A Quote by Tadao Ando
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.
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If you're Japanese and you signed up for Pinterest in Japan, you see Japanese ideas, not American ideas that look Japanese - it's a very big difference.
If you've seen 'Spirited Away', 'Spirited Away' is set in a very, very Japanese sensibility. And so, to Japanese audiences, when Sen would walk up, the main character, and look at this big building with a flag on it with Japanese writing on it, everyone in Japan would know what that is.
Japan, not only a mega-busy city that thrives on electronics and efficiency, actually has an almost sacred appreciation of nature. One must travel outside of Tokyo to truly experience the 'old Japan' and more importantly feel these aspects of Japanese culture.
I travel a lot. Japanese culture is very ancient and very strong. That's why most people who commission work from Japanese architects expect them to create works that have an element of exoticism, the kind typical of Japanese culture. I don't do that.
After World War II great strides were made in modern Japanese architecture, not only in advanced technology, allowing earthquake resistant tall buildings, but expressing and infusing characteristics of traditional Japanese architecture in modern buildings.
The method (of learning Japanese) recommended by experts is to be born as a Japanese baby and raised by a Japanese family, in Japan. And even then it's not easy.
As well as Japanese animation, technology has a huge influence on Japanese society, and also Japanese novels. It's because before, people tended to think that ideology or religion were the things that actually changed people, but it's been proven that that's not the case. Technology has been proven to be the thing that's actually changing people. So in that sense, it's become a theme in Japanese culture.
I was born in Japan and moved to L.A. when I was six, and I grew up with Japanese culture. I was reading manga, and I read 'Death Note' in real time in Japanese.
A very enjoyable meditation on the curious thing called 'Zen' -not the Japanese religious tradition but rather the Western clich of Zen that is embraced in advertising, self-help books, and much more. . . . Yamada, who is both a scholar of Buddhism and a student of archery, offers refreshing insight into Western stereotypes of Japan and Japanese culture, and how these are received in Japan.
I loved my time in Japan, and I am grateful to have had the chance to live in Japan and embrace the Japanese culture.
I recently wrote a piece on comics in architecture - I was talking about the three kinds of comics I pay attention to: the Franco-Belgian, the Japanese manga, and the American comics. I started thinking about the relationship between Japanese manga and Japanese architecture, or Franco-Belgian bande dessinée versus Franco-Belgian architecture, it began to make sense; there are parallels to the modes of operations and the cultures they belong to. If I didn't force myself to write, I would have no forum to clarify these thoughts. Writing is really helpful.
Japanese traditional architecture is created based on these conditions. This is the reason you have a very high degree of connection between the outside and inside in architecture.
You could say that my aim is ‘to recover the place’. The place is a result of nature and time; this is the most important aspect. I think my architecture is some kind of frame of nature. With it, we can experience nature more deeply and more intimately. Transparency is a characteristic of Japanese architecture; I try to use light and natural materials to get a new kind of transparency.
There are some ghost stories in Japan where - when you are sitting in the bathroom in the traditional style of the Japanese toilet - a hand is actually starting to grab you from beneath. It's a very scary story.
I often look ridiculous in Japan. There's really no way to eat in Japan, particularly kaiseki in a traditional ryokan, without offending the Japanese horribly. Every gesture, every movement is just so atrociously wrong, and the more I try, the more hilarious it is.
Since I am a Japanese man who's been building through the experience of Japanese architecture, my actual designs come from Japanese architectural concepts, although they're based on Western methods and materials.
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