Tadao Ando's Quotes

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.

But in Japan, there's nothing like that, since the temple is made of wood. The divine spirit inside the building is eternal, so the enclosure doesn't have to be.

I hope America can also be the cultural leader of the world, and use this frontier spirit to lead and show others that we need courage to go places where we have not gone before.

I hope that America as a whole, and especially its architects, will become more seriously involved in producing a new architectural culture that would bring the nation to the apex - where it has stood before - and lead the world.

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.

Italy is full of historical buildings. And Europe holds a great history of philosophy from Greece until today. I read all those books and see these buildings, and I think of where I stand when I design my architecture.

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.

When I design buildings, I think of the overall composition, 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.

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.

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.

I believe that the way people live can be directed a little by architecture.

My hand is the extension of the thinking process - the creative process.

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.

At the same time, I would add that the American people have a lot of courage.

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.

If I can create some space that people haven't experienced before and if it stays with them or gives them a dream for the future, that's the kind of structure I seek to create.

If you give people nothingness, they can ponder what can be achieved from that nothingness.

I am interested in things happening around me, and I need to understand what's going on in other artistic sectors like music and literature.

I would like my architecture to inspire people to use their own resources, to move into the future.

There is a role and function for beauty in our time.

When I draw something, the brain and the hands work together.

But now, more and more, its society is concerned with economy and finance.

In Italy, there are so many significant architectural structures in history such as the Pantheon in Rome, or the Duomo.

In Japan, there is less a culture of preserving old buildings than in Europe.

Japanese architecture is traditionally based on wooden structures that need renovating on a regular basis.

Look at London or Paris: they're both filthy. You don't get that in Tokyo. The proud residents look after their city.