坂對我沒有差別，因為我是在美國學建筑的。在日本，機會太多了，尤其對年輕建筑師來說。我一直在世界各地游走，我敢說，我們這里的情況最特別。美國其實不會給青年才俊機會的。所以我認為東京是開啟實務生涯最好的地方之一。日本業(yè)主態(tài)度柔軟，對現(xiàn)代的、創(chuàng)新的事真的感興趣，雖然他并不一定會過問建筑師或明白。我非常慶幸我是在東京開創(chuàng)自己的實務生涯。

哈今天的電腦科技是否讓建筑變得更好？

坂我把電腦當工具使用，而不是用它做設計。 除了結構設計以外，建筑是極少數(shù)無法靠先進的電腦就會變好的領域之一。數(shù)百年前沒有電腦，我們也造過比現(xiàn)在還好的建筑。只要我們花更多時間去設計與建造，就會出現(xiàn)更好的建筑。電腦的進步不代表建筑會更好！

哈你上面所提對現(xiàn)代風格門戶開放的情形，會不會正是日本整體現(xiàn)代生活方式的倒影？

坂坦白講，我們存在著很關鍵的麻煩。首先，教育體制很糟糕，大學算是世界最差的。學生根本不用功，他們不去學校，英語說不出口，大概全都無法到其他國家工作；政治上，我們缺乏有力的領導人，根本沒有人才要當政治家。我看不出日本有什么未來！

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!”