I like the ruins because what is left is not the total design, but the clarity of the thought, the naked structure, the spirit of the thing.
In Architecture there is a part that is the result of logical reasoning and a part that is created through the senses. There is always a point where they collide. I do not believe that Architecture can be created without that Collision.
My goal is to design a space that no one else can find while using the material that anyone can use.
I take the space of the museum also as sacred in a certain sense.
I think capitalism has just gone too far. And it’s not really limited to the United States. The excesses of capitalism are making us suffer all over the world at this time.
While you have an objective in mind, you are young.
There are self-made millionaires, your aspiration is to first make money. But once that goal is achieved, they have to look for something and sometimes become sponsors of art or museums. And this is how the world should go.
I think everyone needs a goal. And what kind of objective will be important. And for that we have to study and we have to be smart.
I want to create a space that moves people. It does not matter if it’s a house, a museum or whatever. Then, it is someone sitting on the lawn, going around and around and feeling really happy. That’s something I’m fighting for.
In all my work, light is an important control factor.
I do not think architecture has to talk too much. You must remain silent and let nature disguised as sunlight and wind
We borrow from nature the space on which we build.
I think architecture becomes interesting when it has a double character, that is, when it is as simple as possible but, at the same time, as complex as possible
I create closed spaces mainly by means of thick concrete walls. The main reason is to create a place for the individual, an area for oneself within society. When the external factors of the environment of a city require that the wall be without openings, the interior must be especially full and satisfactory.
No matter how advanced society becomes, institutionally or technologically, a house in which you can feel nature represents for me the ideal environment in which to live. From a functional point of view, the Rowhouse courtyard in Sumiyoshi forces the inhabitant to endure occasional difficulties. At the same time, however, the open courtyard is capable of becoming the vital organ of the house, introducing daily life and assimilating precious stimuli such as changes in nature.
But now, more and more, your society worries about the economy and finances.
It was not that he had any great dreams of being an architect. I just wanted to do things. Whether furniture, painting, interior design or architecture. I just wanted to create something.
When you look at traditional Japanese architecture, you should observe Japanese culture and its relationship with nature. In fact, you can live in a harmonious and close contact with nature, something very exclusive to Japan.
My hand is the extension of the thought process: the creative process.
I think that the way people live can be directed a bit by architecture.
If I can create a space that people have not experienced before and if it stays with them or gives them a dream for the future, that is the kind of structure that I seek to create.
In the West there has always been an attempt to try to make the religious edifice, be it a medieval or Renaissance church, an eternal object for the celebration of God. The chosen material, such as stone, brick or concrete, is destined to eternally preserve what is inside.
All those involved in the construction of an architectural design, from the architect to the builder, have an attachment to architecture, although it is difficult to quantify the attachment.
When I design buildings, I think of the general composition, as much as the parts of a body would fit together. On top of that, I think about how people will approach the building and experience that space.
You can not really tell what is beautiful about a place, but the image of the place will still be vivid.
The speed of the change makes you think what will be of the architecture.
If you give people nothing, they can reflect on what can be achieved with that nothing.
I would like my architecture to inspire people to use their own resources to move towards the future.
I think about the past, the future and the present to determine where I am, and I keep thinking about these things.
There is a role and function for beauty in our time.
I am interested in the things that happen around me, and I need to understand what is happening in other artistic sectors such as music and literature.
In Italy, there are as many significant architectural structures in history as the Pantheon in Rome or the Duomo.
The spiritual space is lost to gain convenience. I saw the need to create a mixture of Japanese spiritual culture and modern western architecture.
Look at London or Paris: both are disgusting. You do not understand that in Tokyo. The proud residents take care of their city.
Working in Tokyo has convinced me that, contrary to what people think, it is actually one of the most beautiful cities in the world.
The level of detail and craftsmanship is something that is inscribed within the original design concept. And when I start drawing, I know what kind of details I want the building to have.
But in Japan, there is nothing like that, since the temple is made of wood. The divine spirit within the building is eternal, so the enclosure does not have to be that way.
As I am a Japanese man who has been building through the experience of Japanese architecture, my real designs come from Japanese architectural concepts, although they are based on western methods and materials.
You can not just put something new in one place. You must absorb what you see around you, what exists on earth, and then use that knowledge along with contemporary thinking to interpret what you see.
The computer offers another type of creativity. You can not ignore the creativity that computer technology can bring. But you need to be able to move between those two different worlds.
Traditional Japanese architecture is created based on these conditions. This is the reason why it has a high degree of connection between the exterior and the interior in architecture.
If there is only one culture in the whole world, that is not good.
When I draw something, the brain and hands work together.
You always want to try to do something new and, of course, the United States is the world leader in economics today.
All architecture has a public nature, I think, so I would like to make a public space.
Japanese architecture is traditionally based on wooden structures that need periodic renovation.
People tend not to use this word beauty because it is not intellectual, but there has to be an overlap between beauty and intellect.
Italy is full of historic buildings. And Europe has a great history of philosophy from Greece to this day. I read all those books and see these buildings, and I think about how I am when I design my architecture.
Without this spirit, modernist architecture can not exist at all. Since there is often a mismatch between the logic and the spirit of Modernism, I use architecture to reconcile the two.
I believe that architecture is fundamentally a public space where people can meet and communicate, think about history, think about the lives of human beings or the world.
I hope the United States can also be the world’s cultural leader and use this frontier spirit to lead and show others that we need courage to go places we have not gone before.
At the same time, I would add that Americans have a lot of value.
In Japan, there is less culture to preserve old buildings than in Europe.
I do not look so closely at women’s fashion, but since the 20th century, people have had the freedom to express themselves and their individualities, and fashion is one of the most fundamental ways in which they do it, men and women are equally capable to express yourself
I hope that the United States as a whole, and especially its architects, will become more involved in the production of a new architectural culture that will take the nation to the top – where it has been before – and lead the world.