When I draw something, the brain and the hands work together.
When you look at Japanese traditional architecture, you have to look at Japanese culture and its relationship with nature. You can actually live in a harmonious, close contact with nature - this very unique to Japan.
My hand is the extension of the thinking process - the creative process.
You cannot simply put something new into a place. You have to absorb what you see around you, what exists on the land, and then use that knowledge along with contemporary thinking to interpret what you see.
You can't really say what is beautiful about a place, but the image of the place will remain vividly with you.
I would like my architecture to inspire people to use their own resources, to move into the future.
Without this spirit, Modernist architecture cannot fully exist. Since there is often a mismatch between the logic and the spirit of Modernism, I use architecture to reconcile the two.
If you give people nothingness, they can ponder what can be achieved from that nothingness.
In the West there has always been the attempt to try make the religious building, whether it's a Medieval or Renaissance church, an eternal object for the celebration of God. The material chosen, such as stone, brick, or concrete, is meant to eternally preserve what is inside.
Spiritual space is lost in gaining convenience. I saw the need to create a mixture of Japanese spiritual culture and modern western architecture.
Look at London or Paris: they're both filthy. You don't get that in Tokyo. The proud residents look after their city.
I think of the past and the future as well as the present to determine where I am, and I move on while thinking of these things.
I believe that the way people live can be directed a little by architecture.
There is a role and function for beauty in our time.
All those involved in the construction of an architectural design, from the architect to the builder, have an attachment to the architecture, although it's difficult to quantify the attachment.
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