I.

) Background

1.1 Biography

Tadao Ando, a Japanese

architect, is born on September 13,
1941 in Osaka, Hanshin Area, Japan.
His birthplace is one of Japan’s oldest
sections. It is known for its deep and
distinguished tradition in architecture.
Ando is recognized as one of Japan’s
prime contemporary architects. He is
well-known for his minimalist designs,
primarily featuring concrete and light
manipulation.

Young Ando spent most of his

time in the streets and fields during his
childhood, observing and playing. He
learned craft from a carpenter whose
Figure 1: Tadao Ando (Photo by: Arch Daily)
shop is just across his home, adapting a
hobby of making models of ships,
aircrafts, and moulds.

1.2 Career

Ando ventured into other careers

such as boxing and truck driving
before he educated himself
architecture. He was an apprentice to
several designers and planners for
short periods of time. He also took
night classes and site visits.

In 1969, he established the

Tadao Ando Architectural Institute.
During the 1970s and 1980s, he
mostly designed small-scale
structures such as residential
buildings. He took liking of the
works of Le Corbusier. His
modernist aesthetic was established
through his experimentation with
concrete and incorporating the
spirituality of Japanese architectural
Figure 2: Tadao Ando in one of his famous works, the
Church of the Light (Photo by: Nobuyoshi Araki)

Tadao Ando 1
 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.

1.3 Project Timeline

 1976 – Azuma House (Sumiyoshi, Osaka, Japan)
 1983 – Rokko House I, II (1993), III (1999) (Kobe, Hyogo, Japan)
 1984 – Time’s I (Kyoto, Japan)
 1988 – Church on the Water (Tomamu, Japan)
 1989 – Church of the Light (Ibaraki, Osaka, Japan)
 1992 – Benesse House Museum, (Naoshima, Kagawa, Japan)
 1994 – Chikatsu-Asuka Historical Museum (Kanan, Osaka, Japan)
 1995 – Meditation Space, UNESCO (Paris, France)
 2000 – Awaji-Yumebutai (Awaji, Hyogo, Japan)
– Fabrica (Benetton Communication Research Center) (Italy)
 2001 – Pulitzer Arts Foundation Museum (Saint Louis, Missouri, USA)
– Teatro Armani (Milan, Italy)
– Sayamaike Historical Museum (Osaka, Japan)
 2002 – Hyogo Prefectural Museum of Art (Kobe, Hyogo, Japan)
– The International Library of Children’s Literature, (Ueno, Tokyo,
Japan)
– Modern Art Museum of Fort Worth (Fort Worth, Texas, USA)
 2003 – 4 x 4 House (Kobe, Hyogo, Japan)
 2004 – Chichu Art Museum (Naoshima, Kagawa, Japan)
– Langen Foundation (Neuss, Germany)
 2006 – Omotesando Hills (Shibuya, Tokyo, Japan)
– Renovation of Palazzo Grassi (Venice, Italy)
 2007 – 21_21 Design Sight (Akasaka, Tokyo, Japan)
 2008 – Interfaculty Initiative in Information Studies, Fukutake Hall,
Univesity of Tokyo (Japan)
– Shibuya Subway Station (Tokyo, Japan)
 2009 – Restoration of Punta della Dogana (Venice, Italy)
 2010 – Kubach-Wilmsen Foundation (Germany)
 2013 – Ando Museum (Naoshima, Kagawa, Japan)
– Aurora Museum (Shanghai, China)
 2014 – Clark Center / Clark Art Institute (Williamstown, Massachusetts
USA)
– Shanghai Grand Poly Theater (Shanghai, China)
 2017 – Pearl Art Museum (Shanghai, China)
 2018 – ICHIGONI, 152 Elizabeth Street (New York, USA)

Tadao Ando 2
1.4 Exhibitions

 1978 – « “A New Wave of Japanese Architecture” », (USA)

 1979 – Association of Hungarian Architects (Budapest, Hungary)
 1982 – French Institue of Architecture (Paris, France)
 1991 – Museum of Modern Art (New York, USA)
 1993 – Centre Pompidou (Paris, France)
– Royal Institute of British Architects (London, United Kingdom)
 1994 – Ministry of Public Works, the Environment and Urban Development
(Madrid, Spain)
– La Caixa Foundation (Barcelona, Spain)
 1994-95 – Basilica Palladiana (Vicenza, Italy)
 1998 – National Museum of Modern and Contemporary Art (Seoul, South
Korea)
– Royal Academy of Arts (London, United Kingdom)
 2001 – Saint Louis Art Museum (Saint Louis, USA)
 2002-03 – Clark Art Institute (Williamstown, Massachusetts, USA)
 2003 – Tokyo Station Gallery (Tokyo, Japan)
 2005-06 – China Art Museum (Shanghai, China)
 2016 –La Biennale di Venezia (Venice, Italy)
 2017 – The National Art Center (Tokyo, Japan)

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

Tadao Ando 3
II.) Evolution of Design

2.1 Design Philosophy

2.1.1 Principles

Derived from Marcus Vitruvius Pollio’s Three (3) Principles of Architecture

(firmitas, utilitas, venustas), Ando was able to propose his own with incorporation of
Japanese tradition. He believes in the following: clear (function), exposed (structure),
and raw (material).

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.

2.1.2 Famous Quotations

 “Architecture tries to dominate nature, but it is dominated by the emptiness;

therefore, not only the building, but the emptiness, should obtain characteristics.”

 “The essence of Minimalism is simplicity, but simplicity without depth is merely

cheap. It is not enough.”

 “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.”

 “I hope to achieve simplicity, but I also hope to achieve depth … I believe it is

important that architecture should be a space where you feel spiritually
empowered.”

Tadao Ando 4
  “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.”

 “The creation of architecture should be a criticism of today’s problems.”

 “In all my works, light is an important controlling factor.”

 “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.”

2.2 Design Process

2.2.1 Design Style

a.) Critical Regionalism

Ando’s distinct style is somewhere between Modernism & Post-modernism

wherein the culture of a specific religion reflects through the building’s design and
materials. It is also why travelling was essential to his work. As a critical observant,
he is able to think independently and consider it as a contribution for his learning
process. Ornamentation is applied only if necessary.

b.) “Ando Concrete”

Tadao Ando 5
 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:

1.) It can be highlighted as the architecture provides a “frame” that would

complement it, allowing it to be the dominant feature.

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.

Tadao Ando 6
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.

c.) Japanese Tradition

Ando intends to have traditional Japanese characteristics reflect in the spaces

he design whilst incorporating modernity. In his works, he applied natural colors
and textures, carefully selecting materials to be used. Application of color was
avoided at most times, giving emphasis to rawness. His designs would establish the
relationship of modernity and tradition.

2.2.3 Conceptual Sketches

a.) The Church on the Water

Figure 4: Sketch of Plan (Sketch by: Tadao Ando; Photo by: Museum of Modern
Art)

Tadao Ando 7
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)

Tadao Ando 8
 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)

Tadao Ando 9
 Figure 9: Conceptual Model (Model by: Tadao Ando; Photo by: Museum of Modern Art)

c.) 21_21 Design Sight

Figure 10: “Piece of Cloth” (Sketch by: Tadao Ando; Photo by: Masaya
Yoshimura/ NACASA&PARTNERS,Inc.)

Tadao Ando 10
 d.) ICHIGONI at 152 Elizabeth Street

Figure 11: Sketch of Exterior Perspective (Sketch by: Tadao Ando; Photo by:
Architizer)

e.) The Polygrand Theater

Figure 12: Detailed Exterior Perspective (Sketch by: Tadao Ando; Photo by: Arch2o)

Tadao Ando 11
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)

Tadao Ando 12
Figure 15: Conceptual Model Conceptual Model (Model by: Tadao Ando; Photo by: Museum of Modern
Art)

Tadao Ando 13
 2.3 Gallery of Completed Works

 Chichu Art Museum (Japan)

Figure 16: The Chichu Art Museum (Photo by: Benesse Art Site Naoshima)

 Hyogo Museum of Prefectural Art (Japan)

\
Figure 17: Stairway of Hyogo Museum of Prefectural Art (Photo by: Arch2o)

 21_21 Design Sight (Japan)

Figure 18: 21_21 Design Sight (Photo by: 2121desightsight.jp)

Tadao Ando 14
 PolyGrand Theater (China)

Figure 19: PolyGrand Theater (Photo by: Dezeen)

 Clark Art Institute (USA)

Figure 20: Clark Art Institute (Photo by: Architectural Digest)

 ICHIGONI 152 Elizabeth Street (USA)

Tadao Ando 15
 Figure 21: ICHIGONI at 152 Elizabeth Street (Photo by:
Dezeen)
 4x4 House (Japan)

Figure 22: 4x4 House (Photo by: Google Images)

Tadao Ando 16
 Church on the Water (Japan)

Figure 23: Church on the Water (Photo by:

ArchDaily)

 Shibuya Station (Japan)

Figure 24: Interior of Shibuya Station (Photo by: Getty

Images)

Tadao Ando 17
  Modern Art Museum of Fort Worth (USA)

Figure 25: Modern Art Museum of Fort Worth (Photo by: Allan Baxter/Getty
Images)

 Meditation Space (France)

Figure 26: Meditation Space (Photo by: UNESCO)

III.) Project Highlights

3.1 Church of the Light

The Church of the Light is completed in 1989. It is considered as one of Tadao

Ando’s best works. It perfectly embodies Ando’s philosophy that pertains to the balance
between nature and architecture, as well as tradition and modernity. It is an architecture of
duality.

Tadao Ando 18
 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”.

Figure 27: The Church of the Light (Photo by: ArchDaily)

Emptiness dominates the

theme. But once the light that
penetrates the building, it defines
the spatial relation.

The church is perceived as a

place of retreat or temporary
escape. The outside world is
forgotten and the natural world is
emphasized in a rather abstract
manner. This church beckons the
fundamental simplicity of
Christianity with its low-tech, yet
powerful design.

Site Area: 838.60 m²

Width of the street facades: east
5,42 m, south 6,11 m

Figure 28: Section of the Church of the Light (Photo by:

ArchDaily)

Tadao Ando 19
 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

Church Hall Data:

Built area: 116.80 m²
Total Floor Area: 148.80 m²
Maximum Ceiling Height: 6,050 mm
3.2 Azuma House

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.

He intended the house to

be divided into three: a space
for daily living, composed of
an austere geometry, and with
the insertion of an abstract
space dedicated solely to the
interaction of wind and light.
The objective was to challenge
the inertia that has invaded
everyday lives.

Azuma House replaces

one of the traditional houses in
the area because of its unique
design. While this area is not
the most chaotic of the city, a
clear contrast was defined
between Ando’s "concrete
box" and its surrounding
buildings.

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

Tadao Ando 20
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.

Site Area: 57 sq meters

Building area: 34 sq meters

Total Floor Area: 65 sq meters

Term of Planning: 1/1975-8/1975

Term of Construction: 10/1975-2/1976

Site Area: 57.28 sq. meters

Total Floor Area: 64.72 sq. meters

3.3 Pulitzer Arts Foundation

The Pulitzer Arts Foundation opened in 2001. It is owned by Emily Rauh

Pulitzer and Joseph Pulitzer Jr. In 1991, they commissioned Tadao Ando to design a
permanent space for their art collection. In the span of ten (10) years, it evolved into a
non-collecting art museum that organizes and presents special exhibitions of historic
and contemporary art from around the world, as well as a range of creative,
participatory public programs.

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)

Tadao Ando 21
IV.) Critiques

Tadao Ando is an architect of critical theory and deep philosophy. He is an observant

with a broad sense of knowledge that is able to translate it in rather simpler designs for
ease of the client.

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

Tadao Ando, http://www.tadao-ando.com/profile/

King of Concrete: Inside Tadao Ando’s Self-Designed Architecture Studio,

https://architizer.com/blog/practice/materials/in-his-element-tadao-ando/

The Hyatt Foundation, (The Pritzker Architecture Prize),

https://www.pritzkerprize.com/biography-tadao-ando

Tadao Ando 22
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

Ando, T.; Colombo, C., Tadao Ando (PDF),

https://www.centrepompidou.fr/es/content/download/86920/1096809/version/10/file/
Dp+Tadao+Ando.pdf , 1990

Ching, Francis D.K.; Jarzombrek, Mark; Prakash, Vikramaditya, (A Global History of

Architecture Third Edition), John Wiley & Sons Inc., 2017, Pg. 784-785,

Farrelly, Lorraine, (The Fundamentals of Architecture), AVA Publishing SA, 2007, Pg.
66-67

Spotlight: Tadao Ando, https://www.archdaily.com/427695/happy-birthday-tadao-

ando

Zukowsky, John, Andō Tadao, https://www.britannica.com/biography/Ando-Tadao

Meditation Space, UNESCO,

http://www.unesco.org/artcollection/NavigationAction.do?idOeuvre=3185

Pulitzer Arts Foundation, https://pulitzerarts.org/about/mission-and-history/

The International Library of Children’s Literature, https://www.uenostation.com/the-

international-library-of-childrens-literature/

The Modern, https://www.themodern.org/about-modern/building

Chichu Art Museum, http://benesse-artsite.jp/en/art/chichu.html

Langen Foundation, https://arcspace.com/feature/langen-foundation/

Omotesando Hills,
https://www.omotesandohills.com/en/information/about/architect.html

Palazzo Grassi, https://www.palazzograssi.it/en/about/history/

Palazzo Grassi, https://www.palazzograssi.it/en/about/sites/

21_21 Design Sight, http://www.2121designsight.jp/en/designsight/architecture.html

Fukutake Hall, https://fukutake.iii.u-tokyo.ac.jp/english/about.html

Shibuya Subway Station, http://www.deepjapan.org/a/2804

Tadao Ando 23
Punta Della Dogana, https://www.palazzograssi.it/en/about/sites/punta-della-dogana/

Kubach-Wilmsen Foundation, http://www.kubach-wilmsen.de/indexeng.html

Ando Museum, http://benesse-artsite.jp/en/art/ando-museum.html

Clark Art Institute, https://www.archdaily.com/527769/clark-art-institute-tadao-ando-

architect-and-associates-selldorf-architects-reed-hilderbrand-landscape-
architecture-gensler

Shanghai Poly Theater, https://www.dezeen.com/2017/01/13/poly-grand-theatre-

tadao-ando-shanghai-china-yueqi-li-photography/

Pearl Art Museum, http://www.pearlartmuseum.org/en/index/about/Pearl-Art-

Museum

Aurora Museum, http://www.auroramuseum.cn/en/aurora/index.html

Church on the Water, https://www.archdaily.com/97455/ad-classics-church-on-the-

water-tadao-ando

Azuma House, https://en.wikiarquitectura.com/building/azuma-house-row-house/

Azuma House, http://www.greatbuildings.com/buildings/Azuma_House.html

The Poetry of Light: 10 Quotes on Minimalism by Tadao Ando,

https://architizer.com/blog/inspiration/industry/10-quotes-on-minimalism-by-tadao-
ando/

Tadao Ando, https://www.moma.org/artists/7055?=undefined&page=&direction=

ICHIGONI at 152 Elizabeth Street, https://architizer.com/projects/ichigoni-at-152-

elizabeth-street/

12 Fun Facts about Tadao Ando, https://www.arch2o.com/12-fun-facts-tadao-ando/

Tadao Ando: “Creation Is Fighting… Designing Architecture Is a Battle”,

https://architizer.com/blog/inspiration/stories/tadao-ando-nowness/

A Brief History of the Windowless House, https://www.archdaily.com/482330/a-brief-

history-of-the-windowless-house

Tadao Ando 24