First, there is the bare beauty of the logs themselves with their long lines and firm curves. Then there is the open charm felt of the structural features which are not hidden under plaster and ornament, but are clearly revealed, a charm felt in Japanese architecture.
I like things that are kind of eclectic, when one thing doesn't go with another. That's why I love Rome. The town itself is that way. It's where Fascist architecture meets classic Renaissance, where the ancient bangs up against the contemporary. It has a touch of everything. That's my style, and that's what my work is about.
You look at the steamboat, the railroad, the car, the airplane - not all of these were invented in the Anglo-American world, but they were popularized and extended by it. They were made possible by the financial architecture, the capital intensive operations invented and developed by the Anglo-Americans.
After World War II great strides were made in modern Japanese architecture, not only in advanced technology, allowing earthquake resistant tall buildings, but expressing and infusing characteristics of traditional Japanese architecture in modern buildings.
Architecture is involved with the world, but at the same time it has a certain autonomy. This autonomy cannot be explained in terms of traditional logic because the most interesting parts of the work are non-verbal. They operate within the terms of the work, like any art.
Does it follow that the house has nothing in common with art and is architecture not to be included in the arts? Only a very small part of architecture belongs to art: the tomb and the monument. Everything else that fulfils a function is to be excluded from the domain of art.