HISTORY OF

ARCHITECTURE
KENZO TANGE
• Kenzo Tange was one of the significant architects of
the 20th century, combining traditional Japanese
styles with modernism.
• In 1935 Tange began the tertiary studies he desired at
University of Tokyo's architecture department.
• Kenzo Tange (September 4, 1913 – March 22, 2005)
was a Japanese architect, and winner of the 1987
Pritzker Prize for architecture.
• Tange received the Gold medals of the RIBA (Royal
Institute of British Architects) and IAA (International
Association of Architects) and French Academy of
Architecture for his activity as an architect and town
planner in 1965
• Strongly influenced by Le Corbusier's books, Kenzo
Tange was also an influential protagonist of the
movement structuralism.
 PHILOSOPHY
• Greatly influenced by Japan’s
traditional architecture. (Traditional
Japanese Architecture is based on
nature’s philosophy)
• Concept of ISE Shrine
• Concept from multi story temples.
• Multi functioning
• Believed in fusion of traditional and
modern architecture after 1960’s
• Took inspiration from the
nature(Tree)
• His philosophy includes city should
be able to born, grow, decay and
die.
PHILOSOPHY

• Justification of function
• Justification of design
• Fundamentally rational and
functional
• Appealing to emotions and senses
• Need of symbolism
• Structural approach
• Distinguish soft and hard
environment
• Le Corbusier five main points are
also included in Tange’s philosophy
• Pilotis
• Ribbon
• Glazing
• Open plan
• Free façade
 • After graduating from the university, Tange started to work as an
architect at the office of Kunio Maekawa
• In 1942, Tange entered a competition for the design of the
Greater East Asian Co-Prosperity Sphere Memorial Hall.
EARLY • He was awarded first prize for a design that would have been
CAREER situated at the base of Mount Fuji; the hall he conceived was a
fusion of Shinto shrine architecture and the plaza on Capitoline
Hill in Rome.
• In 1946, Tange became an assistant professor at the university
and opened Tange Laboratory. In 1963, he was promoted to
professor of the Department of Urban Engineering.
FAMOUS BUILDINGS
YOYOGI OLYMPIC
ARENA

• CONCEPT:
• Hybridization of Western Modernist
aesthetics and traditional Japanese
Architecture.
• Suspension bridges - Piles - Cables
- Roadways (Here roof)
• Purpose - 1964 Summer Olympic Games
• Location - Tokyo, Japan
• Construction Time - 1961-1964
• Site Area - 34.204 hectare
• Climate - Temperate
• Style - Modern
• Construction Materials - Concrete, Steel
and Cables
YOYOGI OLYMPIC
ARENA

• Innovative structural design

creates dramatic sweeping curves
that appear to effortlessly drape
from two large, central supporting
cables
• The dynamically suspended roof
and rough materials form one of
the most iconic building profiles in
the world.
• Main criteria behind curved roof to
resist wind (Hurricane Force)
• Structure with tensile and
geometric potential
ST.MARY
CATHEDRAL
• Location – Tokyo, Japan
• Completed - 1961 - 1964
• Renovated - 2007
• Cathedral height - 39.4 m
• Bell Tower height - 61.6 m
• Covered area - 3,650 sq m
• Site area -15,098 m2
• Material used – stone ,
concrete , steel
ST.MARY
CATHEDRAL
• Tange conceived the new church as a
concrete structure.
• Simple in concept and complex in shape,
which recalls the lightness of a bird and its
wings.
• The reflection of the sunlight on the stainless
steel external cladding looks as a shining
dress on the hard concrete slabs.
• Although it is a monochromatic cladding, the
curves and the U-shaped profiles enhance
the dynamicity of the structure.
• It all makes the church an iconic building in
the dense urban context of Tokyo.
• Spaces and doors made with its high walls
deviate from the model of Japanese temple,
close to design a much more international
diamond volume, although the skirts of the
roofs may have evoked some of the
traditional Japanese architecture and
Buddhist temples or Zionists, with spacious
roof falls.
TADAO ANDO
• Born in Osaka, Japan in 1941.Is a self-taught
architect.
• Is inspired by the works of Le Corbusier and
also considers Mies van der Rohe, Alvar Aalto,
Frank Lloyd Wright and Louis Kahn
• Awards :
• The Pritzker Architecture Prize.
• The gold medal of the French Academy.
• Numerous other medals and honorary
fellow designations from Finland, the
United States, and Great Britain.
• He has every art and architecture prize his
own country can bestow. Tadoa Ando
PHILOSOPHY

• “In all my works, light is an important

controlling factor.”
• “I create enclosed spaces mainly by
means of thick concrete walls.”
• “When the external factors of a city’s
environment require the wall to be
without openings, the interior must
be especially full and satisfying.”
• “I create architectural order on the
basis of geometry squares, circles,
triangles and rectangles. I try to use
forces in the area where I am
building, to restore the unity
between house and nature (light and
wind).”
PHILOSOPHY

• Style - element of Light, Water,

concrete and glass.
• Simplified, rectilinear forms.
• Favors designing complex spatial
circulation while maintaining the
appearance of simplicity.
• Bare concrete walls that define
the spaces within.
• Interior of the building are the
form itself, ridicules the idea of
masking it.
 CHURCH OF
LIGHT
• LOCATION: Ibaraki, Osaka, Japan
• CONTEXT:
• Tightly-packed residential
neighborhood
• Very small space
• Location influences form
• L-shaped wall separates
church from busy surrounding.
• No good views, so the windows
are minimal – only the
distinctive narrow cross window
and a window opening into the
L-shaped wall
• Building is an addition to an earlier
wooden structure
 CHURCH OF
LIGHT

• Form: Long, rectilinear plan

• “The building can be described
simply as a bare concrete box with a
wall cutting through it at a 15 degree
angle. “
• Proportion: 1:3 – rectangle can hold
3 spheres, each 5.9 meters in
diameter.
• Entrance is from the back.
• Must turn 180 degrees to face the
front of the building
 • Location: Southern portion of the island of Naoshima, Japan
• Year of Construction: 2004
• Limiting the architecture to an underground structure

THE • No external design rising out of the ground

• Concept: Why underground?
CHICHU • The site is a place where national forest abounds and was a former salt
field. Hence to preserve the existing atmosphere and beauty of the site the
ART museum is wisely buried underground.
• It is possible to create almost any form underground as there are no axes
or directions as exist above ground, on earth
MUSEUM • The outer expression of an underground building is invisible and,
therefore, the obvious issues of form were not an issue.
• Challenge was to achieve a highly complex and varied sequence of
“lightscapes” within a configuration of simple, geometrical forms.
• The museum was intended, holistically, to be visited with light as a guide.
 THE CHICHU ART
MUSEUM

• ‘Chichu’ means ‘underground’

• Part of the Front lobby and access way
are dark, but the ain exhibition space
brings in natural light creatively throught
the courtyards.
• A series of small concrete openings and
geometric skylights float among the
greenery.
• There are five galleries altogether , of
various sizes and characters featuring
the works of three artists – Claude
Monet , Walter de Mari and James
Turrell.
• The triangular space connects the
galleries of the three artists.
• Inside the museum the visitors are
constantly brought between light and
darkness, between mass and void