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EXPLORING THE RELATIONSHIP BETWEEN

THE WORK OF KENGO KUMA AND THE PHILOSOPHY OF JEAN-PAUL SARTRE

Unit 320 History and Theory: Research Report BA3 Architecture, University of Portsmouth

Written by Michal Kubis. December 2011

Unit 320
CONTENTS 1

Michal Kubis; 15.12.2011

1. INTRODUCTION 1.1 Methodology 1.2 Research sources

2 3 4

2. GENERAL CONCEPTS 2.1. Objectification 2.1.1. Sartres classification of being 2.2 Erasing architecture Creating events 2.2.1 Phenomenological approach

6 7 8

3. KUMAS BUILDINGS 3.1. Transcendence 3.2. Passivity 3.3. Particlization 3.4. Temporality 3.5. Subject-object relationship 3.5.1. Chofu Theatre 3.5.2. Kirsan Observatory

10 11 12 13 LIST OF IMAGES 14 BIBLIOGRAPHY 16 17

4. CONCLUSION

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RESEARCH DIARY

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Michal Kubis; 15.12.2011

1. INTRODUCTION

In the 20 century, architectural styles are emerging that we call modernity. It can be characterized by ideas that are widely accepted among most of the contemporary architects, without really questioning their meaning. However, not all accept this approach and an example of this is the Japanese architect Kengo Kuma. Kuma in his writing openly criticizes the approach of the modernist architects and in his work he assumes his own, unique approach towards architecture. In this report, I will examine how successful he is in this respect and to what extent it is possible to find a direct correlation between the specific examples of his work and the abstract ideas, he represents. Furthermore, I will elaborate the analysis of the meaning of these ideas and relate them to the ideology of the French thinker and writer Jean-Paul Sartre. Sartre was one of the most influential philosophers of the th 20 century. His philosophical approach, called existentialism, in many respects directly follows the ideas of Martin Heidegger and also closely relates to the phenomenology of Edmund Husserl, whose ideas Sartre follows, but also often criticizes. In this report I will examine if and to what extent can be the correlation between the ideas of this philosopher and the architect established and whether it is possible to identify aims in the architecture that can match those of existentialist philosophy.

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1.1 METHODOLOGY

Michal Kubis; 15.12.2011

To explain the ideas with the best clarity possible, I have divided the report into four parts, constituting of several sections each. The parts are ordered in the following way - Starting with the most general ideas (General concepts) and progressing towards the specifics of Kengo Kumas architecture (Kumas buildings). The very first part, explaining the aims of this report, is called Introduction and contains Methodology and Research sources, as subsections. The next part, called General concepts, is divided into two sections: Objectification and Erasing architecture Creating events. In each of them I will explain the concept in architecture first, which is followed by a subsection, introducing the philosophy it correlates with. These are the general points, both in architectural thinking and philosophy that are crucial in order to understand the more specific examples that follow. ln Objectification, I will explain the situation in the modernist architecture stating this as the concept Kuma in his work reacts against. After this, I will briefly introduce the main principles of Sartres philosophy calling this Sartres classification of being. I will show that there is a certain correlation between the way Kuma describes and renounces objects and Sartre classifies being. The second section: Erasing architecture Creating events explains what Kuma is aiming for; standing in opposition to Objectification, which is the initial point of departure in the architects thought. The subsection Phenomenological approach, which is linked with this introduces the idea of Husserls phenomenology. The third and the largest part of the report is concerning the actual works of Kengo Kuma Kumas buildings. It is divided into five sections: Transcendence, Passivity, Particlization, Temporality and Subject-object relationship. In each of these sections, I will introduce one specific concept in Kumas work, relating it to a chosen building of his. Each of these concepts is juxtaposed with Sartres conception of the same phenomena, aiming to establish a link between these two. The exception is the Subjectobject relationship section, where I have chosen two buildings instead of one, as each of them show a slightly different aspect of the same idea, both of these being key to understanding the links between Sartre and Kuma. In the Conclusion, I will summarize the aims of Kuma, which I have discussed in this report. I will split them into three steps, explaining each, and show the understanding of the world this implies; ultimately stating the question of whether these aims match those of Jean-Paul Sartres philosophy.

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1.2. RESEARCH SOURCES

Michal Kubis; 15.12.2011

The sources I have used for the research are mainly literary. To get an understanding of Kum as ideas and approach, I read the book Anti-Object, written by the architect himself, explaining his way of thinking. As another source on Kuma, I used the book Kengo Kuma: Selected Works, written by B. Bognar analysing the architects work from another persons point of view and relating it to the situation in Japanese architecture. To get an understanding of Jean-Paul Sartres existentialism, I used a document called Jean-Paul Sartres Being and Nothingness, which is a set of lecture notes, written by professor Spade from the Indiana University, analysing the philosophers work and its background context. To get a more thorough understanding of some of the ideas, I used certain passages from Sartres actual work - Being and Nothingness. Apart from these main sources, some other literary and internet sources are used too, as quoted in the Bibliography section.

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Michal Kubis; 15.12.2011

2. GENERAL CONCEPTS
2.1. OBJECTIFICATION

When one speaks of a beautiful work of architecture, one generally means the work in question is a beautiful object
Kuma, 2008, p.5

According to Kuma, objectification relates to formalism, which is in principle isolating the work of art from its environment [Kuma, 2008, p.5]. It can be understood as the tendency (common with most of the fields of study) to create objects as clearly defined entities, limited by boundaries. This enables us to describe these objects, compare them to other similarly defined entities and thereby understand them, giving man the notion of having knowledge, satisfying his thirst to power. This, as Kuma states, is the primary notion of Le Corbusiers buildings, which are designed to be photogenic, when published in a magazine. Such building had to be sufficiently new and individualistic to be recognised as such in a single, decisive black-and-white photograph [Kuma, 2008, p.13]. This leads to creation of pure and easily recognizable geometrical shapes. Such architecture is usually selfcentred and deliberately distinct from its surroundings. [Kuma, 2008, p.2] Such images, however only make the viewer feel impatience and discomfort because he cannot confirm his own position in that space. [Kuma, 2008, p.108] In Kumas works, in contrast to this, the position of the subject determines the appearance of the world to a large extent. This makes it impossible to understand the building as a whole from just one (or any) single perspective. The subjects position is alternating, as in a cinema [Kuma, 2008, p.108], drawing them inside the building.

Everything was already connected from the outset, but in the modernist era encounters with unfamiliar worlds fostered the illusion of disconnectedness. People invented the fiction of objects. . . . Nevertheless, we are composed of matter and live in the midst of matter. Our objective should not be to renounce matter but rather to search for a form of matter other than objects.
Kuma, 2008, p.31

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2.1.1. SARTRES CLASSIFICATION OF BEING

Michal Kubis; 15.12.2011

Sartre bases his most significant work Being and Nothingness on the notion of the Pre-Socratic Greek philosopher Parmenides: who claims that there cannot be any knowledge based on a negation (what something is not) [Spade, 1996, p.76], without arriving at a paradox. Sartres world is subsequently divided into two kinds of objects. Objects that are purely affirmative, they are only what they are with an essence in their hearth he calls this in-itself. In-itself is unalterable and un-differentiable, therefore cannot be divided into units and defined. It exists as a unity. On the other side stands the consciousness with nothingness in its hearth Sartre calls this for-itself. It is self-reflective (always aware of itself). This consciousness is represented by beings like humans and it is always free in the sense it can decide what it wants to become (it determines its own essence); Therefore it can never be what it is - it transcends itself. Whatever we are or whatever others may ascribe to us, we are in the manner of not being it, that is, in the manner of being able to assume a perspective in its regard. [Sartre, 1943/1958] This is why the for-itself always has a mere potential to become something, with which it can, however, never catch up [Spade, 1996, p.190]. I am the architect of my own self, my own character and destiny. Existence precedes essence.
Sartre, 1946 Sartre, cited by Hughes (2011)

The relationship between the in-itself and for-itself is that the in-itself is always apprehended through a consciousness (the for-itself). Since in-itself is un-differentiable, all the properties and categories it can have arise from the consciousness. This, however, does not affect the in-itself, because it cannot be altered. On the contrary, the fact that the for-itself is always present to the in-itself (the consciousness needs an object), renders the for-itself dependant on it [Spade, 1996, p.188].

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2.2. ERASING ARCHITECTURE CREATING EVENTS

Michal Kubis; 15.12.2011

My ultimate aim is to erase architecture.


Kuma, 2008, p.2

What Kuma means, by erasing architecture, is melting down the static presence a building creates, and transforming it into a mere abstraction of an object - a series of experiences. A precedential example of this, he states in his writing, is an English landscape garden. It is conceived as a series of qualitatively different experiences rather than as a single entity ruled by some overarching geometry. [Kuma, 2008, p.9]

As a result of this emphasis on experiences, the notion of permanence is rejected, creating events th instead. This idea is also based on the situation of Japanese architecture in the 20 century, where a shift of values takes place and many creative minds are trying to redefine its meaning. In the words of Ignasi de Sol-Morales:
Kengo Kuma

The places of present-day architecture cannot repeat the permanencies produced by the force of the Vitruvian firmitas. The effects of duration, stability, and defiance of times passing are now irrelevant. The idea of place as the cultivation and maintenance of the essential and the profound, of a genius loci, is no longer credible in an age of agnosticism; it becomes reactionary. Yet the loss of these illusions need not necessarily result in a nihilistic architecture of negation. From a thousand different sites the production of place continues to be possible. Not as a revelation of something existing in permanence, but as the production of an event.
Bognar, 2005, p.27

As Bognar [2005, p.39], in his book on Kuma, states further such architecture can be defined as an environment that . . . is continuous, yet always in the state of transition caused by both natural events and human interventions. In such designs, spaces, working as an architectural software, are engendered as almost pure sensations In exploring such a building, all human senses are involved, including kinetic [Bognar, 2005, p.37].

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2.2.1. PHENOMENOLOGICAL APPROACH

Michal Kubis; 15.12.2011

Sartres apprehending of consciousness is also based on the conception of events, as pointed out by Spade [1996, p.186]. This is derived from the phenomenological approach towards apprehending the world. Phenomenology is based on the assumption that one cannot make objective claims about the world based on deductive reasoning. This reasoning will be always subject to an error, given the fact that it is always based on observations deriving from our experience. As a reaction to this, the whole question of existence of entities is bracketed [Spade, 1996, p.32] and replaced by the phenomenological method which is describing the nature of the experiences, as they appear to us, instead of explaining them. These experiences are called the phenomena [Spade, 1996, p.16].

This approach implies the subjective nature of experience, as stated by Spade [1996, p.20]. According to this - All my thoughts about phenomena are from my point of view (a perspective). Without it, we could have no experience at all. An example of this is a gestalt figure, as used by Spade [1996, p.19]. It shows how the interpretation of the data depends on the observer.

Figure 1: A gestalt figure:

Do you see two faces or a vase? This ambiguous picture can represent either a vase or two faces, depending on whether one conceives of the black as the foreground on a white background, or vice versa. The image is the same in both cases, therefore the representational meaning is constructed by the observer. This is an analogy of the role of consciousness (foritself) in constituting the phenomena (overall experience of a vase or a face) from the raw data (the black-and-white image), by imposing an organization on the in-itself. [Spade, 1996, p.79].

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Michal Kubis; 15.12.2011

3. KUMAS BUILDINGS
3.1. TRANSCENDENCE I would like to create buildings that open up opportunities for connecting the subject to the world.
Kuma, 2008, p.45

An early architect that dismissed formalism [Kuma, 2008, p.14] is the German Bruno Taut, who designed the Hyuga Residence in Japan. This is the design Kengo Kuma takes his initial inspiration from [Kuma, 2008, p.4]. Besides rejecting to manifest the modernistic values of the time, the design is strongly based on the principles of traditional Japanese architecture, particularly the Katsura Detached Palace, from which Taut took inspiration [Kuma, 2008, p.21]. One of the main devices of this architecture is the emphasis on horizontal planes (roof and floor), by which the building is allowed to extend indefinitely [Bognar, 2005, p.36]. By visually following these planes, the building virtually carries the user from inside into the outside, rendering itself connected with the environment, becoming almost identical with it. In this way, the boundaries that define the object in the world are blurred and the notion of defining an object falls apart. This is also a very strong motive found in the works of Kengo Kuma.
Figure 2: Great (Bamboo) Wall, Kengo Kuma By laying emphasis on the horizontal planes and making it virtually open to the outside; The building transcends itself and visually links with the environment, becoming one with the nature. This relates to Sartres notion of consciousness that transcends itself, becoming what it is not and thereby not being what it is.

The idea of integration, of fusion of architecture and land is perfectly embodied by the Great Wall
Great (Bamboo) Wall by Kengo Kuma, 2009

This explains the reason why a house built by Kengo Kuma is named Great (Bamboo) Wall, borrowing the name from its neighbour - The Great Wall of China.

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3.2. PASSIVITY

Michal Kubis; 15.12.2011

No particular skill is required to turn something into an object. Preventing a thing from becoming an object is a far more difficult task.
Kuma, 2008, p.51

Another key characteristic defining an object is its presence. The presence of an object has an active role on its environment it imposes a certain order and structure on the context it is placed in, thereby defining its components and itself as objects. In order to prevent this function of the building, it must be rendered acted upon, or simply passive. A passive building, according to Kuma [2008, p.38], will act as a receptor. Passivity can be achieved through materials - particularly water - which, as Kuma states, is always acted upon. Its shape changes with the vessel, its texture with the elements and its surface with the image it reflects. An example of a building that makes use of this idea is the Water/Glass house.

An analogy can be made with the example Spade [1996, p.17] uses in the section of his writing explaining Husserls idea of phenomenology. The analogy is of a movie screen - which is blank; however, one can never see it alone in this state because there is always a movie projected onto it. The light cast on the screen produces the image but it does not conceal the screen, on the contrary, it reveals it It is exactly the light what gives it a shape. Even though the light emanates from a projector that is placed outside the screen; the screen is perceived as the source of the light, therefore the light becomes an integral part of it. In the same way, the presence of the natural light, the elements, and the human factor become an integral part of the architecture of Kuma (which acts as the screen). It becomes impossible to separate one from the other. In Sartres conception, the undifferentiated screen is the in-itself and the projector casting the light and unfolding the story on the screen is the for-itself [Spade, 1996, p.79].

Figure 3: Water/Glass house, Kengo Kuma In this building, the emphasis is, again, laid on the two horizontal planes, making it emanate into the world. [Kuma, 2008, p.40]. The floor is covered in water, which creates the impression of it almost being continuous with the sea, located 100 meters below the building. By making the vertical walls entirely glazed, the physical presence of the architecture is almost lost, shifting the focus on the external elements, such as light and the movement of the figures that unfold the passive architecture. In this sense, the architecture acts just as a background to reveal these qualities [Kuma, 2008, p34-47].

For Sartre, the phenomenon reveals, rather than conceals, reality


Onof, 2010

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3.2. PARTICLIZATION

Michal Kubis; 15.12.2011

The most important aspects of architecture are not its plan, shape, or elevation, but the particles of which it is made up.
Bognar, 2005, p.17

A good example of this is the Stone Museum in Nasu. The role of the stone employed here is absolutely redefined from its usual overpowering presence - to the form of thin louvers that allow the light and wind to pass through [Bognar, 2005, p.16], letting the building melt into the surrounding air [Kuma, 2008, p.116]. The solid object is thus dissolved into particles - possessing lightness and ephemerality [Bognar, 2005, p.33]. What is important here is the size of the particles if they are too large, they become conspicuous objects and if they are too small, they appear as a heavy mass. [Kuma, 2008, p.113]

Figure 4: Stone Museum detail, showing the particles

A rainbow is not something absolute that exists somewhere, but instead it is generated by the relationship between the sun, droplets of water and the observer. Rainbows are relative because they are collections of particles. . . . Endeavours of a similar nature were undertaken in a number of different fields toward the end of the nineteenth century. The impressionists, for example, particlised painting. They believed that colours should be mixed, not on the artists palette, but on the retina of the observer.
Kuma, 2008, p.99

To illustrate the concept, imagine a chain. We do not see it as a series of individual pieces that come together, but rather its essence is immediately present to us as a continuous flow the relationship between these links becomes of primary importance. The individual pieces flow into each other, they overleap you cannot say where A ends and B begins. This image can also serve as the abstraction of Sartres conception of the flow of time; from point A to B on a timeline [Sartre, 1943/1958, p.130], where each moment flows into the next one, rendering it impossible to separate individual instants.
Figure 5: Bridge at Awate by Ando Hiroshige a traditional Japanese artist, using rain as particles to filter the drawing; an inspiration for Kengo Kuma

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3.4. TEMPORALITY . . . The distinction between time and space must be transcended.
Kuma, 2008, p.47

Michal Kubis; 15.12.2011

A manifestation of how this is done can be found in the N Theatre. The bridge leading to the stage is not perceived as an object in space, but its essence is rather revealed through the movement of the figures upon it, as they approach the stage. The actors also walk in a distinct way, with a low centre of gravity, and stamp their feet on the floorboards in order to direct the attention on the floor [Kuma, 2008, p.60]. With the actors movement, the deck unfolds in front of the spectators eyes, and in this action it is apprehended as a track of the subjects movement - an evidence of the past the moving object is slipping into. This movement is thus apprehended as continuity and the floor gains a temporal character [Kuma, 2008, p.43].

Figure 6: A typical N theatre plan

The floor [is] an element belonging to both space and time. . . . It is revealed in its entirety only gradually, that is, over time.
Kuma, 2008, p.43

This relates to Sartres mechanism of the f low of time. Both the notions of past and future involve being something that is not (not yet or not anymore); Therefore the whole conception of time comes from the consciousness, as different aspects of its state [Spade, 1996, p.78, 183]. The present, as a mere point on the timeline has no content, therefore can be reduced to nothingness. The past is in its nature an in-itself, for it has no possibilities anymore; it cannot be changed. The future is the sum of the possibilities of the for-itself, its freedom to transcend its past. Because the for-itself always possesses awareness of this freedom, it can never be what it was, anymore. As present slips into the past, the for-itself transforms into an in-itself [Spade, 1996, p.186]. As a whole, time is a division that reunites
Sartre, 1943/1958 Figure 7: The strongly expressed ramp in Villa Savoye Le Corbusier attempts to capture the temporal dimension of his buildings by creating a strongly expressed ramp or a staircase. These, as Kuma [2008, p.25,31] states, are the devices that represent the movement, however, by freezing the movement in time and making it solid; one fails to capture its flowing essence, and thereby merely another object is created (easy to be captured by a photograph).

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3.5. SUBJECT-OBJECT RELATIONSHIP

Michal Kubis; 15.12.2011

In this section I will change the focus from the objects to the apparatus that classifies them as such the consciousness - and I will explore the link between those too.

As Sartre [1943/1958, p.46] explains - consciousness is always intentional (it is a consciousness of something) and therefore there must be a distance between it and the object. By apprehending oneself as a subject, there is an impulse to automatically reduce the other to the object of ones consciousness; thereby placing the object outside of ones realm. Is it possible to bridge this gap, then?

3.5.1. Chofu Theatre


Figure 8: A typical modern theatre plan The stage is framed by a proscenium, making it appear to the spectators almost as a screen, amplifying the sense of disconnectedness. The object in a contemporary theatre clearly resides in the stage, while the audience is a mere observer in respect to it (the subject). This endows every performer . . . with a privileged character [Kuma, 2008, p.81]; and this notion is supported by the elevated position of the stage. In Kumas Chofu theatre, however, their positions are swapped thus the audience is placed on the elevated stage and becomes the observed. In this way the role of the former stage is, in the spectators conception, redefined from a mere object; becoming another consciousness, similarly capable of reducing things to objects. This connection of the object and subject is reinforced by giving the audience the power to interact with the performance. This is done by a switch that controls a vinyl screen, filtering the transition between the audience and the performers [Kuma, 2008, p.87].

Designing a demarcated space called the stage, distinguished from the seats, seemed to me a limited endeavour. I was more interested in the space of the theatre, the relationship between performers and audience, and rather than confirm the pre-existing relationship, I wanted to reverse it.
Kuma, 2008, p.81

The building Kuma refers to in this quote is the Chofu theatre in Tokyo.

Sartre in his work offers an illustration of a similar process of acknowledging the presence of other consciousness, by the case of a man, sitting on a park bench [Spade, 1996, p 212]. This man, observing the world, is in this act reducing it into an object, when suddenly - a stranger sitting next to him turns to look him into the eye. The first man automatically starts to feel unnerved, sensing the presence of another consciousness in the strangers eyes which is, in a similar way, reducing him into an object. The man is forced to acknowledge himself and all values and qualities he feels to possess - as nothing but relative in respect to how they are acknowledged and attributed by the other. This is the disarming power of judgement cast upon us, making us realize how relative everything is.

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3.5.2. Kirsan observatory

Michal Kubis; 15.12.2011

An architectural example that goes even further into the exploration of consciousness is Kumas Kirsan observatory. In order not to create an object on the top of the hill, most of the observatory is buried in the ground; forming a trench the visitors have to descend into, after getting to the top of the hill [Kuma, 2008, p.52]. As this trench is virtually concealed from the outside, you might be on top of the building before you know [Kuma, 2008, p.34]; therefore you dont acknowledge the buildings presence until you become a part of it.

Observation platforms were first built to gain a better knowledge of the world, which could now be viewed from above; they thus conveyed a sense of control. At Kirsan, the individual, who feels empowered by the experience of viewing, is simultaneously disempowered by the reality of being viewed.
Bognar, 2005, p.44

Figure 9: Kirsan observatory, viewing platform

This quote relates to another element of the observatory, which is the awareness of being watched, achieved here through employment of digital technology. The observers are being captured by cameras from different angles, and the images are being projected onto the screens built in the seating cubes [Kuma, 2008, p.54]. This forces the observers to acknowledge their own presence, rendering them also the subject and the object of this act of observation, at the same time.

This relates to another analogy made by Sartre, of a man observing a room through a keyhole [Spade, 1996, p.211]. He is absorbed in the act of observing - being positioned outside of the realm of the object being observed. There is a distance between the observer-observed, as if he was looking through a frame into another world, one he is not a part of. However, as he suddenly hears a footstep behind, the observer recognizes the presence of another subject and realizes he is (or at least might be) watched. By this, he acknowledges his own presence in the world and is drawn back into it, becoming connected to it once again [Sartre, 1943/1958, p.152].
Figure 10: Kirsan observatory, buried access

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Michal Kubis; 15.12.2011

4. CONCLUSION
According to Sartre - Objects are resistant to whatever significance human consciousness might perceive in them [McKay, 2008]. Throughout this report, I have illustrated the notion of dissolving the structures we impose on the environment, in various ways. Now I will summarize this approach of Kengo Kuma in three steps, through which he gradually aims to achieve an absolute unification:

1. Spatial: connecting the inside with the outside. In this first step, the architect blurs the boundaries between the building and the world, re-establishing the connection between these two entities. In this process, the various fractions of space are merged into a whole. 2. Temporal: bridging the gap between space and time. After space is abstracted, the time must no longer assume a differentiating role in this entity; therefore it is joined with the space into a larger cluster of unification. 3. Positional: connecting the subject with the object. The world at this point, however unified, still stands at a distance from the subject, being apprehended as an object to consciousness. Therefore the boundaries between the object and the subject must be blurred. Consequently, their positions are joined - there is no longer a notion of me holding a position in the world but I am the world. In this way, one gets understanding by being, not knowing. This corresponds to the phenomenological approach and Sartres rejection of primacy of knowledge [Spade, 1996, p. 65]. As Kuma [2008, p.109] in his writing points out - Buildings depending on objects draw us in but oppress us. He asks then - How can we free ourselves of this dependence? One of the ways in which Kuma manages to connect the subject and the object is giving the subject a freedom to interact with the environment (as in the case of Chofu theatre). By creating ambiguous and passive architecture, Kuma also gives the subject the power and freedom to organize and constitute the environment in his own way (as the projector does to the screen). If Kumas efforts to engage people aim at admitting them freedom; Can it be said then that this aim matches the main endeavour of Sartres philosophy which is proving the absolute freedom of conscious being?

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LIST OF IMAGES

Jean-Paul Sartre: http://www.317am.net/wp-content/uploads/2011/09/sartre.jpg Kengo Kuma: http://dkenhokoku.up.seesaa.net/image/kuma-kengo.jpg

Figure 1: http://www.cres.org/star/RubinGestalt.gif Figure 2: http://www.tropolism.com/greatbamboo.jpg Figure 3: http://medias.photodeck.com/5cfefe78-ef20-11df-bdde8b2798434c86/16566.04_WaterGlass_House_large.jpg Figure 4: Kengo Kuma and Associates website. http://kkaa.co.jp/works/stone-museum/ Figure 5: ArtCyclopedia website. http://www.artcyclopedia.org/art/hiroshige-awate.jpg Figure 6: http://www.aug.edu/~cshotwel/nohstage.gif Figure 7: http://farm3.static.flickr.com/2533/3944642365_2b706cc798.jpg Figure 8: http://4.bp.blogspot.com/-yq2rB0hJqOE/TaW4zpZ7qDI/AAAAAAAAACI/0FSd8gTmRs/s1600/proscenium.jpg Figure 9: Bognar, B. (2005). Kengo Kuma: Selected Works [Electronic version]. New York: Princeton Architectural Press. page 45 Figure 10: http://www.flickr.com/photos/ida-10/3558635324/sizes/l/in/photostream/

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Internet

BIBLIOGRAPHY

Books & Publications 1. Bognar, B. (2005). Kengo Kuma: Selected Works [Electronic version]. New York: Princeton Architectural Press. 2. Bognar, B. (2009). Material Immaterial: The New Work of Kengo Kuma. New York: Princeton Architectural Press. 3. Kuma, K. (2008). Anti-Object (H. Watanabe, Trans.). London: Architectural Association 4. Sartre, J.-P. (1958). Being and Nothingness: An Essay on Phenomenological Ontology (H. E. Barnes, Trans.). Bristol: J. W. Arrowsmith Ltd. (Original work published 1943)

1. Hughes, G. (2011). Introduction to Existentialism is a Humanism. Retreived from http://www.btinternet.com/~glynhughes/squashed/sartre.htm 2. McKay, J. (2008). Existentialist philosophy. Retrieved from http://students.ou.edu/M/Jonathan.D.Mc-Kay1/existentialistphilosophy.html 3. Sartre, J.-P. (1946). Existentialism is a Humanism. Retrieved from http://www.marxists.org/reference/archive/sartre/works/exist/sartre .htm 4. Great (Bamboo) Wall by Kengo Kuma (2009). Retrieved from http://travelwithfrankgehry.blogspot.com/2009/12/great-bamboowall-by-kengo-kuma.html 5. Jean-Paul Sartre (2004) Retrieved from Stanford Encyclopedia of Philosophy: http://plato.stanford.edu/entries/sartre/

5. Sartre, J.-P. (1965). Nausea (Penguin Books, Trans.). Harmondsworth: Penguin Books. (Original work published 1938) 6. Spade, P. V. (1996). Jean-Paul Sartres Being and Nothingness: Class Lecture Notes. Retrieved from: http://pvspade.com/Sartre/pdf/sartre1.pdf.

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