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TADAO ANDO



COMPLETE WORKS FRANCESCO DAL CO



TADAO ANDO



TADAO ANDO



COMPLETE WORKS FRANCESCO DAL CO



Tadao Ando



1941)



(b



is



Japan's leading architect and



designer with a dazzling international reputation. In 1



995 he was awarded the



Pritzker Architecture Prize for



consistent and significant contributions to the built



environment'. sive



A



monograph



work,



comprehenAndo's



of



book examines



this



over one hundred buildings



and projects designed



between 1969-94.



illustrated



by photographs, plans and exquisite sketches.



Co



Francesco Dal



introduces



this detailed survey,



which



ranges from the smallest of



Ando's private houses from the



1



970s



com-



to such major



missions as the Church on the Water. Hokkaido (1981). the



Japanese



Expo 92



Pavilion for



in Seville,



and the



Naoshima Contemporary Art



Museum of Ando's



(1992).



own



A



selection



writings over



the past fifteen years are also featured, giving an insight into



the development of this



unique architect's work; and an interview with Hiroshi



Maruyama accompanies



a



selection of essays by a range of respected international critics including



Peter



Eisenman. Kenneth Frampton, Vittorio



Magnago Lampugnani



and Fredric Jameson.



OANDO



Digitized by the Internet Archive in



2011



http://www.archive.org/details/tadaoandocompletOOdalc



TADAO ANDO



COMPLETE WORKS FRANCESCO DAL CO



.



Phaidon Press Limited



A number



Regent's Wharf



the realization of this book, and



All



Saints Street



have contributed to



acknowledge them here



like to



London N1 9PA



of people



I



would



collectively



before thanking them each as they deserve to be.



I



must especially thank Yumiko Ando gathering together the



Published by



for her patience



Phaidon Press Limited. 1995



material which provided the basis of our



work and



©



Masataka Yano. who



followed each step



1994. Electa. Milano



Elemond



to



every moment;



Phaidon Press Limited. 1995 Reprinted 1996



A CIP is



in



catalogue record for this book



7148 3717 2



All rights



No part of this may be reproduced, stored



reserved.



publication in



paperback 1997. 2000



available from the British Library



ISBN



a retrieval system or transmitted,



in



any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of Phaidon Press Limited



Translations



Sabu Koso and Judy Geib. pp 509-512 translated from Japanese;



Thomas Muirhead: pp 7-30. 476^181 484. 492-494. 507-508;



from



Italian.



Printed



in Italy



this



all



translated



carefully



organizing this



me



in



book owes much



her helpfulness and kindness.



edition



Reprinted



in



book. Giovanna Crespi helped



Editori Associati



© English



in



FD



C



to



Contents



7



The Architecture of Betrayal



Critical



Anthology



Francesco Dal Co



484



Tadao Ando



Buildings and Projects



485



Tadao Ando: Heir to a



Vittorio Gregotti



31



Tradition



Kiyoshi Takeyama



Ando



Writings by Tadao



444



A Wedge



445



The Wall as



446



From Self-Enclosed



in



Territorial Delineation



Interior. Exterior



450



Facing up to the Crisis



451



Mutual Independence. Mutual Interpenetration



453



Shintai



454



Representation and Abstraction



455



From the Church on the Water to the



Materials. Spatial



458



Light.



The Story ANDO



490



Tadao Ando and the Cult of Shintai



Peter Eisenman



Architecture



492



495



Geometry and Nature



498



462



From the Periphery of Architecture



466



The Power of Unrealized Vision



Light



The Agony



and Abstraction



Difficulty of



474



The



Eternal within the



476



Interview with



Hiroshi



of



Tadao Ando



Brutalizing' History



and the Earth



The Architecture of Tadao Ando -



501



Tadao Ando and the Enclosure of Modernism



503



Three Houses by Tadao Ando



507



Minimalism and Architecture



509



Reflections on the Architecture of Tadao



Fredric



Vittorio



Persevering



Jameson



Magnago Lampugnani



Vittorio Gregotti



of Sustained Thought:



The



Unes



Tom Heneghan



Intentions



the Japanese Pavilion at Expo 92. Seville



472



the Drawing



Predicated on Participation



Nature and Architecture



The Traces of Architectural



470



in



Francois Chaslin



500



461



In



Wayne Fields



Indicencies:



Peter Eisenman



460



Sensibility



Small and as Palpable as Silence



Tironi



Dormant Lines Darell



496



Light



Shadow and Form



468



Infinitesimally



Giordano



Composition and Nature



467



Modernism



Kenneth Frampton in



and Space



457



Critical



489



Modem Architecture



449



Church of the



Tadao Ando's



Kenneth Frampton



towards Universality



456



488



Circumstances



Moment



Yuzuru Tominaga



Tadao Ando



Appendices



Maruyama 514



Biography



515



Bibliography



519



Bibliography of Works



523



Index of Works



524



Photographic Credits



Ando



The Architecture of Betrayal Francesco Dal Co



The Japanese word for discourtesy,' wrote Ananda K Coomaraswamy, 'can be translated as unexpected behaviour, there are ceremonies for



living



cultivated garden, cannot



be allowed



form,



similarly, architectural



which,



when



it



like



the layout of a



to run out of control;



is



correctly conceived,



must also take account of the need to respond to its surroundings. The self-effacing Oriental conceals himself in the mass, intimately belonging to whilst his personality blossoms forth free of restriction.' In the West, our models of the cosmos assume it operates by conflict within an original Chaos. In the it



East (according to Elemire Zolla),



it



is



thought that 'hermitage



and ecumene, Order and Chaos' are closely linked one to



The difference between these two approaches



another.



some



we



to



life



because of Ando himself (there are significant between what he says and what he does) is all too easy for some to see him as one who has found a way around the crisis of Modernism towards a great restatement of its Partly



differences



it



moral positions; but only by totally ignoring the things which



have been happening



in



really believe this, as



architecture elsewhere



so many seem



to.



is



it



possible to



For them, Ando's



show that Modernism will march on somehow, as able ever was to make places in which modern man can look



buildings



as



it



forward to



poetically'



'living



some



in



sort of re-pacified



coexistence between technology and transition, nature and poetry and



artifice,



utility.



Ando, the self-taught innocent of



Osaka, shows the way as he consoles and encourages us to



man Dwells



carry on believing that



'Full



Tadao Ando. Ando reveals the inadequacies of western criticism more in his built work than his writings, and more clearly than others working in the Japanese milieu. Western



on



from Holderiin, borrowed by Heidegger,



architectural writing, incapable of distinguishing the subtle



can hardly



differences between ourselves and the East, tends to adopt a



supposed



offers us



illumination as



investigate the architecture



of



competitive attitude, oriental culture



'westernizing'



seem amenable



whatever aspects



of



to the formation of tangible



see how today, as always, Japanese art and architecture are innately disdainful and detached, with a tension of their own which derives from this



working relationships.



it



fails to



In his more would be quite wrong



thoughtful work,



aloofness.



ways



It



to



Ando expresses



in



his



ceuvre there



is



in



reduce to our own



dichotomous vision of how we think the world Here and there



this



is



a deliberate



In



such moments he



is



able



to



seem



is



express



and



this it



is



seen as carrying



forward a certain kind of Japanese tradition which cultivates a particularly



charming relationship with nature.



has been responsible for so many banalities of contemporary criticism.



The to



it



'the minimalist'



(one



and not squirm with embarrassment)



be able to resolve the



conflict



is



between earth and



one and the 'becoming' of the



world, no less; the 'being' of other, to



Ando



architectural poetic of



recall



paraphrase Heidegger.



Obviously, these critics find



impossible to say anything at



it



all



about the complex and contradictory meanings which make up



nerve-system



very



the



Ando's



of



so-called



minimalist



architectural language: the intertwined truths and sleights of



hand, the conciseness and the echoing allusiveness, the



and



commonplace which Ando himself does



inclined to refute. His cool style



of merit, yet poetically,



monotony and



up to us not to miss these rare and unfamiliar experiences. Even in Japan, Ando's architecture is often and too easily seen



not



line



occasional gravity and the frequent severity, the fastidiousness



rarefaction with an architecture of the utmost simplicity,



as mere nostalgia, a



That



made.



repetitiveness designed to induce stillness, timelessness and



quietude.



this earth'.



(at



times) the imprecision.



occasionally, with 'the



dove'



hits



In



the middle of



In



is



nothing but



life itself, in all its



such moments when



and he



is



to exist,



this



Ando,



on something that reaches the very highest



serious and tragic discourse, crossing the there



all



truth



is



able to acknowledge



Ando does



just



candour of the fox and the cunning of the



line



level of



beyond which



emptiness.



able to get the better of trickery



how



precarious and painful



return to tradition, but only to



it



is



make



a



helpless and disconsolate architecture which sets out precisely



how



irreconcilable the distance



is



that separates tradition



from



Watanabe Kazan,



portrait of Ichikawa Beian.



1837 (Kyoto National Museum).



real



Hence the complete absence



life.



of anything playful



Le Careen;



architecture and his fondness for Piranesi's



it



in



is



his



only



the dark side of Piranesi's mind that interests Ando. To salute



him as the Messiah of a newly re-pacified Modernity his



work



most



of



all its



significance and nobility.



to strip



Tadao Ando, at his marks the



sincere, expresses only the devastation which



greatest



moments



Japanese



in



inaccessible tradition



is



peace



Japanese



how remote and



says



a beautiful



in



house could



in



it



is



to



any way



to the world.



Ando's architecture,



once again



art,



and demonstrates how pointless



think that simply to live bring



is



renews anything, has the great merit



if it



laying bare for us the



of



deepest disturbances of the



soul: the idea that existence



is



hopeless struggle



a



that has to be suffered to the extreme and unthinkable limit. Those who chat so comfortably about Ando and his charming allusions to Japanese tradition (oh, the details, the spatial configurations, the poetry of the Zen garden, the perfect measures of the Sukiya, the tea houses of Kobori Enshu. Shuko, Sen no Rikyu!) forget, or do not know, how ghastly and



threatening this tradition



Ando expresses



for the cultured



is



of this tradition



elusive sensations and



is



nothing



Japanese. What



more than vague,



memories with only the consistency



shadows; but whoever glimpses these shadows may see in



some



of his



work he might deservedly be



are certain works of art



made



called noble.



of



that



There



during the late Edo epoch (the



remarkable portrait paintings by Watanabe Kazan, The Nobility of Defeat by the ^apanologist Ivan Morris), which express



countenances or descriptions what



maelstrom of



a



it



in



feels like to stare into the



wrecked life, a story which has ended in tempest which has washed up nothing



disaster, a lost hope, a



but a heap of flotsam from which civilization can expect nothing that might offer



any comfort



where hope has gone and



at



all.



life is



Tadao Ando knows shut



in



on



all



this



world



sides by defeat



and solitude. Writing about Ivan Morris, Marguerite Yourcenar concludes with these words of a Roman emperor: 'Every man's life is



a defeat to which he can only submit.'



himself



fully realizes



it



or not,



Whether Ando the moment



this, paradoxically, is



Views of the Katsura Palace and a minka interior.



of a



man's greatest happiness. Sometimes



seems In



acknowledge



to



1817 Commander



his architecture



it.



Perry, at the



head of a



US Navy squadron,



dropped anchor off Uraga and required Japan to open to trade with the



back



his



When



West.



doors



power to the Emperor, ending the Edo epoch, those



'heroes' (described



in



The Nobility of Defeat) must have been



as sombre as the faces



in



Kazan's portraits. Their anguish then



speaks to us of the



still



its



the last of the shogun handed



contemporary



futility



the



of



civilization believes will lead to



same anguish dominates



efforts



which



something. The



the written novel after the unthinkable



act this civilization perpetrated at Hiroshima and Nagasaki.



Forced to concede utter defeat, Yukio Mishima,



Kazan the It



1



30 years before,



strict rules



may be



publicly took his



own



like



life



Watanabe



according to



of seppuku.



that those cuts



and lacerations explain something



about the architecture with which the Japanese Metabolists astonished the world cities,



hanging pointlessly



once



in



the late



1



950s and



early



1



960s: entire



audaciously suspended from giant structures, but



again.



in



the empty



air.



The



old anguish, the void



The Tokyo projects by Tange, Kikatake, and



Kurokawa, orlsozaki's photomontages



'City of the Future',



and



then 'Destruction of the City of the Future' confirm that twenty



years after Hiroshima, Japanese architects were anything but looking forward to Japan's



new



personification, this time as a



world economic power. Projects by the Japanese Brutalists (such as Isozaki's Medical Centre and Library at Oita. 959-66) 1



new materialism and seem to desperately for some sort of new relationship with



are wild with hyperbole about the



be gesturing



western architecture. Quieter architects



like



Kiyoshi Seike and



Kazuo Shinohara (the latter especially elegant and profound) were looking for integration with prewar European reductivism such as that of Bruno Taut, so though it may seem that the two modes were poles apart, they touched tangentially and in this scenario.



Tadao Ando began



1974) set



his



work.



House for two brothers (Hyogo. out some themes which, unchangingly, were to



His Soseikan-Yamaguchi



)



Tadao Ando, Soseikan-Yamaguchi House. 1974-5. conceptual sketch



and exterior view.



dominate



domestic architecture for the next twenty years.



his



Here in Hyogo we have two parallel blocks placed end to end and connected by a bridge. Each block is cut back on the diagonal to give the project a modishly Brutalist appearance.



The elevations are dramatized by double square-framed 'Corbusian' windows (no doubt inspired by Isozaki's most



Ka



recent work) and large openings looking out over the garden



show



vUi# %£=^.



N



H#£



^



* \jiri



that inside, there are internal double-height



h C^ i--



may be



X



x



traceable to Brutalist and Metabolist experimentalism,



but Ando's use of materials



is



spare and rigorous and the



abrasive elegance of the concrete Ltt



,*»•*'.! it.



i^*~



ftf** l:'i



itj.. ;_,



seems ,,



spaces each



The formal references



with a view straight up towards the sky.



to



nod more



in



is



handled with a care which



the direction of Louis Kahn than to the



,



postwar beton brut of Le Corbusier. His project for what he called the Twin Wall that the debt to



box



is



Kahn



is



pierced by arched openings cut



the entrances, and bearing



United States



Embassy



house (1975) shows



not only about concrete. Another double



in



in



down



vertically to



make



mind such Kahn projects as the (1 959-61 ), it is not difficult to



Luanda



somewhat awkward version of As in Soseikan-Yamaguchi, the short-end same pairs of projecting square windows.



trace the probable source of this



the thermal window. elevations have the



Ando



allows himself to look



in



two



directions, to the



Master of



Chaux-de-Fonds and the other Master, of Philadelphia. The linearity of this



house



central full-height



is



stiff



relieved (as before) by including a



space which, because of



its



size



and



position,



emphasizes how symmetrical the general arrangement



Once



is



rooms at the ends of the building are connected by a bridge. The concrete, inside and out, is relieved by nothing but the beams of light which happen intended to be.



to



fall



across



its



again, the first-floor



surfaces.



The Twin Wall project leads



straight



on to one of Ando's more



unsettling and challenging buildings, the



the Sumiyoshi district of his native



on a



tight



little



Osaka



(1



Azuma House 975-6).



It



in



stands



urban plot and as before, has a long, thin and



absolutely symmetrical layout on plan.



It



is



not that



Ando



feels



no need to re-invent what he had already done before; the



10



1



Tadao Ando. Azuma House. 1975-6. conceptual sketch and extenor view.



notion of reiteration, as



him than



Once



that.



ends of the



rear



we



shall see, is far



courtyard.



space which



these arrangements are by



All



The facade



architect's repertoire. wall



in



to



and



and connects them by the now-familiar



site



bridge, this time crossing a central little



more important



again, he arranges blocks at the front



is



is left



now



open as a



part of the



ruthlessly minimal: a taut



concrete, which ignores the urban scene of the street



and concentrates on



its



own



perfection.



taken by his workmen. Ando's concrete



Thanks



to the care



carefully graded,



is



densely mixed, painstakingly cast, tamped inch by inch, evenly



when



drained and



carefully punctuated



and leaden



in



struck leaves a meticulously fine finish



by the marks of the formwork



fixings.



Grey



colour and bereft of any other relieving gestures,



with a tiny black hole for an entrance, this facade turns towards



the



light



as a



flat



plane which, perhaps, vaguely recalls



(entrances to tea ceremony rooms) gateways which stand in front of Shinto temples). But there is no room for overt citation here; these are merely the shadows of suggestions, the vaguest of remote



something of the or the



nijiriguchi



(the



fori/



echoes, just possibly a kind of traditional order which might underlie Ando's already totally irreducible essentialness.



v^H



/



/



The



spaces are uncompromising to the point of antidomesticity They reorganize living into a tremendously strict interior



ritual



which



is



not domesticity at



all



but



its



simulacrum; such



dissimulation restricts the patterns of living



series of deliberate



performed



in



movements



complete



seclusion,



disturbances. This play-acting



which, as



is



still



awareness of the perfection all



in



this



is



this



house



away from



to be carried out



preferred generally city.



in



to a



written out beforehand and



in



external in



a



space



Japan, cuts out



all



Thus Ando's basic house-plan comes to



Osaka



possible awareness



street, quite deliberately



that there



simple, uniform concrete



is its



is



and



logical corollary



to



't-*m



r



suppressing



anything outside at



These houses know nothing (and do not wish



i



all.



The



leitmotif.



know) about



the tensions with which western architects struggle to bring architectural form out of the flux of history.



says



the aim of Oriental art



is



Coomaraswamy



to represent a state of



11



TadaoAndo. Twin



Wall. 1975,



view of



the model.



continuum', and so



it



with Ando. His houses are self-



is



and completed sequences of primordial



sufficient, closed,



whatever people may



stillness (which,



say,



has very



little



do



to



The only continuity Ando's minimal



with western minimalism).



is the endless murmur of the monotonous and desiring only that there be stillness and composure. Static and absolutely empty, Ando's houses offer the chilliest of welcomes, inviting all



language hopes to achieve mantra, deliberately



activity to



cease.



stasis of this kind can indeed eliminate



If



conflict



by simply excluding everything that might



may be



a kind of order that



shut away, but



it



houses



aloof and



offer the physical withdrawal of the



paper house,



traditional shoji or suki,



interfere, that



itself



cannot guarantee that there be either peace or



renunciation. All the



sense of



depends on keeping



being far



away from



in



which there



life,



engaged



is,



in



indeed, a



purposeless



contemplation of nothing.



So Ando's houses cannot



really



be places of refuge



at



all



because they are filled with this absence, this deafening emptiness which is almost palpable. As in the tea ceremony, the void itself becomes the raw material for knowing the possibilities of being.



Azuma House



is



Compared



with



its



chaotic



has a beauty as lonely as must be the inner pain of the man lives in



it.



Arriving



home, he squeezes through the hole



concrete facade, concrete



hopes



womb



that the



the



site,



the most remote and secluded of places and



is



and



who



in



the



received into the implacability of his in



space



a continuous, endless essentialness, will



make



possible what Ezra Pound



called, 'harmonization of perception



and association';



this



is



what Ando intends. In



1977 Ando completed



Azuma House, immobility



is



is



his



Manabe House



which,



intended to intensify repetition



achieved. The design of the house



until is



like



the



complete



based on



a



continuous modular grid which measures out a rhythm of interspersed solids and voids. The columns and deliberately



made



the



same



12



in



are



all



size (ignoring structural logic)



simply so that their elongated shadows width. Lost



beams



will all



be of the same



the haphazard parcelling out of land which



is



Tadao Ando. Kidosaki House. 1982-5. view of the courtyard and conceptual sketch.



typical of the its



grid



is



Japanese



city,



the orderliness of this building and



totally arbitrary, referring to nothing external at



all.



Order and arbitrariness become the opposed extremes which give it whatever life it has. An open concrete frame envelops some parts of the house, shifting them slightly off the main axis - a paradox, because the



movement induced by



this rotation



means itself



absolutely nothing, being based only on the grid which is no more than a metaphor for its own abstract and self-



referential order.



After



this, grids



become



a



constant



in



Ando's compositional



Matsumoto House in Hyogo (1976-7). Four years before Ando started work on this project Louis Kahn had strategy, as



in



the



finished the Kimbell Art



Museum



Fort Worth, Texas.



in



In



attempting to reproduce the delicate atmosphere of Kahn's building,



Ando



not only reiterates



some



of



but also tries to recreate the experience of interior



its



formal aspects,



light falling into



the



by attempting to make a contrast (as Kahn put



between the of the sky'.



reflected green



light'



it)



of nature and 'the silver light



Kahn achieved the contrast by placing three inner



courtyards between his buildings.



Ando attempts



the



same



house to create two The house turns its back garden through a kind of



thing by doubling up the enclosure of the



overlapping skins (one thick, one



thin).



on the street and opens towards its double-skinned portico. The open



space-frame



skeleton-fashion through the house, where



concrete columns and beams



(far thicker



its



slithers



oversized



than they need to be)



give the interiors a sense of ever-present repetitive marching.



The rooms are grouped



(as ever)



in



two extremities



of the



building separated by a courtyard, and there are doublecirculation corridors through the



narrow passages between the



grid



and the envelope.



The



blind wall to the street further intensifies the



work Ando had



Azuma House possible to make that



carried out on the external elevation for the



(though one would have not thought



experience any more intense than



it



it



already was). Here the



openings are concealed behind concrete screens and nothing is



allowed to interrupt the elevation which, ruthlessly, cuts into



13



Tadao Ando. Matsumoto House. 1976-7. viewofwall. and Ishihara House. 1977-8.



perspective of the courtyard with plan.



the earth as sharply as the edge of a hand appropriately, a ceremonial blade which



may never



heal again.



them happy,



or,



Whatever Ando may



walls like this have very



to



little



perhaps more



opens tell



a



wound



critics to



that



keep



do with the delicate



task of 'separating and uniting' as he would have



it.



violence of the roughest kind which threatens anyone



who even



dares to think there might be anyone inside



on the



far side there



is



indeed a



totally



space, ordered and structured by the



is



and yet



unexpected domestic



grid,



arranged around a



courtyard and looking towards a garden.



little



The



this place;



This



wall



from



its



is



an interruption that



first



context and then breaks



separates the house



down on



towards nature, before completely dissolving space. As



in



Japanese



traditional



formality of Ando's architecture, as



necessary formal break. Stylization



moment



painting,



is



into infinite



the extreme



this wall,



in



a



totally



the garden side,



way



creates the



of interposing a



or a gesture which has the effect of stopping,



excluding, eliminating, and only then making possible the configuration of static, quieted spaces which, as they silently



contemplate



their



own



That most formal of



when



all



Noh drama. moves the soul 'only dancing, mime and movement



essentialness, are similar to



all



Japanese



representation, singing,



rituals



have been brought to a stop', and emotion can then flow out of 'pure stillness'.



Such purity and essentiality (one might be forgiven for thinking) must surely have called for an unusual degree of truth to principles and therefore very few opportunities to work, but that is not what comes to mind when we consider the enormous amount of work Ando has done since the mid-seventies. Now



we



find



him at the top of



his profession,



completing building



speed but only able to do so by back on the design and conceptual procedures he had worked out in earlier researches. Thus, perhaps inevitably, we after building with astonishing falling



emergence of a Mannerist streak. In the in Kagawa (1 977-80) or the piece of virtuoso bravura which is the Ishihara House (Osaka, 977-8) or the very self-conscious Horiuchi House (Sumiyoshi, discern the gradual



Step Commercial Complex



1



14



Tadao Ando. interior view.



Ishihara House. 1977-8.



TadaoAndo. Manabe House. 1976-7, view of the principal elevation, and Horiuchi



House. 1977-9. view of the courtyard.



1



977-9), no amount of Ando's



completed



his buildings



and polish can disguise



the end of the 1970s



at



worthwhile to stop and look at the Okusu House



most ambiguous and unresolved



|jW



unusual L-shape



^w



a



and hesitancy.



certain over-indulgence



Of



skill



of buildings



whose narrower and



which shows what a difference there



is



it



is



Tokyo. This



in



planned on an



longer arm has a facade is



between



this building



and something so evocative and essential as the Azuma



Tar*



House. Here the



^?I



torii



motif



concrete arch, placed



makes



direct way,



is



an obvious and



bow



its



literal citation.



front of the real facade



in



elevation of any significance



to tradition it



in



A



the most



and deprives the



might otherwise have had. The



more careful articulation which moves through complex sequences of the now-familiar interiors are better, with a



1



alternations



between



and turns,



in



solid



and void. The



linear



progression of



goes by a series of unexpected twists the end does not give any impression of



the plan, enriched as



it



essentialness or clarity but creates the effect of walking



through a labyrinth



The



interior



space



is



interrupted by a



procession of walls placed to take advantage of



source of which,



light.



later,



he dedicates to the definition of pedestrian routes



through much more complex buildings. The this in



Mannerist period reaches



Kobe. Of



this or that



This gives a foretaste of the kind of attention



its



high point at



its



three phases, the



perhaps the most interesting.



ramps of external access sort of 'apse' which



A



stairs,



makes the



stylistic ability of



first



Rokko Housing



and smallest



central axis,



(1



983)



is



marked by the



climbs up and terminates building look as



though



in it



leaning against the hillside. This curving protruberance



a is



is



Ando's rather unexpected way of terminating what would otherwise be an entirely orthogonal and modular arrangement. The same motif reappears, slightly modified, in the later phases of the project as well as



in



the Step Commercial



Complex which



some



analogies with



(despite the very different setting) has



Rokko.



In



the



Okamoto Housing (Kobe, 1976)



volumes are used



to interrupt the grid



of geometric figures (square and circle) shifts



16



cylindrical



and the superimposition it



off axis.



At Step



.



Tadao Ando. Raika Headquarters. 1986-7. exterior and interior views.



a circle breaks out of the grid



and emerges on the central axis



as part of a cylinder. Such procedures are intended to create



between discrete geometric shapes and repetitive creating tensions which offer compositional



interference grids,



opportunities. After



more



Rokko



has



this



Raika Headquarters (Osaka



Museum



(1



1



become



enormous



thoughtful parts of Ando's



a trait



even



in



the



output, such as the



986-9) or the Hyogo Children's



987-9). These two works lead to one of the most



mature expressions of Himeji,



completed



Rokko



is



in



1



this period, the



a residential



which adapts



itself to



Museum



of Literature at



991



complex consisting of repeating



cells



the steeply sloping site around a central



spine of services. Each dwelling



is



accessed from outside and



uses the roof of the apartment below as a terrace. The



grid's



decisiveness renders the building's general layout easy to understand.



Its



regularity contrasts with the



somewhat



self-



indulgent sculptural form of the external staircases, no doubt a



way



monotony but tending towards something



of breaking the



vaguely Brutalist and expressionistic. (The architect might justify himself



by saying he had to meet



other of the notorious Japanese



fire



stereometrical configuration of



number



some requirement



or



regulations.) Despite the



its



grid,



Rokko



exhibits a



of tensions: the curving terminal at the top of the



external stairs submits the grid to a certain exertion, and the



reductivism of the one and the superabundance of the other



confront each



other



an



in



area of



attrition



around the



The precision of the building's construction only emphasizes how it sets artifice against composition's central



axis.



nature, adapting to the site by conserving the slope and



stepping back as necessary, but not Indeed



it



shows



off



all



least inclined to conceal.



and geography. rock-face;



all



It



in



As



Ando does



the discussion about



thinking



constantly bears that mark,



not



seem



Vittorio Gregotti says,



establishes a



the



any self-effacing way.



these conflicts and collisions as a grand



spectacle, with a brutality which



profoundly rooted



in



which



the is



site, architecture,



way of its own



in its



in



'Rokko



of existing



proceeds



on



this



therefrom,



very language'.



17



Tadao Ando. Rokko Housing I and



II.



1978-89, conceptual sketches and aerial view.



Although Rokko



II



and



III



are bigger, their general characteristics



are the same. The experience of designing



Ando



to



work out



fully



the problems he had set himself and to



perfect compositional approaches which his



Rokko enabled



more important work



of the late



1



were then



to inform



980s.



Further exploring the effects obtainable with grids, Ando's



experiments continued with the Festival Commercial Complex in



Naha (1980-84) and



the Jun Port Island Building (Kobe,



completed 1985). Introverted, closed



in



on themselves, these



They



buildings have a rigorously geometric order of their own.



assert their presence, undecorated and intransigent, amidst the chaotic urban noise, ignoring the particularities of the context and following the grids



method worked out



at



Rokko



(montage as the expression of formal



I.



as the synonym for order, reproducibility constructional precision),



is



in



made



possible by



by now a prime concern



in



Ando's



manipulating them



is



these projects, as moments of possible meaning



in



work and the expertise he has acquired manifest



The order given by



discipline, repetition



in



the formless, seething Japanese metropolis.



We can pass quickly over the Hyogo



in



is



demonstrating



are altogether



more



too mannered a building, which goes all



of Ando's standard tricks. His malls



because of the confrontations The two blocks of Time's in central



interesting



they seek with their setting.



Kyoto



(1



at



985-6). The complex, four restaurants connected by a



(1



shared service space, too far



'Old/New' restaurant complex



983-4 and 986) occupy 1



a narrow plot overlooking the



River Takase and contain three floors of shops with a small plaza



on the



river side.



They overlook the water with an elevation of rise straight up from the bank to a



superimposed walls which



curving metal roof, an apparently simple shell which stands



contrast to the jumbled panorama of the commercial



Despite



its



modesty and



small



size,



in



district.



the expanding



and



contracting interior spaces turn out to be surprisingly complex, whilst at the Collezione



complexity



is



Complex



taken so far that



it



in



Tokyo (1986-9) the



actually disorientates.



It



is laid



out on a uniform square grid which emerges here and there as



freestanding fragments of concrete frame. The layout



18



is



19



Tadao Ando. Hyogo Children s Museum. 1987-8. view showing pools.



determined by two rectangular blocks, shifted



in



response to



the diverging site boundaries and enclosing a large cylinder



which protrudes through an opening



the rather elegant



in



freestanding facade. The interior circulation starts from here and



same



penetrates inwards through spaces which are never the



One shop



twice.



leads to another



the most fortuitous and



in



unexpected way while cuts and views offer surprise glimpses of the outside. Collezione



very easily get lost and is



is



a vertical labyrinth



this,



one supposes,



work as



the habit of defining his



in



The



betrayal'.



complicatedness,



which one can



in



is



intentional;



Ando



'the architecture of



the



the



disorder,



unpredictability of this building leave the visitor feeling he has



been



in



something much bigger and



borrow an analogous term from hyperbaton. units



is



When



a



an effect achieved



this is



linguistics)



(to



by a technique called



continuum of undifferentiated grammatical



separated out by inserting other words, the flow of the



discourse



broken up.



is



One



part



comes



to



seem more its own



noticeable than another, taking space to expand



meaning and



particular



potential. This



technique of superimposing a grid (1



as



in



circle,



the characteristically elegant Iwasa



982-4) and the Kidosaki House



curves, convex



The uniformity that



of



in



Tokyo



the former and concave



in



the grid so that the space



than



seems



given



by its



the



is



Hyogo



the



latter,



interrupt



perfect



detail (other



construction



and



the



means that communicate and his



careful attention;



exchange (on



in



their



their time) the buildings begin to reveal



how



complete symbiosis with nature and



light.



intimately they live



Light



in



typological arrangements),



demand our in



in



House



982-6) where the



to expand.



Ando's architecture does not readily terms and



(1



appearance and absence of any



repetitiveness of



buildings



not unlike Ando's



is



or parts of circles, onto a



in



the protagonist of the



Koshino House (Hyogo,



1979-81), the Izutsu House (Osaka, 1981-2) the Iwasa and



Yoshida Houses (Osaka, 1986-8), the 1



988-90) and the Miyashita House (Kobe,



'In



the



game



of light



Ito 1



House (Tokyo,



989-92).



and shade,' writes Ernst Junger 'things



acquire spiritual existence as they are unveiled. They reach a



20



Extenor views of the Hyogo Children s



Museum.



21



TadaoAndo, Time's. 1983-6.



exterior view



and river elevation



higher sphere



which they never decay and which



in



inherent part of their



own



be immaterial yet, at the Ando's concrete reacts to



same



to



more imposing,' Thus



time,



light;



an



is



They seem



project for themselves.



illuminated,



reveals that



it



it



base materials of which it was shape it now no longer conceals its



exists, 'returning again' to the



made. The



toil



required to



mineral origin, which reveals the truth which



seems



come



to



to the surface. Light



things and at the



is in



same time



gives



them new meanings. The more it penetrates them, the more these things become weightless, pure and simple, and acquire the definitive characteristics attributed to them by the project.



When



they reach perfect attunement with luminosity, thus



one might say



bringing to reality their 'desire for disclosure' (as



De



paraphrasing



Bruyne), Ando's buildings encounter the form



they were destined to assume and conquer the essentialness to



which they aspire.



monotony.



If,



shows



it



that



reveals that



component



'in



whilst



also has a dynamic component',



easier to understand



Ando's



static



how



spatial continuities



motionless



their



as Hans Sedlmayer has written,



possesses a is



reinforces



Light



forms, in



together,



is



colours,



we may



the state of immobility,



come



light



in



find



it



it



which



unable to exist



without the consistent monochromatism of concrete. In



the Church of the Light at



Osaka (1987-9)



obliged to perform a symbolic function.



even



.



Si Ml



in



luminosity



is



those circumstances,



a context of rarefied abstraction,



contingent purposes; a giant cross of



1 r



if



In



light is



it



is



made use



of for



incised into the wall



I a



ii



behind the altar to articulate an otherwise hermetic space.



In his



houses Ando succeeds in using light without making such compromises; in this church, however, light is supposed to be an allegory for spirituality and therefore an expression of the function of a space of which



it



is



merely the decoration.



Koshino House, on the other hand, luminosity of the architecture



the spirituality of



all



itself,



it



is



In



the



a constituent part of the



a fundamental



component of



things, an expression of their 'desire to



disclose themselves'; not an add-on but the very essence of



how



materials and forms are perceived.



npromises, with no purpose



22



in



Light devoid of



mind nor meanings to



Tadao Ando. Collezione Commercial Complex. 1986-9. exterior view showing the entrance



between



elucidate, reveals the relationship



its



own



the geo-numeric claritas of Ando's architecture, isolated



works



in



is



no colour



us, colours are



which



in



own purpose.



its



It



and



those few



which the architecture manages to free



conditioning to pursue



there



in



clarity



and axonometric.



of



itself



not by chance that



is



Ando's spaces because as Goethe reminds



evidence



campaigns and sufferings



of, 'the



to



has been subjected', and could thus only disturb the



light



intimate quietness which this



Between the two wings



house seeks to achieve.



of the Koshino House, on the inner



surfaces and outside walls of



continuous alternation of



its



external court, there



and shadow emanating from



light



down



points of the compass. Like rain streaming walls of the



a



is



all



the shining



open parts of Ando's houses, or the wind which



blows across the terraces of the Miyashita House,



light is



both



an abstract image of nature and a figurative representation of the passage of time.



In



Ando's houses time



measured against



is



the endless activity of nature while nature transforms time



in



a



series of palpable manifestations. This mutual belonging can



only really be perceived seclusion and protection;



spaces designed



in



They are



derive from Ch'an-Zen



art.



outside niwa spaces



front of



and can only



sense



of



really



in



be explored



remoteness



close the perceived



in



indistinctly recalled in the



some rooms



in



Ando's houses



visually. Paradoxically,



it



is



the



these gardens which brings intimately



phenomena



most extreme abstraction and



of



Zen



tradition, implying the



requiring that



their essentialness. This abstraction



become aware



perfection and to



to offer total



enclosed gardens whose prototypes



we pay attention



enables us to participate



of nature; time



makes



to in



itself



manifest as the source of knowing, symbol of the sentiments.



Mircea Eliade reminds us that the whole body must participate in this



vision of perfection



or,



as



Ando would



Every resource must be mobilized,



respond



in



unison,



comprehension of



we know how



to



call



reality is



it,



shintai.



and senses must



and grasp that instant



in



which



a



spontaneously offered, provided



be aware of the instant



'projecting us into



the tea



intellect



in



which time stops,



nunc stans, the eternal present'. The



ceremony or chanoyuwere



laid



down



in



rules of



the fifteenth



23



TadaoAndo. Koshino House, 1979-81, interior view,



conceptual sketch and



view from the garden



century as the highest expression of Zen. Chanoyu



carried



is



out within the restricted and essential space of the Sukiya,



which connects to the garden



an alternative route leading across a



roji,



room) to the tea room



linking the yoritsuki (waiting



the chahitsu. Nothing must interfere with the



carried out



ritual



these places of absolute privacy. Nothing must get direct perception of a meticulously



itself,



in



the



in



way of



designed nature offered to



the senses. There must be no detail of architecture which could



take anything



away from



it



and no work of



the state of pure abstraction



experienced. Nothing,



in fact,



in



which



phenomenon



of



life itself,



the highest art form of



can only be



shintai



could be good enough for the



'manifestation' which takes place here



the



art to interfere with



because



expressing



its



this is



own



simply



existence as



The forms which are taken on by life in any way but are designed



all.



are not empirically determined



according to a metaphysical tradition: on the one hand the



search for conformity to a divine order and on the other, the intention to facilitate



in



each



individual,



according to his or her



nature, the achievement of an approximate perfection to be realized In



in



the whole of the being'. (Ananda



such places, according to Chuang-Tzu,



K Coomaraswamy)



'the



quiet and at rest, reflects the universe and



ceases



mind of the sage,



all



Creation'. Time



The intimate coexistence of nature and time, does not protect the shintai from pain and any more than could the paper walls of the Sukiya, but



to pass.



directly experienced,



suffering



does



offer shelter from anguish



away from world



is



the world as



close



by,



it



is



and anxiety



in



a place as far



possible to be, even though the



separated only by an interval whose



suspended time ignores the anxieties the world has nothing



it



could



of the world



offer,



if



and



not the



in



which



power



of



abstraction which shintai brings about.



A



trace of this tradition



is



discernible



in



Ando's designs



for



more serious house designs the tradition reverberates as an awareness of the intimacy between light and nature, as something that happened far away, a long time ago, a faded sense which renews itself in the monotony of his spaces but which offers no consolation in what they evoke, lonely gardens.



24



In



his



25



Tadao Ando.



Ito



House. 1988-90.



exterior view.



recounting only something that has been lost and forgotten.



But these are only fleeting



moments - as we were



he hurries undecided from one siren



opus which seems must be difficult



call



be intensifying



to



for



Ando



As



an alarming speed,



at



resist



to



saying.



to another, through an



temptation.



it



How



complicated to not just exhibit one's personal anguish but to take the responsibility for making something which might also



console others! considering his frenetic production of the late 1980s one must therefore take note of oscillations which are not always purposeful. This shows clearly when we compare two buildings which have the same programme: the Church on Mount Rokko near Kobe and a second Church at Tomamu. The Mount Rokko Chapel (1 985-6) has all the characteristics typical of Ando's most successful projects. It is composed of three parts, clearly identified: a courtyard isolating the garden from nature, the church itself, and a long understated colonnade leading to the entrance. These parts are brought together in the simplest way In



imaginable, without clever superimpositions or intermixings, as



geometric signs.



a collage of pure frugality



is



exercised



in



excess



All



making



the



is



spurned, and



composition.



The



nonchalance of the plan contrasts with the sophistication of the



The church is lit by slits where the perimeter meet each other and where the roof sits on the end wall; the concrete surfaces are animated with shafts of light and shadow, giving a richness of effect one would not have interior daylighting.



walls



imagined possible when looking exterior.



These shafts



the connections between



window, divided 'green



light'



into four



Water and



is



at



in



geometric



its



sides and top while a giant



by heavy concrete frames, permits



from the courtyard to add an extra 'unexpected



dimension' to this



Located



at the rigorously



of light articulate the box, cutting through



little



boite a miracles.



a recently-opened holiday resort, the



Tomamu



delimited to



(1



985-8)



rises from a vast



one side by a long



wall



Church on the



expanse of water



which obstructs a free



view of the landscape. The completely open and empty facade of a low building standing at the water's



26



edge



is



framed by a



Tadao Ando. Miyashita House. 1989-92.



vews of the courtyard.



27



Tadao Ando. Japanese Seville,



Pavilion.



Expo



92.



view of the entrance.



freestanding open structure which extends further beyond; a



mechanically operated window



this



in



opening



is



held up by a



very large frame which takes the form of a cross. The church



approached by a tortuous route from the back, leading



is



to a



strange glazed cage with no roof. Behind these sheets of glass



made



are four uncompromising-looking crucifixes



out of



concrete. Another crucifix, of steel, stands further away, water.



Compared



the church the access route just a



in



the



with the carefully-considered arrangement of



not so



is



much



a



rite



of



passage as



convoluted path, and the heavy symbolism which the



various crucifixes are supposed to



merely sepulchral, and



Ando's project



far



Japanese



for the



embody make



this building



too ingratiating.



Expo



Pavilion at the Seville



(1992) received wide acclaim at the time and certainly,



compared with the dreary architectural histrionics on show elsewhere at the Expo this was hardly surprising. Unfortunately, as at the Church on the Water, Ando once again fell into the trap of trying to create a deliberate effect using easily-



rather than designing with true



assimilated suggestions, integrity.



Adopting materials of obviously



he showed off straight for



vulgarity



'traditional'



his usual constructional brilliance



monumental



effect,



which seems to



character



and went



shamelessly succumbing to the



typify



all



such occasions, playing to



please the crowd by whipping up nostalgia



in



a scenario which



could only be described as 'techno-idiocy'. Clowning for the



amusement



of



architectural



his



public,



juggling



with



signs



fished



straight



out



most



the of



facile



'history'



his



centrepiece, placed under the central opening of the Pavilion,



was



a far too obviously 'evocative' timber structure,



evoke the to a



details of real



supposedly popular



taste, for



is



the



same Ando who



at



it



is



other times,



hard to imagine in



other places,



has such a sophisticated dialogue with the genuine



Ando's naivety



at Seville



considers that at the



Temple



28



at



to



whatever reason, seem so



self-consciously 'exotic' and 'primitive' that that this



meant



Japanese temples. These concessions



is



same time he was



Hyogo, one of



his



tradition.



even more perplexing when one building the



most poetic and



original



Water works.



TadaoAndo. Water Temple. 1989-90. plan



and view of the



lotus



site



pond



29



Tadao Ando. Church on the Water. I



985-8, view of the lake and site plan.



This temple stands



in hilly



country where the valleys have been



re-made many times as basins for collecting rainwater. at



the top of one of these



one passes on the way



hills,



up.



It



beyond a



traditional



approached by



is



It



stands



temple that



a path which



climbs through lush greenery, suddenly coming out into an open area of white gravel which stops against the backdrop of a long, low, is



concrete wall which stands out sharply against the sky and



pierced by a single opening. This, once again,



abstracted and subtle allusion to the traditional



is



possibly an



torii.



Walking



through this opening one enters a narrow space where another curving wall leads away. Following the curve, the visitor's feet



crunch on the white gravel. At the end of steps which leads to the shrine.



dives



It



across the middle of an oval pool



full



this



curve



down



is



a flight of



into the



ground,



of water descending as



it



goes and passing almost unnoticed below the surface of the water. The visitor, descending, looks straight across the pool through the floating lotus-blossoms before losing sight of off hills



and lakes which seem to murmur to the temple



language only they know. The



down



light,



farin



a



blindingly white, reflects off



becomes shady and, in the vermilion shrine, there is complete darkness. By using the most restrained gestures and signs Ando evokes the gravel; coming



the steps



emotions and impressions,



it



gradually



inciting the



senses and the mind to



its purity. The finest modern architecture only manifest themselves



resist a seduction that disconcerts with qualities of



when made



30



the architect stays true to the request Hamlet's mother to Polonius:



'More matter, with less



art'.



Buildings and Projects



List of



Works



Osaka



Ueda House and Extension 128-131



Station Area Reconstruction



Project



34-35



Fuku House 132-133



Tomishima House 36-37



Rokko Housing



Hiraoka House 38-39



Tatsumi House 40—41 Shibata



Koshino House and Extension



House 42-43



144-151



44-45



Port Island Project



134-141



I



Rm's Gallery 142-143



Sun Place 152-153



Soseikan-Yamaguchl House and



Atelier



Extension 46-53



in



Oyodo



154-155



I



Nakanoshima Project - Osaka I



Twin Wall Project 54-55



City Hall



Azuma House 56-61 Hirabayashi



Festival



House 62-65



Kojima Housing 164-167



Tezukayama Tower Plaza 72-73



Bigi Atelier



Rose Garden 74-77



Akabane House 176-179



Manabe House 78-81



Umemiya House 180-183 Fukuhara Clinic 184-185 Izutsu



House 186-189



Project 86-91



Doll's



House



Kitano Alley 92-95 Art Gallery



Festival



Complex 96-97



House 102-109



Okusu House 110-111 Horiuchi



House 112-117



Matsumoto House 118-119 Onishi



32



House 120-121



Project



190



191



Iwasa House 192-195



Melrose 196-197



Step 98-101 Ishihara



172-175



84-85



Project



Matsumoto House



Japan



House 168-171



Ishii



Koto Alley Project 82-83



unless otherwise stated.



158-163



Bansho House and Extension 66-71



Okamoto Housing



All buildings located in



156-157



—



Kidosaki



House



1



98-203



Kaneko House 204-205 Ogura House 206-209 Time's Time's



I



II



210-213 214-217



Kitano Ivy Court 122-123



Jun Port



Matsutani House and Extension



Yoshielnaba Atelier 222-225



124-127



Island Building



218-221



1



Nakayama House 226-229



Mon



Petit



Chou 230-231



Church of the



Hata House 232-235



Children's



Sasaki House 236-237



Guest House



for Hattori



House



238-239 Taiyo



Mount Rokko Banqueting Project 317



Natsukawa Memorial



Building



Hall



328-331



332-333



I



Gallery Project



- Space Strata



II



The Modern Art Museum and



400-401



Osaka 402-405



YKK Seminar House 406-407 Children's



House 340-343



Ito



Old/New Restaurant 252-255



Naoshima Contemporary Art Museum 344-349



Shibuya Project 258-259



Noguchi House 260-261



Garden of Fine



Museum Ishiko



Kitayama Apartment Block 268-269 Vitra



of Literature



Rokko Housing



II



352-355



House 356-357



Japanese Screens. 362-363



Island



364-365



Oyamazaki Museum 414—415



Konan University Student Centre



416-417



Sayoh Housing 366-369



Theatre on the Water 288-289



Minolta Seminar Building 370-371



GalleriaAkka 190-293



Otemae Art Center 372-373



Church



in



374-377



Collezione 296-301



Rockfield Factory



378-379



Kaguraoka Apartment Block 302-303



Japanese



Atelier



in



Oyodo



Expo 92.



Seville



Morozoff Studio 304-305



Rokko Housing



III



434-435



Benetton Research Centre



Installation for



'Tadao



Architectural Exhibition



Ando



Works'



440-441



Water Temple 384-387 Forest of



Raika Headquarters



Wood 428-431



436-439



380-383 Yoshida House 306-309



of



Noda 432-433



Fabrica'.



Pavilion,



Tarumi 420-421



Museum 422—423



Museum Gallery



II



294-295



Hall Project



418^*19



Lee House 424-427



Church on the Water 282-287



Bigi 3rd



412-413



Suntory



Rokko



Kyoto 410-41



Kyoto Station Reconstruction Project



Art Institute of Chicago



278-281



Arts.



Nara Convention



Seminar House 358-361



Gallery for I



Expo 90. Osaka



270-273



House 274-277



Seminar House 408^109



Garden of Fine



350-351



Oyodo Tea Houses 262-267



Kara-za Mobile Theatre



Arts,



Museum. Stockholm,



Architecture



338-339



Church on Mount Rokko 246-251



Tanaka Atelier 256-257



Photography



Chikatsu-Asuka Historical Museum,



Nakanoshima Project



and Urban Egg 334-337



242-245



for



College of Nursing 396-399



Project



240-241



TS



318-321



Light



Temporary Theatre



394-395



Museum 322-327



Izu Project



Cement Headquarters



Hall



Tombs Museum 388-391



310-315 Miyashita



House 392-393



Shinto Shrine Project 316



33



;



Osaka Station Area Reconstruction Project



This design



is



a two-part proposal for



the redevelopment of the area of



Osaka



front



in



Station, following a request



Osaka



A dense



The



first



Conceptual sketches



part of the proposal



incorporate



suggests covering the top of the existing buildings with greenery



and



in



effect, elevating



the various rooftops would be



ground



forest of towering buildings, both



connected by escalators. This would



economic



homogeneous and



effectively create an undulating



by the



city of



the area



is



a



in



1



969.



highly efficient,



symbol of Japan's rapid



economic growth. The project



is



an



attempt to reintroduce nature into this



space and enable people to enjoy



an environment that affords them spiritual richness,



crowded



even



city.



in



a large over-



landscape



the middle of the



in



The second



part



would be to connect



the rooftops of the group of buildings with slabs of



artificial



ground to create



a verdant public garden plaza.



*



is



governed by



These ideas were developed twenty years



later



in



the proposal



for the design competition of



Station



in



1990.



Besides



Design 1969



/



which



facilities;



people from the



and given more concrete shape



Location



!



museums,



principles.



the extended rooftop area would



I



34



level



the introduction of these gardens,



I i



air.



libraries, art



theatres and other public



Osaka



Kyoto



.



r — n



!***•



i



.



35



Floor plans, longitudinal section



Tomishima House



and



axonometnc.



This project after in



1



lJ



was Tadao Ando's first his own design office



opening



969. The site



is in



Osaka, a narrow 47 square metres



end of a



of land adjoining the



line



of



wooden row houses erected before the war. The building was created as a house for the family of a friend of the architect. Walled



in



along



its



periphery to create an inner sanctuary



undisturbed by the noise of the surroundings, the sunlight penetrates the interior of this three-storey void



through a skylight.



The apertures the



minimum



into this



and



ventilation;



quality of light that quantity.



The



house are



required for illumination,



direct sunlight



it



is



the



explored, not the



is



interior



space interacts



with the outside solely through the light



which enters from a skylight



and illuminates each



level of the



house by means of the central atrium. This direct



light



softens as



it



descends



through the staggered floor levels -



accommodating bedroom, living room and dining room - giving a natural rhythm to



life



within the sanctuary



of the building's blank enclosing walls.



Location Osaka



Design 1972 Construction 1972-3 Structure Reinforced concrete Site area 55.2 nr Building area



36 2 m-



Total floor area 72.4



36



m



2



fin



-3



o o



J



the centre of



\



View showing the building the entrance



in its city



context,



and mtenor view.



37



Hiraoka House



The



site



is



located



in



residential tract that



Floor plans and axonometnc.



a



stepped



has been carved



from a mountainside - a way of dealing with the rapid advance of urban sprawl in



One of a



Japan.



lots,



it



is



series of subdivided



surrounded by prefabricated



houses whose



superficial diversity



create, conversely, a landscape of



barren monotony. Within this environment of restrictive



order and monotony, the



architect has introduced an 'alcove'



of



space



at the building's juncture with



From here one proceeds,



the road.



through a to the



rich



sequence of changes,



house which contains an



space of an character.



entirely



interior



unexpected



By enclosing a wooden



box within a simple box of concrete, a highly varied space has been



produced, a part of which projects out towards the



city.



Location Takarazuka



Design 1972-3 Construction 1973—4 Structure Reinforced concrete Site area



238 m-



Building area 58 mTotal floor area 87 9



38



m



View showing protruding volume of the dining



room and genera! view of the building



I



39



1



I



Axonometnc and



Tatsumi House



This building



is



floor plans



n



sited within a chaotic



[



concentration of residences, shops



and



A complex building,



factories.



accommodates ground



a coffee



i



ir



Du



first



and a private residence on the second.



The



|



^



^



shop on the



boutique on the



floor, a



]



it



packed - much like a



internal functions are



within concrete walls



condensed version of the chaotic



A void passes



surroundings. all



through



three floors, however, imparting



unity to the interior.



The



narrows as



expresses the



drama



rises,



it



void,



which |-i



=



|—In



of a vertically-oriented space,



reaching upwards to the sky for



4



Location Osaka



Design 1972-3 Construction



1



light.



,



973—4



W-



Uf-



Structure Reinforced concrete Site area 61 7



Building area



m



56



1



m



2



Total floor area 135.5



m



!



-hn



—^



OOOO



nj



t±j



J



CD



U



I—i—



i



_BH:I -Dh "~



40



^A.....



^Ur



i



i



i



i



Views showing the street elevation and interior,



and side and street elevations



:



=



41



Exploded axonomethc and floor plans.



Shibata House



The intimate



living



environment of



this prestigious residential district



has gradually deteriorated under the



advance of urban sprawl, bringing gridiron road patterns



and



prefabri-



cated houses of various colours. Walls



have therefore been used to insulate this



residence from



and to create a



The



building



surroundings



its



rich interior is



space.



composed



of a



rectangular and a cylindrical volume.



The functions contained



in



for daily



life



are



the rectangular form,



while the cylinder houses a multi-



purpose



hall



to



accommodate



domestic functions



the



that, while



important, are not strictly practical. It



has a single symbolic



pillar



and



light



flows around the thick circular wall creating a reflective interior space.



Location Ashiya



Design 1972-3 Construction 1973-4 Structure Reinforced concrete Site area



1



86.9



m



:



Building area 73.8 mTotal floor area 144.6rrr



42



View showing the two compositional volumes, and intenor views of the building.



43



Conceptual sketches-



Port Island Project



This project



was



a study



in



the



landscaping of Port Island, a man-



made



island located off the harbour



of Kobe.



The aim was



20-metre-high island



hills



to create four



at the centre of the



and a stream which would flow



between them. The



project



would



therefore reclaim and recreate



features of the natural landscape in



an



artificial



Location



Kobe



Design 1973



44



environment.



45



Soseikan-Yamaguchi House and Extension



Floor plans, longitudinal section and



axonometric



Located on what was once a verdant



now developed



hill,



this



housing



lots,



two



for



two blocks,



similar



shape and each possessing a



highly



brothers. There are in



into



house was designed



enclosed space. By staggering them



and connecting them with a deck, an independent exterior space was created between the blocks. Inside, the intention



off the



was



to close



south side with a wall and to



create a space that



made



full



use of



the various visual effects of a wall. light that



toplight



passes through a three-storey



space and illuminates each



floor.



joins the light from a clerestory



the ground-floor is



The



penetrates the vault-shaped



living



This



on



room and



transformed from a strong,



direct light into a softer light.



Six years after the completion of the



house, the addition of a tea house was requested. building,



In



contrast to the existing



which



a strongly assertive,



is



concrete mass, the tea house has a simple exterior



composed



of



smoothly-finished concrete walls.



A traditional but the aim



style



was



was



not employed,



to revive the true



character of tea houses through the three-dimensional composition of



spaces, details and distribution of



light



and darkness.



The walls surrounding the tea room form an approach and also serve to limit



the



One



enters through a large steel door



and



is



light



entering the



interior.



confronted by a concrete



behind which



is



a



wall,



window of frosted



glass. The faint light introduced by the window illuminates the floor while a



deep darkness gathers



46



in



the ceiling.



View and drawing of the principal elevation



47



Conceptual sketches of the tea house.



Location Takarazuka



Design 1974-5 Construction 1975 Structure Reinforced concrete Site area 523.6 m-



Building area 97,5 m-



161.9m



Total floor area



2



Extension Design 1981-2 Construction 1982 Structure Reinforced concrete Building area



1



7bfa/ floor area



48



5.5 nr 1



2.8 nv



View and plan of the mam tea



building with the



house extension



3^~ QC



-== -J



oo



1



oo Oo :



_



:



P 49



Axonomethc and plan, and interior views of the tea house.



n



50



51



Interior



views and conceptual sketches of



the tea house.



'



Tiv„. A;3-lf,-.i-r«•$'



200



tf.t*-*



Perspective of the entrance, view from the intenorand view of the garden.



201



Axonometnc and interior views



202



203



Oblique view of the entrance and



Kaneko House



axonometnc.



This building



a quiet residential



is in



neighbourhood - a rare phenomenon in



the centre of the



necessary to ture



on a



city.



build a



limited site,



achieved by



and



linking the



by a corridor but by



a



struc-



was



rooms, not



levels,



at half-storey intervals



top-lit stairway.



opening



this



stairs.



The house has four connected



was



It



compact



by



You pass through an



the freestanding wall facing



in



the street, and the entrance



is



a half-



storey above the street. You climb a stairway to reach the living room.



A



half-storey



above



the dining



is



room and



a half-storey



children's



room. Another half-storey



below the



children's



below



room



is



is



the



the main



bedroom. This house has two courtyards, the larger one on the



south side



is



a brightly



lit,



open space,



surrounded by a wall independent of the building. The small courtyard on the north side with



more



a very enclosed



is



limited light.



space



The four rooms



on separate levels overlook the large courtyard.



The



entire composition



was planned so courtyards



The space



is



that



visible



one



of the



of the small courtyard,



which serves as a



lightwell,



up the stairway to the



roof.



Location Tokyo



Design 1982-3 Construction 1983 Structure Reinforced concrete Site area



172.9m



:



Building area 93.6 Total floor area



204



two



from every room.



1



m



;



69 m-



continues



Detailed view of the skylight from the



and



stairs,



floor plans.



-



=^^ h



2



:.



1



V^W



*-



f



-



\



^ 'llli



mini c^fTTlTr



1



1



205



Conceptual sketch and view of the building



Ogura House



This house



is



from the street



a three-storey



rectangular volume horizontally divided into three equal parts



- two of



these, at the north end. are devoted entirely to the exterior site.



space of the



The rooms are able



towards yet each



space



beam



open out



to



their natural surroundings,



room



in its



that



relates to the exterior



own unique way. The



spans the opening



east wall frames the nearby



in



hill,



the



and



cuts across the sky visible over the building's exterior void, thus inviting



the green landscape and blue sky into the building.



Location Nagoya



Design 1983-7 Construction 1987-8 Structure Reinforced concrete Site area



214 9 m-



Buildmgarea 106.6 Total floor area



206



1



m



?



89.4 nr



Floor plans, axonometnc and view of the terrace.



c



o



207



Detail view of the terrace, section



garden elevation.



208



and



View of the terrace and perspective of the interior



209



Time's



View showing the



I



building



context and on the



Located next to the Sanjo-Kobashi Bridge on the Takase River, a historically illustrious river



weaving



through the heart of Kyoto, this building



was intended



to focus



attention on the river's history by relating the architecture to



putting people



water



it



in



at the



same



it.



By



touch with the



would give the



new while its



back



city



something



time protecting



scenery. Connecting the building



directly to the public street



above and



the river below produced a



complex



space.



As



a result,



city,



nature and



building -



each autonomous and yet existing harmoniously - come together in



complete



river's



equilibrium.



Views of the



current orchestrate the



building's interior spaces,



a dialogue between



and



man and water



can be revived.



Location Kyoto



Design 1983 Construction 1983-4 Structure Reinforced concrete Site area 351.3



rrr



Buildingarea 289.9 mTotal floor area 641.2 nr



210



river,



in its



urban



and site plan.



211



View showing



212



river bank



and elevation.



2



View showing the steps



to the river



and section.



2'



Aerial view



Time's



site plan



This



is



an extension to the Time's



building



completed



in



1



984.



the relationship binding



was examined,



building



emphasized the and



river.



The



spaces. Time's



Time's



and



while the interrelation



building's



surroundings were evoked interior



In



city, site



building



of people



II



in its



explores this



concept further and endeavours to extend the plaza along the



river. Its



plazas connect with those



in



though set



Time's



at different levels,



and



I,



its



vantage points are scattered more variously throughout the building.



The



result, in



projects, is



is



these combined



a path of



dramatically



movement



Location Kyoto



Design 1986-90 Construction 1990-91 Structure Reinforced concrete Site area 485.8



that



more complex and



circuitous.



m



2



Building area 107.9 mTotal floor area 274.2 nr



214



showing both



buildings.



II



I,



and conceptual sketch.



I



and



II.



215



View of the extension and plans.



216



Detailed views of the river elevation and the roof,



and conceptual sketch.



^ CV^o 217



Floor plans, aerial view and section.



Jun Port Island Building



This building



on Port



is



Island, a



man-



made island jutting out from the includes of Kobe into the sea. It



i



1



:i ,



a



-



and storage.



A



t



i



reception space, a multi-purpose hall



i



port



four-storey, medium-rise block



and a low-rise block that stretches north-south along one of the longer sides of the



form an L



site,



take up half the



The lawn



half to a lawn.



bulges upwards



in



plan



and



leaving the other



site,



is



not



flat



^



but



F



the middle to form



in



was



a hillock. The intention



to create



a distinctive interior landscape that



1 I



rt



^^^



was not simply open to the outside but was open yet closed. The compositional elements building consist of a grid



of the



based on a



square 6.4 metres to a side and a screen of frosted glass that absorbs



The



infrared rays.



grid



on the homogeneous



bestows order land; walls



enclose places, and openings carefully



frame the exterior landscape.



There the



first



is



extensive office space on



floor



levels. Stairs



which



itself is



and decks



on three



link



the levels



three-dimensionally At the end of the low-rise block there



is



an enclosed



garden, separated from the hillock by a single wall. This



is



partly linked to the



outside by an opening, but from inside the building you can only see the



expanse of green and the exposed concrete



wall,



L-



which establish a



'



_



"



L



' .



restrained atmosphere.



\:



o Location



Kobe



Design 1983^1 D



Construction 1984-5 Structure Reinforced concrete Site area 6.238.9 m-



D.



Building area 2,114.3mTotal floor area 5.361.2



218



m



2



1L,



V



.



_:



-



—



-



-



.



i



:".



Oblique view of the low-rise block,



axonometric and the offices.



220



interior



view showing



221



Floor plans, view of the entrance and



Yoshie Inaba Atelier



section.



This atelier for a fashion designer in



on



relatively large lots,



square metres



numerous stone



around 650 punctuated by



size,



in



is



where houses are



a neighbourhood



walls and trees.



Care



had to be taken not to destroy the quiet surroundings, so the building



was



given a simple exterior form and



volume was buried



half the building



underground



in



basement. Three-



a



and four-storey exterior spaces are the key features In



in



the design.



front of the atelier



is



a frosted



glass screen open at the bottom. This creates a sense of greater



depth



in



the building and eases the



relationship street.



between



and



building



Passing by the service core



mill in



an open corner of the front courtyard,



you come



to a four-storey space.



A wide stairway leads to the second basement



floor,



and a



11



A



-30



I



[



parallel,



narrower stairway leads upwards. At the top



is



access to the service



core and a deck area. From the deck



over the front court-



built



yard, a stairway leads to the terrace



on the



roof.



The frosted glass screen on the outside of the L-shaped public space



dramatizes the interior of the building. It



selectively introduces natural light



and creates contrasts of



shadow, cuts



off the



light



and



western sun and



shows just the shadows



of



moving



branches of the trees outside. Location Tokyo



Design 1983^t Constnjction 1984-5 Structure Reinforced concrete Site area



374



Building area



m 1



Total floor area



222



;



8



1



9



m



-



756 2 m-



I



!



r-



-J H



223



Interior views,



circulation



axonometnc showing



spaces and oblique view of



the glass screen



224



222



View of the courtyard and aerial view, and



Nakayama House



conceptual sketches.



The Nakayama House



a



is in



under development



residential area



on the border of Nara and Kyoto prefectures. Placed is



in this



landscape



a concrete rectangular prism, with a



7x19



plan



metres and a height of two



storeys.



The



along



length, with



its



building



is



divided



one



in



two



given



half



over to a courtyard and the other to the



living



living



spaces. The dining room and



room are on the



on the second



and



first floor;



floor are the



bedroom,



a Japanese style room, and a terrace



which takes up terrace



is



half the floor area. This



linked by an



open stairway



with the first-floor courtyard and



is



part



of a three-dimensional outdoor space.



You enter the house along a narrow



passageway squeezed between the building line.



and a



wall along the property



The outdoor landscape



completely shut out.



was



deliberately



composition



in



is



A single material



chosen



for the



whole



order to purify the



character of the space. Each



room



opens out on the courtyard and faces the wall opposite, so becoming a part of the courtyard.



Location Nara



Design 1983^1 Construction 1984-5 Structure Reinforced concrete Site area 263.3 mBuilding area 69.1 m' Total floor area



226



1



03 7 .



m



2



.



6t-**~



r



.H A



0*



r :"'



A, V



^ r



""^



:



im-jr



j



-"



e



|



'



•



.



-



It* U 3



,



>//



'



*v



1



^^—



rz~~



227



View of exterior stairs and floor plans.



P t



228



in



mill



m



;



':=':="



e-'r-:-



.



?-•.



::j



Mon



Exterior



Chou



Petit



and mtenor views, plans and



axonometric.



shop



This cafe and cake



is in



a quiet



residential district of northern Kyoto. It



is



two-storeyed but half-buried



in



the ground to harmonize with the low



houses overall



in



the neighbourhood.



The



composition consists of a long,



narrow box measuring 7x21 metres



and topped by a vault with a cross section of one-sixth of a circle, and a



curved wall a quarter of a



circle in plan



introduced into the box. The circle



appears both lending



The



plan and section,



in



movement



to the space.



vault suggests a horizontal, axial



movement



that



is



met by



a curved wall



which redirects the movement along its



surface to the outside. The plan



is



simple, but the introduction of a two-



storey space adds dynamism.



ground



a take-away space,



and



in



The basement



a multi-storey



and



a



dining area



space and



is



open



is



a sloping area of greenery.



the open sky this area



the



the



basement are more tables and kitchen.



On



floor are an area for tables



In



is



to



place of



enhanced by



a toplight along the curved wall, light



from the courtyard, and the greenery. Location Kyoto



Design 1983-4 Construction 1984-5 Structure Reinforced concrete Site area 516.8 Building area



1



Total floor area



230



m



!



80.4



m



!



322 9 nv



'



¥.:*



I



Aenal view of the



Hata House



sketch,



the terrace.



This three-storey house stands on a suburban hillside with a stream



flowing nearby and with a forest



as backdrop.



compositional



Its



arrangement draws from the



Japanese gardening technique shakkei. 'borrowed scenery'.



Conceived as having two outlooks, part of the



closed.



house



open and the other



is



The open



part of the



house



faces south towards the forest, and



has an outdoor stepped terrace; and



on the



first



floor



is



the had, a multi-



storey space, a dining room and a tatami room.



The green



hillside



beyond the terrace can be seen from the dining room.



On



the ground



bedroom is



facing a



floor,



there



sunken



is



a



court. This



the closed aspect of the house,



where the landscape allow a



nature



and



is



shut out to



more intense experience in



rain.



Location Nishmomiya



Design 1983^1 Construction 1984 Structure Reinforced concrete Site area 441 .5 m* Building area



118.7m



Total Floor area 207.2



232



of



the guise of sunlight, wind



2



m



!



building,



conceptual



axonometnc and detailed view of



233



Principal elevation, section



and view onto



the terrace.



D



234



Floor plans, oblique view of the building



and view showing the glazed wall of the dining



room



x i



zr



ncno C



ZC



zr



'



i



-J



^i _



,



1



f^^JL



235



Detail of the facade



Sasaki House



This house



corner of a



at the



is



Y-shaped intersection



income



and floor plans.



in



an



old. upper-



residential district of Tokyo.



To maintain privacy and to keep out noise, a curved wall of concrete block



has been



The



12x12



along the street.



built



plan



composed



is



of a square,



metres, and a quadrant of



a circle with a radius of nine metres.



These two parts are staggered. The curved wall extends along the property line



and draws There



street. in



from the



visitors in



a two-storey entrance



is



the space between the square and



the curved wall. Light



is



introduced by a



the top of the curved wall.



room,



living



slit



along



The



dining



room and main bedroom



are on the ground floor facing the



garden to the south. are a



bedroom



and the



hall in



in



On



the



first



floor



the quadrant portion



the square portion.



A



diagonal wall that corresponds to the



north-south axis divides the



hall



and



the terrace. The interior and exterior,



separated by the 45 degree very different



living



wall,



are



spaces and form



the nucleus of the house.



Location Tokyo



Design 1984-5 Construction 1985-6 Structure Reinforced concrete Site area 382.1 Building area



rrr



227'.1



Total floor area



373



m .



1



2



nv



rM Jlllllll.



11



I



'



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Liu



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236



n



—



i



View onto the



terrace,



view of the curved



wall and axonometric



237



Longitudinal section, floor plans



Guest House for Hattori House



the entrance



This guest house, an extension



built



wooden house, was communal space by



next to an existing to



be used as a



neighbours. The plan



is



a rectangle



3.3 metres wide and 28 metres long,



and approximately two-thirds of area



is



this



given over to outdoor space.



The compositional elements consist of a guest room, the long



approach



room and a



The



to that



long wall.



approach serves as a buffer zone



between the new and older



buildings.



The entrance and parking space are on the ground



floor.



You approach by



way of stepping-stones - which



also



lead to the entrance to the



house -



and go along the long



ascend



wall,



steps, and after crossing an



1



1



-metre



long deck, arrive at the guest room.



This in its is



is



a square. 3



metres to a



side,



transverse section. The room



located at about mezzanine level



relative to the



way of looking



house and offers a new at the



by



now



familiar



house and garden. Location Osaka



Design 1984-5 Construction 1985 Structure Reinforced concrete Building area 32.3



m



Total floor area 68.3 m-



'



o



238



walkway



and view of



239



Taiyo



Cement Headquarters



Axonometnc, views showing the entrance walkway and interior of the building, and floor plans.



Amidst the complex cityscape of Osaka, the concrete-block



wall



has



created an architectural domain that



enables a building to cut



itself off



from



the outside world.



building



new



forms of



spatial



In this



expression were



explored, and the durability, use and



composition of concrete blocks were also analysed. In



wet concrete-block construction,



mm thick;



10



joints are usually



here



the construction method, using the



blocks as forms,



is



dry and the joints



mm thick. The blocks measure 97 mm x 397 mm x 240 mm, and the design module is 200 mm x 400 mm. are 3 1



Every part of the building sioned according to



Working



this



dimen-



is



module.



within such structural



constraints, the intention



was



to



construct a large, framed space with a simple expression. Office spaces, separated into different



zones



for different



departments, are on the ground and first floors,



and a conference room



that can also serve as a multi-purpose hall,



with a 3.6 metre ceiling height,



The



is



on the second



is



centred around a three-storey



floor.



building



outdoor space that extends from the street to the far end of the building;



floors



is



all



circulation



contiguous to



between this



space.



Location Osaka



Design 1984-5 Construction 1985-6 Structure Reinforced concrete Site area 1.069.3 Building area



m



!



300 6



m



Total floor area 742.6



240



2



m



2



—



1



.



_



L



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1



_



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\



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J IF 3



.



j



—



—



—



—



s - s ='



:-•



TS



The



Axonometnc and section.



Building



site is



near Nakanoshima, the



central district of



street



is



beyond



a park that



Osaka. Across the



full



of greenery



Dojima



is



for the Tenjin-matsurf



three major



The



Japanese



one



,



festivals.



windows on the south River, are



full



stage



of the



building has six floors.



Dojima



and



River, the



The



side, facing



height and



pivoted to provide a complete



opening, so that one



is



able to view



the Tenjin-matsuri' from inside the building.



The ground



a furniture



level



showroom



used as



is



visible



from the



street across the central multi-storey



space. Offices are on the



and



third floors



first,



second



and are arranged



around the multi-storey space which has a



ceiling of glass blocks.



The guest house on the fifth



floors



is



fourth and



divided into two zones



separated by the central



lightwell.



A bedroom and



room occupy



a tatami



the two zones on the fourth



on the



fifth



floor a lobby



is



floor,



from the bedroom and kitchen. Location Osaka



Design 1984-5 Construction 1985-6 Structure Reinforced concrete Site area 160.7



m



Building area 158.1 nV Total floor area



242



665



m



2



while



separated



View from the



street, ground-level



showroom and floor plans



—_ L=e



-—^ -



-



-



j



•-



243



Interior



244



_



views and conceptual sketch.



245



Church on Mount Rokko



On



Mount Rokko.



a verdant slope of



this small



church enjoys sweeping



ocean views. The and



bell



building has a chapel



tower, a covered colonnade



and a freestanding



wall,



which



partially



encloses the landscape.



While the chapel



is



a concrete



mass, the long colonnade



is



a glazed



promenade. At the end of the colonnade, the visitor is led from a light-infused



space



into the sharply



contrasting dark chapel.



The



altar is



ahead and. to the left, a large window - divided by a cross-shaped straight



post and cruciform



beam which cast a distinct shadow on the floor- looks



out onto the mountainside.



Location Kobe



Design 1985 Construction 1985-6 Structure Reinforced concrete Site area 7.933.3



m



2



Building area 220.3 mTotal floor area 220.3 nr



246



View of the bell tower.



roof, site plan



and view showing



:-~



Construction drawing and view of the church.



——



~



248



L.



— "--;



i



-•-



--.



Construction drawing and view of the portico.



~y



^r



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24S



views of the chapel and view looking out to the garden.



250



251



Axonometnc. conceptual sketch, floor plans and oblique view of the stone wall.



Old/New Restaurant



The Old/New Rokko restaurant



complex



is built



of over



:8,



of the bar.



A



1



on a steep gradient



affording distant views



ocean from the second-floor multi-storey entrance



separates, and



at



same



the



hall



time



links,



the four eating areas, which include



Japanese and western restaurants. The whole



building



was composed



around three 200-year old camphor trees.



The perimeter



use the that



is



retaining walls



locally quarried



Mikage granite



a feature of traditional



residences



Location



in



this area.



Kobe



Design 1985 Construction 1985-6 Structure Reinforced concrete Site area 1.283 nv Building area



4811 m-



Total floor area 806.5 ny



252



253



View from the street and oblique



254



view.



255



Exterior and interior views,



Tanaka Atelier



This long and narrow building



by an arc-shaped



basement



level



ceiling.



is



topped



The



contains the service



areas; the ground floor



houses the



atelier itself: while the level of the



semi-circular form



accommodates The



the terraces of the building. ceiling



to the



roof



is



bestows uniformity and space



overall,



fluidity



and the exterior



steeply sloping with



overhanging eaves. Location Yamanashi



Design 1985-6 Construction



1



986-7



Structure Reinforced concrete and steel Site area



693 6



m



Building area 71.9 mTotal floor area



256



1



00 5



m



and section.



257



Conceptual sketch, site plan, axonometnc and sectional view of the model



Shibuya Project



This commercial complex planned for



a site in



in



Tokyo



the middle of the Shibuya area will



house twenty different



stores, restaurants and cafes of



various sizes.



There are four above-ground floors



and ten basement



measure



small



land prices



floors,



due



no



in



to the abnormally high



Japan. The setback from



in



the street, determined by law, restncts the above-ground floors to four and also sets a



limit



each



So



level.



to the



full



to the ceiling height at



space



exterior



and pedestrians



is



used



relate to the



architecture three-dimensionally.



A screen



stands along the street,



and the building proper



degree angle



to



is



at a



the screen and the building



space



in



1



5-



The gap between



it.



is



a public



the nature of an 'urban



alcove'. This



gap



is



vertical circulation,



to



open stairway leading



basement



be used for the form of an



in



to the third



floor.



A cylindrical volume sits in the centre of the building, and stairs leading



upwards



coil



around



this



volume. The



screen, facing south, consists of glass



blocks arranged



orderly fashion



in



within a concrete grid light



deep



into the



and introduces



basement.



Location Tokyo



Design 1985-7 Stoicture Reinforced concrete Site area 1.130.7



m



Building area 867.1



;



m



;



Total floor area 6.210.1



258



m



2



259



Noguchi House



The house occupies in



Conceptual sketches.



a long,



narrow



lot



a densely-populated area on the



outskirts of Osaka.



elevation



and



is



The



street



only a few metres wide with those of the



is in line



neighbouring houses. Despite the lack of surrounding free space, a light well,



located at the centre of the building,



permits



light



circulate



all



rooms are



to penetrate



and



at the



extreme ends of the



building, with the



ground



consisting of the



living



kitchen, while



floor



room and



bedrooms and



rooms are on the Location Osaka



Construction 1985-6 Structure Reinforced concrete Site area 68.5 nr



40 nr



Total floor area 106.3



260



auxiliary



floors above.



Design 1985



Building area



air to



around the house. The



m



2



View of the roof, perspective of the entrance and view of upper-level walkway



261



Floor plans



Oyodo Tea Houses



The



Oyodo



of the three



first



blocks of 200



tea



houses, the veneer tea house,



sole material



is



mm x 400 mm as the



in



the space.



Used



not



an extension to a wooden row house.



only for the walls, but also for the



The



they have a hard-looking



no



exterior gives



hint of its



existence. You approach through the



floor,



finish.



Light passing through the milky



older building which acts as a



white glass, inscribed with a ginkgo



passageway



tree leaf pattern,



of the tea



same



the



to the separate world



blocks. Although small, a certain order



function as the



emerges



this



roji. In



process of passage, you experience



number



a



of reversals of expression.



The vanous devices



installed



the



in



entrance to the tea house and the



six



sides of the tea house proper -



the



walls and ceiling



floor,



bestow a deeper



to



ie



- are intended



significance to



very simple functions. The aim



to



is



and



floor,



walls



ceiling of the interior.



Myokian tea house



Oyodo



the



in



mind. You enter



way of a



tea house by



steep, interior stairway. is



a



cube



is



a



suspended



of



The



interior



ceiling that



is



a vault



is



has softly landed from the sky above. It



appears so small and



looks as it



if



fragile that



it



the slightest breeze would



away However,



it



a space



is



with intimate intention.



Composed and



of steel supports, a glass



ceiling,



it



has a tent roof and



screen, which can be rolled up and



down



to provide



The freedom



mm sides, and there



2,390



the tent tea house



Finally,



floor



The scale was determined with the



space. The neutralized



evocative of a square balloon which



filled



main material used on the



is



visitors are invited into a cold,



carry



the



this restrained



but solemnly spiritual world.



give infinite depth to a minimal space. is



in



materiality of the blocks



A veneer of Japanese linden and



reflected onto the



is



house and which serves



lies in



temporary space.



of the tent tea



house



the materials. From the outset,



those commonly used



Japanese



buildings



in



were



traditional



intentionally



representing one-sixth of a cylinder.



excluded. But the traditional Japanese



The space



module. 5 Shaku 8 Sun (175.4 was adapted for the interior



is



determined by columns



and beams, and the beams are 1



00



mm lower than those at the



cm),



dimensions and for the height of the



Myokian tea house, because there



ceiling.



you enter via a



space, alone, that gives the structure



nijin-guchi at floor level



whereas here you enter lower.



A blind



is



at a level



hung on one



surface, and with twilight



shadows are of the



cast.



Japanese



wall



complex



The warm



quality



linden gives the



space



a very different character from that of



the block tea house.



The block tea house was created by renovating the old



first



floor of



wooden row house.



It



an



consists



of a rectangular orthogonal space. 1



,400



2.000



262



mm wide. 2,800 mm long and mm high, with polished concrete



It



is



this



module



a sense of tradition.



for



square



and section.



Conceptual sketches.



Veneer tea house Location



Osaka



Design 1985 Construction 1985



Stmcture



Wood



Total floor area 7.0 01'



Block tea house Design 1985-6 Construction 1986 Structure Concrete Total floor area 4.4



m



2



Tent tea house Design 1987-8 Construction 1988 Structure Steel Total floor area 3.3 m'



263



Perspective and view of the block tea house.



264



Interior



views of the tent and veneer tea



houses, and plan of the veneer tea house.



265



Interior



view of the veneer tea house,



conceptual sketches and detail view of the tent tea



house



!*£- o--i.



266



267



Kitayama Apartment Block



Overall and detail views of the entrance of the building



The



building



is



constructed entirely



of concrete blocks. is



The volume



itself



a result of the interpenetration of



four elements: a curvilinear wall,



punctuated by long and narrow apertures; a structure partially



made up



of



enclosed cubic modules (one



side of which supports the vault of a



long



hall):



a rectilinear wall enclosing



the complex on three sides: and, finally,



a long stairway which extends



the length of one side and crosses the various levels of the building.



Location Kyoto



Design 1985-8 Construction 1988-90 Structure Reinforced concrete blocks Site area 564.2 nr Building area 377.7 nv Total floor area



268



1.117.6m'



and axonometric



269



Conceptual sketches, elevation with plan



Kara-za Mobile Theatre



and elevation.



This



a mobile theatre structure, with



is



a capacity of 600. for the avant-garde



theatre group led by Kara Joro. project



began with an idea



playhouse



Asakusa; then



in



used as an exposition it



was



a



it



was At



pavilion.



later first,



wooden watchtower-like The plan



structure.



dodecagonal,



is



40 metres wide and 27 metres The



The



to build a



high.



exterior wall consists of black



boards and the roof



The approach



is



a red tent.



is



by an arched bridge



symbolizing the passage from the



world of



from



reality to



the world of



illusion,



world to higan. the Buddhist



this



term referring to the world after death.



The playhouse



is



surrounded by a



traditional



fence of woven bamboo,



known as



takeyaral.



which emphasizes



the other-worldly nature of the theatrical space.



When



the idea that



movable was added



it



should be



to the brief, the



main structure was changed from



wood



to an



poles



like



assemblage



of scaffolding



those used on construction



sites. This



way. the construction



period has been shortened to around fifteen



days and transportation of



building materials



unnecessary. With



is



the exception of certain special parts,



everything



locally available.



is



If



the



drawings and instructions are sent ahead, construction



anywhere



in



is



possible



the world.



Location Sendal and Tokyo



Design 1985-7 Constnjction 1988 (Sendai). 1987 (Tokyo) Structure Scaffolding steel pipe Building area



1



.



1



45



m



Total floor area 601 .4



270



!



m



:



271



Elevations.



272



273



I



Axonometric and floor plans



House



This



house was planned as a guest



house. The building has a cylindrical core, with a 7.5-metre radius, forming



An L-shaped volume



an atrium.



and a



interlocks with the cylinder,



protective perimeter wall encloses the site.



The



building



on the north side



is



of the site, with a garden to the south.



The upper



level



- a rectangular



volume. 6.5 x 29. vaulted roof that circle.



The



triple



metres - has a



1



one-sixth of a



is



volume atrium, while



enclosed by the curving wall of the cylinder,



opens towards the outside



through large glazed apertures, affording views of seasonal in



changes



the garden.



The



building has three levels



- two



above ground and one below. The ground



level



contains the



hall



guest room and the upper



bedroom and



and a



level



has a



room. The sloped



living



garden of the court



is



visible



from



rooms on the underground and second levels. This court,



which receives a



blanket of white flowers



in



the spring,



changes completely with each season.



The ground-level terrace



is



with phanerite, which lends



inorganic



mood,



in



surfaced it



an



sharp contrast with



the natural green of the garden.



Location Ashiya



Design 1985-6 Construction 1986-8 Structure Reinforced concrete and steel Site area



987



Building area



m



Total floor area



274



1



263



m



!



907.9 m*



Views of the vaulted roof, oblique view of and elevation



the building, sections



£_



—^



fl =



\\L



_



\— 1



1



"^



l-n!



^^



=



275



View to the garden from the bedroom.



276



Extenor views and conceptual sketch.



:_



£



~



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s



*



;



•



I



277



Rokko Housing



Conceptual sketch and aerial view of the



II



building



Adjacent to Rokko Housing housing complex shares the



I,



this



same



60-degree slope but has an area nearly four times as large.



The



founded on a uniform



building



is



grid of 5.2 x 5.2



metres, and has three connected, but distinct, clusters of dwellings,



each



Adapting the grid to



five-units square.



the steepness of the slope generates



asymmetry



plan and section -



in



introducing complexity into the



consistency of the geometry and producing a dynamic architectural order.



The



resulting



symmetry



also



allows the entire complex to benefit



from eastern



The



around the which



light.



building



is



composed



axially



line of a central staircase,



shifts at the intermediate level



where



approaches



links with



it



A north-south



cluster.



the clusters, providing



space and



to



each



gap separates



communal



satisfying lighting



and



ventilation requirements. Indoor pool facilities



are provided on the rooftop



plaza of the intermediate level,



the ocean view



is



where



spectacular. Within



the overall geometric uniformity of the



complex, each of the 50 dwellings unique



in



Location



is



and format.



size



Kobe



Design 1985-9 Construction 1989-93 Structure Reinforced concrete and steel Site area 5.998.1 mBuilding area 2



.



964 7 nr



Total floor area 9.043.6



278



m



;



Perspective and section with plan.



1 ri.



=



?*-



L3L



Lac



u.



279



Extenor and interior views.



280



l-J



Church on the Water



Conceptual sketches, section with plan and overall view.



On a



plain



in



a darkened stairway to



the depths of the



province of Hokkaido,



this



church



the rest of the chapel.



has a plan of two overlapping squares of different sizes.



shallow



artificial



It



lake which has



been



created by the diversion of a nearby stream.



A freestanding.



L-shaped



wall



hugs one side of the lake and the back of the church.



A gentle slope,



the altar



is fully



panorama



overlooks a



facing



is



in



wall behind



glazed, providing a



of the lake,



large crucifix



emerge



The



seen



in



which the



rising



from the



surface of the water. This wall can be slid



aside, directly opening the interior



of the church up to the natural



surroundings.



the lake, ascends alongside the wall, leading to the top of the smaller



volume where, space open



within a glass-enclosed



Location



Tomamu, Hokkaido



Design 1985-8 Construction 1988



to the sky, there are four Structure Reinforced concrete



large crosses



in



their transverse



From



a square formation,



arms almost touching.



this point, the visitor



descends



Site area 6.730



m



:



Building area 344.9 m' Total floor area



520 m'



pr*** 282



HHHH



i4/fi f -*



'



H



^ A->'



4it tsl



"*^



BbmmmJI



111



Axonometric and views of the lake and the church grounds.



284



Hz



Exterior and interior details, sections



view looking out onto the



and



lake.



\



286



287



Theatre on the Water



Site plan



was proposed for a site 400 metres away from the Church



This theatre



on the Water, yet connected to the church by the water. The two structures form a geometrically-linked pair,



on a



flat plain in



Hokkaido.



The theatre was conceived



to



accentuate the excitement of its events - so



it



is in



the form of an arena,



surrounded by the drama of nature. It



provides an open-air setting for



concerts and fashion shows during the



warmer weather of



summer and among other



spring,



autumn and functions



as.



things, a skating rink during the winter.



The structure



is



semi-circular theatre, set



shaped



artificial



in



a fan-



lake created on



the course of the stream. 1



r^ssy



a 6.000-seat



A long,



3 x 200 metre bridge-like stage



intersects the theatre, while a



freestanding colonnade penetrates the entire configuration of theatre,



stage and lake.



Location Hokkaido



Design 1987



-



288



and conceptual sketch.



Views of the model showing both the church



and the



theatre, the site



and detail of the



theatre-



289



GaSleria



Akka



Floor plans



This retail/gallery structure



shopping is



in



a



Osaka,



district of central



a rectilinear volume inserted



among



a chaotic array of low-rise commercial



on a rectangular



buildings,



a frontage of



of



lot



40 metres. The



tranquility of the



building's exterior belies the within.



with



8 metres and a depth



drama



There you are confronted with



a central atrium - a vertically oriented



space whose unconventional presence through



is



overwhelming. Rising up



five floors



from the basement,



the atrium accounts for half of the building's



volume. Facing



wall with a



it



is



a curved



28-metre radius, and



ascending and descending



flights of



steps pass each other on opposite sides of the wall. The unifying



character of the curved, frosted-glass roof at the top of the atrium gives the building a strong architectural identity.



Location Osaka



Design 1985-7 Construction 1987-8 Structure Reinforced concrete Site area



324 2 nr



Building area



226 m-



Total floor area



290



1



.027



m



i



^t—^^w\



=



and section.



Mil



TTT



View of the atnum and axonometnc.



291



Conceptual sketch and interior views.



292



293



Plan, elevation



Bigi 3rd



the entrance.



Bigi 3rd



is in



The



is



1



site



the centre of Osaka.



only 3.6 metres wide but



5 metres deep, and adjacent



structures have been constructed right



up to the property



building itself



14.5 metres high.



It



is



line.



The



3 metres wide,



deep and 7.5 metres



had to be as spacious as



possible, despite



its



narrow frontage,



and there were two ways



this



could be



done: by reducing the dimensions of the structural system to a minimum,



and by pushing the wall up property



line. In



to the



order to increase the



inner dimensions of the building,



it



cantilevered from the columns on side.



was one



Only those on one side of the



prime are structural, and the opposite side



is



a curtain wall suspended from



beams. The columns and beams are regularly



and



spaced



articulate



at 2.3



space



in



direction. Furthermore,



metre



intervals



the longitudinal in



order to



increase the inner dimensions of the building, the



exposed mechanical



system was adapted, which then



needed



to



be arranged



interior is a single



in



order.



The



space. By making



the ceiling height (7.5 metres) three



times the normal dimension, the space



was allowed



greater



Location Osaka



Design 1986 Construction 1986 Structure Steel Site area 55.2 nr Building area



43 5 nr



Total floor area



294



43 5 nr



verticality.



it—X



and sections and view of



295



Conceptual sketch, view of the entrance and



Collezione



floorplans.



Collezione in



is



a commercial complex



a fashionable district of Tokyo.



It



consists of two rectangular volumes



spanned by cylindrical



a cube, an interlocking



volume and



a protective



perimeter wall, which inscribes an arc.



To harmonize the surrounding



it.



below ground the lower



building with those



volume



is



Car parking



is



half of level.



basement



its



floor,



on



while the



upper two basement floors house an exercise club and a swimming pool.



Boutiques occupy the ground and first floors,



and the upper two floors



accommodate showrooms,



galleries



and. independent of the other functions, the owner's three-



A stepped



apartment residence.



and a staircase, which



spirals



plaza



around



the outer wall of the cylindrical volume. are at the centre of the building's



composition. The plaza forms a spatial void which rises from the depths of the building, inviting light



and wind



into the



lower floors.



Location Tokyo



Design 1986-7 Construction 1987-9 Structure Reinforced concrete and steel Site area 1.683.5



rtv



Building area 1.175.3mTotal floor area 5.709 7



296



m



tsxp&m* ry&jfv-



297



ihe perimeter wall stairway



and section.



298



View showing the interlocking semicircular and cubic volumes, and axonomethc.



"-



299



i



Views of the



spiral stairs



and the



swimming pool.



1



Jj



J



^



54 ^H mm.



^—



J4J



^a



300



|^9|



;:•



Kaguraoka Apartment Block



The



building



Kyoto.



It



of seven



is



at the foot of a



a small-sized



is



hill in



condominium



one-room apartments and a



maisonette, constructed of moulded



concrete blocks with 3



mm joints.



Rooms



the



are arranged



in



south-north direction, and there



is



an



arched wall on the west side. This wall defines the border of the irregular site



and emphasizes the form of the building;



a



it



has also created



passageway. There



to the east north.



is



a courtyard



and a service yard to the



The ground of the



lowered from the



surrounding lots and the is



made



site



was



level of the first



floor



a sub-basement so as not



to disturb the environment.



Seven one-room apartments face east overlooking the courtyard.



The maisonette near the southern boundary of the



site



has a south-facing



opening on the second floor to take



in



the greenery on the



Location Kyoto



Design 1986-7 Construction 1987-8 Structure Reinforced concrete Site area



244



Building area



m 118m



Total floor area 211



302



m



hill



fully



Floor plans and view showing the



curved wall.



Detail of the entrance stairway



and



axonometnc-



303



Morozoff Studio



This building



and divided



is



Perspective and view of the entrance



located on a square



into four sections



walkways which,



lot,



by large



at their intersection,



form an eight-sided plaza. The studio split into



of which, located



the



lot,



in



the smaller part of



consists of two adjacent



rectangular volumes. The other section,



in



composed



the larger part of the



lot. is



of a square-gridded form



and a lower



linear



volume; together,



these form an L-shaped building.



Location



Kobe



Design 1986-8 Construction 1988-9 Structure Reinforced concrete Site area



985 5



m



;



Building area 530.2 nv Total floor area



304



is



two separate buildings - one



1



,620.6 nr



View of the garden and axonometnc



-



305



Yoshida House



This house It



shop and a residence



a



and sections.



a city south of Osaka.



is in



combines



Floor plans, elevation



for



woman, her younger brother and his was important to respect family; thus a



it



the residents' mutual privacy. Overall, the site



is



a small rectangle



of property quartered roughly into



3.8-metre sections. There



is



a sunken



court to the south-east



where



elements, such as



and wind, are



called into play.



court



The



is



light



natural



Along the north of



the shop with



its



this



small atelier.



residential part of the building



occupies the western



The



property.



on a



sister's



level with the



above



it



bedroom



sunken



sits



'»



court, while



are the dining room,



room and the



'I



half of the



tatami-floored



living



room



that



in



serves as the family gathering area. This area



opens out onto



above the



store,



a terrace



where greenery



corresponds with the plants



On



court below.



in



the



the uppermost floor ,ji



is



the brother's master



his children's



has



its



own



J



bedroom and



rooms, each of which



terrace.



====



=



^J



Location Tondabayashi



~l



Design 1986-7 Construction 1987-8 Structure Reinforced concrete Site area



252 m-



Building area



1



Total floor area



306



m 211m



24



View of the courtyard and conceptual sketch



307



Axonometric and views of the courtyard and the terrace garden



308



H-HB^



309



Aerial view



Raika Headquarters



floor plans.



These



offices,



designed for a clothes



manufacturer, are on reclaimed land



being developed



Osaka



that



is



The



lobby, the spacious atrium



rooftop garden, are



all



functional yet relaxed



spaces. The building



in



Bay.



and the



conceived as



and comfortable



is



composed



of



several rectangular volumes arranged



around a



form 40 metres



cylindrical



in



diameter. There are three connected but distinct units, of moderate height,



which step back from the



frontal



thoroughfare. Trees, planted



in



double



rows along the perimeter of the partially



down



site,



screen the building and play



its



presence



in



the immediate



environment.



A public at



plaza has



the south-west



been created



comer of the



site,



adjacent to a building containing



shops, an exhibition facilities,



levels



hall



and



training



with galleries on the upper



and parking



in



the basement.



Within the seven-storey cylindrical atrium of the main building, there



is



a



ramp, dramatically silhouetted against the arc of the glass-block curtain wall.



Location Osaka



Design 1986-7 Construction 1987-9 Structure Reinforced concrete and steel Site area 23.487 8 nv



Building area



9.7714m-



Total floor area 42.791 8 nr



310



and fourth- and seventh-



View of the entrance and conceptual sketch.



311



Exterior views



and section.



#3J0K^



II



m II



II



h



x_^ 312



313



Interior views.



314



315



Shinto Shrine Project



Section with plan of the auditorium and site plan.



If



the square



regarded as the centre



is



of the European



city,



then the Shinto



shrine and Buddhist temple represent



equivalent spaces at the heart of



Japanese



cities.



these buildings



The existence



is



of



under threat due to



the exorbitant land prices; their survival



is



therefore dependent on the



possibility of transforming



them



into



economically independent bodies



by diversifying and



rationalizing



their function.



This project aims at such a



transformation for a shrine located at the centre of Tokyo, not far from the



downtown area temple



itself is



of Shibuya.



to



The



be found on the top



floor of the building, while at



intermediate level there



is



its



a



commercial area and. on the ground floor, a



theatre and a gallery.



volume and volume



A cubic



a lower, rectangular



in line



with the entrance



constitute the main compositional



elements of the project. The majority of the service areas are located



below ground. Location Shibuya. Tokyo



Design 1986



316



Mount Rokko Banqueting



At 923 metres high. Mount Rokko the highest mountain



in



Hall Project



Aerial view of the model.



is



the area of



Hanshin and dominates the bay of



Osaka. This project



is



a design for a



banqueting room to be located near the summit of the mountain, next to a hotel



and close to the Church on



Mount Rokko. The



plan of the building



continues the axis running from the hotel to the church. Although not realized, this project



reference for the Location Kobe.



has served as a



Naoshima



project.



Hyogo



Design 1987



317



Church



of the Light



View showing the cross cut into the concrete



In



a quiet residential suburb of



this



chapel



positioned



is



in



Osaka,



accordance



with the direction of the sun and the location of an adjacent church building.



The church consists of a rectangular volume 1



cube) bisected



(a triple



at a



5-degree angle by a freestanding



wall,



which defines the chapel and



its



triangular entrance space. Entering



through an opening



you have



to turn



in



the angled wall,



80 degrees



1



aligned with the chapel.



descends



horizontal



to



altar,



a wall penetrated by



is



and



be



floor



stages towards the



in



behind which



forming a



The



vertical



openings



crucifix. Light radiates



through these openings into the stillness of the chapel.



Both the



floor



and pews are made of scaffolding planks which, with their roughtextured surface, emphasize the simple and honest character of the space.



Location Ibaraki



Design 1987-8 Construction 1988-9 Structure Reinforced concrete Site area 838.6 m" Building area



1



Total floor area



318



1



3 nv 1



1



3



m



:



wall,



section



and view of the



roof.



319



Conceptual sketch, perspective and interior views.



y



320



\



22'



Children's



Museum



Site plan, conceptual sketch, overall view



and section.



On this



a



overlooking a large lake,



hill



museum



is



facility for



a cultural



the artistic education of children.



It



made up of three units - the main museum, an intermediate plaza and is



a



workshop complex -



a long



all



linked



by



pathway punctuated by a



series of walls, which dramatically slice



through the



hillside.



unit is a multi-functional



containing a



library,



The main



complex,



indoor and outdoor



theatres, exhibition gallery, multi-



purpose



hall



composed one



of which



shaped



and restaurant.



It



is



two staggered volumes,



of



connects with a



fan-



building housing the theatres.



The outdoor theatre



is



on the roof and



benefits from the verdant setting.



A



series of pools built around the centre



serve to unify the architecture with the



scenery of the plaza



is



lake.



The intermediate



a walled external space,



containing a grid of sixteen 9-metrehigh columns.



The workshop complex



consists of a two-storey building,



square



in



plan,



workshop



and set



within a plaza.



Location Himeji



Design 1987-8 Construction 1988-9 Structure Reinforced concrete and steel Site area 87.222 nr Building area 3.575 6 nr Total floor area 7.488 .4 nr



322



S^L.



323



Floor plans



and view showing the



intersecting walls.



324



325



Views of the plaza and pools, and conceptual sketch.



326



ir



Natsukawa Memorial



View of the



Hall



and



This off-campus



facility for



high school



the traditional



is in



a private



commercial quarter of an ancient fortified



town.



While focusing on drama, painting,



music and cinema, the



facility



offers



an environment conducive to



communication among the students.



The



building consists of a rectangular



concrete box, with a 24 x plan. In



1



9.2 metre



order to harmonize with



its



quiet surroundings, the building has a simple external third of its



appearance and one-



volume



is



below ground.



The basement contains



a small



conference room and a



1



multi-purpose



hall.



50-capacity



The upper



accommodate the entrance



levels



hall,



a



roof garden and conference rooms.



A ramp and



a spiral staircase



connect spaces on



all



floors - from the



basement foyer to the



third-level roof



garden - and lead people through various spatial voids, including the



foyer and the entrance



hall,



giving the



interior a labyrinthine complexity.



Location Hikone



Design 1987-8 Construction 1988-9 Structure Reinforced concrete Site area 768.2



m



;



Building area 521.1 nv Total floor area



1



.205



m



:



?**-& -



'• :



328



A»



;



-



building



floor plans



showing roof garden



n



-



^



-



i



—



3" I



„



-^S



_



•



i



529



Views of the ramp and section.



330



~^*~&4^~^&^>*J^sii_



!*



-



HE



331



Views of the model.



izu Project



This project



was proposed



seaside resort



for a



a national park,



in



in



the southern part of the Izu Peninsula.



The



site



is



encircled by sheer



cliffs,



on a low promontory which projects straight out into the ocean.



Viewing the entire cape as an extension of the to include



its



site,



the aim



was



unique natural



characteristics



in



'architecturalize'



the design, and to



them. The hotel



is in



on the cape, with



a central position



various elements arranged around



-



it



a restaurant, observation platforms



and an



make The



art gallery



life



-



in



an attempt to



on the cape self-contained.



building



is



a cluster of



rectangular volumes, each founded on four units of a uniform 5.6 x 5.6 metre grid.



Within the



each volume



is



topography of the



asymmetries



in



composition,



total



adapted to the site,



generating



section.



After passing through a central gate at the



neck of the cape,



visitors follow



a long wall to arrive at a cafe.



Proceeding on. they are led by a curved wall into the hotel lobby, which offers the



panorama



of an



artificial



lake



through glazed openings. Water from the lake



weaves around the



buildings



and flows over a series of cascades



in



the direction of the sea. There are



views of Mount every room



in



Fuji



Location Shizuoka



Design 1987-9



332



or the ocean from



the guest maisonettes.



building and Bevational drawing showing the



the adjacent lake, plan



and section.



E



333



Nakanoshima Project



-



II



Space Strata and Urban Egg



Conceptual sketches, plan and section through the Assembly section and site plan.



Nakanoshima in



length and



an island 920 metres



is



1



50 metres



in



maximum



breadth, intersected by Midosuji



Boulevard, running north-south



through Osaka. This proposal for an urban park seeks to retain the historical



character and natural



beauty of the island while making it



into a multi-use facility for



the twenty-first century. Lying is



between two



a rare green belt



in



rivers,



and contains numerous buildings.



the island



the metropolis, historical



The proposal would



integrate the city's cultural facilities



composition that



into a multi-level



articulates the site into three distinct



plazas: a water plaza, a plaza for plants,



The



and an underground



principal facilities of art



historical



plaza.



museum,



museum, conference



and concert



hall,



hall



are contained



underground, leaving the ground



open as



a park.



play by placing a guest



restaurant on the



The



level



Water is brought



into



house and a



river.



part of this proposal



known



as the 'Urban Egg' calls for the restoration of the exterior of the



decrepit Public



Assembly



storey building



built in



Hall,



a four-



1918. and the



installation In its interior of



an ovoid



structure derived from recent



technology. This would renew the building's status



in



the



city,



while the



surrounding interior spaces would



be



revitalized



in



the form of gallery



space. The building thus pursues intersections of past and present



through



its



dichotomy of old/new



spaces which, nestled together,



open towards the



Location



Osaka



Design 1988



334



future.



Hall, longitudinal



,



^^$mm



335



View of the model and perspectives.



336



337



i



Conceptual sketches, ground- floor plan and



Gallery Project



views of the model.



The project



is



for a building located



from the



residential area not far



centre.



Designed



a



to respect the



existing surrounding trees,



rectangular form.



in



city



1



1



it



is



a



x 16 metres,



and



consists of a gallery, atelier and two residential units at four levels



includes one below ground.



owner's residence top



floor; his



level;



is



located on the



mother's



Between the



on the lower



is



and on the ground



basement are the



floor



gallery



and



building itself



surrounding wall



lies



which



The



and atelier.



and the



a courtyard onto



which the gallery opens. The gallery



and



atelier are



at a



45-degree



accessed from incline



a bridge



which runs



above the garden. Location Setagaya. Tokyo



Design 1988



TAJMO ^\IX)



338



\K(



HUM



i



I



w%* •



ft



W.



I



BE



II



—



'*



339



_J



Ito



Axonometnc.



House



first-



and third-floor plans and



view showing the entrance



This three-family house



is



located



in



a prestigious residential district



in



Tokyo. The site presented several



unique features -



dogwood



aged cherry



and a



tree,



trees, an



distinctive old



concrete wall - which were preserved



by



'inserting' the building into the



space between them.



The



has a rectangular core,



building



mm x 5,600 mm



founded on a 5,600 grid,



and a protecting



rectangular volume



wall.



The



offset at a



is



6-degree angle from the north-south



The protecting



axis of the front road. wall penetrates the



building



in



main volume of the



the form of a half-circle arc,



defining the entry



space of the house.



Two



pillars,



freestanding



on a



line



with



the intersection of the adjacent street, indicate the axis of approach,



echo the 5.600



and



mm span of the grid.



The functions



of the building



-



separate apartments for the parents



and the



families of their



son and elder



daughter, and a boutique/atelier



operated by the son and



his wife



-



are independent and with individual character, and have a



been organized



in



complex three-dimensional manner



within the total composition.



Location Tokyo



Design 1988-9 Construction 1989-90 Structure Reinforced concrete Site area 567.7



m



;



Building area 279.7



m



Total floor area 504.8



340



;



m



'



:



stairs.



341



Side view of the



building, sections



and view



of the courtyard.



n



a



342



343



Naoshima Contemporary Art Museum



The museum



is



on the



bluff of a



slender cape on Naoshima Island's



southern



waves It



tip,



overlooking the gentle



lapping on the beach below.



was designed



to receive visitors



by boat. Disembarking



arriving



at a



landing-stage, they are greeted by a stepped plaza that acts as the



museum entrance, but also houses museum annexe underground



a



and doubles as a stage



for



outdoor



performances. Only after climbing the plaza steps



do the stone-rubble walls



of the main



museum come



More sits



into view.



than half of the building's volume



underground so as not to intrude



on the national park which surrounds the



museum.



ascend the



Visitors



slope, enter the main building and are



then led into the gallery - a large



underground volume two levels



50 metres The



long,



high,



and 8 metres wide.



hotel building, gallery



and stepped



face the ocean, and the



terrace



all



interior



spaces of each absorb the



tranquil



ocean scenery of commuting



boats and setting sun. Location Naoshima



Design 1988-90 Construction 1990-92 Structure Reinforced concrete Site area



44,700



Building area



1



m



2



,775.5



m



Total floor area 3.643.4



344



2



m



;



Site plan



and conceptual sketches.



345



Floor plans



and view of the building s



stepped terraces.



346



347



Axonometric, view of the stepped terrace, interior



of the



view of the entrance



hall and



view



museum roof.



mi •



1 348



i



349



.den of Fine Arts, Expo 90, Osaka



The theme of Asia's



first



Conceptual sketch and view of the garden



international



1 I



horticultural exposition



national



- the



Inter-



Garden and Greenery Expo-



sition, held in



horticulture



in 990 - was new concepts in



Osaka



the exploration of



1



and gardening, with a



view to the twenty-first century. As



one of the



pavilions created for the



Garden of Fine Arts



Exposition, the



featured open-air displays of fine art



on



masterpieces, reproduced



full-size



weatherproof ceramic



by means



of the



tiles



most advanced ceramics



technology.



The design stemmed from an into the essential nature of



inquiry



gardens -



the composition of which should include not only plants, but



all



the



elements of nature. Taking water, wind light as its motifs, the Garden came embody a proposal for a new form



and to



of kaiyu-shiki- or 'tour-style' Forty-five pillars.



1



-garden.



2 6 metres high,



were arranged on an even



grid in a



pond. Ramps, taking the form of glasswalled roofless corridors, ascended



in



opposite directions, suspended above the pond.



In



the entrance space.



Michelangelo's The Last Judgment



and Leonardo Da



Vinci's



The Last



Supperwere presented as



large



murals, overlooking a sunken garden.



A format



of display producing optimal



viewing conditions



each



was adopted



viewed from one



level



in



the



conventional manner, could be



viewed from



angles.



all



Location Osaka



Design 1988-9 Construction 1989-90 Structure Reinforced concrete



m



Site area 3.003 Building area



44



Total floor area



350



for



picture, which, rather than being



1



5 m'



692 3



m



Perspective and section



351



Museum of Literature



Site plan, conceptual sketch



view of the museum.



The Museum a verdant



hill



of Literature sits



on



about 500 metres from



Himeji Castle, which historic landmark.



is



a national



and



The design of the



building consciously reflects



its



proximity to the castle. Principally



devoted to the philosopher Tetsurou Watsuji



(1



889-1 960), the



museum



also exhibits material related to eight



other writers and philosophers from Himeji.



There are three floors above



ground



level



houses



exhibition



hall.



The



and a basement which



space and a lecture



building consists of



two



cubic volumes, with ground plans of 22.5 metres square overlapping at a



a



30-degree angle.



A cylinder with



20-metre radius, housing the



exhibition space,



encompasses one



of the cubes, forming a three-level atrium.



Water cascades and ramps



wrap around the building,



exterior of the



and on approaching the



museum,



Himeji Castle can be



viewed



the distance.



in



Location Himeji



Design 1988-9 Construction 1989-91 Structure Reinforced concrete and steel Site area 15.600.9 nv Building area 1,324.1 nr Total floor area 3.814 5 m-



352



and overall



232



Floor plans, sections



and view of the ramp



showing Himeji Castle



in



the background.



1



354



355



ishiko



Intenor and extenor views



House



This building addresses the problem of its



corner



site with



extreme



rigour.



The primary form of this one-family house



is



a portion of a cylinder.



Facing the street



is



a curvilinear wall



which follows round the corner of the street. At the wall



same



time, this



forms a screen to the house



beyond, which



itself is



volume on three



a cubic



floors.



Location Takatsuki



Design 1989-90 Construction 1990-91 Structure Reinforced concrete Site area 179 3 mBullding area 107 Total floor area



356



m



239 8



m



and floor plans.



-r~



J^



q



=



JL



a



A ^



I;



ww



^ 357



Vitra



Seminar House



Conceptual sketch, section, axonometnc



and aerial view of the model.



This guest house



was designed



for



use by the executive personnel of a furniture



company, and



is



located



near the company's production base in



southern Germany. As



flat



woodland



building



of the



is



site,



it



is



on a



the height of the



minimized by situating part



volume underground. Simple



geometric forms, squares and



circles,



are used to create a rich interior



void and interlocks with



two



rectilinear



volumes. The building's



two



accommodate conference private rooms and



levels



rooms, a a lobby,



library,



and



all



of these



the sunken courtyard.



open onto



The enclosed



courtyard reinforces the austere silence of the architecture and draws the elements of nature light



and wind -



within.



space. The building has three



elements: a rectangular volume running parallel to the walls of the



Location Weil-am-Rhein,



Germany



Design 1989-92 Construction 1992-3



square sunken court; another



Structure Reinforced concrete



rectangular volume penetrating the



court at a 60-degree angle; and a cylindrical



volume



that



forms a



spatial



Site area



1



9,408



Building area



m



:



360 9



Total floor area



m



508 3 nr



/



358



U-H0



359



Views of the perimeter wall, conceptual sketch and night time view through the



glazed wall.



Mm



360



^yHHUgl^^,



361



Gallery for Japanese Screens, Art Institute of Chicago



Views through the floor plan.



In



the front half of the gallery stand



sixteen



and ten



a foot square



pillars,



These obstruct the gaze yet help suggest the depth and resonance



feet high.



of the space.



As



the visitor



space, the static



pillars



their relationships, at



times



this



moves



in



change



overlapping and uniting.



Byobu. the temporary dividing panels that allowed privacy traditional multi-purpose



in



the



Japanese



room, functioned visually to suggest spatial depth. Here, they are displayed



not only as objects, but also as a



means



make observers experience



to



Japanese



them



in



a



spatial aesthetics



by placing



contemporary setting



reflecting the spirit of the original



Japanese space. Thus, the byobu. seen through the



pillars,



embody



the profound love of nature by the



Japanese forefathers and evoke the image of their way of



Location Chicago.



USA



Design 1989-91 Construction 1991-2 Total floor area



362



1



60 nr



life.



gallery,



perspective and



363



View of the upper level terrace and overall



Ftokko Island



view, plans



This highly articulated building collection of interpenetrating



and dimensions. visual



It



Location



a



thus introduces diversity into



and volumetric



a long and narrow



is



forms



lot.



Kobe



Design 1989-91 Construction 1991-3 Structure Reinforced concrete and steel Site area 3.740 Building area



1



Total floor area



364



m



2



.798.63



m



:



2.570.17 m-



and elevation.



365



Elevation, section, site



Sayoh Housing



This resort apartment complex



the border of the prefectures,



is



on



Okayama and Hyogo



a forested area



in



interspersed with spas and ski slopes.



The tall



low is



building



is



composed



of three



elements with square plans, and a volume. The low volume



rectilinear



positioned at a 60-degree angle to



two



of the



elements.



tall



A roof garden



on the low element offers a visual feast to people using the building's



ramps and



stairs.



A four-metre wide



staircase extending east-west shares



a plaza at the foremost part of the



The the



third



tall



site, is



joined to the circular plaza



by a ramp, positioned to the



site.



element, to the north of



at a right



angle



low element. Instead of the



linear horizontal



arrangement of



dwellings characteristic of the



orthodox housing complex, the



apartments have been overlaid vertically,



each



with



floor,



one or two occupying



allowing each dwelling



unimpeded views of the



lush



surrounding countryside.



Location



Hyogo



Design 1989-90 Construction 1990-91 Structure Reinforced concrete Site area



6.9890



Building area



1



rrr



.270



rrr



Total floor area 3.854.2 m-



366



and floor plans.



==a



X



367



,



building.



368



I



the plaza,



and overall view of the



369



Minolta Seminar Building



Site plan, views of the courtyard and



axonomethc-



The two volumes



work



intersect



that



make up



this



and interpenetrate



form one building



to



overall, yet whilst



maintaining their individual autonomy,



as can be seen from the outside and



experienced from within. The volumes are five floors and six floors high



and both contain



respectively,



spacious verdant courtyards that



draw nature Location



into the building.



Kobe



Design 1989-90 Construction 1990-91 Structure Reinforced concrete Site area 4,132.9 m' Building area



1



.859.26 m-



Total floor area 4.556.35



370



m



;



371



View of the lobby and conceptual sketch.



Otemae Art Center



This university art faculty, located



a residential district near the



Kobe



space



border, comprises studio



and a gallery used both exhibitions



display of



and



for the



Located



art.



for



in



Osaka/



temporary



permanent directly



across



the road from the university, the centre is



surrounded by greenery.



is



set below ground, and the perimeter



One-third of the building's volume



of the site



lined with trees, thus



is



ensuring that the building does not



overpower on the



its



surroundings. The lobby,



first level,



takes the form of a



large atrium - intersected



with nature penetrating



its



through large apertures roof. All



by ramps -



space



in its



walls



rooms enjoy some form



and



of



connection with the lobby space,



which functions as a stage for the



comings and goings of the students.



The underground



accommodates an



level



art gallery



200-capacity multi-purpose



and a



On



hall.



the second and third levels are a roof



garden and a cafe. The presence of nature



within the facility



is felt



in



a



central court



and a walled pond that



opens



basement



to the



building -



walls within in its



is



level,



enveloped



in



greenery, both



and without. The large apertures



walls, furthermore, reveal



surrounding community.



Location Nishinomiya



Design 1989-90 Construction 1990-92 Structure Reinforced concrete Site area 2,267,9 m-



Building area



1,1225m



Total floor area



372



and the



though circumscribed by



1



,999 6



rrv



it



to the



blique



plans. view of the entrance and floor



DO



373



Atelier in



Oyodo



View looking up from the courtyard, and view of the building from



II



plans, section



the street.



This building consists of seven floors,



two of which are below ground



An



atrium soars through the



of the building,



its



each successive



level.



height



full



width increasing at



level.



The stepped



recessing of upper floors around the atrium lends a dynamic complexity to the interior space,



and sunlight



admitted through a skylight reaches



deep



into the building.



Occasionally



the atrium doubles as a lecture



hall



with the speaker using the staircase as a podium. This introduction of an area



with an irregular function



makes



the



workplace a more stimulating space,



even when



it



is



organized around day-



to-day routine.



Location Osaka



Design 1989-90 Construction 1990-91 Structure Reinforced concrete Site area



1



15 6rrr



Building area 91 .7 nr Total floor area 451 7



374



rrr



3



375



Interior views.



376



2"



Longitudinal section, main elevation, view of



fiockfield Factory



the tower and floor plans.



The



building



is in



an



park on



industrial



a natural land elevation overlooking the Tenryu River to the west.



It



is



a production facility for a food-



processing company. To dispel the oppressive darkness found



in



work



the



environment of conventional factories,



and to



alleviate stressful



much as



conditions as



working



possible,



external spaces such as roof terraces



and gardens have been created throughout the building.



The



building consists of a rectilinear



volume with an 84



x



42 metre



plan.



This has vaulted sections along both



ends, and a colonnade curved on an arc of 36-metre radius, enclosing



a stepped garden.



The successive



stages of the production



line



are



established on the ground level of the



volume, so that production



rectilinear



materials are introduced at



one end



and completed products distributed from the other. Offices occupy the



second on the



and the vaulted sections



level,



third level



house



a cafeteria/



foyer and main lobby, with a garden



on the roof between them. Within the colonnade



is



a



ramp leading



factory, while services are



to the



housed



beneath the stepped garden. This building,



constitutes the



now completed, initial



phase of a two-



phase project - the second phase calling for



another production



and a museum related



facility



to the



company's products on the same



site.



Location Shizuoka



Design 1989-90 Construction 1990-91 Structure Reinforced concrete and steel Site area 75.474 nr Building area 8.



1



50.2 nr



Total floor area 5.157.5



378



m



:



'



1



ivy



" 1



I



I



*



I



I I



1



«



•



--



* // i.



-.



-



c



-



'



{. °



379



Japanese



Expo 92, Seville



Pavilion,



Overall view, conceptual sketch and floor plans.



92



This Pavilion for Expo



Seville



in



was



intended to acquaint people with the



Japan, one of



traditional aesthetic of



unadorned in



as manifested



simplicity,



unpainted



wood



construction and



white mortar walls. The creation of this



wooden



building relied



on recent



technology to reconstruct and give full



play to the philosophy behind



traditional



Japanese



structural



assembly methods. With a 60-metre-long frontage, depth of 40 metres, and greatest



25 metres,



height of largest



wooden



it



is



the world's



structure. Outside,



the building demonstrates such characteristics as of



its



wooden



son- the



curvature



- and unpainted



large walls



high lap boards.



To enter the



ascend



to the top of



building, visitors



a taikobashi. or



The bridge



drum-shaped bridge.



offers the visitor entry to



the realm of illusion awaiting within and a link



between East and West. The



large gallery



of over



1



space has



a ceiling height



7 metres and contains an



assembly of two columns and numerous beams



that stand symbolically,



illuminated by sunlight permeating the building's translucent Teflon covering.



Varying the sizes of the display rooms



heightens the viewers' tension and relates their



movements



history.



Thus the



building serves



to introduce people of to Japan's culture to



promote



and



all



and



international exchange.



Location Seville, Spain



Construction 1990-92



Wood



Site area 5.660 3



rrv



Building area 2.629 8



m



Total floor area 5.660.3



380



nationalities



history,



Design 1989-90



Structure



to the



Japanese



unfolding narrative of



!



m



2



381



;nd detailed views and elevation of the entrance.



382



I



383



Conceptual sketch and view of the



Water Temple



The water temple of Hompukuji a



new main temple



Buddhist sect.



for the



nestles on a



It



is



Shingon



on



hill



Awaji Island, and has sweeping views of



Osaka



Bay.



The temple



hall is



below



ground, beneath a large oval pond filled



with lotus plants.



It



is



reached by means of a descending stair



which divides the pond, and



appears to draw



The



hall is



visitors



composed



under water.



of a square



space, gridded with timber



pillars,



contained within a round room. The interior of the hall



and



its pillars



are



stained vermilion; this traditional



Buddhist colour intensifies



when



the



reddish glow of sunset floods the



space, casting long shadows from the pillars



deep



into the interior.



Location Awajishima



Design 1989-90



Constmction 1990-91 Structure Reinforced concrete Site area 2,990.8



m



Building area 859.5 Total floor area



384



:



rrv



4 7 2 nr 1



lake.



Site plan



and view of the model



385



of the temple entrance, the pond and j into the temple.



386



387



Tombs Museum



Forest of



This



museum



dedicated to the



is



mounds



historic Iwabari burial



Kumamoto



Northern



in



Prefecture.



To be as unobtrusive as possible, the



museum



is



designed as a raised



platform from which the



viewed of



in



volume



its



is



and



half



buried below ground.



approach on



Visitors



tombs can be



their surroundings,



lush green forest.



foot,



through a



Though 250 metres



away from the famed Futago-zuka. a large keyhole-shaped tumulus, the



museum to



it.



the



is



positioned symmetrically



This encourages the image of



museum



burial



The



as a contemporary



mound. building



is



composed



rectangular volume that



is



of a



26



x 79.2



metres; a circular courtyard, which 1



5.8 metres



in



radius;



is



and an L-shaped



wall that penetrates to the centre of



the circular courtyard.



grounds



lie



just



The excavation



beyond the



circular courtyard, while a



around the inside of the visitors



Location



wall of the



ramp winds



wall,



guiding



through displays of artefacts.



Kumamoto



Design 1989-90 Construction 1990-92 Structure Reinforced concrete and steel Site area 6.338 nv Building area



1



448.8



Total floor area 2.099



388



m m



:



;



Floor plans



and conceptual sketch.



—



/lew of the circular courtyard and conceptual sketch



^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^5^t/"'-~



^T^^



^^^^^



//



IHr j "



-i«fr- _* *_'



P'



V



- J3?H"



^H



.^vJT^ 389



Overall view



and section.



n ra



390



Perspective view and drawing of the cylinder



and ramp



391



Detail of the exterior wall



Miyashita House



and sections.



This house and studio, designed for



an



artist, is



on a small



overlooking



hill



western Kobe and the Inland Sea of Japan.



an 8 x



1



A rectilinear volume with



4 metre



plan, positioned



north-south, forms the core. The site is significantly



lower



in



elevation



than the front road - a factor that has influenced the design of the building,



which



is



entered by bridge at the



second, or middle,



level.



With plants



below the bridge, the occupants enter the house amid greenery.



The studio and master bedroom occupy the ground



room and level.



dining



floor,



with the living



room on the middle



These rooms interconnect with



the external spaces - a court and a terrace - provided on both levels.



On



the top level, two



rooms face each



other across an open terrace, one of



them capped by an observatory.



A spiral



staircase leads to the



observatory from the middle



As



vertical



spaces, the



level.



spiral staircase



and the external triple-volume court introduce



Location



fluidity into



the building.



Kobe



Design 1989-90 Construction 1991-2 Structure Reinforced concrete Site area



332 nv



Building area 148.7 nr Total floor area



392



250 9 nr



and observatory,



Views showing the circulation areas and floor plans.



393



Temporary Theatre



In



a setting rich



in



for



Photography



three-dimensional



contrasts, this temporary highdefinition



TV theatre



presented the



work of the photographer



Bishin



Jumonji, for the brief period of four days. Erected inside an exhibition



hall,



the installation consisted of a roofless rectangular box 7.2 x



4 metres



1



0.8 metres and



high, containing a roofless



oval thirty-person capacity theatre,



constructed of overlapping



wooden



scaffolding planks with a dark



oil-



stained finish. The floor surrounding



the theatre



was covered



with white



cotton canvas to accentuate the



massive



visual weight of the black



construction.



Location Tokyo



Design 1990 Construction 1990-92 Structure



Wood



Total floor area



394



80



m



;



Axonometnc. plan and view of the theatre



395



View showing the entrance ramp,



College of Nursing



This project



elevation



for Japan's first state



is



nursing college. The building



composed



is



of a high-rise element with



a square plan, an interlocking low rectilinear



volume, and an annexe



offset at a



The low



1



5-degree angle.



rectilinear



element - fronted



by a continuous longitudinal concrete



colonnade - houses lecture rooms and laboratories



on either side of a central



The



three-level atrium.



tall



element



comprises study rooms. Positioned around the



element are a



tall



library



and



a cafeteria with a double-height atrium, within



two cylinders of 8.9 and 50 1



metre radius. The annexe, with a vault in



the form of one-sixth of a cylinder,



houses a gymnasium and lecture



The



whole



building as a



between two



large



is



hall.



embraced



ponds and



enclosed by trees on



its



perimeter.



The approach - extending 500 metres along a stream and lined with zelkova trees - introduces a tranquil



mood



suitable for a place of education. a park site,



proposed



the college



With



for a neighbouring will



operate within



a lush natural environment. All



college areas, those of



natural



its



environment included, are



intended as places for learning. Here, the students, the teachers, the patients of the neighbouring hospital,



and the residents of the surrounding



community will



feel inspired to



communicate regardless of generational differences.



Location Akashi



Design 1990-91 Construction 1991-3 Structure Reinforced concrete and steel Site area 36.000



nrr



Building area 5.



1



28



Total floor area



1



3.872 8



396



nrr



rrr



and section.



site plan,



397



Exterior



398



and interior views-



wL\\ V



1|



P>C^^^;



"3--



;



i



I s



_.



5^



~ -



'.



^



^5



399



Modern Art Museum and Architecture Museum,



View of the model,



Stockholm, Design Competition



and plans.



Stockholm held an open design



modem



competition for a



and designated



art



museum



five foreign architects



as entrants. The theme of this entry



was



the city's inheritance and a



strengthening of



commitment just the



its



longstanding



to richness



more than



in



economic sense. Positioning



the building on the axis of an old



church,



was brought forward



it



in



the



form of a cascading stepped plaza.



The landward



unit of the structure art



museum,



an architecture



museum



houses a contemporary and there



is



across the plaza by the water.



By connecting the new



art



with the old church, dialogue



museum is



opened between past and present. Considering the changing attitudes of contemporary



art.



an environment



was



going beyond the orthodox gallery



necessary



for



its



display.



Hence the



structure



was conceived as an



museum



integrated with



surroundings.



art



its



Seen from the



interior,



the building's outer stepped plaza



is



also a gallery space. Expression of the gallery



space can then be seen



continue on



in



ultimately, the



the



artificial



ocean. The stepped



plaza connecting the



becomes



to



pond, and



two museums



a place for dialogue



people, the environment, and



Nearby, water from the



among art.



artificial



flows into the ocean, with which



pond it



has



visual continuity.



Location Stockholm.



Sweden



Design 1990 Structure Reinforced concrete and steel Site area



1



53.000 nr



Building area



1



Total floor area



400



0,070



rrr



17.350m-



site plan,



axonometric



401



and View of the model, conceptual sketch



Chikatsu Asuka Historical



Chikatsu-Asuka.



Osaka



in



prefecture,



Museum



the south of



was centre-stage



of Japanese to the earliest period the best history, and has one of collections of burial



mounds



(kofun)



over 200 examples, in Japan, with tombs. The including four imperial



Chikatsu-Asuka Historical is



Museum



and dedicated to the exhibition



research of kofun culture. integrated To produce a museum mounds, it was



with the burial



conceived as a stepped



hill



lifted



terrain. tectonically from the natural



from where the



visitor could



mound



entire burial



view the



group. Nearby,



among plum trees, a pond, and paths hills envelop the surrounding the



museum



in



to outdoor



an environment conducive activity



and allow



function as a regional hub.



which will



is



really a large



be used



for



it



Its



to roof,



stepped plaza,



drama and music



festivals as well as lectures



and other



performances. display areas Inside the building, the



exhibited are dark and the objects are tombs. as they were found in the



sensation Visitors experience the of entering an actual



drawn,



in



tomb and



mood, back



feel



to ancient times.



Location Osaka



Design 1990-91 Construction 1991-4 and steel Structure Reinforced concrete Site area 14,318.3 m-



Buildmgarea 3.407.8



m



Total floor area 5.925.2



402



;



m



;



site plan.



403



iew and conceptual sketch.



Jfc&g%



404



View of the



roof, detail



of a burial mound



and floor plans



405



Views of the courtyard and the ramp.



YKK Seminar House



This



is



a seminar



house



for the



young



employees of a corporation whose headquarters are



The



building,



an urban centre.



in



which has



six floors



above ground and one below, comprises 93 rooms arranged inside a two-level-high perimeter wall



enclosing the square



Each room



site.



connects with courtyard space. They are



accommodated



two elements



in



to



the east and west of the site and are



separated by courtyards, yet



connected by a bridge.



The western element



is



a low, two-



storey volume, while the eastern



element



is



a low, three-storey volume



from which project two six-storey highrise



volumes with square 8.7 x 8.7



metre plans. Such public lounge and



cafeteria,



contained



in



hall



facilities



as



are



the underground level,



which fronts onto a courtyard.



Each simple



floor of both



elements



plan - regular



in



is



rows of rooms



with a 2.9-metre frontage. Variation is



introduced into the spaces of the



rooms by



orienting their openings



towards courtyards of individual character.



distinct,



The



central court



area of the building obtains three-



dimensional character through



its



two underground and



articulation into



ground-level courts.



A connecting



ramp, however, gives them continuity



as a



spatial experience,



and unity as



the unclear space of the building.



Location Narashino



Design 1990-91 Construction 1991-3 Structure Reinforced concrete Site area 2.067 8



m



Building area 870.5 Total floor area 4



406



.



1



;



m



2



99.8



m



:



Axonometric and views of the courtyard and the



ramp



407



Children's Seminar



House



Location plan, axonometric. overall views of the building



This building children



a residence for school-



is



on vacation



environment not Children's



Full



is



1



the



rich, natural



the



in



989, which the Seminar



intended to complement.



advantage



surroundings



where



in



from the Hyogo



Museum, completed



summer of House



far



is



taken of the excellent



the creation of a place



in



children can look forward to



spontaneous encounters with nature in



unsupervised



play.



A series of stairs runs up to the facilities



by following the natural



contour of the



land,



and an



pond has been established



artificial



base



at the



The highest volume



of the building.



capped with an observatory so



is



that



children staying here can experience



the



thrill



of star-gazing.



A waterfall -



formed by water running in



front of the bath



off the pond house - helps to



accentuate their experience of



oneness with the



nature.



facilities is



the excitement to



encourage



The ascent



in



arriving children



their appreciation of



nature's splendour.



Location Himeji



Design 1990 Construction 1991-2 Structure Reinforced concrete Site area 26.078 nr Building area 8 1 7 9 nr Total floor area 2.810 5



408



to



by footpath to increase



rrr



and



and conceptual sketch.



409



Kyoto Garden of Fine Arts



Views showing the



circulation areas



ramp, plan and section.



The Garden of Fine Arts



is



located



next to a botanical garden on Kitayama



Boulevard



museum



Kyoto and



in



is



an open-air



enjoyment of master-



for the



pieces of Western and Japanese while



art



contact with natural phenom-



in



ena such as



light,



The museum



wind and water.



itself is



a conceptual



extension of the Garden of Fine Arts



Osaka designed



for the



1



in



990 Garden



and Greenery Exposition, and reflects a recurring interest



in



developing



processional spaces along the



approaches



such projects as the



to



Water Temple



(



1



989-9



1



)



and Church



on the Water ( 985-8). Here, such 1



outdoor



spatial



sequences constitute



the entire project.



There



ground and a



is



an enclosed area below



level within



which three walls



circulation area consisting of



bridges and ramps create a rich variety of



spaces on three



levels.



Water



is



introduced into the experience through three waterfalls and pools at each level.



The project was conceived as



a contemporary, volumetric version



of a



stroll



garden.



Location Kyoto



Design 1990-92 Construction 1993-4 Structure Reinforced concrete Site area 2.824.4 Building area



m



:



28 nr



Total floor area 212.2 m-



410



and the



411



Kyoto Station Reconstruction Project



Perspective, conceptual sketch, views of the



This proposal



is



response



a



to the



issue of



how a new



station



building should



be handled



in



critical



a city of



immense



Kyoto,



historical value.



It



therefore transcends the functional conditions assigned to the for the competition



grow from



.



programme



A city does



utilitarian



not



or economic



reasons alone; as a collective body of historical legacies,



has a



it



multiplicity



of values. To create architecture



means



city therefore



conscious



in



the



bringing to



that the vastness of



life all



time has concealed. And. the station,



as public



facility,



must



offer



some



kind



of structure for the city's public face.



This building consists of



two



parallel



gate-like structures Cthe Twin Gates),



a vast elevated ground-level area,



running north-south, that functions as a plaza, and an



immense sunken



mall



(the Yellow Circus), conceived as a 'well of light'. in



The



station facilities are



a central location beneath the Twin



Gates. These identical gates simultaneously hold a dialogue with the past, the present and the future,



and reunite Kyoto's landscape, which



was



fractured into north and south by



the introduction of a railway a whole, the building



is



line.



As



a public area



of three-dimensional character that invites nature within



to generate a



and endeavours



new environment.



Location Kyoto



Design 1990-91 Structure Steel Site area 38.000 m-



Buildingarea 34.340 Total floor area



412



20



1



.



m



;



000 nr



model and plan.



-



i



413



Oyamazaki Museum



This project old



is



an attempt to give an the suburbs of Kyoto



villa, built in



the



1



920s,



Site plan, section



new



life



as an



art



in



museum.



was constructed when western-style architecture was still rare in Japan. Its original owner based its design on



The



existing building



at a



time



the Tudor architecture he had



studied



England.



in



A cylindrical



gallery of 6.25



metres



diameter has been set below ground



in



close proximity to the existing building. Plants are



grown on the roof and



periphery of the gallery, to meld the garden.



The



gallery



is



it



in



the



with



connected



with the old building by a linear staircase, placed at the



approach to



the existing building, so that visitors are required to pass through the old building to reach the new.



The new



structure has been placed



underground out of respect old building,



continuity with past



works are displayed while the



for the



and to avoid disturbing



new



its



memory. Ceramic in



the old building,



art gallery exhibits



Impressionist works.



The two spaces allow



visitors



contrasting spatial experiences.



Embraced by the visitors



natural environment,



can enjoy



ambience



art within



present eras.



Location Kyoto



Design 1991^1 Construction 1994-5 Structure Reinforced concrete Site area 5.481 Building area



m



699



!



m



:



Total floor area 1.006.3 nr



414



an



of coexisting past



and



and perspective.



em ofthe ~zz~ and



: arts



-'



:



Floor plans, views of the model and



Konan University Student Centre



site plan.



near the Osaka/



Konan University



is



Kobe



hilly district



border,



in



a



overlooked, from the north, by



Mount



Rokko. This proposal for an on-campus building - comprising an open-air



theatre, a multi-purpose



rants



restau-



hall,



and cafes - attempts to provide



students with stimulating arenas for college



The



outside the lecture theatre.



life



building has a large



outdoor space



around which there are



at its core,



complexly interwoven



interior



and



exterior spaces.



The



building contains



two



cylindrical



volumes, expressing contrary rotational



movement. The western



cylinder



an outdoor amphitheatre -



is



ringed with restaurants and cafes on



three levels, and offering rich



opportunity for contact with nature. Interlocking with this



is



a three-storey



rectangular volume with a 9 metre



span double-vault



space



roof, containing



for student shops.



cylinder



is



The eastern



an indoor multi-purpose



hall



with triple-volume atrium. This cylinder is



concealed by the rooftop plaza



the



second



level,



at



next to the stepped



plaza that serves as the approach to



the building.



The plazas provide spaces and contrast the existing



campus



vibrant external distinctly with



buildings that



surround them.



Location



Kobe



Design 1991 Structure Reinforced concrete Site area 7.885 nr Building area 3.031



rtr



Total floor area 7.31 5 nr



416



J



SL^Uiflgi



417



ftara



Convention Hall Project



The proposal endeavours



to



promote



the past by evoking a strong futureoriented image, thereby giving Nara,



an ancient city with 1,400 years of history, a direction to the future



return to



The



vitality.



two plazas with



of



and a



building consists



distinct directional



movement, one descendant and one ascendant, a shelter that articulates their territories at



ground



cities,



level,



As



three interior theatres.



in



and



older



downtown environment



the



of



Nara has become monotonous,



its



individual character



now faded.



Inserting this public place into the



environment



will



help to generate



a city core with a strong identity.



The



shelter's



original



one



that



shape



is



an entirely



borrows from recent



technology. The articulation of the



Twin Forums', as the plazas have been named, has bestowed an innovative characteristic to the space that



is



simultaneously an interior and



exterior. In



its



function as a public



stage, this space stimulates varied



movement among



people, and



produces new energy



The design



for the city.



layers and interconnects



spaces of contrasting character and function,



As



each stimulating the others.



a city core, the building connects



past, present



a vibrant



and



future,



message



and radiates



to the city



Location Nara



Design 1991-2 Structure Reinforced concrete Site area



1



6.390 nr



Building area 5.282 nr Total floor area



418



16,037 m-



around



it.



Site plan, view of the



model and section



-' 5



Church



Floor plans and view showing the cross



Tarumi



in



the concrete wall.



This church, on a low



hill,



combines the



functions of a chapel and a parsonage.



A large zelkova tree has been planted in its



approach, as



if



to



welcome visitors.



Ascending a ramp along a curved wall on the property



they arrive at the



line,



and



central court,



finally



The



the chapel.



purpose of this approach



to mediate



is



between the mundane space of day-today



and the sacred space for



life



worship



The



chapel.



in its



building



is



composed of a



5.4x33.8 metre rectangular volume and a penetrating diagonal



wall.



The



chapel and the parsonage are on the



same axis,



facing



each other across the



so that the mass of the



central court,



rectangular volume



The chapel



divided



is



in



two.



a double-volume



is



space. The wall behind the altar



box space



articulated from the



chapel by



slits



between



it



is



in



the



and the side



walls and ceiling. This produces,



in



the



deeply recessed chapel, a quality of spatial



depth that transcends physical



space. Light, piercing the



slits, illumi-



nates the surface of the walls and



envelops the freestanding cross



from behind, giving



The upper



definition.



it



level of the



accommodates



parsonage



the minister's quarters



while the ground level contains a



meeting room for the of the congregation.



daily activities



Each



independent court, to give



and closeness Location



level it



to nature.



Kobe



Design 1991-2 Construction 1992-3 Structure Reinforced concrete Site area



622



Building area



1



1



rrr



87 5 .



m



;



Total floor area 304.5 nr



420



has an



openness



in



i



J ?-.



hr



421



Views of the model, plans and section.



Museum



Suntory



This project seeks to explore the



richness water bestows on our lives



when we can enjoy a with



it.



water



and



vital



relationship



to bring a familiarity with



into daily



The aim was



life.



unify the seaside plaza of a



to



museum



with a descending plaza fronting the water. 1



The descending plaza



is



large



-



00 metres long and 40 metres



across - and runs down to the water in



slopes and



An



art



stairs.



museum



should act as



a forum for encounters



people and



so



art;



it



between



was just



a matter



of extending this idea to a forum for



exchange between people and the ocean. Here you can enjoy the sea breeze, the motion of the tides, the



sun setting



the ocean, the people



in



who have gathered - all things intermingle.



seen as seating



you can turn to



monumental



for the



number



there are any



of these



The steps can be audience and



of stages that



for entertainment. Five



are arranged at the



pillars



water's edge and are repeated on the



breakwater 70 metres from the shore as evidence of the architect's intention to reinforce the



sense of contiguity of



plaza and ocean. of a



The



building consists



massive drum-shaped volume, or



inverted



cone (48 metres across the



top) penetrated by



two rectangular



volumes. The drum-shaped volume contains a 32-metre-diameter sphere that



houses an IMAX



theatre.



Location Osaka



Design 1991-2 Construction 1992—4 Structure Reinforced concrete and steel Site area 13.429.4 m-



Buildingarea 3.983 8



m



Total floor area 13.804.1



422



m



2



423



Oblique view of the entrance, axonometric



Lee House



This private



and view of the courtyard.



house



is built



on a



hill in



the suburbs of Tokyo. Small garden



courts of varying character are



stacked on different levels within the building to grant



each court



own



its



distinct character.



Overall, the



house has



a three-level



rectangular core with a 5 x 2 plan. in



An



internal court



is



1



metre



positioned



the mid-section of this rectangular



structure, with



rooms



at either



end.



The rooms face each other across the court at staggered half-floor intervals,



and are connected by ramps running parallel to the court.



The ground



room and



floor



dining



houses the



living



room where the



gathers, while individual



family



bedrooms are



arranged on the upper floors. The dining



room faces the



gentle, green



slope of the garden. This garden brings nature into the lives of the residents, while ensuring privacy by



obstructing



from outside.



visibility



Location Funabashi



Design 1991-2 Construction 1992-3 Structure Reinforced concrete Site area 484.1



rrr



Building area 174.8 mTotal floor area 264.8



424



m



2



-I:



..wsofthe garden and the .'.



426



and interior view.



427



Museum



Wood



of



Elevation



The Museum of Wood was



built for



the celebration of the 45th National



Arbor Day.



It



enjoys



stands of forest, a region



rich



a region which



is in



blessed with a unique natural



environment the Pacific



in its



location



Ocean and



between



the culture that



environment has produced.



The



was



first



forest, it



was



where



The museum.



possible.



come



should



felt,



its site



The



consideration of the project



to avoid cutting the existing



naturally to



within the enclosing trees.



building has a ring-shaped plan,



46 metres



in



diameter, and contains



a one-room, ring-shaped space. 1



8 metres high.



on a



Pillars



stand aligned



circular arc within this space,



which displays the characteristic



power of space formed by wooden pillar



and beam construction. Here,



items related to cultures of forest and



wood



are exhibited, along a curvilinear



ramp winding through the



interior.



The



space



in



the centre of the building -



which



is



devoted to a pond -



a dramatic encounter



water.



An



facilitates



between sky and



inclined bridge penetrates



the building, crossing the pond and leading to the annexe, which offers



views of



rich



enclosure of forest.



Museum visitors



can thus



experience both the profound wealth of the forest and,



in



the powerful



space produced by the a recreation of the



building,



human



nourished by that wealth.



Location



Hyogo



Design 1991-3 Construction 1993^4 Structure



Wood



Site area 168.310 mBuilding area 1,951.3 mTotal floor area 2.694.6 nr



428



culture



and plan with



section.



Overall view



and plans.



429



Interior



430



views of the



museum



-r



Gallery



Detailed views of the



Noda



and view from the



The



site is



near a railway station



central Kobe,



on a corner



lot



in



facing



the railway tracks across the road.



exceedingly small and irregular



is



plan.



The



client



requested a complex



package of disparate functions: a an



It



in



bar,



an atelier and a



art gallery,



residence. These



difficult



requirements were resolved by overlaying the four functions around a



10-metre-high atrium that penetrates all



four levels of the building.



A staircase



rises



around the atrium,



and doubles as the sole path of



movement and



the art gallery.



The



art



gallery originates at the ground-floor



entrance as a balcony overlooking the bar,



which



The



atelier



is



at a



semi-basement



occupies the second



with the residence on the top



level. level,



floor.



A



skylight at the top of the atrium allows



natural light to suffuse the



the interior space, which



darkness of



is



otherwise



sealed within concrete walls. The



residence has a large window through



which the presence of the railway tracks below and the chaotic urban



surroundings are



The



felt in



the room.



size of the project site



all



jj



architectural



However, the extensive



production of a



rich



microcosm



the buildings.



Kobe



Design 1991-2 Construction 1992-3 Structure Reinforced concrete Sire area 39 8



rrv



Building area 27 m' Total floor area



432



kg/



and



study concluded with the successful



Location



^*7^^



j/t



budget seemed to



restriction of



conspire to reject possibilities.



/



79 nr



within



>W



^^



7y



ral



d).l



1



^^--



stairs,



street.



axonometric



433



Rokko Housing



When is



designing, the site



not viewed



in



Axonometnc of the residential complexes, view of the model and conceptual sketch.



III



in



question



isolation - the



neighbouring sites and even areas that



lie



beyond are also taken



consideration.



into



Rokko Housing



III



can



be placed within such a conceptual



scheme. facilities



a housing



Though projects



also introduced



It



new



such as a kindergarten and



I



complex in line



and



II,



for the elderly.



with the axis of project



III



used



L-shaped blocks, which served to



make



it



both an open and closed



space. This design does not merely continue on a greater scale the aims of projects



I



and



II,



but strives to



make



the lives of the residents richer



through the introduction of facilities for public



new



use and through



the use of mutually connected and



\l{



continuous space. In



challenging the theory of



development which sees from beginning to end only a quantitative



expansion of surface, the Rokko



Housing series has instead contributed a



critical



character and



a qualitative stimulus to the area.



Location Kobe



Design 1992



434



'/>



' -



I



i



435



Fabrica', Benetton



Research Centre



Overall



plan



A seventeenth-century Palladian villa suburb of



stands on the



site in a



Treviso, a city



30 kilometres from



Venice villa



in



was



northern



Restoring this



Italy.



the point of departure for the



design, which for students



for a research centre



is



from around the world



in



the fields of architectural design,



photography, graphic media, and



textiles.



art.



The



include a restaurant and



rooms



front onto,



and



image



facilities library. All



find



interconnection through, the plaza,



which becomes a place for varied



A new colonnaded



exchange. 7



gallery



metres wide penetrates the old



and



pond



The colonnade combines



front.



in



with the



villa's



create a



new



The



villa,



colonnade extends across a



its



reflection



in



the pond to



landscape.



was. by adding new



intention



architecture, to bring out the old



charm and



vitality,



villa's



and produce -



harmony - a mutually



within an overall



catalytic relationship



between the



old



and the new that would transcend time.



Through



this



research centre,



students coming together from various international backgrounds



exchange



was



their cultures.



The aim



to express the spirit of the



engaging



in



new



dialogue with the old,



and the subsequent emergence of



new



creativity.



Location Villorba, Treviso.



Italy



Design 1992-5 Construction 1993-6 Structure Reinforced concrete Site area 5



1



.000



Total floor area



5.000



436



m



r



)



1



m 1



2



.000



rrr (first



phase,



and detail views of the model,



and sections.



site



V: _n



a



o



d_



a



_ u



437



Site plan



and section of the



underground areas.



438



439



Installation for 'Tadao



View of the model and perspective of the



Ando Architectural Works'



basilica.



Exhibition



Into the large hall of a Palladian basilica



several elements have been



introduced to create varied routes



through the exhibition. Four voided



cubes, located



at the



centre of the



hall,



emphasize the two axes of the exhibition space; these also contain



A long wall,



the exhibition



itself.



parallel to the



main elevation of the



basilica,



separates the exhibition from



the circulation spaces.



Finally,



two



wide stairways between the cubes and the



hall's



at the



perimeter wall enclose while



same



time lead the visitor to



and from the



exhibition.



Location Vicenza.



Italy



Design 1994 Construction 1994



440



•>J



Conceptual sketch, plan and section



441



Writings by Tadao



Ando



published writings. Sources for the texts



are given at the end of each piece.



A Wedge in Circumstances



On



the surface,



my



may



architecture



look



abstract space trimmed of



like



humanity and function, and any other aspect of daily



spaces



in



my work are



attempt person



justifies the



cooking labour



wish to create prototypes because wish to I



I



someone who



of



life



which



is



continuously developing. This



builds buildings.



My



approach to the



using these spaces amounts to that of an intermediary



theory and appeal to the deepest



an



in



in-



my spaces transcend other words, my spaces relate



spiritual levels. In



true - as



Gaston Bachelard says -



that



all



architecture has a basically



poetic structure and that the fundamental structure of spaces cannot be given a physical manifestation. But since the circumstances of the environment



in



which



we work are absurd and since we can only vaguely understand our own existence, we hope to infuse architecture with a sense of the actual by coming into contact with the deepest aspects of



Two



human



nature. a



use of limited materials, which have



exposed, and an ambiguous articulation of the function of space.



their textures



believe that these attributes enable



The strong nuances



me



to



and



of simple materials



produce effective



emphasize simple



their textures



I



spatial prototypes. spatial



compositions, and thus provoke an awareness of a dialogue with natural elemeots



such as



The



light



and wind.



In all



of



my works,



lack of clear functional articulation



exterior, since the



light is



decisive



does not



in



forming space.



arise from connections with the



spaces are almost completely enclosed.



adopting this method



is



My



reason



for



always related to the desire to inspire internal vistas within



the individual which correspond to spaces that the individual harbours within himself. For this reason,



and to the



interstitial



emphasize the



I



indefinite parts related to



human emotion



zones between functionally established spaces.



spatial prototype the emotionally



fundamental space. Once



follow this procedure to sublimate



into a



it



symbolic space.



process for the sake of creating spaces. Instead,



I



am



symbolizes and includes spaces for modern daily



it



I



I



call this



has been created,



do not submit



I



to this



aiming for architecture that



By doing



life.



this,



I



hope



to



create social meaning and mutual feelings with the user of the space on a



fundamental



does not



the acquisition of social meaning by a work of architecture



level;



signify the participation of the architect in social



movements, nor does



relate to the general understanding of architecture. Architecture thing.



Only through architecture



relations.



In



No



matter



is



it



other words, the only



independence



is



how



from the daily



to drive



one wedge



life



in



is



a



it



one-time



so-called alleyway



is



in



in



spatially wonderful,



444



is



related to function and techniques,



must vary from case to case according unique. For that reason,



opposed.



is



viewers. However, only in



after



endorse



his



own



another into any given situation.



is in itself,



I



believe that



it



Japanese farmhouse. Though the dimly



also serves as a link to the



shop



lit



feel that



I



fixed



connected with deep



the



if



any way, but



in



case



to the requirements of the is



may be



it



the occupant. But,



must not be



hand.



in



spiritual levels,



offers something fresh to the ordinary spaces, to



it



when



it



has meaning on the



a structure that includes both space and



life.



fundamental space becomes symbolic of daily



means



create enclosed spaces mainly by



significance of enclosure



is



level of daily



does



life



result



it



only then that the emotionally



It it



life.



of thick concrete walls.



The primary



the creation of a place for oneself, an individual zone,



within society. Society today, like the high-level bureaucracy that represents



stresses overall structures; the individual



is



it,



same can



subordinate to society. The



be said of problems of architecture and the environment. The dullness of our environment reveals how senseless



seems



me



it



is



to



abandon and submerge the



way



produce a



surroundings.



It



environment



for strongly individual entities to aggregate.



will



is



to



that the only



to



I



living



self



in its



and vibrant



create the wall that



first



establish the place for the individual and that can express the



to set up



will



relations with society.



From the



because



outset,



we determined When



of the cruel urban surroundings,



create an individual zone by



means



of thick walls without openings.



to



it



is



impossible to leave a house unprotected from external factors and one has to



employ an enclosure of It



this type, the interior



must be the place where the



individual



must be especially



world outside. Special considerations must be taken of residences since If.



as



I



cities are



now attempting



believe, architecture ought to contain living



create buildings that reveal indications of



become supports



that



that



my



attempts



in



intensely



to



speak



of his circumstances



livability



urban



in



wedges



is



human



being,



I



to the



want



For this purpose,



TAndo.



'A



Wedge



in



in



I



we



live



- circumstances



a convincing fashion -



Though



am



it



may seem



in



in



feel



I



to



be



convinced that a creative



of great significance.



helps the architect



and provides hints



Circumstances',



to



must



I



of the self and that create a



life



to us



into this situation



the act of driving these



aware



for the



on the part of the architect.



approach that drives wedges in



fail



satisfying.



spaces conducive



life.



this direction are important.



arbitrary or prejudiced



generated



human



the circumstances under which



In



and



to force out residential spaces.



physical and psychological development of the individual



produce things



full



can develop even when isolated from the



for his next



The



friction



become more development.



alleyway



at the front of the



it



functional.



both enlivens these spaces and speaks to the heart of the



It



which the things surrounding us



architect can



the Kyoto-style townhouse and the earthen-floored



it



it



it



the



in



which



in



when daytime



related to such technical matters as lighting and ventilation, or



meaning



is



the place



is



The meaning may be



affairs.



lifestyle of



which



it



carried out at night



is



important from the standpoint of the distinctive



way an



I



the traditional



may be



everyday ordinary



for



sense of existence.



emotional space and the symbolic everyday-life space ought to fuse include the



entranceway



the rear. The earthen-floored zone



consider any emotionally fundamental space extraordinary,



I



possible for the architect to create social



must not be cut off of the occupants. Examples of the way in which think the



dramatic the space



in



the fields has ended.



must have meaning It



zone



residential



simultaneously symbolic and functional, since



done and where farm-related work



is



in



Although



I



my work:



features are characteristic of



is



The emotionally fundamental space, which



to fundamental aspects of humanity.



may be



farmhouse



not attempting to produce spatial abstractions,



depth dialogue between the user and the architecture;



It



townhouse with the



are the emotional expression of various people



into a long investigation,



who will be



all



because the



am



I



rather than an intellectual operation.



make my work



is



My spaces



naked.



but spatial prototypes.



This



life.



The Japan Architect. 243, June 1977.



The Wall as



Territorial Delineation



The erection of a



single post has the effect of interrupting a scene. Similarly, a



single wall severs, interrupts,



placed:



it



Tadao Ando, Matsumoto House.



begins to



show



opposes and



on which



violently alters the site



same



signs of evolution into architecture. At the



it



is



time,



shadows cast on the wall by the leaves of nearby trees can cause the wall to blend its landscape. Generally, various elements coexist in a series of mutual



with



rhetorical relationships. But



today,



in



such relationships. environment and the



in



the urban environment surrounding us



spite of an over-abundance of material things, I



believe that the



first



is difficult



it



step to take



in



in



Japan



to establish



revitalizing



such an



that of reconsidering the basic, primitive significance of the post



is



wall.



The post's verticality gives it a symbolic quality which has been traditionally acknowledged in Japanese architecture. For instance, the sacred, non-structural posts that form an important part of the great Ise and Izumo shrines represent a simple kind of religious



faith.



The massive post



called the daikokubashira



vernacular Japanese farmhouse dominates the surrounding spaces. the authority of the head of the house, and the strength involved



One



roof over the family.



space. Another



is its



of the



most



uses of the post



significant



establishment of rhythm by



means



in is



It



in



the



symbolizes



supporting the



as a definer of



of colonnades, or



rows of



The colonnade suggests a partition, and its movement is horizontal instead of soaring. The development of the modern rigid-frame structure posts.



[...]



undeniably liberated architectural spaces, but



giving



in



precedence to function



it



underplayed the significance of the post.



The



system



rigid-frame



robbed the post of



is



its



based on modernization and economic balance.



myths and the colonnade of



circumstances, the wall emerges as a major theme. relative



comparisons between the post and the



any way superior to the post. Instead



and the post are



I



have



in



I



its



am



It



has



,



rhythm. Under such



make



not attempting to



wall or to claim that the wall is in



mind an operation



in



which the wall



rhetorically interrelated.



The cheap scrawl and crowded conditions of the modern Japanese city reduce the liberation of space by modern architectural means, and the resulting close connection between interior and exterior, to a mere dream. Today, the major task is



building walls that cut the interior off entirely



the ambiguity of the wall, which greatest significance.



I



is



employ the



from the



exterior. In this process,



simultaneously interior and exterior wall to delineate a



space that



is



is



of the



physically and



psychologically isolated from the outside world.



am implying that walls can be is suggested by their application in the house. used to help break the unlimited monotony and random irrelevance of walls as they appear in the modem urban environment. In other words. think walls can be



As



I



I



used to control



walls. In the



Matsumoto House,



for example, walls



the world of nature delineate a territory for



which stand



human



habitation.



independently



in



Inexpressive



themselves, the two major bounding walls are protective devices



in



for the interior. At the



natural world limiting



T Ando.



same time they



and help to introduce



it



reflect the



changes taking place



in



into the daily lives of the inhabitants.



operation of the walls directly reveals the boldness of the house



'The Wall as Territorial Delineation',



in



the



The



itself. [...]



The Japan Architect. 254. June



1



978.



445



From Self-Enclosed Modern Architecture towards



The kinds of houses, apartments and commercial buildings over the past ten years pose problems that take a long time



that



I



have worked on



to solve,



in



demand, and are unprepossessing, stimulating



to the effort they



glamour and



reaction. Although they undeniably lack the



flair



Universality



proportion public



little



of large architectural



a theory providing for the I



I



attempt to choose from the forces latent



working, and



point of view of everyday relations



sensibilities of the



around which architecture develops. Architecture



depends,



still



created by the Modernists. This



In



fundamental



at a



is



level,



especially true



on the forms and methods



Japan



in



for



many reasons.



First



suspect immense gap between life in Japan before and after World War that.no Westerner could comprehend the distance between the old-fashioned Japanese way of life and the changes introduced into this country in the postwar period. [...] The result has been that, whereas in the broader current of is



the



II.



I



of the individual parts.



simple forms - subdivisions of the square; the rectangle and the



projects like theatres, libraries and art



museums, buildings of this kind, from the with human beings, represent the basic points



life



create architectural order on the basis of a geometry, the basic axis of which



Japanese people.



where



became



With young eyes and a



[...]



tree's environment,



rings



I



interested



trying to



in



child's sensibility



and how sunlight could



and thus change the



am



I



founded on the



in



which



spent a



I



make shapes



observed the effects of



I



the lumber produced from



tactile qualities of



lot



out of a



thickness of a tree's growth



alter the



knowledge of the personalities of woods,



a direct physical



is



[...]



I



of time as a child,



where



a particular region



in



develop a theory of parts that



to



house where grew up was a wood workshop,



front of the



wood.



way



this



in



is



circle. In addition,



it.



I



gained



their fragrances



and



instance, although they continue to unhesitatingly use the standardized, uniform



came to understand the absolute balance between a form and the material is made of. My very body came to know how extremely important that balance is. experienced the inner struggle inherent in the human act of applying will to give birth to a form. In addition, my flesh came to know that creating



materials that are souvenirs of Modernism, they vigorously pursue conceptual



something - that



novelty and as a result ostentatiously display an eccentricity of formal expression



Later



Modernism



architectural culture



Japan.



that



is



a thing of the past,



is



isolated from both outer and inner



Born and bred



be said that



it



remains unassimilated



the Japanese display a strong dichotomy even



Still,



in



Japan.



my approach



human



here.



I



suppose



it



could



applies the vocabulary and techniques developed by an



open, universal Modernism within the enclosed realm of individual lifestyles and regional conventions.



It



seems impossible



to



me



to try to attempt to explain the



customs, aesthetic awareness, distinctive culture and social



sensibilities,



means



traditions of a given race by



open



of the



internationalist vocabulary of



1



955 and



with the indigenous



reproduce



1



960,



many attempts were made



Japanese



tradition of aesthetics



modern materials (concrete and



in



forms that came



into being



(wood) amounted



in



encountered many



difficulties,



War



II.



[...]



The



old,



But trying to



compatible techniques



and fundamental connections



is



of the past



this



attempt



and today's



lifestyle,



which



too great.



when Japan launched on



people's values changed.



[...]



and before long, ceased to emerge. The



so sharply from that of the past,



After World



open vocabulary



reason buildings making



between the unaltered forms



contradiction



and forms.



steel) with



to ignoring the inevitable this



to link this



Japan's traditional building material



relation to



between material and form. For



differs



it



I



my



a



course of rapid economic growth,



made



came



volume and human relationships



physical being. things that in



it



impossible to preserve



in



the



richly real,



unadorned



The aim



my design



of



meaning



aspects of



into



daily



life.



light



In



my



a restoration of the unity lost



in



buildings, relations with nature are



is



definitely



modern. And



theory of a kind that traditional



446



expressed as a theory of



parts.



I



it



between



Such things as



and



air



in



pursuit of the



into



and shade



in



modern spaces,



architectural



my own



through high windows into



light



the streets



reveal to



architectural theories, to impart



light



and wind only have meaning when they



a form cut off from the outside world.



in



The



created have altered and acquired meaning through elements of nature



isolated I



have



(light



and



which give indications of the passing of time and the changing of the seasons,



and through connections with human kinds of development are inherent in



me



space and people.



suggests the entire natural world. The forms



simple ways. Furthermore. life



other words,



circumstances.



I



that



-



in



life.



Although many possibilities for different



space,



I



prefer to manifest these possibilities



like to relate



will



be



the fixed form and compositional



lived in the given



space and to in



local regional



reaction to the prevailing



[...]



As mentioned before, in the Japanese style and to use structure



I



in



select solutions to problems



I



a building comes into being. My demands both an overall compositional Japanese architecture was unable to generate and



emphasize the background against which architecture



between house and



the process of modernization.



began wandering



light filtering



when projected



while embodying



is.



I



spaces through such things as natural elements and the many



In



is



of twenty



or sharp contrasts of



relations



are introduced inside a house



fragment of



I



Japanese farmhouses (minka) and townhouses. and



snowy north



society.



Japanese houses have



in



of medieval Italian city states,



rich



my youth. came to understand these my mind, but with my entire



during



western architecture. For instance, the



connection with nature and openness to the natural world. What



refer to as



me



From about the age



to the kind of



I



instilled in



found present



I



method



nature, which



not easy.



actual architecture, not only with



in



the most characteristic feature of Japanese residential architecture: an intimate



enclosed modern architecture



is



to concentrate on architecture, which rendered possible



life.



Through experiences



air),



fundamentally feudal family system collapsed.



Overly dense urban and suburban populations



expressing meaning through a physical object -



is,



interest



farmhouses



Modernism.



Between



I



the consideration of intimate relations between material and form, and between



life. [...]



my architectural work



carry out



I



in



regard. For



in this



their textures.



late sixties, it



-



in



it



was popular to



talk



buildings constructed of



modern



materials.



Most



however, did no more than copy old-fashioned elements eaves, lattices and verandas.



I



about the so-called



the form of the traditional post-and-beam



prefer not to deal



in



like



of these buildings,



roof forms, deep



the actual forms themselves.



Shoji panels at the Katsura Palace



and



drawing by Tadao Ando of a tea house.



but



in



and emotional contents. The



their spirits



stimulated the



most varied developments



in



of the Sukiya style has



spirit



Japanese



traditional



architecture.



Verbal explanations of the whole nature of sukiya architecture, which evolved to provide places for the tea ceremony (not only a purely Japanese complex of art



and performance, but also



On



in itself



a concentration of



Japanese conduct), are



impossible.



virtually



a small scale. Sukiya can refer to a single isolated tea-ceremony house; on a



large scale,



it



can stand for a whole series of fairly elaborate quarters



the Katsura Detached Palace. kind



was popular



what



their sizes,



in



The tea ceremony



among people



the past



that resulted



in



like



of a high social position.



no Sukiya buildings were related to ordinary



daily



modern times, the Japanese have developed the tea ceremony



those of



buildings of this



into



No



matter



life. In



more



an extremely



simple and brief art form, characterized by a highly rational order of execution. this art



form has given



rise to a



And



group of extraordinary buildings based on the



uncategorizable concept of Sukiya.



Although Sukiya



itself is



not the property of ordinary people, the aesthetic



awareness and emotion evident whole.



in



is



it



fundamental to the Japanese people as a



Some of the aspects of that aesthetic



architectural



in



terms are low eaves,



extended verandas and the delicate combination of the two. The Sukiya takes the loose natural scene and recreates



uses



panels to contain



shoji



light,



inner and outer garden walls by



it



artificially in



interrelate



Japanese



same



It



and simultaneously separates and connects the



means



of fences.



Both the shoji panels and the fences stand for an connecting at the



tradition



a tense composition.



interval, separating



and



demarcate and



time. Intervals of this kind, which



elements and scenes, are a characteristic feature, not only of



architecture, but also of



all



of



Japanese aesthetics. Their major



to



come. Parts made independent by



a



new scene



Japanese role



is



art.



and might be called a symbol



to stimulate anticipation of the



intervals interweave



within the overall setting. This



image



is



scene



and overlap to develop deeply rooted



in



the



between the Japanese house and the world of nature. In the past, the Japan was at one with nature. Articulation directed the thoughts of the



relationship



house



in



inhabitant outward. This relation with nature buildings of the Sukiya style. In



is



especially deliberately pursued



the traditional Japanese house, the wall does not actually exist.



were used. But



their



in



[...]



Of course



walls



main aim was not to express the simplicity of the wood,



paper, earth and straw of which they



were made. According



Japanese



always at one with nature and attempts to



isolate



interpretation, architecture



and freeze



metamorphoses. simplicity



In



at



a



point



other words,



is



time nature as



in it



is



it



to the traditional



exists



in



organic



its



an architecture reduced to the extremes of



and an aesthetic so devoid of actuality and attributes that



it



approaches



theories of Ma. or nothingness. Further connections with nature are effected by



the subtle transformations caused In all



these connections



it



is



in



part by delicate contrasts of light



the wall,



made



as



light



and



thin



and shade.



as possible, that



permits - or perhaps more accurately evokes - space. Openings can be the walls of Sukiya buildings, anywhere



in



accordance with the demands



made



for



in



views



from within. Such openings make possible two kinds of time-related alterations of



447



the scene: alterations depending on the time of day. the changing climate, and the



forms and become



seasons of the year and alterations depending on the movenent of the human observer. Ironically, however, these alterations isolate individual scenes from time



thing with the



moments



as a current, and brand them as static worlds or isolated



generate what might be regarded as a peculiarly Japanese form of true value of the Sukiya style



to



is



be found



the



in



ways



it



of time to



eternity.



The



permits these isolated



spaces are smaller and lower than spaces



Interiors of Sukiya-style



style houses.



in



western-



The dimensions depend on the placement of the human body. In sit on tatami mats on the floor. This very position



sukiya buildings people



transcends the smallness of the spaces. enclosed, sukiya spaces



make



mental spaces. Enclosed



in



into infinity.



When



it



because they are



short,



In



possible for people



in



them



to exist



static in



and



limitless



small places, people can allow their thoughts to range



they do so.



the extreme



at



limit



of contemplation, they



can hear



the voices of nature and travel to cosmic distances. The Japanese interpretation of time



and aesthetic awareness



condensed as those



essential to the generation of spaces as



is



invisible



except



in



The



image of the



field



of vision



buildings,



continuity of parts. Compositional theories are at



The



daily



life



and deepen



its



Space



texture.



the current moving from the level of abstraction to the level of concrete, and



together and



Spaces



become



replete from end to end with a single creative intention.



of this kind are overlooked



in



the



utilitarian affairs of



Japanese



me



architectural style that attracts [...]



strongly



These farmhouses have



is



that of



a simplicity of



composition evolved through years of struggle and amity with nature, and which



and tranquil way of



life



that



is



distinctive of



controlling the composition of the



whole



people



who



till



the



building determined



the spatial structure and the lifestyle of the large family living together as a group roof.



Unlike Sukiya-style buildings, farmhouses had frameworks assembled as spatial totalities that



determined everyday



life.



The



simplicity of the inhabitants'



way of life



accounts for the power of the simple farmhouse's framework. The Japanese view of



life



embraced



a simple aesthetic that



grew stronger as



inessentials



were



eliminated and trimmed away. I



attempt to use a modern material - concrete and.



simplified



forms to



realize a kind of



space that



realizing



have



It



seems



to



me that,



is



awareness



This rests on a simple aesthetic



person.



at present,



spaces created by rays of



specifically,



cultivated



concrete



is



it



abstract, are negated,



and approach the ultimate



they agree with



concrete



my aesthetic limit



and only the space they enclose gives a sense of



volume and projected



light



me



as a Japanese



I



employ does not



must be homogeneous and



When



conditions,



in



alone



in



am Japanese.



I



the most suitable material for



sunlight. But the



plastic rigidity or weight. Instead,



concrete walls -



possible because



must create surfaces.



lost,



float into



image, walls



light



and



become



of space. Their actuality really existing.



is



Under these



prominence as



hints of the



spatial composition.



And



this is what gives meaning to a geometric composition. Universal geometric forms clearly determine spaces and elevate an entire piece of architecture in a



single direction. People living



gradually lose superficial



448



the everyday and



make themselves known. Still, they are capable of stimulating the recollection of their own innermost forms and of stimulating new discoveries. This rarely



is



the aim of what



likely to alter



I



with



call



distinctive, individual



methodology,



it



'enclosed modern architecture'. Architecture of



its locality, in



ways.



which



Still,



opens up towards



,



the old-fashioned farmhouse (minka).



under one



a



the current moving from the level of the whole to the level of individual parts flow



it



sends out roots and grows



though enclosed.



I



feel



convinced



this kind is in



various



that,



as a



universality.



Japan Architect, 301 May 1982.



The notion of



without



of Sukiya buildings. Nevertheless, while dealing subtly with



[.:.]



reflects a settled



the only



sense of transparency



T Ando, 'From Self-Enclosed Modern Architecture Towards



soil.



is



life,



the parts enrich the



life;



attains a



overall unity.



traditional



daily



invisible, latent forces.



parts and their relationships, Sukiya buildings lack a strong orientation towards



Another



in



expands only through



work as



architectural totality supports the order of daily



scenes of



The space



certain instances.



to stimulate emotions.



taking into consideration the total



when



world to overlap and interweave.



power



in



spaces formed on the basis of



awareness of them. The forms transcend



this principle



their nature



as



Universality',



in



The



.



Interior, Exterior



At times walls manifest a power that borders on the violent. They have the power



and create new domains. Walls are the most



to divide space, transfigure place



basic elements of architecture, but they can also be the Historically, walls



most



enriching.



have had negative associations for many people. The enclosing



boundary of a prison immediately comes to mind when one thinks of



and



walls,



they are often perceived as devices that physically and psychologically separate the inside from the outside. Walls are heedless of the inmate's longing to be outside, forcibly keeping him



proclaim that the place



is



in.



To the outside world, the walls of the prison



those



for



who



separation and have been regarded as a to



such



To reject what



much



to be abhorred



is



a part of man's



There



is



and to accept only that which



most basic behaviour,



is



Introducing nature into a building has been an important



desirable



that of habitation.



very



a central



is



It



is



is



everything



and



its



is



acceptance as



one tends



it



when



there



is



an absence of tension



rejection.



is in



In



inside



if



the



in



in



architecture this tension signifies an intense



and the outside. Thus, those places where the the areas of fenestration



is.



in



a



number



of walls at certain intervals.



I



calculated to accept even as they reject.



and



affirm.



By



create openings. Walls are



freed from the simple role of closure and are given a



of wind, sunlight, sky



new



They are



objective.



The amorphous and immaterial elements



and landscape are cut out and appropriated by walls which



serve as agents of the internal world. These elements are assimilated as aspects of the architectural space. This tense relationship



between



inside



and outside



based on the act of cutting (as with a sword), which to the Japanese and destructive but disclosure. spiritual



sky.



instead sacred;



To the Japanese



focus both



definition



is



and



its



sunlight,



in



this act



is



it



has



space and time.



individual



In



is



become an end



that tense



in itself.



It



at



is



not cruel



a ceremonial act symbolizing a



new



provides a



moment, an object loses



and basic character becomes manifest. Walls



wind and landscape



its



'cut' into



us.



At times



it



is



a sharp



is.



its



in



1



976.



blank, interstitial quality, but rarely



the building



itself.



I



does



it



If



must also be given



a building



in



my work



since



have a presence as strong as that of



believe that such interstices should have as



as the buildings themselves. interstices



theme



A courtyard may draw one's attention to



is



to



much



have presence and



their intrinsic logic.



A building



is



significance



individuality, its



enriched



if



these



and made meaningful as



architectural spaces.



The courtyard



Azuma House occupies one



the



in



inside with the outside.



nature



I



mean



not an



is



It



third of the site



and



links the



a device for appropriating a fragment of nature.



artificial



By



and domesticated nature, but a true nature that



is



Of course, bringing nature into the house tends to make life more severe. However, it was precisely in this way that traditional Japanese townhouses were enriched despite their physically cramped form and spatial impoverishment. Today's residential spaces may be quite capable of confronting the



individual.



more



suitable for



courtyard



is



man and



is



more



true to the basic character of the house.



is



The



an important place where seasonal changes can be directly perceived



through the senses. The expression of nature changes constantly. Sunlight, wind



and



the senses and give variety to life. Architecture medium by which man comes into contact with nature.



rain affect



becomes



a



do not believe architecture should speak too much.



I



nature



in



passage of time. like



It



may



gently pervade space at



a blade at the next. At times



light.



Wind and



chilling



It



should remain



the guise of sunlight and wind speak. Sunlight changes



rain



it



is



almost as



if



in



in this



silent



way



and



let



quality with the



one moment, and stab through



it



one could reach out and touch the



are equally transformed by seasonal change. They can be



or gentle and pleasant. They activate space,



and nurture within us a



make us aware of the season



finer sensitivity.



every instant, and the architecture



TAndo.



reverberates to this continual demonstration of power.



The more austere the wall



surface



comfortable and functional, but a house into which nature has been introduced



extreme importance.



buildings, walls play a dual role, serving both to reject



positioning a



rejection.



is in



one's guard. However,



the internal world disintegrates



interior,



order meets the external order, that



building, are of



down



to put



Azuma House



the design of the



interstices are structured according to a clear design



believe therefore that tension should be as present



I



between the



confrontation



my



other words, habitation depends



the act of acceptance than there



in



this



allowed to penetrate into the



act of acceptance.



In



and with



to affirm



centrality collapses. This results



internal



In



manipulation of rejection and acceptance.



generally less tension



To accept



all



materials constitutes a challenge to contemporary civilization.



of closure. Having been relegated



accept and assimilate only those aspects of the outside world that



skilful



appropriate and satisfying. Simplification through the elimination of



means



promote the maintenance of the inner realm. on the



from the restraint placed on



desires.



decorations, the employment of minimal, symmetrical compositions and limited



concern of habitation to keep out the external world and to protect the world inside, to



liberation of the species, originating



Once a desire approaches satisfaction, it grows larger and stimulates other ambitions. Man enters a never-ending cycle and becomes dominated by his own excessive desires. What really enriches an individuals life in an age such as ours? It is important to discover what is essential to human life and to consider what abundance truly means. An architectural space stripped of all excess and composed simply from bare necessities is true and convincing because it is its



are to be shunned. Walls are symbols of



they have quite naturally been used only to cut off space.



roles,



produced by the



even to the point of being



weapon menacing



us.



cold, the



At times



it



is



more



it



speaks to



a mirror



in



Introduction',



in



Tadao Ando. Buildings. Projects, Writings,



New York.



1984.



which



landscape and sunlight are dimly reflected. Light that diffuses around a comer and gathers



in



the general darkness contrasts strongly with direct



passage of time these two



lights'



blend and enrich the space.



mediated by architecture, meet. Contemporary culture



is



light.



With the



Man and



nature,



based on the energy



449



Facing up to the Crisis



Architecture



in



today a worldwide phenomenon. The dissemination and



Universalization



is



advancement of



civilization



particular universal, yet universalization



standardization.



It



advantageous to



is



comes



since culture



being only



into



made



has undoubtedly been



another word for generalization and



is



but



civilization



antagonistic to culture.



is



opposition to generalization and stan-



in



endangers culture and may



dardization. Therefore, progressive universalization



even force



possible by making the



into a state of crisis.



it



comes



background of



into existence only against a



other natural factors. Universalization



history, tradition, climate



equals economic



does away with the



rationality.



and



threatening to destroy this foundation.



is



Behind the promotion of the universalization of architecture tionality



The



principle of simple



economic



rationality



being constructed throughout the world, and cities are losing their individuality to



become ominously monotonous. ious



is



being questioned



movements complicating



ernism, which side of



the situation



after



is



culture of the twentieth century to introduce



ornament



just



capriciously rejects



Nevertheless.



resisting the trend



Universalization



and



wills,



I



I



acknowledge



does not allow



don't believe



individuality.



elements



in



in



new



bottles, with



People, with their diverse emotions



believe that,



ease analysis and manipula-



dreams and emotions



however anachronistic



What



it



in cities all



may sound,



architecture?'



is



surely be a criticism of today's problems.



when one



today



and to leave the making of things to that



were once such impor-



common



architecture are being replaced with mediocnty and



damental question,



only



If



funda-



provides a fundamental solu-



it



to units that



to divorce production from individuals



is



its



particularly individualistic work, but the trend



is



sense. Mediocre buildings are going up



it



in



that the best post-modernist architects are



They are reduced



creation



organizations. Individualistic



I



serves no purpose



It



toward universalization



individual character.



tant



one



are lumped together and labelled the masses' and are depnved of their



tion. Architectural is



only



the forms of Modernist architecture.



in



mind, post-modernism appears to be just old wine



nostalgic ornamentation applied. tion.



it.



must have been rooted



it



mental approach to architecture and not



my



var-



terms of expression. Post-mod-



because ornament was eliminated by Modernism.



Modernism had an anti-human aspect, To



and there are



architecture,



in



the most important legacy of architectural



all



- and



in



among these movements, sees



particularly notable



is



Modernism - which



It



over the world. it



is



important to ask the fun-



The creation of architecture must must



resist existing conditions.



And



squarely faces up to today's problems that one can really



begin to deal with architecture. In



architecture there are certain social, economic, legal and political constraints.



In



today's Japan



in



particular,



is



it



impossible to consider architecture



from construction as an economic ture



the



is



ideas has



450



activity.



However,



it



is



in



fact nothing to



of architecture. Architecture as an



do



in



isolation



also true that architec-



not solely a matter of dealing with such external conditions.



autonomy of the ideas



ing



at



everyday tasks, treating architecture as



I



believe



autonomous



in



set of



with the tackling of such constraints. Today, archi-



just



an economic



activity, resolv-



problems posed by external conditions. The organization of society leaves



architects with no time to consider an 'architecture of discovery'; at best they



can only create 'mistake-free architecture'. This gives



rise to



an undistinguished



architecture.



believe that architecture



must be



and monotonous cityscape surprise. truly



We



on the



must give



individual.



the idea that func-



is



aspect of architecture. Similar buildings are



rich, cultural



Today, stnct functionalism



busy



I



believe that architecture belongs not to civilization but to culture. Architecture



I



tects no longer tend to think seriously about architecture and are simply kept



TAndo. London. 1986.



is



flight



to



individualized



be transformed



once again



once more



if



the standardized



into a place of



discovery and



to an architectural imagination



based



Mutual Independence, Mutual Interpenetration



1



There are both aggressive walls and defensive



express both violence and rejection.



now



designed up to



In



walls. In other



Tadao Ando. Noguchi House.



words, they can



the series of urban houses



the walls have certainly been aggressive



have



I



their



in



appearance and have had an element of violence even in their silence. The walls were intended to question the nature of contemporary society. 2



In



my



urban houses, multi-storey spaces and courtyards are provided inside



closed buildings. The exterior environment separate world 3



Walls



in



is



and a new.



invariably cut off.



is



created inside.



urban spaces are fundamentally different from walls of violence and



and must seem to



rejection



they must reject while



flatter



inviting



and



the observer at the start. invite while rejecting.



other words,



In



They represent an



architecture of betrayal.



4



Passageways must not be closed corridors if intimacy is to be restored between the street and the house. They are invigorated by the mutual interpenetration of the public and private realms. This allows life



5



within



each



A building



one



sense the



to



unit.



on the



site is a pool



river that is the street



and the



city.



It



is



a



room



with the sky for a ceiling.



Light 1



and Wind



adds drama to beauty, and wind and human body give colour to life. Architecture Light



rain is



through their action on the



medium



a



that enables



man



to



sense the presence of nature. 2



In



my works



3



In



the courtyard, nature presents a different aspect of



courtyard



is



the nucleus of



introduce natural forgotten



4



the



in



always an important factor



light is



life



phenomena such as



light,



each day. The



itself



house and



wind and



a device to



is



are being



rain that



city.



By introducing nature and changing extraordinary into what



light into



is



the West, there



is



I



simple geometric forms that are



create complex spaces.



I



inject the



the most ordinary and familiar of environments - the



house - and thereby encourage people In



dramatizing space.



that unfolds within the



closed off from their urban contexts.



5



in



a kind of sky that



to reconsider is



what



is



ordinary.



integrated with architectural space:



such a sky can be seen when closed places suddenly meet open spaces.



Stamp of the Individual Will The primary landscape is 1



a consciousness concealed



in



the darkness, a



light



awesome emanates from among the



that gradually fades with depth, a cold tactile sensation, an



2



space, and laughter that



colonnade



in



columns



response to the dim. wavering



What



I



in



a faintly



can do



possibilities



is



to



lit



light.



push Modernism a



-to make use of what



it



little



further and to explore



its



has neglected. Architecture must relate



very specific ways to the city and society and avoid indulging



in



in



intellectual



manipulations such as historicism or semiotics.



3 4



In I



design,



want



it



is



important for



my buildings



me to balance what



is



logical with



to transcend physical limitations of size.



what I



is illogical.



want people to



451



ask themselves what dwelling a feeling of



5



really is



about and to awaken



enclose what appear



people's bodies



in



however,



life.



My buildings



are characterized by a limited range of materials and the direct



my spaces



expression of textures. As for spatial composition,



3



are not



4



1



Force



is



an important component of the



responsibility to the



must



fulfil



5



A



3



The framed sky generates



toward the creation of a three-dimensional emptiness' (yohaku).



and shadow, inspires one to question the



meaning of nature, and helps one understand the compositional elements of space. Site-craft



4



becomes



natural, out of a reading of



prevents



topography and an awareness of nature Rapid from



architecture



seeking



help



in



nature,



and



same



time



architecture alone cannot create a favourable environment.



5



Within a



architecture tries to dominate emptiness, but at the



site,



emptiness dominates the architecture have



own The 1



its



is



to



be autonomous and must have



its



Will of the Wall



A



in



the desert, a wall



bridgehead, clearly asserting



its



is



not only a protective barrier but a



presence



in



the changing flow of the



and rejecting any preconceived notion of community



wall



tempts one to draw on



temptation must be resisted In



The frame structure



of equal



their



A



it,



perhaps because



wall that



becoming a



material significance.



columns of 4



a building



character, not only the building but emptiness itself



Like a fortress built



city



3



If



logic.



spiritual



2



own



sign,



it



is flat



has been drawn on



it



loses



its



However, is



this



robbed of



its



presence.



span was the basis of Modernism.



meaning, sacred character and rhythm. That



is



It



robbed



why walls have



come to replace columns as an architectural theme An enclosing wall is not simply defensive. It is an aggressive wall expressing the strong will of the occupant to dwell in the city At the same time, provides it



a place for the private



5



A wall



is



life



that unfolds inside.



the point where the logic of the city meets the logic of the



site.



It



is



the



smallest and most basic regulator of the urban structure.



Homogeneous and 1



Multi-Layered Landscape



Landscape gradually begins



to take



on a higher, architectural character when



columns, walls and individual building elements are arranged so as to be mutually related. 2



My



objective



may seem



to



humanity, functionality and



452



am



searching



for,



modern



geometry and man's everyday



new



spaces. That



is



how a



a structural frame of equal span



architecture, but



my intention



at first but are actually far



is



to create



from that - that



is



spaces is,



life



building



the that



complex



that are the result of simplification.



Individual spaces, protected yet



open, are combined to create a whole.



It



is



not



individual



element



individual



element and the whole



is



the basis of the design, and the relationship between the is



always considered as the design develops



from the inside to the outside.



the three-dimensional design of land.



Japanese architecture developed from the fusion of the man-made and the urbanization



I



simply a combining of parts, nor are the parts controlled from outside. The



a comprehensive, inclusive approach to sitework. directed



light



principle of



spaces



their



city.



2



demands



architects



city,



highly ordered



comes to have a clear identity. A homogeneous space created through



may appear simple



There are many approaches to architecture. However, to the extent that



hillside



The discrepancy between a



first



architecture



be naked spaces. What



at first to



not abstract space but prototypical space.



gives rise to collisions that help generate



necessarily clearly articulated according to function.



Field of



is



be the creation of abstract spaces from which



life



styles have



been stnpped because my buildings



T Ando. 'Mutual Independence, Mutual 6.



1986.



Interpenetration',



in



Nihon no Kenchikuka,



Space



Shintai and



Architecture



world



is



is



the art of articulating the world through geometry. However, the



homogeneous spaces.



not articulated as isotropic,



It



articulated, not



is



abstractly or homogeneously, but as concrete spaces (topoi) that are each related to a totality of history, culture, climate,



A 'place'



topography and urbanity.



the absolute space of Newtonian physics, that



with meaningful directionality and a heterogeneous density that



what



relationship to



body', but



in



I



choose



my use



to call shintai. (Shintai



word



of the



between mind and body: by acknowledges the world and



do not intend



I



shintai



at the



Man articulates the world through



same



articulation of the



in



mean



left



to



make



a union of



is



born of a



a clear distinction spirit



and



flesh.



It



self.)



right,



and a



front



and a back, the



a



heterogeneous space. The



is in reality



the articulation of the world by



the workings of mankind.



Man



Irving,



whom



in



corporeal being active



in



spirit



and flesh are essentially



the world. The here and now'



in



distinct but a



which



this distinct



body is placed is the point of departure, and subsequently a there' appears. Through a perception of that distance, or rather the Irving of that distance, the surrounding space



becomes manifest as



and values. The world that appears to



become



in



way



mans senses and



the state of man's body



At the same time, the body



warm and becomes



When one



It



is



is



a vivid,



articulated



loci was a recognition of that



old.



the body



is



T



in its



only the shintai



stands on an empty



hear the land voice a need for a building. The



is



way



soft. In this



the shintai.



understands architecture. The shintai



responds to the world.



saying



is



perceive the concrete to be something cold and hard.



relationship with the world



that builds or



by the



recognize



dynamic



in this



sense



a sentient being that



site,



one can sometimes



anthropomorphic idea of the



phenomenon. The



point



is



that



what this voice



actually understandable' only to the shintai. (By understandable'.



obviously do not



mean comprehensible only through



I



reasoning. Architecture must



order to perceive an object



the object must be changed



the



movement



diversity, the



some way.



of the shintai. Spatiality



direction of vision, but of a



viewpoints



in all its



in



distance between the self and



This change



is



is



by that



shintai



immediately and visually apprehended.



What



I



care



precisely the



can take



account factors without palpable form such as climate and



into



what gives



architectural



forms



Today, the functionalist approach



is



history:



their order.



being questioned



in



the architectural world,



and various contending approaches to architectural expression are making the situation



complex.



Post-modernism,



which



is



prominent



among these



approaches, chooses to interpret Modernism, the greatest architectural heritage



There



is



a one-dimensional fashion and capriciously rejects



it.



it. If



Modernism has an inhuman aspect, then the problem lies in its architectural forms. The problem



basic ideas about architecture and not



in its



is



in



nothing to be gained by simply introducing ornament, just because



Modernism rejected



be corrected by the expressive character of architecture and the



to



who



the expresser. while at the



is



functionality is satisfied.



The



individual are being rejected



make



same time



distinctive national character



and everything



is



uniformity)



individual



the need for rationality and



and



sensibility of



becoming homogeneous.



each



Cultural



architecture possible such as history and tradition, and even



natural conditions, are being turned into abstractions,



and the



simplicity (ie



and mediocrity that are the by-products of a pursuit of economic dominant



rationality are



qualities of



the spatiality of forms. Through the



our era.



I



care not for interesting forms but for



medium of simple geometrical forms. seek to I



introduce a diversity of intentions and emotions and to take into account intangible factors.



My



ultimate objective



is



not expression but instead the creation of



symbolic spaces founded on substantiality. It



is



as



someone whose



history that



I



have



in



sensibility



has been shaped by a distinctive culture and



the past concerned myself with architecture, and



a person that hope to continue to concern myself with architecture I



hope



also be understood through the senses of the shintai.) In



is



factors that



the body as something



is



with various meanings



interdependent. The world articulated by the body



articulates the world.



When T



genius



endowed



space.



lived-in



The body world.



this



a thing



image inscribed on the



total



is



way in which each person relates to architecture. The problem with modern architecture lay in the abstract and homogeneous character of its spaces. Such spaces and the shintai simply did not blendArchitecture is given order through abstract geometry and thereby becomes an autonomous existence. However, that order is something essentially different from everyday order. Architecture, though a material presence, is a medium that about



of the twentieth century,



not a dualistic being



is



superimposition and what



this is



Since he has an asymmetrical physical



and a



becomes



turn naturally



world by architecture



not



ordinarily translated as



is



time acknowledges the



his body.



structure with a top and a bottom, a articulated world



I



is



a universal space, but a space



is.



between the



differences



in



it



is



as such



the future.



to continue to resist the homogenization of the world. In this the shintai



no doubt provide a



I



will



key.



brought about through



the result, not of a single, absolute



multiplicity of directions of vision



from a



T Ando.



'Shintai



and Space'



.



in



Architecture and the Body.



New York.



1



988.



multiplicity of



made possible by the movement of the shintai. Not only the movement movement such as that of light, wind, or rain can change



of the shintai but natural



the (phenomenal, as opposed to physical) distance between the self and the



By



object.



forms.



I



introducing nature and



have been



trying to create



human movement



into simple geometrical



complex spaces. What had been



self-sufficient



transformed by the addition of natural or human movement into what is motion, and diverse views are superimposed in the eyes of the peripatetic observer. Order is reconstructed within the shintai through the recognition of



and



still, is



-52



Josef Albers. Homage



Representation and Abstraction



I



find



it



answer the question whether architecture



difficult to



representational, for



The word



believe architecture



I



'abstract' calls to



and



century



art,



Albers



whose



diametrically



particularly to the



regard



work



Bauhaus



of the



the concept of



to



to the



Square represents



me



for



was



was



The series by



modern



the height of



took up the challenge of depicting the square



Josef



artist



'perception'



to that of the Suprematist Kazimir Malevich.



Homage



painting. Albers it



mind the triumphant abstract paintings of twentieth-



with



position



opposed



Albers called



manner, but



am drawn



I



abstract or



is



both.



is



in



a



most thorough



not just a matter of systematically working out



all



possible



Whereas Malevich had as his objective the absolute human senses, Albers' method permitted ambiguities of



compositional variations. purification of the



perception.



used



The



artist,



working within the self-imposed constraints of the square,



distinctive, transparent colours.



expansion



The observer notes



What then does



mean



representation



I



am reminded of Piranesi's



or. rather,



maze I



of the



so



body



choose simple



like



and



[...]



me



it



is



the labyrinthine quality of the



power



Carceri dinvenzione. Their overwhelming



and extraordinary sense of space have long remained oneiric prisons,



a gentle vibration



of freedom.



terms of architecture? For



in



architecture's physical or carnal quality,



body.



modes



the works and experiences diverse



in



vivid in



my memory. These



the trick pictures of Escher. are precisely what



I



imagine the



to be.



circles



and squares for



my



architectural forms. Just as Albers



manipulated squares by means of distinctive colours. manifest architectural



spaces. The result



manipulate or



I



architecture



is



that



make



has been



transformed from something extremely abstract, and constructed according to a rigorous geometry, to something representational and bearing the imprint of the



human



body.



quality



in



believe what



I



the work.



A



makes



this



transformation possible



major objective for



me



is



a labyrinthine



is



to create an architecture that



is



simultaneously both abstract and representational by giving simple geometrical



forms a maze-like



framework



by concealing an imaginary Piranesian maze



articulation; ie



like Albers'.



nature as opposed to



I



have



at the



same



human reason.



Like the maze, nature



element endowing architecture with a representational



whether or not these two elements can a single work. it



a maze,



to locate



basso



I



want



to



see



co-exist, separately yet simultaneously,



into architecture,



not always have been aware of



February 1988.



an important



is



quality.



in



the midst of nature a building that conceals within



ostinato, this



T Ando, 'Representation



454



in



and to introduce nature



nature. Like a



may



seek



I



a



in



time another objective, concerning



theme appears its



presence.



et abstraction',



in



thereby creating a man-made in all



my



past works, though



I



[...]



L'Architecture d'aujourd'hui, 255,



to the Square,



1964



From the Church on the Water



Church of the Light



to the



TadaoAndo. Church on the Water and Church of the Light.



The Church on the Water



Range



Yubari



becomes nearby



in



a beautiful white



river,



plain in the



middle of mountains north-east of the



snow from December to April, the area land. Water has been diverted from a



expanse of



and a man-made pond 90 x 45 metres has been created. The depth of



was



the pond



on a



is



Hokkaido. Covered with



carefully set so that the surface of the



water would be subtly



affected by the wind, and even a slight breeze would cause ripples.



metres to a side and Two squares, one face the pond. Wrapped around them is a 1



Walking along the outside of this long turning



1



80 degrees



seen for the



first



at



time.



the other



1



5 metres, overlap



freestanding L-shaped wall



wall,



one cannot see the pond.



concrete. only on



is



an opening cut out at the end of the wall that the pond



With



this in view,



the sky stand four separate crosses.



up the zenith. Natural



light



is



one climbs a gentle slope and reaches an



approach area surrounded on four sides by glass. This



to look



It



and



plan



in



in



is



a box of



light,



and under



The glass frames the blue sky and allows one



pervades the space, impressing on the



visitor



From there one descends a curving, darkened The pond is spread before one's eyes, and on the



the solemnity of the occasion. stairway leading to the chapel.



water is a cross.



A single line divides earth and heaven, the profane and the sacred.



The glazed side of the chapel facing the pond can be



come



into direct



entirely



opened and one can .



contact with nature. Rustling leaves, the sound of water, and the



songs of birds can be heard. These natural sounds emphasize the general



Becoming integrated with changes



appearance from moment to moment.



in



silence.



one confronts oneself. The framed landscape



nature,



[...]



number of chapels have thought about sacred space. The question asked myself was what is sacred space to me. In the West, a sacred space is transcendental. However. believe that a sacred space must be related in some way to nature. Of course this has nothing to do with Japanese animism or In



designing a



I



I



I



pantheism. is.



I



also believe that



my idea



rather an architecturalized nature. is



is



different



I



believe that



Light,



architecturalize or abstract



now under in



from that of nature-as-



man-made nature, or when greenery, water, light or wind



abstracted from nature-as-is according to man's



The Church of the is



of nature



For me. the nature that a sacred space must relate to



will,



it



is



a



approaches the sacred.



construction, represents an effort to



the above sense the natural element of



light.



nearly completely surrounded by substantial concrete walls. Inside



darkness. light that



In



that darkness floats a cross of light



itself.



That



is all



there



is.



Space is



has been architecturalized and rendered abstract by the opening



wall imparts tension to the



space and makes



it



in



the



sacred.



TAndo. 'From the Chapel on the Water to the Chapel with the Architect. 386.



true



Outdoor



Light', in



The Japan



June 989. 1



1



_



-ill 455



Materials,



Geometry and Nature



Piranesi. Interior



View of the Pantheon and



Carceri d'invenzione,



I



experienced space



first



Roman



said that



architecture inside the Pantheon



more



what experienced was not space



architecture, but truly



in



architecture generally has a I



spherical



dome of a 43.2 metre diameter, The height of the



building



illuminated from an oculus nine



architectural light



space



truly



becomes



cannot be experienced



encountered.



There



is



It



was



this



in



embody



It



on me. The space of



traditional



is



when



this structure



dome



in



such as



this of



is



moved me. the space



in



the imaginary



Roman empire and the which he must have expressed his own



in



maps



of the



which



particular, his interiors of prisons,



In



that



architecture that such a vision



that



my memory:



in



It



matter and



only



is



we have come to call



that quality



direction.



reality.



same may



A condition



the elaborate



of imaginary prisons



sense of alienation from



was



It



of a semi-



diameter at the top of the



in



manifest.



another western space vivid



famous engravings



Greek



placed on top of a cylinder with the



metres



nature.



in



often



is



also 43.2 metres, so that the structure



is



power of architecture



structures of Piranesi. found



composed



is



be said to be composed around a huge spherical volume. is



It



a conceptual sense.



in



space made manifest. The Pantheon of course



diameter.



Rome.



in



spatial character than



Piranesian,



made



Japanese architecture



is



a powerful impression



extended



in



a horizontal



However, the three-dimensional, maze-like prison of Piranesi has the



vertically of a rising spiral stairway.



The geometrical order



of the



Pantheon and the



space are



verticality of Piranesian



in



marvellous contrast to traditional Japanese architecture. Japanese architecture



is



markedly horizontal and non-geometrical, and hence characterized by irregular



spaces.



It



is, in



a sense, an architecture without form. Architecture



with nature, and



space



because they are



in



is



seemingly



complete contrast



western architectural space.



It



to



seems



is



integrated



The Pantheon and Piranesian



adrift.



Japanese



me



to



that



interiors,



architecture, represent for



my work has



long had as



me its



objective the integration of these two contrasting spatial concepts. I



'



'



believe three elements are necessary for the crystallization of architecture.



authentic materials, that



first is



materials of substance such as



concrete or unpainted wood. The second This a



is



the base or framework that



volume such as



because 7



is.



I



a Platonic solid, but



feel the latter to



pure geometry, as



is



endows



in



the Pantheon.



architecture with presence. it



is



The



exposed



It



might be



often a three-dimensional frame



be a purer geometry. The



element



last



is



nature.



I



do not



mean raw nature but instead domesticated nature - nature that has been given order by man and is in contrast to chaotic nature. Perhaps one can call order it



t~~ abstracted from nature:



When



such a nature



said, of materials



Architecture



is



light,



sky and water that have been rendered abstract.



introduced into a work of architecture composed, as



and geometry, architecture



made



comes to possess power and becomes come together. Man is then moved by a



three elements in



itself is



456



Materials.



Geometry and



Nature',



in



have



radiant only



when these



vision that



possible, as



is



the Pantheon, only with architecture.



TAndo.



I



abstract by nature.



Tadao Ando. London, 1990.



Cfig XVI).



Spatial Composition and Nature



A site always



has a



distinct field of force that affects



yet not a language.



The



logic of nature affects



man. The



one



it.



words, the logic of architecture must be adapted to the architecture



and the



is



logic of nature.



The aim of



always the creation of an environment where the logic of nature



logic of architecture are



Architecture



and becomes



who seriously attempt to perceive Architecture is ultimately how one responds to these demands made by the land. In other



clear only to those



a question of



a language,



field is



subjectively,



is



in



fierce conflict yet co-exist.



not simply the manipulation of forms.



construction of space and. above the foundation for space.



all.



I



believe



also the



is



it



the construction of a 'place' that serves as



My aim is to struggle first with the site and thereby get a



vision of the architecture as a distinct place.



The



inside



architecture are not separate things but instead form



and the outside of



one continuous



place.



Architecture ought to be seen as a closed, articulated domain that nevertheless maintains a distinct relationship with In



order to bring out and



oppose



it



its



with the logic of architecture.



Geometry



is



a kind of



surroundings.



make apparent It



game of axioms and



the invisible logic of nature, one must is



at this point that



geometry comes



deductive reasoning. However,



is



it



in.



also



one possessed of autonomy and a pre-established harmony - of human reason, which transcends nature. Ever since Vitruvius. the use of the figural attributes of geometry- for example, simplicity, regularity, repetition and symmetry - has stamped architecture as a product of human reason, in other a symbol -



words, the opposite of nature.



Geometry, despite



its



non-arbitrary character, or even



because of



it.



serves to



concentrate diverse meanings and takes on a distinct significance. Geometry



forms not only the framework for the whole but fragments of scenes.



It



simultaneously a frame for a view of the surroundings and a screen.



can be a



passageway



that



makes people



be closely related to the



It



can be



walk. stop, ascend or descend. Moreover,



articulation of light.



It



can appropriate



light,



it



can



concentrate



shadows behind an object, and determine the distribution of spatial density. The site, having undergone this process, becomes something that stands in opposition to yet co-exists with the architecture. believe architecture becomes I



oriented only



when



this



T Ando, 'Composicion



happens, not only



in its



Espacial y Naturaleza'.



parts but as a whole.



in



El Croquis. 44.



1



990.



457



Shadow and Form



Light,



and connects space and form.



Light gives objects existence as objects light



A beam of



space lingers on the surfaces of objects and



isolated within architectural



evokes shadows from the background. As



varies



light



in



intensity with the shifting



and changes of season, the appearances of objects are altered. But



of time



does not become



objectified



and



not



is



given form



itself



until



it



light



isolated and



is



Light attains significance within the relations



is



When



and dark, the



light



in



chain



this



existing



My interpretation is



of



I



once made



relations as



place,



I



was aware



of



human



One



light



and dark



very important experience



The



building



totally



with a feeling of great power.



was



was



a



of rough stone



devoid of ornament. But the



In



deep silence of the



something penetrating, something transcending the severity



a connection



And.



attempt to go beyond purely



Some



time ago, while



wooden



furniture



in



spite of differences



between



that



the United States.



in



made by



the Shakers.



between West and



East,



I



something and the mood pervading a



Japanese tea ceremony room.



and ordering effect on the



made



rationally



waste of any



with no



the kind of strength of



extreme



will



modern



simplification of



in



making architecture a material representation of an intangible theory of



.imposition of geometric order.



ordered



this



in



between the



comprehended



stimulus.



The whole supports the



I



and weight.



solidity



order,



I



details.



to



of East



and West within



me



an accurate



is



Japan has created a



by importing



and assimilating elements from other countries. Today, however, there tendency to submerge our distinctiveness so that much that



Japanese



is



being



lost.



I



opinion,



one important



West,



to re-evaluate



modern Japanese



culture



is



a



we grow less aware of darkness,



forget spatial reverberations and the subtle patterns created by light and



shade.



When



this



happens, everything



is



uniformly illuminated; and object and



form are limited to simple relations. The remedy to richness to space. To give expression to



make something



458



particular to the



come for us. while continuing our own indigenous tradition. In



thing being lost from



sense of the depth and richness of darkness. As



we



a



believe that the time has



cultural overlapping with the



my



is



is



distinctive of



it.



I



employ



my own a



this situation is a restoration of



spatial



geometry



order within



and the parts have an enriching effect on



The way



I



employ



serves to produce



It



fix in



it.



surfaces and sharp edges.



surfaces. The traces



drawn



is



architectural



materials.



It



actual walls



into



employ



element



cease



My



is



liberated to



a living



to exist,



intent



is



not to express the nature of the



to establish the single intent of the space.



cool, tranquil



it,



becomes



it



space surrounded by



become



space



that



is



When



a clearly finished



a soft, transparent area transcending



one with the people



and the body of the beholder



is



inhabiting



it.



aware only



The



of the



surrounding space.



My aim



is



to limit materials, simplify expression to the



essentials, and



being.



in



the process interweave



By reducing



equilibrium.



In



style to the utmost.



I



in



hope



to



eliminate



return to the point



where the



bring richness



T Ando.



'Light.



all



the totality of the



produce



a



maximum



non-



human



effect of



the course of natural change, within simplified forms, a multilevel



accumulation of complex scenes unfolds. To achieve



way to



maximum,



my spaces



back



interplay of light



this effect,



it



is



necessary to



and dark reveals forms, and



into architectural space.



experience and thus to



of simple, inorganic shapes.



smooth



concrete as a cool, inorganic material with a



treat



I



whole



concrete lacks sculpturesque



homogeneous



light,



actuality the



intent of the



of regularly attached shuttering and separators are finished to produce



light



illustration of the



distinctive culture



spatial



imbue each material with the



material itself but to



cultural structure.



reassembles the



the main support of attempts to



concealed background of strength.



Japanese



visually



scene within the whole.



individual



A person



The combination



person walking through spaces



of the



such gradually recedes from awareness, and the space alone provides emotional



traditional tea



and dark.



to



the mind of the beholder. With this assimilation of the spatial order, geometry as



of vanishing.



feeling of experiencing limitless size within the interplay of light



life.



dynamism



various overlapping scenes. The discrepancy



Zen context, space is non-existence. In size and expression, the ceremony room is a microcosm revealing this boundary on the edge such a space has the



brings



image resulting from the accumulation of these scenes and



overall



the things that can be



and then to select



in



human movement



The eye



way encounters



come into being only through the establishment of mutual relations among parts made possible by light changing with the passage of time. In Zen Buddhist thought, space is said to come into being at the boundary where material things



and contemplative



life,



architecture that has acquired self-control and tranquility as a result of the



is



sitting silent



daily



geometric principles both give order to architectural form and serve as a mediator



hope



In this



In



times, to experience objects representing an



and form was very refreshing.



life



Dialogue with materials



vanish.



whole, generating



kind. Part led inevitably to



characteristic of the lifestyle of the manufacturers.



spaces wish to create.



can



shapes



of the



was simple and reserved and exerted a surroundings. Technically, the furniture was



Although they are essentially very different from the normal regularity of



each



and overlapping relations between them and various parts of the



was astounded by the freshness of in me an awareness of the



inspired



of the pieces



design were very important to traditional Japanese architecture, which actually



Light patterns



operations and discover



intellectual



Based on symmetry, the proportions



significance of 'form-mode.'



restraining



I



It



Introducing the processes of nature and



being.



determined by the interaction of



spatial experiences.



of religious precepts.



sensed



Nonetheless, since the



always concentrated within the individual



to a medieval monastery.



was imbued



I



the great diversity of



mutual relations are established



masonry, and the treatment of the openings was the interior



when



instant of light



and given shape.



into being.



the inner world of a single



all



based on my own



visit



An



the realization of a whole, permeated with the aesthetic



is in



is



the instant



In



extinguishing. At this boundary



articulated



this fashion,



elements comes



a chain of



tendency towards generalizations



awareness



is



objects.



are determined.



own



light's



individual object



objects are articulated



among them, and element,



among



fluid relations is fixed, all relations



simultaneously the instant of that



between



process,



were good. The mood



accepted by physical objects.



one of those



In this



an important drive for relations with human nature as a whole.



Shadow and Form:



the Koshino House',



in



Via.



1



1



.



1990.



in



this



Tadao Ando.



interior



views of the Koshino



House



459



Nature and Architecture



Society today is



becoming



becoming increasingly information-oriented, and architecture too



is



The value



a piece of information.



of architecture as information cannot



be ignored. However, the worrying tendency



how



architecture and to concentrate on



is



the value of architecture as a material object



made In



Japan



in



economy and



particular, the



demolished



a



in



few years,



partly



Modernism, which reached because of



society,



tendency



emphasize only



and



is



in



As



a result,



much



is is



little



weight, and



affected by rapid social changes.



because of the high land in



that aspect of



photographs. Architecture



given



to regard a building as



is



peak



its



is



good



of flashy buildings designed to look



closely related to the



to



to attract people's attention.



something that can be



prices.



the late 1950s, began to be questioned,



functionalism and economic rationalism, as post-industrial society



its



gave way to information-oriented society. Various movements such as a narrowlydefined post-modernism appeared. However, post-modernism has remained superficial historical



its



in



objectives, using,



in



a nostalgic way, simplistic allusions to



forms and the ornamentation that had once been rejected by



Modernism.



It



has only dealt with architectural forms and has not offered a true



solution to the problem that confronted



moribund, appropriated as time has its



come



and



wills



nothing



is



Modernism. Post-modernism



Modernism



to re-examine the



to reconsider



people as quantities.



to treat



that



It



its



is



was once



espouse



units to



functionality



basic approach to architecture.



to call individuals with



be measured. To generalize



in



emotions



economic rationalism



architecture, cities worldwide sacrificed for the



architecture'



be



will



is



is



standardization.



full



of uniform buildings.



It



If



the



if



they



If



culture



is



not to be



basic questions such as 'what



seem somewhat



belongs to culture rather than to



in



is



The



anachronistic.



the work of individuals and takes place



and climate.



making of architecture



is



allowed to supersede the cultural value of



in civilization,



must be asked, even



history, tradition,



individuals.



is



sake of advances



creation of architecture



become



once meant



architecture



and economic rationalism. Unlimited generalization



endangers culture because one aspect of generalization principle of



The



[...]



rejected because of



the 'masses' and to ignore their separate identities; they



more than



today



is



has been by the mechanism of consumption.



monotonous homogeneity and



To generalize



to



it



a context of



The



civilization.



being increasingly entrusted to organizations rather than



Computers are being introduced and everything



The dreams and passions of



individuals that are



is



being quantified.



so important to architecture are



being replaced by mediocrity and convention. Architecture not only mirrors the times;



it



must also



offer criticism of the times.



represents an autonomous system of thought. To think architecturally



merely to deal with external conditions or to solve functional problems. convinced that architects must



train



It



not



is I



am



themselves to ask fundamental questions, to



give free rein to their individual architectural imaginations, and to consider people, life,



history, tradition



and climate.



We



must create



architectural



spaces



in



which



man can experience -



as he does with poetry or music - surprise, discovery,



intellectual stimulation,



peace and the joy



TAndo. 'Natur und



Architektur'.



Berlin-Boston, 1990.



460



in



of



life.



Tadao Ando. Sketches, Zeichnungen. Basel-



The Traces of Architectural Intentions



TadaoAndo. conceptual sketch



for the



Church of the Light.



During the process by which an architectural idea



whole and the parts enter



into a



is



realized as a building, the



tense relationship which persists



until all



work



is



completed. This relationship of tension provides the context for architectural details: details are the traces left



between the whole and the



parts.



by an architectural idea as



It



is



it



bridges the gap



out of the complications encountered



in this



process that the most appropriate details for a building emerge. The intention create details that activate one another and take on All



materials



in this



It



is



only



hand that one



is



is



not simply a matter of projecting that meaning onto a



when one has perceived



the essential nature of the subject to



able to shape and refine the form that matter



profound one's idea, the more thoroughly



approach



make



will



to



world have already been given recognized meaning. However,



the design of architecture building.



is



life.



will



take.



The more



form be crystallized. Only



will



this



the process of creation apparent. However, there



is



considerable distance between logic and substance, or between form and material



in



architecture.



sense.



is



that sensibility



It



adjustments



In



my



case, what closes that gap



which brings architecture



my own



is



into existence,



aesthetic



making subtle



the building's relationship to function and maintaining the



in



autonomous character



of material



and form.



Architectural details are not just matters of technical treatment or arrangement.



designing, the point of departure



is



a search for an architectural logic that



permeate the whole, and eventually one always returns



In



will



to that starting point.



Within that cycle, the relationship between the whole and the parts, and between materials and forms



must be considered. believe I



it



is



important to be sensitive to



the weight, hardness and texture of materials and to have an intuitive grasp of the technical limits



architecture



in



their fabrication.



Above



all.



the architect must define his



own



respect to technology. Without precise individual aims, the



with



vision



will



become



subject to the economic logic and banal conventions that



dominate technology. Technology architect's intentions



is



nothing



more than knowledge. The



and ideas control knowledge; these are more essential.



Drawings are a means of communication among people concerned with architecture. At the into matter.



The



same



time, they represent a



system of signs



intentions of the designer therefore ought to



drawings, without which architecture would be impossible.



The orthodox method of



architectural drawing



is



is



by no means



ideal since architectural



.



life



.]



the projection of three-



dimensional architectural space onto two dimensions. This but it



[.



that breathe



be stamped on the



is



a time-tested



method



spaces, which involve the relationship



between planes, cannot be understood completely from two-dimensional like having the sum of my intentions condensed into and expressed



descriptions. in



I



one drawing;



I



overlap plans, sections, perspectives and axonometrics: and



occasionally insert into a plan a drawing at a different scale detail.



The



interrelationship of parts that



makes up an



in



order to indicate a



architectural



space can be



understood only when such drawing methods that have a three-dimensional quality are combined, ultimately leading to an understanding of the whole.



T Ando. The Traces of Architectural Tokyo.



1



Intentions',



in



Tadao Ando:



Details.



990.



461



From the Periphery



of Architecture



stream called the Isuzu River flows through the compound of the Ise Shrine.



A



find the sight of its



memories had almost forgotten



brings back



I



pure current very moving and beautiful. Revisiting the river I



in



the intervening years. Gazing at



the long continuous wall that rises from the surface of the water to the level of the



eye



is



strangely relaxing. Perhaps



it



is



because



that wall by the



even as nature undergoes change and time passes



in



water endures



a never-ending flow.



Water has the strange power to stimulate the imagination and to make us aware of life's possibilities. Water is a monochromatic material, seemingly coloured yet colourless. In fact, in that monochromatic world there are infinite shades of colour. Then, too. water



is



water and human



spirit.



The plans



of



a mirror.



my early



I



believe there



is



a profound relationship



between



it



now.



were



all



symmetrical, as



if



they had been reflected



may have been caused by



feel that



the profound influence



do



so.



between



oscillates



It



past and future, and simplicity and complexity.



because am



position.



Perhaps that



which



a complete whole.



is



individual buildings.



is



When was



is



It



Even when



I



a fear that



am



and insecurity are blended.



In



am



I



my decisions.



in



works



creating



historical



in



sense closed.



a



went



I



I



I



Nevertheless.



Wherever steep myself I



in



some reason is deeply moving to me. am many wonderful buildings in Japan. offers many answers with respect to man's



for



I



relationship to nature - a relationship that



have been thinking recently of studying more. Such thoughts things through



first



come



me on journeys.



to



my own body and



very troubled today. Consequently



is



spirit



off foreign country,



effect



In



and



at the



It



is



more important



than through books. in



which



I



I



that



when am I



I



I



country, and the things inside and outside



me



I



learn



can better see the



live



same time am exposed to the culture become closer to both Japan and that



by going abroad



I



Japanese architecture once



traditional



circumstances and the Japanese cultural context



country.



it.



that there are



Japanese architecture



Traditional



have always remained conscious of



foreign, particularly western, architecture, the sight of



Japanese architecture



made aware once more



I



in



a



far-



My wish By an



to. that is.



have



to create buildings that



is



interesting' building



I



mean



I



find interesting to



work



that



in



is



contrary



betrays one's expectations.



tried to create



experience



my



will



the outside



be



turn out inside to spatially



complex



seems symbolic



people



who



or symmetrical



be asymmetrical, or what appears simple on inside.



I



feel that the greater the



complexity of



an apparently simple spatial arrangement, the more effective and interesting



it



becomes. The greater the divergence between the space as experienced and the rigorous geometry of the architecture, the more stimulating the work is to people. want



to create, through the



that affect



462



in



a profound



drama



of betrayal, unforgettable spatial experiences



way the human



spirit.



in



particular, the their



in



made on



is



in



modern era are



the basis of



individuality are



a product of the



being extended indefinitely,



is



people are being drawn to huge structures, and the distinguishing features of



space are being erased. Places are being made abstract and



They are being robbed of humanity, and the



result



described as 'the loss of the centre'. Architecture other hand, a powerful designs, particularly



in



their individuality, the



becomes merely idea that I



hope always



am



economy



this country.



When



to



be sensitive to



social



is



character.



architects to realize wilful



are forgotten, and architecture



My architecture



has as



its



premise the



predicament.



only assimilate what



I



in



becoming a product. On the



movements and trends



not swept along by them. Instead,



diffuse



the condition that has been



architects don't curb expressions of



human and urban contexts



acts of self-indulgence.



is



many



enabling



is



we must somehow get out of this



In



in



architecture, but



is



truly useful to



I



me



the last twenty years, various



movements have come and gone. What have they left us with? Postmodernism and deconstruction were critical of Modernism which had pursued



uniformity and homogeneity. However, post-modernism looked at only of



Modernism, and



superficial



in



reaction



evoked the



its



styles of the past.



debate about which forms were



deconstruction movement, which aimed



at



more



It



one aspect



ended up being a



interesting.



And



the



dismantling the language-centred



West, must be discussed within the context of western



culture,



and



relevance for the Japanese must be carefully re-examined. Over the



last



culture of the



that betray the expectations of the



spaces. For example, a work that



on the outside will



works



of the



single-minded pursuit of functionalism. Space



architectural



experience.



some way



the finished product.



in



and homogeneous spaces lacking



from the great mass of available information.



intermingle and stimulate each



myself would



a stimulating



rationality,



of that



I



waver



place those qualities founded on economic rationalism, namely simplicity and



foreign



was young, my approach has been to try to understand things through my own body and spirit and to make that understanding my starting point.



other. Ever since



continually



of these swings during the



and regional aspects of culture have been rendered abstract and



The homogeneous spaces



often



which confidence



architecture



In



taking over.



I



I



myself beset



find



I



in



of architecture



between such extremes. The greater the amplitude Cultural conditions today are



something singular that



subject to a tension



when began my practice, West for my architectural models and believed that to create works architecture was to design western buildings. rejected traditional, Japanese-



traditional



never occupies one fixed



experience even when designing



I



confident



subsequently with second thoughts.



It



have become dominant. Everything



young.



I



buildings such as



West



inside and outside.



afraid to seal inside



I



and



style architecture.



I



to



it



mediocrity,



Japanese



visited old



looked to the



I



will



functionality



Japanese architecture has had on me.



Kyoto and Nara and



architecture and machiya Ctownhouses). However,



of



I



works of Sukiya



traditional



to



I



shape only when



and East, abstraction and representation, part and whole, history and the present,



process of design, the greater the dynamism apparent



buildings



on water. With time, the symmetry of the plans was gradually relaxed, and thinking about



For me, architecture continually swings between extremes and takes definite



twenty years, as various architectural movements rose to prominence, continually



asked myself the question, what



architecture that



is



so deeply moving?



I



is



it



have come to the conclusion



understand architectural issues not through abstractions but through spirit



if



I



am



to attempt to



open new



I



that



I



must



my body and



architectural horizons.



My architecture is based on the compositional but



I



about certain works of



methods and forms



of



Modernism,



place importance on place, climate, weather, and the historical and cultural



background to each



situation.



I



want



to rediscover



in



each given set of



Tadao Ando. Rokko Housing and Time s



Commercial Centre



circumstances the starting point of architecture.



In



other words, want to integrate I



dynamically two opposites. abstraction and representation. Abstraction



is



an



aesthetic based on clarity of logic and transparency of concept, and representation is



concerned with



conditions.



historical, cultural, climatic, topographical, urban,



all



geometrical abstraction. However, inside there must be



representational, and specific problems



living



Architecture exists



unique.



much



that



must be resolved. As abstraction enters



into a relationship with representation, the



become



and



want to integrate these two in a fundamental way. What appears on the



may be



surface is



I



compositional method and forms also



between abstraction and



conflict



in



representation. Into the relationship another element, nature,



is



introduced, which



occupies a different plane from that of abstraction and representation. Architecture is



architecture. Nature



in



the guise of



architectural form ordered through



water, and sky



light,



- introduced



Much was



discarded



nature, a real



of the rain. spirit.



I



I



in



sense of



is



is



something of both. The greater



more forcefully is nature



the overall work of architecture.



postwar houses



life,



to create living



they are



living.



name



of rationalism: contact with



that



speak directly to the body and



spaces that are simple shells on the outside and



labyrinthine inside, into which nature feel that



the



in



the rays of the sun. the flow of the wind, and the sound



do not want to discard these things



want



into the basic



geometry - oscillates between abstraction and



representation and produces an architecture that



introduced and the more dynamic



of place.



themselves to



attach



that



the distance between abstraction and representation, the



is



man



not just the manipulation of forms but the establishment by



Geometry condenses the various meanings



is



introduced and



in



Azuma House,



a



For example, the



which people can



row house



in



really



Sumiyoshi,



divided into three parts, with the middle portion occupied by a courtyard.



wanted



to create a



microcosm centred on



One



that courtyard.



I



enters the house



and feels secure, but then one notices beyond that space an open courtyard. To enclose an outdoor space inside a building



is



contrary to



an outdoor space where one would expect the indoors



make space



By the tenets



discontinuous.



of



common



is



sense. To have



to reverse



space and to



modern architecture



this is



preposterous and quite inconvenient. However, the discontinuity allows nature into the



house. The building remains a simple box. but nature and human



movement



alter the architecture in



complexity



in



complex ways. To harbour spaces of great



compositions that are geometrical and simple



unexpected and to stimulate a person's consciousness.



proposed by Modernism



is



by



itself



In



nothing but a simple box.



architecture by introducing complexity into that simple box.



what was doing I



at the time,



however, and



the process of creating the truly that nature, that



is.



richer appearance. in



into



it.



I



was



want to enrich



I



did not coolly analyze



in



only later that



I



realized



what



I



I



I



sunlight and the sky. gave to the inorganic concrete a



The house became the



everything from space to materials.



been put



it



I



my work. learned many other things in minimalist Azuma House. For example. found



wanted to do. At the time was absorbed I



to provide the



is



the end. the simple box



It



is



starting point for



a small building but



want to create intense yet quiet



buildings



much



my subsequent work many



things have



where the voice



of their



creator can be heard. In



Japan



it



is



common



practice



in



developing land to destroy nature and to create



463



tadao Ando, Children



's



Museum and Raika



Headquarters.



terraces,



thereby eliminating undulations. As a result, the



site



make



is



characterless.



something



believe that to



I



that



is I



crystallizing



once more the



to reconsider



the site.



visit to



I



The commission



valuable for architecture.



came just when was



homogeneous



the site



for



becomes to discard



Rokko Housing



I



such thoughts. decided to use that opportunity I



relationship



between



On my first



and nature.



building



found that the 60-degree slope afforded a wonderful view of



Osaka Bay. wanted to make full use of the special character of that place. That was when the concept for Rokko Housing emerged. decided to keep the building I



I



height low, to have the structure hug the slope, and to integrate the architecture with the lush surrounding greenery.



the roof of an adjoining



Here too



wanted



I



wanted



is



each



that way,



In



and the ocean was



unit



visible



was



given a terrace on



from each



unit.



what had been rejected by Modernism. At



to restore



first



I



People often think mistakenly that the



to create a simple gridded frame.



gridded frame is



unit,



the orthodox expression of a



homogeneous space, but in reality homogeneous space in



it



not central to the ideas of Modernism. To achieve a



which boundaries are removed and there



horizontal extension.



infinite



is



Modernism sought to erase the meaning that attached itself to columns by converting them into an abstract, homogeneous grid of points. My treatment of the gridded frame is different in that attempt to give meaning to the frame. What learned then made me more aware of the whole issue of Modernism and provided was also considering, at a time the key to the subsequent Rokko Housing when uniform apartments were being mass produced in Japan, what non-uniform I



I



II.



housing might be



made



A



like.



major issue for



to be both abstract



is



whether or not architecture can be



and representational. Rokko Housing



completely developed solution to date nothing



me



I



in



that regard.



more than simple volumes made up



various types of units are arranged



in



The



my most



is



II



overall composition



of square, gridded frames, but



complex



one



fashion. To abide by only



makes architecture monotonous and uninteresting; this is Modernism is susceptible. want to create buildings



that



composition but have



in



The paintings



different artists. Albers



and Piranesi, come



I



the Square, Albers.



square and



in



me



recall their I



who continued



truly



In



the series called



simple of



is



universal, eternal



Homage to



and essential. And the Career/ of Piranesi labyrinths of the flesh,



and can I



vividly



still



overwhelming power and sense of space. of Time's after



attracting interest.



architecture to the site



in



A



Rokko Housing. The issue



of contextualism



concern for context leads to an interest



a fundamental way.



The



in



linking



traditional culture of



Japan



cannot be discussed apart from the natural beauty of the four seasons



in



Japan or



the geographic and topographic characteristics of the country. Architecture introduction of an



autonomous object



designing of the site



The structure of the



ways



of



life



itself.



It



is



into the site, but at the



same



time



it



is



the



is



the



the discovery of the building that the site desires.



city within



which the



site



is



located



is



also important.



The



and customs of people from the distant past to the future



concealed there. Architecture



464



in



two



the ideas of the Bauhaus, limited himself to the



complex images of the



worked on the design



was then



to mind.



logic



which



a major fault to



seem



is



fact



the single-minded pursuit of that figure achieved the freedom to



express that which are for



fact a rich, labyrinthine quality.



in



is



lie



the act of discovering these things and bringing



them



to the surface.



I



want to capture, not the things



appear as forms, but the



that



formless things, namely the ways of thinking and feeling that



invisible,



beneath those forms, and to employ them



in



new context and



a



lie



hidden



them



to give



rooms



of pavilions are situated around natural features, particularly water. At



Time's.



I



wanted to achieve a three-dimensional



the centre.



hands



in



history



The building



the water.



and



circularity with the



arranged the building so close to the



I



cultural tradition



museum. was also I



intended to



is



so that they



interested



in



Takase River as



river that visitors



can dip



their



make visitors more aware of the city's look on Kyoto not just as a sort of



will



how forms that were thoroughly geometric



seeing



demands



Then, after getting functional feedback. That



criticism.



One



longevity of one's architecture. Perhaps



everything can be accounted for reasonably.



completely explained or described



in



of the recently completed Children's



is



revealed to be



feel that the things that



I



fact are valuable to architecture.



Museum.



design of a special outdoor space (which



I



call



I



However, in



want



I



to



show



functional terms.



to play very



little,



I



in



much as



where



could contend with nature. There



possible,



themselves. There



is



because



I



the case



in



terms of functionality.



society that cannot be explained



to create a place



as such. The children are exposed to nature, that as



cannot be



In



Up to now society has



'landscape').



that there are things



wanted



Not



put a great deal of effort into the



not allowed the building of things that cannot be explained



just



irrational.



children,



practically



is is.



who today tend



no play equipment



released into the landscape,



ought to discover games by



feel that children



a long wall that cuts across the greenery, but



it



is



roofless.



I



beautiful the finish



What



is.



The Modernism I



of the past



became



insipid



because



it



was designing the Raika Headquarters Building at Museum, and given this opportunity to design meant



it



for



important.



the



same time as



office spaces.



I



the



thought



people to work. Offices tend to be designed on the basis



of functionality and rationality. Moreover, the current trend towards intelligent office buildings



is



surface finishes and the convenience of that are



based on



still



one goes beyond the beautiful these buildings, one finds office spaces



reinforcing this tendency.



functionality



If



and economic rationalism and aimed



at



making



However, people are not just



people work



efficiently



components



to be plugged into functional spaces but creative, active beings.



believe that from offices.



and increasing



now on



the idea that work



There ought to be buildings



by excess.



I



want to create places



energy. This



may be



productivity.



difficult



in



is



a part of



which function



that



encourage



storey spaces



may seem



in



the office areas.



On



top there



building



and there are various



own work the



ideals, that



is.



I



also



in



a roof garden.



wanted



order or the quality that one recognizes



spatial



it



What



important



is



is



transparency - not the



quality but the transparency of a consistent logic.



Then introduce nature



into a building



I



the form of water,



light,



earthly plane and gives



based on such a transparent



Nature



logic.



in



and sky restores architecture from a metaphysical to an



life



A concern for the relationship between



to architecture.



architecture and nature inevitably leads to a concern for the temporal context of architecture.



I



want



to



emphasize the sense of time and to create compositions



which a feeling of transience or the passing of time



is



in



a part of the spatial



experience. They must appeal to the sensitivity of the person



who undergoes that One clearly



experience. The best Japanese gardens are not static but dynamic.



sees subtle changes taking place from moment season, and from year to year



in



live



to



moment, from season



come to the garden. There is life in the parts, and these new life in the whole. When look at a garden that like



-



that



I



is.



time.



in



buildings that are adrift



in



to introduce the



I



parts together



an organism



wonder if cannot create I



time.



creator to halt his process of thought at difficult



to



such things as the moss, the trees, or the birds



In



is



buildings that



a sense, real buildings require the



some



point and to



concept of time. However. want to I



while suggesting the whole, and capturing the



moment



complete them.



It



is



try depicting the parts



while giving glimpses of



eternity.



A number of facilities Museum. would I



environment with



for children are currently being built



like to its



see the



verdant



hills



facilities



and



around the Children's



scattered throughout the rich natural



beautiful waters.



Nature



in



the form of wind,



water and sun animates an architecture ordered by geometry. Elements that are different overlap like



and integrate and



strike a



sympathetic chord



to continue to create buildings that can enter into



in visitors.



I



all



would



such a dialogue with people.



in



T Ando. 'From the Periphery



of Architecture',



in



The Japan Architect.



1



.



January,



1991.



These features



to try to



the five 'points', of Le Corbusier



is



multi-



wasteful, yet such spaces represent the extra margin of space that



encourage communication between people.



call



is



and increase human



The headquarters



it.



is



be important



I



produced or surrounded



creativity



tc explain rationally.



centred on a cylinder with a huge atrium inside



is



life will



One can



applied.



never complete but instead exists



rejected such irrationalism.



Children's



about what



is



is



important



is



transparency one associates with superficial beauty or a simple geometrical



breathe



feel this irrational quality



details



the clarity of one's logic -



the clarity of the logic behind a composition and the consistency with which



is,



that



I



I



think, the



I



does not matter how pretty the



it



that



have provided functionless columns and walls because wanted the architecture nature.



I



how



to allow people to live animatedly



in



to



are or



through reason, not perception.



closely examined,



I



their essential character.



then begins to clearly understand the framework of the conceptual



and how the strength and beauty of concrete blocks might be expressed.



when



demands. want



basis of architecture. The strength of one's concepts determines.



that logic



rational architecture,



response to the



direct



in



want to design what is really needed. because the creation of architecture must be simultaneously an act of



is



and simple might be related to elements that were representational or traditional,



Even



designed



is



of society. Instead of responding directly to such



what the fundamental issues are and to consider



learn



life.



a traditional tour garden of Japan, such as that of Katsura Detached Palace, the



In



Too much contemporary architecture



embody



the 1920s:



roof garden, continuous horizontal windows, free plan, and free facade.



in



will



my



pilotis.



[...]



465



Tadao Ando. Shibuya Project and the



The Power of Unrealized Vision



Naoshima Contemporary Art Museum.



Once the norms of an era collapse, there emerges the illusion that everything has become possible. And then all things abruptly decline into endless barrenness. of architecture today are like travellers roaming a



The creators



Once



boundless desert.



they enjoyed the luxury of simply following the beaten track;



themselves



an uncharted, desolate land with no guideposts



in



should be said that



any era and



in



a creative person inevitably



any field of endeavour,



in



works



and eventually re-enter charted



in.



Anyone who hopes



in



now



sight.



they find



Perhaps



this is the sort of



to navigate



it



realm



expanse



its



has to constantly place imaginary



territory



markers before him as he goes. Only with an intense commitment to architecture can an architect sustain the vision of the track that propels him forward. For an architect, creator



in



a barren land, building structures



What matters most the architecture. Only when a



strong commitment to the future.



commitment as world does



reflected



in



framework of



Or



realistic conditions.



likely



If



The Okamoto Housing project that building



labyrinthine space.



human being



of



1



976 was



was determined



somewhat



nature. Unfortunately,



The Shibuya Project



in



in



hall,



to



further



its



ambiguous



simple, orderly



difficulties,



legal



problems, and



be abandoned. The architectural ideas



multi-storied form



hall



may be



abstract, geometric responsiveness within organic



Nakanoshima



music



society



such a meaning for



a plan that held



of 1985, too, represented



the



the



not realized, or even



to reincarnate the complex,



context of an exhausted modern city a realized



Still,



moves even deeper and



forged at that time were realized several years later



and then developed further



spirit.



through a simple grid a complex,



due to technological



economic constraints, the plan had



conference



likely



is



within the ideal of Modernist architecture with



forms; to achieve a



was



new



commitment.



tried to materialize



I



I



his



more



that plan



not realized, the architect's thought



is



towards some new projection of



In



a



he may be to deviate from the



rather, the



reluctant to accept a truly stimulating plan.



me.



opens up



building



enduring capacity to stimulate the human



its



is



stronger the architect's zeal the more



it



the intensity of that



provide truly fresh stimulation. Indeed, a fundamental requirement of



it



architecture



because



the projection of his



is



is



lively



in



in



Rokko Housing



the



Rokko Housing



my strong



desire to insert into the



culture-oriented space. That desire



Project, which consisted of a



and other



project,



II,



facilities



museum,



to transform the island of



Nakanoshima client,



there



in Osaka Bay into a zone of culture and the arts. Without a specific was no possibility of the Shibuya Project materializing; all started it



simply because of the intensity of



Even



if



an architectural plan



is



my yearning.



not translated into



projected at the future should endure.



some



different place. Looking



were a source into



It



back on



of energy that kept



me



is



reality,



the architect's idea



some later time or know that all the ideas



certain to surface at



unfulfilled plans,



continually



such unmaterialized 'architecture' that



I



I



moving forward.



myself,



It



who conceived



is



probably



it,



am most



'^!



'



sharply etched.



TAndo. The Power



of Unrealized Vision',



in



SD-Space Design, 333, June 1992.



|L f



466



w



'



Sensibility



and Abstraction



Mies van derRohe. Friedhchstrasse office building project. Berlin.



a refinement of



what



opening, through the power of reason,



new



Every expressive act



is



is



sensed



to



essential nature:



its



horizons and manifesting as-yet-



unknown time and space. [. .] The innovative character of Marcel Duchamp's Fountain, .



for example, could only



derive from solid logical thought, replete with intuitive discovery and caustic irony.



Josef Albers' squares, which,



Or, there are



their intensity the plenitude of In



in



a contrary manner, speak through



tremulous sensibility



in



the depths of Albers' logic.



architecture, then, this strength of logic that carries forth



be characterized as geometric power, or the



none other than abstraction. By abstraction, of course. eliminative simplification of the



would only result



what



is



I



mean



concreteness embraced by the



It



real world; for this



my intention



succumbed



instead to meditate on the essence of the



manifestation as a lucid, crystallized order. This



was



it



gleam



testifies to their having



not as an ultimate goal - not as style,



vital



architectural order,



I



energy to a



spirit



fact still



confront people with



in



transcending the times.



crystallization within



light,



and sound.



In



an austerely composed



presence. Out of this£onfrontation



its



startling



encounters between people and nature are bom. and a tension



that can



awaken the



spiritual sensibilities,



The



the 1920s,



taken abstraction and geometrization



subject to abstraction the elements of nature - water, wind,



bringing nature's



in



other words - but as an experiment



in



thought aimed at abstracting an essential I



of the early Modernists.



spirit



even today Mies van der Rohe's glass skyscrapers, drawn



retain their



to



it



the true character of



is



the subjection of this essential abstraction to relentless



experimentation that marked the radical that



to



real, in



order to organize, purify and universalize this essence, and deliver



abstraction: and



this is



no mere



diminishing the richness of the real. Indeed, by taking



in



is



And



to signify



abstraction for a process of popularization. Modernist architecture deterioration.



sensed might



activity of geometrization.



still



covetous of sleep,



in



is



evoked



contemporary



mere product of power a presence in contemporary



humanity. Through architecture that transcends being a



conceptual thought.



I



want



to give nature's



society and thereby provide the kind of stimulating places that speak directly to



man's every sense as a strata not



living,



corporeal being. Moreover, retrieving from history's



form or style but the essential view of nature and



depths - the



spirit



of a culture,



in



life



that runs through



1



the present and even project it as far as possible into the future.



depth can be added to the society of the future. rather than withdrawing into form,



environment and times, and



its



other words - want to put this into dialogue with



will



revitalize



When this



In this



way layers of



happens, architecture,



emerge to resonate sympathetically with



its



the natural and city landscape



TAndo. Probing. Through Sensibility. Every Manner of Phenomenon', Ando: Beyond Horizons in Architecture. Tokyo. 1 992.



in



Tadao



467



In



the Japanese Pavilion at Expo 92, Seville



Tadao Ando, Japanese Seville



When build



wood



built this



I



in



it



structure, people



asked somewhat surprised, 'why



wood?' This was an honest reaction



to



my use



an element which creates space,



is



that material alone cannot



be an architect's theme. Concrete



am concerned



with spaces enveloped



theme;



rather,



when



make wooden architecture, wood carves



I



I



the main issue



but the space that



you



many years.



concrete after having designed concrete architecture for so



Although building material



did



of a material other than



in



believe



I



my



not



is



concrete. Similarly,



not the material wood,



is



as well as an aesthetic sensibility



out,



about wood. In



the belief that at international expositions the architecture of the pavilion



introduces one's culture more than the exhibits inside.



Japanese



wooden culture



Japanese people's aesthetic sense, or consciousness,



culture,



architecture.



the post



in



in



I



felt



I



wanted



and severe architecture, set



In



two



will



of



was



human beings



find



I



wood and



in



the beauty of



one source of Japanese



the seventh century.



first built in



In this



simple



surrounded by giant cryptomeria



thick forest,



in



Japanese have pursued



to create



is



expressed



in



a primitive form.



for the past several centuries.



reconstructed every twenty years. longing



of



At the Ise Shrine,



prepared next to each other, and the buildings are



identical sites are



eternal



the culture of



an austere and forceful aesthetic, distinct from the delicate beauty



this shrine is



that the



show



to



Europe, a culture of stone and walls.



the Ise Shrine, which



trees, the powerful



itself



attempted to express



I



the



If



there



Japanese



a quest for immortality here,



is



purity,



for



symbolized



the



in



reconstruction (shikinen sengu) which gives birth to completely



new



is



the



ritual



of



it



buildings



every twenty years - an immortality distinct from that of the stone architecture of the West. Twenty years



is



said to



for the shrine's construction is



be the span over which the special techniques



can be effectively transmitted,



wood can be



the span of time that white



solemn strength, brevity and abstraction different I



same time that



the use of



in



wood



is



it



a



at Ise, entirely



from the vocabulary of tea houses.



wished to adopt



this kind of thinking in the



the Japanese Pavilion at Seville.



I



context of



wanted



to



environment



in



which the strength of the



new ways



of expression



pursue free expression



wood



enclosed by materials restricted basically to rich



at the



maintained untreated. There



pillar



in



in



a space



both inside and out, and build a



would come



forth.



For



this,



the



texture and colour of materials could not be ignored. Traditionally, the living space of the



Japanese has been



built



with



many



materials themselves have been admired.



wood, earth and stone - can be reduced with concrete over the years recognizing depth building



wooden



in



seemingly



architecture.



world of Japanese



The aesthetics



this



came



I



living



I



dull



am



space and



natural materials, I



to



monochrome.



to think



in



Building consistently



terms of finding richness and



world of monochrome. The



seeking



in



and the colours of the



believe that the colours of nature - of



my own



roots



in



the



same is true in monochrome



the Ise Shrine's strength of abstraction.



Japanese architecture are frequently described through the contrast of the seventeenth-century architecture of the Nikko Toshogu Shrine and Katsura Detached Palace, but believe it is also possible to interpret Japanese of



I



architecture



in



terms of the two poles of pre- and post-Sukiya style While Sukiya



architecture expresses



468



.



its



richness



in



the artifice scattered throughout



its



details,



Pavilion,



Expo



92.



architecture prior to the Shoin (sixteenth-century) style architecture has



its



roots,



one composition method, or one form appeal to a powerful light,



and



in



architecture,



is



spirit in



that



is.



light



in



in



There



is



an



the control of



and dark. The essence of Sukiya



on the other hand, might be said to rest on subtle control of nature,



more on surfaces. The architecture of the the archetypal example. The tea house is a dense space, in which the its



modes



of expression



thoughts of the designer are reflected everywhere and the dwells



which Sukiya



within limited bounds.



the spatial volumes, for instance, or



changes and contrasts of



concentrating tea house



in



seeks rather the elegance of freedom within essentially



every



detail.



This aspect of craftsmanship



life



of the designer



the architecture of Sukiya



in



has exercised enormous influence on contemporary Japanese architecture and of great significance. Looking at



it



in



another way.



I



think



one could say



is



that



although the forms are completely different, there



was



flood of different post-modern styles that appeared



post-modernism as



it



developed



in



In



spirit



in this



the consciousness of contemporary Japanese,



continually



how



to



wood



the



1



980s. particularly



wood this



architecture



is



definitely



background, for me. the



this orientation of



wood



is



awareness toward surfaces and



details that is a characteristic of our internalized Sukiya sensibility,



forceful



in



to



period to formal game-playing,



architecture and the point of greatest interest,



combat



return to the origins of



still is



of Sukiya.



represented by Sukiya and the tea house. Against issue of building



a Sukiya character to the



Japan. Perhaps more significant



recognize what resulted from the tendency



devoid of the original



in



construction, and draw from



them a



in



order to



leaner,



more



contemporary expression.



469



TadaoAndo. Church of the



Light



Light



the origin of



is



all



being. Striking the surface of things, light grants



shadows behind



outline; gathering



things,



become



discovering interrelationships, and to things and. at the



might even say that



same



their individual form,



Light grants



linked.



infinitely



time, prescribes their relationships.



elevates the individual to distinction



light



them an



gives them depth. Things are



and darkness, and obtain



articulated along borders of light



autonomy



it



We



the context of



in



its



relationships. Light: the creator of relationships that constitute the world; yet



although the origin of



all



being,



tremulous motion - out of



rather,



it



is



its



by no means an immobile source. Light



ceaseless transformation,



light



is.



continually re-



invents the world.



Architecture - which endeavours to slice off sustain



its



carefully



presence



ensnare



the capabilities of



light,



of this omnipresent



light,



and



all



of



its vitality



-



intact



i6



it



not that which purifies



bringing light to our consciousness? Light gives, with each



and new interrelationships to things, and architecture



to being



light to its



some



a fixed place; which has sought, through the ages, to



this light with



moment, new form condenses



in



most concise



being.



The creation of space



simply the condensation and purification of the



Such perceptions as these



power



of



in



architecture



is



light.



of the relationship of architecture



and



light



are not



so much constructed from ideas, perhaps, as they are drawn from the layers of



experience



spatial



that



have been



etched



my



into



physical



being.



Experiences, say. of Japanese architecture - the tea house, for example,



where space



wood



is



partitioned simply by



means



of paper, stretched over a delicate



frame. Passing through such a partition,



light quietly



diffuses into the



interior, to



mingle with darkness, producing a space informed by monochromatic



gradation.



Japanese architecture has



its



subtle changes



it



achieves



almost imperceptibly



at



endeavoured, by means of



traditionally



sensitive technology, to break light



down



to



its



world,



The



into being.



Western architecture once used massive stone walls the exterior.



individual particles.



the level of tremulous energy bring space



Windows,



let into



walls so thick as to



to partition the interior



seem



from



a rejection of the outside



were small and severely constructed. Such windows, almost more than



they allowed



light to enter,



embodiment



of



light.



shone with intense



brilliance,



as



if



they were the very



They expressed, perhaps, the fundamental desire of man,



inhabiting the darkness, for light.



The



brilliance of a shaft of light, penetrating the



profound silence of that darkness, amounted to an evocation of the sublime.



Windows were made, not for visual entertainment, but purely for the unmediated penetration of light. And light that pierced the interior of architecture produced a space of



The severely built openings caught the Space was carved - like a sculpture in the



solid, resolute construction.



movement



of light with precision.



making - by a



line of light that



pierced the darkness,



its



appearance altered with



each successive moment. In



modern times, architecture has liberated windows from structural limitation, them to be freely constructed in any size. But instead of resulting in the



allowing



liberation of light



in



architecture, the vitality of light has



now been



allowed to



Modern architecture has produced a world exceeding transparency - a world of homogeneous light, bright to the exclusion scatter ineffectually, and be



470



lost.



of of



Light.



all



else,



and devoid of darkness. This world of



light,



halation-like



diffusion.



in its



has meant the death of space as surely as absolute darkness.



For ancient man.



light



performed as a measure of time. Powerful rays of



projected onto the land by the vastly distant sun -



light that



varied



in



light.



direction.



light and reveals light's power, is innately a part of light. Yet. the richness and depth of darkness has disappeared from our consciousness, and the subtle nuances that light and darkness engender, their spatial resonances - these are



almost forgotten. Today, when



pursuing the interrelationship of



fundamental form to man's sense of space. This



darkness



into the interior of his built



understand



his



own



drawn through openings structures, enabled man. who dwelt inside, to light,



being, relative to his surroundings.



constraints.



As



one was



a result,



architecture, of therelationship that



readily



made aware,



bound man and



in



the interior of



nature. Today, the



expanse of



technological potential has rendered architectural lighting effortless and devoid of



one



sensitivity, with the result that



character of places. Indeed, with



ones



no longer made



one



is



us - at any point time'.



I



in



our



built



produce



a



manner



attention.



that will inform



space with depth, and



richly stimulating places.



Light, alone,



does not make



- resplendent with



dignity



revealed, as they simultaneously



continually



light into



light.



and power. Darkness, which kindles the



life



I



am committed to



whose beauty



light that,



within



hollowing out



into place'. in



I



moment, a



shaft of light sharply fractures



in



made new.



bounce back and



interrelationships.



Space,



In this



Space



is



light,



forth



bom.



and



their existence



among them



Yet. with



is



reflected



each increment



penetration, the being of things, and their



light's



in



other words, never begins to mature, but



place of ceaseless



birth,



people



will



is



thus be able to



evoke the resonant implications of life. Architecture must set forth places



context of daily informs



There must be darkness for light to become



one's hands:



the darkness. Wall, floor and ceiling each intercept the



which can speak to



seek to lead



light.



Light,



I



conditions of severe constraint. At that



the angle of



I



in



sought, for example,



complex



environment - with remarkable immediacy of place'



in



I



light, initiating



role of natural light,



Through precise inquiry and detailed



the interior of architecture



as this that



relationships, are recreated.



view as profound the



homogeneous



It was space constructed Church of the Light. Here. prepared a box with thick enclosing walls of concrete - a construction of darkness'. then cut a slot in one wall, allowing the penetration of light - under



light



of change



to feel the individual



in



and darkness.



as of jewels that one might cup



is



not even conscious of



relationship with nature.



For such reasons.



and



is



artificial lighting,



light



darkness and piercing our bodies, blows



of such



From medieval to pre-modem times - in both Japanese and western architecture - light required cautious handling in response to a considerable variety of



cast



all is



angle and intensity, depending on the place, the season and the time of day - gave



it



life.



Light



is



whose vitality of spirit can liberate man in the awakens architecture to life: and which



that which



with power.



light



brilliance of



T Ando.



Licht'. in



Jahrbuch fur Licht und Architektur 1993,



Berlin.



1993.



^m^-



1&s



471



The Agony of Sustained Thought: The



Mies van der Rone. Farnsworth House.



Difficulty



of Persevering



Function separates architecture from



how easy



or



difficult a building is to



By



the other arts.



all



The question



use.



put himself into the space of a building.



function,



does not matter



It



do not mean



I



whether or not man can



is



if



an actually



is



it



constructed building, an unrealized project, or even a proposal



which the



in



architect has given free rein to his imagination. Architecture cannot exist without



human



relating to



programme from which



beings. The



architecture



generated



is



and an interpretation of the programme are indispensable to architecture. Being engaged



in



architecture



for



is



does not mean develop a cogent



me



the



same



thing as thinking.



respect to a project.



logic with



I



always want to discover the essence of a thing. starting point. Thinking



A



sketches.



given



in



every case



a physicalized process,



programme may take devious paths



profound changes. requirements



me



for



is



In



will



I



However, that



my nature to



is



It



go back



I



to the



performed through



inside



me



and undergo



not sacrifice freedom of thought merely to satisfy



A



a precise way.



perspective on a project, an



historical



understanding of nature, climate and ethnic traditions, an understanding of the



most



times, a vision of the future, and



of



a



all,



to bring



will



all



these things to bear



on the problem to hand - the absence of any of these things weakens the work of



none of these things ought



architecture, yet



need



to



want



all



be



fully



these things to be sublimated



Recently, projects



in



the space that



me



structures of steel and glass I



Chicago had



in



There was an emphasis only on



no



that trip



me



for



come



had



practicality



me I



like



my will.



felt



I



opportunities to In



1967,



down. The skyscrapers



to expect of



and



modern



architecture.



and a beauty that was



rationality,



of an industrialized society



and gave



nothing that conveyed



or thought.



from being a complete disappointment was the Lake Shore



other apartments nearby,



I



could sense



in



made



and



of steel



them the presence



of an



is, Mies himself. also felt his presence at the Farnsworth House. appearance was perfect. Of course the materials - steel, glass, precast



individual, that Its



work. They



then a strange fascination.



felt let



Drive apartments by Mies van der Rohe. Although they were glass just



final



created.



is



who had made them. There was



had



individuals



What saved



I



They celebrated the products



hint of the individuals



what those



the



Japan, and the vertically extended



in



visited the city for the first time,



have the power or tension



only skin deep.



in



have always been refreshing and stimulating.



there were practically no skyscrapers



did not



be apparent



Venice. Basel and Chicago have given



in



revisit buildings that to



However, when



to



assimilated by me, so that even a single line expresses



I



concrete and travertine for the floor - were qualities



and there was a



craftsmanship available then himself engaged



in



of.



in



combined



made by



amount



to



show



off their



possibly the highest



the United States. However, to



architecture, the



of effort obviously



someone who was expended by Mies



concept was intimidating, despite, or rather precisely



to achieve his spatial



because



skilfully



clarity of detailing



the decorousness of the house.



Much



skill



and



effort



had gone



into a



rigorous architecturalization of geometry intended to create a model of space. In



the pursuit of his architectural ideal. Mies sought a degree of precision that



seemingly impossible



in



architecture,



and



his efforts crystallized into



That aesthetic, however, was so thoroughgoing as to be intimidating; a kind of violence.



472



It



is difficult



was



an aesthetic.



to believe that this building could



it



harboured



have been



Le Corbusier, Ronchamp Pilgrimage



intended to serve as an actual dwelling. The powerful design



course to a very understanding intellectual



but



client,



is



it



journey by Mies van der Rohe. one



in



recently revisited



I



been there a number of times since



is



Inside



life.



my first visit



Ronchamp. the



windows



entering through



existence of



radical solutions.



the chapel of Ronchamp. although in



visitor



is



I



have



1965. This highly plastic work,



with bold forms of rough concrete, dates of course from the



Corbusier's



its



which he thought through the



problems of steel-and-glass architecture and developed



Another building



owes



also the product of a painful



final



years of Le



assaulted by phantasmal lights



of diverse sizes fitted with coloured glass. This chapel,



works by Le Corbusier. which were controlled by reason and expressed rationality, seems to have been created directly and intuitively, almost unlike earlier



in



the manner of a painting,



its brutal physical



strength remains undiminished and



continues to shock us.



How did Le Corbusier. who had always remained true to modem architecture, come to create such a building?



One factor may have been the hoarding of ideas forced on



him by the Second World War. Thinking was the only thing permitted an architect



wartime since nothing could be



deep



attained a



built.



I



understanding so that he was eventually able to transcend Ronchamp with an almost intuitive speed and energy.



level of



reason and create



The act of creation can produce joy.



a



sense of achievement,



pleasure, but to reach that point requires an intellectual journey



which ideas are accumulated. which anguish



in



believe his thoughts turned inward and he



is



A work



is



based on a subtle



satisfaction full



and



of anguish,



in



one



in



equilibrium,



balanced against the pleasure of liberation from that anguish. The



creator's ideas, however, are often not compatible with the attributes of architecture



- that



is. its



economic, social and functional character, or the ideas of



the client and the contractor. Architecture as a form of expression can succeed



when



efforts are



made on both



am now working on



I



this is four



sides to bridge those gaps.



a project for the third stage of



Rokko Housing. The



site for



times the size of that for the second stage, and the number of units



be 300. compared to the twenty units second. Completion



will



in



the



first



stage and



probably take another ten years.



fifty



units



in



will



the



My dream, which is to



contrast housing on an urban scale to nature on a 60-degree slope,



may not be



acceptable to present-day society, which places greater value on practicality and



economy. Yet that dream traditional 1



Japanese



976 Azuma House.



is



life in



an extension of the idea to provide an enclosure for



a simple geometrical form that



Sustaining the process of thought



is



agonizing and



Famsworth House and Ronchamp provide me with freedom of thought and to create buildings to those



who experience them. The



signposts before



was



the basis for the



[...]



me gives me



that continue to



fact that



However, the



difficult.



inspiration.



I



want



to retain



be thought-provoking



these two works



still



stand



like



hope.



T Ando. The Agony of Sustained Thought: The



Difficulty of Persevering', in



GA



Document. 39. May 1994.



--";



The Eternal within the Moment



Born and raised



in



Japan's



richly historical



examine



plentiful opportunities to



Few



Kyoto. Nara and Osaka.



cities like



shrines, temples, and residences that



power



I



me



impress and influence



to



immemorial



Kansai region.



have been blessed with



of the innumerable



have



visited,



and often obscure



however, have had as much



Tenno system. Japan's form of



monarchical government, the Ise Shrine has taken hold as a in



ancient



in



as the Ise Shrine. Bound since time



intimate association with the



in



I



Japanese architecture



traditional



spiritual



cornerstone



the unconscious of the Japanese. Even today with the Tenno system



deeply rooted presence



still



a



the psychological make-up of each individual



in



Japanese, the shrine retains profound meaning as an abode of Japan's



traditional



visitor



crosses the Isuzu River



at its



approach to the shrine compound,



solemn mood as he trudges up the entrance path



naturally into a



darkness of forest, feet pulled



by gravel. The



at



and evincing a forceful beauty of primordial aesthetics and



life



The shrine



completely



is



style of the agrarian rebuilt



seems an



simplicity,



Japanese of



falling



growing



into



enveloped



Ise Shrine,



in



silence



apt symbol of the



every twenty years



in



accordance with the in



the world, of



regular removal of a shrine according to a fixed cycle of years. This custom,



believed to have been established nearly faithfully observed alternate sites, and while is



demolished after the shrine.



A



religion



in



one shrine



is still



In



750), has been



compound are two identical down to the



the old shrine then being



site,



god-body



of sengu, or transferral of the ritual



AD



the shrine



intact, another,



on the adjacent



built



ritual



the Nara period (around



the present.



until



preoccupied with



beautiful expression.



to the



beauty. Shinto here attains



its



new



most



There could be. moreover, no surer means of passing down



through the generations a manner of construction founded on materials and



methods as temporal as miscanthus-thatch roofing and columns set earth.



In



this



into



bare



way, through the shrine's rebirth every twenty years for over a



millennium, an ancient



mode



of architecture has reached us today virtually



unchanged. transmitted through the Ise Shrine



substance, but



'style' itself



which pursues a beauty of



and



is



spiritual tradition. In



simplicity, fresh vitality



expression has been successfully handed



it



not a building



we



in



physical



find that a sensibility



and grace



down among



in its



most



pristine



the Japanese from



generation to generation. is



hinged on individual consciousness, the Japanese



traditionally held a pantheistic



who



a spiritual



is



seen to dwell



and



invisible



in all



view of nature and entrusted consciousness



things. Accordingly, within



474



an architecture's form



something inherited from previous ages



concealed, though ever refined and transforming



in



its



petals, just



Though we would pray



immortal, and there



in



flower



character.



is felt



to



lie



The Japanese.



is



when we



intuitable. contradictorily,



an ideal metaphor for



find



it



have attained



to



beauty to endure, nothing



for that



in



my work. While



expression to



and



in spirit



my



in



it



optimum world



is



for the eternal



unique conception



its



architecture that, though losing



its



deeply upon the



who came



spirit



character as an image to create a



of those in



wood



tried to project



endeavour stems more have sought



I



Japanese



Pavilion at



I



these fully



to give



Expo 92



in



expressing through architecture the culture



custom



uniting



in



and



physical being.



this traditional sensibility in the



My theme for this project was



produced by the Japanese



chose



sensibility,



partly deliberate, this



from an unconscious inheritance



I



its



form or materials, terms that are physical and apparent to the eye,



have opted for an inheritance



Seville.



in



an instant.



Rather than choose an inheritance of Japanese tradition and of beauty



in



this, for



in this



no more apt symbol of our yearning



is, finally,



than that which fades



to climate.



life.



I



An



exposition building



physical presence, would have impressed in



is



therefore wanted to create an



contact with



it.



itself



achieving an eternal



memory.



their



structure of great size for



its



capacity to speak directly of



Japan's culture and aesthetic consciousness to people from a cultural sphere characterized by stone and walls. This



the high technology developed



home to what



in



means



this



said to be the world's largest



is



of expression



age using



was



feasible



wood



owing to



Japan



is



structure, the temple Todaiji



in



artificial intelligence.



Nara, yet that building's structural methods elude contemporary analysis and.



hence, cannot be applied today. To realize



my



conception of



this



work,



sophisticated computer technology capable of minute analysis of complex structure



The



was



indispensable.



sensibility that



gardening,



in



[...]



informs shakkei, the borrowed landscape method of



which one attempts to read and give form to the character inherent



a site or place



is



Japanese view



a uniquely



what have produced Japan's bring to architecture not so



transforming



its



much



introduce nature -



light,



lies invisibly



condition of architecture from in



such



qualities are



tried to



behind



it,



new context.



a logic or



grasp and



image



that,



by



[...]



it



to



Climatic changes



life.



moment



to



in



turn transform the



moment. Contrasting elements meet



these results, architectural expression



capable of moving the human



moment. The abode



have



wind, and water - within a geometric and ordered



awakening



with startling results, and



I



the real and readily apparent as the abstract and



character, lends itself to a



architecture, thereby



of nature; indeed,



traditional building culture.



formless logic or image that



I



Whereas western thought to god.



beauty.



A



fleeting existence.



withers, scattering



in



What has been



have



what has only



destined to be dismantled after a short



antiquity.



practice of shikinen-sengu, a custom, unparalleled elsewhere



smallest measure,



which fades and dies, feeling the eternal to be



qualities into



aesthetic consciousness.



The



moreover, have been inclined since ancient times to discover eternal character that



spirit



of the eternal



is



born that



is



and allows us to glimpse the eternal within the



is



thus within he



who



perceives



it.



Ise Shrine.



KM* 475



Ando



interview with Tadao Hiroshi



Maruyama



Maruyama



Hiroshi



and



of the old world



there than



were a



it



You



was here



in



less interested



lot



of society.



Compared



Tadao Ando We



first



to



Europe



in



1



968



to study the architecture



movement was no



less vociferous



Japan. Young people thinking of becoming architects



Japanese



in



ourselves



in



they were



tradition than



how do you



to then



find



went



time the student



at that



think



making critiques



in



a twentieth-century fin-de-siecle.



The world



ideals,



a society which are ideologically



about a world



was



has turned out?



it



HM Your anxiety may be that as an architect whose search for integrity depends on staying true to modernist



still



which technology



in



already a problem



you fear the imminent collapse of a world and rooted



will



in



render



You worry



the Industrial Revolution. all



human



meaningless. This



activity



when Modernism was beginning - has



it



not always been



the big question about modernity?



changed enormously between the nineteenth and twentieth centuries and, as see it, the transition into the next century will be just as traumatic. If you'd asked



TA When



we would probably slip lazily from one century into another without noticing, but now -and say with some anxiety- we seem to be about to enter an epoch in which history will take a completely new



these by introducing informal events into repeating grids. With Mies, uniform



I



me



this



question



in



the



1



980s



I'd



have said



it



I



direction



The



once



last big



Industrial Revolution



the eighteenth century.



in



Europe became the centre of the world and society reorganized



new forms



hierarchies which then led to



of exploitation.



The



itself into



rise of Spain.



new



England



and France to imperial power caused those societies to redefine themselves terms of class distinctions which did not come to an end Revolution of



years



until, at



1



789. This



the end of the nineteenth century, cultural and artistic



emerged simultaneously



names)



stirrings of



Modernism spawned an



demand



with aesthetic pretensions and a consequent



In



I



own



our



there



will



century,



will



we



though



changes



will



I



didn't



understand



that



we were



drastically that



in



for personal



kind of machine.



irrelevant



will



Then



computers which modified attitudes so



inevitable that, as science fiction predicted,



make humans



the Industrial



twenty years computers have completely changed our



replaced by a technology which will



new



in



control the



lives.



humans are going



whole system.



by eliminating jobs and computers



to



So be



Industrial society



will



prove



far



more



productive than people. They are already transforming our natural consciousness



and



it's



too late to turn back now; an information net



beginning to eliminate another.



In



differentiation



enveloping the planet and



between one culture or



lifestyle



and



Asian countries, particularly Japan, traditional values and ways of



have disappeared



When



all



is



in



life



computer technology combines with the manipulative power of the mass media, artificial intelligence will change the lives of individuals and take over this



the natural functions of the brain.



In



our field what we used to



call 'architecture'



was



the result of intellectual creative processes which are probably going to disappear.



476



work



to



will



these inaccessible



in



a world taken over by computers,



have to ask



if



we will have no



our long struggles have been worth



all



I



seek



task



is



to create places



which express regional and



which embrace the diversity there



to create places



the world and to



is in



get to a point where computers control everything then there



any more and architects



seem



HM is



cultural



which bring out man's relationship to nature and other people.



will



simply disappear. Despite



will



this,



to



precarious their position



Mies van der Rohe's architecture



is



ever



architects



do mundane tasks; as technology marches on



how



we do



if



be no need



many



confident about their status as 'creative people' and



far



for still



only use



too few



is.



not only about physical transparency but



also philosophically transparent. Don't you think you're looking at him from an



excessively negative viewpoint?



TA



New



But Mies' architecture belongs to everywhere and nowhere -



Chicago, anywhere



in



York,



the world. After seeing photographs of his skyscrapers



some of them during the sixties when went to America for the first time, remember is the coldness of those endless uniform spaces. realized that in Mies there was something tragic and cruel which wanted to push everything to a totally logical conclusion completely ignoring all human considerations. told myself this was just the time, that if he hadn't done someone else would, as I



visited



and



all



I



I



I



I



it



suppose



Einstein's ideas



I



would have come through even



if



Einstein hadn't existed



or just as telephones would have been invented even without Bell.



never been born,



only five years.



and



in



give expression to whatever ideas and ideals reject uniformity. But



understand



trapped



then



spirit,



my



think



I



went before and the prime



still



heterogeneity can be said to reside



If



particularities



computers



be computer technology. Think of those early IBM mainframes: even



now we have



the effort. For myself, as an architect concerned with problems of existence and



context,



now



this clearly in the eighties but



go beyond anything



already called them 'computers'



measured.



this



Revolution mentality and thought of them as just a



seems



freedom



wars and technology have transformed values and suggest



Apple set new standards



it



for expressive



humanize



normal and leave no margin for



to live



philosophical problems.



be further change.



think the next



factor



new



is



more reason



affluent bourgeoisie



to



only a nuisance.



movements



architecture and



made



diversity; indeed, human intervention Our intellect doesn't work only by using rational processes and functional logic grasping at homogeneous blocks of data, but intuitively and emotionally, at deeper levels beyond thought, extending beyond rational comprehension and nourished by a spiritual component which cannot be is



of the



important to see these



is



it



in



Mies worked out



like



margin for freedom and difference, but



left this



mechanisms



the products of vast social and historical transformations going on



around them. These early



rise to



space always



hundred



the industrialized countries. Art Nouveau, Jugendstil



in



the arts and (leaving aside the well-known



movements as



in



the French



turn determined the course of the ensuing



in



and the Vienna Secession brought about far-reaching changes



which gave



until



developing people



first



with technologies totally controlled by computers and which only understand



whatever



again.



change was the



modern architecture was



uniform systems for organizing space. Crude attempts were



I



buildings, spurred



absorbing



When how



I



all



first



little



said to myself,



somebody



on by the need



else would have



to create a



If



Mies had



made those



dreary



homogenized space capable



of



hand was amazed



at



difference.



went



to



Chicago and



difference there



felt this



uniformity at



was between being



first



outside or inside.



I



In



fact



if



you have



C



'A' which is identical to building and you are in one of them, the complete lack of any difference between the two takes away all chance of



but not



went on being astonished at how those projects set out to annihilate all relationships between people and things. have no way of knowing what may have been going through Mies' mind when he was



HM



a building



perceiving any space at



all.



After that



I



I



designing spaces



like that



so much. The fact



that



is



and no doubt he



if



you force people to



make them completely unable



you'll



didn't realize



people would hate them



uniform spaces from birth



live in



to perceive spatial difference.



history, tradition



and humanity - rooms which are not



dead now and hopefully the desire



come to



to design



whatever



is



the same. Mies



all



s



most monotonous has in that scenario - the



an end. Nevertheless a generation has grown up



computer generation. These people have no



dc



many architects went as far as he did in trying to elevate this to the level of ne



ctr



-ccording to Eisenman the irregular spaces you can create by shifting one across another are the spaces of



grid



TA Yes. own



inkling of the kind of spatial



people do look for a crevice



sophisticated as that.



In



my own way



Now. however.



if,



sensibility



are the people



who actually admire Mies and don't feel



staring at their



computer screen.



have disappeared. These right



unless they're sitting



We do have to live with computers now but the



believe



c"tes=



:~



TA To me.



•::



People do usually say that uniform space



kills



off multiplicity of experience,



but Peter Eisenman uses shifted grids to create heterogeneous situations so that



When you



he can work on the differences that he thus creates. you seem to be saying at the beginning



talk



about grids



that the only opportunity to create difference in this



when you



set up the grid for the



first



time.



Can you



way



is



explain this



TA Some people say sort or another, but



if



is



characteristic of



No



live there, local tradition, history.



-



--



n-



i\=z\



i



;



::



e



s"



;c ': -c.-.e.e'".'



s



="::~es=-' =



tradition of



potential')



often



I



spaces have to be designed according to fixed



wonder if despite



its individualistic



rules.



vocation, the process of



modem



design does acquire universal meaning by mixing



architectural



and



.'.ould



when



what



it's



I



look



space. Grids can be useful as a



be boring. However his



is



a slippage



between them which creates



identical entities collide. That's for.



However unless you're infinite



if



way to make



what mean by I



able to feel these



space of the universe



buildings



itself,



you



only work for



will



and certainly different



find



universal



his



methodical design



you may indeed come up with spaces from Mies, but find his approach very



is right'



I



ambiguous. His drawings are always based clearly on



you



in



and don't necessarily have



you follow Eisenman through



dictum that the grid



that look diversified



shifting grids but



if



you



visit



spaces which, although not uniform, are actually unable to be



truly



heterogeneous.



HM



Eisenman seems to have realized



this



and has announced



his



abandonment



way of working



with grids.



Eisenman was looking



for a



new approach -



you say that using shifting grids to make irregular spaces shows decision-making can make spaces in which the imagination can



begin to take



flic



TA You could, but it



to



it's



always misleading to carry forward creative work by forcing



conform to such conventional descriptions.



configurations by working imaginatively rationality offered



desire to



by



in



true that



It's



in



I



bring



my aspirations into reality, and



a world dominated by information technology,



society which doesn't care about the



little



differences



battle with the windmills.



And



I



can



:;;:T:"



tell



you



--"-



it



e :- e =



one another it will be my job to break through intuitive - where the computer can never go.



HM



S:



TA



I



;



..: -



ce e.e :e_-



;



zz. e- zz'zers



life



and



a



thing and



Don



Quixote's



sometimes



with



in



between one



another or the relationships between human beings - rather ;



look for spatial



begins there has to be desire - the



this



means by which



a battle you have to fight



'.e.^--e^E;



I



the interstices whilst making use of the



which something can be experienced. Imagination and



fantasy - not grids - are the it's



in



But before



grids.



make spaces



like



feels like torture.



--=-:: :5". :-;;::, -;e



into the imaginary



and the



creativity... 7



-nputers can only reproduce whatever already exists within the logic of



technology.



of the grid... n his



Oku Chidden



Nevertheless.



rational



look for opportunities to create the slippages which thus happen



TA



or



HM



if



his buildings



culture.



Ma Cspace-in-between'): ma spaces are consciously designed and do not come about by the coincidental interaction of grids, and Ma



how



not be able to design anything spatially meaningful. Slippage



process and



=



as the Japanese



spaces, represented as



you already understand the differences between one space and another and ultimately, the universal homogeneity of all space. By seeking diversity in my work



to



s



Japanese



matter what they are or what shape they have - walls, ceilings.



e.e - -::



;



be uniform space of one



tensions and small differences within the



I



in conflict.



space imbued with aesthetic value —



buildings contain interstices of



No



result will only



each other there



grids, interfere with



you



more often been



ze~ z' all



When two homogeneous



you use grids the



disagree.



I



the estrangement you get



will



have



conceptions of space with these traditions.



more fully?



difference'



I



you to say more about how you approach the



right but I'd like



and so on.



HM



modem society and



in



n your way of using the intervals and interstices caused by shifting grids some see an affinity with traditional Japanese conceptions of space and others



any way out for those who.



architectural conceptions of space.



comer of their



modem age will probably no longer have any validity.



a sense of place, the character of the people who



like



small



which the ideals which dominated



in



standardizing process has accelerated



more and more, there doesn't seem to be me. want to go on asking questions about



some



HM



see an attentiveness to nature which



and



exist,



which to work - but not many are as



during our century, they have



doubt both are



life



still



I



think we're entering a time



I



difference that interests me. They're only able to think of space as the place



machines, where



in



I



where men



talk to



which to



man. think Modernism and Humanism are values which must somehow be



able to coexist even



the



life itself.



in



outside uniform space - an interstice



faith in



We perceive difference by thinking in terms of different spaces and to me diversity means



a



All



the relational systems which computers generate are worth



nothing compared to the physical presence of a single



human body True creativity



477



.



encompasses the whole of life and is expressed with the instruments of intuition, beyond logic and what any language is capable of expressing. The architect, operating from within this world, thinks about society in profound ways which have



TA



nothing to do with social, economic, political analysis and suchlike.



was going on was



HM What may be missing then, We



know



they're important but



a context



is



we



discuss them. This causes social and architecture.



Is



why you



that



feel



in



anxious 7



Just



life;



but anyone incapable of feeling and dreaming



inspire out.



it



or politicians, architects can sometimes lack enthusiasm for



like clients



How



century.



continue any sort of existence?



some



be



This



lost.



If



we do



not survive into the twenty-



will



human race



could an ice-cold



animated by



really will



disorder and also affects



political



TA first



against which to



more great ideas



with no



finally



as architects



do.



What



will



be a loss of



all



and everything reduced to the kind of calculations computers can



be



will



for architecture?



left



In



the eighties and nineties architects



thought they could have a dialogue with computers and explore the possibilities



and for another two or three years be



differentiation will



required



in



won't be surprised



have known



HM



You



there



is



no longer be



in will



comes down on



architecture as



I



we



unless there



is



made



Deconstructivism



being different



a difference



in



what



is



bigger and the only buildings



do only houses, so



for



is



a splash



essentially a



began as an architect



I



I



was



in



In



economic science



the value of something. Thus the



more valuable than



uniformity.



by deliberately emphasizing the value of



homogenized



thirty



years ago



society, but



my



really able to control



don't



I



work



that



I



can't



On



the



changes



into



these spaces and



make them



possible to get the kind of result I'm looking



when



I



talk



about differentiation



I



mean



for.



become



apparent. The architect must



sensual. Thus



I



even with large



the difference between



make



it



down and



local



possible for those



down is



to



to try to



approach. Even



this



it.



HM Compared with your earlier work the Suntory Museum exhibits a very evident one sense the Suntory project time



wanted



I



is



change and



that



on the whole



happy about having



to



my earlier projects but at might seem materials but think my forms do



an evolution from



to exhibit a greater self-assurance.



it



always use the same sorts of grids and range of



my work



is



It



I



I



varied.



the case of Suntory



In



make spaces which would



all



be the same, so



I



wasn't



I



took an



experimental approach and tried to take advantage of whatever unexpected possibilities



whose



crystallized



HM



came



I



across. The question



found



I



I



approach opened up new horizons



this



So computers



was whether could design



a building



would be fresh and not banal. As the project developed and



repetitive parts



did help



you to



find a



for



me to explore.



dynamic and differentiated concept



rather than something static 7



TA



These days



fashionable to think of computers as an extension of the brain



it's



me they're really just giant calculators. have to use this technology to make my conceptual explorations of space in which want human relationships to come about, and when visit the Suntory Museum do feel it's possible to but for



I



Because you're more comfortable working on



small buildings



larger size of your current projects has brought about



When you were



designing the Suntory



Museum



changes



I'm sure



in



is



fighting against



I



imagine the



your thinking.



computers played a



bigger role. Doesn't this put you into a confrontational situation personal creativity



I



experience something of



in



I



this sort.



Hopefully others can also feel that the place



The fundamental



thing about Suntory isn't



experience of the



interior.



way



in



am



not so



which your



your use of advanced technologies 7



me



if



Some



is



its



external form but the spatial



people are very struck by the intensity of the



I'm not worried that



much concerned about



it



might be too hard and barbaric.



which the continuous differentiation of the



which has



and



just



for this



been



finished, will probably



reason already attracts many



using computers to transform the things intuition, into



HM



interior



spaces makes



Wood



in



that



is



Museum



to find



my own body and



ways



and the grand staircase



in



for physical



your Chikatsu-



Museum



consists of walls which impose powerful changes



own



is in



of



physicality. call



give a strong physical sensation of space, and your



Kumamoto



your biggest interest if it



want



space created by computers doesn't



perspective and have their



TA Well,



I



have been learning and accumulating by



I



virtual



it



Museum,



be judged either a disaster or a scandal visitors. In future



something can express through



But the



involvement. Your Suntory



of



I



I



the building's formal eccentricity as the



possible to rediscover them over and over again. The Chikatsu-Asuka



Asuka Museum both



differences to be experienced.



478



do



tyranny



this



divergence between structure and space.



myself



uniform spaces and other spaces where the repetition breaks



HM



and the only escape from



to



this



wouldn't have finished the job at



I



unhappy about being compelled



architecture and ask



I



I



particularities



While



ways the computers could



whatever parts of the project might benefit from



I'm deeply



projects got bigger and



medium-sized projects take a twin-track approach.



sensibility to introduce



buildings, so



bits of information,



were houses. But



I



it's still



in



neither ingratiating nor familiar, but unusual and cliche-free.



.



one hand do use computers and follow their logic to lay out all the repetitive, homogeneous spaces these buildings need to have. Simultaneously use my own find



particular problems.



imagination



I



profit



way. Since



finally



about differentiation. Let's take examples.



Deconstructivists would say diversity



TA



all



have become the same, everywhere.



will



the curtain then



believe



I



then



it.



talk



no



if



seem amusing. But



still



and the kind of architecture



lost



where everything



a world



will



it



my own



using



still



so



same



now become critical



derives from very humanistic



started from this premise and only



clearly define



In



computers understand. The outcome



logical patterns



differentiation



manageable



the



have begun turning out projects designed by computers and only based on the



I



the age of computers, everything has to be reduced



is



TA



already happening and there's a question-mark hanging



over the future of architecture. The situation has



This



we



offers, then



life



architecture.



never have understood, but without computers all.



stop seeking each other



great idea, looking for the possibilities is



to



man and



used computers during working drawings to solve I



which to place these questions.



common background



lack a



Museum



But the concept of the Suntory



considerations about



strongly-felt physical presence.



Could



it



in



be said



the physical impact such buildings can have 7



true to say that the world



is



becoming more and more computerized



every day and the physical aspect of things



is



getting



weaker and weaker, then



architects have to create places which



intensify the



will



sense of the body and give



respite from this progressive loss of opportunity to really feel space



sense.



the body



If



in



a physical



deprived of this opportunity, no other experience



is



will



be



specifically



Japanese



relate materials



have work



regional and cultural history and tradition, and



and proportions to the human body. However do



Spain.



in



possible and the feeling of being alive will actually disappear if physical relationships



problems because although



cosmopolitan. Nevertheless although



awareness



of their physical existence



so yes.



this



is



central to



Museum you have



to



following the line of a wall and then another which leads



movement together



This



move round



body. to



So



own



their



in



bodies.



In



my recent work.



a different direction. is



make



intended to



the Suntory



Museum you



movement - that's what Rokko housing project relationship between man and his



the central space and your senses feel this



Something



I'm trying to achieve.



where the



in



with the grand staircase itself



visitors feel a physical reaction



all



walk around the outside,



stairs are



the stairs at



happens



intended to heighten the



Rokko and



be purely functional and



even lead anywhere



similar



at



in



in



in



the



Museum are not intended Museum the staircase doesn't



the Chikatsu-Asuka



the Chikatsu-Asuka



a strange sensation to



all. It's



walk up a staircase that



is



fifteen floors high, the



occupants are encouraged to walk down



the stairs instead of using the elevator because



body comes



into



if



you walk down a building



sense of your own body. Walls and



high you get an excellent



floors with



contact have always had great importance for



me



in



this



which the redefining



remain attached to Japan



I



my



buildings



Italians



or



Frenchmen maintain my own Japanese



reflect



my



essentially



try to



and



in Italy



also have to be



I



or France are used by



sensibility and the spaces still Japanese ideas about the body. So working in those other very unsure as to how these projects will turn out. how the I



me



places leaves



this might mean for an architect like me. The new hypotheses on which to base my work and go on trying to express whatever seems universal and particular at the same time. It's a common dilemma for many architects today and if you ignore think your work



spaces



will



fact



continually have to find



is



I



be perceived, and what



it



loses meaning. For instance



I



Frank Gehry's buildings



find



vigorous than the work he's done



work outside Japan.



don't



I



in



in



I



Los Angeles



far



more



Japan and no doubt the same applies to my



know what



the answer



these days of global



is in



information networks.



HM



doesn't take you anywhere!



At Rokko. which



always



France and the United States. This does create



Italy.



are lost. Architecture has to create spaces which enable people to renew



To approach the Chikatsu-Asuka



I



travel a lot



I



So



in this



changing world



is



it



your ambition to make an architecture which



can somehow address a deeper truth?



TA



I've



been wondering



if



there's an architecture that can express the



century. Steel, glass and reinforced concrete architecture



twentieth century and



is



was



end of our



typical of the



associated with Modernist ideas about universality. I'm



these relationships between the body and architectural space and. more and



working on some projects which



start



more. I'm coming to a conception of space which (unlike Miesian uniformity)



something that could be called



'the logical conclusion of twentieth century



based on the



physicality of the



human



is all



body and space



is



rather unusual; you want people to understand your building by



climbing eight or nine flights just to feel



and unnecessary way of



TA



tiring



it



themselves.



this not just a pointless



Is



pointless to use your whole



it's



Japanese have



a particular



sense



body



of our bodies



Europeans or even other Asiatic peoples. gestures have a delicacy which relates us to



to experience a space.



which



isn't



the



same as



crowd of Japanese and he



in



a



behaviour



is



from



his.



The term



differences of local architectures but



regional situation, and the types of



person's body language the



body



exist



in



HM



You work mainly



system of



cities



itself.



where



I



will tell



it



Cosmopolites



will tell



differ



put an



different our



often used to describe material



the body which expresses



according to history, tradition,



space to which they're accustomed.



Osaka



A



is



very important for architects.



can be hard to



you they can



Now



I'm



box inside and set out on a



working on a grid.



The



of glass containing the lobby



rooms



differentiation



between one



thing



and the transparency of glass Paradoxically, though.



building



will



be



like



a nest with the outside



and circulation and enclosing the exhibition



I



and another. Concrete



is



even more



am finding ways of making



and glass, which have varied meaning and the



is



a monolithic material



modern



typical of



architecture.



uniform spaces, using concrete



building I'm talking



about could turn



out to be part of the closing chapter of the twentieth century. Although the transparency of glass



is



a quintessentially



of uniformity, there are relations



it



will



be possible to make a new world



pre-modern



attitudes.



modern concept and



between human beings



and which involve bodies and physicality in



in



relates to an idea



that are far



at



my architecture is about



monotonous



different shells.



I



I



think



which contemporary concerns mix with



Before modernity there were stronger, clearer relationships their bodies. That



present I'm working on three



spaces with



more archaic



ways which pre-date modernity.



was



lost



when modernity



subordinated human considerations to the dictates of rationality and



can't think of the world



I



many of them are just concrete boxes museum made of glass with a concrete



TA The modem tradition went for uniformity but I've always tried to accentuate the



so



anywhere but



with



inside the concrete box.



falsified.



live



come up



HM You've always preferred concrete so why use glass for this building?



and people were more aware of



as a big uniform space. Personally prefer Japan because I



designed on



good deal elsewhere. We live in a keep a sense of human scale and where



but travel a



our perception of our bodies tends to be



TA



soon notice how



still



you where they come from so regional differences



think this



in



is



in reality it's



People



particular relationships to place.



that of



Japanese poses and our particular civilization and even



will



'regionalism'



I



We



Traditional



though Japanese habits have been changing recently you can



American



or spatial attribute but



made



them out?



Physical existence can't be separated from other aspects of existence and



don't think



historical, physical



grids.



I'll



imbue my buildings with some particular



architecture'. I've always tried to



body.



HM This care you take to design stairs which heighten relationships between the



from there and perhaps



museum



projects



in



which



I



utilitarianism,



want



to create



meanings but contained inside deliberately opaque,



have another project going up



in



Awajishima which you



will



479



only be able to understand by using your legs and feet and walking through



version of so-called 'Deconstructivism' could be seen as the end product of a



it.



HM Your early projects were typified by concrete walls inviting contact. Now you seem



TA



interested



human body standing



the



in



Since there has been



on earth



life



We know we exist when we feel begin by learning to walk.



No



it



finally



lose



our feet which remind us



is



how computerized



matter



probably keep on walking and that



will



it



the soles of our feet and



in



all



are



alive.



may become we



last thing



perception of reality our psychological disintegration



all



we



of us from infancy



the world



probably be the



will



we



will



feel.



If



we



follow and



the midst of environmental catastrophe, famine and natural calamities, being



in



dialogue involving rigour on the one hand and wit on the other. Gehry. too,



museum



his



is



something



is



so elaborate that



nothing



in



life



relationships



can survive unless



between human beings and works



mere objects but questioning what



own



life



matters.



unless



HM



So



far



we thought



Carlo Scarpa



it



TA



There's nothing



There's no irony



the dedication



some element



it



is



any need



Rem



any dialogue



of humour,



totally



is



to



be



focused on



I'm the opposite



all.



I



detail but his



it



would



his



and



I



exist at



alive in the first place.



work has a in



Judd



kind of



humour not



there's always a kind of



same



it



about architecture and



I'm very serious



even though as



say.



I



I



me



if



work with



someone



could find



a concentration



which



doesn't leave any room for such nuances. The hand-made quality of Scarpa's architecture



makes



playful



it



and gives eccentric effects which suggest he was



work to my own scrupulous rules and don't think could do as Sense of humour has something to do with the warmth you get in relationships between people and things; humour should be part of a sincerely enjoying himself.



he



I



I



did.



affectionate attitude and never too brash or obvious. is



based on sophisticated concepts which translate



very much



in



The architecture of Koolhaas



into a richly ironic architecture



tune with contemporary sensibility and easy on the eye, but



about saving connections and relationships



my work doesn't



set out to ingratiate itself



HM Peter Eisenman's work



is



in



we



so



risk losing,



it's



I



care



only logical that



something



is



ironic in the



is. it's in



his



also devoid of irony even though as a person he can



indeed extremely severe although you can perhaps see



use of colour



genes,



it's



in



his



systems



of grids. This righteousness



there before he starts and



is



so deeply a part of him work - even though his



is



that he's just not capable of putting anything funny into his



480



It's



that also true of your



I



marble



finish



don't think



it's



more than you could you want people to



the



same



time



HM



I'd like



In



going forward



freedom



for



continuously question



I



deals



look



I



motives



My work comes



a realist.



at



from the



positions.



and the



of expression



in



mean



my own



I



much



society, but you've said that this aspect of your



Why not 7 TA My architecture



another thing that seems



one way consider myself a humanist but



In



to think I'm very



between these two



You stand



is



work 7



true I'm a pessimist but that doesn't have to



but I'm not longing for bygone days.



right to criticize



work



is



contemporary



not understood



in



Japan.



powerful images which attract attention but even



Azuma House wanted my designs for spaces and forms to be much more a way of directing criticism against society. That's what matters to me but other people seem more interested in my use of concrete, the way work with before the



I



I



and so on. For



me



the important thing



yourself but freedom to exist at



construction so



express



my



I



ideas



to.



down



Architecture, too,



keep up



more



to date with



effectively



I



freedom - not freedom



is



the midst of



all, in



conventions: the freedom to get right



is



to the



to



express



sorts of constrictions and



all



bottom of things as and when



held back by conventional notions of



new developments



try to state



I



still



me



that might help



what believe



through the medium of architecture but I'm afraid people



in



by expressing



it



don't understand that



what I'm trying to do. The social implications of what do just haven't been comprehended as much as the formal aspects. say we have to go out and fight against anything that tries to restrict our freedom - whoever we are and whatever this is



I



I



we do and happen I



to



do



it



with architecture.



HM Yet the critics have only talked about your architecture as though matter of aesthetics and nothing else.



become more by



Maybe



this will



it



were



all



a



change as your buildings



important and more of an aesthetic challenge. Are you influenced



critics?



TA



Critics are like a lubricating



how



to sling



trivializes



Eisenman's work



what he



don't think so.



Is



oil;



they can



make



it



easier for dialogue to take



place between architecture and the rest of society but



that way.



be very amusing...



TA



I



you need or want



would please



reaction



particular



rich



general



In



childlike architecture nostalgia



back instead of forward.



grids,



your work.



my work because



takes. All the



at



the



be manifested by



concerned don't think



is



Koolhaas, and even



like that in



in



for



as architecture



that



by relationships and



itself



about death and he



was worth something



dissimilar to that of. say. irony.



Judd



obsessed with



is



of art could



humanity has to express



about.



mortality, eliminating



think all



me



for



life is



TA



Aldo Rossi's



in



contradiction



we can't exist without company, we make relationships. Judd thought



from the assertion that



start



some



predetermine



strategically



HM As



I



wittiness.



- a magnificent



Paris



in



humorous but the very



experience.



to fascinate architects.



surely this solipsistic approach would not be tenable 7



it's still



possible to deliberately design irony into a building any



only thing architects can



TA Absolutely.



else;



works against the



it



alive will



mean nothing any more. If the world is determined to destroy itself the do is make sure we don't lose our sense of touch. HM Donald Judd said his work was accessible to all and anyone could understand what it was about, despite the mystery that lies behind its apparent simplicity. But only Judd actually understood what he was doing and no-one made any effort to help him; his only point of reference was himself. In architecture



American Center



for Vitra are witty but his



piece of work -



not



is



Museum of Art in Los Angeles and



comedian. His Temporary Contemporary



just a



erect.



mud



at this or that architect.



what should be serious and



do have proper



criticism



for the



which knows



some



of



them only know



That sort of controversialism only



sake of architecture



how



to



it's



essential



understanding of history and a clearly stated point of view about where now. Regrettably, not many Japanese



because



if



critics



are



we



be even-handed, has a clear



good enough - which



is



a



we



are



shame



they were able to exacerbate the confrontation between architecture



and society



in



more serious way.



a



would gain a greater public



I'm sure this



respect for what architects do.



HM



The young people



your office



in



all



belong to the computer generation.



Do



you get on with them?



TA



Well, I'm diffident.



and only react



I



computer freaks have no emotion or sentimentality



find



you feed them hard information. They don't know how to



if



feel



who work with me. even the ones who use computers, first of all have to know how to draw by hand using their brains and reacting emotionally to what they're doing, showing me they have things



in



bodies and minds. But the young people



their



feelings about



human set up



it.



If



you depend



all



totally



the equipment you need at



house. You could



modem



on using computers you



home and do



any architect working on



site.



anything about what building



How could



at



directly,



and



all



architecture that



be dangerous and



it



is



a person produce



know humane



between



people?



a computerized person like that



means? How could such



worries



think



I



of information that



Maybe



primitive societies



maybe these



real



me even more to think about where we're going. the developed world



makes



it



and respect the needs of our bodies, extinction.



have them checked,



only concerned with handling quantities of information would



The future? Sometimes



bombardment



you could



the complete absence of



in



buildings capable of creating effective physical relationships



An



if



a project without leaving the



your computer drawings



and put up the building without intervening



wiping out



risk



whole way of doing architecture. Imagine



relationships and a



it's



outsiders



which



still



are the people



who



is



live



in



fact paving the



on the edge of our



survive despite the



who



will



turn out to



its



continual



immense



way



for its



civilization,



spirit



own



or the



threats they face -



be the saviours of humanity. At



the moment, people don't



seem remotely worried about what



presence of computers



doing; they just see



is



with



impossible for us to cultivate the



them as



the ever-increasing



friendly slaves



and no-one



way we live with one other. which will make space absolutely



notices the profound effect they're having on the



Computers are spreading



a net round the world



uniform wherever you go. The only thing architecture can



still



left is



happen and to ask what



it



to find a residual



will



mean



to



space



work as an



in



which



architect



in



a world like that.



(May 1994)



481



Critical



Anthology



Editorial note:



The majority of the following



texts are edited versions of previously



published wntings Sources for the articles are given at the end of each piece



Tadao Ando Vittorio Gregotti



I



believe



it



very



is



thinks about



it



difficult



to get to the



bottom of Ando's architecture



as a form of minimalism or



if



one attempts



belongs emotionally.



He



himself always gives the



understanding what he



Undoubtedly, when



is



most



laconic of



to us.



am



I



makes



Cangi



at the



meaning



their



not saying our European predilection for exotic



things and our taste for incomprehensible texts



is



the only



way we know how



to



and understand the manifestations we see of foreign cultures;



nevertheless the arbitrariness of every attempt



even any attempt



does give an



we



make



might



we make



to transcribe



at translating



such signs



them, and



words,



into written



of mysteriousness to our efforts to understand the creativity



air



which comes out of that most contradictory of cultures,



in its



current phase of



I



am convinced



understand



how



that before doing anything else



to stand respectfully



is



it



necessary that



we



on the threshold of those most mysterious



spaces which, without doubt, are the most fascinating aspect of Ando's work. Naturally,



anyone who knows even



a



little



about Japan cannot avoid remembering



a series of historical facts about the Japanese concept of place as of nature



and about the processes of formalization which,



in



measurement



Japanese



culture,



affected and characterize interpersonal relationships at this particular time, and of



which



spatial clarity



reference points analogy.



is



It



and the measurement thereof



we use



is



but



one aspect. Often, these



are too generic and useless



in



that they



depend on



no less probable that even our notion of what an image



ineffective to describe the



understood



just as. in



process by which a building by Ando



my view,



all



attempts



at explanation



is



is,



to



is



be



which depend only on



an analysis of the syntax (referring to combinations and variations of systems of linguistic signs)



would be equally



the reciprocal collocation of alter not only the overall



what



for us



its



parts and the condition



in



in



other words that both



which action takes place,



meaning but often require the use of quite



would be exactly the same



That seems as good a



484



its



way



use of



far



its I



different



words



visited a



terms of orientation,



in



is



nevertheless



them line



towards a



way



in



which



size, scale



it



responds to



and form.



few of Ando's buildings (and despite the strongly abstract way



in



know them from magazines) and see



in



which they tend to be presented a real instrument for



through which



it



I



also



I



measuring the surrounding circumstances, a



finishing



possible to measure oneself against them with respect to



is



which the very context



and shows



solidifies



its



own



constructional logic.



weight and thickness of columns and beams, even when reduced to the



mere



spatial indicators to



complete and enclose the geometric



an indispensable adjectivization of Ando's architecture. in



[...]



The



level of



rule of support, are



[..-.]



Ando's work the most authentically architectonic soul of Arata Isozaki



seems to solidify and chase after itself. Ando is undoubtedly indebted to Isozaki for some linguistic elements of his earliest projects; and is an obvious thing to say that in the ways in which he employs geometry he was not wasting his time when he looked at the experience of Carl Andre or Richard Serra or. from even closer, to the architecture of the great Louis Kahn and even some of Kahn's offspring like Mario Botta or Gino Valle. Still, when Ando talks about 'the light from the window high above the beaten earth floor of the traditional house', he is it



looking for a totally personal point of equilibrium 'logic of the part',



which



is



extremely widespread relationship specific place, paying



way



is



it



in



the primordial condition, that



the very symbol of his relationship with nature. This



maximum



is



obtained just by facing up to the case of the



attention for the smallest difference. Only



possible to reach the great simplicity which



is



in



this



the entrance door to the



elementary and eternal gestures: to nature. 'the light



and wind which move within time,



according to the seasons, the daily assign meaning to created form;



it



life



which comes



changes



intervened'.



thing.



as any to describe something of the oscillation that



which



as the ideas of historical process and time are concerned)



own Japanese environment



have



in



extremely simple geometry of direct type, the absolute



material, the abstract handling of matter



detachment so



total



Only then,



inapplicable.



We know that the Japanese language is highly situational,



to indicate



unity of



(its



careful about weight, the radical reduction of the adjectives, the tension



Certainly



violent transformation.



So



takes place between a very visible and universally comprehensible tension



Ando's architecture



and, on the other hand, the absolute specificity of the



Japanese restaurants and look



to



characters painted on canvas, their very incomprehensibility



classify



all



about.



we go



more mysterious



it



summaries and



reduces any hope of



at analytical dissection only



perhaps every further attempt



the



one only



by creeping up from behind hoping to understand where



his culinary secrets,



all



if



to find out his technique,



V Gregotti,



Casabella. 484. October 1982.



its



their transformation



into contact with



them,



appearance only when they have



Tadao Ando: Heir to a Tradition Takeyama



Kiyoshi



The custom



of drinking tea



was



introduced to Japan by Zen priests



in



the



among members of the ruling rich merchants. As time went



teenth century, and gained wide popularity



and



class, the court aristocrats



later the



preparation and imbibing of the beverage



were worked



into



thir-



Although there



is



no resemblance



common between



warrior



in



by. the



dential designs of



an elaborately



for-



terms of style or actual forms, there



in



Tadao Ando



in



and concentrated. Both have a deliberately created simple appearance. Both are calm, quiet and pure. Both are gentle, austere and clear



tenances. Several tea masters concentrated on codifying the hospitality associ-



lit



Sen no Rikyu



CI



it



Way of Tea.



the



or the tea ceremony.



into the tea



ceremony by designing rooms and



that departed from former architectural traditions.



intro-



small pavilions



contrast to



In



but have



all



of the



Though set



tive



splendid buildings at Ise and Izumo. the aristocratic residences of the shinden-



called the Tai-an of the Myoki-an.



homes



of the shoin style, and the temple buildings - Rikyu



gave refined expression to the aesthetic value he found the



common



people and strove to create spaces



peace and calm, even by



and



strife



absorbed life.



in



for a short while, to



conflict.



the affairs



that,



members



in



the humble houses of



though small, could bring



of the warrior class plagued



rooms he designed, guests could become so of the tea ceremony that they forgot the troubles of dairy In



The methods he used



the



to produce the kind of



microcosm he wanted were



enclosure and the adaptation of vernacular elements from folk dwellings. Through Rikyu s tea ceremony buildings



a style that



(built in



grass-thatched retreat), these elements



became



Thus, the domestic architectural traditions of the



came



to



be called so-an. or



fashionable with the wealthy.



common



people exerted an



influ-



ence on the design of the homes of the aristocracy and the



military ruling class.



An outcome



the evolution of



ceremony



of the nature of the tea



an element of social



criticism.



As



the tumult of their everyday lives



words, by fleeing to



its



I



have in



pavilion



said, warriors



was



hoped



the microcosm of the tea house.



peace and seclusion, they were,



ing the existing social condition.



The same can be



it



as



to find relief from



other



In



at least tacitfy. criticiz-



who



said of the aristocracy,



in cities,



microcosm was



in



the



more



rooms of intensely



fulfilled



it



in



is.



of the tea ceremony, and of everything associated with



developed by and after Sen no Rikyu. wabi. which



means



is



used to point out the



failing



word



The idea of wabi can stand



addition to



its



word



carries a con-



is



for the gaudy, ostentatious taste associ-



was



a patron of



For enclosed spaces, natural in



ceremony and its architecone person. Conceived and creat-



anti-establishment qualities, the tea



human beings exerting ceremony rooms are places for human individual



bols of social or religious status.



their



utmost physically and



discipline



spiritually,



tea



and refinement and never sym-



in



is



the tea



ceremony room



a broad world of spiritual abun-



in



the



same



manipulating



spatial concept. In addi-



overlapping spaces,



light, in



and therefore the placement and sizes of



lighting,



the walls delineating the spaces, deserves



kinds of spaces



I



am



discussing are typified by



be calm and settled and



their



dimness



rendering the question of openings



is



the



all



maximum



care. Since the



darkness, they are to



light within



not to generate a sense of smallness.



more



a microcosm, the shaft of sunlight penetrating



important. it



If



a ray of



is



the enclosed world



hope rendered



vivid



by the enclosure and the surrounding darkness.



The



location of openings has a determining effect



most



traditional



south,



Japanese



Ando



on the mood of a space.



residential architecture, the



where they receive



Rikyu and



full



sun



in



In



major openings are on the



winter. For their purposes, however, both



avoid southern openings because the bright illumination pouring



through them has an unsettling effect on the space. For instance, the south wall



has no windows.



instead of directly admitting



keeping with a desire for refracting



Similarly, in light,



in



some



of Ando's houses,



such as the



Yamaguchi House (1975). the Ueda House (1979). and the Koshino House Other natural



illumination devices of



which Ando



on the foundation he small skylight pavilions,



is



open from



window



laid.



Though there



is



fond can be traced,



is



no example of



called the tsukiage-mado found



in



thought to have been originated by Rikyu.



within



and admits both



light



if



and to other tea masters who



directly to Rikyu. at least to his influence



and



air



it



is



not built



at the Tai-an. the



other tea ceremony It



may be propped



without allowing the interior



to be otherwise greatly influenced by the exterior environment. Ando's predilection for skylights



for dissatisfaction with authority.



ture are the results of the art and thought of



ed by



was



of things or persons



ated with the great military leader Toyotomi Hideyoshi (who



In



it



of criticism. For instance, the refined, quiet, calm wabi style



sometimes mentioned as an antonym Rikyu).



as



often expressed by the Japanese



a deliberate striving for simplicity. But the



notation of dissatisfaction and



deemed worthy



is



it



area,



Ando employs



(1981). there are no southern windows.



spirit



in



arti-



introducing the world of nature.



openings



is



in



can be interpreted as statements of criticism of the status quo.



The



the tea



Though



no one ever feels cramped: the smaller the space,



this kind



he shares with Rikyu an interest



tion,



and



In



at the Tai-an



in



rural in nature.



the outskirts of Kyoto. Rikyu created a space



which, although only two tatami mats



dance.



For instance,



spatial enclosure.



ceremony a respite from a world where, in spite of their ancient nobility, they were subordinate to military rulers who were often of much less dignified lineage than themselves. In short, examples of tea ceremony architecture



found



both are



ficial, both are natural. They are neither commonplace nor monumental. The most decisive of the many ideas and devices Rikyu used to cut the tea ceremony room off from the noisy world and make of it a calm, quiet, inner-reflec-



major architectural styles of the past - the Shinto shrines represented by the



zu/tun style, the warrior



mood. Both are dimly



in



darkness. Both give a feeling of expansiveness



light within their



spite of their small size.



522-92). one of Japan's greatest tea ceremony masters,



duced fresh vigour for



was



resi-



the nature of their spaces. Both are enclosed



malized system demanding a certain number of utensils and architectural appur-



ated with tea. and the result



much



is



ceremony designs of Sen no Rikyu and the



the tea



own



traceable to a desire similar to the one that inspired



the invention of this kind of window.



Another notable tea ceremony master. Kobori Enshu (1579-1647). employed a lighting



device resembling those that



Ando



uses. At a tea



ceremony room



called



the Koho-an Bosen. at the Kyoto temple Daitoku-ji. Enshu devised an unusual set of shoji that are completely



open



in



the bottom zone to permit views of the



485



garden and admit reflected top to admit only diffused



blocks to admit only diffused ever,



I



ulary.



do not intend is



It



but are



light,



many



light. In



with translucent white paper



filled



of his houses.



spaces.



light into interior



Ando



to give the impression that



Ando uses



is



only that his thoughts on the treatment of



the



how-



ji,



this,



quoting traditional vocab-



light



have led to a conclu-



sion similar to the traditional one. In



and



sition



figuratively fold in



on each other add depth and richness to the compo-



and stimulate excitement and expectation



space. The approach



in



one place where such an



is



roji. In



The



garden



roji



at



Ando's Okusu House



will



be performed.



things lying ahead. To achieve these aims



it



garden



to enter the tea



which



called the nijihguchi,



ritual



fully



lit



it,



doorway



is



to



make



tea



in



the spaces around



Ando's architecture



it.



is



the low-ceilinged



light in



room and



intensify the impression of enclosure.



architecture and



In



in



a certain hint of the labyrinth pervades the atmosphere.



characterized by a similar



mood



a complicated way.



degree of complexity possible



One



of his major



simple plans.



in



of the maze.



movement



concerns



Though



lines within



is



his



them



discovering the



a spacious living room.



From



this



toj



space, one turns 180 degrees and descends



light,



way



this



which



flooring,



sound, wind and



nature. All of the



rooms



rain



is



give the people living



composed



in



house open onto



of the



wall pierced



by narrow



slit



windows admitting



of spaces inject



in



which



light



In



all



of these



light into



the dimness and



houses, there



and shade are contrasted



in



is



a series



dynamic sequences to



complexity and depth into fundamentally static plans with highly surpris-



Taking the humble houses of the



common



people as



tecture often employs unfinished logs, simply



chopped



clay with an admixture of



used



pavilions



ceremony



is



based on an aesthetic of action inherent



the static state; and the architecture of



arranged to create active tension,



is



Sen no



Rikyu,



where



static



in



elements are



the ultimate expression of this aesthetic.



Transcending the expression of mere action, and subtly revealing the active inherent



in



the static - a fundamental goal for



by Rikyu and Ando.



486



all



Japanese



art



- are aims shared



from which they is



usual-



model, tea house archi-



its



bamboo, and



for aesthetic effect.



walls



Coarse materials were



economic or



made



of



deliberately



world of sobriety, calm



ideal



For example, miscanthus-thatch roofing



rusticity.



selected, not out of



is



straw.



split



sake of creating an aesthetically pure,



for the



and refined



tea



in



ceremony



functional considerations, but sole-



Designers of tea ceremony architecture carefully select-



ed only those materials conducive



to the production of a



microcosm compatible



with the aesthetics of wabi.



Ando



is



most deeply concerned with creating



the designers of tea



like



ideal requires. In the



materials



cities today,



is



ceremony



concrete.



[...]



In



light of



for simplicity



exclusion of



good



As als,



I



tea



all



space and. his



is



in



in



Japanese



concrete can be interpreted as the



modern terms.



related to the tenets of



[...]



Zen Buddhism, spiritual



with which tea



connections. The



superfluous things - a fundamental Zen attitude - pervades



ceremony



have pointed to



ideal kind of



chooses the materials



the conditions prevailing



for unfinished



of the wab/ aesthetic expressed



spirit



own



his



buildings, carefully



case of the modern urban environment, the most natural of



Ando's preference



all



architecture.



out, designers of



such architecture



like to



use natural materi-



have them look as natural as possible, and to employ muted - almost



monochrome -



ing results.



Architecture for the tea



stone. Into this



in



and moisten the dry



closed on the periphery.



ceremony masters such as Rikyu maintained close



enriching the spatial experience.



symbolically



the house an association with



the wing housing the private quarters,



one



per-



of dry elements such



this courtyard,



The desire



opening onto another corridor with



Ando



sometimes covered



to caress, illuminate



fall



atmosphere



Ando's residential designs.



derive their only natural lighting and ventilation, since the entire building ly



various



wind and sound. The courtyards, open



along a dark, narrow corridor, at the end of which one must turn again to reach all



in



generally high, they might be



is



a generally moist



in



to the exterior only from the top, are generally



as concrete walls and



all



[...]



At the Koshino House, a staircase leads downwards from the entrance



and the sea. Other



Zen temples



in



them, without directly introducing nature by planting trees.



in



as



heightened by their lack of moisture.



that are always a part of



includes invisible natural elements:



materials and



art,



wetness.



The same mood of a dry element placed



ly



the devices - architectural and other - used



plans and compositions are usually simple and lucid, in



the



door



space inside seem much deeper and more complex. The care-



the difficulty of entering



develop



roji,



a small, low



about 79 centimetres high and 72 centimetres



is



placed windows controlling the natural



ceremony



different fea-



water basins, small



ceremony room through



wide. The psychological effect of crouching through this low the small, dimly



new



anticipation of



and so on. Having passed through the



plots, waiting pavilions,



must crouch



in



is



where humidity



a climate like that of Japan,



described as dryness



light,



Japanese



in all



to depict islands



- called kare-san-sui - are found



parts of the nation. Their symbolic effect



space,



[...]



employs a number of



tures to complicate that space: gates, stepping stones,



visitor



finally



the spatial experience between



>-aries



ceremony room and stimulates



the entrance gate and the tea



this style



In



the course of traversing this garden, the visitor must pass



a major current



is



where stones and white sand are used



gardens of



effect can



be achieved. For



of nature



such outstanding examples as the garden of the temple Ryoan-



in



vades the courtyard gardens



through several gates, usually delicately and exquisitely designed, before reaching the pavilion where the tea ceremony



seen



the person experiencing the



example, the approach to a tea ceremony pavilion often leads through a garden



space called a



readily



In



an enclosed world, shut off from the exterior environment, spaces which over-



lap



The symbolic representation is



saying



In



[...]



in



walls of glass



colour schemes.



Ando



also severely limits the range of interior



colours. His buildings are almost entirely unfinished concrete with the exception of floors



and furnishings, which are of natural materials, and window sashes,



which, although steel, are always painted grey, never bright assertive colours. [...]



In



addition.



decoration.



Ando



When



monochrome



tea



is



a direct heir of tea



ceremony



ceremony architecture was



ink paintings



in



disdain for ostentatious



the process of evolution,



imported from China became popular



in



Japan and



exerted great aesthetic influence. Their use



gave added impetus to the preference reduction of interior ornament to no of simple flowers.



Since



prizes the value of abbreviation.



is



be seen



to



ple,



it



empty space in



to a



ceremony rooms and



tea



space



that



is



Zen philosophy tends to prefer a perThe same preference



perfectly complete.



both tea ceremony architecture and



been deliberately stripped of expression. He of invisible, apparently non-existent things. called a void. but. ironically, a void



such a space



is



small



in



Ando's work. For exam-



common



to



in



which



much



strives to create



In



all



seem



to have



space by means space can be The idea under-



short, his kind of



things are inherent.



in his



designs. Similarly.



and geometric forms.



lines



When



Ando employs almost



curves occur



in



his



exclusively straight



work, they are



of circles or parts of circles. His designs stress floor plan pattern,



ance between symmetry and asymmetry At a glance. Ando's cal.



This



between in his



is



partly



design



is



is



because of



that of



A



is



the form



which



bal-



his fascination with the



seem



highly symmetri-



number 2 and



relations



two things turned towards each is



why Ando designs houses



other.



When two



things



unnecessary to the creation of that are



open on the



inside



(where pairs of things face each other) and closed to the outside (on which the



same Ando



pairs of things turn their backs). But. instead of insisting



try,



light



creates a subtle distortion by



or sight.



Symmetry



Behind the methods and intentions employed by Sen no Rikyu was a



of



spirit



is



means



Toyotomi Hideyoshi, and against the opulence and extravagance of the culture of



Momoyama culture).



the age (the so-called



of lines of



on symme-



human



This



spirit



of rejection evoked the cul-



ture of unostentatious refinement described as wabi.



glory of decoration of the



Momoyama



In



period, the spirit of



rejecting the



and



gilt



wabi sought beauty



in



coarse, plain materials.



Ando too



is



dissatisfied with the culture of his time



modem



classification



He speaks



living'.



out



in



and with what goes under the



favour of a simple



detested the



insipid



way



of



modem way



Ando too



as lacking tension. Because



is



of



and



life



a consumer society. His void spaces are a



in



cism of the insipidness of the overly materialistic



life.



criti-



Rikyu



unable to tolerate



the insipid, he produces houses with hard, stone cold surfaces that resound on



being tapped and that result crete void spaces



perfect relation evokes symmetry, and a basic image



face each other, the intercession of a third



a world. This



in



in



important.



buildings, especially his earfy ones,



pairs of things.



parts infuses the dynamic into



in individual



totality. [...]



against the trends prevailing



oriental philosophy.



Rikyu aimed for regular forms and balanced proportions but included an element of distortion



asymmetry



But, within the whole,



the static



reaction against the authority of his time, against the military ruler of the nation.



not only are Ando's courtyard gardens empty, but their walls



lying



buildings



and to the



more than a vase containing a very



number fectly



in



for severely limited colours



ate It



is



in



tea



ceremony



in



spaces taut with tension. The



is



undoubtedly the



The room



mony



is



of Ando's con-



wanted



to cre-



architecture.



by no means coincidental, then, that Tadao Ando



what



chill



symbolically similar to the ideal world Rikyu



is



first



tea



ceremony room



in



is



the



man who produced



concrete erected



in



Japan.



a physical manifestation of Ando's spiritual fellowship with tea cere-



architecture



in



general and especially with that of



were a resurrection of Rikyu



s world of wabi. the



of the dynamic contained within the static, and a tradition on



its spiritual



room



Sen no



is filled



Rikyu.



As



if it



with the tension



exemplifies the act of inheriting



it



plane.



motion,



the premise governing the total composition.



K Takeyama. Tadao Ando:



Heir to a Tradition',



in



Perspecta. 20. 1983.



bh '.'.-;Extension I: -:e~ :: ;- ::- e _... i: ,^ r'.cst'S'i-ie":: Company. October 1 985. New York; The Japan Architect. 354. October 986. Tok^o: =



-



in



-



1



L Architecture d'aujourd'hui. 255. February 1988. Paris: TadaoAndo: Buildings. Projects. Writings. Rizzoli. April 1983.



ibid.



Intention in Architecture'



New York. Twin Wall Project



Kikagaku



ni



Kenchiku Bunka. 347. September 1975.



yoru Ba no



":--.



Housing Today. Kramer. Roche-Soulie. Piscines



K Usami. A Will that



Azuma House Shinkenchiku. February



Wohnen Heute.



Stuttgart.



1992



Moniteur. Paris.



Manifests Voids',



TadaoAndo: Beyond Horizons



in



Architecture. Osaka-Tokyo. 1992.



in



1



977. Tokyo: The



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,



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City Hall



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,



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Hata House



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1987. Tokyo; The Japan Architect. 372. April



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Taiyo



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Akka



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Church on Mount Rokko



Ando



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Kenchiku Bunka. 479. September 1986;



Tokyo.



Japanese Architecture.



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Kitayama Apartment Block



L'lnformation Immobiliere. No. 45. 1991



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Geneva; A&V. 28.



Kara za Mobile Theatre



707. August 1989. Milan.



Architectural Record.



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The



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II



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Jun Port Island Building



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From Shinto



.



.



1



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1987. The Japan Architect.



.



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1



988.



1



987-88. Lausanne; Architecture



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interieure-



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363. July 1987; Architecture inteheure-cree.



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226. October-November



Progressive Architecture. February 1990.



d'aujourd'hui. 274. April 1991



Stamford; Casa Vogue Esparia. 20.



Kaguraoka Apartment Block



December 1990.



Previously unpublished.



988.



Tanaka Atelier



Yoshie Inaba Atelier El



1



Metropolitan Home. March



Croqws. 44. July 1 990. Madrid; The



1



990: Graphis.



I



1990, Milan; Progressive Architecture.



Design. June 1991



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Shibuya Project



Rokko Housing



Nakayama House



GA



The Japan Architect. 342. October 1985:



Casabella. 539, October 1987. Milan;



1987. Paris;



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Housing I II



November-December 1987. Tokyo;



Japan.



L Architecture d'aujourd'hui. 255. February



Shinkenchiku. October



1988. Paris; ElCroquis. 44. July 1990.



Houses. 39, November 1993. Tokyo.



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LArchitecture d'aujourd'hui. 255. February 1988; Baumeister.



Mon



Petit



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Architecture.



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Architektur 1987-88. Braunchweig 1988; Abitare. 262.



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fur



7.



Apnl



1



987. Tokyo:



Morozoff Studio



London.



Previously unpublished.



II



L Architecture d'aujourd'hui. 250 ; April



5.



JA



III.



Library



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3 TadaoAndo Rokko



October 1993. Tokyo: 993, Tokyo:



Previously unpublished.



GA



Raika Headquarters



GA



Kenchiku Bunka. 525. July 1990. Tokyo;



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October 1993, Tokyo; 1



Yoshida House



25. April 1990. Tokyo;



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.



January 1 99



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,



Noguchi House 1988. Tokyo.



.



.



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USA;



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Connaissance des Arts. June 1991



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.



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521



. .



..



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Shinto Shrine Project Previously unpublished



Mount Rokko Banqueting



Hall



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Church of the Light



GA Document,



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SD-Space Design: Tadao Ando



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Garden of Fine Arts, Expo 90, Osaka Shinkenchiku. May 1990. Tokyo; Casa



.



GA



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.



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Kyoto Station Reconstruction



GA



Shinkenchiku. July 1992. Tokyo.



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Seminar House



Forest of



June



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TadaoAndo November 1993. Tokyo. Unbuilt



992. Tokyo; Gendai no



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August 1993. Parma.



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333 (Special



Tombs Museum



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Tokyo; Atnum. 4/5. September-October



Kenchiku Bunka. 552, October 992. Tokyo;



Konan University Student Centre GA Document. 33. April 1992. Tokyo;



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Domus. 749, March 1993.



Shinkenchiku. June 1992. Tokyo



288. September 1993. Paris: Archis. Vol 94.



Arquitectura Viva. 32. September-October.



January 1994, Amsterdam



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Gallery for Japanese Screens,



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Miyashita House GA Houses. 36, November 1992. Tokyo. Temporary Theatre for Photography Shinkenchiku. June 1990. Tokyo; SD-Space Design TadaoAndo Unbuilt Projects. June



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.



1



.



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Kenchiku Bunka. 526. August



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Tokyo; Casabella. 582. September 1991



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80 No



Rokko



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Natsukawa Memorial



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Shinkenchiku. January 1993. Tokyo.



1



Hall



Island



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992, Tokyo. Gendai no Kenchikuka: Tadao



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Nara Convention



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333 (Special



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TadaoAndo November 1993, Tokyo; Tadao Ando: Beyond Horizons in



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June 1992. Tokyo; ElCroquis.



58. January 1993. Madrid.



Church



Tarumi



in



Previously unpublished.



Museum



Sayoh Housing



Tokyo



Suntory



Tokyo: Casabella. 582. September 1991



GA Architect



College of Nursing



Shinkenchiku. June



Milan; ElCroquis. 58. January 1993. Madrid



1993 Tokyo



Previously unpublished



Ando: Beyond Horizons



Izu Project



Minolta Seminar House



The Modern Art Museum and Architecture Museum, Stockholm, Design Competition



June 1992. Tokyo



SD-Space Design: Tadao Ando



Museum



The Japan Architect.



1



.



January



1



991



12:



TadaoAndo 1988-1993.



GA Document. 23. Apnl 989. Tokyo Nakanoshima Project - Space Strata and Urban Egg



Otemae Art Center GA Document. 35. August



(.Architecture d'aujourd'hui. 268. Apnl



Shinkenchiku. February 1993, Tokyo;



1990, Pans: Architectural Design.



Journal. Vol



100 No



6.



July-August 1992. London: The Japan



Atelier in



Oyodo



II



Previously unpublished.



1



II



Architect. 1



I



391/392. November-December



989. Tokyo.



Gallery



Previously unpublished. Ito



House .



Houses. 35. August 1



GA



992. Tokyo; Daidalos.



1



December 992.



Berlin,



Heim. June



1993,Zunch; Atnum. 4/5,



September-October 993. 1



Naoshima Contemporary Art Connaissance des Arts. 493. March 1993,



GA Japan.



4.



July



1



993, Tokyo;



Kenchiku Bunka. 561 July 1993, Tokyo: .



Shmkenchiku. July 1993. Tokyo; Domus. 758, March 1994



522



June 1993. London.



Projects.



333 (Special



Issue),



Unbuilt



June 1992.



Tokyo: Gendai no Kenchikuka. Tadao



Ando



9. July



Japan.



Previously unpublished



Arquitectura Viva. 29. March-Apnl 1993.



Japan



Madrid.



May



39.



1



994.



May



1



994. Tokyo.



4,



March 1993. Tokyo;



III



JA



1991, Pans; Connaissance des Arts.



YKK Seminar House



///October 1993. Tokyo,



December 1991 Pans;



Previously unpublished



'Fabrica',



1992, Madnd.



Children's Seminar



May-June Domus. 739. June 1992. Milan; The Architectural Review. 144, June 1992. London 992. Tokyo: Casabella. 591



.



1992, Milan;



1



House



Kenchiku Bunka. 537, July



1



GA Document.



Library



3 Tadao Ando Rokko Housing



991 Tokyo; .



35. August



Shinkenchiku. February 1994. Tokyo;



Document.



36, April 1993,



Installation for 'Tadao



GA



Tokyo



Ando



1992. Tokyo



Architectural Works' Exhibition



Garden



Previously unpublished.



Kyoto May 1994. Tokyo; Shinkenchiku. May 994, Tokyo, of Fine Arts,



GA Japan.



8.



1



I II



Benetton Research Centre



Casabella. 600. April 1993. Milan;



L Architecture d'aujourd'hui. 279. February 1992. Pans;



GA



1994. Tokyo.



Rokko Housing



Tokyo



,



GA Japan.



July 1993. Tokyo; Shinkenchiku.



L'Architectore d'aujourd'hui. 277 October



A&V 34/35. March GA Document. 33 Apnl



Architecture.



Wood



Noda GA Houses. 37.



Osaka



GA Document.



in



1994. Tokyo.



Rockfield Factory



Expo 92, Seville



of



Shinkenchiku. July



Gallery



Pavilion,



992. Tokyo; Tadao



ElCroquis. 58. January 1993. Madrid.



Unbuilt Projects. November 993. Tokyo. Chikatsu-Asuka Historical Museum, 1



1



Lee House



Previously unpublished



1



Zurich.



Museum Paris:



RIBA



',



Kenchiku Bunka. 537. July 1991 Tokyo:



46.



1992. Tokyo.



June 1992.



Tokyo; Gendai no Kenchikuka:



7



Index of



Works



338-339 House 274-277 Ishihara House 102-109



Akabane House 76-1 79 Complex 96-97 154-155 Atelier in Oyodo 1



I



Art Gallery



Oyodo



in



II



374-377



House 168-171 Ishiko House 356-357 Installation for Tadao Ando



Bansho House and Extension 66-71 Bigi Atelier 172-175



Works'



II



Urban Egg 334-337



Exhibition



Architectural



440-441



House 340-343 Iwasa House and Extension 192-195 Izu Project 332-333 Izutsu House 186-189



Museum



Ogura House 206-209



Museum 322-327



Children's



Seminar House 408—409



Church



in



Japanese



Pavilion.



Expo 92.



Okamoto Housing Project 84-85 Okusu House 110-111 Old/New Restaurant 252-255 Onishi House 120-121 Osaka Station Area Reconstruction 34-35 Otemae Art Center 372-373 Oyamazaki Museum 414—415 Oyodo Tea Houses 262-267



Seville



380-383



Tanjmi 420-421



Jun Port



Island Building



218-221



Church of the Light 318-321 Church on Mount Rokko 246-251



Kaguraoka Apartment Block 302-303



Church on the Water 282-287 College of Nursing 396-399



Kaneko House 204-205 Kara-za Mobile Theatre 270-273



Collezione 296-301



Kidosaki



Doll's



House



House 198-203 Kitano Alley 92-95 Kitano Ivy Court 122-123



Project 190



Kitayama Apartment Bock 268-269 Fabrica'.



Konan University Student Centre 4 1 6—4



158-163 191



Festival



Forest of Tombs



Museum 388-391



1



Koto Alley Project 82-83



Rockfield Factory



Kyoto Station Reconstruction Project



Rokko Housing Rokko Housing



Manabe House 78-81 Matsumoto House Project 86-91 Matsumoto House 118-119 Matsutani House and Extension 124—127



Institute



Chicago 362-363



Noda 432-433



Garden of Fine



Arts.



Expo 90, Osaka



350-351



Garden of Fine Arts, Kyoto 410-411 Guest House



for Hattori



House 238-239



Hirabayashi



House 62-65



Hiraoka House 38-39 Horiuchi



House 112-117



I



Time's



II



210-213 214-217



Tomishima House 36-37 Building



242-245



Ueda House and Extension Umemiya House 180-183 Project



Vitra



1



28-1 3



Seminar House 358-361



YKK Seminar House 406-407 Yoshida House 306-309 Yoshie Inaba Atelier 222-225



Water Temple 384-387



310-315



I



II



378-379 134-141



278-281



'



Sasaki House 236-237



Sayoh Housing 366-369 Shibata House 42-13



Melrose 196-197



Shibuya Project 258-259



Minolta Seminar Building 370-371



Shinto



Miyashita



House 392-393



Museum. Stockholm



Project.



Chou 230-231 Morozoff Studio 304-305 Mount Rokko Banqueting Hall Project Museum of Literature 352-355 of



3)6



46-53



Sun Place 152-153 Suntory Museum 422^123



Petit



Museum



Project'



Step 98-101



The



400-401



Mon



Shnne



Soseikan-Yamaguchi House and Extension



Modem Art Museum and Architecture Hata House 232-235



Theatre on the Water 288-289 Time's



III



Lee House 424-427



Gallery



Tezukayama Tower Plaza 72-73



434-435 Rokko Housing Rokko Island 364-365 Rose Garden 74-77



GalleriaAkka 190-293



Japanese Screens, Art



Photography



142-143



Rin's Gallery



Fukuhara Clinic 184-185



of



for



394-395



Twin Wall Project 54-55



44—45



Raika Headquarters



Koshino House and Extension 144-151



412^113



Fuku House 132-133



Gallery for



Tatsumi House 40-41



Kojima Housing 164—167



Benetton Research Centre



436-439 Festival



Port Island Project



Cement Headquarters 240-241



Tanaka Atelier 256-257



TS



402^105 Children's



Taiyo



Temporary Theatre



Nakayama House 226-229 Naoshima Contemporary Art Museum 344-349 Nara Convention Hall Project 418—419 Natsukawa Memorial Hall 328-331 Noguchi House 260-261



Ito



3rd 294-295



Chikatsu-Asuka Historical



I



Ishii



Azuma House 56-61



Bigi



Nakanoshima Project - Osaka City Hall 156-157 Nakanoshima Project - Space Strata and



Gallery Project



I



I



Atelier



1



31 7



Wood 428-431



52'



,



.



.



.



itJ



Photographic Credits BOSTON PUBLIC LIBRARY



3 9999 04423 615 4



&s Many thanks



to



Tadao Ando Architect &



Associates for kindly providing the



pictorial



material for this publication, as well as to.



Tadao Ando 37. 39, 41 43. 47. 57. 58 (top



Mitsuo Matsuoka 49-53. 58



71,81.92.99. 100



(right).



60. 61



(nght). 101. 104, 105.



124-127,



107. 115. 116. 117 (bottom).



129-131. 145. 146, 149, 152. 153. 160



.



(left).



63-65, 69. 70. 73. 75-77. 80. 85 (top



left).



right).



93-95. 97 (top



right).



100 (top



162. 163, 181-183. 194, 195. 198.



200. 201 (top



right).



202, 203. 206-209.



left).



108, 109. 111. 117 (top), 119, 121-123,



213. 220, 22 1



223-225, 240. 24



.



243-245. 247-251 254 .



133. 137.



1



38



(left



and bottom



right).



141-143. 147. 155. 159. 160Cnght). 161. 167-175. 177-179, 188. 192. 193. 196. 197. 201 (top



left).



204. 205. 210-212. 219.



313 (right).



1



255.



264-267. 283-285. 286 (top centre). 289 (top left).



230-237. 239. 246. 253. 254



Cleft).



139.



291 293 (top nght and bottom



left).



.



295. 296. 298-301. 310. 311,312, (left).



314. 31 5 (top). 318-321.323.



256.



325-331 341-343. 350. 353. 355. 359. .



257. 261



286



,



268. 269. 275 (bottom). 276. 278,



and



(top right



left).



left).



287. 292, 293 (top



302. 303. 304 (top



307-309. 3 3 1



Cnght).



362, 363, 368, 369, 380, 382. 383. 385.



392. 393. 395. 396, 398. 399. 400. 407. right).



305.



3 5 (bottom). 337.



417. 422. 424-427. 445 (top). 455



1



(bottom).



464



349, 356. 357. 361 (bottom). 364. 365. 370.



371 374-378. 391 404, 405. 403. 421 .



435. 437



.



(left).



ShigeoOgawa410.41 1.429-431



440, 445 (bottom), 451



TaisukeOgawa 140, 164-166



459. 463 (bottom)



136. 138 (bottom



right).



MasaoAraki 89-91, 186. 189 Tomio Ohashi 54, 55. 85 Hiroyuki Hirai



275



(top).



277. 293 (bottom



423. 436. 437



nght) Hiroshi Kobayashi 151.



226-229



(left).



Yoshio Takase Hiroshi



(left).



259.



(right)



1



85



Ueda214. 216. 217. 280. 281. 347.



348. 360. 361



(top),



372. 373. 384. 386,



387. 389. 390. 432. 433. 463



524



97



289 (bottom). 332. 336. 440. 413. 415. 419.



(top).



466



°'«ffiSs UBRAR



Francesco Dal



Co



is



Professor



of architectural history at



the University Institute of Architecture In



in



Venice.



1991 he was Director of



the architecture section of the Venice Biennale.



ISBN 0-7U8-3717-2



NDO