AR. TADAO ANDO

By :Hetali Bhatt1305

EARLY LIFE OF AR. TADAO ANDOEARLY LIFE OF AR. TADAO ANDO• He led an eventful life, working as a truck driver and

boxer prior to settling on the profession of architecture, despite never having taken 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 attended night classes to learn drawing and took correspondence courses on interior design.correspondence courses on interior design.

• He visited buildings designed by renowned 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 Architect and Associates.

BIOGRAPHY• Tadao Ando was born in

Osaka, Japan, on 13TH

SEPTEMBER 1941.

• The self-educatedarchitect with roots inOsaka, he spent time innearby Kyoto and Nara,studying first-hand the

•His studies of both traditionalJapanese and modernarchitecture had

• a profound influence on hiswork and resulted in a uniqueblend of these rich traditions.

• In 1968, Ando establishedstudying first-hand thegreat monuments oftraditional Japanesearchitecture.

• Between 1962 and1969 he traveled to theUnited States, Europe,and Africa, learningabout Westernarchitecture, history,and techniques.

• In 1968, Ando establishedTadao Ando Architect andAssociates in Osaka.

• He is an honorary fellow in thearchitecture academies of sixcountries; he has been a visitingprofessor at Yale, Columbia, andHarvard Universities; and in1997, he became Professor ofArchitecture at Tokyo University.

• Process of design is not broken down into stages

• He believes that everything has to be done by hands, because he doesn’t believe in systematization and modernization

• Ando looks at abstract spaces as not abstract spaces by searching on those spaces for the original form of space

• The way he connects his building with the natural environment

• The form that he gives life to abstract spaces, the transformation of it

• The strong material that he uses and yet give us that soft texture

• The experience that each and everyone has had when ever passing • The experience that each and everyone has had when ever passing through one of his work

• The stamp that he leaves on each of his work such as concrete, free flowing kind of places, abstract not abstract, the nature inside out the place

• The strong philosophy behind every building that

he has produced

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

• “I create enclosed spaces mainly by means of thick concrete walls.”

• “When the external factors of a city’s environment require the wall to be without openings, the interior must be especially full

PHILOSOPHY

openings, the interior must be especially full and satisfying.”

• “I create architectural order on the basis of geometry squares, circles, triangles and rectangles.

• I try to use forces in the area where I am building, to restore the unity between house and nature (light and wind).”

LIGHT

SPACE

HUMANITY

NATURE

BASIC ELEMENTS OF HIS BUILDING

INTERLOCKING GEOMETRIC SHAPE

MATERIAL:EXPOSED CONCRETE

LIGHTS

LIST OF HIS WORK

1. CHURCH OF LIGHT2. CHICHU ART MUSEUM3. CHURCH ON THE WATER

HOKKAIDO 4. AZUMA HOUSE5. KOSHINO HOUSE, ASHIYA JAPAN6. NARIWA MUSEUM OF ART

MUSEUM6. NARIWA MUSEUM OF ART

MUSEUM7. ROKKO HOUSING8. NAOSHIMA CONTEMPORARY ART

MUSEUM, NAOSHIMA, JAPAN9. INTERNATIONAL LIBRARY OF

CHILDREN'S LITERATURE (2002)10. NAGARAGAWA CONVENTION

CENTER

KOSHINO HOUSE, ASHIYA JAPAN

• Located at the foot ofthe rokko mountains, inashiya city, east of kobe.

• Completed in two phases(1980-81and 1983-84).

•The koshino house was originally made up of two parallel rectangular concrete boxes.

Location :ASHIYA JAPAN

SITE LOCATION

•Two different-sized concreteboxes, arranged in parallel toaccommodate existing trees,are half-buried in the verdantslope of a national park.• An underground corridor linksthe two boxes, which flank acourtyard.courtyard.•It features two parallelconcrete rectangular confines.The forms are partially buriedinto the sloping ground of anational park and become acompositional addition to thelandscape.

•In the second phase, a fanshaped •extension which now contains the •Atelier was added.

•One unusual feature of this house

•is that the visitor approaches it •from above, and is fully aware of •the plan of the house, if not its •specific function from outside.•the plan of the house, if not its •specific function from outside.•The design element requires•extreme austerity•* Additional curve•Renovated in the year•1983.

Ground Floor Plan

1. Atelier

2. Living room

3. Bed rooms

Identical rooms, is aligned Like le corbusier’smonastic Cells at sainte-marie-de-la-Tourette.

•The volumecloser to six

First Floor Plan

1. Study

2. Bedroom

3. Terrace

•Brutalism/ Brutal architecture

•Asymmetrical Balance

•Non separated

•Alignment

PRINCIPLES OF DESIGNS USED IN THEKOSHINO HOUSE

•Alignment

•Scale & Proportion

•Unity. Harmony

•Pattern-Repetition

•Hierarchy

•Blending

BRUTALISM ARCHITECTURE

It is a movement in architecture that flourished from the 1950s to the mid-1970s, descending from the modernist architectural movement of the early 20th century.

A term used by Le Corbusier to A term used by Le Corbusier to describe his choice of material. Tadao Ando who is highly inspired from Le Corbusier uses this kind of architecture in a lot of his buildings.

It is raw and without ornamentation

ASYMMETRICAL BALANCE

•Not symmetrical , with the parts

•not arranged correspondingly identical on both sides of the central axis.

•It creates a sense of equilibrium•It creates a sense of equilibrium

•by the arrangement of two sets of forms of different size and shape.

•In this case the middle staircase acts like the line of symmetry and both sides have asymmetrical balance.

NON SEPARATED

•When one structure gives an illusion of being separated yet being

connected.•The structure here is separated along the axis in the exterior while connected underground in connected underground in the interior.

•This gives an illusion of •separation and yet is •connected.

The relationship of one part or the whole to an outside measure, such as the

human body.

Variation of scale. INTIMATE, IMPRESSIVELY and MONUMENTAL.

This is an intimate scale.

The living room and dinning room have a double story height which is balanced by the small area given to the living and dinning area.

SCALE AND PROPORTION

balanced by the small area given to the living and dinning area.

A oneness and absence of diversity ; a combination or arrangements and theordering of all the elements in a work that each contributes to the total aesthetic effect.

This is seen in the interior of

UNITY, HARMONY

This is seen in the interior of the building.

With similar materials and same esthetic value and openings.

The repetitive elements in design.

The ordered arrangement of parts into a pattern may occur at various scales at different distances.

This is seen in the interior, the rectangular structure have a sense of repetitionroom alignment with a pattern of the window opening in one rectangle also shows pattern

PATTERN REPETITION

shows pattern

A special importance or significance placed upon or imparted tosomething; a sharpness or vividness of outline.

Emphasis requires that one idea or design themes be dominant, and is important in

achieving unity in design

HIERARCHY

SECTION OF THE

3D VIEW

OF THE SITE

CHURCH OF THE LIGHT, 1999.

LOCATION: Ibaraki, Osaka, Japan

CONTEXT:

Tightly-packed residential neighborhood

Very small space

Location influences form Location influences form

L-shaped wall separates church from busy surrounding.

No good views, so the windows are minimal – only the distinctive narrow cross window and a window opening into the L-shaped wall

LOCATION• Located in a hidden corner, in

a quiet residential suburb in Ibaraki, Osaka,

• this small complex comprises two modest buildings, arranged at an angle, oriented according to the oriented according to the urban pattern of the neighbourhood.

• The site consists of three buildings – The minister’s house , The Sunday school and The Main chapel ( the church of light)

SITE PLAN

The size of its site is only :838.6 square meters

the size of the building

SUNDAY SCHOOL

MINISTER HOUSE

The church of light

ROAD INTERSECTION

the size of the building itself is only :113.3 square meters which is roughly the size of a small house.

MINISTER HOUSE

ABOUT..• By really placing emphasis on the wall and its

significance of the individual really contrasts and disagree with many ideas of modernity in architecture since the 1920’s .

• To Ando the concrete walls plays into his ideas the architecture should confront nature .

CONCEPT

• The awareness of the spiritual and secular within themselves . The Church of light is an architecture of duality the dual nature of co existence solid /void/dark, stark / serene .

• The co existing difference leave the church void of any , and all, ornament creating a pure , unadorned space . The intersection pure , unadorned space . The intersection of light and solid raises the occupant.

• The concrete construction is a reinforcement of Ando’s principle focus on simplicity and minimalistic aesthetic .

• Ando’s decision to place the cross on the east façade allows for light to pour into the space throughout the space and into the day , which has a dematerialising effect on the interior concrete walls transforming the dark volume into a illuminated box.

DESIGN• Based on very simple elements like rectangular

boxes and intersecting planes, Ando modelled the churches using light and space.

• The main church, is a 6 x 6 x 18 m box, laterally crossed by a wall rotated 15 degrees from the main axis of the nave.

• This diagonal wall also contains a 1.60 x 5.35 m glass sliding screen and the gateway to the room,

PLAN AND SECTION

glass sliding screen and the gateway to the room, as in a traditional Japanese shoji.

• Behind the altar there is a cross-shaped opening, bathing the interior space with the power and energy of light.

CROSS

WALL AND SITTING AREA

ORIENTATION

• The main chapel is orientated towards the south east direction.

• This is done so that the morning rays of the sun enter directly into the chapel.

• The access to the compound was made intentionally indirect, unlike many churches in the West.

Main chapel

• Visitors are forced to enter the complex at the northeast corner through a side street via a forecourt that leads to a corner of the church near the minister's house, arriving to an area located in the back of the church.

• From there one enters to a tiny little square, which houses a circular bench. Through This space organizes the accesses to the main church and adjacent chapel.

Sunday school

DIRECTION OF LIGHT

15 Degree Shift

Sun (SOURCE

OF LIGHT )

Cross

FLOOR PLAN

CONSTRUCTION

• The Church of the Light consists of three 5.9m concrete cubes (5.9m wide x 17.7m long x 5.9m

Front wall which has the cross

Side walls

17.7m long x 5.9m high).

• Penetrated by a wall angled at 15°, dividing the cube into the chapel and the entrance area.

The Penetrating wall

MATERIALS USED

• The building, constructed in concrete, has given up any ornament in favour of the spirituality that gives light, enhancing its sacredness

• Planks and other parts of the

Reused wooden planks

• Planks and other parts of the scaffolding used during building construction were re-utilized as the floor and benches inside the church, finished with a black oil stain, harmonizing with the austere and minimal character of the place.

Concrete : the main material of construction

USER BEHAVIOUR• User behaviour in the

church of light is mainly stimulated by the building itself .

• The building may look small but at every curve the user may see a totally changed

The single wall controls the circulation and shows a totally different view as the user enters thereby controlling the user behaviour

may see a totally changed view of the building.

• For eg. The circulation space in the church of light is totally controlled by the angled wall

LIGHTING INSIDE THE CHURCH

AMUZA HOUSING

• Location: Osaka, Japan

• Area: 65 sq.m

• Year of construction: 1975-1976

CONCEPT

• His approach was to connect the art of building with art of living.

• He relates the form and compositional methods to the kind of life that that will be lived in the given space and regional society.

• It is a narrow rectangular concrete block with living spaces surrounding the courtyard.living spaces surrounding the courtyard.

• It depicts traditional Japanese life style connected with light ,air and rain and other natural elements

PLAN AND SECTION

• Ground floor- living room, kitchen separated by a central courtyard and staircase.

Kitchen Courtyard Living room EntryKitchen Courtyard Living room Entry

Upper floor- two bedrooms joined by a central uncovered walkway which is the only source of light.

Bedroom Bedroom Uncoverd walkway

THE CHICHU ART MUSEUM

Location: Southern portion of the island of Naoshima, Japan

Year of Construction: 2004• Limiting the architecture

to an underground to an underground structure

• No external design rising out of the ground

CONCEPT

• Why underground? The site is a place where national forest abounds and was a former salt field. Hence to preserve the existing atmosphere and beauty of the site the museum is wisely buried underground.

• It is possible to create almost any form underground as there are no axes or directions as exist above ground, on earthdirections as exist above ground, on earth

• The outer expression of an underground building is invisible and, therefore, the obvious issues of form were not an issue.

• Challenge was to achieve a highly complex and varied sequence of “lightscapes” within a configuration of simple, geometrical forms.

• The museum was intended, holistically, to be visited with light as a guide.

• ‘Chichu’ means ‘underground’• Part of the Front lobby and access

way are dark, but the ain exhibition space brings in natural light creatively throught the courtyards.

• a series of small concrete openings and geometric skylights float among the greenery.

• There are five galleries altogether , of various sizes and characters featuring the works of three artists –featuring the works of three artists –Claude Monet , Walter de Mari and James Turrell.

• The triangular space connects the galleries of the three artists.

• Inside the museum the visitors are constantly brought between light and darkness, between mass and void

MATERIAL:

• Concrete

• Steel

• Glass

• Wood

INTERNAL SPACES

CHURCH ON THE WATERHOKKAIDO (1985-88)

Location: Tomamu, Yusutsu County, Hokkaido,

Japan

Covered in snow from December to April, Covered in snow from December to April, the area becomes a beautiful white expanse of land. Water has been diverted from a nearby river, and a man-mane pond 90x45 meters has been created.

The depth of the pond was carefully set so that the surface of the water would be subtlu affected by the wind, and even a slight breeze would cause ripples." Tadao Ando

ARCHITECT: Tadao Ando

COMMITTEE: local government

LOCATION: Tomamu, Hokkaido, Japan

PROJECT: 09.1985-04.1988

COMPLETION: 04.1988-09.1988

STRUCTURAL ENGINEER:

DETAILS

STRUCTURAL ENGINEER:

Ascoral Engineering Associates

BUILDING COMPANY: Obayashi

Corporation Co.

STRUCTURE: Reinforced concrete

BUILT AREA: 344.9 sqm

TOTAL AREA: 520 sqm

•The chapel is placed on a mountain plateaucentral Hokkaido, the coldest region in Japan, where nature is wild. •The entire area, is green from spring to summer, and in winter strips turned into a white expanse. •In plan, the chapel is formed by the overlapping of two squares, one small and one large, and overlooks a pond made by diverting a stream that flows through the

PlanDESCRIPTION

that flows through thevicinity. •A wall independent, L-shaped around the rear of the building and on one side of the pond.

Section

• The chapel is entered from the back and along the path approaching the wall.

• The murmur of the water takes visitorsalong the way, without, however, that they see the lake.

• After a hundred and eighty degree turn, go up a gently sloping path to reach an area of access to the Chapel is closed on four sides by glass, a kind of container of light.

• Traveled to scale curve that leads to the chapel, the visitor finds the view of the lake through the glass wall in front of the altar you can see the expanse of water and a large cross. North Elevation

Study sketches

Inside View

Inside ViewSpecial sessions

WAITING ROOM

Bathrooms

Chapel

Special sessions

Detail of the scale,Black granite floor

Bathrooms

Chapel

GROUND FLOOR PLAN

CHAPEL

BATHROOMS

ParticularcoverPlant cover

Sezione longitudinale A-A

NARIWA MUSEUM OF ART MUSEUM

Years of construction: 1992-1994

Location : okayama , japan

• A museum dedicated to• A museum dedicated to

impressionist painter

Torajima Kojima.

SITE ANALYSIS (NARIWA MUSEUM)

site

Located from Google map

museum

NARIWA MUSEUM OF ART MUSEUMokayama , japan

CONCEPT BEHIND NARIWA MUSEUM

• This work again using reinforced concrete to neutralize the importance of

the building and to give elevate the natural landscape.

•The approach is a bit of a

labyrinth(maze), that encourages visitors labyrinth(maze), that encourages visitors

to notice the attractiveness of the mountain landscape.

•an artificial pond being the link that

provides continuity and fluidity to this

design.

BOLD INTERLOCKING PURE GEOMETRY

PLAN OF NARIWA MUSEUM OF ART MUSEUM

ENTRY

• Barrier like façade at entryno openings

• No direct entry to interior

• Access to the museum is via an entrance ramp that leads visitors on a path upward and away from the street and over an artificial pond created in the mountainside.

OPENINGS

WALL WINDOW• Through the large openings, the

interior of the space can commune with the landscape

SEMI OUTDOOR SPACES

SPATIAL RELATIONSHIP

•A spatial relation, specifies howsome object is located in space inrelation to some reference object.When the reference object is muchbigger than the object to locate,the latter is often represented by apoint.point.•RELATION BETWEEN INDOOR ANDOUTDOOR SPACE

WATER-COURT• A water-court is an above-

defined courtyard filled with water instead of dry ground.

• In nariwa museum courtyard is partially enclosed by a natural slope, by the surrounding landscape close-by and by landscape close-by and by artificial pond along side surfaces of concrete walls.

SCALE AND PROPORTION

Scale: MonumentalProportion: Structural and Manufactured

MATERIALS

• Using reinforced concrete,

• the edifice feels made from

• an authentic material. an authentic material.

• has shown that the use of

concrete allows multiple

• formal and structural

• variants.

RUKKO HOUSING, JAPAN. (1983)

The Modern Art Museum (2002)