CONTENT: IS MAINLY TELLS US ABOUT MINORU YAMASAK & TADAO ANDO ARCHITECTURAL WORKS AND THERE INSPIRATION

1. TADAO ANDO
Born:13 September 1941.
Japanese autodidact architect
whose approach to architecture and
landscape was categorized by
architectural historian Francesco Dal
Co as "critical regionalism".
• He is the winner of the
1995 Pritzker Prize.

2. DESIGN PHILOSOPHY :
the concept of sensation and physical experiences, mainly
influenced by 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.
To practice the IDEA OF SIMPLICITY
MATERIALS: Glass and Concrete, provides a sense of
cleanliness and weightlessness (even though concrete is a
heavy material) simultaneously.
Due to the simplicity of the exterior, construction, and
organization of the space are relatively potential to represent
the aesthetic of sensation.
ZEN SYMBOL

3. As an architect, he believes that architecture
can change society, that "to change the
dwelling is to change the city and to reform
society".
Ando’s ARCHITECTURAL STYLE is said to create A HAIKU
EFFECT, emphasizing nothingness and empty space to represent
space to represent the beauty of simplicity.
He favours designing complex spatial circulation while
maintaining the appearance of simplicity and absolute
minimalism.

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9. CHURCH OF LIGHT
Location: Ibaraki, Osaka, Japan
Year: 1989
Area: 113 m2
 This building is a replacement for existing wooden wooden
chapel.
 This church is seen as a place of retreat where the outside
world is forgotten and the natural world is emphasized in a
rater abstract manner by light .
 CONCEPT
 The church of the light embraces the Ando’s philosophical
framework between nature and architecture through way
in which light can define and create new spatial
perceptions equally,if not more so,as that of his concrete
structures.
 The DUAL NATURAL OF EXISTANCE – solid/void, light/dark,
stark/serene.

10.  The coexisting differences leave the church void of any,
and all ornament creating a pure, unadorned space.
 The intersection of light solid raises the occupant’s
awareness of the spiritual and secular within themselves.
 The budget was relatively low, about $250.000 US in
construction costs..
 BUILDING FORM ANALYSIS
 The Chapel consists of a rectangular volume of
three cubes that are punctured by a wall at a
fifteen-degree angle that never actually touches
the other walls or ceiling of the chapel.
 Circulation into space is controlled by the
angled wall.

11.  The Sunday School addition is intended to complement the chapel. Functionally it
serves as a support space consisting of a gathering area, kitchen, office, and
storage.
 Compared to the chapel, this building is less symbolic and stresses a home-
like character.
 Like the chapel, it is a rectangular volume penetrated by a freestanding wall.
The overall similarity in form creates a strong tension between the two
buildings.
 The interior of the building is composed of tight spaces girded with
Japanese Linden Plywood resulting in a very warm and inviting
atmosphere.

12.  A second story allows for a kitchen and balcony above and office and
storage space below. Adjacent to these rooms the gathering area
occupies a double-height space.
 Consisting of only six walls and a ceiling, it is a testament to the
phrase “less is more”. The abstract nature of the architecture glorifies
itself with small moves and ideas that have a big impact on the
success of this design.
 This building has a sort of timeless quality that is reinforced by its
modest character.

13.  The chapel rejects the surrounding high-tech
metropolis with surreal introversion of the
relationship between light and Christianity.
 It serves as a physical connection between the
congregation and the religion because the outside
world is forgotten and the spiritual is seen inside this
place.
 The careful attention to detail and celebration of the
purity of form is evident in this building the same way
they are in many other buildings, but do not
compromise the functional purpose of the religion.

14. Photo Gallery
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Reinforced concrete

15. KOSINO HOUSE
LOCATION: Ashiya, Hyogo, Japan
YEAR : 1984
 In 1979, the famous fashion designer Hiroko
Koshino commissioned the Japanese
architect Tadao Ando to design a single-family
house on a large plot located on a wooded slope of
the Setonaikai National Park, in the city of Ashiya.
CONCEPT
• The house is organized into two parallel bodies, joined by an
underground passage that defines a central courtyard.
• The body contains a shorter living room of double height,
while the longest wing houses several bedrooms.
• The study is in the form of a crescent, adjacent to the living
room, was added later, in sharp contrast with the composite
bodies already in existence.

16.  A house composed of two parallel volumes of reinforced
concrete although they are joined inside through an
underground corridor, on the outside they are separated by a
patio partially sunken in the ground.
 The entire house is structured as a Japanese garden around a
series of scenic backgrounds, designed to boost the awareness
of nature.
 The two big openings in the living room offer views of the
steep slopes, with trees and hills in the distance.

17.  This large staircase receives the sunlight that passes
through the trees and reflects it, creating a space that
extends to the exterior 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
 The patio serves as a transition space between the
exterior of the house and its interior, which it opens
through large sliding glass doors.
 Its functional approach is so simple, one of the
volumes contains the public spaces and the other the
private ones.
 The shortest volume has two floors and contains
public rooms, such as the living room, the dining
room, or the kitchen.
 The longest and narrowest block houses the
bedrooms, divided between those solved in a
western way and those solved in an eastern way,

18.  All the walls are made of smooth concrete and are
free of ornamentation and in their natural form.
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 Ando used this material because it is a way to admit
light and wind within the walls and create a sense of
serenity and wide open spaces
MATERIALS

19. STRUCTURE

21. MINORU YAMASAKI
Born : December 1, 1912
Seattle, Washington,US
 Yamasaki was a Japanese-
American architect.
 Yamasaki was one of the most
prominent architects of the 20th
century.
 During his three-decade career, he
and his firm designed over 250
buildings.[7] His firm, Yamasaki &
Associates, closed on December 31,
2009.

22. DESIGN PHILOSOPHY :
 He was known for his philosophy, "BEAUTY OVER FUNCTION." He criticised tasteless and identical glassy
buildings that were characteristic of the modern architecture of his time and was determined to incorporate
elements that brought delight and comfort to people's eyes and minds.
 the AUSTERITY AND PRACTICALITY OF THE MODERN AND INTERNATIONAL STYLE MOVEMENT
influenced Yamasaki’s early training and experience
 Every design he created from the strove on
 He was inspired by Gothic architecture and the usage of narrow and vertical windows.
 surprise
 serenity
 delight
Architecture from
the university of
Washington in
1932
Started practice
in suburban
Detroit, Michigan
in 1945
Became the
chief of design
at Smith
Hinchmn and
Gryllis company
Established a
company with
George Hellmuth
and Joseph
Leinweber in 1949

23. HISTORY HUMANISM
INSPIRATION
MODERN, TECHNOLOGICALLY
ADVANCED BUILDINGS

24. DESIGN ELEMENTS AND FEATURES
 Use of traditionally rich materials, such as travertine, marble,
and granite or man materials that mimic their luxurious qualities
 Buildings are usually set on a podium.
 Designed to achieve modern monumentality
 Embraces classical precedents, such as arches, colonnades,
classical columns and entablatures
 Smooth wall surfaces.
 Delicacy of details.
 Formal landscape, use of pools, fountains, sculpture
within a central plaza,

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30. TORRE PICASSO
Location: Madrid, Spain
Year: 1974-1978
Area: 121.000m2
 The architecture of the Torre Picasso is influenced by oriental art and simple but
sculptural forms that distinguish the architect in his works.
 Meeting the demands of the program in terms of form and function, Yamasaki
displayed on the facade the elements that would make his work, not only the highest
of modern Madrid but a beautiful and elegant building, an icon of the Spanish capital
for nearly two decades
 This draws on history, clean façade sight, is crowned with a cornice like a Doric
column and reminds Adolf Loos of the external design of the Chicago Tribune.

31.  Notable feature wide entrance arch, which supports the entire facade
above it, with an underground steel reinforcement. The space under the
arch is covered by a special type of safety glass called STADIP.
SPACES :
 The tower was built on a plot of 10,000 square meters, with 45 floors
above ground rectangular, 38×50 feet, 5 basements and a total height of
157 meters from the street level or 171 if measured from the last
basement.
 The tower has an official postal courier, loading and unloading and internal
messaging.
 From the upper floors, 42 are for offices and the ground floor serves as
the main entrance, where 18 elevators are located in three groups of six.
All plants loos feature for use by the occupants of said plant.
•Total area: 121,000 m²
•In office space: 71,700 m²
•Dimensions for floor: 38×50 meters
•Height above ground: 157 meters
•Height from the 5th basement: 171 meters
FLOOR PLANS FROM 2- 18 FLOOR

32. •ELEVATORS
The plant climbing 1 to 18 displayed a speed of 2.5 meters per second, the plants
serving 18-32 have a speed of 4 meters per second which will plant 32 to 43 is
considered the battery faster elevators installed in Spain, 6 meters per second.
•PLANTS
Plants generally rectangular in shape and with a surface of 1900 m², are completely
diaphanous, having occupied the central part of the block of 18 lifts, 4 ladders,
technical rooms, bathrooms and a space of 120m ² destined for a fireplace rise to
emissions from the ventilation network of underground roads AZCA, financial complex
that owns the tower.
•ROOF
On deck, the 44th floor, are the cooling towers and distribution of the hydraulic
system of air conditioning. In the plant 45 is the machinery of one of the blocks has
elevators whose upper forged using a heliport.

33. FOUNDATION:
 The foundation was executed based on 120 piles with a
of 1.80 m and a length of 16 m. The building structure
core of a perimeter of the floor and act as the diaphragm,
 The core is a metal structure with 38 pillars, double
formed by hand from the basement to the second floor
wall and from the 2nd floor to the coronation, with 56
 The floors are freestanding metal and concrete with
aggregate, which gives a density of 1800 kg / m 3
Materials
Façade:
 The facade of the building offers a high coefficient of
thermal and acoustic insulation due to the combination
of an aluminum frame and a vertically disposed thermal
glazing and leaving small windows between the pillars
of the facade.

34. WORLD TRADE CENTRE
Location: Lower Manhattan, New York, U.S.
Year: 1973 -11 September 2001
Area: 400,000 m²
• The project was developed by the Port Authority of New
York and New Jersey. .
• The idea for the World Trade Center arose after World
War -2 as a way to supplement existing avenues of
international commerce in the United States.
• The Port Authority hired architect Minoru Yamasaki, who
came up with the specific idea for twin towers. The towers
were designed as framed tube structures, which provided
tenants with open floor plans, uninterrupted by columns or
walls.
• The towers were the world's tallest buildings when they
opened in 1973.

35. • The towers had a square plan, approximately 207 feet (63 m)
in dimension on each side.[ The buildings were designed with
narrow office windows, only 18 inches (45 cm) wide, which
reflected on Yamasaki's fear of heights and desire to make
building occupants feel secure.
• The windows only covered 30% of the buildings' exteriors,
making them look like solid metal slabs from a distance.
• The building's core housed the elevator and utility shafts,
restrooms, three stairwells, and other support spaces. The core
of each tower was a rectangular area 87 by 135 feet (27 by
41 m), and contained 47 steel columns running from the
bedrock to the top of the tower.
• The large, column-free space between the perimeter and core
was bridged by prefabricated floor trusses. The floors
supported their own weight, as well as live loads, provided
lateral stability to the exterior walls, and distributed wind loads
among the exterior walls.
DESIGN:

36. Core Typical Twin Tower floor framing

37. CONSTRUCTION:
• The site of the World Trade Center was located
on landfill , with the bedrock located 65 feet (20 m)
below grade. In order to construct the World Trade
Center, it was necessary to build "The Bathtub", with
the slurry wall along the West Street side of the site, to
keep water from the Hudson River out.
• Construction work on the North Tower began in August
1968 with construction beginning on the South Tower
by January 1969.
• Extensive use of prefabricated parts for the perimeter
framing and floor truss systems helped speed up the
construction process and reduce costs, while providing
greater quality control.

38. • Bathtub refers to the underground foundation area at the site of the World Trade Center and accompanying buildings in
New York City. The term bathtub is something of a misnomer, as the area does not hold any water; rather the purpose of its
design is to keep water out. The name is more so used to describe its shape of a deep basin with high walls, like a bathtub.