Kengo Kuma’s Onomatopoeia Architecture has arrived in Athens, following successful presentations in Venice and Bonn. Hosted at the historic Old State Tobacco Factory, the exhibition runs from January 24th to March 15th, 2025, offering an in-depth look at the Japanese architect’s experimental approach to space and materiality. Organized by Medexpo in collaboration with the Technical Chamber of Greece, the exhibition highlights Kuma’s belief in a sensory-driven architecture where materials and human perception are in constant dialogue.
The exhibition explores the concept of onomatopoeia—the formation of words that mimic sounds—to describe architectural sensations beyond traditional geometric language. Kuma argues that architecture should not impose rigid forms but instead engage with space intuitively, much like a cat moving through its environment. His philosophy is reflected in a series of intricate models that showcase key projects where structure and sensation intertwine.
Among the featured works, the Tokyo National Stadium embodies para para, evoking the lightness of layered elements that blend with nature. The Portland Japanese Garden Cultural Village expresses sara sara, a flowing spatial experience that mirrors the gentle movement of wind and water. Meanwhile, the Riviera Galleria in Ellinikon captures fuwa fuwa, with its soft, breathable façade inspired by organic textures. These projects illustrate how Kuma transforms architectural spaces into dynamic, immersive experiences.
Kuma sees onomatopoeia as a tool to challenge conventional spatial definitions, moving beyond the constraints of modernist geometry. “Ambiguity is essential for public spaces,” he explains, emphasizing the importance of flexibility and comfort in architectural design. By integrating natural materials such as wood, paper, and metal, he fosters a tactile, human-centered approach that reconnects people with their built environments.
The Athens exhibition offers visitors a chance to engage with Kuma’s work in a setting rich with historical and cultural significance. He describes Greece as a fitting location for the show, noting that the term “onomatopoeia” originates from ancient Greek thought, which already recognized the limits of linguistic expression. Through this exhibition, Kuma encourages audiences to reconsider architecture as a sensory and participatory experience rather than a static form.
Photography by GAVRIIL PAPADIOTIS
