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This article examines the self-thought Japanese architect Tadao Ando's work within the Contemporary Architecture. The objective is not to try to solve the problems of Tadao Ando's architecture. Instead, the objective is to define and problematise the discourse in which Ando is located.

Discourse

The starting point of an architectural problem is to express nature, history, life-style, place through abstraction. Environmental ideology is the discourse that we will seek in Ando's architectural thought. The problematic of this discourse can be identified through the relationships of nature, man, light, geometry and austerity. Amongst the discursive objects lie in Environmental Discourse, architecture, man, light and most important of all nature-man relationship.

Ando intends to integrate human life to nature, as he perceives the two as an intimate association rather than an opposition. His attempt is to overcome the demarcation between outside and inside in order to bring nature back in the architectural places and in order to awaken the spiritual sensibilities within the human being contained in the so-called modern social forms. With such percipience, he assumes that contemporary architecture should have the aim of creating architectural places for the confrontation of people and nature. Having conceptualized nature as the 'divine teacher of all things'. Ando aims to reach 'original form of space' through geometrical abstraction. He says, "My goal has not been to commune with nature as it is but rather to change the meaning of nature through architecture. I believe that when that happens, man will discover a relationship with nature."

Tadao Ando, Atelier in Oyoda, Osaka. Views of light court at 10am, 12noon and 1pm

Objects

The fundamental objects of Environmental discourse are man and nature, but rather than a raw nature, Ando addresses himself to a "superficial nature fragmented and soiled by man." Ando selects light, sky and water as components of nature abstracted by man. However, he claims that different from the first two, light could not be experienced in nature but such a vision is encountered only in architecture.

Mechanisms

According to Ando architectural creation is a critical action against a simple reduction to technical issues, moreover is not merely a simple method of problem solving. It is thought provoking, a meditative exploration towards awakening the human spirit to understand the richness of the world. And architecture presents the nature and its perfect harmony by means of its elements water, wind, light, and sky.

Environmental discourse could be thought within the context of 'artificial mystically integrated into the surrounding natural environment'. And its mechanisms could be sought within the 'Self Enclosed Modern Architecture Toward Universality'. The concept of 'Self-Enclosed Modernity' develops within the 'critical regionalism' and 'rooted culture' of its belonging tradition. According to Frampton, "Ando used black concrete walls to integrate monumental public buildings with the surroundings and at the same time, to extend the foreground into the distance using the traditional Japanese device of shakkei or borrowed scenery." Kawamukai says that Ando also impressed from the Sukiya Culture (Tea House) that has a major influence on pre-modern Japanese Culture. It was Sukiya that raised the sense of respect and care for others and things to an aesthetic level.

Structure

The structure of Environmental discourse is not clear so that one can easily draw the boundaries between its objects. He says a 'transparent logic' permeates the whole or mere geometry. In his discourse, simplicity or austerity can be reached by considering all the given conditions and eliminating all unnecessary parts.

Kawamukai says Ando is ruled by 'geometrical order' of 'irreducible nature' although he reduced nature to geometry and light. This geometrical order consists of arrangement of simple geometric forms such as squares, circles and triangles. The pure order of these simple forms is unified as 'one' shape. Discovering a relationship with natural elements integrates man and nature. He embraces aesthetics in an overlapped condition with the way one lives.

Relations and Effects

After World War II, when old fundamentally feudal family system collapsed in Japan, people's value critic has been changed. At that time, people did not believe in future, they were pessimist and desired to remember the past when man and nature unified as one. Enclosed Modern Architecture developed within the restoration of unity between house and nature that Japanese houses have lost in the process of modernization.

The Japanese tradition to which Ando belongs embraces nature in its dynamic relationship with the reality of human beings. On the other hand, the western consumer culture suffers from lack of tranquility as a result of the industrial urban life. The seeds of the alienation of the western society lie in its mechanical reductions.

That is why Ando is not after fulfilling an architectural function in terms of western perspective. He adopts an understanding of architecture with the guidance of 'shintai' which aims of seizing the body in its dynamic relationship with the world. Within this framework, man bounds geometry with nature.

Some Conclusions

This article was an attempt to examine the environmental discourse of Tadao Ando within the context of architecture. The man-nature relation and integration through history was discussed. The effects of the perception of nature through architecture, which Ando tried to reach within his environmental discourse also discussed.


	tadao ando : yavuz suyolcu : 05122001
	This article examines the self-thought Japanese architect Tadao Ando's work within the Contemporary Architecture. The objective is not to try to solve the problems of Tadao Ando's architecture. Instead, the objective is to define and problematise the discourse in which Ando is located. Discourse The starting point of an architectural problem is to express nature, history, life-style, place through abstraction. Environmental ideology is the discourse that we will seek in Ando's architectural thought. The problematic of this discourse can be identified through the relationships of nature, man, light, geometry and austerity. Amongst the discursive objects lie in Environmental Discourse, architecture, man, light and most important of all nature-man relationship. Ando intends to integrate human life to nature, as he perceives the two as an intimate association rather than an opposition. His attempt is to overcome the demarcation between outside and inside in order to bring nature back in the architectural places and in order to awaken the spiritual sensibilities within the human being contained in the so-called modern social forms. With such percipience, he assumes that contemporary architecture should have the aim of creating architectural places for the confrontation of people and nature. Having conceptualized nature as the 'divine teacher of all things'. Ando aims to reach 'original form of space' through geometrical abstraction. He says, "My goal has not been to commune with nature as it is but rather to change the meaning of nature through architecture. I believe that when that happens, man will discover a relationship with nature." Tadao Ando, Atelier in Oyoda, Osaka. Views of light court at 10am, 12noon and 1pm Objects The fundamental objects of Environmental discourse are man and nature, but rather than a raw nature, Ando addresses himself to a "superficial nature fragmented and soiled by man." Ando selects light, sky and water as components of nature abstracted by man. However, he claims that different from the first two, light could not be experienced in nature but such a vision is encountered only in architecture. Mechanisms According to Ando architectural creation is a critical action against a simple reduction to technical issues, moreover is not merely a simple method of problem solving. It is thought provoking, a meditative exploration towards awakening the human spirit to understand the richness of the world. And architecture presents the nature and its perfect harmony by means of its elements water, wind, light, and sky. Environmental discourse could be thought within the context of 'artificial mystically integrated into the surrounding natural environment'. And its mechanisms could be sought within the 'Self Enclosed Modern Architecture Toward Universality'. The concept of 'Self-Enclosed Modernity' develops within the 'critical regionalism' and 'rooted culture' of its belonging tradition. According to Frampton, "Ando used black concrete walls to integrate monumental public buildings with the surroundings and at the same time, to extend the foreground into the distance using the traditional Japanese device of shakkei or borrowed scenery." Kawamukai says that Ando also impressed from the Sukiya Culture (Tea House) that has a major influence on pre-modern Japanese Culture. It was Sukiya that raised the sense of respect and care for others and things to an aesthetic level. Structure The structure of Environmental discourse is not clear so that one can easily draw the boundaries between its objects. He says a 'transparent logic' permeates the whole or mere geometry. In his discourse, simplicity or austerity can be reached by considering all the given conditions and eliminating all unnecessary parts. Kawamukai says Ando is ruled by 'geometrical order' of 'irreducible nature' although he reduced nature to geometry and light. This geometrical order consists of arrangement of simple geometric forms such as squares, circles and triangles. The pure order of these simple forms is unified as 'one' shape. Discovering a relationship with natural elements integrates man and nature. He embraces aesthetics in an overlapped condition with the way one lives. Relations and Effects After World War II, when old fundamentally feudal family system collapsed in Japan, people's value critic has been changed. At that time, people did not believe in future, they were pessimist and desired to remember the past when man and nature unified as one. Enclosed Modern Architecture developed within the restoration of unity between house and nature that Japanese houses have lost in the process of modernization. The Japanese tradition to which Ando belongs embraces nature in its dynamic relationship with the reality of human beings. On the other hand, the western consumer culture suffers from lack of tranquility as a result of the industrial urban life. The seeds of the alienation of the western society lie in its mechanical reductions. That is why Ando is not after fulfilling an architectural function in terms of western perspective. He adopts an understanding of architecture with the guidance of 'shintai' which aims of seizing the body in its dynamic relationship with the world. Within this framework, man bounds geometry with nature. Some Conclusions This article was an attempt to examine the environmental discourse of Tadao Ando within the context of architecture. The man-nature relation and integration through history was discussed. The effects of the perception of nature through architecture, which Ando tried to reach within his environmental discourse also discussed.