Tadao Ando is a self-taught Japanese architect known for his use of concrete, light, and simple geometric forms. The document summarizes two of his works: the Nariwa Museum of Art and the Church of Light. For the museum, Ando used concrete walls and an artificial pond to connect the building to the natural landscape. The Church of Light consists of three intersecting concrete cubes divided by an angled wall, using light from a cruciform window to define the worship space. Ando's works emphasize materials, light, and a philosophical emphasis on emptiness that invites spiritual reflection.

1. TADAOANDO
MARIYAM SHAJI Semester 5 Roll No 1423.

2. CONTENTS.
Introduction.
Design Features.
CASE EXAMPLES Nariwa museum of art.
CASE EXAMPLES Chruch of light.

3. “I believe that the way people live can be directed a little by architecture.”
Is a Japanese architect born on
September 13, 1941.
Has led a storied life working as a
truch driver and boxer prior to settling
on the profession of architecture.
Despite never having taken formal
training in the field.
(A self-taught architect)
Tadao andoINTRODUCTION TO
.Tadao Ando’s constancy of form gives his work merit and
timeless appeal.
clean line, and sheer simplicity.
Ando orchestrates masses and voids
The structure is firm, tranquil, and even a bit mysterious.
There are no irrelevant ornaments.
Avoids direct entry to the interior
Creates a kind of hierarchical approach by using paths,
pillars, walls and colonnades
TADAO ANDO’S ESSENCE OF STYLEINTRODUCTION.

4. FEATURES OF DESIGNS.

5. Akira SakomotoPulitzer foundation for the arts
"In all my works, light is an important controlling factor,"
Tom Ford Ranch
TADAO ANDO : ARCHITECT OF LIGHT
Church of lightChichu art museum Koshino houseSunday school
1

6. Chichu art museum Water temple
I do not believe Architecture has to speak too much. It
should remain silent and let nature in the guise of
sunlight and wind.
WHAT TRULY INSPIRE US ABOUT ANDO
His respect for nature was integral to his work ethic and rather than hindering him it pushed his work to new heights of greatness.
Water tampleChurch on water Noshino hotel
We borrow from nature the space upon which we build
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7.  His design concepts and materials have a crucial role in the aesthetics of his work.
 Honesty of materials.
 Working with smooth-as-silk concrete with the thin, fragile transparency of glass
 The ruggedness of steel complete his palette from which he paints
 He does not veneer, rather he uses the brutal beauty of concrete formwork to texture his
buildings, inside and out.
Azuma HouseModern art museum
EXTENSIVE USE OF CRUDE MATERIALS.3.

8. Garden of Fine Arts Church of Light
Chikatsu-Asuka Water templeSuntody museum
GEOMETRIC PURITY4.

9. Churchoflight
Suntory museum
Watertemple
Work with bold form like rectangular, square, circle
INTERLOCKING & OVERLAPING5.

10. CASE EXAMPLE.

11. NARIWA MUSEUM OF ARTY E A R S O F C O N S T R U C T I O N : 1 9 9 2 - 1 9 9 4
A museum dedicated to impressionist painter Torajima Kojima.

12. Nariwa museum of Art_Okayama , Japan
View to the art museum from the main road with Glass wall concept.
MUSEUM

13. CONCEPT AND MATERIAL
NARIWA MUSEUM.
This work again using reinforced
concrete to neutralize the importance of
the building and to give elevate the
natural landscape.
The approach is a bit of a labyrinth, that
encourages visitors to notice the
attractiveness of the mountain landscape.
An artificial pond being the link that
provides continuity and fluidity to this
design.
Using reinforced concrete, the edifice
feels made from an authentic material.
Ando has shown that the use of concrete
allows multiple formal and structural
variants.

14. JOINERY
Bold interlocking between build units .
Usage of pure geometric shapes is easily seen in the design.

15. ENTRY_ NARIWA MUSEUM.
Barrier like facade at entry no openingsNo direct entry to interior
Access to the museum is via an entrance ramp that leads
visitors on a path upward and away from the street and
over an artificial pond created in the mountainside.

16. OPENINGS
Wall window
Through the large openings, the interior of the space can
commune with the landscape

17. SPATIAL RELATIONSHIP
RELATION
BETWEEN
INDOOR AND
OUTDOOR
SPACE.
ADJACENT
SPACES _ interior
and exterior.
SEATING with wall around and opening to sky
above .
Interaction between water body and enclosed space .

18. SEMI OUTDOOR SPACES
“Light: the creator of relationships that constitute the world… continually re- invents the world” -ANDO

19. WATER-COURT
A water-court is an above-defined courtyard filled with water instead of dry
ground.
In Nariwa museum courtyard is partially enclosed by a natural slope, by the
surrounding landscape close-by and by artificial pond along side surfaces of
concrete walls.

20. SCALE AND PROPORTION
Scale:Monumental
Proportion:StructuralandManufactured

21. CHRUCH OF LIGHT.
MODERN ARCHITECTURE.

22. The Church of the Light (sometimes called the "Church with Light") is the main chapel of the Ibaraki
Church, a member church of the United Church of Christ in Japan.
It was built in 1989, in the city of Ibaraki, Osaka Prefecture. This building is one of the most famous
designs.
In 1999, the main building was extended with the addition of a Sunday School.
CHURCH OF LIGHT JAPAN.
 Concrete usage.
 Inclined wall.
 Geometric Forms.
 Concept of light.
 Creation of emptiness in
the interior.
 Walls _ separating
exterior environment.
CHRUCH OF LIGHTFORM.

23. The Church of the Light is a small structure on the corner
of two streets at Ibaraki, a residential neighborhood.
It is located 25 km north-northeast of Osaka in the
western foothills of the Yodo valley railway corridor. The
church has an area of roughly 113 m² (1216 ft²): about
the same size as a small house.
The church was planned as an add-on to the wooden
chapel and minister's house that already existed at the
site.
The Church of the Light consists of three 5.9m concrete
cubes (5.9m wide x 17.7m long x 5.9m high) penetrated
by a wall angled at 15°, dividing the cube into the chapel
and the entrance area. One indirectly enters the church by
slipping between the two volumes, one that contains the
Sunday school worship hall.
The benches, along with the floor boards, are made of
re-purposed scaffolding used in the construction.
A cruciform is cut into the concrete behind the altar, and
lit during the morning (as it is facing east).
CONSTRUCTION AND STRUCTURE.
MATERIAL AND GEOMETRY.
SITE .
Overlapping and Inter locking of

24. The space of the chapel is defined by light, the strong
contrast between light and solid.
In the chapel light enters from behind the altar from a
cross cut in the concrete wall that extends vertically from
floor to ceiling and horizontally from wall to wall,
aligning perfectly with the joints in the concrete
Tadao Ando often uses Zen philosophies when
conceptualizing his structures. One theme he expresses
in this work is the dual nature of existence.
One feature of the interior is its profound emptiness.
Many who enter the church say they find it disturbing.
The distinct void space and absolute quiet amounts to a
sense of serenity. For Ando the idea of 'emptiness' means
something different. It is meant to transfer someone into
the realm of the spiritual. The emptiness is meant to
invade the occupant so there is room for the spiritual to
fill them.
ARCHITECT OF LIGHT.
CONCEPT AND PHILOSOPHY

25. idolization of the reinforced concrete wall. The importance given to walls
is a distinct departure from Modernist architecture.
They are usually made of 'in-situ' poured in place concrete. Considerable
care is taken to see that the walls are as perfect as technique will allow.
These walls are thick, solid, massive, and permanent . The main reinforced
concrete shell of the Church of the Light is 15 inches thick.
"In all my works, light is an important controlling factor," says Ando.
"I create enclosed spaces mainly by means of thick concrete walls. The
primary reason is to create a place for the individual, a zone for oneself
within society. When the external factors of a city's environment require
the wall to be without openings, the interior must be especially full and
satisfying.“
"At times walls manifest a power that borders on the violent. They have
the power to divide space, transfigure place, and create new domains.
Walls are the most basic elements of architecture, but they can also be the
most enriching."
ANTO AND HIS WALLS.
ANTO”.

26. THANKYOU