Monuments of architecture and creators of the transcendence: Tadao Ando (part 1)
When we see this transmission of Brutalism and particularly what was portrayed by, what many would deem, as the master of concrete Marcel Breuer – to the East, more so Japan in the 1950s and 1960s. It therefor changes the intensity of Brutalism architecture, particularly the stylization of architectural design that transcends time, in other words, due to its reinforced and powerful defining features, it can and has outlasted the connection between time and biology. Which is important to understand in the study of structure that is built to last and it that fixed presence – its endurance becomes a structural wonder, such as the great pyramids. Yet, the Japanese self taught architect Tadao Ando, studied the brutalist masters such as Le Corbusier and he was clearly influenced by the starkness of its austere design which began in the 1950s and spread throughout Europe and America. Ando, who was able to, very quickly in an inherently Japanese way, take an outside influence and define it into his own version of design. Upon viewing these sharp, angular and defiant perspectives of Brutalism, under Ando's eye, he begins to mold and compress these unadorned shapes and in someways soften their form. Into what is defined by his own variant of designing structure with concrete, which can be and is a harsh and unforgiving material. As the Western architects, and the many that came out from witnessing the destruction after World War 2, to which in my opinion, set upon to rebuild structure in an intensified and protective style that challenged, not just the destructive nature of man but also nature its self.
However the same could be said of Ando, who was born in 1941 Osaka, Japan and as child he too would have known destruction. When the city was bombed heavily by the Americans from February 1945 until Japan surrendered in that same year, with over 10,000 civilians who were reported to have been killed in the city of his birth. This, undoubtedly would have lead him to know the reinforced power of concrete, its bunker and protective formation. Moving away from the Japanese traditionalist Nagaya building, while at the same time respecting its simplicity and connection to light and the natural elements. So, this self taught architect, from a war torn country on the verge of massive infrastructure rebuilding after WW2, he then sources the world for influences. Knowing how light can be transformed and managed within concrete shapes. Begins his career in 1969 as an 'architect' at the age of 28. Like his buildings, there is a reflection of Ando's raw determination and endurance – that also in turn sets in place a focused tranquility. Melding the two together, Ando defines the purpose of his creations. Very much like Santoka (d1940), the Zen Hermit and Haiku (poet) said:
“...Go beyond the restrictions of your era, forget about purpose or meaning, separate yourself from historical limitations – there you will find the essence of true art, religion and science.”
And this is possibly the bases for Ando's Row House which was constructed in 1976, a concept design, based off the Nagaya style, but rather than wood and paper, brutally formed concrete slabs encased and protective, but open to natures encroachment – without windows, it becomes an inner world that is both separated and connected to the natural world. Accepting and rejecting its presence simultaneously. It has no heating or electricity, to live there one would be shielded from the outside whilst knowing that the raw elements of natures indifference, as some roofing of this sculptural inspired home are open to the environment, in what Ando viewed, would assist in strengthening the human resolve. Knowing the harshness of life whilst being withdrawn from it, while at the same time also seeing the softness of its existence. Its value which is eternal.
Comments
Post a Comment