长首先，我们把竞图的资料透明化，我们向所有的人公开并举办说明会。我们也不断和表演者沟通并由此去发展设计。我们在建造期间和新潟市政府、新潟市市民，一起开放地讨论如何良好管理新活动，并组织了上百个工作坊。我们让建筑经由使用者、业主与专业者的携手合作而产生出来。这个建案的概念是不同领域交会产生的创作：业余爱好者与专业人士、传统与现代（建筑）、音乐与戏剧。事实上，有50%的节目由表演中心自行策划和提供，他们的财务情况良好，所以这是有可能的。能源节约方面，我们在正立面运用了新科技。回填的地面原本要铺柏油，我们把它改为绿披以对抗热岛效应。行人陆桥的网络不仅串连了建筑群，也同时维系了城市与水岸的关联。我相信这样的都市政策把公共场所的舒适便利有效地提供给市民。在我看来，建筑永远都是不完整的，因为和建筑一起生活的人会让它继续发展下去。唯有透过人们在其中生活，透过（因应活动的变化）而做妥当的改善，建筑才算得上完整。
To call Itsuko Hasegawa a feminist architect, as books and magazines have done, is tempting because she is one of the few women who has succeeded in the male dominated world of house designers. But Hasegawa’s oeuvre has little to do with gender politics although her decision to choose a commanding, liberating profession might have resulted from a heightened awareness of her gender. Born in 1941, Hasegawa grew up in Shizuoka prefecture, an hour’s drive west of Tokyo, where she and her sisters followed in their mother’s footsteps through Taisei Junior & High School an all-girl institution originally reserved for aristocratic families. Her brother was to take over the family-owned oil business from his father, but died unexpectedly. Deprived of leadership, the family enterprise dissolved and Hasegawa found a new source of guidance in two unique architects: Metabolist Kiyonori Kikutake (himself an aristocrat) and Kazuo Shinohara, the famed observer of chaotic urban qualities. (Until his death in 2006, Shinohara and Hasegawa celebrated their mutual birthday together every year in April.) When she opened her practice in 1979, Hasegawa quickly caught the attention of the international world of architecture. Awards followed for Yamanashi Fruit Museum, Niigata City Performing Arts Centre and Shonandai Culture Center.
