conjure the deserts that lie beyond the coast. Wall graphics reference the petroglyphs of Al Jassasiya, carved into stone by generations of inhabitants. The Pavilion was commissioned by Qatar’s Ministry of Commerce and Industry with creative and content direction led by the Qatar Blueprint, a think tank within Chairperson’s Office of Qatar Museums.

the lightweight structure uses Qatari and Japanese joinery techniques | image © Iwan Baan

the exhibition by OMA / AMO

Titled From the Coastline, We Progress, the OMA / AMO-curated exhibition deepens the narrative established by Kengo Kuma & Associates’ architecture, bringing an immersive journey into the nation’s past, present, and future as seen through its relationship with the sea. Developed under the direction of Samir Bantal, the exhibition transforms Qatar’s 563-kilometer coastline into a story of environmental adaptation, cultural resilience, and strategic transformation.

Visitors are first guided by a visual gradient that transitions from oceanic blues to desert tones, leading them toward the entrance. Aerial photographs of Qatar’s coastline — particularly the protected area of Al Zubarah — are displayed alongside poetry by Sheikh Jassim bin Mohammed bin Thani and Ahmed bin Hassan Al-Muhannadi, reinforcing the country’s poetic and ecological heritage. Inside, tubes of sand sourced from different desert zones act as tactile markers, both material and metaphorical, guiding the flow of movement through the space.

white flowing fabric captures both breeze and heritage | image © Iwan Baan

A deep blue curtain, created with Inside Outside, wraps the main exhibition hall, evoking the stratified densities of the sea. Within, a wedge-shaped aluminum structure houses twelve niches, each dedicated to a specific coastal site such as Khor Al-Udaid, Al Wakrah, Old Doha Port, or Ras Laffan. These vignettes combine panoramic imagery, tactile maps, and colored beads that signal each site’s role in Qatari life — whether industrial, ecological, cultural, or diplomatic.

At the heart of the experience is a cinematic installation modeled after a traditional Qatari winter majlis. The three-channel film, directed by AMO and Samir Bantal, interlaces archival material with new footage — British Petroleum reels from the 1950s and panoramic shots by filmmaker Ron Fricke — to explore Qatar’s complex modern identity through its land, sea, and people.

Before exiting, visitors encounter a compact display of traditional objects on loan from the National Museum of Qatar — relics from pearl diving and domestic life that serve as reminders of the material culture that once sustained the nation’s shoreline communities. This exhibition continues AMO’s long-standing engagement in the Gulf, complementing previous work on the Qatar National Library, the Qatar Foundation headquarters, and the landmark Making Doha exhibition in 2019.

poems by Qatar’s founding figures greet visitors at the entrance | image © Iwan Baan

Sou Fujimoto’s Grand Ring is framed by tensile openings in the fabric structure | image © Iwan Baan

interior exhibits trace Qatar’s transformation from sea to land | image © Iwan Baan

a three-screen film and sea curtain immerse guests in coastal stories | image © Iwan Baan

image © Marco Cappelletti, courtesy of OMA / AMO

pearl divers, merchants, and women’s roles are spotlighted in the narrative | image © Iwan Baan

project info:

name: Qatar Pavilion

architecture: Kengo Kuma & Associates | @kkaa_official

location: Expo 2025 Osaka | @expo2025japan

curator: OMA / AMO | @oma.eu

creative & content direction: Qatar Blueprint

commissioner: Qatar’s Ministry of Commerce and Industry

photography: © Iwan Baan | @iwanbaan

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Kengo Kuma and Associates’ CMP Inspiration sits at the intersection of Taichung’s Calligraphy Greenway — the heart of the city’s green network — and a cluster of high-and mid-rise urban developments. The organic new museum in Taiwan is conceived to dissolve into its surroundings, partially buried underground and topped with a roof that becomes the project’s primary architectural gesture.

Softly contoured and densely planted, the roof wraps above and around the museum, before it folds into its context. Amid the greenery, a multi-level public space is carved out to extend the museum’s program into the urban sphere, functioning like a city plaza and a stage for hosting concerts, gatherings, and other events. Beneath, this sinuous language extends into the programming which is hosted amid gently contorting exhibition halls and winding corridors, and complemented by a signature curving staircase. 

all images by Chen Yang

a garden-like museum in taichung, taiwan

Kengo Kuma and Associates integrates a surface of soil into the roof structure to support a self-sustaining ecosystem of vegetation on top of it. Further, the CMP Inspiration museum decidedly keeps a low profile to minimize the imposing character of the urban development surrounding it. Structurally, the architects achieve this organic integration through a lightweight steel framework. The 12-millimeter-thick polygonal steel base plates eliminate visual bulk, allowing the surface to dissolve fluidly into the ground plane.

Supported by steel posts and beams, the interior spaces are also defined by twisted surfaces that subvert the conventional white-cube museum typology. Deviating from neutral, rectilinear enclosures, the galleries are conceived as a sequence of contorted rooms, connected by a cavernous volume and organic transitional zones. Here, pleated walls and louvered ceilings echo the structure’s undulating form, injecting warmth through layers of gently illuminated wooden panels. 

Kengo Kuma and Associates completes CMP Inspiration

sits at the intersection of Taichung’s Calligraphy Greenway and high-and mid-rise urban developments

partially buried underground and topped with a roof that becomes the project’s primary architectural gesture

a multi-level public space is carved into the greenery

the space functions like a city plaza and a stage for hosting various events

the organic new museum is conceived to dissolve into its urban context

the 12-millimeter-thick polygonal steel base plates eliminate visual bulk

the CMP Inspiration museum keeps a low profile to minimize the imposing character of the urban development

pleated walls and louvered ceilings echo the structure’s undulating form

a signature curving staircase

injecting warmth through layers of gently illuminated wooden panels

project info:

name: CMP Inspiration

architect: Kengo Kuma and Associates | @kkaa_official

location: Taichung, Taiwan

design team: Satoshi Onomichi, Yi-chen Lee, Yifei Wu, Fumiki Sugawara, Go Terasawa, Hisako Tokai

construction: CEC (Continental Engineering Corporation)

cooperation: EEC (Envision Engineering Consultants)

facility: GHC Engineering Co., Ltd.

accumulation: C.Y. Lee & Partners Architects / Planners

exterior: H&A (Horizon & Atmosphere Landscape Co.)

illumination: PLCD X CMA Lighting Design

photographer: Chen Yang

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Kengo Kuma and Associates conjures an architectural apparition in the heart of Fukuoka, Japan with this newly opened Cs Somme Café. The coastal city, famous for its food culture, is located along the northern shore of the country’s Kyushu Island. The new structure is wrapped in a facade of delicate metal mesh and appears to hover above a small green oasis in the city. Overall, the project evokes an ethereal retreat floating amidst the urban density. Like a shimmering mirage, the soft facade transforms the café from a white glass box into an occupiable sculpture.

images © Katsumasa Tanaka

kengo kuma reimagines the flying buttress

Conceiving the structure of its Cs Somme Café, the design team, led by Japanese architect Kengo Kuma, takes an innovative approach. A mesh-clad, arch-supported steel frame is integrated to interlock with an internal grid framework. This interplay of structural elements ensures seismic resilience despite the café’s seemingly lightweight and airy design. The system functions as a contemporary reimagining of the flying buttress, reinforcing stability while maintaining a visual lightness. Beyond its spectral appearance, the mesh provides passive energy savings by filtering sunlight, reducing the need for artificial cooling.

Beneath this shroud, the Cs Somme Café occupies a luminous white cube. A polished plaster counter floats at the center, its refined finish contrasting with the soft translucency of stretch-fabric lighting fixtures. The careful balance of light and texture gives the interior an almost weightless quality, reinforcing the café’s ethereal concept. Here, craftsmanship and innovation result in an atmosphere that is at once intimate and otherworldly, demonstrating the studio’s ability to transform everyday spaces into poetic experiences.

Kengo Kuma designs Cs Somme Café as a ‘floating’ oasis in Fukuoka, Japan

the café is wrapped in a delicate metal mesh, creating a mirage-like appearance

a steel arch frame and an internal grid framework ensure seismic stability

the structural system functions as a modern reinterpretation of the flying buttress

the metal mesh reduces solar exposure, enhancing energy efficiency

a polished plaster counter contrasts with translucent stretch-fabric lighting fixtures

the interplay of light and texture creates an ethereal and weightless atmosphere

project info:

name: Cs Somme Café

architect: Kengo Kuma and Associates | @kkaa_official

location: Fukuoka, Japan

size: 268 square meters (2,885 square feet)

completion: February 2025

photography: © Katsumasa Tanaka | @k_tanaka_photo

landscape: Kyoko Mase
construction: Oyabu Group Co., Ltd.
structure: Yasutaka Konishi Architectural Structural Design
facilities: Dainichi, Kunan
exterior: Relier
lighting: Daiko Electric
CG team: Kenji Miyahara, Toshiro Ota, Fumiya Kaneko
graphics: Shizuka Kane

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As Milan prepares to host the Milano Cortina 2026 Winter Olympics, the city is undergoing a transformative moment. A lineup of high-profile projects is reshaping the city’s skyline, driven by renowned firms such as Skidmore Owings & Merrill (SOM), Kengo Kuma & Associates, Bjarke Ingels Group (BIG), and Stefano Boeri Architetti. Notable projects include SOM’s Olympic Village, which integrates green public spaces with the historic Porta Romana Railway Yard, and David Chipperfield‘s elliptical Arena Santa Giulia, a modern amphitheater set to host major Olympic events. BIG’s CityWave will introduce Europe’s largest urban solar canopy, while Kengo Kuma’s biophilic Welcome project will bring biophilic workspaces to the Rizzoli district.

Alongside these marquee projects, the city is seeing a number of smaller yet significant changes ahead of 2026. The recent opening of the M4 Metro promises to enhance urban mobility, while the city’s controversial decision to replace parts of its bumpy, uneven cobblestone streets with smoother, pedestrian-friendly surfaces should marks a more accessible shift in infrastructure. A major public policy change includes a new outdoor smoking ban within ten meters (33 feet) of others. This new architecture and infrastructure reflects efforts to improve the quality of life for both residents and visitors, and improve the fabric of Milan as it prepares to take center stage for the 2026 Milano Cortina Winter Olympics.

CityLife district | image by Beauty and the Bit

OLYMPIC VILLAGE, skidmore owings & merrill (SOM)

In July 2021, SOM was announced the winner of an international competition to design the Athletes’ Village for the 2026 Winter Olympics in Milan. Forming part of a larger masterplan to revitalize Porta Romana Railway Yard in Milan, the winning scheme prioritizes sustainable building strategies and establishing a new urban community that will long outlast the olympic games.

The project by Skidmore Owings & Merill (SOM) comprises public green spaces, two renovated historic structures and six new residential buildings that will house athletes during the Olympics. Once the games are over, the spaces will be converted and reused. The athletes’ accommodation will be used for student housing, the park and railway-side buildings will become affordable housing, and the Olympic Village Plaza will turn into a neighborhood square with social functions like shops and cafés. There will also be outdoor space for farmers’ markets and community events. The Olympic Village is expected to be complete by July 2025.

Olympic Village, Skidmore Owings & Merrill, Parco Romana | image © SOM

arena santa giulia, DAVID CHIPPERFIELD

Arup and David Chipperfield‘s Berlin office are developing a stadium in Milan for the 2026 Winter Olympic Games with an elliptical shape inspired by amphitheaters. The sports and cultural venue will form the centerpiece of Milan‘s new Santa Giulia neighborhood in the southeast of the city. Named Arena Santa Giulia, the stadium will have a 16,000-person capacity and is set to be complete by 2025.

David Chipperfield Architects looked to the archetype of the amphitheater for the elliptical shape of the building but added metallic materials and dynamic forms for a modern reinterpretation. The architecture is articulated by three ‘floating’ rings separated by glass bands. During the day, these rings will be characterized by shimmering aluminum tubes while LED strips will light the building up at night.

Arena Santa Giulia, David Chipperfield Architects, Santa Giulia district | images © Onirism Studio

lighthouse tower, ACPV Architects Antonio Citterio Patricia Viel

International architecture and interior design practice ACPV ARCHITECTS Antonio Citterio Patricia Viel unveiled the design for this Torre Faro, or Lighthouse, in August 2021. Set to house the new Milan headquarters of Italian company A2A, the project reimagines the company’s office spaces as capable of adapting to people’s ever-changing needs at work. The 144-meter-high office tower will revive the local urban fabric of the Symbiosis business district with 6,320 square meters of new green public spaces.

The new tower will accommodate 1,500 people in spaces that are flexible, open, and are complemented by a green courtyard. Vertically, the tower is centrally divided into two sets of office floors framed by the spacious entrance hall on the first floor, the sky garden in the middle, and a belvedere on top. With the project, the architects address future professional needs by integrating flexible spaces — including co-working lounges and meeting rooms — that can be reconfigured for multiple uses.

Lighthouse, ACPV, Symbiosis business district | image © ACPV

welcome, Kengo Kuma & Associates

A biophilic development designed by Kengo Kuma & Associates broke ground in March 2021. Titled ‘Welcome’, the mixed-use project is located in Milan‘s former Rizzoli district, previously an abandoned industrial area. Anchored around a newly established public piazza, the project seeks to act as a catalyst to revive the entire area — uniting people and nature for a better quality of life and work. Once complete, KKAA‘s project will include offices, co-working spaces, meeting rooms, and auditoriums, as well as restaurants and lounges, shops, a supermarket, a wellness area, and places for temporary exhibitions.

Welcome, Kengo Kuma and Associates, Rizzoli district | image © KKAA

citywave, bjarke Ingels Group (BIG)

Bjarke Ingels Group begun construction on its sweeping CityWave building in Septmeber 2021 as part of the existing CityLife District in Milan. The project will host a new office space for the ever-evolving Italian city, and will become an iconic element of the area’s regeneration efforts, with its gestural and high-tech roof structure. The project will mark the fourth building of the site, which already contains towers by Zaha Hadid Architects, Daniel Libeskind, and Arata Isozaki. Here, the team aims to introduce an improved quality of life along with sustainable building.

With its monumental roof, the team at Bjarke Ingels Group notes that it will bring what will likely be the largest urban integrated solar canopy in Europe — estimated to produce an annual 1,200-megawatt hours of power. Upon its completion, CityWave will seek to represent the workplace of future. 

Citywave, Bjarke Ingels Group, Citylife district | image © BIG

Pirelli 39, diller scofidio + renfro and stefano boeri architetti

The collaborative team of Diller Scofidio + Renfro (DS+R) and Stefano Boeri Architetti (SBA) has been chosen to regenerate a site at the center of Milan’s Porta Nuova Gioia district. The mixed-use project — referred to as ‘Pirelli 39’ — involves the renovation of the site’s existing ‘Pirellino’ office tower, and the construction of a new residential high-rise that will include 1,700 square meters of integrated vegetation. Finally, a bridge connecting the two structures will serve as a hub for events, shows, and exhibitions. This bridge will also house a biodiverse greenhouse that will offer immersive, educational experiences as a dedicated laboratory.

It is expected that the tower by DS+R and SBA will absorb fourteen tons of CO2 and produce nine tons of oxygen per year — comparable to a 10,000 square meter forest. Thanks to 2,770 square meters of photovoltaic panels, the tower will be able to produce 65% of its energy needs, while the use of structural wood will decrease its carbon footprint.

Pirelli 39, Diller Scofidio + Renfro & Stefano Boeri Architetti, Porta Nuova Gioia district | rendering by Aether Images

PADEL PAVILION, FABIO NOVEMBRE

Ahead of the 2026 Winter Olympics, Fabio Novembre has designed the new Padel Pavilion, an innovative sports center located in Milan’s CityLife district’s park. The building aligns visually with the existing architecture, especially with the gentle curves of Bjarke Ingels Group’s CityWave project, together forming a sort of gateway from the northeast. The structure is characterized by a 17-meter curved overhang, inviting park visitors toward the entrance.

The pavilion by Fabio Novembre Studio will stand twelve meters tall and span 2,800 square meters, housing seven padel courts. Inside, there will be a refreshment area and a raised multifunctional space offering a prime view of the sports activities.

Padel Pavilion, Novembre Studio, CityLife district | image © Novembre Studio

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Following its presentations in Venice and Bonn, designboom speaks to Kengo Kuma on the occasion of his Onomatopoeia Architecture exhibition’s arrival in Athens, Greece, offering an in-depth exploration of the renowned Japanese architect’s philosophy. Designed by Kuma himself, chief project manager Aris Kafantaris, and architect Raquel Coelho de Matos and organized in collaboration with Medexpo and the Technical Chamber of Greece, the exhibition is on display until March 15, 2025. KAAF architects installed the show in the historic building of the former Public Tobacco Factory with the support of the Greek Parliament, the Embassy of Japan, and the Hellenic Institute of Architecture.

The exhibition features models of some of his most significant buildings, including the Riviera Galleria and Marina Residences for the Ellinikon, encouraging visitors to associate the sounds with different textures. Rather than relying on rigid, logic-driven language, Kengo Kuma turns to ‘onomatopoeia’—a primal, experiential form of communication that resonates between the body and materials. By doing so, he questions the conventional hierarchy of architecture, arguing that architects should not see themselves as controlling figures but as participants moving within and alongside spaces and users. ‘Architects often make the mistake of acting like gods in space. We reject this notion. Instead, we aim to be like a cat in space—moving through it, observing, and engaging with its nuances. This mindset keeps us grounded in how spaces are actually experienced,’ Kuma shares in an exclusive interview with designboom during the official opening of the exhibition.

all images by Gavriil Papadiotis, unless stated otherwise

displaying intricate models of the architects’ visionary projects

Presented against the historical backdrop of Athens, the exhibition finds a fitting context. Kuma highlights the significance of this location, mentioning that the word ‘onomatopoeia’—which gives the exhibition its name—originates from the ancient Greek civilization that already recognized the limits of language. He describes showcasing the exhibition in Greece as an ideal match for the conceptual foundation of the project. The Japanese architect sees onomatopoeia as a tool to challenge conventional spatial definitions. ‘Classical geometry creates enclosed forms, but onomatopoeia introduces ambiguity—an essential quality for public space. Ambiguity allows comfort and fluid interaction, making spaces feel more inviting and dynamic. In our design practice, we often use onomatopoeia to shape these relationships,’ he notes.

Known for his human-centered and sustainable approach, Kuma curates a selection of his visionary projects through intricate models that invite visitors to examine the relationship between nature, human perception, and built space. ‘Physical models are fundamental to our work. When we build a model, we can experience space in a tangible way. Although we are physically larger than the model itself, we mentally project ourselves inside it—we feel the scale, light, and atmosphere,’ Kuma tells designboom. ‘A 3D digital model can only present a view, but a physical model allows us to engage with space beyond visuals.’

KAAF implemented the exhibition for the historic building of the former Public Tobacco Factory

kuma shares exhibition insights with designboom

Kengo Kuma emphasizes the importance of dialogue between humans and materials, positioning architecture within this exchange rather than as a top-down imposition. He critiques contemporary architecture for isolating people from the natural richness of materials, instead advocating for a more tactile and intuitive relationship. In the exhibition at the Old State Tobacco Factory in Athens, Kuma explores this idea through soft materials, which he describes as inherently healing and evocative of personal memory.

To describe his work beyond theory, Kuma conceived 13 onomatopoeias—derived from the Greek term for name-making—that translate the main concepts of his practice, creating words that embody the sounds and sensations of materials. ‘Onomatopoeia allows us to describe spatial phenomena beyond traditional architectural language,’ Kuma explains. ‘Modernism in the 20th century focused on form, associating architecture with geometry and materiality, but that vocabulary was limited. Onomatopoeia expands our ability to discuss atmospheres, sensations, and experiences—elements that are crucial to our design process.’

encouraging visitors to explore the sounds and textures of different materials

translating sound into space

Japanese onomatopoeia captures the essence of the atmospheres in the universe of Kengo Kuma’s architecture, from the relationship between solid and void, ‘para para,’ to the fluidity of space, ‘sara sara,’ ‘guru guru,’ and the elasticity of materials, ‘fuwa fuwa.’

To convert these sounds into architecture and communicate them with the exhibition audience, the architect uses the models of some of his most well-known projects. The Tokyo National Stadium exemplifies ‘para para,’ combining nature and structure with layered overhangs and natural ventilation. The Portland Japanese Garden Cultural Village and the H.C. Andersen Museum embody ‘sara sara’ and ‘guru guru’, with their fluid spatial relationships and curvilinear forms. Meanwhile, the Meme House and Riviera Galleria reflect fuwa fuwa, using membranes and origami-inspired structures to create light, permeable envelopes. These projects illustrate how contemporary architecture integrates movement, materiality, and atmospheric perception, transforming built environments into dynamic experiences.

Marina Residences model | image © designboom

porto will be the next stop on the show’s journey

Regarding his hopes for visitors’ impressions after leaving the exhibition, Kuma emphasizes that most architectural exhibitions focus purely on aesthetics. In contrast, Onomatopoeia introduces a new framework for understanding the relationship between humans and their environment. ‘Ideally, visitors will leave with a fresh perspective—one that subtly influences their daily interactions with space,’ Kengo Kuma mentions.

By rediscovering Japanese traditions and materials such as wood, paper, and metal, Kuma aims to always reinvent his approach and avoid repeating himself, ensuring that surfaces in his projects engage the whole of the senses. About the future of Onomatopoeia Architecture, he reveals: ‘We are planning to bring the exhibition to Porto and we are also considering other locations. We hope to continue its journey.’

creating words that embody the sounds and sensations of materials

Riviera Galleria model

Mêmu Meadows model

The Exchange model

the Tokyo National Stadium exemplifies ‘para para’, combining nature and structure with layered overhangs

project info:

name: Onomatopoeia Architecture (find more here)

architect: Kengo Kuma and Associates | @kkaa_official

location: Former Public Tobacco Factory, Athens, Greece

dates: January 24 – March 15, 2025

organizers: Medexpo and the Technical Chamber of Greece

lead architects: Kengo Kuma, Aris Kafantaris, Raquel Matos
adaptation for the venue: KAAF | @kaafarchitects

supporters: Greek Parliament, Embassy of Japan, Hellenic Institute of Architecture

photographer: Gavriil Papadiotis | @gavriilux

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Celebrated architect Kengo Kuma unveils two innovative Christmas tree sculptures for The Tokyo EDITION hotels in Ginza and Toranomon, blending festive tradition with themes of sustainability and renewal. Displayed in the lobbies of these luxury hotels, the installations are crafted from sustainably sourced Japanese woods and are designed to continue their journey beyond the holiday season. After December, they will be transformed into bespoke furniture pieces by Karimoku Furniture, ensuring their purpose and beauty endure long after the festivities conclude.

The trees are on display at The Tokyo EDITION, Ginza from November 19 to December 25, and at The Tokyo EDITION, Toranomon from November 20 to December 26. 

the Komorebi tree in Toranomon | all images courtesy of EDITION hotels

the distinct designs of the Kigumi and Komorebi trees

Kengo Kuma has created two distinct Christmas tree installations, each reflecting the character of its location. In Ginza, where cutting-edge technology meets traditional Japanese culture, the Kigumi tree stands as a jewel-like installation. Complementing the weaving-themed architecture and jewelry box-inspired lobby, its silver and bronze finishes highlight the beauty of six different wood species. In contrast, the Komorebi tree embodies the dynamic spirit of the Toranomon area, a hub of constant evolution. Its innovative design incorporates circular elements from underutilized woods, including small-diameter and naturally curved pieces, minimizing waste while evoking the essence of a vibrant forest.

‘I designed the Christmas tree as an architectural structure for this project. The trees have a story of their own assembly; even after it is nished, they will live forever. In this sense, I realized the ideal way of architecture in the future through the Christmas tree,’ shares the renowned Japanese architect.

the Kigumi tree in Ginza

From Trees to Timeless Karimoku  Furniture

After the festive period, the trees, crafted from carefully sourced Japanese woods—including oak, castor aralia, magnolia, Japanese walnut, and Japanese maple—will be transformed into a furniture exhibition by Karimoku Furniture, a leading Japanese wooden furniture manufacturer.

‘We procure timber carefully nurtured over many years in each locality. We believe that as long as we handle
such timber, we should carry out appropriate manufacturing for that particular year, which will be loved for
many years. This project of reusing the wood used for the event as furniture is very attractive because it
aligns with what we cherish daily. We hope that by purchasing the table, you will be able to enjoy the variety
of the wood used in the table and feel the charm of the wood and the individuality of the forests we benet
from through our daily lives,’ says Eiichiro Kato, Board Director of Karimoku Furniture. 

the Kigumi tree stands as a jewel-like installation

the Komorebi tree embodies the dynamic spirit of the Toranomon area

the design incorporates circular elements from underutilized woods

small-diameter and naturally curved pieces complete the tree sculpture

the Komorebi tree at night

Kengo Kuma and the Kigumi tree

the Kigumi tree at night

project info: 

name: Kigumi 
architect: Kengo Kuma | @kkaa_official
location: Tokyo EDITION Hotel, Ginza | @editionginza

name: Komorebi
architect: Kengo Kuma | @kkaa_official
location: Tokyo EDITION Hotel, Toranomon | @toranomonedition

brand: Karimoku Furniture | @karimoku_official

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At Expo 2025 Osaka, the Portugal Pavilion, designed by renowned architect Kengo Kuma, embodies Portugal’s dedication to sustainability and its deep historical connection to the ocean. Under the theme Ocean: The Blue Dialogue, the pavilion highlights Portugal’s role as a leader in addressing global challenges such as climate change, biodiversity conservation, and sustainable development.

The Portugal Pavilion, located in the Empowering Lives area of the Expo site, is an ethereal architectural interpretation of the ocean’s fluid movement. Kengo Kuma’s design features suspended ropes and recycled nets, symbolizing waves and creating a dynamic interplay of light and shadow. These elements are both visually compelling and environmentally considerate, aligning with the pavilion’s theme of sustainability.

The pavilion’s materials and design showcase a commitment to circular economy principles. By using durable, eco-friendly components, the structure minimizes its carbon footprint while offering visitors a sensory experience of the ocean’s fluidity and rhythm. The upper section of the pavilion appears to float, giving the impression of a wave caught mid-motion, a metaphorical gesture towards Portugal’s historic relationship with the sea.

visualizations © Kengo Kuma & Associates

kengo kuma plans two didactic sections

The architects led by Kengo Kuma design the Portugal Pavilion to span a 1,837-square-meter plot within Expo 2025 Osaka, dividing the space between two main exhibition sections. The first section, Sharing Knowledge, illustrates the historic and ongoing relationship between Portugal and Japan, initiated nearly five hundred years ago through maritime exploration. Visitors are invited to discover historical artifacts, artistic displays, and interactive exhibits that highlight technological advancements in ocean sustainability.

The second section, Partnering for a Sustainable Future, provides an immersive multimedia experience. A specially created five-minute audiovisual installation encourages visitors to imagine a harmonious coexistence between humanity and the ocean. This section emphasizes the urgent need for marine conservation and sustainable innovation, spurring active dialogue about global environmental challenges.

the pavilion is designed under the theme Ocean: The Blue Dialogue

‘portugal dives into the oceans’

In addition to exhibition spaces, the Kengo Kuma-designed Portugal Pavilion houses a restaurant showcasing Portuguese gastronomy, a retail shop, and a multi-purpose area for events at Expo 2025 Osaka. These features aim to promote Portugal’s blue economy, tourism, and cultural heritage. The strategic placement of the pavilion near the Expo’s Grand Ring creates a welcoming interaction between the two spaces. Kengo Kuma & Associates is also designing the Qatar Pavilion, see designboom’s coverage here!

Joana Gomes Cardoso, Commissioner-General for Portugal at Expo 2025 Osaka says: ‘At a World Expo that asks what we can do to improve our societies and lives, Portugal dives once again into the Oceans, our source of life, biodiversity, and connection to the world,

‘Many years have passed since the unforgettable Expo’98, and many more since Portugal and Japan first met, but the challenges facing the planet remain. It is, therefore, with the future in mind and the well-being of us all that we will present in Osaka, and also in Portugal, a Blue Dialogue of science, environment, economy, art, and culture in defence of our shared home: the blue planet.’

the lightweight structure features suspended ropes and recycled nets

the upper section of the pavilion appears to float, giving the impression of a wave caught mid-motion

project info:

project title: Portugal Pavilion

architecture: Kengo Kuma and Associates | @kkaa_official

event: Expo 2025 Osaka | @expo2025japan

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The DFA Awards celebrate the transformative power of design across a wide array of disciplines, recognizing outstanding contributions that have made a lasting impact on Asian society through six award programs. Spanning six categories – Communication Design, Digital & Motion Design, Fashion & Accessory Design, Product & Industrial Design, Service & Experience Design, and Spatial Design – the 2024 edition of DFA Design for Asia Awards honors 215 exceptional projects, including 10 Grand Awards. 

From groundbreaking architectural concepts like the Beijing Library by Snøhetta to iconic product designs, notable individual award recipients include renowned architect Kengo Kuma, G-SHOCK creator Kikuo Ibe, pioneering lighting designer Tino Kwan, and Eisuke Tachikawa, Founder and CEO of NOSIGNER. Read along to learn more about their remarkable achievements.

(banner) NOT A HOTEL FUKUOKA by axonometric; NKS2 architects; A.N.D., NOMURA Co., Ltd. (DFAA 2024 Grand Award winner)
(above) The Panda Pavilions by Atelier Ping Jiang | EID Arch (DFAA 2024 Grand Award winner) | all images courtesy of DFA Awards

Established in 2003 by the Hong Kong Design Centre (HKDC), the DFA Awards are supported by the Cultural and Creative Industries Development Agency (CCIDA). The award program recognizes design excellence across Asia, highlighting projects that push creative boundaries and address global challenges. Judged by an international panel of over 40 experts from diverse design fields, the 2024 awardees include Kengo Kuma, DFA Lifetime Achievement Award (DFA LAA); Kikuo Ibe, DFA Design Leadership Award (DFA DLA); Tino Kwan, DFA World’s Outstanding Chinese Designer (DFA WOCD) and Eisuke Tachikawa, DFA Designer Of The Year (DFA DOY), each representing the pinnacle of design excellence and innovation.

Beijing Library by Snøhetta (DFAA 2024 Grand Award winner)

AWARDS FOR INDIVIDUAL EXCELLENCE IN ASIAN DESIGN

Renowned for his philosophy of using natural materials and designing human-scaled spaces, Kengo Kuma is the recipient of the 2024 DFA Lifetime Achievement Award. His work exemplifies a harmonious integration of traditional Japanese aesthetics with cutting-edge technology, creating architecture that is both grounded and forward-thinking. By redefining the relationship between nature, technology, and humanity, Kuma’s designs have made a profound impact on contemporary architecture globally.

V&A Dundee by Kengo Kuma | image ©Hufton+Crow

Kengo Kuma, recipient of the DFA Lifetime Achievement Award 2024 (DFA LAA) | image © Designhouse

Kikuo Ibe, the visionary behind the G-SHOCK watch, is celebrated with the DFA Design Leadership Award for 2024. His invention in 1981 revolutionized the watch industry with its shock-resistant design, turning G-SHOCK into a global phenomenon. More than 100 million G-SHOCK watches have been sold worldwide, making it a cultural icon and a technological marvel. This award honors Ibe’s leadership, which continuously challenges conventional product design, enhancing durability and resilience while maintaining mass appeal.

DW-5000C-1A G G-SHOCK by Kikuo Ibe

Kikuo Ibe, recipient of the DFA Design Leadership Award 2024 (DFA DLA)

Tino Kwan, one of the world’s foremost lighting designers, receives the 2024 DFA World’s Outstanding Chinese Designer. With a career spanning over 45 years, Kwan is a pioneer in lighting design, having established his firm, Tino Kwan Lighting Consultants, in London in 1979. His work has illuminated some of the most luxurious commercial buildings, hotels, and private residences around the globe, making him an influential figure in shaping the aesthetic and functional use of lighting. Kwan’s approach to design focuses on creating atmospheric environments that transform spaces, further elevating his status as a global leader in the field of lighting design.

The Peninsula Tokyo by Tino Kwan

Tino Kwan, recipient of the DFA World’s Outstanding Chinese Designer (DFA WOCD)

The first DFA Designer of the Year honors Eisuke Tachikawa, founder of NOSIGNER, for his unique approach to addressing global social issues through design. Known for his concept of ‘Evolutional Creativity,’ which parallels biological evolution with the creative process, Tachikawa has received over 100 design awards, including two DFA Grand Awards. His leadership in sustainable design and efforts to tackle climate change and disaster prevention have redefined the role of design in solving real-world problems.

Publication ‘Evolution Thinking’ by Eisuke Tachikawa

Eisuke Tachikawa, recipient of the DFA Designer of the Year 2024 (DFA DOY)

DESIGN FOR ASIA AWARDS (DFAA) CELEBRATES 10 GRAND AWARD WINNERS

The DFA Design for Asia Awards 2024 (DFA DFAA) continues to shine a spotlight on exceptional design achievements that have made a significant impact across Asia and beyond. With its six diverse categories – Communication Design, Digital & Motion Design, Fashion & Accessory Design, Product & Industrial Design, Service & Experience Design, and Spatial Design – the 2024 edition conferred a total of 215 accolades. Among them, 10 Grand Awards stood out, celebrating the pinnacle of innovation, along with 20 Gold, 43 Silver, 57 Bronze, and 85 Merit Awards.

‘It is truly inspiring to witness the incredible calibre of projects showcased in DFAA 2024. This year, we have seen an impressive range of designs that not only push creative boundaries but also reflect a deep commitment to addressing pressing global challenges, from social inclusivity to cultural preservation. It is heartening to see designers embracing social responsibility, incorporating sustainable practices, and preserving heritage while shaping the future of design in Asia. Congratulations to all the winners, whose visionary work is leading the way to a brighter future,’ says Steve Leung, Vice Chairman of HKDC and Chairman of the DFA Awards Steering Committee.

CYCL by YU Momoeda Architects (DFAA 2024 Grand Award winner) | image © Yashiro Photo Office

Radiant Eateries: Hong Kong Restaurant Neon Sign Drawings by Studio Nous (DFAA 2024 Grand Award winner)

Silver Pride Lion Troupe by NextOfKin Creatives Pte Ltd; Bridging Generations Pte (DFAA 2024 Grand Award winner)

project info: 

name: DFA Awards | @dfa_awards

organizer: Hong Kong Design Centre (HKDC) | @hkdesigncentre

sponsor: Cultural and Creative Industries Development Agency (CCIDA)

DFA Lifetime Achievement Award 2024: Kengo Kuma | @kkaa_offical

DFA Design Leadership Award 2024: Kikuo Ibe

DFA World’s Outstanding Chinese Designer 2024: Tino Kwan | @tinokwanlighting

DFA Designer of the Year 2024: Eisuke Tachikawa | @eisuketachikawa

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ADI Design Museum in Milan hosts the exhibition Architecture for Dogs, curated by MUJI artistic director and Japanese designer, Kenya Hara. Running between December 3rd, 2024 and February 16th, 2025, renowned architects and studios design their iteration of doghouses. It’s not just the typical V-shaped roof with an arched hole as the entrance. In the exhibition, the architecture for dogs ranges from ramps, cushions, and rugs to benches and even vertical doghouses, all of which are tailored to the usual needs of a specific breed. Kenya Hara and Hara Design Institute curates the exhibition, which marks its debut in Italy after the 2020 showcase in London, as an ‘island’.

The doghouses are spread out, so visitors can observe them individually. As they roam around, they find the architecture for dogs, built by some of the recognized architects and designers such as Kengo Kuma, Konstantin Grcic, MAD’s Ma Yansong, MVRDV, Shigeru Ban, Sou Fujimoto, Piero Lissoni, Giulio Iacchetti, Toyo Ito, TORAFU Architects, Asif Khan, Kenya Hara, Kazuyo Sejima, Reiser + Umemoto, Atelier Bow-Wow, FGMF, and Hiroshi Naito. Photos and video insights accompany the exhibition, and all of them explore the relationship between architecture and the furry pets, and how the former can serve as a language shared by all living species.

Kengo Kuma | all images courtesy of ADI Design Museum

blueprints of the showcased doghouses can be downloaded

Visitors to the ADI Design Museum in Milan can be curious as to how the architecture of the doghouses is made, or if they can build one similar to what the architects and studios created. Luckily, their blueprints and instructions for the designs are free to download online, and if they feel like doing the work, they can tweak the style to suit their dog’s needs. Many, if not all, of the architectural works are playful and fitting for the vigorous energy of the dogs. Wood becomes a primary material for some of the architects, including Kengo Kuma’s dome-shaped tent with open lattices, Shigeru Ban’s maze-like bamboo tubes, and MVRDV’s see-saw, curved home. It’s the same material that Kenya Hara and Giulio Iacchetti work with. 

The former turns wood into a tunnel box with a staircase, while the latter rebuilds it as yurt-inspired architecture for dogs. Hiroshi Naito cuts up wood into slabs to place between his tubes, creating a seemingly treadmill structure, and Toyo Ito has a toddler’s stroller in mind when he weaves wood into a basket cart. In the exhibition, other domestic textiles and materials have been transformed into structures for dogs. A furry bean bag makes up Kazuyo Sejima’s design so the dogs can cozily take their naps, and TORAFU Architects invokes a summery vibe when they hang the stretchy stripe fabric over a wooden chair frame. The exhibition is backed and supported by Imprint Culture Lab, Riva 1920, and Giorgio Armani, who created a dog-focused capsule collection in collaboration with Poldo Dog Couture.

Shigeru Ban makes maze-like path with bamboo tubes

Sou Fujimoto constructs ‘open’ house that doubles as a shelf

MVRDV elongates their curved doghouse

Konstantin Grcic reimagines a vanity mirror with lights for Architecture for Dogs at ADI Design Museum

curator Kenya Hara creates a wooden tunnel box

Hiroshi Naito puts slabs of wood between metal-like tubes

Toyo Ito conceives a stroller-like piece for Architecture for Dogs at ADI Design Museum

Kazuyo Sejima comes up with a furry bean bag

TORAFU Architects design a chair with a flexible fabric

Piero Lissoni’s Hangar has a wooden base

yurt-inspired doghouse by Giulio Iacchetti

project info:

name: Architecture for Dogs

museum: ADI Design Museum | @adidesignmuseum

location: P.za Compasso d’Oro, 1, 20154 Milano MI

dates: December 3rd, 2024 to February 16th, 2025

co-founded by: Imprint Lab / Intertrend

created by: Hara Design Institute, Nippon Design Center, Inc.

director and curator: Kenya Hara

motion graphics: Kenichi Hashimoto

music by: Suguru Yamaguchi

blueprints by: Hara Design Institute, Nippon Design Center, Inc.

exhibition supported by: Imprint Culture Lab

exhibition partner and supporter: Giorgio Armani, Poldo Dog Couture, Riva 1920

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Murano Illumina il Mondo 2024, a spin-off of The Venice Glass Week, highlights the artistry of Murano glass through contemporary interpretations of the chandelier. Curated in St. Mark’s Square, this public installation illuminates the vaults of the Procuratie Vecchie until March 4, 2025. Internationally acclaimed artists and designers—including Joseph Kosuth, Philippe Starck, and Kengo Kuma—collaborate with master Murano glassmakers, presenting eleven works that celebrate Venetian glass heritage and explore artistic boundaries.

Each piece transforms the chandelier, an everyday object, into a statement of artistic inquiry. These creations, realized by prestigious Murano furnaces, reflect remarkable technical potential and experimentation. The exhibition, aptly named Murano Lights Up The World, offers Venetians and visitors an experience at the intersection of art, design, and local culture.

Colpo di vento, artist Kimiko Yoshida, glass master Gianni Seguso, furnace Seguso Gianni Murano | all images by Giorgio Bombieri

Highlights include designs by kengo kuma and philippe starck

Made possible through collaborations with esteemed institutions such as Fondazione Musei Civici di Venezia, Pentagram Stiftung, and Consorzio Promovetro Murano, Murano Illumina il Mondo 2024 serves as a testament to the legacy and contemporary relevance of Murano glassmaking. The second edition of the annual showcase invites viewers to experience the convergence of tradition, innovation, and the transformative power of light. transforming the chandelier into a canvas for artistic experimentation.

Kengo Kuma’s dieXe reimagines the chandelier as an homage to Venice, incorporating interlocking Salviati glass modules in the iconic peacock green that mirrors the hues of the lagoon. The Japanese architect’s design philosophy often revolves around the concept of parcelling, which he explores through a reinterpretation of Venetian traditions. 

Philippe Starck, in collaboration with Aristide Najean, explores surrealism with a dark amethyst chandelier, embodying mystery, beauty, and poetic oddity. Joseph Kosuth’s Enlighten’s the Word transforms the Rezzonico chandelier into a reflective, abstract form, engaging with philosophical notions of the Enlightenment.

dieXe, artist Kengo Kuma, furnace Salviati

Conceptual and Symbolic Explorations of the chandelier

Murano Illumina il Mondo 2024 continues to explore the potential of glass as a medium for artistic expression. Kimiko Yoshida and Gianni Seguso create a chandelier that captures the fleeting beauty of cherry blossoms, blending the delicate intricacies of Venetian rococo with the serene elegance of Japanese minimalism. Meanwhile, Deborah Czeresko and Massimiliano Schiavon take the familiar form of the chandelier and transform its arms into serpentine shapes, invoking themes of transformation and renewal. Fiedler O Mastrangelo, on the other hand, present Solomon Chopsticks, where abstract lines and light merge into a reflection on eternity and the nature of the creative journey.

Other designers bring fresh perspectives as well, such as Marina and Susanna Sent, Hans Weigand, Emmanuel Babled, and Arturo Tedeschi. The Sent sisters’ pendant light is inspired by Venetian fishing nets, while Hans Weigand’s piece contrasts the delicate fragility of glass with the robust form of concrete. Arturo Tedeschi, combining cutting-edge AI and precision crafting, produces a crystalline polyhedral chandelier that appears to float. Other works also embrace the transformative nature of glass, such as Emmanuel Babled’s Digit Light, a chandelier composed of 23 hand-blown glass spheres and 8 light sources inspired by 1960s pop culture. The AZ2024 chandelier by Istituto Abate Zanetti students brings to life organic mirrored and sandblasted crystal spheres. Together, these works exemplify the synergy between Murano’s rich tradition of glassmaking and the exciting creative possibilities offered by contemporary artists.

TransFormation by Deborah Czeresko, glass master Giorgio Valentini, Claudio Zama e Massimiliano Schiavon + Wili Bardella (moleria), furnace Massimiliano Schiavon Art Team

Digit Light, artist Emmanuel Babled, master Marino Gabrielli, furnace NasonMoretti

dieXe, artist Kengo Kuma, furnace Salviati

Venetian Wavebreakers Chandelier, artist Hans Weigand, glass master Nicola Causin, furnace Berengo Studio

Venetian Wavebreakers Chandelier, artist Hans Weigand, glass master Nicola Causin, furnace Berengo Studio

Venetian Wavebreakers Chandelier, artist Hans Weigand, glass master Nicola Causin, furnace Berengo Studio

Inariaa, artist Arturo Tedeschi, master Nicola Moretti e Stefano Bullo, furnace Nicola Moretti + Vetrate Artistiche Murano

Quadri, artists Philippe Starck, Aristide Najean, furnace Najean

Quadri, artists Philippe Starck, Aristide Najean, furnace Najean

project info:

name: Murano Illumina il Mondo (Murano Lights Up the World) 2024 | @theveniceglassweek

location: Procuratie Vecchie, St. Mark’s Square, Venice, Italy

dates: November 22, 2024 – March 4, 2025

designers: Joseph Kosuth | @josephkosuthstudio, Philippe Starck | @starck, Aristide Najean | @aristide.najean, Kengo Kuma | @kkaa_official, Kimiko Yoshida | @kimikoyoshidaofficial, Marina Sent and Susanna Sent | @marinaesusannasent, Fiedler O Mastrangelo | @fiedleromastrangelo, Deborah Czeresko | @dczeey, Hans Weigand | @hans.weigand, Arturo Tedeschi | @arturotedeschi, Emmanuel Babled | @emmanuelbabled, Istituto Abate Zanetti | @issabatezanetti students

photographer: Giorgio Bombieri

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