di Mikio Kuranishi
Nell’inverno 2009 si è tenuta a Tokyo la personale di Kengo Kuma, intitolata Studies in
Organic. Nell’omonimo libro pubblicato in occasione della mostra, Kuma esplicita il suo
tentativo di ridefinire il concetto di architettura organica. La maggior parte delle persone
associano l’architettura organica a Frank Lloyd Wright, ma secondo Kuma, l’architettura
organica di Wright era, in un certo senso, antitetica rispetto all’equazione di Le Corbusier,
secondo cui «la casa è una macchina in cui si abita». In altre parole, Kuma teorizza
che Wright usasse gli organismi viventi come metafora dell’architettura, in opposizione
alla macchina di Le Corbusier. Ad ogni modo, Le Corbusier considerava la macchina
un essere autonomo, analogamente alla nozione di organismo vivente che per Wright
era indipendente (autosufficiente). Come molti biologi puntualizzano oggi, tuttavia, un
organismo vivente non è autonomo, e può esistere nell’interazione con l’ambiente, o
meglio l’interazione stessa è l’organismo vivente. Non esistendo questa concezione ai
tempi di Wright, il risultato fu produrre forme splendide come artefatti. Kuma, d’altra
parte, sottolinea l’importanza della relazione con l’ambiente e cerca di esprimere la sua
interazione con i vari elementi che lo circondano. Mentre oggi la preoccupazione di ogni
architetto è di preservare l’armonia con l’ambiente circostante, l’attenzione è rivolta solo
ed esclusivamente alle forme, ad esempio delle strutture che simulano montagne in
lontananza. Quello che è importante per Kuma nell’architettura organica è la consistenza
del materiale, la sua morbidezza, l’odore, il calore. Questo modo di pensare si basa
sull’esperienza dello Yasuhara’s Visitor Center e dell’Osservatorio di Kiro-san, i suoi
primi lavori (entrambi del 1994). L’ Osservatorio di Kiro-san attirò particolare attenzione
perché Kuma creò una struttura che sembrava sepolta nella montagna nel tentativo
di integrarla con l’ambiente per preservare lo scenario circostante. Eppure, Kuma non
ritiene che la struttura possa integrarsi con l’ambiente semplicemente eliminandone
la presenza. Egli dichiara: «Il modello ideale per un organismo vivente è creare una
relazione armoniosa con l’ambiente. Come un camaleonte sparisce sullo sfondo
quando sente un pericolo, è importante essere in grado di cambiare il proprio stato in
accordo con l’ambiente circostante e, soprattutto di comprendere questa relazione.»
L’architettura normalmente non può trasformarsi come un camaleonte, ma le persiane,
che Kuma utilizza molto spesso, possono modificare l’apparenza e l’immagine di una
struttura a seconda di come cade la luce. In pratica, se tutta la parete è in cemento,
l’interno e l’esterno non sono connessi e la loro relazione è uniforme ma, utilizzando
le persiane, la relazione cambia continuamente. Un altro esempio è la teahouse che
progettò per il museo del design a Francoforte. È una struttura sperimentale fatta di
tessuto che si gonfia solo quando viene usato. Kuma ha cercato qui di incorporare una
morbidezza fatta ad arte nell’architettura. Come descritto in precedenza, il materiale
ha un significato importante nell’architettura organica di Kuma. Egli dice: «Ai tempi di
Wright, la qualità organica veniva tradotta nelle forme, ma io voglio tradurla attraverso i
materiali.». Quello che Kuma intende per materiali non sono le vernici esterne applicate
sopra al cemento, ma quelli basali che compongono l’architettura. «Il cemento è stato,
per così dire, il “sistema operativo di base” dell’architettura del 20esimo secolo, ma
l’architettura non cambierà, a meno che non troviamo un altro materiale che possa
rimpiazzarlo.» L’ultimo esperimento di architettura organica che Kuma sta cercando di
ridefinire è quello di creare dei blocchi usando un materiale chiamato ETFT (ethylene
tetraluoroethylene) che viene usato in genere per strutture in membrana a larga scala,
e costruire un edificio impilandoli come mattoni. Può essere descritto come un edificio
fatto di mattoni d’aria e verrà mostrato per la prima volta alla personale che Kuma terrà
a Shangai a giugno, in concomitanza con l’Expo 2010. (Continua nel numero 3 di Nemeton)
Tags: architecture, bamboo
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