Tada ando

ARCHITECT TADAO ANDO

PRESENTED BY ABHISHEK GOEL

AMAN NEGI

PRADEEP VERMA

III RD YEAR - C

BIOGRAPHY

•Tadao Ando was born in Osaka, Japan, on 13TH SEPTEMBER 1941.

• The self-educated architect with roots in Osaka, he spent time in

nearby Kyoto and Nara, studying first-hand the great monuments of

traditional Japanese architecture.

• Between 1962 and 1969 he traveled to the United States, Europe,

and Africa, learning about Western architecture, history, and

techniques.

• His studies of both traditional Japanese and modern architecture had

a profound influence on his work and resulted in a unique blend of these rich traditions.

• In 1968, Ando established Tadao Ando Architect and Associates in Osaka.

• He is an honorary fellow in the architecture academies of six countries; he has been a visiting

professor at Yale, Columbia, and Harvard Universities; and in 1997, he became Professor of

Architecture at Tokyo University.

EARLY LIFE

•Ando was born in 1941 in Minato-ku, Osaka, Japan, and was

raised in the city of Asahi-ku. He worked as a truck driver and

boxer before settling on the profession of architect, despite

never having formal training in the field.

•Struck by the Frank Lloyd Wright designed Imperial Hotel on a

trip to Tokyo as a second year high school student, he

eventually decided to end his boxing career less than two years

after graduating from high school to pursue architecture.

•He attended night classes to learn drawing and took

correspondence courses on interior design. He visited buildings

designed by architects like Le Corbusier, Ludwig Mies Van der

Rohe, Frank Lloyd Wright, and Louis Kahn before returning to

Osaka in 1968 to establish his own design studio, Tadao Ando

Architects and Associates.

ANDO AT HIS YOUNG YEARS

ANDO IN EARLY 90’S

STYLE AND PHILOSOPHY

• Considered a patron of Minimalism but doesn’t compromises with the design

•Pure space enveloped in concrete rectangular forms - pure space and simple form

• The column has become merely a symbol that addresses culture and history

• Extensive use of Concrete and glass in the pure form

• Interior of the building are the form itself, ridicules the idea of masking it

• Simplified, rectilinear forms and bare, naked concrete walls that define the spaces

within

• Style- element of Light, Water through concrete and glass

AWARDS

Ando has received numerous architecture awards, including the prestigious.

•Alvar Aalto Medal

1985

•Pritzker Architecture Prize

1995 (Church Of Light, Ibaraki, Osaka, Japan)

•Royal Gold Medal

1997

•AIA Gold Medal

2002

•International Union Of Architects Gold Medal

2005

•James Beard Award for Outstanding Restaurant Design

2008 (Morimoto, New York, United States)

CHURCH OF

LIGHT

TYPICAL

PLAN

OF

CHURC

H OF

LIGHT

CHURCH OF LIGHT, IBARAKI, OSAKA, JAPAN

Design: 1987-88

Construction: 1988-89

• Located in a quiet residential suburb of Osaka, this church derives its orientation from the

direction of the sun.

•The size of its site is only 838.6 Square meters and the size of the building itself is only 113.3

square meters, which` is roughly the size of a small house.

• It consists of a rectangular volume sliced through at a fifteen-degree angle by a freestanding

concrete wall that separates the entrance from the chapel. This division creates a threshold

between the exterior and the sacred interior spaces.

• The floor and pews are made of rough scaffolding planks, which emphasize the humble

character of the space.

LIGHT CREATES A SPIRITUAL CALM AND SENSE OF AWE…

• Ando likes to use materials of substance for the

details of buildings because the tactile

experience enhances our perception of the

architecture.

• The space of the chapel is defined by light, the

strong contrast between light and solid. In the

chapel light enters from behind the altar from a

cross cut in the concrete wall that extends

vertically from floor to ceiling and horizontally

from wall to wall, aligning perfectly with the joints

in the concrete. At this intersection of light and

solid the occupant is meant to become aware of

the deep division between the spiritual and the

secular within himself or herself.

LIGHTING INSIDE THE CHURCH

Church of the Light

• Social:

His use of materials accommodated the town of Osaka’s economical restraints

• Scientific:

With the advent of “Ando Concrete” which was much more dense, enabled less material to be used and it efficiently carried the same loads

• Symbolic:

His minimalist approach to architecture creates a kind of purity and elegance in which light and darkness guides the viewer, and is able to evoke emotions

KOSHINO HOUSE,

ASHIYA JAPAN

Design: 1979-80

Construction: 1980-81

• Two different-sized concrete boxes, arranged in parallel to accommodate existing trees, are

half-buried in the verdant slope of a national park.

• An underground corridor links the two boxes, which flank a courtyard.

•It features two parallel concrete rectangular confines. The forms are partially buried into the

sloping ground of a national park and become a compositional addition to the landscape.

Placed carefully as to not disrupt the pre-existing trees on the site, the structure responds to

the adjacent ecosystem while the concrete forms address a more general nature through a

playful manipulation of light.

•The northern volume consists of a two-

storey height containing a double height

living room, a kitchen and a dining room

on the first floor with the master

bedroom and a study on the second

floor. The southern mass then consists

of six linearly organized children’s

bedrooms, a bathroom and a lobby.

Connecting the two spaces is a below

grade tunnel that lies beneath the

exterior stairs of the courtyard.

EVOLUTION OF DESIGN

SECTION

OF THE

SITE3D VIEW

• An underground corridor links the two boxes, which flank a

courtyard.

• The smoothly finished, stepped courtyard symbolizes the natural

contour of the site. Slits cut through the walls facing the courtyard are

intended to generate dynamic plays of light and shadow on the

interior spaces.

Addition Design: 1983

Addition Construction: 1983-84

• An atelier that was added four years after the main residence was

built is buried in the ground at the upper part of the slope.

• The addition is separated from the older building by a lawn. A curved

wall defines its territory.

•Cut into that wall is a slit that not only provides light at the top, but it

also creates complex patterns of intersecting curves along the wall.

• By introducing the curved wall and curved intersections of light to

the previously rectilinear scheme

2) NAOSHIMA CONTEMPORARY ART MUSEUM, NAOSHIMA, JAPAN

Design: 1988-90

Construction: 1990-92

• Naoshima is a small island in the Inland Sea of

Japan.

• The site selected for the contemporary art museum is

on the bluff of a narrow cape at the island's southern tip

and overlooks the quiet surf below; in fact, the

museum's design is oriented to receive visitors who

arrive by ship.

• A stepped plaza that functions as the museum's

entrance also houses an underground annex and

further doubles as a stage for outdoor performances.

• After climbing the plaza steps that the stone rubble

walls of the main museum come into sight.

• After the slope and the main building's entrance, the

large underground art gallery, which is two levels high

comes.

• A hotel building, gallery, and stepped terrace all open

towards the ocean, whose tranquil presence is drawn

into the interior spaces.

• Like outdoor sculpture in a museum compound, this

architecture functions as an earthwork to produce a

new landscape amid the vastness of nature.

THE ANNEX

Design: 1993-94

Construction: 1994-95

• Further up the slope behind the Naoshima

Contemporary Art Museum is the Annex, the second

phase of Ando's project at Naoshima. Currently, the

Annex functions primarily as a luxury hotel, but Ando

hopes that it will eventually become an exhibition

space.

• Like the main complex, the Annex is partially buried into the hillside and integrated within the

surrounding landscape. It can be reached by a cable car or by "processional" walking paths which

enable the visitor to sustain a strong connection to the abundant nature and spectacular scenery.

• The Annex is an elliptical building, framed by rectilinear outer walls made of the same stones that were

used on the earlier buildings.

• The focus of the Annex is its central open-air "courtyard"— an elliptical pool that was conceived as a

contemplative water sculpture.

• A patio surrounding the pool serves as an outdoor gallery and entryway to the guest rooms, each with a

private view of the sea.

• The entrance to the Annex is decorated with a cascade of water that appears to flow to the ocean

THE ART HOUSE.

Design: 1998

Construction: 1999

• On another part of Naoshima is the Art House Project.

• The purpose of the Art House Project is to preserve and restore the region's old traditional private houses

that could then serve as galleries for permanent exhibitions of contemporary art.

•This current project involved designing a special space for an installation of light by the American artist

James Turrell. Ando's approach involved constructing a wooden building that would be called Minami-Dera,

the name of the temple that formerly stood on the site.

“WATER ALSO CREATES PATHS”

“PATHS AN IMPORTANT THEME”

Internatinal Library of Children's Literature (2002)

Naoshima Contemporary Art Museum and Annex

The Hyogo Prefectural Museum of Art in the city of Kobe opened in 2001. The sea-facing concrete, stone and glass building, located in Kobe's newly developed waterfront area, is a symbol of recovery in a city which was devastated by the Great Hanshin Earthquake in 1995.

Tadao Ando's cylindrical, one-story "Space for Contemplation" in the UNESCO compound, is paved with granite slabs from Hiroshima that were irradiated during the explosion of the H-bomb in August, 1945.

Tadao Ando Langen FoundationNeuss, Germany

Nagaragawa Convention Center

THANK YOU

(^_-)

“What I have sought to achieve is a spatiality that stimulates the human spirit, awakens the sensitivity and communicates with the deeper soul.” – Tadao Ando