oris — Htjeli bismo započeti svojevrsnim impresionističkim pristupom vašem radu, slikama vaše arhitekture. Impresionirale
su me dvije slike – bijeli oblak trešanja u cvatu u Kući trešnjinog cvijeta (Cherry Blosom House), gdje cvat prodire u kuću kroz nakošene prozore. Koliko sam shvatila, kuća nije izgrađena nego se radi samo o projektu. S druge strane, imamo gomile snijega koje pritišću debeli stakleni zid Prirodoslovnog muzeja. Može li se reći da je dio vaše arhitekture posvećen osjetilima? Je li senzitivnost veliki element vašeg rada?

Takaharu tezuka — Uvijek postoje arhitektonske invencije u oblicima i formama. Takvi se oblici mogu pokazati zastarjelima
već idućeg dana. Pokušavamo stvoriti novu vrstu trajne arhitekture koja se može znatno razlikovati od posljednjeg stila. Smatramo da je arhitektura alat za stvaranje promjene u životu ljudi. Kad stvorite promjenu u životnom stilu, ona donosi novu vrstu osjećaja. Kuća trešnjinog cvijeta odnosi se na život pod trešnjinim cvijetom. U Japanu, početkom travnja, običaj je piti pod trešnjama u cvatu. Htjeli smo izgraditi kuću koja će gledati prema gore, na trešnjinu krošnju u cvatu te je vidjeti na podlozi crnog ili plavog neba. Takva je priča u pozadini naše arhitekture. Želi prenijeti takav osjećaj. No osjećaj se odnosi i na životni stil koji gorljivo zagovaramo.

oris — Omogućujete ljudima da odaberu svoj životni stil. Možete li stvoriti mjerila novog životnog stila kroz kontakt sa svojim investitorima? Dolazi li promjena u životnom stilu od vas ili od vaših klijenata?

yui tezuka — I na jedan i drugi način. Ponekad nas investitor nadahne u stvaranju projekta.
Ponekad klijent ima ključ stvaranja projekta. Ako klijent ima ključ, gurnemo ključ u bravu auta i izradimo projekt (smijeh).
Ponekad pak samo na osnovi upoznavanja s lokacijom donesemo odluku.
Takaharu tezuka — Pokušavamo djelovati kao terapeuti. Pogledamo klijenta u oči, pitamo ga kakav život želi voditi, te na koncu izvučemo iz njega novi životni stil. 80% investitora ima vrlo normalan životni stil, pa ipak postoji 20% klijenata koji bi mogli biti prilično jednostavni investitori. Ekscentrični su, no znaju što žele – kao klijent za kojega smo radili Roof House ili vlasnik dječjeg vrtića "Fuji". On je točno znao što želi, no većina investitora vrlo duboko skriva svoje snove. Morate ih izvlačiti iz njih: "Kakvo ste djetinjstvo imali?", "U kakav ste vrtić išli?", "Kakvu ste školu pohađali?". Na koncu počnu razgovarati. Da biste to postigli, morate s njima ići na večeru ili ih posjetiti u njihovom domu, vidjeti koje knjige i kakve umjetnine posjeduju. Sitni detalji vam daju odgovor.
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Oris — I would like to begin with a kind of impressionist approach to your work, with some images of your architecture. I was impressed by two images – the white cloud of cherry blossom in the Cherry Blossom House, where the blossoms penetrate
the house through the inclined windows. I understand the house is not built, it’s just a project. On the other side we have the heavy snow which is pressing the thick, glass walls of your Museum of Natural Science. Could we say that a great part of your architecture is devoted to senses? Is sensitivity a great element of your work?

Takaharu tezuka — There are always architectural inventions about shapes and forms. These kinds of forms can be obsolete the next day. We are trying
to make a new kind of architecture of permanence, which can make a big difference from the last style. We think architecture
is a tool for creating a difference for the life of people. When you make a difference in your lifestyle, it brings a new kind of sensation. And the Cherry Blossom House is about life under the cherry blossom. In Japan, at the beginning of April, everybody goes to drink under the cherry blossom, that’s a custom. We wanted to build a house to look up to the cherry blossom, so you can see the cherry blossoms on the background of a black or a blue sky. That kind of story is behind our architecture. That’s the sensation. But also the sensation relates to the lifestyle we are passionate about.

Oris — You are making opportunities for people to choose their lifestyle. Can you make parameters for the new lifestyle through contact with your client? Is the change in lifestyle coming from you or the client?

yui tezuka — It’s both ways. Sometimes the client inspires us and we make a project. Sometimes the client has the key for making a project. If the client has the key, we put the key in the car and make the project (laughs). Sometimes we just understand the site and make a decision out of that. Takaharu tezuka — We are trying to act like therapists. We look the client into the eye, asking what kind of life they want, and eventually we drag a new lifestyle out of them. 80 percent of our clients have a very normal lifestyle, and there’s the 20 percent of clients that may be quite easy as a client, They’re eccentric, but they know what they want to do – just like the client of the Roof House, or the owner of the Fuji Kindergarten. He knew exactly what he wanted, but tons of clients are hiding their dreams, very deep in their minds. You have to drag it out: "What kind of childhood did you have?", "What kind of kindergarten did you go to?" , "What kind of school?". Eventually they start talking about it. For that, you need to go to dinner with them, or visit them in their apartment, to see what kind of books or artwork they have. Just a very tiny key gives you the answer.
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