Architect Drawings : A Selection of Sketches by World Famous Architects Through History
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Ando, Tadao (1941)<br />
Preliminary design sketch, light slit on the altar, 1987, Church <strong>of</strong> the Light, Ibaraki,<br />
Osaka, Japan, 11.7 8.5in., Felt pen on Japanese paper (washi)<br />
Self-educated, Tadao Ando is one <strong>of</strong> the most widely regarded architects currently working in Japan.<br />
He was born in Osaka, Japan, in 1941, where he established his architectural <strong>of</strong>fice, Tadao Ando<br />
<strong>Architect</strong> & Associates. <strong>Through</strong> his career he has won numerous awards for design, including the<br />
Pritzker <strong>Architect</strong>ure Prize (1995), the Royal Gold Medal from the Royal Institute <strong>of</strong> British<br />
<strong>Architect</strong>s (1997), and the Person <strong>of</strong> Cultural Merit (2003). He has taught in several universities<br />
including visiting at Yale University, Columbia University, and Harvard University, and he holds a<br />
pr<strong>of</strong>essorship at Tokyo University. A few <strong>of</strong> his best known works include: Rokko Housing I, Kobe<br />
(1983); Water Temple, Awaji Island (1991); FABRICA Benetton Communications Research Center,<br />
Treviso (2000); and Sayamaike Historical Museum, Osaka (2001). 2<br />
This page (Figure 8.2) displays preliminary sketches for the Church <strong>of</strong> the Light in Ibaraki,<br />
Osaka, Japan. It was designed in 1987–1988, and underwent construction during 1988 –1989.<br />
It consists <strong>of</strong> a rectangular volume sliced through at a fifteen-degree angle <strong>by</strong> a completely<br />
freestanding wall that separates the entrance from the chapel. Light penetrates the pr<strong>of</strong>ound<br />
darkness <strong>of</strong> this box through a cross which is cut out <strong>of</strong> the altar wall. The floor and<br />
pews are made <strong>of</strong> rough scaffolding planks, which are low cost and also ultimately suited to<br />
the character <strong>of</strong> the space. I have always used natural materials for parts <strong>of</strong> a building that<br />
come into contact with people’s hands or feet, as I am convinced that materials having substance,<br />
such as wood or concrete, are invaluable for building, and that it is essentially<br />
through our senses that we become aware <strong>of</strong> architecture. … [O]penings have been limited<br />
in this space, for light shows its brilliance only against a backdrop <strong>of</strong> darkness. Nature’s<br />
presence is also limited to the element <strong>of</strong> light and is rendered exceedingly abstract. In<br />
responding to such an abstraction, the architecture grows continually purer. The linear<br />
pattern formed on the floor <strong>by</strong> rays from the sun and a migrating cross <strong>of</strong> light expresses<br />
with purity man’s relationship with nature.<br />
The sketch has been rendered with black ink on heavy ( Japanese) paper. The black ink is very<br />
dense in places (such as the crosses), while in other areas it skips <strong>of</strong>f <strong>of</strong> the heavy paper in haste. The<br />
ink shows strong contrast to the white paper and is very definitive. <strong>Architect</strong>s, artists, and authors have<br />
feared the blank page because the first stroke sets the stage for what comes after: the entirely white<br />
paper can be intimidating. The blank sheet expects something pr<strong>of</strong>ound, and any marks stand out<br />
strongly in the vast whiteness. Ando does not erase or scratch out any images, but he finds a blank<br />
space in which to draw. He sketches confidently, allowing the forms to overlap as his ideas flow.<br />
The page contains several sketches in plan and axonometric. One small sketch appears to be a plan<br />
for the organization <strong>of</strong> the pews in the chapel or the processional movement, a rectangle with many<br />
horizontals. The shaded sketches are details showing the thickness <strong>of</strong> the walls and how the light<br />
would glow through the cross opening. The ink used to make the crosses creates a reversal; the wall<br />
was meant to be dark and the cross glowing with light.<br />
The minimal forms tell the story <strong>of</strong> a conceptually strong approach to the light in a small chapel.<br />
In writing about the importance <strong>of</strong> sketches in design process, Ando writes: ‘my sketch[es] usually<br />
help me to clear and refine the initial image and to integrate it with architectural space and details.’<br />
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