A Quote by Kenzo Tange

I first decided architecture was for me when I saw Le Corbusier's designs in a Japanese magazine in the 1930s. — © Kenzo Tange
I first decided architecture was for me when I saw Le Corbusier's designs in a Japanese magazine in the 1930s.
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.
Instead of using the machine as a metaphor for architecture, as Le Corbusier did, I use the human body. I want the public to know that it's them I'm designing for.
I like to be in New York. Le Corbusier described it in the 1930s as a 'wonderful catastrophe.' It is still a wonderful catastrophe, but inspiring.
I became a fanatic of the architecture of Le Corbusier and I visited almost all his buildings and read all his books. Only later on did I discover that all the things that impressed me in his books, particular his ideology, he had picked up from Auguste Perret.
The American society around me looked at me and saw Japanese. Then, when I was 19, I went to Japan for the first time. And suddenly - what a shock - I realized I wasn't Japanese; they saw me as American. It was an enormous relief. Now I just appreciate being exactly in the middle.
We are all affected by Le Corbusier, Frank Lloyd Wright, Alvar Aalto, and Mies van der Rohe. But no less than Bramante, Borromini, and Bernini. Architecture is a tradition, a long continuum. Whether we break with tradition or enhance it, we are still connected to that past. We evolve.
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.
We're not living in a school-of-Paris world, you know, and the things we really see in America are like this. It's McDonald's, it's not Le Corbusier.
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 1930s Hollywood was capable of hurting me so much. The things about Hollywood that could hurt me (when I first came) can't touch me now. I suddenly decided that they shouldn't hurt me - that was all.
The first time my friends saw me in a magazine I was so excited.
For me [ Giovanni Lorenzo ] Bernini, [Francesco ] Borromini, and [Donato] Bramante have been as significant as Alvar Aalto, Frank Lloyd Wright, Le Corbusier, and Louis Kahn. I still marvel at their works, which have a quality and a timelessness that I seek to have in our projects.
When I was 16 and on a tour of Europe, I fell in love with Le Corbusier's Notre Dame du Haut chapel in Ronchamp, France. I'd quite like to live in it.
My first architectural project I did, I must have been fifteen, was for neighbors across the street, a couple of school teachers, and I designed a house for them. I didn't know anything about Le Corbusier or anything like that, but it ended up being a very cubistic kind of house. I always wanted to be an architect.
The ideas of [ Le Corbusier ] that actually found their way into practice were deeply destructive - for instance, the tower-in-a-park, which mutated into the vertical slums of the late 20th century.
Spiritual space is lost in gaining convenience. I saw the need to create a mixture of Japanese spiritual culture and modern western architecture.
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