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Tadao Ando
Tadao Ando
) Background
1.1 Biography
1.2 Career
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space. His works were designed to coexist with the natural environment, manipulating
light and execute it dramatically.
He ventured into the academe at the University of Tokyo from 1997 and since
2003, professor emeritus of the University of Tokyo. He became a guest lecturer at
the universities of Yale, Columbia, and Harvard.
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1.4 Exhibitions
1.5 Awards
1979 – Architectural Institute of Japan (AIJ) Prize
1985 – Alvar Aalto Medal, Finnish Association of Architects, (Finland)
1989 – Gold Medal of Architecture, French Academy of Architecture,
(France)
1993 – Japan Art Academy Prize
1995 –Pritzker Architecture Prize (USA)
1996 – First “FRATE SOLE” Award in Architecture, Praemium Imperiale,
Japan Art Association (Japan)
1997 – Royal Gold Medal, Royal Institute of British Architects (United
Kingdom)
2002 – AIA Gold Medal, American Institute of Architects, (USA)
– Kyoto Prize (Japan)
2003 – Person of Cultural Merit (Japan)
2005 –UIA Gold Medal, International Union of Architects (France)
2010 – Order of Culture, The Emperor (Japan)
– Shimpei Goto Award
– John F. Kennedy Center Gold Medal in the Arts
2012 – Neutra Medal for Professional Excellence, Cal Poly Pomona
College of Environmental Design (USA)
2013 – Commander of the Order of Art and Letters (France)
2015 – Grand Officer of the Order of Merit (Italy)
2016 – Isamu Noguchi Award
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II.) Evolution of Design
2.1.1 Principles
In his opinion, the most serious problems of architecture are the result of civilization:
universalization, generalization, and standardization. Culture dies as the location
makes progress. Universalization makes everything a “one size fits all” because
everything is mass produced.
“I want to make something which no one else could, a very quiet piece of
architecture … I would like to make architecture that has that subtle sensitivity. I
would like to create something that only a Japanese person could do.”
“I like ruins because what remains is not the total design, but the clarity of thought,
the naked structure, the spirit of the thing.”
“I would like my architecture to inspire people to use their own resources to move
into the future.”
“To create architecture is to express characteristic aspects of the real world such
as nature, history, tradition and society, in a spatial structure, on the basis of a
clear, transparent logic.”
“It seems to me that my work has long had its objective the integration of the
Western and the Eastern spatial concepts.”
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“I want to create a space that moves people. It doesn’t matter if it is a house, or a
museum, or whatever. So, it is somebody sitting on that lawn, just going around
and around and feeling really happy. That is something that I’m striving for.”
“I don’t believe architecture has to speak too much. It should remain silent and let
nature in the guise of sunlight and wind.”
“When you look at Japanese traditional architecture, you have to look at Japanese
culture and its relationship with nature. You can actually live in a harmonious,
close contact with nature — this very unique to Japan.”
“If you give people nothingness, they can ponder what can be achieved from that
nothingness.”
“The real importance of architecture is its ability to move people’s hearts deeply.
I am always trying to establish spaces where people can gather and interact with
one another.”
“Creation is fighting. When I was 15 years old I was a professional boxer. I fought
about a dozen professional fights. At the same time, designing architecture is also
a battle. I have to go forward, always one step ahead … you have to go forward,
otherwise you lose.”
“A living space should be a sanctuary,” “It has to be a place where you reflect on
your life. When one arrives home, there’s a very tranquil feeling. This project is
about that.”
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Tadao Ando is famous for the efficient use of concrete in his works. His design
makes use of common materials, like the aforementioned. This earned him the title
of “King of Concrete”.
Figure 3: One of Ando’s Interiors (Photo by: Carl Hansen and Son (Pinterest))
He believes that there must be a perfect balance of steel bars, the water, the
sand, and aggregate. The spacing of the bars should be put at an equal distance,
hence the holes. For his signature smooth-silky finish, the cement mixture should
be viscous in consistency and not runny.
2.2.2 Concepts
a.) Nature
Nature is a primary element that is vital to Ando’s craft. It helps him attain
his goal of inspiring the human spirit. It comes in the form of either
architecturalized nature or abstract nature.
Nature is utilized and evident in Ando’s work through the following criteria:
2.) The building serves as a refuge from the disorder of contemporary settlements,
evoking nature as a safe space.
Light is also introduced to breathe life into the scene. The subtle changes to
darkness shows the complexity of space. The contrast of light and dark gives a
dramatic effect.
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b.) Geometry
Tadao Ando prefers simple geometrical forms than of elaborate ones because
his execution intends to be delicate yet dramatic, revealing the richness of spatial
expression. He takes advantage of the lights and shadows subtly, drawing the line
between order and disorder.
Colors, details and similar decorative elements were diminished. This allows
the spectator to focus the space and geometry, highlighting the abstract form of
nature and magnifying its potential.
Figure 4: Sketch of Plan (Sketch by: Tadao Ando; Photo by: Museum of Modern
Art)
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Figure 5: Sketch of Elevation (Sketch by: Tadao Ando; Photo by: Museum of Modern Art)
Figure 6: Conceptual Models (Model by: Tadao Ando; Photo by: Museum of Modern
Art)
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b.) Chikatsu-Asuka Historical Museum
Figure 7: Conceptual Sketches (Sketch by: Tadao Ando; Photo by: Museum of Modern
Art)
Figure : Sketch of Exterior Perspective (Sketch by: Tadao Ando; Photo by: Museum of Modern
Art)
Figure 8: Detailed Exterior Perspective (Drawing by: Tadao Ando; Photo by: Museum of Modern Art)
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Figure 9: Conceptual Model (Model by: Tadao Ando; Photo by: Museum of Modern Art)
Figure 10: “Piece of Cloth” (Sketch by: Tadao Ando; Photo by: Masaya
Yoshimura/ NACASA&PARTNERS,Inc.)
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d.) ICHIGONI at 152 Elizabeth Street
Figure 11: Sketch of Exterior Perspective (Sketch by: Tadao Ando; Photo by:
Architizer)
Figure 12: Detailed Exterior Perspective (Sketch by: Tadao Ando; Photo by: Arch2o)
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f.) The Church of Light
Figure 13: Detailed Plan on Paper (Drawing by: Tadao Ando; Photo by: Museum of Modern
Art)
Figure 14: Rendered Plan (Drawing by: Tadao Ando; Photo by:
Museum of Modern Art)
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Figure 15: Conceptual Model Conceptual Model (Model by: Tadao Ando; Photo by: Museum of Modern
Art)
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2.3 Gallery of Completed Works
Figure 16: The Chichu Art Museum (Photo by: Benesse Art Site Naoshima)
\
Figure 17: Stairway of Hyogo Museum of Prefectural Art (Photo by: Arch2o)
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PolyGrand Theater (China)
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Figure 21: ICHIGONI at 152 Elizabeth Street (Photo by:
Dezeen)
4x4 House (Japan)
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Church on the Water (Japan)
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Modern Art Museum of Fort Worth (USA)
Figure 25: Modern Art Museum of Fort Worth (Photo by: Allan Baxter/Getty
Images)
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The building is not ornamented nor painted, creating a clean, pure, and untouched
space. Its minimalism and reduction of religious paraphernalia to a simple cruciform
extrusion is often criticized and labeled as “disturbingly empty, void, and undefined”.
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Chapel Data:
Built Area: 113.04 m²
Total Floor Area: 113.04 m²
Maximum Height: 7,240 mm
Ceiling Height: 5,900 mm – 7,000 mm
The Azuma House is a small rowhouse on a narrow slot site in Sumiyoshi, Osaka,
Japan. It was one of Tadao Ando’s earliest works. It has rooms at front and back and is
connected by open-air bridge through its courtyard. This work of Ando has awarded him
the Annual Prize of the Architectural Institute of Japan in 1979.
It divided into three equal Figure 29: Azuma House (Photo by: Wikipedia)
sections: two floors and a
patio. The building occupies the entire site. The living room and kitchen, are located in the
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ground floor. There is a staircase that leads to the upper floor. Two bedrooms are joined
by a walkway. The only source of natural light throughout the house is the courtyard.
The museum has a deceptively simple composition of space and light. It was
designed as both a serene setting for the contemplation and fascination of art as well as
a contribution toward revitalizing the urban landscape. Ando defined the building as a
“place of possibility and mutual discovery”.
Figure 30: The Pulitzer Arts Foundation Museum (Photo by: ArchDaily)
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IV.) Critiques
The works of Tadao Ando is consistent with his architectural philosophy and style. He
prefers his buildings “naked”. This is uses concrete as the primary construction
material, exhibiting his works in its purest form. He does not make use of artificial
colors either. His beliefs are bold and firm. The way Ando designs can be perceived as
sustainable and low-cost because he does not require unnecessary ornamentation.
Tadao Ando has an objective and that is to create an opening with an approach of high
sensibility when it comes to architecture, investing in critical logic and deep
conceptualization. His beliefs resonates balances and it speaks through his craft. The
works he had done tends to be simple yet effective.
Nature, geometry, and the role of Japanese tradition are evident in his designs. All are
vital to his craft.
Considering the welfare and conditions of the environment is one of the congenial traits
of a good designer. Ando perfectly embodies this. Because of his great consideration
for nature, the architecture he creates does not compromise nature but rather adapts to
its conditions in the present and probably even in the distant future. He draws a bridge
between the built and natural environment.
Ando’s preference of simple structures than of elaborate forms allows him to take
advantage of the surroundings of his work. If given some thought, this choice does not
restrict him of his design nor put pressure. In structural analysis, complex structures
would have more work to be done. It should be accurate and precise. If not executed
properly, it is more likely to be less stable.
Ando has a firm grip on the Japanese tradition. He gives great thought about the origins,
philoshopy, history and culture of his motherland, at the same time incorporating
modernity to produce a fresh and new wave of design. Traditions are the anchors and
foundation of his notions.
V.) References
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Pham Thanh Hien, Abstraction and Transcendence: Nature, Shintai, and Geometry in
the Architecture of Tadao Ando (PDF), ISBN # 1-58112-029-X, Dissertation.com,
1998
Farrelly, Lorraine, (The Fundamentals of Architecture), AVA Publishing SA, 2007, Pg.
66-67
Omotesando Hills,
https://www.omotesandohills.com/en/information/about/architect.html
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Punta Della Dogana, https://www.palazzograssi.it/en/about/sites/punta-della-dogana/
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