The work of a critical regionalist takes many varied forms. The nature of this free flowing theoretical approach is always unique in its engagement of the site and its demands. Tadao Ando is an architect that engages liberally in conceptual projects. The natures of these projects give hints to Andos’ sympathies for critical regionalist theory. Frampton (2002) reviews Andos’ work, explaining how his projects stretch across the spectrum from hotels of leisure to houses of worship. As a self taught authority in the practice of architecture Ando attributes only two things to his architectural development. One thing being his study
Ando is renowned for his approach to spaces incorporating spiritual gravity. It is important to note how he draws links to cultural cues that manifest in the use of material, the treatment of facades and the provision and restriction of spaces. Ando was recorded to have said that one cannot simply put something new into a place. To Andos’ mind, one had to absorb what you saw around you and what existed on the land. This knowledge could then be used in tandem with ones design ethos to re-interpret what design is produced.
(Furuyama, 1996)
Fig 4 Image of Tadao Andos Church on the Water Sourced from http://www.arcspace.com (06/2011)
This philosophy manifests itself best in his treatment of spiritual space. Andos’ Church on the water and can be defined as a building that was erected at a time when Ando was particularly aware of nature, highlighting the beauty of the Japanese countryside, framing it in a picturesque framework composed of wall, ceiling and floor (see fig.4). Ando carefully positioned the church to take maximum advantage of the undulating, forested vista to which it faces.
The sign of the cross is even more prominent in this glass and concrete composition than the usual convention; its traditional significance is weakened through its quadruple repetition within a glass enclosure. The four crosses are absolutely symmetrical and equal in their respective axes. Since they almost touch each other at their extremities they deny
the traditional orientation of the church and in so doing imply a totally ‘other’ idea of the godhead. The resultant bounding figure, enveloping the void in the centre, makes it impossible to avoid a panoramic experience of the landscape. Frampton (2002, 310)
Fig 5 diagrammatic Site Plan emphasizing landscape sourced from Precedents in Architecture (2005, 18)
The design of the church on the water is an interesting building. Its approach shows a respect and appreciation for the natural advantages and natural beauty the site has to offer.
(See fig. 5) The natural environment is not emulated but celebrated, augmented in a way that speaks of the modern spiritual. The Church is successfully immersed in the topography, taking advantage of the rivers’ undulating patterns and the cooling winds channelled across the water. In responding to the site and the buildings surrounding it the Church maintains the historical aesthetic and matches it to the Christian spiritual experience. Use of thin, fine lines composed of concrete and steel allow for vast ‘light’
structures that are true to their intrinsic properties. The concrete is stark and cold; the
natural environment. A visitor within the building feels uniquely connected to the surroundings whilst being held carefully apart. The repose across a field of water makes for a gratifying extension of space. Frampton (2002, 310)
Fig 6 Image taken from book titled Tadao Ando, (1996, pg. 136)
The subtle introduction of basic Elements in Ando’s spiritual work bring in an aspect of reflection that generates a positive meditative atmosphere from those within the congregation. The water becomes a calming tool while the ever present flood of natural light creates levity within the church building. This use of rigid form emphasizes the aesthetic of nature. This approach can be traced back to the cultural practices of traditional builders in Japan. Zen Gardens are a popular part of most traditional Japanese homes. It was important to make a showing of a well kept garden (see fig 6); this impressed guests, made a statement about the order of the house hold and became a spiritual place for quiet contemplation .Furuyama (1996)
To draw a more telling comparison between the old principles of Japanese architecture and Tadao Andos own methods one could evaluate Andos treatment of light and tectonics in his
Glass Block House. Juxtaposing this house against the framework and joining principles of the Minka house reveal further connections between Andos work and the Japanese culture.
In Andos’ houses we find an ongoing dialogue between the present and the traditional cultures of the past. Ando, when asked about his use of concrete to address a lightweight history refers to semiological representation. Ando explains that the reinforced concrete frame has robbed the symbolic potency of the central Shinto column, a traditional and cultural bulwark in Japanese architecture. As a result a new sense of stability must be introduced. With this in mind Ando introduces the wall as a protective shield that is categorically opposed to the infinite space-field of the modern mega-polis. It becomes a new potent symbol for the Japanese home. Essentially the wall becomes a defining tool that sets the family apart from the multitude. Ando believes it is very important to approach the utilization of walls carefully. Frampton (2002)
The assumption of meaning in structure stems from the construction traditions of Japanese traditional houses. The wall was seen in Japanese homes as a key to spatial identity, defining how the home provided sanctuary for those that lived within it. In Fig 6 we can see the close relationship between the interiors of a traditional Minka house and the Glass Block house. The Glass Block house was designed to solve social estrangement within the
Fig 7 Left: Image of lattice framed garden looking out to nature and filtering light in to create contrast.
Right: image of a Glass block house interior looking through to the far wall opening. Sourced from Labour, Work and Critical Present (2002, 43)
panels that define varying levels of public-private space. This transparency of space was important in promoting visual communication, an aspect pivotal to the practices of Japanese family culture.