長首先，我們把競圖的資料透明化，我們向所有的人公開并舉辦說明會。我們也不斷和表演者溝通并由此去發(fā)展設(shè)計(jì)。我們在建造期間和新潟市政府、新潟市市民，一起開放地討論如何良好管理新活動，并組織了上百個(gè)工作坊。我們讓建筑經(jīng)由使用者、業(yè)主與專業(yè)者的攜手合作而產(chǎn)生出來。這個(gè)建案的概念是不同領(lǐng)域交會產(chǎn)生的創(chuàng)作：業(yè)余愛好者與專業(yè)人士、傳統(tǒng)與現(xiàn)代（建筑）、音樂與戲劇。事實(shí)上，有50%的節(jié)目由表演中心自行策劃和提供，他們的財(cái)務(wù)情況良好，所以這是有可能的。能源節(jié)約方面，我們在正立面運(yùn)用了新科技?；靥畹牡孛嬖疽伆赜?，我們把它改為綠披以對抗熱島效應(yīng)。行人陸橋的網(wǎng)絡(luò)不僅串連了建筑群，也同時(shí)維系了城市與水岸的關(guān)聯(lián)。我相信這樣的都市政策把公共場所的舒適便利有效地提供給市民。在我看來，建筑永遠(yuǎn)都是不完整的，因?yàn)楹徒ㄖ黄鹕畹娜藭屗^續(xù)發(fā)展下去。唯有透過人們在其中生活，透過（因應(yīng)活動的變化）而做妥當(dāng)?shù)母纳?，建筑才算得上完整?！?/p>

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.