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.

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.

There are self-made millionaires - their aspiration is first to make money. But the once that goal is achieved, they have to look for something and sometimes they become patrons of art or museums. And that is how the world should go.

I want to create a space that moves people. It doesn't matter if it is a house, or a museum, or whatever. So, it is somebody sitting on that lawn, just going around and around and feeling really happy. That is something that I'm striving for.

We borrow from nature the space upon which we build.

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.

No matter how advanced society becomes, institutionally or technologically, a house in which nature can be sensed represents for me the ideal environment in which to live. From a functional viewpoint, the courtyard of the Rowhouse in Sumiyoshi forces the inhabitant to endure the occasional hardships. At the same time, however, the open courtyard is capable of becoming the house's vital organ, introducing the everyday life and assimilating precious stimuli such as changes in nature.