WAM 16 - Tadao Ando

World Architecture Masters

ISSN 1313-177X

16/ 2010/ 016

TADAO ANDO

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Àêàäåìè÷åí ñúâåò Àêàäåìèöè íà MAA ïðîô. Ïèåð Àíäðå Äþôåòåë - Ôðàíöèÿ ïðîô. Ðè÷àðä Èíãëàíä - Ìàëòà ïðîô. Êèîíîðè Êèêóòàêå - ßïîíèÿ ïðîô. Ìàíôðåäè Íèêîëåòè - Èòàëèÿ ïðîô. Þðèé Ïëàòîíîâ - Ðóñèÿ ïðîô. Áðàéúí Ñïåíñúð - ÑÀÙ ïðîô. Ãåîðãè Ñòîèëîâ - Áúëãàðèÿ Äæîçåâ Ðèêóåðò - ïðåçèäåíò íà CICA

Academic council IAA Academicians prof. Pierre Andre Dufetel - France prof. Richard England - Malta prof. Kiyonori Kikutake - Japan prof. Manfredi Nicoletti - Italy prof. Juri Platonov - Russia prof. Brian Spencer - USA prof. Georgi Stoilov - Bulgaria Joseph Rykwert - president of CICA

Óïðàâèòåë Íàòàëèÿ Áîíäàðåíêî

General manager Natalia Bondarenko

Ãëàâåí ðåäàêòîð ïðîô. Ãåîðãè Ñòîèëîâ, àêàäåìèê íà ÌÀÀ

Editor-in-chief prof. Georgi Stoilov, IAA Academician

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IAA Academicians Kurt Ackermann Ahmet Vefik ALP Tadao Ando Paul Andreu Rasem Badran Jai Rattan Bhalla Bogdan Bogdanovic Gottfried Bohm Andrey Bokov Mario Botta Santiago Calatrava Douglas J. Cardinal Vitautas Chekanauskas Peter Cook Charles Correa Justus Dahinden Vakhtang Davitaia Balkrishna Doshi Pierre-andre Dufetel Peter Eisenman Richard England Adrien Fainsilber

Norman Foster Massimiliano Fuksas Fran O.gehry Yury Gnedovskiy Teodoro Gonzalez De Leon Vittorio Gregotti Nicholas Grimshaw Zaha Hadid Augustin Hernandes Navarro Thomas Herzog Steven Holl Jan Hoogstad Toyo Ito Helmut Jahn Kiyonori Kikutake Rem Koolhaas Vladilen Krasilnikov Lucien Kroll Alexander Kudryavtsev Henning Larsen Ricardo Legorreta V. Wu Liangyong Daniel Libeskind Fumihiko Maki Imre Makovecz

Richard Meier Manfredi Nicoletti Oscar Niemeyer Jean Nouvel Frei Otto Leoh Ming Pei Gustav Peichl Cesar Pelli Dominique Perrault Renzo Piano Yuri Platonov Pedro Ramirez Vazquez Kevin Roche Richard Rogers Moshe Safdie Alvaro Siza Paolo Soleri Brian Spencer Georgi Stoilov Clorindo Testa Sara Topelson De Grinberg Jim Torrosian R. Randall Vosbeck Kenneth Yeang Aymeric Zublena

The editors of the magazine World Architecture Masters would like to thank arch. Tadao Ando for his amiability submitting materials from theirs private archive at ours disposal for the sixteenth issue of WAM. Ñïèñàíèå World Architecture Masters áëàãîäàðè íà àðõ. Òàäàî Àíäî çà ëþáåçíî ïðåäîñòàâåíèòå ìàòåðèàëè îò ëè÷íèÿ ìó àðõèâ çà øåñòíàäåñåòè áðîé íà WAM.

Ìàòåðèàëè è èëþñòðàöèè îò WAM ìîãàò äà ñå èçïîëçâàò ñàìî ñ ðàçðåøåíèå íà ðåäàêöèÿòà.

Materals and illustrations of WAM can be used only with permission of the editor's office.

T A D A O

CONTENTS

A N D O

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Àðõèòåêòóðàòà è âðåìåòî Âðåìåòî å íàé-ñèëíèÿò êðèòèê íà àðõèòåêòóðàòà. Òî å êîåòî îòâÿâà ìèìîëåòíèòå è óòâúðæäàâà òðàéíèòå öåííîñòè. Àðõèòåêòóðàòà å ñèëíà ñ èäåèòå ñè. Òÿ å íàé-òúæåëîâåñíîòî èçêóñòâî. Íî è íàé-ãðàíäèîçíèòå òâîðåíèÿ çàãèâàò ïîä óäàðèòå íà âðåìåòî. Îñòàâàò ñàìî îíåçè êîèòî íîñÿò ãîëåìèòå èäåè- ïå÷àòà íà âå÷íîñòòà. Êîè ñà òåõíèòå ñúçäàòåëè? Òîâà ñà õîðà íîñåùè â ñåáå ñè âèñîêèÿ äóõ íà íåïðåõîäíîòî. À òî å â èäåèòå èì. Ñìåíÿò ñå åïîõèòå, îòèâàò ñè ñòèëîâåòå, íî îñòàâà íåùî, êîåòî òðóäíî ñå âèæäà, íî ñå óñåùà îò ñúâðåìåííèöèòå ìó. Òîâà å àðõèòåêòóðàòà íà ìàéñòîðèòå. Òàäàî Àíäî å åäèí îò òÿõ.

Aêàä. Ãåîðãè Ñòîèëîâ Ïðåçèäåíò íà ÌÀÀ

Acad. Georgi Stoilov President of IAA

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Tadao Ando 1941 Born in Osaka, Japan 1962-69 Self-educated in architecture Traveled in U.S.A., Europe and Africa 1969 Established Tadao Ando Architect & Associates

Awards 1979 Annual Prize, Architectural Institute of Japan “Row House, Sumiyoshi” 1985 The 5th Alvar Aalto Medal, The Finnish Association of Architects, Finland 1989 Gold Medal of Architecture, Académie dˆArchitecture (French Academy of Architecture), France 1991 Arnold W. Brunner Memorial Prize, American Academy of Arts and Letters, U.S.A. 1992 Carlsberg Architectural Prize, Denmark 1993 Japan Art Academy Prize, Japan 1995 Chevalier de l’Ordre des Arts et des Lettres, France The Pritzker Architecture Prize, U.S.A. The UNESCO Miró Medal 1996 The 8th Premium Imperiale First “FRATE SOLE” Award 1997 Royal Gold Medal, Royal Institute of British Architects, U.K. Officier de l’Ordre des Arts et des Lettres, France 1998 The 6th (every 2 years) Public Building Awards, Japan “ChikatsuAsuka Historical Museum, Osaka 2002 Gold Medal of the American Institute of Architects, U.S.A. Honorary Degree, Università Degli Studi di Roma, Italy Honorary Degree, Tongji University, Shanghai, China The Kyoto Prizes, Japan 2003 Person of Cultural Merit, Japan 2005 Gold Medal of Union Internationale des Architectes Chevalier de lˆOrdre National de la Légion dˆHonneur, France 2006 Commendation for Contributions in Environmental Conservation

Affiliations 1991 Honorary Fellow, The American Institute of Architects 1993 International Fellow, The Royal Institute of British Architects 1997 Honorary membership, Bund Deutscher Architekten (German Architects Association) 1998 Honorary Fellow, Académie dˆArchitecture (French Academy of Architecture) Honorary Fellowship, The Royal Incorporation of Architects in Scotland 2000 Honorary Fellow, The National Association of Architects, Republic of China (Taiwan) 2001 Honorary membership, The American Academy of Arts and Letters 2002 Honorary Academician, The Royal Academy of Arts in London Academic Activities 1987 Yale University, Visiting Professor 1988 Columbia University, Visiting Professor 1990 Harvard University, Visiting Professor 1997 The University of Tokyo, Professor 2003 The University of Tokyo, Emeritus Professor 2005 The University of Tokyo, Special University Professor Emeritus University of California, Berkeley, Regent Professor

Civic Activities 1995 Hanshin ·Awaji Ten Year Reconstruction Support Committee, Chair Person 1996 Hyogo Green Network, Campaign Leader

2000 Setouchi Olive Foundation, Campaign Leader 2007 Umi-no-Mori (Sea Forest) Fund-Raising Campaign, Campaign Leader Conferences 1982 International Architectural Conference, Charlottesville Conference “P3”, U.S.A. 1986 International Architectural Conference, Chicago Conference “P4”, U.S.A. 1992 Anywhere Conference, Yufuin, Oita, Japan 1996 Sommet Culturel Franco-Japonais 1996, Tokyo, Japan 1997 Sommet Culturel Franco-Japonais 1997, Paris, France 1999 Les Architectes Japonais et le Musée, Le Louvre, Paris, France The Scientific Committee of The 20th UIA Beijing 1999 Congress, China 2000 UT Forum 2000 in Boston, U.S.A. 2003 World Economic Forum 2003, Davos, Switzerland

Selected Exhibitions 1978 A New Wave of Japanese Architecture, U.S.A. (Traveling Exhibition) 1979 Magyer Epitömuvészek Szövetségének, Budapest, Hungary 1991 The Museum of Modern Art, New York, U.S.A. 1993 Centre Georges Pompidou, Paris, France The Royal Institute of British Architects, London, U.K. 1994 Expo MOPT, Madrid, Spain (Ministerio de Obras Públicas, Transportes y Medio Ambiente) Fundació « la Caixa », Centre Cultural, Barcelona, Spain 1994-95 The Basilica Palladiana, Vicenza, Italy 1996 6th Venice Biennale, Venice, Italy 1998 National Museum of Contemporary Art, Korea, Seoul Royal Academy of Arts, London, U.K. 1999 Galerie Aedes Est, Berlin, Germany 1999-00 The Pritzker Architecture Prize 1979-1999, Chicago (ˆ99) Pittsburgh, U.S.A./ Toronto, Canada At the End of the Century 100 Years of Architecture, MoCA (The Modern of Contemporary Art), Los Angeles, U.S.A. 2000-05 Museums for a New Millennium (Traveling Exhibition) 2001 Saint Louis Art Museum, St. Louis, U.S.A. 2002 8th Venice Biennale, Venice, Italy 2002-03 Clark Art Institute, Williamstown, U.S.A. 2006- Museums in the 21st Century: Concepts, Projects, Buildings (Traveling Exhibition)

Competitions 1990-91 The Art Museum in Stockholm, Sweden 1990-91 The Reconstruction of JR (Japan Railway) Kyoto Station, Kyoto, Japan 1992 Nara City Hall, Nara, Japan 1994-95 Tate Gallery of Modern Art, London, U.K. 1995 The National Museum of Korea

6 1996 The Church of the Year 2000, Vicariato di Roma, Italy 1997 Modern Art Museum of Fort Worth, U.S.A. (Winning Idea) Hyogo Prefectural Museum of Modern Art, Kobe, Japan (Winning Idea) 1998 The New de Young Museum in the Golden Gate Park, San Francisco, U.S.A 1999 Manchester City Centre Piccadilly Gardens Regeneration, U.K. (Winning Idea) Nelson Atkins Museum of Art, Kansas City, U.S.A Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain Musﾃｩe du Quai Branly, Paris, France 2000 A New Font for St. Paul's Cathedral, London, U.K. Museum aan de Stroom, Antwerpen, Belgium Saint John's Abbey - Guesthouse, Minnesota, U.S.A. (Winning Idea) Calder Museum, Philadelphia, U.S.A. (Winning Idea) 2001 Fondation d'Art Contemporain Franﾃｧois Pinault, ﾃ四e Seguin, Boulogne-Billancourt, France (Winning Idea) 2002 North Jutland House of Music, Aalborg, Denmark 2004 Stiftung Moritzburg Kunstmuseum, Halle-Saale, Germany

Representative Works 1976 Row House, Sumiyoshi, Osaka 1981 Koshino House, Ashiya, Hyogo 1983 Rokko Housing I, Kobe, Hyogo 1984 Time's I, Kyoto 1989 Church of the Light, Ibaraki, Osaka 1991 Museum of Literature, Himeji, Hyogo Water Temple, Awaji, Hyogo 1992 Japan Pavilion Expo '92, Sevilla, Spain Benesse House Museum, Benesse House Oval (1995), Naoshima, Kagawa Gallery for Japanese Screen, The Art Institute of Chicago, U.S.A. 1993 Rokko Housing II, Kobe, Hyogo VITRA Seminar House, Weil-am-Rhein, Germany 1994 Chikatsu-Asuka Historical Museum, Kanan, Osaka Suntory Museum, Osaka 1995 Meditation Space, UNESCO, Paris 1997 House in Chicago, U.S.A. 1998 TOTO Seminar House, Awaji, Hyogo Daylight Museum (Hiroki Oda Museum), Hino, Shiga 1999 Rokko Housing III, Kobe, Hyogo 2000 Awaji-Yumebutai (Awaji Island Project), Awaji, Hyogo Komyo-ji Temple, Saijo, Ehime FABRICA (Benetton Communications Research Center), Treviso, Italy 2001 Pulitzer Foundation for the Arts, St. Louis, U.S.A. ARMANI/TEATRO, Milan, Italy Sayamaike Historical Museum, Osaka-Sayama, Osaka Shiba Ryotaro Memorial Museum, Higashi-Osaka, Osaka 2002 Hyogo Prefectural Museum of Art, Kobe, Hyogo The International Library of Children's Literature, Ueno, Tokyo Piccadilly Gardens regeneration, Manchester, U.K. Modern Art Museum of Fort Worth, U.S.A. 2003 Noma Kindergarten, Ito, Shizuoka 4 x 4 House, Kobe, Hyogo 2004 Chichu Art Museum/Naoshima, Kagawa Langen Foundation/Hombroich, Neuss, Germany 2005 hhstyle.com/casa, Jingumae, Tokyo Iwaki Museum of Picture Books for Children, Iwaki, Fukushima 2006 Omotesando Hills (Omotesando Regeneration Project), Jingumae, Tokyo Palazzo Grassi Renovation, Venice, Italy 2007 21_21 DESIGN SIGHT, Akasaka, Tokyo 2008 Interfaculty Initiative in Information StudiesﾂｷFukutake Hall, The University of Tokyo, Hongo, Tokyo Tokyu Toyoko-Line Shibuya Station, Shibuya, Tokyo 2009 Punta della Dogana Renovation, Venice, Italy

Projects 1988- Nakanoshima Project II [Urban Egg + Space Strata], Osaka 2001 Ground Zero Project, New York, U.S.A.

Architect & Associates

Tadao Ando 7

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21_21 DESIGN SIGHT Location Tokyo, Japan Design Tadao Ando Term of design 2004/03 -2005/09 Term of construction work 2005/10 - 2007/02 site area 2,653 sqM (museum wing + cafe wing) (total development area: 68,900 sqM) 2,039 sqM (museum wing) + 614 sqM (cafe wing) building area 597 sqM 395 sqM (museum wing) + 202 sqM (cafe wing) floor area 1,932 sqM 1,733 sqM (museum wing: 1F: 296 sqM,BF:1,437 sqM) 200 sqM (cafe wing) gallery 133 sqM gallery 1+ 443 sqM gallery 2

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Constructed within Tokyo Midtown, a redevelopment project on the former site of the Defense Ministry in the Roppongi district of Tokyo, this is a gallery for exhibitions on the theme of design.

The 21_21 DESIGN SIGHT project began as a proposal by a project team centered on the international fashion designer Issey Miyake.

From the start of the basic concept in 2003 until the start of construction in 2005, following numerous design stages in which the program and site were undecided, we finally arrived at a design for a facility containing two galleries on a site with abundant green open space located to the northwest of Tokyo Midtown. The main given conditions for the design were the building regulations on the site location, designated as public space in the urban planning, and the consequent necessity to bury most of the building volume underground. What form should be given to the part that appears above ground and is continuous with the underground spaces?

One theme was “architecture as a landscape” integrated with the surrounding environment. While considering several variations, an origami-like image appeared, with a roof comprising a single sheet of steel. I obtained this idea from the concept of Issey Miyake’s A Piece Of Cloth, in which a single piece of fabric produces a different three-dimensional form depending on the personality of the body wearing it.

The building is a discrete intervention of bent shapes, as if two floating steel sheets—one large, one small-following the shape of the site each come into contact with the earth at one end. In a shape complementing the irregular contours of the wing covered by the larger steel sheet, a void is excavated that straddles interior and exterior. A large and a small gallery are arranged as if surrounding this void, which draws light and wind underground.

By increasing the technical difficulties by making a roof with total length of 54m out of a single steel sheet, and devoting a great deal of time to dealing with the rapidly changing design conditions, the construction period became very tight. This difficult construction project was made possible by the excellent technical skills of the onsite workers and their passion for architecture.

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ABU DHABI MARITIME MUSEUM Location Abu Dhabi, UAE Design Tadao Ando Term of design 2006/06Site area 61,000 sqM Buiding area 25,400 sqM Total floor area 33,300 sqM

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In January 2007, Abu Dhabi, one of the United Arab Emirates (UAE), officially announced a development project for an offshore island called Saadiyat Island. The project aims to create a “Culture Island” wherein culture and the natural environment may be simultaneously appreciated. The cultural district as its core is composed of five cultural facilities, including museums and a theater.

We are participating as designers together with Frank O. Gehry, Jean Nouvel, and Zaha Hadid.

We are in charge of a maritime museum that will showcase the local culture of Abu Dhabi. Due to the nature of this project, the newly created architecture is expected to have a kind of symbolism that is rooted in its locality. Our response was a proposal for a building in which an upside-down shellshaped void, tracing the swelling of a boat’s sail inflated by sea breezes, is excavated from a rectangular volume.

Looked at as an independent sculpture, it is merely an object with a simple geometry. However, floating on the water court made

as if framing the sea of the Saadiyat Island coast, this void space covered with a gently curved surface is a device for drawing one closer to the magnificent seascape.

Exactly as with the exterior image, the inside of the building is a dynamic space like the underside of a boat. Within the huge void space, floors float at various levels and slopes run between them, creating a three-dimensional spatial composition.

The base of the water court in which the building floats is excavated in a inverted shape of the vertical above-ground volume exactly at the edge of the water, and visitors can see this huge exhibition water tank from the lobby in the basement.

The Abu Dhabi government has accepted this architectural concept using the motif of the amorphous workings of nature, and the project is moving toward implementation, aiming at completion in 2012. Turning toward a new era, I consider myself fortunate to be an architect involved in conveying culture from the Middle East.

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CHURCH OF THE LIGHT Location Ibaraki, Osaka, Japan Design Tadao Ando Term of planning 1987/01-1988/05 Term of construction work 1988/05-1989/04 Site area 839 sqM Building area 113sqM Total Poor area 113sqM

19 I received this commission in 1987, at exactly the same time that i started the design of the Water Chapel. Compared with the Water Chapel, which is surrounded by the abundant picturesque natural scenery of Hokkaido and for whch i was permitted to think about the program with relative freedom, the church design commissioned for ibaraki in Osaka is small in scale, with a generic suburban residential district as the site environment, and a truly precarious budget. These conditions were severe, but I was struck by the strong wills of the faithful who were requesting the new building, so i took on the job.

Because of the limited budget, the building was unavoidably a simple box shape. How to bring forth a sacred space within this box, appropriate for a place where people gather and pray?

After thinking hard for more than a year, I arrived at a composition in which a concrete wall diagonally cuts through the box, dividing the entrance from the single-space worshio hall, which has a descending stepped Poor.

Without heating or cooling equipment, the bare concrete hall contains only pews and a pulpit made of simple, untouched materials. With absolutely no ornamental elements, it is a naked space reduced to the limit. Only a cross-shaped incision in the front wall projects the symbol of the church into this gloomy space: Church of the Light The idea was to take advantage of the severity of the given conditions, but the real difficulty of the project was in the next stage, the process of actually constructing the building.

Somehow, once construction had started the lack of funds became conclusive, and construction was finally stopped after the walls had been completed, i even had to consider an alternative plan for an open-air worship hall without a roof.

However, construction was completed due to the enthusiasm of the believers and the response this drew from the construction company, who have produced something worthy of pride. The process of producing this small work of architecture is great proof that human will can sometimes transcend economic issues.

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Interfaculty Initiative in Information Studies • Fukutake Hall, The University of Tokyo Location Bunkyo, Tokyo Design Tadao Ando - The author of architect should be expressed as TADAO ANDO. (Architect Tadao Ando Architect & Associates + Campus Planning Office and Facilities Department, The University of Tokyo ) Term of design 2005/09-2006/09 Term of construction work 2006/12-2008/03 Site area 402,682 sM Building area 1,454 sqM Total floor area 4,046 sqM

This is a school building containing a hall to accommodate 200 people, built on the Hongo campus of the University of Tokyo in commemoration of the 130th anniversary of the establishment of the university. Centered on buildings designed in a unified Gothic style, the Hongo campus has an excellent historical environment in which school buildings from different times are aligned along a green axis. Open spaces filled with abundant greenery have been established everywhere, and each facility on the premises is loosely linked through this network of open spaces.

25 The site for the newly added building was determined to be adjacent to the Red Gate, the oldest structure on the campus, in a part of the green belt that separates the campus from Hongo Street. On this long and narrow site, 100m wide and 15m deep, magnificent camphor trees over a century old grow in abundance. Following the green axis composition of the campus, premised on inheriting the scenery of the existing camphor trees, I tackled the design with the theme of creating a “place” that would become a new stimulus for the campus. What emerged from this was a composition comprising a rectangular volume that avoids the existing trees with two stories buried underground. Half of

this is arranged as a four-story-high volume, and the other half as a stairshaped dry area connecting below ground to above ground. I was always conscious of the need to stay low to obtain a feeling of unity between the building and the existing greenery - in other words, for the height of the building to not exceed the trees.

As if acting in concert with the horizontal line of the eaves that stretch along the entire building, the concrete wall of the extended facade heightens the concentricity of the open space to the rear, with the added intention of producing an intentionally empty “space” for introspection inside the campus.

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LANGEN FOUNDATION / HOMBROICH Location Neuss, Germany Design Tadao Ando Term of planning 1994/07 - 2002/07 Term of construction work 2002/08 - 2004/07 Site plan 120,220 sqM Building area 1,860 sqM Total floor area 3,050 sqM

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Near the Erft River in the suburbs of Dusseldorf, there is an art museum called Insel Hombroich.

As indicated by the name Insel (island), the entire site is an island floating in a vast marshland, a “park” museum rarely seen anywhere in the world. Outdoor sculptures are distributed across 200,000m2 of luxuriant forest, together with many handsome “exhibition room” pavilions made by sculptor Erwin Heerich that are themselves sculptures, all in a dispersed layout that allows them to merge with the trees.

Having obtained the land around the site, the owner KarlHeinrich Müller devoted a huge amount of effort to changing the topography and transplanting trees in order to regain the appearance of the natural environment as it would have been several centuries ago.

Mr Muler planned a new museum on the remains of a NATO missile base about 1km northwest of Insel Hombroich.

We were commissioned to design one of the galleries, comprising more architectural facilities. This was the beginning of the plan for the Langen Foundation / Hombroich.

Having received the commission from Mr Muller, we visited the site for the first time in 1994.

Due to financing problems, there was a fairly long interval between presenting our idea and actually building it. Given the problem of the distance between Japan and Germany, it was a very slow process compared with our local work.

In 2000, Muller's scheme was approved by the 90-yearold lady, Mrs Marian Langen, who provided financing for the construction of the art museum. Construction work finally resumed at the end of 2002, but until then the idea increased in depth and strength every day. Being given the chance to think about a work of architecture for such an extended period of time was a painful task, but on the other hand, it

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was perhaps good fortune for me as the person giving it expression.

The museum contains the collection of Oriental art and modern art accumulated by Mr and Mrs Langen. Having received this program, I conceived spaces with two different characters.

One, for the Oriental art, is a space of “quietness” suffused with soft light.

The other, for the modern art, is a space of throbbing “movement” with mixed light. Just as the concept of Insel Hombroich is to make the environment itself into the art museum, these are modestly built amid Tadao Ando Architect & Associates the greenery, superimposed as an image of polished containers for art.

Using a nested structure of concrete and glass, the “quiet” space of the permanent exhibition wing is surrounded with a buffer area like the engawa (veranda) of Japanese architecture. As if walking in the forest, we hope for a fluidity of inside and outside space while in the museum. In the “movement” space of the temporary exhibition wing, I conceived the story of a volume

entirely embedded underground, with dramatic light brought into this sealed box by means of skylights.

Within a beautiful natural environment, these superlative artworks are placed within range of being touched by the hand, without any intervening distance.

When visiting Insel Hombroich for the first time, I thought, “here is a paradise of art.” These deep impressions made me want to merge and integrate the Langen Museum with nature. Gently breathing within the forest, the lifelong dream of Mr Muller and Mrs Langen is contained within this figure. The overlapping of the strong desires of these two art lovers has produced this art museum. While it is a tragedy that Mrs Langen passed away before the opening of the museum, perhaps her soul may continue to live here.

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Location Fort Worth, USA Design Tadao Ando Term of planning 1997/01-1999/09 Term of construction work 1999/09-2002/10 Site plan 44,370 sqM Building area 9,240 sqM Total floor area 14,820 sqM

MODERN ART MUSEUM OF FORT WORTH

Our proposal was selected as the result of an international design competition held in 1997. The site is located in one part of an urban park in the suburbs of Forth Worth, Texas, adjacent to Louis Kahn’s masterpiece, the Kimbell Art Museum. The Kimbell ArtMuseum should be described as a modern classic, and the points at issue were what kind of relationship could be made with the new art museum, and what kind of character should be given to such a vast site.

I also wished to attempt a dialogue with Kahn, and thereby extract a spatial essence comprising a strong simplicity and clarity with which to imbue the new building. Furthermore, for this large site, I conceived the concept of an “art forest” in which there is no distinction between interior and exterior, so the art may be sensed wherever you are.

The natural environment of Fort Worth is harsh, with no forests or ponds, and with some exaggeration it could be described as having the severity of a desert. Here we wanted to makes spaces with abundant greenery and water for people and art.

35 This led to a composition of five rectangular solids in a row, each with a double-layer structure of a bare concrete box enclosed by glass, within a forest surrounded by water and greenery. We prepared an environment surrounded by water and greenery by first making a wide water garden in the eastern part of the site, and placing a forest in front of the busy traffic intersection. The doublelayer rectangular solids were arrayed parallel, comprising two longer public space blocks and the three shorter exhibition space blocks, each of bare concrete boxes enclosed by glass.

I wished to create an architecture of unprecedented charm using only glass and concrete, two materials that represent the 20th century.

Wrapping glass around concrete enhances the transparency of the glass. Conversely, the glass shell mitigates the massive materiality of concrete in the strong form of the rectangular solid, giving a light and gentle impression to the surroundings. The stable material of concrete protects the artworks from the harsh climate of Fort Worth. By adding glass boxes, the direct influence of the exterior climate on the exhibition room interiors is reduced, and so the safety of the artworks can be improved. The space created between the glass and concrete shells is outdoor as well as indoor space, similar to a Japanese engawa (veranda). Water, greenery, and light are taken into the interiors, whereas from outside the appearance of the exhibition rooms can be followed through the glass. Although the overall composition is simple, diverse plans and volumes have been prepared for the exhibition spaces inside by placing double-layer shell-structure rectangular volumes in a row, and introducing several types of natural lighting systems.

In addition to its purposes of art appreciation and research, this museum will be open to ordinary citizens, becoming a nucleus of the community. While constantly aware of the artworks that dot the site, concerts, outdoor parties, festivals, or similar events may be enjoyed in the outdoor lawn plaza and water garden.

As an art museum open to people in the truest meaning, it is

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Furst published in TADAO ANDO DETAILS 3, by A.D.D. EDITA, Tokyo, 2003

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my hope that this place will serve to enhance the imaginative powers of people, both now and in the future, as an oasis that gives moisture to the harsh climate of this environment.

Renzo Piano is now planning an addition to the Kimbell Art Museum, and its completion will further strengthen the relationship between Louis Kahn’s Kimbell Art Museum and the Forth Worth Art Museum, and overall it will increasingly take on its role as the heart of the cultural life of the people of Fort Worth.

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CHICHU ART MUSEUM / NAOSHIMA Location Naoshima, Kagawa, Japan Design Tadao Ando Term of design 2000/08-2002/03 Term of construction work 2002/04-2004/06 Site area 9,990 sqM Building area 35 sqM Total floor area 2,573 sqM

45 This is another art museum built on a site on Naoshima, a small island in the Seto Inland Sea. The building is named Chichu Art Museum, and contains works by three artists: the Impressionist Claude Monet, and permanent installations by the contemporary artists Walter de Maria and James Turrell.

The site is located 600m west of the Benesse House Museum, on top of a slightly elevated hill into which the remains of a stair-shaped saltpan had been carved. Based the potential of the place and the special program of a “permanent display of spatial art,” I proposed a completely “underground architecture” that further develops the experiment at Benesse House of “architecture that blends into the scenery.”

Excavated along a north-south axis line from the top of the mountain toward the sea, the building composition takes as its datum two voids, one with a square plan, the other an equilateral triangle. On the side farthest from the sea is a shape that follows one side of the orthogonal “square court,” pierced by the underground approach tunnel. Reached by the stairs surrounding the “square court,” the entrance lobby is placed at an angle on an underground level, one story above.

From there traversing a crevasselike outdoor passage open only to the sky, one finally reaches the “triangular court.” Descending once more underground, led by ramps and steps placed along the three sides of the triangle, one arrives at the underground gallery zone entrance.

Enclosing two sides of the equilateral triangle, the art spaces for the three artists are contained in their own characteristic geometric volumes.

The theme of these continuous underground spaces leading to the art spaces is “light.” A labyrinth of darkness produced by a succession of geometric shapes buried underground—the aim was to produce inflected spaces appropriate to an extraordinary place by means of gradations in the quantity and feeling of the light flowing in.

The three art spaces emerged from an uncompromising collaboration between the artists and the director. The traces of this intense interaction just barely show themselves above the earth as the contours of this underground architecture.

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ROKKO HOUSING

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ROKKO HOUSING I Location Kobe, Hyogo, Japan Design Tadao Ando Term of planning 1978/10-1981/10 Term of construction work 1981/10-1983/05 Site area 1,852 sqM Building area 668 sqM Total floor area 1,779 sqM

The site is located on a south-facing 60degree slope, as if spread across the foot of Mt. Rokko in Kobe. From the site, it is possible to have panoramic views extending from Osaka Bay to the port of Kobe. As a housing complex typology that makes maximum use of these site conditions, we proposed a tiered spatial composition that follows the shape of the slope by means of a buried concrete postand-beam structure.

It is all based on a symmetrical composition with a standard unit measuring 5.8m by 4.8m.

Compositional shifts are generated in the process of adjusting this symmetrical composition to the natural terrain, which are intended to produce marginal spaces. These continuous marginal spaces in the deeply

shaded gaps surrounding each wing become direct approach routes to each unit, while simultaneously taking on the role of public spaces that foster community.

While shifting along the slope, the 20 layered units all have rooftop terraces that face in different directions, and they all differ in room composition and size. With an overall sense of identity, unity, and diversity in the parts, one theme was the discovery of a satisfying logic of assembly.

The dry area surrounding the entire perimeter of the building provides effective ventilation and insulation, as well as being a device to control the natural environment.

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ROKKO HOUSING II Location Kobe, Hyogo, Japan Design Tadao Ando Term of planning 1985/08-1987/04 Term of construction work 1989/10-1993/05 Site area 5,998 sqM Building area 2,965 sqM Total floor area 9,044 sqM

55 In 1983, around the time that Rokko Housing I was completed, Rokko Housing II was begun on an adjacent slope. In contrast to phase I, which is an arrangement of 20 units on 1900m2 of a 60-degree sloping site, phase II is also on a 60-degree slope, but contains 50 units on a site nearly three times larger, with a total floor area about four times larger.

Phase I had severe setback lines and other legal restrictions on a building that fills the entire site, and so the form does not clearly express the concept of the building, but phase II I was not constrained by external factors and so the architectural intentions could be directly expressed.

Overall, there is a frame structure with a square grid that gives a standard unit measuring 5.2m by 5.2m. Like phase I, shifts were

generated by burying this frame into the terrain, making an assemblage rich in variation along the axes of the marginal spaces.

The central staircase space divides each wing into two parts, east and west. Due to the existence of marginal spaces threaded through gaps in the building, each unit has a varied directionality, as well as having variations in size and layout. As well as the program, there were further attempts to enrich the public spaces in phase II. An indoor pool with a view of the sea has been established above the intermediate rooftop plaza, but it was planned with the assumption that it would be open to people from the neighborhood as well as to the residents. This theme was further expanded in the following Rokko Housing III.

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ROKKO HOUSING III Location Kobe, Hyogo, Japan Design Tadao Ando Term of planning 1992/09-1997/10 Term of construction work 1997/11-1999/02 Site area 11,717 sqM Building area 6,545 sqM Total floor area 24,222 sqM

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Planned as an independently organized proposal at the time Rokko Housing II was completed, Rokko Housing III gained the connotation of a revitalization housing project after the 1995 Hanshin-Awaji Earthquake, and it was implemented with an altered shape.

The composition of phase III can be roughly divided into a high-rise wing, a mid-rise wing, and a lowrise wing. Following phase I and phase II, the basic layout idea was to prepare a variety of dwelling plans in response to the sites differences in elevation, and to allow each dwelling to maintain a distinct lifestyle within their differing sceneries. However, the site conditions were different for phase III, and aim of differentiating every unit was impossible in terms of construction costs and sales targets. Instead, this time there was a special awareness given to enriching the public spaces placed between the wings.

Continuing the axis of phase II, a stepping north-south circulation route has been established, intersected by green tracts extending east-west. Plaza-like places have been installed where the axis is crossed, widened, or focused, with the intention of making an overall threedimensional public space.

Construction of a fourth project is currently underway on an adjacent slope of Mt. Rokko.

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TOKYU TOYOKO-LINE SHIBUYA STATION Location Shibuya, Tokyo Design Tadao Ando - The author of architect should be expressed as TADAO ANDO. (Architect Tadao Ando Architect & Associates + Tokyu Corporation + Nikken Sekkei + Tokyu Architects & Engineers Inc. ) Term of design 2005/01-2006/10 Term of construction work 2006/122008/06 Site area 15,279 sqM Total floor area 27,725 sqM

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This is a design for a new subway station in Shibuya, through which the Tokyo Metro Fukutoshin Line and the Tokyu Toyoko Line will pass. Subway station buildings are usually designed in a form detached from the infrastructural framework that is constructed first, but because here the project began during the design of the underground framework, a more essential spatial proposal could be implemented, combining architecture and infrastructure.

Based on the image of a “hypogenous ship” (a space ship floating deep under the ground), the new subway station is contained in forms inserted as nested shapes entirely different from the concrete infrastructural frame. The center of the composition is an oval void that penetrates the underground frame and extends from the concourse at basement level 2 to the platforms on basement level 5, with an eggshaped shell surrounding it.

Reminiscent of the Urban Egg proposed previously for Nakanoshima in Osaka, this shape is appropriate for the urban knot of Shibuya, as the composition produces a dynamic space, but on the other hand, it also bears an important role in terms of actual functions.

Firstly, it functions as an underground landmark in which the central void of the “egg” aids spatial recognition for the users of the underground spaces, in which changes in direction are hard to understand without above-ground positional relationships. Secondly, the single-space composition of this “egg” provides a natural ventilation system for the interior of the underground station by using an underground dry area established in the adjacent vacant lot formerly occupied by the Tokyu Bunka Kaikan.

67 The choice of glass fiber reinforced concrete as the material for forming the “egg” also led to the success of this system. The initial image was of bare, solid concrete, but for structural and technological reasons it was changed to glass fiber reinforced concrete to make the contents of the cavity lightweight, which enabled the cavity inside the shell of the “egg” to work as part of the radiant cooling panel system, consistent with the natural ventilation mechanism proposed for the station.

Precisely because this is an urban facility with a high degree of commonality through which hundreds of thousands of people pass every day, I wanted to make a space with a strength that cannot be consumed and an indisputable viewpoint that responds to the era of the environment.

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PALAZZO GRASSI RENOVATION Location Venice, Italy Tadao Design Ando Term of design 2005/06 - 2006/02 Term of construction work 2005/09 - 2006/04 Site area 1,450 sqM Total floor area 6,320 sqM {renovated part: 2,900 sqhl)

Having been selected by an ntemaWnal competition as the designer of the Foundation Francois Pinault pour l'Art Contemporain, to be built on the Seguin island in Paris, we had reached the level of construcMn documents when we received word from Mr Pinault that the project had been abandoned due to problems with adjusting to infrastructure developments for the project site on the island. Two weeks later, we again received an unexpected message from Mr Pinault. Shifting the site to Venice, Italy, he commissioned us to design a new modern art museum. Although there was no change in the function as a modem art museum, the architectural conditions were entirely different. As opposed to the redevelopment plan of the Seguin island for the Foundation Francois Pinault pour ÃÀï Contemporah, this project was premised on the renovation and reuse of an old mansion called the Palazzo Grassi. Located along the Grand Canal

close to Piazza San Marco, the Palazzo Grassi is a neoclassical building that was designed by Giorgio Massari in the second half of the 18th century, and since 1983 it has been used as an exhibiton space.

In Itaiy, there are stringent regulations about the preservation of historical structures. Naturally, this applies to facades as they affect the urban scenery, but we also received detailed guidance from the public administration about the interior renovatens. Given such a situation, our plan to make a white-cube like space for a modem art museum within an existing historical building could be called, in a sense, contradictory. However, it is possible that this contradiction will produce a space with a vitality that mutually enhances old and new. i have previously attempted the theme of ‘spaces with a dialogue between old and new,” but in the renovatOn scheme for the Palazzo Grassi i focused on more delicate details.

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First of all, the building was completely restored to its initial appearance. Having done that, we studied plan layouts with nested exhibition spaces enclosed by white walls. At that point, we were not concerned with creating a self-contained white-cube exhibition space, but focused more on investigating details that would take advantage of the spatial essence of the existing building surrounding them.

The ornamentation on the walls and ceilings of the old building may be glimpsed through gaps in the wtiite walls, the glittering of the water in the Grand Canal may be sensed through a filter, and the central gallery space exploits the unaltered soft light of the atrium.

With the intention of making places filled with surprise and discovery, art seems to abruptly appear in this spatial sequence of a dialogue between old and new.

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Punta della Dogana Renovation 2007-09 Venice, Italy

73 This is a project to remodel into a modern art museum the government-owned historical landmark “Customhouse in the sea” (Dogana di Mare), built in the 15th century on the shore opposite Piazza San Marco.

The competition held in Venice finally became a battle between the two teams of Zaha Hadid + Guggenheim Foundation and Tadao Ando + Pinault Foundation (Palazzo Grassi), following which our team was chosen.

The Punta della Dogana building has a simple and rational structure. The volume forms a triangle that directly corresponds to the shape of the tip of Dorsoduro Island, whereas its interior layout is dividend into long rectangles by a series of parallel

walls.

With great respect for this emblematic building, all partitions that had been added during previous renovations were thoroughly removed in order to recover its original form, at the very beginning of its construction.

Through exposing the brick walls and wooden roof trusses, the space retrieved its energy and the memories of the former sea customs were revived. In the center of the building, a square space spans over two rows as a result of an earlier renovation. As an exception, we kept this structure as it is and inserted a “concrete box” that dramatically transformed the space. Through a dialogue between old and new elements, the building got the

power to link its past history to the present and the future.

Our basic approach to the exterior renovation of the building also consisted in carefully restoring the original façades, except the openings which were entirely replaced through this renovation.

The design of the new doors and windows, though very modern, effectively employed Venetian traditional craft.

In the original plan, I proposed to erect a pair of concrete pillars, which would symbolize the dialogue between the “history” and the “future”, next to the entrance facing the Campo della Salute. Although larger debates than expected emerged in the historical city of Venice about this scheme, I intended to realize it

over the objections as a monument which would announce the rebirth of the place. However, since it turned out in the process of the project that the infrastructure including 1/3 of the city’s whole communication lines was buried under the site where the pair of the pillars would be built, I was obliged to give up Tadao Ando Architect & Associates this plan in the end.

The renovation project of the historical architecture generally does not proceed as scheduled.

However, I believe this clash and confliction, or dialogue between the old and new will be a driving force to create the future of the city. I will be willing to pursue this theme as long as I continue my carrier as an architect.

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In memoriam

Dennis Numkena

The International Academy of Architecture learned with deep sorrow about the death of the distinguished American Architect Dennis Numkena, IAA Professor.

Famous representative of the American contemporary architecture passed away. This is an important loss for the architectural society. He was perfect in his unconventional architecture.

IAA would like to present its sincere condolences to his family, colleagues and friends.

May his memory live forever.

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Ron Arad's Design Museum Curvaceous and expressionist, Ron Arad's Design Museum in downtown Holon defies Bauhausian efficiencies in an area of the world molded around that movement's strict, practical lines. Arad's brazenly decorative design comprises five Cor-Ten steel ribbons oxidized to different shades of reddish-orange. After wrapping around a courtyard , the steel strips bind together to create the walls of the museum's small lower gallery, reminding the visitor that "the building envelope is not just a pretty space, it's a structure," says Arad. One band swells into a ramp that connects the museum's two levels; inside, an "immersive design environment" is punctuated by interactive and digital exhibitions accessible through an underground entrance "cave." As for Arad, his ultimate commission was to create a second Bilbaoan obscure city brought to the forefront by a postcard-worthy piece of architecture-and in this capricious rotunda of steel, he may have done just that.

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The Langley Academy The Langley Academy is an academy school in Langley, east of Slough in Berkshire, southern England.] It opened in September 2008, replacing the former Langleywood Secondary School.

The building was designed by Foster and Partners, led by the architect Norman Foster. The school is supported by the Arbib Foundation. It has a specialism of Science and also a museum education theme, including exhibits in the school building. It also promotes sport, notably cricket and rowing.

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Porta Fira Towers Porta Fira Towers serves as hotel and office buildings in the Plaza Europa in Barcelona, Spain. Designed by architect Toyo Ito and b720 Arquitectos study, led by Ferm?n V?zquez, the architectural priorities is to respond to the environment and become the gateway to the city of L'Hospitalet de Llobregat and Barcelona International Airport El Prat. The building architecture project comprises two distinct towers that maintain a subtle dialogue between them. Although both buildings have a clear contrast in forms, together achieve a harmonious and complementary. The buildings-high 110 each, have a strong symbolic value that celebrate the historic Venetian towers.

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Vdara Hotel and Spa Rafael Vinoly's 1,495 room Las Vegas hotel opened at 2009 bringing the completion of the $8.5 billion CityCenter MGM development a giant step closer to realisation. The form of the 1.6 m sq ft, 57 storey Vdara Hotel and Spa is a crescent providing alternative perspectives from each elevation and offering a variety of views across the Las Vegas desert.

The tower is distinguished by three recessed segments of different heights and contrasting colours.

Designed by RV Architecture LLC, under the leadership of Rafael Vinoly FAIA Vdara becomes a monument not just because of its architect but because of its contrast with the bright lights of the Las Vegas strip. The building's modern character is instead generated by both form and by the alternating bands of reflective vision glass and light-diffusing, acid-etched spandrel glass in black and white which are set off on different planes to achieve a unique shimmering texture on the fasade. The body of the hotel ensures that a stay at the Vdara will be unlike any other, with the wide curve of the building calling for the 1,495 suites to be wide and shallow to optimise natural light infusion and views. In addition to the rooms a curved pool deck, feature bar, two-level Vdara Health & Beauty, sky pool and lounge, conference center with meeting rooms, subdivisible 4,000 square-foot ballroom, boardroom, and a pre-function/ registration area are available to visitors.

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The Samuel Beckett Bridge

The Samuel Beckett Bridge officially opened on the morning of 10th December 2009 in Dublin, Ireland. Designed by internationally recognised Spanish architect Santiago Calatrava, to reduce traffic within Dublins city centre. This is the second signature bridge Calatrava has designed for Dublin city centre, the first being the James Joyce Bridge which was finished in 2003.

Calatrava comments on the pair 'I was honoured when the Dublin City Council asked me to create two signature bridges over the River Liffey.

Although both bridges would span the same river, I wanted each structure to have its own distinct identity.'

The Samuel Beckett bridge acts as a monument within itself, as its harp form is a predominant symbol of Ireland.

Calatrava has cleverly designed the bridge to have the ability to rotate ninety degrees horizontally to avoid maritime traffic and allow ships to pass.

The bridge hosts four lanes for motor transport and two for pedestrians and cycle ways, with additional space for future tram lines.

Calatrava added 'By the time I completed the bridge in 2003, I had already begun to develop a deep affinity with the people of Dublin and I wanted my second bridge to celebrate that connection. It was my intention to give the Samuel Beckett Bridge the same characteristics as its citizens; warm, welcoming and gracious.'

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The New European Central Bank

Construction of the new European Central Bank headquarters in Frankfurt, Germany, is finally set to commence in spring 2010. Viennabased architects Coop Himmelb(l)au won a competition to design the bank's new premises in 2005. The ECB project, once shelved due to budgetary concerns, is located in Frankfurt's Ostend and will be built at the site of the Grossmarkthalle (wholesale market).

At a height of around 185 meters, the double tower, with its polygonal shape, has a wonderful profile that's visible from all vital reference points in Frankfurt's city center, as well as from the river Main. Wolf D. Prix, Design Principal and CEO of Coop Himmelb(l)au, said: "I believe that it is not only an important building for us, but also for the European Union, because the building will be one of the important three- dimensional signs of the European Community."

The opening of the European Central Bank is scheduled for 2014.

NEWS

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MAXXI, National Museum of XXI century Arts

MAXXI, National Museum of XXI century Arts is a Foundation established by the Ministry of National Heritage and Culture.

It is the first national museum dedicated to contemporary creativity thought as a great campus dedicated to culture, a laboratory of experiment, study and research.

Thus, in the adventure of an institution so projected towards the future, it was decided to carry out a grand public work with the innovative and spectacular architectural forms of the architect Zaha Hadid.

The design of the building housing the new national contemporary art and architecture exhibition centre was selected as a result of an international architectural competition organized by the Special Superintendency of the National Gallery of Modern Art at the behest of the Ministry of Cultural Heritage in 1998.

Among the 273 entries, the design by the Iraqi architect Zaha Hadid convinced the jury through its ability to integrate with the existing urban fabric, thanks in part to its innovative and highly creative architecture. The complexity of the forms, the curvilinear walls, the varying and intersecting

heights define a spatial and functional structure of great interest for visitors who are led along ever different and unexpected paths. Multiple environments in fact co-exist in a sequence of galleries illuminated with natural light. The great full-height foyer houses reception services and leads to the auditorium, the galleries displaying the permanent collections, to exhibitions and cultural events and through to the spaces dedicated to the cafeteria and bookshop.

MAXXI has been created to promote 21st century art and architecture and to collect, preserve, study and display examples of contemporary creativity in the arts.

MAXXI aims at becoming a national point of reference for public and private institutions operating in Italy and abroad, as well as for artists, architects and the general public.

The museum pursues an exhaustive evaluation of the present, delineating a constantly updated framework of the development of 21st century art and architecture.

MAXXI is home to two distinct institutions that share the spaces and resources of the new museum: MAXXI art and MAXXI architecture

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World Architecture Masters