Tadao Ando’s Minimalist Architecture: A Failure to Innovate

Tadao Ando, a revered architect of Japanese origin, has gained vast recognition in the field for notable works like the Chapel on the Water located in Shimukappu and the Church of the Light found just outside Osaka. In America, his recognition stems from landmarks such as the Pulitzer Arts Foundation and the Modern Art Museum of Fort Worth. Phaidon is launching a comprehensive review of Ando’s work this month. Despite the common association with concrete structures and brutalist ethos, epitomized through the movie ‘The Brutalist’, Ando’s minimalist design, inspired by Zen philosophy and the poetic brevity of haiku, reflects tranquility and resilience rather than raw external expressions.

Ando, born in 1941, paralleled the recovery of his homeland from the devastation of World War II. His early stylistic elements were deeply rooted in Japanese heritage, drawing from iconic structures such as the T?dai-ji and Kinkaku-ji temples located in the ancient capitals Nara and Kyoto respectively. Western architectural influences also left a visible mark on Ando’s works, deriving inspiration from Frank Lloyd Wright’s Imperial Hotel in Tokyo and the architecturally significant Yodok? Guest House in Hy?go Prefecture, which was commissioned by Tazaemon Yamamura.

Ando’s creativity extended beyond Japanese confines as he absorbed elements from internationally esteemed architects like Ludwig Mies van der Rohe, Louis Kahn, and Le Corbusier. Although his work heavily reflects the Japanese concept of ‘kane’, serving as a unifying framework that blends different elements to establish order and emphasize the quintessential clean lines and simplicity of Japanese architecture, Ando deviates from this pattern through concepts inspired by his early professional collaborations with artists within the Gutai movement.

The ethos of the avant-garde Gutai art group founded in Osaka in the 1950s shaped some of Ando’s architectural views, particularly the commitment to establishing a unique artistic path without imitating others. This interpretive freedom led to the formation of his own practice in 1968, where his groundbreaking aesthetic combined concrete, wood, water, and light, taking due consideration of the natural landscape.

‘Light and Space’, a new publication outlining Ando’s vision, is a joint venture with photographer Richard Pare. Pare is recognized as one of the few trusted to accurately capture the nuances of Ando’s design ethos. The book explores his holistic design and space utilization approach, offering an intimate glimpse into his architectural philosophy.

Ando’s philosophy strongly resonates with the concept of ‘mu’, a notion of nothingness that may seem abstract in the West. The premise is that unoccupied space and spirit are more consequential than tangible materials. This relationship fortifies what he describes as the aesthetics of reduction, which involve discarding nonessential elements to only preserve what is absolutely necessary. This is his signature technique in forming spatial tension.

His management of compact spaces, as exemplified by the house in Utsubo Park, reflects his philosophy on optimized space utilization and an reverential approach towards nature. The presiding principle is to ensure that architecture maintains a harmonious relationship with the surrounding environment, embodying the belief that the co-existence with nature is fundamental to human life.

This guiding philosophy shapes his designs, inspiring envisage structures that will seamlessly blend into the greenery that will eventually grow around them. Creating spaces that human life inhabits requires an ultimate prioritization of dialogue with nature, which is vital to the integration of the built and the natural environment.

Ando’s work evokes perceptions of brutalist architecture, yet for him, the rationale behind the form, material, and space is paramount. He values the ability to create distinctive structures, working within the popular methods of his era. This is the essence of his design ethos and the origin of the visually engaging aesthetics seen across his portfolio.