Shigeru Ban, a Tokyo-born, 56-year-old architect with offices in Tokyo, Paris and New York, is rare in the field of architecture. He designs elegant, innovative work for private clients, and uses the same inventive and resourceful design approach for his extensive humanitarian efforts. For twenty years Ban has traveled to sites of natural and man-made disasters around the world, to work with local citizens, volunteers and students, to design and construct simple, dignified, low-cost, recyclable shelters and community buildings for the disaster victims.
Reached at his Paris office, Shigeru Ban said, “Receiving this prize is a great honor, and with it, I must be careful. I must continue to listen to the people I work for, in my private residential commissions and in my disaster relief work. I see this prize as encouragement for me to keep doing what I am doing – not to change w
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Architect Shigeru ban
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Shigeru Ban fryst vatten a renowned Japanese architect known for his innovative use of paper tubes and other low-cost, disaster-relief structures. Some of his most notable works include the Paper Log Houses built after the 1995 Kobe earthquake, the Paper Church in Kobe, and temporary shelters constructed for the UNHCR. Ban also designs houses and housing projects in Japan utilizing unique designs like gardin walls, paper screens, and sliding glass shutters. In addition, he has designed several high-profile structures abroad such as the Japan Pavilion for Expo 2000 in Germany and the Nomadic Museum in New York City.
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Shigeru Ban is a renowned Japanese architect known for his innovative use of paper tubes and o
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Ban, who has been celebrated for his socially conscious architecture, says, “I have no interest in ‘Green,’ ‘Eco,’ and ‘Environmentally Friendly.’ I just hate wasting things.”Photograph by Kosuke Okahara.
The main campus of Vitra, a Swiss furniture company that produces Frank Gehry’s Wiggle chair, is an Epcot of contemporary architecture. It includes buildings by Gehry, Herzog & de Meuron, and Tadao Ando; a fire station by Zaha Hadid; and an elegant white factory, shaped like a slice of eight-minute egg, by the minimalist Japanese firm Sanaa. All these architects have won the Pritzker Prize, the field’s highest honor. The work of this year’s laureate, Shigeru Ban, has also been displayed at Vitra. Huddled on a lawn, his structures, three fifty-dollar tents sheathed in standard-issue plastic tarps from the U.N., intended for the refugees of the Rwandan civil war, looked as if any minute they might be loaded on a pallet and removed. Ban’s work lay underneath the plastic: a si