坂对我没有差别，因为我是在美国学建筑的。在日本，机会太多了，尤其对年轻建筑师来说。我一直在世界各地游走，我敢说，我们这里的情况最特别。美国其实不会给青年才俊机会的。所以我认为东京是开启实务生涯最好的地方之一。日本业主态度柔软，对现代的、创新的事真的感兴趣，虽然他并不一定会过问建筑师或明白。我非常庆幸我是在东京开创自己的实务生涯。
哈今天的电脑科技是否让建筑变得更好？
坂我把电脑当工具使用，而不是用它做设计。 除了结构设计以外，建筑是极少数无法靠先进的电脑就会变好的领域之一。数百年前没有电脑，我们也造过比现在还好的建筑。只要我们花更多时间去设计与建造，就会出现更好的建筑。电脑的进步不代表建筑会更好！
哈你上面所提对现代风格门户开放的情形，会不会正是日本整体现代生活方式的倒影？
坂坦白讲，我们存在着很关键的麻烦。首先，教育体制很糟糕，大学算是世界最差的。学生根本不用功，他们不去学校，英语说不出口，大概全都无法到其他国家工作；政治上，我们缺乏有力的领导人，根本没有人才要当政治家。我看不出日本有什么未来！
Something on the sixth-floor terrace of the Centre Pompidou in Paris doesn’t quite fit; like a pale, hairless caterpillar, thirty-something meters long, the structure tries to camouflage itself amidst Renzo Piano’s gray metal pipes. As it turns out, the giant worm on top of France’s most famous modern art museum is the temporary office of Shigeru Ban. It will be dismantled in 2009, when the Centre Pompidou-Metz Ban’s latest project opens its doors to the public three-and-a-half hours west of Paris.
The caterpillar is pale because of its waterproof membrane made of polytetrafluoroethelene better known as Teflon. The internal structure, however, is less complicated: it’s made of paper tubes. These are as essential to Ban as they are to the carpet and textile industry take the tubes away and he would lose his work philosophy. Ever since the Ministry of Construction approved paper as structural material in 1990 (because of Ban), the tenacious architect has lost no chance to integrate cardboard into his buildings. Ban has included cardboard in his designs for a gallery for Issey Miyake; for the Japanese Pavilion at the Expo 2000, in Hanover; for emergency shelters for refugees and, today, for the museum in Metz. Ban’s motto: “If you get tired of buildings turn them into pulp and build something new, but don’t waste anything!”
