Kengo Kuma Discusses the Impact of Generative AI and Excess in Today’s Era: What Role Can Architects and Creators Play?

Common Elements between the Rise of Digital Design in the 1990s in the U.S. and the Era of Generative AI

Hirano: To start, I’d love to hear your overall thoughts on the studio. Reflecting on this experience, I’m reminded of the paperless studio that Bernard Tschumi initiated at Columbia University in New York during the 1990s. It was an experimental space in architecture education, where new digital technologies, such as Hollywood special effects, were applied in an attempt to shape “new architecture.” A similar energy seems to be unfolding in this studio, and I have a feeling something fresh is about to emerge.

*Bernard Tschumi: A Swiss-born architect and theorist, Tschumi is known for his groundbreaking design philosophy, which blends architecture with philosophy, literature, and film theory. He reimagined architecture as not just a static space, but a dynamic “arena of events,” becoming a key figure in the Deconstructivist movement.

The Paperless Studio: A concept introduced at Columbia University’s Graduate School of Architecture (GSAPP) in the 1990s, where computers were used to replace manual drafting and explore new possibilities in design. Though some critics viewed it as diminishing the importance of hand-drawn sketches, today, with digital design being dominant, it’s seen as an innovative breakthrough in architectural education.

Kuma: When Bernard Tschumi launched the Paperless Studio, the reaction was one of shock and disbelief—people thought, “This person is doing something outrageously unconventional.” At the time, architecture still held tightly to the belief that true value existed in tangible buildings—what we understood as “reality.” Tschumi, on the other hand, was diving into a world with no physical reality, where everything existed solely on a screen. It felt like he was being met with skepticism from all sides. Yet, in today’s world, the tables seem to have turned. There’s an undeniable feeling that society can no longer function without AI, and that growing sense of urgency is fueling its creation. Comparing the 1990s with the 2020s reveals both echoes of the past and stark contrasts. In the past, architectural practices demanded a minimalist approach—everything had to be stripped down to meet the standard. That’s why the “excess” in everyday life that Hirano speaks about seemed at odds with architectural studios.

However, this studio challenges students to embrace that very “excess.” Watching their work unfold, I saw how seamlessly today’s architecture students are adapting to AI, without hesitation. Their daily lives are already surrounded by a constant overload of images and technologies. “How to ride the wave” of this excess has become second nature to them, and it feels like projects like this are simply an extension of that. The mindset in this studio is the complete opposite of the traditional “reduce everything” approach of typical architectural studios, and the students seemed truly invigorated by it.