A Quote by Kengo Kuma
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.
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We've been fighting from the beginning for organic architecture. That is, architecture where the whole is to the part as the part is to the whole, and where the nature of materials, the nature of the purpose, the nature of the entire performance becomes a necessity-architecture of democracy.
Architecture is supposed to complete nature. Great architecture makes nature more beautiful-it gives it power.
There is no one more deserving of a place in Poets' Corner. Ted Hughes introduced a new kind of landscape into English poetry. The most compelling aspect of his work was his intimacy with nature.
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.
All but universally, human architecture values front elevations over back entrances, public spaces over private. Danny Jessup says that this aspect of architecture is also a reflection of human nature, that most people care more about their appearance than they do about their souls.
There's a transparency revolution sweeping the world. The more you can have transparency of payments, the more you'll be able to follow the money and the more you'll be able to see that payments for mineral rights in poor countries actually go to the people who need it, and don't get put into a kleptocrat's pocket. Transparency is terribly important for us.
Experimental architecture by its very nature is more prone to the depredations of time and natural elements than buildings made from conventional materials through traditional methods. Avant-garde architects often simply do not know how the products of their imagination will perform when implemented, especially if untested components are involved.
Architecture is the constant fight between man and nature, the fight to overwhelm nature, to possess it. The first act of architecture is to put a stone on the ground. That act transforms a condition of nature into a condition of culture; it's a holy act.
When we come to understand architecture as the essential nature of all harmonious structure we will see that it is the architecture of music that inspired Bach and Beethoven, the architecture of painting that is inspiring Picasso as it inspired Velasquez, that it is the architecture of life itself that is the inspiration of the great poets and philosophers.
The melded nature of space and time is intimately woven with properties of light speed. The inviolable nature of the speed of light is actually, in Einstein's hands, talking about the inviolable nature of cause and effect.
Bring out the nature of the materials. Let their nature intimately into your scheme.
Modern architecture does not mean the use of immature new materials; the main thing is to refine materials in a more human direction.
Movement, change, light, growth and decay are the lifeblood of nature, the energies that I I try to tap through my work. I need the shock of touch, the resistance of place, materials and weather, the earth as my source. Nature is in a state of change and that change is the key to understanding. I want my art to be sensitive and alert to changes in material, season and weather. Each work grows, stays, decays. Process and decay are implicit. Transience in my work reflects what I find in nature.
For me, architecture is an art the same as painting is an art or sculpture is an art. Yet, architecture moves a step beyond painting and sculpture because it is more than using materials. Architecture responds to functional outputs and environmental factors. Yet, fundamentally, it is important for me to stress the art in architecture to bring harmony.
Everything man is doing in architecture is to try to go against nature. Of course we have to understand nature to know how far we have to go against nature. The secret, I think, of the future is not doing too much. All architects have the tendency to do too much.
We try to exile ourselves more and more from nature - not always consciously: We build houses; we dismiss nature; nature has to be outside, because we're inside. God forbid something like a cockroach comes inside, or some dust.
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