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Tadao Ando

Read through the most famous quotes from Tadao Ando




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


— Tadao Ando


#american #american people #courage #i #lot

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


— Tadao Ando


#believe #directed #i #i believe #i believe that

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


— Tadao Ando


#future #i #inspire #into #like

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.


— Tadao Ando


#create #dream #experienced #future #gives

The computer offers another kind of creativity. You cannot ignore the creativity that computer technology can bring. But you need to be able to move between those two different worlds.


— Tadao Ando


#another #between #bring #cannot #computer

The level of detail and craft is something that's inscribed within the original design concept. And so when I begin to draw, I know what kind of detailing I want the building to have.


— Tadao Ando


#building #concept #craft #design #detail

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


— Tadao Ando


#function #our #our time #role #time

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


— Tadao Ando


#draw #hands #i #something #together

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.


— Tadao Ando


#architect #architectural #architecture #attachment #builder

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


— Tadao Ando


#creative #creative process #extension #hand #process






About Tadao Ando

Tadao Ando Quotes




Did you know about Tadao Ando?

It consists of three equally sized rectangular volumes: two enclosed volumes of interior spaces separated by an open courtyard. However in the perspective of Japanese culture the most significant concept of the shrine is to be able to spread the divine spirit from the interior and being able to eternalize it through the architecture. The designs for Rokko Housing One (1983) and for Rokko Housing Two (1993) illustrate a range of issues in the traditional architectural vocabulary—the interplay of solid and void the alternatives of open and closed the contrasts of light and darkness.

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