At the Odunpazari Modern Museum in northern Turkey, the Japanese firm plays with scale and traditional forms to reference the past
November's issue explores the links between the digital world and design, from connections made with our data to the designers taking on a surveillance society
This year’s London Design Festival will feature a number of eye-catching installations at the V&A and beyond. See our pick here
Ahead of the opening of the V&A Dundee, architect Kengo Kuma spoke to Icon’s editor about the role of nature, land and water in his work, the need for intimate space in cities, and how these themes found form in Scotland’s first design museum
Inside the new issue: An exclusive look at the first V&A outside London. Plus: mosques with shopfronts are powerful religious architecture, Patricia Urquiola on Achille Castiglioni, and the enduring appeal of the Emeco Navy chair
Planning your next holiday yet? Here is Icon’s selection of five great buildings where every architecture fanatic would surely want to rest their head, from an inn by Kengo Kuma to an art-lover’s paradise in Provençe
Two years have passed since Japan was hit by a tsunami. Since then, architects and designers have volunteered their skills and expertise to help rebuild communities and make plans for the future.
Despite years of success at home and abroad, Kengo Kuma has resisted the lure of architectural showmanship and devoted his career to the quest for simplicity, combining tradition materials with technical virtuosity.
Icon 116 is devoted to Japan. Nearly two years after the earthquake and tsunami that devastated the north of the country in March 2011, we revisit the disaster areas where architects and designers, including Toyo Ito’s KISYN group, are now helping to rebuild local communities. On the cover is Kengo Kuma, the master of “deceptive minimalism”, and we also talk to rising stars Takram Design Engineering.
Kengo Kuma has combined water, clay and light to create a museum in China that reflects the ancient Taoist tradition's affinity with nature.
Kengo Kuma’s cantilevered timber bridge pays passing tribute to Isozaki and postmodernism but sits comfortably in its traditional rural context.