Tadao ando

Tadao Ando Complete Works 1989–2016 Authored by Kenneth Frampton and Philip Jodidio

Tadao Ando Complete Works 1989–2016 Authored by Kenneth Frampton and Philip Jodidio

Contents

32

72

Modern Art Museum of Fort Worth

Biography Tadao Ando

Texas, USA

12

40

74

Projects

4x4 House

Timeline

Year 1989-2016

Kobe, Hyogo

Ando’s Masterpieces

04

13

48

76

Preface & Acknowledgments

Project Map

Langen Foundation

Credits

Stuart Wrede

Four Countries

Neuss, Germany

Photo Credits & Bibliography

06

14

54

77

Tadao Ando

Church of the Light

Shanghai Poly Theater

Trustees

Kenneth Frampton

Osaka, Japan

Shanghai, China

Museum of Modern Art

11

22

62

78

Daily Schedule

Benesse House

152 Elizabeth

Imprint

Tadao Ando

Naoshima, Japan

New York City, USA

Copyright & Publication

Preface and Acknowledgments Stuart Wrede Director Department of Architecture and Design The Museum of Modern Art

The fifth and final exhibition in the Gerald D. Hines In-

this project, the architect, who has been highly critical of

terests Architecture Program at The Museum of Modern

Japan’s cities, offers an alternate vision of their renewal.

Art is devoted to the work of the Japanese architect

Highly sensitive to nature, but with a dearth of nature

Tadao Ando. His spare and subtle buildings, of concrete

to respond to in his early work, Ando honed his subtle

and glass, offer a contemporary synthesis of modern

sensibility and minimalist architectural vocabulary,

occidental and Japanese traditions, and constitute an

manipulating the delicate play of light on stark concrete

important and influential body of work. The exhibition

walls and capturing within the buildings themselves

focuses on ten projects that reflect the developing inter-

the shifting atmospheric changes of the sky — therefore

action between Ando’s buildings and nature, as well as

intensifying the experience of nature. This intensity is

his refinement of interior architectural space.

not only present in the two domestic buildings included

Most of Tadao Ando’s earlier work, situated in urban

here, the Kidosaki and Koshino houses — one urban, the

areas, responded to chaotic surroundings by turning

other suburban — but most notably in three modestly

inward around courtyards protected by enclosing

scaled, but remarkable, Christian chapels designed and

concrete walls, as exemplified by the Kidosaki House.

built between 1985 and 1989. The serenity of his spaces

In more recent commissions for cultural and religious

and the exquisite play of light and shadow have here

buildings, Ando has had an opportunity to build in the

created a truly sacred architecture.

natural landscape, where he has integrated built form

In his ecclesiastical buildings, Tadao Ando often uses

with nature in some new ways — opening out to it at the

Shinto, Buddhist, and Christian forms interchangeably,

Children’s Museum, or burrowing into it at the Forest of

or alters a conventional symbol. In the Church on the

Tombs Museum, Kumamoto, and the Chikatsu-Asuka

Water, for example, he has expanded the traditional

Historical Museum, Osaka, Japan. Ando’s proposal for

meaning of a central Christian symbol: the cross. Usually

Nakanoshima has focused his interest in integrating

placed alone, the crucifix carries a complex iconography

landscape, urban design, as well as interior space. In

that associated with sacrifice, atonement, redemption,

Stuart Wrede Finnish architect and environmental artist, studied and spent much of his professional life in the United States.

Tadao Ando: Preface

The Museum of Modern Art (MoMA) Manhattan, New York City November 7, 1929

and resurrection. In the Church on the Water, by placing

Publications, for her skillf ul editing of the texts and for

four monu mental crosses in a square, Ando has evoked

cheerfully guiding the catalogue through to completion.

a whole set of other associations: like primitive ritual,

Thanks also go to Osa Brown, Director of Publications,

solidarity, as well as joyous celebration. It is a profoundly

and Marc Sapir, Assistant Production Manager, whose

moving image, appropriate for a chapel devoted mainly

efforts have made the publica tion a reality. Special

to weddings, but universal in its meaning as well.

gratitude is owed Tomoko Miho, who is responsible for

On behalf of The Museum of Modern Art, I wish to

the sensitive and elegant design of this volume.

thank Tadao Ando for his enthusiasm and cooperation in making this exhibition a reality. Yumiko Ando, his wife and colleague, provided invaluable help in coordinating the Museum’s efforts with those of the Tadao Ando

In the Department of Architecture and Design, I would

architectural office in Osaka, Japan and in translating

like to thank Matilda McQuaid, Assistant Curator, for

correspondence as well as Ando’s text for this catalogue.

her invaluable efforts in coordinating all aspects of the

I would also like to acknowledge the assistance of

exhibition, and Leanne Pudick, Assistant to the Director,

Kazuya Okano of Ando’s office and architect George

who astutely and efficiently handled everything else.

Kunihiro in New York, who provided much-appreciated help in pulling the exhibition together.

I would also like to extend the Museum’s very deep appreciation to Yoshida Kogyo K.K. for its enthusiasm

Kenneth Frampton was one of the first architectural

as well as enlightenment in agreeing to co-sponsor this

historians to realize the importance of Tadao Ando’s

exhibition. Finally, I wish to extend my thanks to Hines

work and, through his writings, to make the work known

Interests for sponsoring the exhibition and for providing

interna tionally; I am indebted to him for providing this

The Museum of Modern Art with the unique opportunity

volume with its insightful essay. I would like to thank

to present, over the past six years, this important series

Harriet S. Bee, Managing Editor in the Department of

of five exhibitions on contemporary architecture.



V

VI

Tadao Ando: Introduction

Tadao Ando: Introduction

Tadao Ando Kenneth Frampton Architectural historian Graduate School of Architecture and Planning Columbia University, New York

Kenneth Frampton Born in 1930 (age 87–88) Woking, UK

Born in Osaka in 1941, Tadao Ando first came to the

From his self-consciously cross-cultural point of view,

fore in 1976 with his prize-winning Row House (Azuma

Ando sees the reinforced concrete frame as a universal

Residence), Sumiyoshi. Self-taught, in addition, save for

twentieth-century technique, which for all its manifest

a brief apprenticeship with a Japanese carpenter, Ando

advantages, has robbed the central Shinto column — the

emerged almost overnight as an architect of a world

so-called daikokubashira — of its symbolic potency and

stature without ever attending a school of architecture

the classical colonnade of its plastic rhythm. At the same

or serving as an assistant to a master architect. Pressed

time, he regards the wall as a protective shield that is

to give an explanation of his unusual development as

categorically opposed to the infinite space-field of the

an architect, he only admited to two influences: the

modern megalopolis. In Ando’s work, the court house is

spiritual depth of Japanese building culture, the study

seen as the provider of a calm and character-forming,

tours that he made during the second half of the sixties.

restorative domain wherein the individual may escape

His output has been prolific: well over forty buildings

the turmoil of the tertiary-industry city and regain some

since he opened his own office in 1969.

sense of domestic tranquility. In his seminal essay of 1978,

More than any other contemporary figure, Tadao Ando has been the architect of the reinforced concrete wall, creating volumes delimited by such boundaries, not only in order to define space but also to form it in such a way as to admit and reveal an ever-changing pattern of light. Aside from employing walls as domain-defining planes, Ando has also exploited the wall as a datum against which to read an internal armature of freestanding columns and beams.

titled “The Wall as Territorial Delineation,” Ando wrote: “The cheap sprawl and crowded conditions of the modern Japanese city reduce to a mere dream the liberation of space by Modern Architectural means and the resulting close connection between interior and exterior. Today, the major task is building walls that cut the interior off entirely from the exterior. In this process, the ambiguity of the wall, which has

VII

Tadao Ando Ando joked, “thanks to the eccentric characters who showed an interest in someone with no academic training, I designed a Nightclub interior at the age of 18. Since then, my practice has evolved through trial and error.” 

been simultaneously interior on the inner side as well

tectural materials do not end with wood or concrete

as exterior on the outer side, is one of the greatest

that have tangible forms, but go beyond to include light

significance. I employ the wall to delineate a space

and wind which appeal to our senses.” And, moreover,

that is physically and psychologically isolated from

not only light and wind but also rain, snow, and fog are

the outside world...

to be directly experienced as one traverses, for example,

I think walls can be used to control walls. Like in

the open courtyard of the Azuma Residence in order

this house, walls standing independently in the world

to pass from one room to the next. Paradoxically for an

of nature delineate a territory for human habitation.

architect who has been frequently commissioned by the

Inexpressive in themselves, the two major bounding

Japanese fashion industry, Ando remains opposed to

walls are protective devices for the interior. At the

the ubiquitous triumph of modern comfort as well as

same time they reflect the changes taking place in

consumerism that is as prevalent in Japan as elsewhere.

the world of nature and help to introduce this world

With this respect, functionalism is a very contradictory

into the daily lives of the inhabitants. The limiting operation of the walls directly reveals the boldness of the house itself.”

Within the Japanese philosophical tradition, nature manifests itself as two interrelated but opposed aspects,

concept for Ando, an ergonomic value that first has to be satisfied and then partially denied.

Regarding to this topic, Ando explained that: “I am interested in discovering what new life patterns could be extracted and developed from living under severe

the tangible as well as the ineffable, that is to say, the

conditions. Furthermore I feel that order is necessary to

palpability of the natural forest landscape as it literally

give life dignity. Establishing order imposes restrictions,

encroaches onto the terrace of his Wall House also named

but I believe it cultivates extraordinary things in people.

Matsumoto Residence, Ashiya, Hyogo, and the equally

In addition, I believe in removing architecture from

apparent intangibility of light as well as other changing

function after ensuring the observation of functional

climatic elements as these are consciously integrated

basics. In other words, I like to see how far architecture

into all of Ando’s work. As he was to write of the Koshino

can pursue function first and then, after the pursuit has

House, completed in the pinewoods of Ashiya in 1981:

been made, to see how far architecture can be removed

“Light is a mediator between space and form. Light will

from function. The significance of architecture is found

change expressions with time. I believe that the archi-

in the distance between it and function.”

Tadao Ando: Introduction

IX

Tadao Ando

Koshino House Construction 1980-03. 1981 Ashiya, Hyogo

This idea of a gap, be it physical or metaphysical, is

full length of the living room. The concrete face of this

constantly present in all of Ando’s architecture, and the

plane seems to have been treated in such a way as to

level and nature of its appearance varies considerably

effect its dematerialization under the impact of sunlight,

from one work to the next and even among different

to illuminate, through the continual movement of the

sectors of the same work. Seen in this light, a courtyard

sun, the latex sheen of its subtly undulating surface.

becomes a space within which the ubiquitous void may

A similar light slot is let into the roof of the radial studio,

be rendered perceivable, partly through the changes of

has added into the northern face of the house in 1984.

light and climate, and partly through the changing ethos

In this instance, the pattern of changing light becomes

of the space itself. This is close to the idea of yugen in

increasingly organic in shape and as it has fallen onto a

Japanese poetry, wherein the ineffable presence of

continuously curved wall.

living nature is sensed through such things as a faint

The Koshino House features a totally different kind of

drizzle or a sudden unexpected breeze, the 4 onset of

luminosity within its interior, where a shadowy darkness

twilight or the premonition of dawn.

of somewhat uncertain depth emanates that from the

All of this has been implied in the layered plan of the

concretelined corridor linking the living volume to the

Koshino House, which is inscribed into the surrounding

bedroom block. Here we are close to that traditional

topography in such a way as to expose the principal

Japanese room space of darkness, characterized by the

rooms to the full trajectory of the sun. However, sunlight

Japan novelist Jun’ichiro Tanizaki in his highly influential

enters more precipitously into this house from above,

critique of Westernization, which first appeared in print

through a narrow slot cut into the roof at its junction

under the title Inei raisan (Praise of Shadows ) in 1934. ď‚Ż

with the wall. From this aperture a single interrupted shaft of light descends to run its ever-changing luminous course across the adjacent concrete wall that runs the

Tadao Ando: Introduction

Daily Schedule

Stay home with wife and dog “Le Corbusier�

Sleep and rest

Simple lunch

Boxing exercise Meditation

Construction site

Tea ceremony

Work in the office of his firm, Tadao Ando Architect & Associates

XI

XII

Tadao Ando: projects

Tadao Ando Magnum Opus 7 projects 4 countries 1989 - 2016

Tadao Ando: Projects

Benesse House 152 Elizabeth

Naoshima, Japan

New York City, USA

Year 1995

Year 2016 Langen Foundation Neuss, Germany Year 2004 Modern Art Museum

Poly Theatre

of Fort Worth

Shanghai, China

Fort Worth, USA

Year 2015

Year 2002

4x4 House Kobe, Japan Year 2004 Church of the Light Osaka, Japan Year 1989

XIII

CHURCH OF THE LIGHT Planning 1987-01 | Construction 1988.05 | 1989. | Ibaraki, Osaka

16

Tadao Ando: Church of the Light

Tadao Ando: Church of the Light

PROJECT

CHURCH OF THE LIGHT LOCATION

OSAKA, JAPAN SITE AREA

838.6 M2 FLOOR AREA

113.0 M2 TYPE

CHURCH

The employment of simplistic mater-

cross from the east facing facade, the

As a testament to minimal architecture,

ials reinforces the duality of the space;

church is composed of a concrete shell;

the crosses void in the wall is the only

the concrete structure removes any

the concrete adds to the darkness of

prominent religious symbol present in

distinction of traditional Christian mo-

the church by creating a more humble,

the church.

tifs and aesthetic. Besides an extruded

meditative place of worship. In addition,

This chapel is a freestanding annex to an existing church and vicarage in

Located on a plain in the Yubari Mountains in Hokkaido, this church is

a quiet residential suburb of Osaka. It consists of a rectangular concrete

part of a year-round resort. The structure consists two overlapping

volume (a triple cube), penetrated at two points by an obliquely-angled

squares: the larger, partly projecting out into an artificial pond, houses

freestanding wall that divides the space into the chapel and a small

the chapel, and the smaller contains the entry and the changing and

triangular entry space. Glazed openings at the points of intersection —

waiting rooms. A freestanding L-shaped wall wraps around the back of

approximately the mid-point of the side wall and at the end wall nearest the

the building and one side of the pond. The church is approached from

entry — provide light for the otherwise dark interior. Inside, the tall narrow

the back, and entry involves a circuitous route: a counter-clockwise

space slopes downward to the altar at the south end. The entire height and

ascent to the top of the smaller volume through a glass-enclosed space

width of the wall behind the altar is penetrated by horizontal and vertical

open to the sky. In this space are four large concrete crosses arranged

glazed openings that form a cross. The glowing light of the large cross

in a square formation and almost touching. From this point, the visitor

creates a powerful image facing the seated worshippers. The floor and

descends two levels to emerge at the back of the chapel. The wall behind

benches, and made of the rough wood planks used for the scaffolding,

the altar is constructed entirely of glass, affording a dramatic panorama

complement and contrast with the cast-concrete walls.

of the pond with a large cross set into the water.

17

18

Tadao Ando: Church of the Light

Tadao Ando: Church of the Light

“In all my works, light is an important

to create a place for the individual,

without openings, the interior must be

controlling factor. I create enclosed

a zone that for oneself with in society.

especially full and satisfying.”

sp a ce s m ain ly by m e a ns of thick

When the external factors of a city’s

concrete walls. The primary reason is

environment require the wall to be

— Tadao Ando

19

20

Tadao Ando: Church of the Light

The set consists of two volumes (the

at the angle of 15°, which energizes

church as well as a chapel secondary)

the space because, being separate

prepared at an angle consistent with

from the cover that allows light to

the urban environment. The whole

filter inside creating the impression

arrival is indirect, as it requires to enter

of a floating roof. The diagonal wall

a side road through which you reach a

contains the glass entrance door,

small square from where the hits are

which slides horizontally.

distributed to the two buildings.

Both consist of rectangular blocks of concrete. The main Church of Light, is a box of 6 x 6 x 18 crossed by a wall

The interior can be seen the rough

This building has been left the

texture of the soil as well as the banks.

entire surface of the ornament for

Everything in this design is stripped

giving spiritual light, becoming more

naked to highlight a fund with a wall

intense as the sacrum. Even the seats

of vertical and horizontal opening

(which were made with parts of the

forming a cross of light that fills the

Scaffold used for construction of the

space. These holes were designed to

church and covered with black paint),

enter not only light but also the air.

say its austere and minimal.

Tadao Ando: Church of the Light

21

BENESSE HOUSE Planning 1993.05 | Construction 1994.10 | 1995. | Naoshima, kagawa

24

Tadao Ando: Benesse House

Tadao Ando: Benesse House

PROJECT

BENESSE HOUSE LOCATION

NAOSHIMA, KAGAWA SITE AREA

53369.0 M2 FLOOR AREA

3643.4 M2 TYPE

MUSEUM

Benesse House is a facility based on the

lodging facilities in the buildings known

spa and shop open to the general pub-

concept of coexistence among nature,

as Oval (opened in 1995), Park, and

lic. Contemporary art is displayed not

architecture, and arts. Incorporating a

Beach (both of which opened in 2006),

only within the Museum galleries, but

museum and a hotel, Benesse House

for a total of four buildings accommo-

also in all parts of the buildings and

opened in 1992, followed by additional

dating guests, plus a restaurant, cafe,

surrounding area.

This complex is located on an elevated cape at the southern end of the rela-

underground. The main exhibition hall, sunken below grade, is two levels

tively unspoiled island of Naoshima, in the Inland Sea of Japan. The island can

high, 50 meters long and 8 meters wide, is used to exhibit contemporary art

be reached by ferry from neighboring ports such as Takamatsu and Uno. The

with works by artists such as Frank Stella. Phase II, used mainly as hotel space,

complex itself is accessed directly from an arrival pier and stepped plaza,

includes 598 m2 of floor area. Again, in deference to environmental consider-

although a rear access road is available. It is in the platform above the dock

ations, Ando placed the structure underground. It is a one-level building with

that Ando originally created a space for temporary exhibitions. This space has

an oval plan, and an oval courtyard and pond. By digging into the site, Ando

been converted into an open gallery for a surprising work by the American

has created something akin to an earthwork. As he says, “There is a plan to

artist Walter De Maria - two enormous granite spheres face each other in a

have me design one building a year all over this area. Every time you go, there

covered space with a view toward the Inland Sea.

will be something under construction. This will be kept up for ten, twenty years.

In phase I, Ando designed a large exhibition space for art and a small hotel,

This project in its conception is very much like contemporary art.� Vegetation

with a total floor area of 3643 m2. In this instance, Ando combined the use of

intentionally covers a good part of the structures and walls. Pictures of the

stone rubble walls and concrete. Because it is part of a national park site, envi-

exterior of the first phase of the project, with the entrance path to the hotel and

ronmental considerations led Ando to design more than half of the volume

museum, give an idea of the presence of nature and the integration of arts.

25

26

Tadao Ando: Benesse House

Tadao Ando: Benesse House

Ando’s customary restraint in his selection of materials, and preference for simple forms, blends with the surrounding land and seascape. The composition of the museum main building’s plan consists of three overlapping cubes and a circle, with the rectangular guest wing attached at an angle to it. Nature and geometry are expertly united resulting in a serene and tranquil architecture.

Looking out from the rough stone rampart of the Benesse House Museum, the visitor sees the outline of Japan’s main island, Honshu, in the distance.

27

28

Tadao Ando: Benesse House

Tadao Ando: Benesse House

Access from Major Cities

OKAYAMA Airport NAGOYA HIROSHIMA

OKAYAMA

HAKATA

SHIN-OSAKA

HANEDA Airport

TOKYO

KAGOSHIMA-CHUOU

About 1.5 hour by airplane (Haneda-Okayama Airport) About 3 hour by bullet train (Tokyo-Okayama)

HIROSHIMA About 40 mins by bullet train (Hiroshima-Okayama)

FUKUOKA

OSAKA

KYOTO

About 2 hour by bullet train

About 1 hour by bullet train

About 1 hour by bullet train

(Hakata-Okayama)

(Osaka-Okayama)

(Kyoto-Okayama)

29

30

Tadao Ando: Benesse House

Tadao Ando: Benesse House

The Benesse House Oval is one of the

With an oval plan and only one

buildings of the Benesse house group.

level, the building is set in the heart of

Located on the side of a hill, it was part

a forested area that boasts a lovely

of a complex of buildings that brought

variety of plant and tree life. The annex

museums, galleries, conference faci-

also offers vista points from which to

lities, a hotel and a restaurant all onto

appreciate the lush vegetation and

one site. The extension, which was 40

spectacular views of the Seto Inland

meters higher up at the top of the hill, is

Sea. In order to protect the envron-

linked to the existing core of the unique

ment, part of the new structure and its

Benesse complex by numerous walk-

garden was set underground, as in the

ways as well as a funicular monorail.

existing one.

31

MODERN ART MUSEUM OF FORT WORTH Planning 1997-06 | Construction 1999-09 | 2002. | Fort Worth, Texas, USA

34

Tadao Ando: Modern Art Museum of Fort Worth

Tadao Ando: Modern Art Museum of Fort Worth

PROJECT

MODERN ART MUSEUM OF FORT WORTH LOCATION

FORT WORTH, TEXAS, USA SITE AREA

45570.0 M2 FLOOR AREA

14280.0.0 M2 TYPE

MUSEUM

The Modern Art Museum of Fort Worth

in Fort Worths celebrated Cultural

Andos design, which embodies the

exemplifies the work of Ando through

District, Texas, directly opposite the

pure, unadorned elements of a modern

it’s simple geometry, incorporation of

Kimbell Art Museum, designed by Louis

work of art, is comprised of five long,

the natural environment, and very

I. Kahn, and near the Amon Carter

flat roofed pavilions situated on a 1.5

minimal material selections. It’s located

Museum, designed by Philip Johnson.

acre pond.

The building for the Modern Art Museum of Fort Worth opened to the public

The new Fort Worth Modern meets this tall order and then some. It is a

on December 14, 2002. It is 153,000 square feet, on an 11-acre plot located

simple, pristine space for viewing art, but its organization is also dramatic

across the street from the Kimbell Art Museum.

and engaging enough to ward off spatial boredom. Ando’s building is not a

In a museum, the art constitutes the actors and the building is the stage,

showboat. It is tranquil and inviting. It also respectfully acknowledges the Louis

according to Michael Auping, former chief curator at the Modern Art Museum

Kahn-designed Kimbell next door. Built 30 years ago, the Kimbell etches into

of Fort Worth. Artist Ellsworth Kelly said, “The architect of a museum has the

the landscape a series of long, barrel-vaulted pavilions that suggest the

responsibility to leave or create spaces necessary for the artists. In an art

stunning plenty of horizons in Texas. Ando’s pavilions also go long, and reach

museum project, therefore, architecture and art must be considered at the

up with their tall, glazed verticality.

same time.” It’s a tall order. A rounder way of describing the museum architect’s

The materials of the Modern belie the preciousness of the works within. The

job would be: adorn the city with a proud building, attract the population into

exterior is made of bead-blasted aluminum panels that were machined in

an easy-to-understand shelter where cultural exposure can be had, and do

Holland, anodized in Wisconsin, and cut and assembled in Kansas City. Counter

both subtly, so that the art itself shimmers forth as the actual destination. A

tops are South African granite. In order to create the smooth cast-in-place

successful museum is a stealth performance.

concrete walls, tons of ice and chilled water were put into the concrete mix.

35

36

Tadao Ando: Modern Art Museum of Fort Worth

“Concrete possesses many variables,” Ando has ever said. “Every concrete mix and pour has a different character.

It is not like steel or glass, which has a more consistent nature. Concrete can vary greatly. Concrete has a depth of expression that changes with every use.” In the Fort Worth museum, concrete-lined corridors end at windows that overlook the pond. They feel like artworks in themselves. So does a stairwell containing a sound installation by Jonathan Borofsky. The eerie recorded chanting, which spills into adjoining galleries, is derived from the Muslim call to prayer, but it might be almost anything. One patron guessed that it was the sound of whales mating.

Tadao Ando: Modern Art Museum of Fort Worth

Constructed with only concrete, steel,

hills enclose the museum. Through

beautiful as the artworks displayed

water are very complimentary, as the

aluminum, glass as well as granite, this

Ando’s pure design, the museum has

in the museum, as it is very heavily

still pond reflects the spaces just as glass reflects the water.

museum is perfectly reflected in the

a striking presence as a modern work

intertwined with the display spaces

surrounding pond. Beautiful trees and

of art. The environment becomes as

through large windows. The glass and

37

38

Tadao Ando: Modern Art Museum of Fort Worth

“Space will only have a life when people enter it. So the important role architecture can play, and that space plays within that architecture, is to encourage an interaction between people, between people and the ideas being presented in the paintings and sculpture, and most importantly between people themselves.”

— Tadao Ando

Tadao Ando: Modern Art Museum of Fort Worth

The Modern Art Museum’s auditorium facility comfortably seats 250 people

symposia and panel discussions. Combined with the adjacent 250-seat cafe,

and, due to the incorporation of an innovative acoustical design, it is able

with its full-service kitchen and outdoor dining terrace overlooking the reflect-

to accommodate lectures, film festivals, and musical performances. The audi-

ing pond, the auditorium complex provides an very exciting and convenient

torium provides a great show-case for the Modern’s popular lecture series,

meeting and conference site for community and business groups. The new

the Tuesday Evenings at the Modern, and provides a superb venue for other

Modern is Ando’s first large-scale public commission in the United States.

39

4x4 HOUSE Planning 2001-06 | Construction 2003.01 | 2004. | Kobe, Hyogo

42

Tadao Ando: 4x4 house

Tadao Ando: 4x4 house

PROJECT

4x4 HOUSE LOCATION

KOBE, JAPAN SITE AREA

65.4 M2 FLOOR AREA

117.8 M2 TYPE

RESIDENCE

Ando is perhaps at his strongest in

signature style. Located in Tarumi-ku,

standing on the coast of the Inland Sea

small structures. Even his esthetics may

Kobe, Hyogo, Japan, Tadao Ando’s 4×4

in Japan. Eroded by the ocean, much of

have evolved, but the architect remains

house, as one piece of contemporary

the site is under water. The house was

faithful to the very power ful geometric

architecture and modern home design,

originally designed for a competition.

simplicity which has always been his

is an extremely small private house

This powerful and yet extremely simple brand new house has a spectacular

A watchtower, or a monument, this house has a clear attachment to the

beachfront site measuring just 65 m . The building actually covers only 23

site and its recent history. The 4 x 4 House pushes geometric grid-based

m 2 and has a total floor area of 118 m 2 . It is a four-storey tower with a 4 x 4

archi tecture almost to its logical limits, but here as in other buildings

meter plan. On the ground floor, there is an entrance space, and a bathroom,

designed by Ando, the structure is permeated with a very specific sense

on the second level a bedroom, on the third a study. The uppermost level,

of nature, through the views of the Inland Sea, the enormous suspension

including the living room and kitchen, is designed on the same grid, but

bridge and the epicenter of the earthquake. On this scale and in such a

the volume is shifted out one meter in the direction of the sea. Significantly

location, the true power and originality of his architecture is apparent. As

for Tadao Ando, the house is just four kilometers from the Awaji Island

small as it is, the 4 x 4 House is exem plary of what makes Tadao Ando a

epicenter of the 1995 great Hanshin earthquake that devastated Kobe. As

great architect. He explains that “an extension of the building on the beach

the architect says, “The landscape framed within this cube is a panorama

in front is currently under consideration. I am dreaming of an architecture

sweeping over the Inland Sea, the Awaji Island and the Akashi Kaikyo

that would soak in seawater at high tide.” Even if the scale is small, here,

Bridge where thoughts and memories of the earthquake are embedded,

as in other projects, Ando displays a rare attachment to the evolution over

for both the client who makes a living in this region as well as for myself.”

time of his architecture.

2

43

44

Tadao Ando: 4x4 house

Tadao Ando: 4x4 house

In the 4x4 house, we can see Ando

cube 4 meters to a side, that is pushed

we feel as if we were out on the sea on

worked his par ticular magic — the

out toward the sea. The seaward side

a boat. The space allows the residents

transformation of the accidental into

of the house is completely glazed, the

to fully enjoy the wide expanse of the

the inevitable. The topmost floor is a

frames are steel.; the view is such that

sea and the sky.

4th floor — floorplan

45

46

Tadao Ando: 4x4 house

Ando encased the house in concrete

He applied a waterproof sealant

and, for reasons of privacy, minimised

on all the exterior concrete surfaces

the openings, and principally in the

and placed additional pipes to carry

faรงades which faced the land-side.

the water to the roof, which could be

Even in the front faรงade of the house,

accessed by a hatch in the kitchen.

there is simply one concrete wall with

The water would then have the most

just one small window and a door. Due

sea salt eliminated from it by means

to the harsh natural conditions of the

of a hose-based system.

area, the architect firmly anchored the concrete structure below the ground, which strengthens its resistance to lateral forces. In addition to covering the thick glass of the structure with a shatter-proof film, he reinforced the glass with steel crossbars.

Structure

Tadao Ando: 4x4 house

47

LANGEN FOUNDATION Planning 1994.07 | Construction 2002.08 | 2004. | Neuss, Germany

50

Tadao Ando: Langen Foundation

Tadao Ando: Langen Foundation

PROJECT

LANGEN FOUNDATION LOCATION

NEUSS, GERMANY SITE AREA

120220.0 M2 FLOOR AREA

3050.0 M2 TYPE

MUSEUM

The exhibition building initiated and

developed a visionary project for these

Station in 1994 and experienced its ori-

endowed by the collector Marianne Lan-

grounds in 1994, aiming to coalesce art

ginal state. Enthusiastic about Müller’s

gen is situated on a former NATO base

and nature to form a unique synthesis.

plans, Ando developed an architectural

amidst a swath of Lower Rhine land-

Following an invitation by Karl-Heinrich

model that was to become integrated

scape. The collector Karl-Heinrich Müller

Müller, Tadao Ando visited the Rocket

into the project.

When Marianne Langen first saw Ando’s plans in the year 2001, she quickly

elongated concrete slab veiled in glass at a forty-five-degree angle is the main

decided to have this building erected as the final, and also the largest, work of

building tract, which is comprised of two parallel cubes that are entrenched

art in her collection. Acting on her personal precepts, she refrained from

nearly six metres deep into the ground. Running between the two tracts is a

accepting any outside funding.

large open stairwell resembling a stairway to heaven, leading from the depths

Tadao Ando’s pronounced love of concrete and his feel for the specificity

back up into nature.

of a site likewise played into his design for the Langen Foundation. He thus

The Langen Foundation offers three exhibition spaces totalling an area of

invoked concrete, glass, and steel while also adapting the building to the

1,300 square metres. Situated within the ground-level concrete slab is the

topographical scheme of the surrounding ramparts. The latter were only

so-called Japan Room – an unusually long and narrow gallery conceptualised

opened on one side to facilitate the entry area, which is highlighted by a four-

by Tadao Ando as a space of “tranquillity” especially for the Japanese segment

metre-high, semi-circular concrete wall with an incised portal that offers a view

of the Langen Collection. The two subterranean exhibition rooms, with a ceiling

of both the building and the large anterior reflecting pool. The exhibition

height of a surprising eight metres, were in turn designed to accommodate the

venue, which opened its doors in 2004, is assembled from two interconnected

modern part of the collection. In the Langen Foundation building these

building tracts of respectively different architectural nature. Abutting the

structures are consistently visible, even from the inside in places.

51

52

Tadao Ando: Langen Foundation

Tadao Ando: Langen Foundation

The building is composed of two archi-

53

On the south side of the building,

tecturally distinct complexes: a long

between the concrete core and the

concrete structure within a glass enve-

glass envelope, the pathway descends

lope and, at a 45 degree angle, two

slightly toward the mezzanine over-

parallel concrete wings buried 6 meters

looking the eight meter tall exhibition

deep in the earth and protruding only

wings containing the Modern I and

3.45 meters above it. A grand stairway

Modern II galleries.

LOUNGE

JAPAN SPACE

ENTRANCE VISITORS

MODERN II

between the two wings of the building leads back to ground level. The long

GRAND STAIR

and narrow exhibition room in the concrete core, reserved for the Langen Fo un datio n J a p a n e se co lle c tio n , receives daylight through linear light

MODERN III LEVEL- 1.5 MODERN I

rails worked into the ceiling.

TERRACE

OUTDOOR ACTIVITIES

SHANGHAI POLY THEATRE Planning 2009-03 | Construction 2010-05 | 2015. | Shanghai, China

56

Tadao Ando: Poly Theatre

Tadao Ando: Poly Theatre

PROJECT

SHANGHAI POLY THEATRE LOCATION

SHANGHAI, CHINA SITE AREA

356028.0 M2 FLOOR AREA

150090.0 M2 TYPE

THEATRE

Though the structure appears quite

the Poly Grand Theater with its multi-

also been built in the vicinity), takes

simple, it was made complex through

functional tower and shopping center,

on values that transcend the mere

the creation of geometrically based

is also a landmark, a sort of new civic

functional character to also become a

voids. For a new district of Shanghai,

and cultural center (a new library has

building with a “symbolic” character.

At the Poly Grand Theater in Shanghai, Tadao Ando puts his flair for drama

heart of a new town; a library has also been completed nearby. An artificial

to good use. Starting with his usual Platonic geometry. here a 330-by-330-

lake on the two sides and construction on the two others mark the theater

by-113-foot box, Ando bores large tunnels vertically and horizontally, and

building as an icon-to-be.

diagonally into the form. The move seems aggressive, more like coring an

Most visitors will encounter two of these elements — a six-story vertical

apple than forming holes in Swiss cheese. The cylindrical tunnels meet the

lobby tube and a two-story horizontal foyer tube — on their way from the

concrete structure’s aluminum-and-glass curtain walls at various angles to

entrance to the main theater. The lobby is accentuated by two eye-catching

create elliptical shapes on all the four facades. On the inside, the tunnels

stairways that curve left and right like showpieces out of a 1920s Broadway

produce a similarly theatrical experience for visitors coming for operas,

musical. A bridge on the fourth level and windows on the fifth overlook the

concerts, plays, and other events.

grand space. The lobby’s square ceiling somewhat diminishes the bold

The Poly Theater’s look-at-me gestures are intentionally bold. Ando’s

impact of the cylinder, but its intersection with a circular skylight creates

office says the design “was expected to provide a certain landmark quality.”

the kind of dramatic daylighting for which Ando is known. From the lobby,

The project is located in Shanghai’s Jiading district, a newly developing area

the foyer tube skillfully compresses the visitor’s experience, allowing for an

about 12 miles northwest of the city’s center. It serves as part of the cultural

explosion of space when entering the theater proper.

57

58

Tadao Ando: Poly Theatre

Three additional tubes—one leading to a covered but not enclosed amphitheater on the ground level; one for an amphitheater on the roof; and one is connecting the south side of the site to the main foyer—are active mostly for some specific occasions.

The connecting tube will be linked to a forthcoming commercial complex to the south where Ando’s design for one multi-use tower with hotel, office, and retail space is currently under construction. All of these tubes are steel-frame elements independent of the building’s main concrete structure and have interior surfaces finished in aluminum rib-wall which are painted to look like wood.

Tadao Ando: Poly Theatre

The building’s main theater opened

Ando is known. The covered terraces

in September 2015. A big quiet water

occupying the spaces inside some of

court off an indoor exhibition room on

the building’s giant tubes were not in

the fifth floor is also completed and

use, because they were roped off, as

exemplifies the serenity for which

Inside the 1,600-seat main theater,

project are the best of the many thea-

the cylindrical theme has continue.

tres his company has built around the

Bands of laminated wood rib-wall at

country. Ando credits his acoustical

the orchestra level and up through 2

engineer, Zhang Kui Sheng Acoustical

balcony levels provide a warm and tex-

Design Studio for their collaborating in

tured contrast to the more subdued

order to make sure the sound quality

aluminum as well as exposed concrete

in the theater is unexceptionable.

finishes in the bulk of the interiors.

Sun Jian of China Poly Group, the state-owned conglomerate that commissioned the project, says he believes that the architectural acoustics of this

“public” areas often are in China.

59

60

Tadao Ando: Poly Theatre

Tadao Ando: Poly Theatre

Tunnels carve through a big concrete

building at odd angles to create a

ROOF AMPHITEATER

and glass box, adding an unexpected

dynamic interior. Though the building

TUBE

visual element to the Theatre. An arti-

bears an “ordinary and even boring”

ficial lake on two sides of the building

shape on the outside, its true shape is

help cement its place as a landmark,

cylindrical, as if an explosion of internal

reflecting the oddly-shaped openings

creativity is concealed until you gain

of the five “tubes” that pierce into the

access to the interior.

61

LOBBY TUBE

FOYER TUBE

CONNECTING TUBE GROUND AMPHITEATER

“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.”

— Tadao Ando

TUBE

152 Elizabeth Planning 2014-01 | Construction 2015-03 | 2016. | New York, USA

64

Tadao Ando: 152 Elizabeth

Tadao Ando: 152 Elizabeth

PROJECT

152 ELIZABETH LOCATION

NEW YORK CITY, USA SITE AREA

3120.0 M2 FLOOR AREA

386.0 M2 TYPE

RESIDENCE

When describing 152 Elizabeth, Tadao

“A home has to be a place where you

touches human hearts and leaves the

Ando felt that along with embracing

can reflect on your life. This project is

feeling inside of the space”. In regards to

Manhattan, it was a paramount for the

about that. When people come home,

the building, Ando speaks about 152

building to create a sort of sanctuary

152 Elizabeth should give them a quiet

Elizabeth being made of “20th-century

apart from it. And according to Ando,

feeling. I have to make something that

materials” — concrete, iron, and glass.

For a building to truly work, Ando believes there has to be a balance of its

each of which is focused on creating a sense of openness throughout the

elements — not just between the light and the shadow, but also between the

home as well as a fluidity between the indoors and the outdoors. 152 Elizabeth

water, the greenery, the steel, and the glass. About 152 Elizabeth, Ando says

is being developed by Sumaida + Khurana.

that “every single thing has to be in harmony”.

The extraordinary 5,603 square feet residence building resides as an inner

Set in the midst of bustling Downtown Manhattan, 152 Elizabeth Street is

sanctuary for those who are looking to enjoy one the city’s most traversed

Ando’s first residential development in NYC and outside Asia. Spanning three

neighborhoods, yet retains feelings of serenity and tranquillity when home.

levels, the residence boasts an astonishing amount of private outdoor space,

Perhaps most impressive, though, is the penthouse’s 3,240-square-feet of

as well as a custom Pietra Cardosa stone, glass and satin spiral staircase by

outdoor space, which is spread throughout three floors. The first floor of the

Gabellini Sheppard Associates, who served as interior designer of the entire

home includes a private terrace outfitted with one of Tadao Ando’s signature

building. Situated in the heart of Nolita, the boutique seven-story building

water walls, while the second includes a balcony off of the master suite and

celebrates Ando’s hallmarks such as poured-in-place concrete, burnished

also designed by Ando. The third outdoor space, located on 152 Elizabeth’s

metal, voluminous glass and a living green wall. Considered a concrete and

rooftop, leaves nothing to be desired and includes landscaped planters, a

glass jewel box, the striking condominium features just seven custom homes,

Tadao Ando-designed granite stone fireplace and outdoor kitchen.

65

66

Tadao Ando: 152 Elizabeth

The main idea of the design, as Ando

and passed down, not torn apart and

in on four main concepts, or elements,

stresses, this is for the spaces to be so

replaced by something else a couple

that define the interior and exterior

timeless — and of such high quality —

decades later. Establishing the 152

spaces: light, air, sound, and water.

that they’re cherished, maintained,

Elizabeth residences required honing

elevation view

Tadao Ando: 152 Elizabeth

67

68

Tadao Ando: 152 Elizabeth

Tadao Ando: 152 Elizabeth

“I would not say what I am doing is

By this, Ando means that each of the

grammatically these apartments are

couture. I don’t know if I’d even use an

seven residences of this city building

sustainable through successive own-

overused word like ‘bespoke.’ I think

is individually configured to create to

ers,” he pointed out.

the word for this building is tailored.”

“optimal proportionality so that pro-

69

70

Tadao Ando: 152 Elizabeth

While light has long been a signature

incorporated to provide with ambience

of Ando’s works, the interior designer of

and balance daylight — or occasionally

this project, Gabellini Sheppard thinks

simulate it.

that Ando has mastered light because

Water wall is another feature in the

he will combine it “with the idea of the

vestibule reflecting pools in the pent-

shadow playing in.” Upon entering the

house, and water can add a sense of

building, the residents will immediately

animation and contemplation to the

experience the tension between light

space. The sprawling downtown views

and shadow to profound effect.

rounds out the space, and bringing the

In the residences, natural light will be brought in through floor-to-ceiling windows that frame the space. And Artificial lighting concepts will also be

outside in and the inside out.

Tadao Ando: 152 Elizabeth

71

Biography

AWARDS 1979

Annual Prize, Architectural Institute of Japan,

1985

The 5th Alvar Aalto Medal, The Finnish Association of Architects

1989

Gold Medal of Architecture, French Academy of Architecture

1991

Arnold W. Brunner Memorial Prize, American Academy

"Row House, Sumiyoshi"

of Arts and Letters 1992

Carlsberg Architectural Prize, Denmark

1993

Japan Art Academy Prize

1995

The Pritzker Architecture Prize Chevalier de l'Ordre des Arts et des Lettres, France

1996

The 8th Praemium lmperiale First "FRATESOLE" Award

1997

Royal Gold Medal, Royal Institute of British Architects Officier de l'Ordre des Arts et des Lettres, France

1998

The 6th (every 2 years) Public Building Awards "Chikatsu-Asuka Historical Museum," Osaka

2002

Gold Medal of the American Institute of Arcnnects Honorary Degree, Universita degli Studi di Roma (University of Rome) Honorary Degree, Tongji University (Shanghai) The Kyoto Prizes

2003

Person of Cultural Merit

2005

Gold Medal of Union Internationale des Architectes Cheva lier de l’Ordre National de la Legion d’Honneur, France

2006

Commendation for Contributions in Environmental Conservation

2010

The Kennedy Center International Committee on the Arts Gold Medal in the Arts The 4th Goto Shinpei Prize, Japan The Order of Culture

Tadao Ando: Biography

AFFILIATIONS

CONFERENCE

1991

Honorary Fellow, The American Institute of Architects

1982

1993

Honorary Fellow, The Royal Institute of British Architects

1997

Honorary membership of the German Architect Association

1998

Honorary Fellow, French Academy of Architecture

International Architectural Conference, Charlottesville Conference “P3,” USA

1986

International Architectural Conference, Chicago Conference “P4,” USA

Honorary Fellow, Scotland Royal Incorporation of Architects

1992

Anywhere Conference, Yufuin, Oita

Honorary Fellow, The National Association of Architects,

1996

Japan-France Cultural Summit ‘96, Tokyo

Republic of China (Taiwan)

1997

Japan-France Cultural Summit ‘97, Paris

2001

Honorary membership of the American Academy of Arts

1999

Les Architectes Japonais et le Musee, Louvre, Paris

2002

Honorary Academician of the Royal Academy of Arts in London

2005

Honorary Member, The Japan Institute of Architects

2000

The Scientific Committee of The 20th UIA Beijing ‘99 Congress 2000

UT Forum 2000 in Boston

2003

World Economic Forum 2003 in Davos, Switzerland

ACADEMIC ACTIVITIES 1987

Yale University, Visiting Professor

1988

Columbia University, Visiting Professor

1990

Harvard University, Visiting Professor

SELECTED EXHIBITIONS 1978

“A New Wave of Japanese Archi tecture,” USA (Traveling Exhibition)

1997

The University of Tokyo, Professor

1979

2003

The University of Tokyo, Emeritus Professor

1991

The Museum of Modern Art, New York, USA

The University of Tokyo, Special University Professor Emeritus

1993

Centre Georges Pompidou, Paris, France

2005

The Royal Institute of British Architects, London, UK

University of California, Berkeley, Regent Professor

CIVIC ACTIVITIES 1995

Magyar EpitOmuveszek SzOvetsegenek, Budapest, Hungary

1994

The Basilica Palladiana, Vic enza, Italy

1996

6th Venice Biennale, Venice, Italy

1998

National Museum of Contemporary Art, Seoul, Korea

Hanshin Awaji Ten Year Reconstruction Support Committee 1996

Royal Academy of Arts, London, UK

Hyogo Green Network, Campaign Leader

1999

2000

Setouchi Olive Foundation, Campaign Leader

2000

2007

Umi-no-Mori (Sea Forest) Fund-Raising Campaign Leader

2001

Saint Louis Art Museum, St. Louis, USA

2002

8th Venice Biennale, Venice, Italy

2006

“Museumsin the 21st Century: Concepts, Projects, Buildings

Gaierie Aedes East, Berlin, Germany Museums for a New Millennium (Traveling Exhibition)

73

Timeline Ando’s Architecture Masterpieces

Children’s Museum, Himeji, Hyogo Rokko Housing,

Church on the Water,

Meditation Space,

Awaji-Yumebutai,

Kobe, Hyogo

Hokkaido, Japan

Paris, France

Awaji, Hyogo

Tomishima House,

TIME’S I,

Church of the Light,

Oyamazaki Villa Museum,

Komyo-ji Temple,

Osaka, Japan

Kyoto, Japan

Ibaragi, Osaka

Oyamazaki, Kyoto

Saijo, Ehime

1973

1976

1983

1987

1989

1992

1996

1998

1999

Row House,

Chapel on Mt. Rokko,

Water Temple,

TOTO Seminar House,

Osaka, Japan

Kobe, Hyogo

Awaji, Hyogo

Awaji, Hyogo

Kidosaki House,

Japan Pavilion Expo,

Daylight Museum,

Setagaya, Tokyo

Sevilla, Spain

Hino, Shiga

Forest of Tombs Museum, Kaoh, Kumamoto Benesse House Museum, Naoshima, Kagawa

2001

Tadao Ando: Timeline

Iwaki Museum of Picture Books, Iwaki, Fukushima

Modern Art Museum of Fort Worth,

Omotesando Hills,

Glass House,

152 Elizabeth,

Texas, USA

Shibuya, Tokyo

Seopjikoji, Korea

New York, USA

Daylight Museum,

Palazzo Grassi Renovation,

Niwaka Building,

Kaminoge Station,

Pearl Museum,

Gamo, Shiga

Venice, Italy

Kyoto, Japan

Tokyo, Japan

Shanghai, China

2002

2004

2005

2007

2008

2009

2010

2012

2015

2017

4 x 4 House,

21_21 Design Sight,

House in Utsubo Park,

Poly Theatre,

Kobe, Hyogo

Minato, Tokyo

Osaka, Japan

Shanghai, China

Langen Foundation,

Atema Project,

Jaeneung Culture Center,

Neuss, Germany

Tokamachi, Niigata

Seoul, Korea

Chichu Art Museum,

Carlos Place,

Naoshima, Kagawa

London, UK

75

Credits Photo Credits & Bibliography

Photo Credits

Bibliography Beyond Minimalism

Tadao Ando

The Architecture Of Tadao Ando

Details 3

Curtis, William J.r. / Ando, Tadao

Lijima, Yoichi / Ando, Tadao

Royal Academy Of Arts, London, 1998

A.D.A Edita Tokyo Co. Ltd., Tokyo, 2003

Church of the Light © Mitsuo Matsuoka

Benesse House © Shlnkenchiku-Sha

Architecture Monograph

Archipockets /

Tadao Ando

Tadao Ando

Zabalbeascoa, Anatxu

Cuito, Aurora

of Fort Worth

Editorial Gustavo Barcelona, 1998

Loft Publications, Barcelona, 2003

© Mitsuo Matsuoka

Ando, Architect

TadaoAndo

4x4 House

Matsuba, Kazukiyo

Light And Water

© Mitsuo Matsuoka

Kodansha International Ltd., 1998

Modern Art Museum

Frampton, Kenneth The Monacelli Press Inc., New York, 2003

Langen Foundation © Tomas Riehle

Tadao Ando Et La Question Du Milieu

Architecture Method

Nussaume, Yann

Ando, Tadao

Poly Theatre

Editions Le Moniteur, Paris, 1999

A.D.A Edita Tokyo Co., Ltd., Tokyo, 2005

© Zhang Yong

152 Elizabeth © Noë & Associates

All photographs, plans, and drawings by Tadao Ando unless otherwise stated.

The copyright of the works illustrated, if not otherwise indicated, is held by the artists, their heirs or estates, or their assignees. Despite intensive research it has not always been possible to establish copyright ownership. Where this is the case we would appreciate notification.

Trustees The Museum of Modern Art

Mrs. Henry Ives Cobb

Gianluigi Gabetti

David N. Dinkins

Vice Chairman Emeritus

Lillian Gish**

Mayor of the City of New York

Mrs. John D. Rockefeller 3rd President Emeritus

Paul Gottlieb Wakeman Hall George Hamilton*

Elizabeth Holtzman Comptroller of the City of New York

David Rockefeller

Barbara Jakobson

Joann K. Phillips

Chairman of the Board

Philip Johnson

President of The International Council

Mrs. Frank Y. Larkin Donald B. Marron Gifford Phillips Vice Chairmen

Agnes Gund President

John L. Loeb* Mrs. John L. Marion Robert B. Menschel Dorothy C. Miller** J. Irwin Miller* S. I. Newhouse, Jr. Philip S. Niarchos

Ronald S. Lauder

James G. Niven

Vice President

Richard Oldenburg

John Parkinson III Vice President and Treasurer

Peter G. Peterson John Rewald** David Rockefeller

Frederick M. Alger III

Rodman Rockefeller

Lily Auchincloss

Richard Salomon

Edward Barnes

Mrs. Robert Shapiro

Celeste G. Bartos

Mrs. Bertram Smith

Sid R. Bass

Jerry I. Speyer

Franz von Bayern**

Mrs. Alfred R. Stern

Hilary P. Califano

Mrs. Donald Straus

Thomas S. Carroll*

Robert L. B. Tobin

Marshall S. Cogan

E. Thomas Williams

* Trustee Emeritus

Robert R. Douglass

Richard S. Zeisler

** Honorary Trustee

Imprint

Tadao Ando Architect & Associates — Staff Tadao Ando / Masataka Yano / Fumihiko lwama / Kazuya Okano / Takaaki Mizutani / Hironobu Wakayama / Hidehiro Yano / Kanya Sogo / Yoshinori Hayashi/ Shimao Mori / Tatsuhilo Ono / Tomonori Miura / Kazutoshi Miyamura Seiichiro Takeuchi / Kensuke Suto / Hajime Moriyama / Peter Boda / Hiroyuki Oinuma / Yoshihiro Kono / Yasushi Ikehara / Gen Machida / Chisato Kodaira Akiko Hayashida / Ayana Higuchi / Tamao Shichiri / Yumiko K. Ando

Acknowledgements The publisher and author wish to thank Yumiko K. Ando, Masataka Yano, and Chisato Kodaira for their kind assistance in the preparation of this book.

First published on the occasion of the exhibition Tadao Ando October 3-December 31, 1991

Project management

Organized by Stuart Wrede, Director

Sonja Altmeppen and Florian Kobler

Department of Architecture and Design The Museum of Modern Art

Production

The exhibition and catalogue are part of the Gerald D. Hines Interests

Horst Neuzner, Cologne

Architecture Program at The Museum of Modern Art, New York.

Design This exhibition is also sponsored by Yoshida Kogyo K.K.

Terry (XinXin) Wu

Library of Congress Catalog Card Number 91-61418 Certain illustrations are covered by claims to copyright noted in the

Printed in the United States of America

Photograph Credits.

ISBN 978-3-8365-2813-9

As the recipient of the 1995 Pritzker Prize, Tadao Ando (born September 13, 1941) is highly regarded for his unparalleled work with concrete, sensitive treatment of natural light, and strong engagement with nature. Based in Osaka of Japan, his ascetic yet rich version of modernism resonates with the traditional Japanese conception of architecture, and has caused Ando to be referred to as a “critical regionalist.�