In the words of architect Tadao Ando, "Spatial experiences in
childhood exert an enormous influences on one's later life. For
that reason, we ought to create buildings that are not only safe
and functional but endowed with aesthetic individuality so that
they leave an imprint on human memory" (GA 18). In the
book called "GA DOCUMENT", Ando describes his policy about
architecture. He warns that recently architectures have been
thought as efficiency or symbol of wealth. And he tries to create
the buildings not of materialism, but of spirituality. As a human
being living in the world of technology, I am interested in his
works that makes me realize the possibilities of architecture.
Ando intends the buildings where people encounter and feel the
nature through the architecture. In this report, three points are
suggested that are about Ando's architectural policy, about a few
works of his own, and my opinion about architecture.
Ando started his career as architect in 1970s. He already had
a strong opinion about architecture. According to Ando, "Since
the 1970s, architecture had become mediocre and everywhere the
same. When I created the Row-house in Sumiyoshi in 1975, I wanted
to proclaim in some way my intention toward society, that is, my
intention with respect to expression, and the fact that I had
chosen to live in freedom" (GA 21). In fact, there is no
reason that every house must have a ceiling. But if one plans the
home without the ceiling, it might be rejected because the home
has no efficiency. Ando doubts this kind of common sense. One of
his famous works called Sumiyoshi No Nagaya has no
ceiling on the corridor. So, if it is raining, one should use an
umbrella by way of going to rest room.
Some people must have thought that this is of no use. It is
true that this house is inconvenient in a sense. Nevertheless,
living in such a house is very rare experience and people can
feel the nature there. And some attempts to make the best use of
this house can be made. Our hi-tech buildings deny us such an
experience. The union or mixture of technology and nature is the
most important characteristics of Ando's works. He doesn't reject
technology and uses it as only parts in his works. He wrote that
now it is needed to have dialogue between people and history,
between the new and the old, between nature and technology and,
people and people . . . , not meritocracy or functionalism (Ando,
Wandering 118). Sumiyoshi No Nagaya is thought
of as the one of his attempts to make architecture alive.
For another instance, in his recent work, Meditation
Space, UNESCO, the union or mixture of technology and nature
is made. Ando points out that "The space is defined by an exposed
concrete wall that is 6 meters in both diameter and height.
Natural light enters from above. That's all there is to the
space. Stones exposed to the atomic bomb in Hiroshima are used
for the floor and the stepped bottom of the pond. Water flows
around the space, suggesting a clear stream. The water is also
intended to appease the souls of the dead" (GA 148).
Like this, Ando has also the policy about his works and usually
puts a message in them. In this work, his intention lies upon
natural elements and hope for peace. Ando will use concrete
material and introduce with it natural elements like lights,
water, or winds. And more, this works has spiritual message for
peace, which is not thought as important in recent architecture,
I think.
In contrast, he adopted simple frame structure to the housing
on sloping site, which is called Rokko Housing Series.
Ando explains this works: "I felt that the clash between the
expressive potential of the slope and the expressive potential of
architecture might yield some new discovery with respect to
context or regional character" (GA 107). Here Ando seeks
for harmonization between technical architecture and natural
source. Almost all architects would not imagine building would be
on the slope. In fact, when Ando was about to start construction
of this series in 1982, many agencies rejected his offer because
this plan was too dangerous. At last, small and medium business
took on this plan. No accidents happened. Ando believes, "Sitting
housing on a sloping site seemed to me the best way to express
richness and variety" (GA 106). This series depicts
Ando's strong policy toward architecture. As a result, very
interesting contrast between buildings and nature is set. This is
the achievement in public architect, which is important. This is
because the works like Meditation Space as
mentioned above are artistic work, so they have a wider
permissive level. But this series are apartments to live in. The
fine harmony between publicity and artificiality should be
needed. Ando conquered this difficulty. Tracing his works, we can
find out what is Ando's policy toward architecture.
To summarize thus far, I believe that architecture is
very difficult to achieve. This is because it has two sides; one
is about publicity and the other is about art. Economical problem
is important. Too expensive architecture may not be accepted. At
the same time, architecture should also be beautiful. It is not
until both sides are overcome that architecture as the union
between human life and nature will be achieved. Ando treats this
difficulty by using natural elements and seeking for the place
where people feel comfortable with surprise. He is against
materialism or commercialism and in this sense real artist. His
policy about his works has the message for us and is strongly
connected with every works. Ando suggests that "Maintaining an
attitude of resistance toward existing social conditions requires
tremendous physical and spiritual energy. However, I want to
continue to take such a stance" (GA 21).
His works enable us to realize the problems in the world,
especially about nature. New technology gradually governs us in
various ways. And it raises serious problem like pollution or
destruction of nature. He does not deny new technologies. He
tries to co-exist with new technology and nature. Through seeing
Ando's architecture and experiencing how we feel in them, we can
find the possibilities of art. And he brought up his new plan
called Naoshima Contemporary Art Museum.
In this work, his policy is consistent. It is of course the
union of nature and architecture. This is not for housing. But as
the place where people come and meet each other, this is very
typical to his works. And more, what is interesting is the reason
that Ando was chosen as an architect for this. A client,
Souichirou Fukutake explained that "I have the hypothesis that
the things being artificial should be put in the environment
being full of nature. Ando should personify this contrast"
(Fukutake). This opinion of Fukutake grasps the idea of Ando. As
mentioned above, Ando's essence lies in the conversation between
the different. In works of Naoshima, this point is also
reflected. Especially in Japan where groundwork and meritocracy
is allowed and thought to be important, Ando's work laying
emphasis upon a kind of relaxation is precious for his work
represents the freedom we lost or forgot. As a result, his works
have various elements in them, to be real art as a way of
illustrating freedom of spirits.
In conclusion, I think that art used to express freedom of
mind but has now become the ruin of what art was. Before, art
gave us joy and surprise. Art without them has no life or
purpose. Now, art--or what is called art--seems all and
everywhere the same. It is time to realize what art is or the
troubles we have now are. Ando is trying to do so from an
architect standpoint. Experiencing his works, I believe that
people have some doubts about art, architecture and the idea of
being modern. The doubts enable us to think twice our life and we
can start to make new policy toward our life and society.
by Michimoto Satoh
Works Cited
Ando, Tadao. GA Document Extra. 27 July.1995: 17-148.
A.D.A. EDITA Tokyo
Ando, Tadao. Ando Tadao WANDERING. 29 November.
1994:118
Editrice, Abitare Segesta spa. "Tadao Ando A Parigi." 1996
http://www.abitare.it/tadao353.html (15 September.
1998).
M.G.Z. "Tadao Ando in Naoshima."
http://www.abitare.it/377/tadao.html (23 November.
1998).
Souichirou Fukutake. "Why Tadao Ando?" The Sun #413
12 October. 1995:57. Shincyo-Sya.
