Tadao Ando - Detail 2 [PDF]

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TADAOAND。



DETAILS 2



Copyright (Ç) 2014 A. D. A. EDITA Tokyo Co. , Ltd. 3-12-14 Sendagaya , Shibuya-ku , Tokyo 151-0051 ， ]a卢an All rights reserved. No part ofthis publication may be reproduced, stored in a retrieval system , or transmitted, in any fon何 or by any means, electronic , mechanical， 州。忱。必ling， recording, or otherwise, without 卢ennission in writing斤om the publisher. Co卢Iyright of drawings 。 2014 Tadao Ando Architect Co卢Iyright ofphotogra户hs 。2014 GA photographers μIgo仰 e des忽-n: First 卢 ublished



Gan Hosoya



2014



ISBN4-87140-555-9 C1052 Printed and bound in China



& Associates



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The Eloquence of the Synthesis: The Drawings of Tadao An do 合成的艺术:安藤忠雄的图纸



Francesco Dal Co 弗朗西斯科达尔科



In considering the meaning of drawing in architecture , modem design culture has given rise to a tradition of thought that has developed without interruption from the times of Leon Battista Alberti to the present. The most characteristic and intriguing aspect of this tradition lies in the fact that as architects , theorists , mathematicians , geometricians and painters have gradually developed increasingly sophisticates systems of representation , the wamings intended to caution designers regarding the implicit dangers of these advances for architecture have become louder and louder. As he defined the method of his science of perspective , Alberti admonished his architectural colleagues not to use it in projects for actual construction. Alberti believed that the artifice utilized to make better representations could deceive and confuse builders. Alberti was not the only one who sensed the dangers of representation for the process of construction , and he has not remained isolated in his distinction between representation and architecture. Architectural thought has grappled with this distinction at length (and often in a confused manner). In many cases it has attempted to follow paths that are completely different from those indicated by the author of De re aedificatoria, thus losing sight of how the productivity of the conflict that is established between representation and construction (simultaneously uniting them) can become an essential resource for architectural design. It is no coincidence that this problem took on particular importance when discussion tumed to the use of perspective , ofaxonometrics , of spatially articulated forms of representation. While John Soane , at the beginning of the 19th century, encouraged architecture students to leam all the secrets of perspective drawing , there were and still are many voices that , directly or indirectly, wam architects regarding the pitfalls of this practice.



In the 20th century one outstanding example of this attitude can be seen by analyzing the beautiful drawings of Carlo Scarpa. In Scarpa's.representations the reasoning is always unfolds beginning with the plans; from the plans he proceeds to the study ofthe sections and then , often focusing on fragments ofthe composition , on the elevations. The axonometric and perspective drawings are few; in the drawings they appear only as notations , marginal exercises that the architect uses for utterly personal verifications , and thus not aimed at containing information for those assigned the task of carrying out the instructions he provides for the real organization of the spaces. The fact of the matter is that nothing is more distant from Scarpa's working metho d, from his way of perceiving architecture as a process and a continuous sequence of experiments from which to derive the rules of the composition , than the synthesis offered by perspective drawing. Perspective freezes a work in time and defines the relations among its parts; it gives the work an unreal realism , removing it 企om real space and placing it in the virtual space of a "fiction." Through perspective architecture takes on a virtual dimension that frees it from its material nature. This is precisely why the works of Tadao Ando often develop from a perspective sketch. All of Ando 's architecture is marked by the pursuit of a pure meaning , indifferent to matter. Ando makes use of a few, selected construction materials; he is not afraid of repeating himself, using them in exactly the same w町， with the aim of giving them the smoothest possible surface (what attracts him in things is the tension of their shells). Ando's constructions have surfaces on which everything must slide: the wind that blows through the courtyards of his houses , the light that shifts from one surface to another in the interiors , the sense of touch that should only encounter uniform perceptions in the spaces of his constructions. His composi-



考虑建筑设计的意义，现代设计文化已经引发了传统思想的发展， 使其从某昂 . 巳蒂斯塔.阿尔伯蒂时代持续发展到现在 。 这种传统思想



的操作，因而并不包含他为真正建筑空间指派任务和执行指引的信息 。



最有特色和有趣的方面在于建筑师、理论家、数学家、几何学家和画家 正逐渐发展成各代表性的系统，提醒设计者当今建筑隐含危险的设计警 告已经愈 演 愈烈。 当时尔伯蒂已经确定他观点的科学方法时，他告诫他 的同 事 们不要将其用在建筑项目的实际建造上 。 阿尔伯蒂认为，运用表 达技巧提出更好的陈述可能会欺骗和迷惑建设者。 阿尔伯蒂并非唯一一 个感觉到施工过程中代表性危险的人，而他也并非孤立无援的站在代表 性和建筑之间有区别的立场上 。 建筑思潮已经努力解决这一长度上的区 别(尽管经常是以一个混乱的方式) 。 在许多情况下，它试图遵循有别 于 《 建筑论》 的全新路径，从而失去了代表性和建造(同时把它们结合 起来)之间的冲突如何建立生产力视野，使其可成为一个重要的资源建 筑设计的愿景 。



这并不是巧合，当讨论转向使用的角度、三向投影 方面、代表性的 空间绞接形式时，这个问题显得特别重要。 虽然约翰.索恩早在 19 世 纪初就鼓励建筑系学生学习透视图的所有秘密，但有仍然有很多声音认 为(透视图)直接或间接 警 示有关建筑的缺陷 。



分析卡罗 . 斯卡帕美丽的图画，可以发现 20 世纪的这种观点的杰 出实例 。 在斯卡帕陈述中，往往从计划开始阐述理由，其后是从研究计 划的各个部分，再然后侧重于正面图上的各个组成部分。 三向投射图和 透视图很少;图纸中经常仅显示完全属于建筑师个人特征的符号、边缘 8



事实是所有工作都未偏离斯卡帕工作方法一一从他感知建筑作为一个过 程，一个连续序列的实验推导出组成规则的方式，而并非通过透视图提 供合成而来。 透视图将某一段时间的工程冻结以及定义了其各部分的关系;它给 工程一个虚构的现实，将其从现实空间中取出并放直在一个"虚构"的



虚拟空间中 。 通过透视建筑物，需要考虑虚拟的维度，并将其从自然物 质结构中释放出来。 这正是安藤忠雄的作品为什么往往从一个透视角度 图纸发展得出 。 所有安藤建筑的特点是追求一种纯净、与自 然 物元异的 感觉 。 安藤利用了少数的、选定的建筑材料;他不怕重复自身，完全用 相同的方式使它们看起来表面更加光滑(吸引他的，正走东西是外壳的



张力) 。 安藤建筑的表面是所有东西的都必须能在上面滑动:风经过庭 院吹向他的房子，灯光从一个平面飘移到另一个内构平面，其建筑空间 中的触感始终如一 。



他的作品基本上是几何型的 。 互锁' 形式能增强彼此的相王关系，并 在外部显示出它们精确的连接和分接口 。 接口和分离接口的连接(或者



我们可以说，巧合和重 叠 )是安藤作品真正的重点:插入在墙和他的建 筑之间(然后转到他外壁的内表面) ，或者在屋顶和支撑材料之间接触 点的灯光将模糊化的物体群结合在一起。 在最成功的作品中安藤建设了 固定羊部件连接的 boites a miracles- - "空间雕塑";安藤还在接口 和分离口利用了升降和旋转的设计程序，使其大型支柱不断被注意到 。



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Tadao An do 安藤忠雄



The design of architecture begins with a mental image. Drawing is a process in which one gives shape to that image. It is also slow and steady work requiring vision and hope. An architectural idea is a crystallization of whatever nourishment one has assimilate d, nO t only through one's actual experience with buildings and cities but through one's readings , which may include history and literature. If one does not lose sight of that architectural idea as dialogues with the client and the site clarify the many actual factors involve d, it gradually becomes manifest. The first important task in design is to recognize all that lies dormant in the site. 1 believe that taking note of the environment and climate is an essential part of detailing in a broad sense. To design architecture is to express ideas through buildings , and selecting a site and giving shape to that site are an integral part of that act. Take for example the Chikatsu-Asuka Historical Museum. This building is located in a verdant area where tumuli from the 5th and 6th centuries are scattered. A piece of land next to a pond was chosen from among several alternative sltes. A survey of the site conditions and a study of the tumuli were undertaken prior to the consideration of functions and forms. Even before the study, inspiration was received directly from the site. 1 sought a design that would take advantage of the abundant nature around the site without being conspicuous in the environmen t. The ancient tumuli are constructed of stones. The idea of creating a contemporaηtumulus with a roof covered with stones occurred to me. That roof would be not so much a roof as a place from which to view the surrounding area. To a rough sketch of that idea were added volumes corresponding to the func,



,



建筑设计始于精神想象。



附图只是一个从想象到形象的过程 。 这也



tions intended for the building. At this stage , the functional problems were not yet resolve d, but the overall volume was established. This volume was translated into a mode l. A study of the external appearance of the building was carried out , while the formal proportion of the building itself and the way the building relates to the area around the site were considered. 1 thought about not only the overall configuration but the materials as wel l. Isometrics and axonometrics were also used to study the extemal appearance three-dimensionally. 1 use isometrics and axonometrics from the start of a project because 1 believe architectural problems become apparent only when the project is considere d, not in plan , but in three dimensions. 1 use perspectives to investigate interior spaces three-dimensionally. With these as aids , 1 gradually started narrowing the choice of finish. At the same time the study of the plan proceeded. At the initial stage ofthe project , hand-drafted drawings were used instead of CAD. The work of drawing is always a process plagued with doubts that 1 finally decide at some point to bring to an end. With CAD, however, the point at which that decision must be made is never apparent , and there is a danger that even something unfinished will seem complete. However, with hand-drafted drawings , it is obvious where things remain unresolve d, and a drawing can even reveal the psychology of the person who has drafted it. A deeper communication is possible through such drawings. The structural and mechanical systems are of fundamental importance to the architecture. In my exchanges with experts , therefore , 1 do not easily compromise , though 1 take note of the demands made by reality. 1 constantly seek the ideal solution for a particular architectural problem. It is only when the project has been almost fully determined that , depending



好。 等比例图和三向投射图也被用来研究二维形状的外观。 我从项目一 开始就使用等比例图和三向投射图·我认为建筑的问题在项目考虑的时



是 一个 缓而稳的工作，需要远见和追求。 建筑的设计不仅通过个人对建筑和城市的实际经验，还通过 一个人



候(而并非计划时)、也就是考虑三维时会变得很明显 。 我使用透视法



的阅读(其中可能包括历史和文学) ，是吸收各种养分的结晶 。 如果 一



探讨了室内的立体空间 。 有了这些作为辅助工具，我能逐渐缩小成品的



个人不能忽视的建筑理念、客户端要求和现场证实等所涉及的许多实际



选择。 在同一时间计划开始了其研究的进展。 在项目的初始阶段，用手画



因素，设想将逐渐变得明显 。 设计的第一个重要任务是识别现场所有潜伏点。我认为需注意到环



图纸末代替 CAD 。



境和气候 ，广义上这是一个重要的部分 。 设计建筑是通过建筑来表达思



时刻停止(怀疑) 。



想，并选择 一个 场地、整装场地外形使其作为行为的 一个组 成部分 。



显现出来的，所以这是一种危险，因为即使是未完成的东西会显得很完



以大阪府立飞鸟历史博物馆为例 。 该建筑坐落第五和 ;第六世纪古墓散布



整。 但用手绘图纸的话，很明显可以看到 事情仍没有得 到解决，图纸甚



的绿化地区 。



至可以揭示起草人的心理 。 通过这样的图纸可以进行更深层的沟通。



最终从几个备选地点选择出其中 一块 毗邻池塘的土地。



图纸就是一个怀疑的过程，并且我最终将决定在某个 然而 CAD 在必须做出决定的那一个点永远是不会



在考虑功能和形式之前就进行了场地条件的调查和古墓的调研。 甚至在



结构和力学系统对建筑而言具有最根本的重要性 。 在我与相关专家交流



这项研究开始之前，灵感就直接来源于现场 。 我的设计所追求的，是采



的过程中我不轻易妥协，但我也会注意到现实所提出的要求。 我不断地



取场地附近丰 富的 自 然优势 而并非扎眼的环境。 古墓是石头构造的 。 我



为特定的建筑问题寻找理想的解决方案 。



突然有 一个 想法，建造 一 个当代古墓般以石头覆盖的屋顶 。



而这屋顶从



这一想法的粗略图纸就是在根据建筑物的功能添加相应的结构 。 在 这一阶段，功能问题尚未解决，但已经建立了整体体积 。



只有当该项目已接近完全确定时，根据建筑物的大小和性质，才会 用 CAD 来准备工程图纸 。 计算机化的图形，如透视图，也可能显示出



周边环境看来其实并没有那么像屋顶 。 此体积被转变



成一个模型 。



不同的完成程度。 这些对研究和演示目的来说都不是非常有效和严格。 它们最终对于规划来说也不是非常有用 。



而现在，由计算机生成的图形



图像即使在其未完成时、仍易于给人设计已完成的印 象。



对 建筑物 的外观 进行了 研究.同时也考虑了 建筑物 本身的正式比例



需用实际样品来做材料的最终选择。 对屋顶的石头采取研究，确定石头



和建筑物现场涉及到的周边环境。 我认为不仅整体配直要好，材料也要



放置的方式、木地板材料的质量、涂料的颜色和光泽、一个小羊元的尺



12



on the size and nature of the building , working drawings are prepared by means of CAD. Computerized graphics such as perspectives , showing the various finish , might also be produced. These are not very effective for the purposes of study and are strictly for the sake of presentation. They are ultimately not very useful for planning. Today, the graphic images produced by computer are apt to give the impression the design is done when it is no t. Actual samples were used to make the final selection of materials . Studies were undertaken of the stone for the roof, the way the stone is lai d, the material quality of the wood tlooring , the color and luster of pai时， the size of a unit and the way that unit is attached. Judgments were made using , not just sight , but the other senses such as touch and hearing as wel l. At the same time , consideration was given to strength , durability and maintenance. That in brief is our process of design. 1 am always concerned about what sort of study is suitable for realizing a given architectural idea l. 1 have tried not to be easily swayed by the fashion of the times. 1 gradually developed my style by selecting that which is necessary and sufficient to the achievement of architecture 's essential character. Most of the drawings in this collection of details were produced without the use of a compute r. When drawings are drafted on a computer, the work being done by each member of the design team is not readily apparent. Communication among the team members becomes difficult. 1 will therefore continue to take my own approach , though some may find it anachronistic.



寸和小羊元连接的方式 。



觉未判断 。



不仅适用视 觉 ，还是用其他的感官如 触 觉和听



与此同时，还应考虑强 度、耐久性和 维 护程 度。



这就 是 我们设计过程的简述。 我总是关注应 该 做什么样的研究才能 实现一个 给 定的 建筑 理想 。 我尝 试 不轻易被时代的时尚所左右 。 我通过 选择是必要 和足 够 的 选 项来实现建 筑 结构的基本特征，正在逐 步 发展出



我自己的风格。 大部分细节都 集 中在图纸绘制过程，而无需使用电脑 。



当使用计 算



机进行图 纸 起草，由设计团队每个成员所 做 的工作并不是很明显 。



成员之间的沟通变得 困 难 。



团队



因此，我会继续使用我自己的方法，即使有



些人可 能 会 觉得 它不合时宜 。



13



Teα House in Oyodo Oyodo-k饵， Osαkα



1985 (Ve饥 eeγ Teα House) 1985-86 (Block Teα House) 1987-88 (Tent Tea House)



An old wood-construction house in Oyodo Ward, Osaka , was remodele d, and three tea houses were created. 1 wanted to make full use of the characteristics of materials such as the suppleness and warmth of wood and the texture and coolness of concrete block. A tea house is the architectural space most affected by individual taste , which means that there is great freedom concerning its style. 1 sought to create a simple yet rich mi crocosm by removing every extraneous element from the space and introducing a strong design idea. In the veneer tea house , the tloor, walls and ceiling are all veneer made from Japanese linden . Jn the tea house of concrete block , polished blocks are used on the f1 00r and off-the-shelf blocks are used on the walls. In the tent tea house , glass is used on the f1 00r and the ceiling and tent fabric is used on the roof and the walls. 1 used the Taian at Myokian as reference in establishing the scale of these houses I tried to maintain and to capture the spirit of tradition in architectural spaces that are contemporary in character by reverting to the original approach to tea-ceremony design , which was to use everyday materials , and by using a scale adapted to the Japanese physique.



Venee:γT盹 Ho:旧 e



14



(left) and Tent r.盹 House



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1, 600 GLAS$ t5 , FROSTED F1N1SH WOODEN SCREEN (l NS旧的 方?叉. !吉加工 水裂 3旦夕 ')-ν( 内部)



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Plan and interior elevations 01 ，.听neer Tea House"



15



大淀茶重 大阪市大淀区的 一 个古老的木质



房屋，改造成为 三 个茶室 。 我希望完 全利用材料的特性，例生口木材的柔韧 度和温暖，混凝 主 块的质感和凉爽。 茶室走受个人品味影响最大的建 筑空间，因此这也意味着关于其样式 有很大的发挥空间 。 我试图通过从空间内移除所有的 外来元素来创造 一 个简单但是丰富的 微观世界，并引入强烈的设计理念。 在羊板茶室，地板、墙和天花板用的 羊板都来自于日本菩提树。 在混凝 土 砌块茶室，在地板 上 使用了经过抛尤 的砌块，墙上使用了普通砌块 。 在怅 莲茶室 ，在地板上使用了玻璃，在屋 顶和墙上使用了天花板和帐篷面料。 在设计这 三 个茶室的规模时 ，



我使用



Myokian 的 Taitan 作为参考 。 我试图去维持和扑捉建筑空间的 传统精髓，即通过回复到茶道仪式设 计的 最初状态 ，也即使用日常材料及 符合日本人体型的规模。



Various views 01 veneer and tent tea ho阳es



16



Kαγαzα Theater



Taito-ku, Tokyo 1985- 88



Juro Kara has been stimulating cities and city-dwellers through drama and waging a revolution of consciousness_ 1 wanted to take part in his activities through architecture and to suggest the need for spectators to participate in drama and for residents to participate in community development_ The Karaza was made a temporary theater that could be moved from place to place , providing cities and people with stimulus_ The main structure is assembled from pipes normally used for scaffolding_ Pipes with a diameter of 48_6 millimeters and a maximum length of 9 meters and 25 ,000 off-the-shelf clamps are use d, and the components are connected using only frictional forces _ This construction method shortened the construction period and made it possible to assemble the pipes in about 25 days_Moreover, the building materials, with the exception of certain special parts , can be procured at each site and need not be transported_ The theater can be built anywhere in the world by just sending drawings and the directions for assembly_ This building system , which has been reduced in effect to information , and drama , which is a physical , human performance , seem diametrically oppose d, but they act in concert to provide the city with stimulus and surprise_ 下盯剧院



通 过 发展戏剧事业，唐 十 郎 已 经 激发整个城市的活力，



的变革 。



引 领意识领域 通 过 建筑业这 个 媒介，我 渴



望参加 他 的 活动 。



让 广 大 观众 近距 离



地接触戏剧艺 术，



让 居民为 社区 的发



展出谋划策，



促进整 个社区 的和谐发



展。 下叮 是 一个 临时的剧院 ，



可以从



一 个地方转移到另 一个 地方，为 市 民 提供视觉和听觉 的 享受 。



剧院的 主 妥



结构是 由 管材搭建的 ，这 种管材经常 用 于组 装脚手架 。



管子的 直 径是 4 8 _6



毫米 ， 最 大 长度是 9 米，使用 25 . 000 个 常备 的夹 钳， 各组件仅凭摩擦 力 相



连接 。 这 种建筑方法能 大大 缩短建设周 期 ， 安;在 这 些管材 大 概需妥 25 夭。 此 外 ，大 部分的建材 ， 除 了一 些特殊的 自己 件 ， 都可以 在 当地采购 ， 不需妥 运 输， 大大 减少了 运 输成本。 只妥提供 图纸和安装说 明， 在 世 界 的任何地方， 都 可 以建造这样的剧院 。 这种建筑体系减少了信息的影响 作用 ，而 戏剧 主 妥侧重 于 人的表现， 二 者看起来截然相反。



但是，



它们竟



然相 互 融合，为整个城市提供视听享



受和惊喜。



18



Construction process



Detail 01 eav臼 gutter



Detail 01 main frame and brace



Top detail 01 rool truss



Detail 01 main frame and brace



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EXTER NAL CORNEA : STEEl PLATE 出阴 λ 于 一 JL-. '1' L.- - 卡抑 主 BRACE & BRACKET M ETA l: 5TEEL RU SτPAOQ F ， PAINTED 7" v - 叉 ， 7' v -^ 受盘物只 手 - 1" ~}j r，i 他理 ， 叫 1/ 卡 拉



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Plan and elevation 20



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- ~~R，rt.SI~ql~ .~I~E ; 48.6 棚: 11111 川 1 -;1粗立 -一- !R~AD : SCAFFOLD BOARD t28 , WITH SAFE Ll GHTS



黯面足凶极加工



足元灯取付



5SEMB lI NG OF TEMPORARY



MAγERIALS



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This project is next to Rokko Housing 1 completed in 1983. Although four times the size of the earlier work , this too is embedded in nature The building is fixed to the steep 60-degree slope by means of earth anchors. The structure for the whole project is a fixed rigid frame , and the basic square grid of 5.2 meters by 5.2 meters is quite legible. The grid is organized into blocks , and the gaps between blocks are used as common spaces and green areas , thus enhancing the communal and natural environment Technologies that help to make life more pleasant for the residents have been introduced. For example , an in cI ined elevator is installed beneath the large stairway This project is not simply a larger version of Rokko 1 but an effort to develop in a comprehensive way a richer residential environment that is integrated with the surrounding district and to explore the potential of collective housing 六甲公寓 11



这个工程紧挨着 1983 年竣工的 六甲公寓 I。



虽然，它的规模是早期工



程的 4 倍，但是，六甲公寓 II 已经与



大自然融为一休。 通过锚固件，六甲公寓 II 被固定 在坡 度为 60 。



的斜坡之上 。



整个工程



的结构是一个固定的钢架结构，正方



形的网格非常清晰，其规格为 5.2 米 X 5 . 2 米。 网格被分成块状结构，块与 块之间的缝隙被开发成公共空间和绿 地，从而美化了社区的环境。 科技让社区居民的生活更加便捷，



例如，倾斜的电梯安装在大楼梯间的 下部 。



这项工程并不是六甲公寓 I 的扩



大版。



然而 ， 建筑设 计专家采用综合 开发的形式，将工程与周 围的 地区连 为一体，营造更加优越的居住环境， 不断开发 集合式住宅的 潜 力 。



Aerial 臼e础。f



22



Rokko Housing 1 (left) and II (γightJ



③ 5萨⑤... (5 200( ( ( (( --- ~ 200 5 "^^ 200 5 200 5.200 ( 5@ 200 5.200 5.200 5.200 5.20 ,



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units



144.53



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26



①



①



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①⑦



⑦



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Elevation 01 Rokko 1 & 11



27



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Site pla 饵 30



(((@((@ (@(@(



ø-@



干 l



TOP OF BEAM : CONCRETE 了 ROWEL FI NI$H WATER REPELLENT COAT. PITCH 1/15



梁天捕 。 2μ 夕 ' )-f . 盘刀子押主 ，



Ifl>l土地



主要用途:店t且 :"'3-J L.--L.. 又水 -'17 予 7



A retai l com plex wi th residential quaners; consists 01 two rectangular volumes , a cubic volume and a cylinder; steel and rei nlorc ed 吧。 nc rete structure; total Iloor area 01 5 , 709 .70



3扣子" . 虽楠11l



施工血岛也殴



情遮住自t: 7';及 2 予} L- t，揭选研究所



iIt!l!主1:!?:，， 3 ;，....')-.匕 γ5 句'



1986-89 Collezione Minato-ku , Tokyo



i直接主:叫本 γ 它 ::J-才~ v - ~ 3:""



主体响远缺骨缺 陷 2 二， 7υ- 扣选( *11l 1.



主要用注 :~!面 .年?予。)-



A medium-scale relail and gallery complex in a shopping dislricl incorporating a 5-level alrium core wilhin a rectang ular shell; reinlorced -c oncrete structure; total Iloor area 01 1, 027.05 square meters



: 198805-9409 199010-9507



施 工:竹中工 旅店.吉田 II!



This is a museum and resource center 01 literature; steel and reinlorced concrete structure; tota l Iloor area 01 6 , 347 .17 square meters including Annex



段时



股 it



工事:



悄选段时



square 汀1eters



1985-88 Galleria [akkaJ Chuo-ku. Osaka



1988-96 Museum of Li terature Himeji and Annex Himeji , Hyogo



主体响溢血管川 17选



〈大 甲的革告住宅 1 1



11



所在地:香川 即香 川都 应且町



主要用途



A private museum and a modest hotel on a small island consisting 01 a generous cylindrical atrium space and stepped terraces; rei nlorcedconcrete struc ture; 10tal Iloor area 01 4 , 241 .19 square meters inc luding Annex



R属也位



证床 面榈



〈 自J'.\::J二，予二....*''5 1 )- ']7-卜王 三-:;7' 1.. /



7"和 γ7;



1989-92 Japan Pavilion. Expo'92/Sevilla Seville. Spain



< 19921医巨') 7'万国博览会日本政府11l > 丽在地 : 它t:::" 1) J1市/又呵 1 二，



位n



: 198909- 9009 199009-9203



工事:



iIt!l!主: 日本 国政府 主要用途.川1::: 1 ):才二， ( 顶示喝}



7 口予' 二，-又:iIi 野商品研究所



7 口 T' ~ - 叉'增应太-



捐活段肘:7'又 3 吾 儿榈 迦研究所



~t 本正孟



施工



大林姐



主体摘 选 :1草骨践筋 :J :""'?υ- 扣J1'j



般地面帽: 延库面 确 :



1, 683.50m' 5.709.70m!



The Japan Pavilion l or the international exposition held in Seville; a large wooden stru cture using unadorned and unlinished materials; total Iloor area 01 5 , 660.30 square meters



萤醒E 姐 . 平野!R臣 ­



位 It 恼力



J.C. Theilacker Pons , J.F. Chico Con tijoch , J.M. Marco Cardona , J. Martinez Calzon Pedro V. Ibanez 施工 TAKENAKA ESPANA 主体情道:东迦 Il'l l也面描 :



5, 660.30m 7



延床面捕 :



5, 660.30m 1



1989-91 Water Temple Tsuna-gun , Hyogo



1991-94



所在地卜 ν 吃f-( -'} / -1~如 υ7



段射: 工事:



199204199301 -



主要用途嗣:..4. 7"卡 υ 工作盘喝.回害眩， 事GIl年 '\'-;;υ主体摘选:缺筋 2 二...'} 1) 一 卜 选



延床面楠 :



51 ,OOO.OOm 1 l'.000.00m 1



1993-94



所在地大阪市沿区



位 U: 工事



199106-9208 199209-9410 !x!街1.\1



眼伽"'/7'~-.



V 又卡予 J



主体椅血.缺陌 2 二，， 7 1 )- 卜;a . i生骨缺筋 2 二， 少')-卜迦.放陌造



敷地面确 睡床面槐



13,429 .40m 1 3.804.1Om 1



,



〈军部 〉



所在地.干事 u;!船惰市



段 1+ 工事



: 199107-9206 199207 -9307



主要用注:住宅 帽逝世肘:7'又 2 吾 儿 惘选研究所



House in Nihonbashi (Kanamori House) Chuo-ku . Osa ka This lour-story building accommo dales on lhe 1SI Iloor the lamily business , an a 内 s and cralls Slore , and the lamily residence slarts at the 2nd Iloor; reinlorced.concrete bearing.wall and rigid.lrame Slruc. tu re; lotal Iloor area 01 139.1 0 square melers



1995-96 Town House in Hirano (Nomi House) Hirano-ku. Osa ka



施工: bCi古木应位工嚣



啦地面栅 : 延床丽棚 :



484.10m 264.80m 1 1



〈 日 本精町革(盘 ~邸) >



所在地大阪市中典区



股It



: 199303-940 1



工事。 199402-9409



主要用途 : 住宅.店简 捐遮住肘 : 7'又 ::J 7J t.. 躏滥研究所



施工 ::ζt 应t童



主体响应:缺踊 :J :'"少 ')-←选 (也式-;;-到二，响遍) 耻地面晴:



睡床面帽 :



57.80m 1 139.10m



‘



〈平野区的町庭 (ti~ 且 邸) > 研在地:六阪市平野区 位 1!t : 工事:



199502-9512 199601-9607



主要用遮住宅 铺迦殴1+ : 7'又 2 予) "情造研究所 施工 :J 、二，肉、 7" 撞撞工房



主体情选;缺筋:::J :"-7υ- ← 造(也式愣选)



A house stands surrounded by greenery in a quiet residential area on a lerrace in Funabashi Cily; rein. lorced.concrete bea rin g.wal l struc. ture; tota l Iloor area 01 264.80 sq uare meters



(一部缺f于温) 般地面稿



耻地面确



An international arts center lor young people consisting 01 an exisl' ing vil la, a series 01 outdoors plazas and undergrou nd li brary; reinl orce d. concrete slructu re; a lol al Iloor area 01 11 , 000. 00 sq uare meters



1



施工 : 竹中工 f~店.大林组



1991-93



199112-9301 199302-9504



主悼悄迦:缺骨缺陷 2 二，少 ')-卜迦



主要用途



Lee House Funabashi. Chiba



工事



施工阳招.回原旭殴



姐lI!主:吵二， ← υ 一



A museum as pa 门。I a redevelop ment plan lor this area 01 Osaka Bay; it contains 3D lheater and restauran t; reinlorced -c oncrele , sleel reinlorced.concrele and steel structure; tota l Iloor area 01 13 , 804 , 10 sq uare meters



段 lt:



摘选li:lt: 7'又 2 予)"情溢研究所



80.0Dm 1 A m useum standing on the t op 01 a hill surrou nded by greenery; steel and reinl orce d.concret e st ructure; tota l Iloor area 01 2 , 02 1.4 0 square meters



Il~主



An art museum consists 01 the main building , a restored Western.style struct ure constructed early in lhe Showa era , and a new building bu ri ed underground; reinlorced.con. crete struclure; lotal Iloor area 01 1, 002. 18 squa re meters



〈 五倍宜 ft博物能 〉 所在地 · 奈且~\i，五侄市



ll~主五倍市



n丁 eters



0γama z ak i



1.613.44 m'



主要用这:博喃眩



大工血缸



主体阐 illi : 铁骨放筋 3 二，少')-←选



1991-95



1.845 . 90 川 '



延床面泪:



主要用途饭殴剧唱



施工溜地姐三董血检



A museu 厅1 dedicated to the sur. rounding excavaled kOluns; steel and reinforced-concrete structu re; total Iloor area 01 5 , 925 .20 square



耻地面榈



施工



A small prelabricated theater lor temporary use assembled ,n a gallery 01 con temporary art under. nea th a Buddhist temple; wooden st ructure; total Iloor area 01 80.00 square meters



Chikatsu-Asuka Historical Mu se um . Osaka Minam ikawac hi-g un, Osaka



工事



悄 illi股自t: 7'又 2 号 Mg 选研究所



班底面榈 :



1990-94



llIi兜岛市



199107-9309 199310- 9410



位酣



主要用途寺院



square 阿1eters



Temporary Theater for Bishin Jumonji , Photographer Shinjuku-ku, Tokyo



〈 盹见且大学相盛盎缸 〉 p~在地



主体捐迦缺筋 3 二..?*)-卡远(盟式棉造)



A house lor a young couple and a mot her in Hirano Ward in Osaka , where many rowhouses sl ill survive; reinlorced.concrete bearing-wall slructure; tola l I loor area 01 92 .13 squa re meters



敷地面栅:



睡床面，.:



120.48m 1 92.13m'



145



Tadao Ando Architect & Associates Tadao An do Masataka Yano T汰aaki Mizutani Fumihiko Iwama Takao Shima Kazuya Okano Takashi Muto Hironobu Wakayama Kei Iwata Hidehiro Yano Kensuke Ai saka Yoshinori Hayashi KanyaSogo ReiHirano Yumi Kato Hiroshi Araki Ryuichi Ashizawa Saiko Kosugi Manabu Ishikawa Koji Tsutsui Koji Nagasawa Tatsuya Yamaguchi Keisuke Toyoda Mari Ishimura Tamao Shichiri Yumiko Kato 146



安藤忠雄建策研究所 安藤 忠雄



矢野正隆 水谷孝明 岩 罔 文彦 岛 |坠男 网 野一也 武藤隆 若 山 泰伸 岩田惠 矢野菜裕 相 圾研 介 林庭~ 十 河完也 平野珩 以 加藤。办



荒木洋 声 j嚷道 一



小杉宰子 石 }II 学 筒井康 二



畏津浩 二 山 口适 也



尘 田 唇介



石 村真理 七里王绪 加 藤 由 美子



PHOTOGRAPHIC CREDITS All photographs by Yoshio Takase except as noted below Yukio Futagawa: pp.26, 32 middle left, 66, 88 , 109 top , 117, 118, 120, 122 , 124 Tadao An do: pp.21 middle , p.82 top , 128, 134 Shinkenchiku-sha: pp.70 , 82 bo仗om ， 113 , 138



〈安藤忠雄于付尹-)1.--集 2>



2014 年 3 月亮行 企画 - 编集 前文 口 τ]'. 予'4f 1 γ



凳行者



印刷·裂本 究行



二川 幸夫 7 '7 γ 子工又 ::I •



j(}I.--. ::I



细谷般



二川 宰夫 大日本印刷株式会社



A. D.A. EDITA Tokyo Co. , Ltd 柬京都没谷区千歇伊谷 3- 12-14



TE L. (03)3403-1581 (代) 主毫然断耘截



ISBN4-87140-555-9 C1052 148