Langen Foundation, Neuss, Germany, 1955 Chichu Museum, Japan, 2004
Tea
Room, Yamaguchi Residance
Sara AlMutlaq
The following visual report aims to highlight the influence of Japanese culture on Tadao Ando’s design aesthetic. This relationship is best highlighted through a comparison between two of Tadao’s buildings; the Langen Foundation and a “Tea Ceremony” room in the Yamaguchi Residence. The Yamaguchi structure is important as a representation of Tadao’s interpretation of the traditional Japanese typology produced for tea ceremonies by the 15 century architect Sen no Rikyu.
Site Approach: Fig. 1
Fig. 1 In conceiving both the Yamaguchi tea room (Fig. 1) and the Langen Foundation (fig. 2) , the approach to the enclosure of the building is an important part of the sequence through it. In both we see Ando framing views using walls (fig. 3), tree canopies and seating (fig. 4).
Fig. 3
Fig. 4
Overlapping Surfaces at Entry: Fig. 6
Fig. 5
Fig. 7 Ando introduces dynamism and depth to his largely symmetrical forms by overlapping surfaces specifically in circulation. Overlapping surfaces are used in the Langen Foundation (Fig. 5) in both the entry of the building (Fig. 6) and the entry to the contemporary galleries (Fig. 7) (which also represents first access to subterranian space).
Symmetry/Asymmetry: Fig. 8 Fig. 9
Fig. 10
Both the Langen Foundation and the Yamaguchi Tea Room illustrate Tadao’s design approach to symmetry. Ando often starts with a symmetrical enclosure and then introduces asymmetry and dynamism through the positioning of openings and vertical circulation. In the Langen Foundation, the Symmetry of the rectangular volumn is broken by the use of Stairs (fig. 9) and a ramp (fig 10).
Below Ground Enclosure
Above Ground Enclosure
Above Ground Glazing
Fig. 12 Below ground circulation
Above ground circulation
Below Ground Circulation
Above ground circulation
In both Sen no Rikyu’s architecture and Japanese philosophy, the destination is highlighted by the journey to it. Similarly, in many of his buildings, Ando sets up a labyrinth circulation to space. In specific, to reach the contemporary gallaries in the Langen Foundation a visitor must circulate around the entire building. The nature of light in this sequence shifts when entering the subterranean space, of the gallaries, from direct light to indirect light. This is achieved by the contrasting circulation at the periphery of enclosure and circulation at interior of enclosure. The sequence is highlighted in the exploded axon (fig. 12) and sequence perspectives. (fig. 13).
Entry
Enclosure in Circulation (above Ground:):
Site Entry
Building Entry
Entry to Subterranian space RAMP
Enclosure in Circulation (above Ground:):
STAIR
Exit
Fig. 13
Chichu Museum, Site Plan
Light Source/ Courtyards Below ground circulation Fig. 13
Verticle Circulation
Further Analysis on Subterranian circulation: Chichu Museum The report briefly examines Ando’s Chichu Museum as a representation of Ando’s exploration of subterranean architecture and circulation. In contrast to the Ando’s use of 6 surfaces (walls, ceiling and floor) for openings in the Langen, the Chichu museum, largely subterranean, is constrained to one surface, the ceiling of courtyards (fig 13). Here, we see Ando placing vertical circulation within the courtyards (fig. 14) and horizontal circulation at the periphery of the light wells (fig. 15)
Fig. 14 Fig. 15