bd-2 by maria kim

BASIC DESIGN PORTFOLIO Nguyen Ha Chau _ 2151015012 21KTT1 _ Hanoi Architectural University Tutor: Maria Kim

CONTENTS OF THIS PORTFOLIO

ABOUT ME

9 CARDS EXERCISE

BEDROOM ARCHITECTURAL DRAWINGS

KOSHINO HOUSE 1

ABOUT ME Freshman at Hanoi Architectural University Class of 2026 Based in Hanoi Contact: Dial: 0936231203 Email: angus.winsly2003@gmai.com

9 Cards exercise

first attempt

second attempt

Bedroom architectural drawings

OVERALL DRAWINGS

KOSHINO HOUSE (1979–1981; 1983-1984)

TADAO ANDO

HELLO! GROUP 2 Tạ Quang Hoàng An

Vũ Tuấn Đạt

Ma Việt Anh

Phạm Kim Long

Nguyễn Hà Châu

Nguyễn Cao Nguyên

ABOUT TADAO ANDO “If I can create a space that people haven’t experienced before and it stays with them or gives them a dream for the future, that’s the kind of structure I wish to create.”

Tadao ando’s life and architectural career Tadao Ando is a self-taught architect born and based in Osaka. Despite being already 80 years old, he is still very energetic and has a youthful spirit. He believes that age is just a number and what matter is how our soul is, meaning we might be old but our spirit can remain young He was inspired to be an architect around his teenage years after coming across a book by Le Corbusier and established his own company in 1968- Tadao Ando Architects and Associates. His initial intention for his career was to become a professional boxer, but he eventually switched to architecture. He is such a hard working man that his organs failed to work and were removed. However, the man himself is still leading a joyful life, continuing his architectural career. Starting from his early age, Ando has already travelled a lot, going to many place from Europe to America and even to Africa to witness work of renowned architects because “architecture is something to be experienced with all five senses – not just the eyes.”as he explained. As his career and reputation grow, he gained more opportunity to work globally,too. He was awarded with a Pritzker in 1995 for his “Church of Light” 11

Tadao ando’s style and ideals When it comes to Ando’s style, people would describe it as serene and peaceful. It may not be much from the outside but the inside is absolutely impressive, not for its interior but for how Ando deal with and arrange the spaces of the building, with its function and nature in mind.

When it comes to Ando’s style, people would describe it as serene and peaceful. It may not be much from the outside but the inside is absolutely impressive, not for its interior but for how Ando deal with and arrange the spaces of the building, with its function and nature in mind. Ando’s architectural style is said to create a haiku effect, emphasizing nothingness and empty space to represent the beauty of simplicity. He favors designing complex spatial circulation while maintaining the appearance of simplicity and the absolute minimalism. The simplicity of his architecture emphasizes the concept of sensation and physical experiences, mainly influenced by the Japanese culture. The religious term Zen, focuses on the concept of simplicity and concentrates on inner feeling rather than outward appearance. Zen influences vividly show in Ando’s work and became its distinguishing mark. Ando also emphasises the association between nature and architecture, he believes that “We borrow from nature the space upon which we build”. He intends for people to easily experience the spirit and beauty of nature through architecture. He believes architecture is responsible for performing the attitude of the site and makes it visible. This not only represents his theory of the role of architecture in society but also shows why he spends so much time studying architecture from physical experience. Ando’s buildings are often characterized by complex three-dimensional circulation paths. These paths weave in between interior and exterior spaces formed both inside large-scale geometric shapes and in the spaces between them. His inspiration/ Idol/ Hero were Le Corbusier whom he fancies so much that he has a dog named after him, Ludwig Mies van de Rodhe, Frank Loydd Wright, Louis Kahn.

Alike one of his greatest influence- Frank Lloyd Wright, Tadao Ando loves to involve nature in his work as much as possible. If you have seen enough of both of the men’s construction, you will find similarity in the way they blend their buildings into nature. In Ando’s architecture, nature can mean woods, hills, fields, and lakes. Or it can mean wind, rain, and light. It can mean the sound of water. It can mean darkness. Whatever the case, Ando allows such variables into his architecture in imaginative ways that may or may not be convenient and comfortable, and that either extend or simply ignore the presumed functionality of architecture. Indeed Ando presents a view of functionality that puts it firmly in its place. Function is no more than a basic necessity. He has described this himself: “I like to see how far architecture can pursue function and then, after the pursuit has been made, to see how far architecture can be removed from function. The significance of architecture is found in the distance between it and function.''

Being a Japanese, Ando is greatly impacted by the culture of his home country. In his traveling youth, he carries his root along whilst learning from western master. The greatest influence of Japanese architecture on Tadao Ando must be the use of empty spaces. In Japanese architecture, things are easily and often removed. For example, the futon. its fold-away function is not just for "freeing up useable square footage in a space-tight country",which is merely a benefit from the true meaning and original philosophy of a futon. The true reason for the foldand-store-away function is so that you can create an "empty space". By creating an empty-space, it allows for limitless potential of reasons for the room's existence. It could become a tea room, dinner room, bedroom, entertainment room... the empty room creates "potential" to be any room. Traditional rooms in Japan (which are becoming rare) often have nothing that is permanent, even the "walls" or fusuma, slide away to create a larger expansive empty-space. The people, wall, furniture, and artwork, enter and then leave the room, to return it to empty-space, full of potential.... This philosophy can often be seen in many parts of the country, from objects to culture, to even an international company like Muji ("Mu" meaning "empty" or "absence" with a hint of "tranquility" and "potential") 14

“You can't really say what is beautiful about a place, but the image of the place will remain vividly with you”

“If you give people nothingness, they can ponder what can be achieved from that nothingness.”

“My hand is the extension of the thinking process - the creative process.”

“I think of the past and the future as well as the present to determine where I am, and I move on while thinking of these things.”

_ Tadao Ando _ 15

KOSHINO HOUSE (1979 – 1981 ; 1983 – 1984)

_The dance of light _ 16

An overview of the house The building was built in 1979 in Ashiya city, Hyogo province, Japan by Tadao Ando Architect & Associates for a famous fashion designer Koshino whom the house was named after Building site: This building is total 3168 feet square (about 294 metre square) and located on a site of mountainside dense with trees. The house consists of two rectangular concrete blocks placed parallel, partly deep in the ground with the slope of the national park land.The north volume consists of two stories containing a double-height living room, kitchen and dining room on the first floor with the master bedroom and study on the second floor. The south block includes six linearly organized children's bedrooms, a bathroom and a foyer. Connecting the two spaces is an underground tunnel located beneath the exterior stairs of the courtyard. History: Four years after the construction, a studio was added .Twenty years after the construction, Koshino contacted Tadao Ando again to renovate the bedroom wing of the house, the conversion transformed this volume of the house into a completely independent new two-story guesthouse. Project highlight: Use of minimalism, the hierarchical shift of space and volume depicting the importance of life. The accents are added by playing light and shadow on the plain concrete walls and wooden floors to give inhabitants a close to nature experience. 17

Further studies In the Koshino House, its large dimensions offered Ando a freedom that he had not had until now. Ando took advantage of this situation to place the two volumes that make up the house obliquely to the street, trying to respect the trees that already existed on the plot as much as possible. In addition, Ando decided to place the volumes of the house partially sunk in the land to achieve the maximum possible privacy. Ando only uses one material in the construction of this house, concrete, and he did so through a structure of load-bearing walls capable of orderly and categorically define all the spaces of it and at the same time establish a great contrast with the terrain irregularities. Despite using concrete for most parts of the house, its sensation of massiveness reduces due to the fact that the house divides into different smaller spaces, which help to connect it with the landscape and be perceived in a unitary way from the highest point of view. Between the two volumes of the house, there is a stepped patio that emerges as an outdoor living room,which staggeringly responds to the nature of the place by adapting to the environment. This large staircase receives the sunlight that passes through the trees and reflects it, creating a space that extends to the exterior of the daily life of the interior of the house. Ando himself considers this patio as a natural and autonomous space that man appropriates. In addition, in the walls that order that patio, grooves are created where light and shadow intersect, breaking the exterior monotony. 18

Further studies Moving on to analyze the interior of the house, its functional approach is so simple, one of the volumes contains the public spaces and the other are for the private ones. The shorter volume has two floors and contains communal spaces, such as the living room, the dining room, or the kitchen. The longest and narrowest block consist of the bedrooms. There are two style noticeable in the bedrooms. While the six first rooms are designed in western style, the last room – the room in the end of the corridor dedicated to the master of the house- Koshino, is designed in Japenese style with tatami mats included. These two different volumes are strung inside by an underground corridor that passes just below the steps of the open-air patio and allows them to be perceived from the outside as two independent pieces. Four years after finishing the house, Tadao Ando was commissioned to design a studio next to the house. The new volume is buried into the highest part of the plot and separated from the main building. Ando’s purpose was to set a new composition for the project through the introduction of a curve in a layout mainly filled with straight lines. From this project, that duality between the curve and the straight became Ando's hallmark and was present in most of his later projects.

Further studies Although the light enters in a controlled way in all the rooms of the house through the windows and flows through the concrete, it is in this study where the most spectacular spaces of the house appear thanks to how Ando introduces the light. The opening in the upper part of the curved retaining wall of the studio gives it overhead lighting capable of creating a play of curved lights and shadows in its interior that contrasts with the linear lighting of the main building of the house. Twenty years later, the designer Hiroko Koshino contacted Tadao Ando again intending to renovate the bedroom wing of the house, the conversion transformed this volume of the house into a completely independent new two-story guesthouse. In 2013, with the help of Ando, the owner converted the house into an art gallery that allows the visitor to enjoy the works of art in an architectural environment similar to that of a museum. As the reconstruction occurred, it could be expected that the original concept of this house would have been completely diluted, but the truth is that the constant evolution has not only strengthened its presence or its central themes but has also reinforced the architectural unity of the house.

The dance of light

Principles in design

INDIVIDUAL DRAWINGS

TEAMWORK MODEL

Overview

View from outdoor

Indoor of the house

Light movement studies

Light in the living room

Light movement studies

Light in the hallway

Black-colored walls resemble load bearing walls Gray-colored walls resemble enclosure Yellow lines resemble circulation 40

ALTERNATIVE DESIGN

Our idea To make the house – a significant construction built by Tadao Ando a more public space without interrupting the personal use of a home, our group came up with an idea to build a whole new building for communal purposes. Our new block is located in the lowest part of the whole site where there is beautiful greenery. In order for the new construction to be similar to the original design of Koshino house, we decided to make the first floor, whose function is a traditional Japanese tea room, underground. Therefore, the second floor is on the ground. And that’s where we put a gallery where we display more artworks. People can come to see artwork, then sit down with a cup of green tea and contemplate or discuss their ideas. We believe this new building can bring the public closer to a work of a global architect with violating the intimacy of a home

Thanks Let the sky be your limit

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