I think architecture becomes interesting when it has a double character, that is, when it is as simple as possible but, at the same time as complex as possible
Tadao AndoRead
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.
Interpretation
The essence of Modernist architecture is a balance between logical design and the emotional spirit of the space.
Tadao Ando emphasizes that Modernist architecture is not merely about logical principles; it also requires a deep emotional connection or spirit. Without this spirit, the true essence and experience of Modernist architecture cannot be realized, so Ando seeks to harmonize the logical and emotional aspects through his architectural designs.
In practice
In a presentation about architectural design philosophy, I might say, 'As Tadao Ando suggests, without the spirit, Modernist architecture cannot fully exist.'
I think architecture becomes interesting when it has a double character, that is, when it is as simple as possible but, at the same time as complex as possible
I create enclosed spaces mainly by means of thick concrete walls. The primary reason is to create a place for the individual, a zone for oneself within society. When the external factors of a city's environment require the wall to be without openings, the interior must be especially full and satisfying.
I believe that architecture is fundamentally a public space where people can gather and communicate, think about the history, think about the lives of human beings, or the world.
All architecture has a public nature, I believe, so I would like to make a public space.
I like ruins because what remains is not the total design, but the clarity of thought, the naked structure, the spirit of the thing.
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.
It's the spectator, and not life, that art really mirrors.
What interests me is the opportunity for all of us to become something different from what we are, by constructing spaces that contribute something to the experience of who we are.
Audience members are only concerned about the story, the concept, the bells and whistles and the noise that a popular film starts to make even before it's popular. So audiences will not be drawn to the technology; they'll be drawn to the story. And I hope it always remains that way.
Do everything by hand, even when using the computer.
There's nothing worse than an ostentatious shot or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something. But it's not necessarily right for the film β you jump out, you think about the surface, and you don't stay in there with the characters and the story.
In HEATHEN, R. Flowers Rivera remixes the classical and the Biblical, the usual and the typical until what we thought we knew of ourselves and others is new again. The mythic becomes particular; the particular becomes mythic in these fascinating poems of personalities and personas. Riveraβs work is rich in empathy and invention. Heathen is a book of psalms for the present day.
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