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When I design buildings, I think of the overall composition, much as the parts of a body would fit together. On top of that, I think about how people will approach the building and experience that space.
In all my works, light is an important controlling factor. You cannot simply put something new into a place. You have to absorb what you see around you, what exists on the land, and then use that knowledge along with contemporary thinking to interpret what you see.
I create enclosed spaces mainly by means of thick walls. The primary reason is to create a place for the individual, a zone for oneself within the society. When the external factors of a city environment required the wall to be without openings, the interior must be especially full and satisfying.
In architecture, there is a part that is the result of logical reasoning and a part that is created through the senses. There is always a point where they clash. I don't think architecture can be created without that collision.
I wanted to make concrete more beautiful than the natural stones. The aim of my design is to impart rich meaning to spaces through natural elements and the many aspects of daily life
I think that architecture must possess from the beginning this spiritual root or background, which is universal for any kind of culture. ―the most suitable material for realizing spaces created by rays of sunlight,‖
10. ―In my opinion, the darkness creates the opportunity to think and contemplate.‖ the balance if dark and light can shift depending on the context. 11. is my independent architectural theory ordered on the basis of a geometry of simple forms, my own ideas of life, and my emotions as a Japanese." 12. ―Only space has the power to intensify our emotions,‖ Ando writes. 13. When you look at Japanese traditional architecture, you have to look at Japanese culture and its relationship with nature. You can actually live in a harmonious, close contact with nature - this very unique to Japan. -Tadao Ando (Dian Istiana) 14. In the West there has always been the attempt to try make the religious building, whether it's a Medieval or Renaissance church, an eternal object for the celebration of God. The material chosen, such as stone, brick, or concrete, is meant to eternally preserve what is inside. - Tadao Ando. 15. "Architecture not only mirrors the times; it must also offer criticism of the times. It represents an autonomous system of thought. To think architecturally is not merely to deal with external conditions or to solve functional problems. I am convinced that architects must train themselves to ask fundamental questions, to give free rain to their individual architectural imaginations, and to consider people, life, history, tradition and climate. We must create architectural spaces in
and become infinitely linked. His hard walls seem soft to touch. air. wind and stillness. gathering shadows behind things. “The building is intended as a center for exhibiting and studying the culture of the Age of Tumuli. 28. The simplicity and purity of form and materials also support what Ando has called the nature—in particular. (Alin) 26. (Faris) 27. I want to create a very stimulating place. . which acquires tranquility and balance thanks to geometric order. creating a link between the history of the building.‖ ―I decided to integrate the surrounding environment into the architecture. because only light space surround the visitor in Tadao Ando 's building. Tadao Ando has thus succeeded in establishing a dialogue between old and new elements. light grants them an outline. and my proposal was to create an environmental museum that incorporates not only the Tumuli scattered around the site but the natural environment of the burial mounds. intellectual stimulation.(Almesa) 24. obtains dynamism thanks to natural phenomena and human movements. light. (Ali Imran) 23. Light is the origin of all being. it gives them depth. discovering interrelationships. he is known for making buildings with simple designs that are closely connected to the natural environment. I am indebted to Le Corbusier and Ludwig Mies van der Rohe. and water—of his architecture. but the same way. "Architecture. admit light. slope. Ando's architecture is characterised by the use of unfinished reinforced concrete structures. its present and its future." 18.” -Tadao Ando 17." 22. Things are articulated around borders of light and darkness. "has forgotten that space can be a source of inspiration. His large and powerfull walls set a limit. The first impression of his architecture is its materiality. to create a place appropriate to the history‘‘ 20. Ando connects the interior to the outside by echoing these external design elements: walking. I take what they did and interpret it in my own fashion. "but it must be filtered through my own vision and my own experience." Tadao Ando says.as he does with poetry or music .which man can experience . peace and joy of life" Tadao Ando 16." 21. discovery. simple geometric forms. where he has created modernist buildings that complement the natural beauty of their surroundings." 29. manipulation of light. Third impression is the emptiness. Ando was influenced by his other work in pristine rural settings. A second impression of his work is the tactility. where works of art are not exhibited merely as specimens but also speak to us as living things. "I see it as the creation of a space to inspire visitors and even expand their consciousness. Tadao Ando's work is known for the creative use of natural light and for architectures that follow the natural forms of the landscape (rather than disturbing the landscape by making it conform to the constructed space of a building).” Tadao Ando 19.surprise. trees. (Adelina) 25. ―I attempted to generate a dynamic sequence of spaces appropriate to the exhibition‘s scale. The Clark says. "The selection of Mr. and engaging nature. Striking the surface of things. and obtain their individual form. and water.
32. His spaces are composed of the bare essentials. Tadao effectively uses the smooth material to create "spaces. Ando's architecture as "an assemblage of artistically composed surprises in space and form . . 31. Tadao Ando is that rare architect who combines artistic and intellectual sensitivity in a single individual capable of producing buildings. I would say that Tadao Ando's architecture is after recapturing the natural sense of going from one place to another and feeling certain magnetic or spiritual forces on the way. emphasizing function. 36. a master of space. and clouds. 24. 35. and an enigma of the architecture relm. 29. large windows. 25. which will enhance the experience of art and natural beauty 27. Ando's promenades architecturales are always masterly. the introspective design of the home insulates its occupants from the sound and sights of the city and offers a tranquil space which is still open to the sun. Moreover. stone floors. strength. Ando has the ability to harmonize a building's relationship to the landscape. 34.30. Tadao Ando combines the influences of Japanese building traditions with the elegance of modernism. schools or styles that might be current." He places much importance on light. 37. creating buildings with form and composition related to the kind of life that will be lived there. wind. and in passing through the different levels the visitor is exposed to different sensations. 23. 33. that both serve and inspire. His buildings force an awareness onto their inhabitants of their place in the world. His powerful inner vision ignores whatever movements. his simple forms create spaces that interact with the outdoors and change dramatically over the course of the day as light moves through them.. 38. His works contrast simple masses and planes with the play of light and natural elements. .. wind and the walls that either shield or allow nature into the structure. Ando created a geometrical and abstract form of cold concrete that contrasts the soft. 26. Ando approaches the concept of the word/idea of the wall with a desire to understand the wall as a pure object in order to first extract its meaning in our experience and then to apply it with explicit intention to space. large and small. with never a predictable moment as one moves throughout his buildings.. . relying heavily upon precision-cast reinforcedconcrete walls. light/dark. Ando believes the inconvenience and discomfort are not without recompense. and beauty. warm feeling of the furniture and the light. Tadao Ando is an architect of light. the Church of Light is an architecture of duality – the dual nature of [co]existence – solid/void. that both serve and inspire. Ando wants to create buildings that are in harmony with the environment.that allow constantly changing patterns of light and wind. the spaces will change in size and sometimes in shape and the light will change. stark/serene. Mr. 30. 28. .. and active natural elements to create a spatial experience. For Ando. .
Ando has taken the oval shape of the pool underground and made it into a sacred enclosure within which he has organised different spaces. Tadao Ando in his Church creates a ―Magic Box‖ of concrete where with only three main gestures he preserves dim light in the building and at the same time reveals the different qualities of light and shadow from non-material to absolute materiality. 35. 46. The architectural design is intended to reflect the desired objectives of hygiene. . Ando has developed a completely unique building aesthetic that makes use of concrete. space. and the buildings are often created in natural settings. 42. He works primarily in exposed cast-in-place concrete and is renowned for an exemplary craftsmanship which invokes a Japanese sense of materiality. 36. giving life to his solemn architecture and emotionless surfaces. wood. 38. with an outdoor terrace overlooking the new reflecting pool. water. 45. purity and perfection. His buildings often utilize natural elements such as light and water. 39. Ando creates serenely austere. The Ando building will be a two-story rectangular structure of glass. Tadao Ando. deep-drawn areas of glass. light. which also define outdoor space. He prefers the abstract concepts of light and nature to the physical reality of the world outside. ando has proposed a building with a bold form: a volume with a rectangular plan from which a shell-shaped void that suggests a wind-filled sail has been carve out. Ando is known for his subtle modernism. Tadao Ando is a master of minimalism. cave-like structures. Ando's architecture represents this void as a kind of divine fullness. 32. challenging. The interiors are illuminated through open atriums and large. junction and spatial narrative through the pared aesthetics of international modernism. exhausting. Tadao Ando's in-ground buildings are not dark. Constructing buildings designed by architect. Ando's two buildings share a design part: long bars of interior space that are intersected by walls in the form of the numeral 7. unornamented structures made of silky smooth concrete punctuated by sheets of plate glass. 37. Yet. thus giving light an almost palpable form. 41. 43. 34. and for his designs that emphasize landscape and natural context. 33. 44. is fascinating.31. Therefore. demanding and very rewarding. Combining influences from Japanese tradition with the best of Modernism. and below grade courtyards. 40. and his respect for the natural environment in which he works. and nature in a way that has never been witnessed in architecture. He is known for designing geometric concrete structure and his use of circular holes on the concrete surface. dividing the area in two with the long stairway and assigning half of it to the sanctuary and the other half to the adjacent rooms. and the imperfect finishes reflect the spirit of the Japanese wabi sabi . 47. his light-filled interiors. known for his use of simple materials.
57. between the manmade and the natural. 54. The thought of Tadao Ando is based in the build with simple geometric shapes. 57. art and nature. in a compositional device typical of Ando's projects 53.48. but rather on the form work into which the concrete is cast. 51. but by the way the building was constructed and conceived. . known as the Architect of Silence. 55. the temple appears like a pool of lotus flowers enclosed in a thin oval-shaped skin of concrete and sheltered from view by smooth wings of cement. his buildings "land art" that "struggle to emerge from the earth. 53. Ando has created an elegantly detailed container for art and conservation. the mountains. Ando‘s architectural style tranquil and clear. designs unlike the usual where-shaped box with the main structure of the steel. Ando wanted to create an image of lightness. Because of the tradition of wooden architecture in Japan. 58. 51. which has given him the justly earned accolade of architect of light. the craft level of carpentry is very high. a fascinating interplay between the interior and the exterior. Among the bamboo woods. glass-Ando's work resonates with profound intelligence. 52. The minimalist concrete architecture of Tadao Ando has roots both in Japanese traditions and in Western architecture. Tadao Ando. the concrete wall was designed and constructed with impressive care and attention to detail. half-made of thick concrete. His buildings have been described as ―land art‖ and draw influence from both his native Japan and modernist tradition 50. 59. where the "poetic" construction of space and relationships between buildings and landscape. He explains that the quality of construction does not depend on the mix itself. 50. 49. the simplicity of his forms and the ways in which his buildings play with light. The spaces between the glass curtain walls and the concrete volumes provide intermittent double-height spaces from which the visitor can view the building and its landscape. 52. by burying much of the complex volume below the ground. Beloved and admired for his powerful. is a master of creating peaceful places in the midst of bustle and rush. a lightness not expressed by the actual use of lightweight materials. 56. 59. Ando adapted the architecture to the topography. brand-new building style. and simple geometric patterns 58. 54. The entire complex is a masterpiece of lines. design with three floor volume (including the ground floor) and large opening of glass to fulfill the house with a lot of daylight. concrete. the rice paddies and the sea. 56. The interaction of daylight with fairfaced concrete walls plays an important part in all of the architect‘s work. and an almost palpable sense of harmony. unpretentious elegance. The use of light and materials can create meaningful spaces. Ando's sensitivity to landscape and the contemplative nature of his interior spaces led the Institute to select him as architect for its upcoming expansion and campus enhancement. massiveness and lightness. 55. steel. for traditional Japanese architecture design inspiration bring about epoch-making. This modern house is conceived as a simple block. meditative spaces and his sensual and yet refined use of the materials of the modern trade-wood. Ando has also created a unique.
― 65.. Architecture is the same. this house encapsulates an image of my architecture. Ando says. or to the spirit of the time. a zone for oneself within society. you have to consider what you are taking away from the earth or the environment in order to make something new. ―. . should always be concerned about the society and the local community.‖ 75.letting the outside air blow into the underground space. and in the way light gives character to daily-life spaces. but in the same way. through their works.‖ 66. otherwise architecture will lose its credit and its reason to be. ―The Shibuya Station is one of Tokyo‘s most important transportation hubs. When you design and build something. On top of that. "People should have freedom to think freely. not the freedom to do anything they like.60. I take what they did and interpret it in my own fashion. The concept is then brought into the church both in the design of exterior and interior design in it. there's nothing like that." 72." 69.. where several public and private train and subway lines intersect. I think of the overall composition. This attitude towards architecture has been consistent since I started my own career as an architect. When the external factors of a city‘s environment require the wall to be without openings. providing safety and peace of mind. If you give people nothingness.." 70. The divine spirit inside the building is eternal. In this day and age. the interior must be especially full and satisfying. 76.. is born from functionalism as we know it. but that‘s only the beginning of what Modernism is all about. ―Since I consider architecture as something that should gently enclose people.‖ 71. Tadao Ando 74. I use architecture to reconcile the two. so the enclosure doesn't have to be. "Without this spirit.‖ 64. The primary reason is to create a place for the individual. 61. creating a natural ventilation system that is energy saving.‖ 67. we must consider society more. architects. ―The logic of Modernism. I have always tried to create spaces that satisfy people in a spiritual way. ―Architecture has a strong public nature and social responsibility. I am indebted to Le Corbusier or to Mies van der Rohe. they can ponder what can be achieved from that nothingness. you could say. since the temple is made of wood. Also on the altar for the semi-open lecture given message together with nature. ―I am interested in a dialogue with the architecture of the past but it must be filtered through my own vision and my own experience. This is the reason you have a very high degree of connection between the outside and inside in architecture. "Japanese traditional architecture is created based on these conditions. I create enclosed spaces mainly by means of thick concrete walls. much as the parts of a body would fit together. Ando believed that natural light and architecture was so precious that it shouldn't be vandalized. humans tend to get right down to the construction of tearing down objects that they perceive gets in their way. Modernist architecture cannot fully exist. In its simple but rich spatial composition. I think about how people will approach the building and experience that space. so I intended to give special attention to the smooth circulation of people.‖ 63. And people always relate to the spirit of the place. Architects should have the ability to recognize and identify social problems and use architecture as a concrete tool and way of expression to dialogue with society. Therefore. ―. so he manipulated the light through the interior and exteriors of buildings. in its expression of enclosure.‖ –Tadao Ando 73. Modernist architecture also has to deal with people. Since there is often a mismatch between the logic and the spirit of Modernism. Without this spirit. Since there is often a mismatch between the logic and the spirit of Modernism. 77.But from now. "But in Japan. unique designs unlike the usual where-shaped box with the main structure of the steel." 68. Modernist architecture cannot fully exist. When I design buildings. 62. I use architecture to reconcile the two.
and the challenges of thinking about spirit.” 83. p. meant to express the structure behind it. although it appears to be revealed. 85. 79. p. speaking of another project. The corridors are kept deliberately dark.‖ 92.‖ 84. not awe or indoctrination.‖ 93. My aim always. If the space is constructed with a forceful imagination. even while using materials that are usually considered cold or poor. ―For creating architecture.‖ 86.. I think this depth is quite important for architectural creation. 34). to move into the future. What you see is actually a carefully detailed. …The simplicity of color is noted by some reviewers who mention the fact that the Western notion of child-friendly decor is less stark and angular. ―Concrete can be very rich in color…the gradations of color create a sense of depth‖ (Auping 2002. An atmosphere of playfulness. ―You will be able to see the light because of the darkness. is the hallmark of this new paradigm of educational facility"(Nitschke. I go to see the site. .‖ 91. rhythmic. Architect Tadao Ando's new Shibuya Station extension is all about making travel fun again. Tadao Ando: Architecture is not what is perceived by just the eyes. the difficulties you encounter in dealing with people. Concrete.' Ando says.‖ th 94. 90. ―Architecture is not only a substantial matter. Therefore. My design always starts from having thorough dialog with these matters. 'Because this station has an atrium from top to bottom. 'A station should be a place where visitors think "I was glad to come to this station' or ‗that station was fascinating". ―It‘s my intention to always introduce nature to its fullest extent. 80.‖ he says. Intangible elements such as ―light‖ and ―spirit‖ deepen architecture. is to create warm and rich human spaces. We have to step forward while looking back to the history and looking over the society. gray-painted sheet-metal shroud that covers the steel. talk with clients and read the social characteristics and regional conditions behind the project. 82. …He states. I always seek new architectural possibilities that I can create with these universal materials. Ando. you can easily see where you are. Even the steel structure is concealed.' Ando says. it gives you a sense of security. almost hypnotic. they are important elements in my architecture. 2002. looking just a future is far from enough.78. ―First. but what is experienced through the five senses. are same. That is why history and tradition has a big importance on the society. Once buildings are built. ―Nature is a crucial element of my residential designs. ―Though each function is different. "It will help [kids] dream" says Ando (Ehondiary. 22) 81. in defiance of a Western preference for evenly light-filled spaces. as he examines the three-story atrium of the nearly completed building. there is the possibility of entering the space and leaving it at the same time‖ (Auping.‖ says Ando. they will have stood there for a long time and kept influencing people when their memories and spirits are formed.‖ 89. I admire Japanese architectural traditions but it does not mean that I would use its form and materials directly in my architecture. In the Picture Book Library the only color is supplied by the bright patterns of the books themselves. 87. shadows form geometric patterns. ―I hope that as guests enter the house they feel a sense of expectation and excitement. 88. anywhere. ―It is like the divide between the inner world of the house and the outer world of nature.. Some times I like to integrate its spirit in my architecture. 2005). 2006). I realized that Japan is the only place where this link between exterior and interior spaces was developed into an important architectural feature. steel and glass are the materials that represent the 20 century and are available all over the world. said ―Even if the space is small there can be the potential of the cosmos. "I am sure there is no sign. Along the sky-lit corridor.‖ says Ando. don‘t laugh. ―I would like my architecture to inspire people to use their own resources.
"I believe it is important that architecture should be a space where you feel spiritually empowered. but I also hope to achieve depth". also. My works might seem alike at first sight. Tadao Ando: Well. ―Well. concrete historical actions in order to contemplate an eternal nothingness. and it is my intention to make it float on the water toward the future. there are some specific qualities that arise from the place. by means of architecture. that should run through all that. ―…invites introspective reflection and bears the influence of mystical Eastern traditions. Of course when you think about a local material. There is a universality to the human spirit that is constant. but simplicity without depth is merely cheap. built with materials such as concrete opposites and the wood. It is not enough. ―Well. Tadao Ando: Well I think that no matter how society changes. 97. all of these come at the very beginning of the decisional process. It should remain silent and let nature in the guise of sunlight and wind speak. “I try to relate the fixed form and compositional method to the kind of life that will be lived in the given space and to local regional society. on close inspection.. or the atmosphere. However. my intention is to strengthen the link between architecture and landscape." says Ando. I think.” Tadao Ando.” explained Tadao Ando at the presentation of the plans in . transfigure place." He has also said on other occasions. And I think that good architecture should combine these elements. it‘s ‗scenery‘. people will still live in a society. my own ideas of life.‖ 106.‖ 103. Rather. but there are so many things that will stay unchanged. To have particular 'styles' is somehow missing the point.‖ 99. sitting with his interpreter at a plain timber trestle table in a spare gallery at the RA as workmen rush to get his exhibition ready for opening that same evening.95. My architecture results from an earnest quest for ―what is living?‖ and ―what is residing?‖ I would like the young to perceive not only superficial appearance. first I think that architecture must possess from the beginning this spiritual root or background. However. of the culture. Walls are the most basic elements of architecture. arise from the cultural context of the place. Ando writes. introspective contemplation of the very historical event of the cross. 96. that you have to understand your own direction and the purpose of how you make architecture and you are going. first when you talked about ‗landscape‘. I hope to achieve simplicity. or when you think about cost that a building can have. because it‘s part of the process. so I think that the concept of place of course may somehow… may be changed. you think about a technique which is available within that place. between the universal quality of spirituality within the architecture itself combined with the local specificities of the place. and my emotions as a Japanese. Ando concludes: ―With these two buildings that evoke an open door to the sea." 101.‖ 105.. "You have to think deeply about the materials." 100. “This building has floated on the water since the fifteenth century. but they can also be the most enriching. "At times walls manifest a power that borders on the violent. the world itself sounded almost like a design. So there is a very good equilibrium between the two. which is the way I make my architecture. 107. this space calls the worshiper to deep. because of the technology. 104. Ando says. 102. My mainstay in selecting the solutions to these problems is my independent architectural theory ordered on the basis of a geometry of simple forms. but my spirit and philosophy behind it. people will still have their lifestyle.So what is very important in this richness is. so it is incorporated within the very first moments." 98. ―. which is universal for any kind of culture. "The essence of minimalism is simplicity. because of the cultural planet. the space. and so forth. for me it normally starts from the very beginning. they can find various devices and difficulties in each work. but design for me it‘s not landscape. They have the power to divide space. "I do not believe architecture should speak too much. even if by a little. Not a lot. the mysticism promoted here is not a historical mysticism in which the worshiper attempts to set aside all reflection on specific. 108. and create new domains. But because architecture has to be located in a given position. "I have the somewhat arrogant belief that the way people lead lives can be directed.
In the words of architect Tadao Ando. Mother Earth is very sick.‖ 120. Natural light enters from above. "Such things as light and wind only have meaning when they are introduced inside a house in a form cut off from the outside world. Ando continues. to restore the unity between house and nature (light and wind) that was lost in the process of modernizing Japanese houses during the rapid growth of the fifties and sixties. ―In order to emphasise the simple. Water flows around the space. ―The union or mixture of technology and nature is the most important characteristics of Ando‘s works. A traditional dhow floats over the aquarium and is seen from different perspectives. ―As I was working as an architect. we ought to create buildings that are not only safe and functional but endowed with aesthetic individuality so that they leave an imprint on human memory‖ 111. ―Since the 1970s. while embodying my own architectural theories. For me. The water is also intended to appease the souls of the dead‖ 114. and between volume and human life. I try to relate the fixed form and compositional method to the kind of life that will be lived in the given space and to local regional society. Rows of trees line the forecourt of the site. My mainstay in selecting the solutions to these . In other words. not meritocracy or functionalism‖ 113. suggesting a clear stream. the surrounding landscape is organised in grid form. architecture had become mediocre and everywhere the same. For that reason. I create architectural order on the basis of geometry squares.‖ 119. inserting it into this setting with its 15th century structures” 109. circles. . 118. He doesn‘t reject technology and uses it as only parts in his works. ―Sitting housing on a sloping site seemed to me the best way to express richness and variety‖ 116. I started to think what I could do for society.2007. However. the exciting collaboration with these artists has provided a rare and stimulating opportunity to reconsider the architecture and to rethink what it means to create. ―Below ground. reinforced concrete.‖ 121. The aim of my design is. That‘s all there is to the space. there is a second space – a reception hall with an enormous aquarium. and it was very difficult to study its history so as to preserve its original structure and innovate toward the future. so architects should speak out more. between the new and the old. ―The space is defined by an exposed concrete wall that is 6 meters in both diameter and height. . to impart rich meaning to spaces through natural elements and the many aspects of daily life. I wanted to proclaim in some way my intention toward society. and the fact that I had chosen to live in freedom‖ 112." 110. shape of the building. creating an oasis-like border that allows visitors to transition gradually between the dynamic city and the more serene and contemplative space of the museum. ―Dhows float over the voids of the interior space and help create an intense visual experience by relating objects to one another and to the museum architecture as a whole. . my intention with respect to expression. “It is a very old building. "Later my interest gradually concentrated on architecture. I try to use forces in the area where I am building. ―Working collaboratively with such uncompromising artists was incredibly demanding. between nature and technology and. Ando continues. triangles and rectangles. He wrote that now it is needed to have dialogue between people and history. Stones exposed to the atomic bomb in Hiroshima are used for the floor and the stepped bottom of the pond. When I created the Row-house in Sumiyoshi in 1975. However. ―Maintaining an attitude of resistance toward existing social conditions requires tremendous physical and spiritual energy. because I was gaining influence. ―Spatial experiences in childhood exert an enormous influences on one‘s later life. I want to continue to take such a stance‖ 117. which makes possible the consideration of intimate relations between material and form. the numerous changes and modifications made with each visit to the construction site have given the works a vitality and reality unique to this place. I will use a 20th century material.‖ explained Ando. but powerful. ―I felt that the clash between the expressive potential of the slope and the expressive potential of architecture might yield some new discovery with respect to context or regional character‖ 115. people and people . that is.
I also wanted to create a space where one can sit and meditate. flanked on one side on the first floor by the living room on one side. There is no other train stations in the world where you get natural air at 30 meters below the ground. My intention was to insert a concrete box in this center section and to create a microcosm within it. 131. is represented in Ando‘s designs by ―the monotonality of his architecture‖ and a ―sense of nihilistic muteness‖ reminiscent of Adolf Loos. In Ando‘s architecture the muteness is also achieved by the relation between walls and pillars as well as . The house completely closes itself from the street. An indentation on the front wall serves as entry. most of these attempts failed. ―I recognize them as places for entertainment. including concrete. a restoration of the unity between house and nature. you can see the train even from the upper stairs. my own ideas of life. With this structure. and the children's on the other. while on the interior it encloses a private space. including the vastly different life styles of the past to today. an open principle. dining room and bath. On the exterior. Ando explains.‖ 130. I am applying this vocabulary in an enclosed realm of life styles and regional differences. This house replaced the middle portion of three row houses in an older section of central Osaka. 128. Many attempts have been made before to link this open vocabulary to the indigenous Japanese tradition of aesthetics and forms. in its expression of enclosure. thus transcending nationality to produce a Modernism that is international. one of which I am very fond. Frampton says. "The industrial revolution made possible the production of standardized building materials. then we have a conversation with the station. ―I think that architecture should seek for something more interesting. then you will keep it clean as well. 133. and techniques for using these materials are found in architecture worldwide. Ando developed a radically new architecture characterized by the use of unfinished reinforced concrete structures." 125. the techniques of the construction workers are impressive. We need to respect them more since they are the ones who built Japan after the destruction of the world war. You can see that here. If you think that it is ―your station‖. the wall deflects the surrounding urban chaos. and in the way light 127. 122. ―Restaurants are different from more ‗serious. For a number of reasons.‖ 126. is my independent architectural theory ordered on the basis of a geometry of simple forms. So it is not necessary to have a ventilation system. what I call enclosed Modern Architecture. If we think ―this station is interesting‖. Tadao Ando: The wind from the ground floor can be combined with the wind generated by train. Ando creates spaces of enclosure rather than openness. The second floor is a master bedroom on one side. Also. and on the other: the kitchen. and my emotions as a Japanese. My effort is to preserve Japanese residential architecture's intimate connection with nature and the openness to the natural world. I wanted to express the idea of God as existing in one's heart and mind.‘ architecture. This is a modern station but at the same time it is Japanese. "By placing a cross in a body of flowing water." 123. particularly concrete. Ando himself says of the Azuma House: "In its simple but rich spatial composition. A courtyard is the center of the space.‖ he explains. Using a geometric simplicity which reveals a subtlety and richness in spatial articulation." 124. 129. 132.problems. But they made an effort and did it. Architecture Week has called his buildings "a continuous play of light on concrete" and he is noted for his attention for materiality. Ando has generated an architecture that shares the serenity and clarity that characterize traditional Japanese architecture. Ando says of the Church on the Water. a simple composition with diverse spaces and dramatized by light. In his own words. "This small house was the point of origin for my subsequent work. This negativity. I am sure that the construction company thought it was difficult. It is a memorable building for me. He uses walls to establish a human zone and to counter the monotony of commercial architecture. Old Japanese houses are meticulously built. steel and glass.
Both buildings deal with horizontal layers (the ―multi layered cake effect‖) 148. He has said he wants to invest his buildings with emotion by bringing nature into them. 2006. In the West there has always been the attempt to try make the religious building. p. Critics say "a tension-rich rhythm develops out brightly and darkly. is meant to eternally preserve what is inside. but. with the thin and transparent glass envelope he sets a slight boundary between inside and outside. He provides a boundary with the position of the semi-circular wall and with the gateway creates the perception of being inside or outside. 151. 135. 146. 137. 139. brick. an eternal object for the celebration of God. "Like so many of his greatest buildings. 142. Ando's Japanese aesthetic is not regional in the sense that he uses shoji screens or tatami mats. Ando instead creates enclosed spaces whilst employing a creative use of natural light that exist together in splendid contradiction. He also uses free-standing concrete walls to reflect light. from open and closed zones" (Hofmeister. Ando limited the architecture only to an underground structure and refused to have an exterior design rising out of the ground. it pulls off a remarkable illusion: the walls may be built from blocks of concrete. 2006). which. The material chosen. though ―concrete regionalism‖ was the tonguein-cheek term suggested by suggested by Catherine Slessor (Wu. 144. 141. The temple concept was not easily accepted. from the inside at least." but the forms were "humanist. 136.. wood. 138.. The strategy of gradual disclosure and surprise begins to unfold in the long approach to the temple. The Church of the Light embraces Ando‘s philosophical framework between nature and architecture through the way in which light can define and create new spatial perceptions equally.It seems that the use of Ando‘s precedents grew out a concern toward the local cultural potential (identity of the place and of the users) and became part of his worldview (the identity of the architect). . One monk said Ando's two Christian chapels were "sacred.1). The main construction materials in the architecture of Tadao Ando are steel. or concrete.1). between man and nature. …The environmental benefits of Ando‘s new building don‘t stop at getting people to leave their motors at home. Significant source of inspiration is the inner courtyard building type. . 41). become walls of light. as that of his concrete structures.the play between translucence and opacity. creating spaces which are penetrated through a ceremonial route (the labyrinth) marked by sequential elements and a play with natural light. 140. 149. p. p. whether it‘s a Medieval or Renaissance church. and the glass-fibre reinforced concrete skin of the ‗spaceship‘ incorporates a water-cooling system. The design allows fresh air and light to circulate via the atrium and a ventilation shaft. 147. glass. . the building feels as if its primary materials were light and air" (Secher. 150.. in effect." The temple would never have been realized without a powerful congregation member who championed it. .Rejecting the traditional Japanese method of openness. and creates a sense of space and intimacy.. …Buddhism permits multiple belief systems and still. but rather that he uses techniques like dark narrow corridors opening into light-filled space as would be seen in traditional Japanese farmhouses. The style is modern. such as stone. 134. integrating them more than separating them. The Upper floors are ―dependent on the hillside‖. simple.Ando seems to have paid lots of attention to the identity of the place and in this sense provides an exploratory journey for the user. Ando's style is called critical regionalism by some. if not more so. 143. The concrete construction is a reinforcement of Ando‘s principal focus on simplicity and minimalist aesthetic. Also. It could probably also be called Vernacular Modernism (Wu. Various materials and configurations are used to highlight the differences between floors. 145. Ando is more disposed to Shintoism and its worship of nature than to Buddhism. The approach towards the design is towards a more journey process in the temple. 2008.." and the religious symbols were "applied..
164. corresponding herein to Far Eastern spirit. people. Tadao Ando's in-ground buildings are not dark. austere. It‘s eastern but it‘s western undoubtedly. the feel of rustic. it also signifies the spirit of Zen. However. 154. Look at those columns. 155. Besides. 162. philosophy. For people whose eyes have been used to enjoy the gorgeous and splendid aspect of any building or shape. and part-icularly Shakespeare's Globe theatre alongside. 161. it is very typical Japanese aesthetics. By using simple geometric shapes to form his buildings. the tranquility. the structure is inspired by western. Stillness and contemplativeness rank among the qualities of this architecture. or say. namely. Tadao Ando‘s design embodies the pure. The new Ando is turning increasingly to glass to open up his buildings more to the outside world. 158. but the whole ―atmosphere‖ is exactly rooted from ancient Japanese aesthetics. He does this very well by using natural elements such as light. at least in my eyes. because it is ―ugly‖ compared with other refined construction material. is built in concrete which is very rare used as the ―final product‖. The museum almost resembles a gate into the water from the island. such Japanese style might be a little bit dull. his primary use of concrete. which is an important factor in all his projects. also keep another level of harmony even you are trying to build the leaning roof which you think it could be cutting-edge design. In the face of increasing environmental damage and urban housing problems. The structure of Tadao Ando‘s building could be categorized into contemporary architecture. Tadao Ando succeeds in building in accordance with nature. This may have the effect of making his austere architecture more palatable to conservative western nations such as ours: but Ando gives the impression of being in no hurry. thus giving light an almost palpable form. Ando has created a mix of modern architecture and traditional Japanese architecture. we can say it‘s traditional but it‘s modern as well. plus some part of structure comes from ancient China. 160. the use of glass to utilize natural light and the unique attention paid to the surrounding environs combined with his superior craftsmanship that make his spaces compelling. . He likens his use of transparent envelopes around his solid buildings to the traditional Japanese veranda or engawa: a space that mediates between indoors and outdoors. I find his use of concrete. it just has to invite your soul to joining such appreciation more than let your eyes lingering lonely around those facades or walls.152. Ando should personify this contrast‖ (Fukutake). unadorned elements of a modern work of art. 159. Tadao Ando. It goes without saying. architectural strategies have to be developed that respect nature and do not put extra pressure on urban surroundings. he says. cave-like structures. 163. Tadao established in his work relationships between three main elements: order. With his sunken structures. at the same time connecting tradition and present . Perhaps the secret of design just relies on the skill how to put different elements in an interesting and new way. It is Ando‘s choice of simple materiality-the sparse sleekness of steel. deep-drawn areas of glass. he would like a city location resonant with tradition: that is why he liked Bankside. In Japanese traditional aesthetics system (wabi-sabi). ―I have the hypothesis that the things being artificial should be put in the environment being full of nature. 153. 156. and emotive force. Tadao Ando. glass and light remarkable. an intentional move Ando was attempting to achieve by "defining a space of encounter between two important landscape elements of Abu Dhabi‘s culture. Massive planar walls of architectural concrete boldly express the building‘s basic structure while protecting the collection within.thus making the cultural history of building relevant for the present. it actually also speaks for the ancient Greek‘s spirit. or sort of ―stark beauty‖ is the best representative. Most of Tadao Ando‘s architecture. His architecture speaks volumes so quietly. when they are integrated into Tadao Ando‘s building." 157. The interiors are illuminated through open atriums and large. the sky and the wind. If he ever builds in Britain. particularly in the early period.
typically involving rectangular systems cut through by curved or angled walls. "Ando has accomplished an extraordinary body of work. His goal. "Ando conceives his projects as places of habitation not as abstract designs in a landscape. it comes instead from a fundamental way of thinking about building a house for an inhabitant. was to introduce a question on the inertia that has invaded human dwellings. sky and light that make clear and complimentary interactions between the built and unbuilt environments. the play of light on his walls. Ando's Azuma residence saying. 173. . president of The Hyatt Foundation. . It wasn't easy for the architect to persuade the authorities of the feasibility of his idea of creating a plaza with steps leading down to the sea that would be a meeting place. What one finds in the actual buildings are spaces carefully adjusted to human occupancy. Bill Lacy. He requires absolute precision in the making and casting of his concrete forms to achieve the smooth." Most of Ando's peers and architectural critics agreed. that both serve and inspire. That emphasizes how important he considers craftsmanship in accomplishing his designs. Ando employs light in the way of Le Corbusier's treatment of the Notre Dame Du Haute in Ronchamp. . can look at first glance rather arbitrary and abstract. John Morris Dixon of Progressive Architecture wrote in 1990: "The geometry of Ando's interior plans. 171." 166. His powerful inner vision ignores whatever movements.the effect is not to deprive us of sensory richness. and the processional sequences he develops.165. He. where the house is split into a spaces devoted to daily life (composed of an austere geometry) by the insertion of an abstract space for the games of wind and light. . Ando‘s creation of place event is done with the forms and geometries of built surfaces and their interaction with water. public museums and commercial shopping centers." Further. creating buildings with form and composition related to the kind of life that will be lived there. defines spaces in unique new ways that allow constantly changing patterns of light and wind in all his structures. Pritzker. but ". One of the earliest works of the self-taught architect Tadao Ando is the Azuma House in Sumiyoshi. schools or styles that might be current.. primarily in reinforced concrete. "The value of (this house) as architecture does not necessary come from some stylistic method or abstract concept aimed at making Architecture out of a commission for a house in Osaka. ." 175. plantings. with never a predictable moment as one moves throughout his buildings. as evidenced by the Japanese Architectural Institute's annual award for the house. That work. deforming the visual impression of stable volumes. he describes Ando's work as reductivist. There is little doubt that anyone in the world of architecture will not be aware of his work. making familiarity with the water a part of everyday life. 174. which established the award in 1979. clean and perfect concrete for his structures. in a deliberate manner. from homes and apartment complexes to places of worship. executive director for the international panel of jurors that elects the Laureate each year. Ando's approach is to connect the art of building to the art of living. Pritzker affirmed the jury's choice. a place for concerts and events. saying. Jay A.. Tadao Ando known for his ascetic palette of concrete and nature. quoted from the jury's citation which describes Ando's architecture as "an assemblage of artistically composed surprises in space and form . and making it seem that light is pouring through the opened cracks. All of his restraint seems aimed at focusing our attention on the relationships of his ample volumes. 170. 167. Far from it. quoted further from the formal citation from the jury which states. Ando‘s architecture is unique and world renown because it demonstrates an essence of architecture devoid of decoration and ostentation that acts not as a shelter from the world but rather a temple to it. eat out optically and consume the seams of concrete walls. It is not surprising that he is often referred to by his professional peers and critics as being as much a builder as an architect. 172. 169. 168. he says.
Tadao Ando stood out to me. even garning praise from a New York architectural critic who said "Ando is right in the Japanese tradition: spareness has always been a part of Japanese architecture.176. ramps and porches that allow a diverse set of visuals in a rather small area.‖ 187. Tadao Ando demonstrates sincere affection to the light.5 degrees."(1) 182. ―But [Ando says] of course this is a new era. Ando preserved the elegant 17th-century facade of the building while using skylights to flood the interior with light. Tactility is the second impression of Ando 's works. 178. 179. Austere and pure lines. 186. Materiality is the initial impression of Tadao Ando's architecture. away from the surrounding urban chaos. 180. almost all of them original. Circles and other rigorous geometrical forms are the basic forms found through out his work. are a delight for the senses and spirit. There is a common square: a set of ramps and bridges transforms circulation in a 3D experience. finding an always different perception from any angle from which the space is observed. A truly inspiring artist. This mutual understanding between the natural elements makes the works of Tadao Ando so attractive and essential. I enjoyed his unique use of light and other natural elements through out his work. Its bare walls reflect the simplicity typically used by the architect. TADAO ANDO. the architect composes a choreography of paths. wood and water. stone. accentuating the wood trusses of the skeleton. he is also known for this architectural conceptualizations. A mezzanine looks down over room-sized installations on the ground floor while offering views of the lagoon through arched windows. Aside of the paintings the Garden lacks ornamentation. 177. 181. expressing stillness . Inside. its interior perimeter lined with a ramp that that gently winds its way up to the second floor. Admitting light . 184. these are what his walls seems to impose on a person who sees or experiences his works . and the simple brick walls alternating with polished concrete panels. its mathematically moduled and dynamic space. Emptiness is the third impression for the visitors of his buildings due to the light space of the building 's surroundings. wind and water. Ando's Modern Art Museum of Fort Worth is comprised of five pavilions that seem to float on a pool of water. In this visual construction and topographical relationship Ando sets up an intentional dialogue between the old and the new.. Following the natural forms of the landscape . The body of work of Tadao Ando has been notorious for the imaginative and constructive utilization of natural light. The composition is based on two overlapping grids. Exterior spaces of this building provide direct views to Himeji Castle in the near distance. For the most part his architecture follows the natural forms of landscape. 183. rather than disturbing it by making it conform to the constructed space of the building. He used water in couple of his works adding a very tranquil setting while playing off both the reflection in the water and natural form of the landscape. diffuse and reflected natural light bathe the interior and the art in an even glow. Using these two directions. have created absolutely new collaborative practice between the architect and the nature. alongside with conceptualism in usage of the concrete environmental elements (including the sky) as the natural components of the architectural ensemble. . encapsulating space where people can interrelate to light and shadow.. As homework we given five different architects to research. A concrete cylinder of forty meters in diameter houses the exhibition space and surrounds one of the cubes. "A key part of Ando's architectural philosophy is the creation of boundaries within which he can create introspective domains. Its volumetric composition. soft to touch . 185. one aligned north and the other rotated 22. The powerful and large walls of his works set a boundary. he has also won a variety of awards for his work. isn‘t it? We wanted to try a new style. which are generally considered to be the basic elements of his architectural works.
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