Professional Documents
Culture Documents
Nationality Japanese
Occupation Architect
Architectural creation involves contemplating the origins and essence of a project's functional
requirements and the subsequent determination of its essential issues. Only in this way can the architect
manifest in the architecture the character of its origins . . . When logic pervades the design process the
result is clarity of structure, or spatial order - apparent not only to perception but also to reason. A
transparent logic that permeates the whole transcends surface beauty, or mere geometry, with its
intrinsic importance.
Abstraction
At the core of architectural creation is the transformation of the concreteness of the real
through transparent logic into spatial order. This is not an eliminative abstraction but,
rather, an attempt at the organization of the real around an intrinsic viewpoint to give it
order through abstract power.
In the Row House (Azuma Residence), Suniyoshi, I took one of three wood row houses and
reconstructed it as a concrete enclosure, attempting to generate a microcosm within it.
The house is divided into three sections, the middle section being a courtyard open to the
sky. This courtyard is an exterior that fills the interior, and its spatial movement is reversed
and discontinuous. A simple geometric form, the concrete box is static; yet as nature
participates within it, and as it is activated by human life, its abstract existence achieves
vibrancy in its meeting with concreteness...
Nature
I seek to instill the presence of nature within an architecture austerely constructed by means of
transparent logic. The elements of nature - water, wind, light, and sky -bring architecture derived from
ideological thought down to the ground level of reality and awaken man-made life within it.
Today, unfortunately, nature has lost much of its former abundance, just as we have enfeebled our
ability to perceive nature. Contemporary architecture, thus, has a role to play in providing people with
architectural places that make them feel the presence of nature.
When water, wind, light, rain, and other elements of nature are abstracted within architecture, the
architecture becomes a place where people and nature confront each other under a sustained sense
of tension. I believe it is this feeling of tension that will awaken the spiritual sensibilities latent in
contemporary humanity . . .
Place
Only in this way can architecture repudiate the realm of industrial technology to become
'grand art' in its truest sense.
Elaborate approach
Hall is placed underground beneath a large oval lotus pond
A path of white sand winds up the hill behind the existing temple
and leads to an opening at one end of a long straight freestanding
wall.
Another wall, behind the first, follows the curve of the pond beyond
it.
The path continues between the two walls and then doubles back
Water along the edge of the pond to the point from which a stair descends
straight down into its centre.
This approach to the sanctuary brings the visitor to a red- washed,
Temple pillared hall.
A Buddha is placed in the center of the hall with its back to the
west, where a single corner opening allows the entry of natural
light.
At the end of the day, light suffuses the hall in a reddish glow, and
the pillars cast long shadows in the underground space.
Walking down the stairs, through the water, leads to the sacred
temple beneath which is set within a circular timber room
painted blood red. Natural light from one end of the pool above
illuminates the Buddha and creates an amazing atmosphere.
Construction year: 1991
Architect(s): Tadao Ando Architect & Associates
City/Town: AWAJI
Country: Japan
Japanese temple architecture
Torii or gateways
Pagoda
Kondo or main hall
Covered gallery
Interior walls with frescoes of Buddha
life stories
Library
Residences of monks and students
Taking time to walk across the
stepping-stones and to pass
through the gates also facilitates
introspective contemplation and
spirituality, as passing through the
gates and each step enhances
one’s removal from reality...
The oval itself measures 40 meters on its long axis and 20 meters on the shorter
one.
Long ramps, stairs, and passages to traverse.
Natural light from outside pouring in through apertures, weaving together the
indoors and outdoors.
• With an oval plan and only one level.
• Luxury accommodation with rooms and café .
• The central courtyard also has a large pool with an oval shape measuring 20
by 10 meters on its long and short axes, respectively.
• The museum’s artworks are found in all parts of the building.
• The ultra modern structure has a close relationship with its geography and
nature.
• The space serves as a very modern museum and hotel yet it has such a direct
connection with nature and lets in a ton of natural light.
• Tribute to the region and the history that goes with it.
• Sense of calmness and simplicity that is seen in the architecture, as it draws
upon the traditions and culture of the island of Naoshima.
• The ultra modern structure
has a close relationship with
its geography and nature.
• The space serves as a very
modern museum and hotel
yet it has such a direct
connection with nature and
lets in a ton of natural light.
• Tribute to the region and the
history that goes with it.
• Sense of calmness and
simplicity that is seen in the
architecture, as it draws upon
the traditions and culture of
the island of Naoshima.
Connection with nature
The streaming of natural light allows for the
traditional serenity that surrounds the
region to come into play.
Museum or art
as a whole?
The site is perched atop a narrow promontory on the southern tip of the island and overlooks the gently lapping
waves below.
The museum is oriented and designed so that visitors can reach it directly from the ferry landing. After crossing a
wharf, guests arrive at a terraced square that is the entrance to the complex itself. The terrace doubles as a stage for
outdoor events and houses the entrance to an underground annex of the building. Only once you have ascended the
stairway with stone walls does the main nucleus of the museum become visible.
Upon ascending or descending the ramp, visitors pass through the main entrance of the building and access a large,
two-storey subterranean gallery that is about fifty meters long and eight meters wide. The wing containing the hotel,
the gallery and graded terrace all face the coast, allowing the serene seascape with boats and dazzling sunsets to
sweep into the interior of the building.
Ando’s architecture is a work of art which manifests its existence not only by
functions (as to accommodate art, people, etc.) but also by forms and beauty.
Within a single architecture I seek to engage overwhelming fiction with reality, and
create defamiliarized space whose fiction informs the everyday. By introducing such
contradiction to architecture, do we not find architecture capable, at last, of
offering true richness?
(Ando, 1996, p.9)
“Thinking in Ma, Opening Ma” (“Ma” means “space” in Japanese)
Invisible architecture
Construction wise,
Benesse House Museum
has a unique structure
because “more than half
of the building’s volume
sits underground so as not
to intrude on these scenic
surroundings”
The church of the light, a small space of around 100 square meters, has the ability to raise awareness just by its genus loci.
This is because the intricate play of void and light makes such a small room appear to be linked to such a great entity. The
concrete itself adds to the darkness of the church by creating a more humble, meditative place of worship.
He intersected intangible light and solid concrete in a manner that creates awe, befitting for a place of worship. It is almost
hypnotizing and bewitching, separating the sinner from the saint within. In addition, the light is not just from fenestrations on
the wall but also from the cleft between the wall and the ceiling. The shadow created is nothing short of spectacular.