Tadao Ando (2004)
September 13, 1941 |
Minato-ku, Osaka, Japan
Alvar Aalto Medal, 1985
Carlsberg Architectural Prize (1992)
Pritzker Prize, 1995
RIBA Royal Gold Medal, 1997
AIA Gold Medal, 2002
Neutra Medal for Professional Excellence, 2012
|Practice||Tadao Ando Architects & Associates|
Row House, Sumiyoshi, 1979
Church of the Light, Osaka, 1989
Water Temple, Awaji, 1991
|Projects||Rokko Housing I, II, III, Kobe, 1983-1999|
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.
Without this spirit, Modernist architecture cannot fully exist. Since there is often a mismatch between the logic and the spirit of Modernism, I use architecture to reconcile the two.
People tend not to use this word beauty because it's not intellectual – but there has to be an overlap between beauty and intellect.
I believe that architecture is fundamentally a public space where people can gather and communicate, think about the history, think about the lives of human beings, or the world.
Japanese architecture is traditionally based on wooden structures that need renovating on a regular basis.
In Italy, there are so many significant architectural structures in history such as the Pantheon in Rome, or the Duomo.
All those involved in the construction of an architectural design, from the architect to the builder, have an attachment to the architecture, although it's difficult to quantify the attachment.
You cannot simply put something new into a place. You have to absorb what you see around you, what exists on the land, and then use that knowledge along with contemporary thinking to interpret what you see.
I hope that America as a whole, and especially its architects, will become more seriously involved in producing a new architectural culture that would bring the nation to the apex – where it has stood before – and lead the world.
In the West there has always been the attempt to try make the religious building, whether it's a Medieval or Renaissance church, an eternal object for the celebration of God. The material chosen, such as stone, brick, or concrete, is meant to eternally preserve what is inside.
Spiritual space is lost in gaining convenience. I saw the need to create a mixture of Japanese spiritual culture and modern western architecture.
Working in Tokyo has convinced me that, contrary to what people think, it is actually one of the world's most beautiful cities.
In Japan, there is less a culture of preserving old buildings than in Europe.
You always want to try to make something new, and, of course, America is the world leader in economics today.
I am interested in things happening around me, and I need to understand what's going on in other artistic sectors like music and literature.
You can't really say what is beautiful about a place, but the image of the place will remain vividly with you.
The computer offers another kind of creativity. You cannot ignore the creativity that computer technology can bring. But you need to be able to move between those two different worlds.
When I design buildings, I think of the overall composition, much as the parts of a body would fit together. On top of that, I think about how people will approach the building and experience that space.
I don't look so closely at women's fashion, but from the 20th century on, people have had the freedom to express themselves and their individualities, and fashion is one of the most fundamental ways in which they do this, men and women are equally able to express themselves.
I would like my architecture to inspire people to use their own resources, to move into the future.
If I can create some space that people haven't experienced before and if it stays with them or gives them a dream for the future, that's the kind of structure I seek to create.
When you look at Japanese traditional architecture, you have to look at Japanese culture and its relationship with nature. You can actually live in a harmonious, close contact with nature – this very unique to Japan.
At the same time, I would add that the American people have a lot of courage.
I hope America can also be the cultural leader of the world, and use this frontier spirit to lead and show others that we need courage to go places where we have not gone before.
Italy is full of historical buildings. And Europe holds a great history of philosophy from Greece until today. I read all those books and see these buildings, and I think of where I stand when I design my architecture.
All architecture has a public nature, I believe, so I would like to make a public space.
But in Japan, there's nothing like that, since the temple is made of wood. The divine spirit inside the building is eternal, so the enclosure doesn't have to be.
I believe that the way people live can be directed a little by architecture.
If you give people nothingness, they can ponder what can be achieved from that nothingness.
Since I am a Japanese man who's been building through the experience of Japanese architecture, my actual designs come from Japanese architectural concepts, although they're based on Western methods and materials.
If there is only one culture all over the world, that's not a good thing.
Japanese traditional architecture is created based on these conditions. This is the reason you have a very high degree of connection between the outside and inside in architecture.
The level of detail and craft is something that's inscribed within the original design concept. And so when I begin to draw, I know what kind of detailing I want the building to have.
Look at London or Paris: they're both filthy. You don't get that in Tokyo. The proud residents look after their city.