RHIs the building process in Japan significantly different from that in Europe?
JAThe working process of Japanese and European architects is very different. For Europeans, principals come first and then the process happens. The Japanese way is to start creating and in the process principles will emerge within an environment that changes constantly. Just look at Tokyo. I often compare the situation with soccer. It works exactly like Japanese architecture. You cannot just follow a principle. Every split-second you must deal with a new situation, adjust and come up with a new strategy, which again might only be short-lived. That’s how we work in Japan like a soccer team.
RHYou mean Europeans are less flexible?
JAEuropean architects want to make the world new. I understand their utopia and I understand that way of working. But I am not interested in it. For me there is no doctrine or principle to start out with. For me there’s only the working process from which I get inspired. Within that I make decisions and plans under the influence of an ever-changing situation.
RHThis approach also applied to your Mamihara Bridge in Kyushu. Why would a contemporary architect who creates flagship stores for Louis Vuitton do a project in Japan’s deepest, rural countryside?
JAI think, all objects that are considered to be natural have already been in one way or another modified by people. Everything is artificial. From an engineering standpoint Mamihara Bridge is a regular structure. All I did was split its upper and lower part with the road above serving as a roof. Villagers can be close to the river, enjoy the breeze, get together, and have parties. I created an atmosphere that feels like you have been invited to someone’s house. Bridges usually don’t have these characteristics. To create a special atmosphere with only minimal changes to a basic structure, that’s what I wanted to achieve with this building in the countryside.
