Bringing innovative projects to life
with client
close relationship

Ando held his first solo exhibition overseas in 1982 at the invitation of the French Institute of Architects (IFA). After that, he served as a visiting professor at Yale University, Columbia University, Harvard University, etc., and held solo exhibitions at the Museum of Modern Art (MoMA) in New York in 91 and at the Center Pompidou in Paris in 93. . Meanwhile, at the Seville Universal Exposition held in Seville, Spain in 92, he took on the challenge of building one of the world's largest wooden structures. It was about this pavilion that Benetton's founder, Luciano Benetton, contacted us to request that we renovate and revitalize an old 17th century house as the school building for the art school ``FABRICA'' that was scheduled to open in Treviso, Italy. This happened while I was in Seville.

In 2001, Armani/Teatro was completed in Milan. In the same year, he teamed up with French billionaire François Pinault to win an international competition for the Pinault Museum of Contemporary Art, which was scheduled to be built on Île Seguin in Paris. Although this project was canceled just before construction began, his relationship with Pinault deepened, and he was appointed to take charge of the restoration project of three historic buildings in Venice: Palazzo Grassi, Punta della Dogana, and Teatrino. It became.

“Culture is something that is nurtured based on the accumulation of history and people's memories.It is also an important theme for me to modify old buildings and give them new life and revitalize them. ” is the creation of a state where old and new coexist in exquisite balance.The dialogue between old and new that is born there connects time from the past to the present and the future, and breathes new life into the place. The challenge is to create something that doesn't exist."

Ando is currently working with the Pinault Foundation on a project to convert the Bourse de Commerce, a former grain exchange in central Paris, into a contemporary art museum. The project involves inserting a concrete cylinder 1767m high and 10m in diameter into the rotunda (a space with a dome-shaped roof) in the center of a historic building that was completed in 30, reconfiguring the interior space and opening it up. is scheduled for 2020.

``I feel a great responsibility because I am working in Paris, the world's most attractive cultural city, in an area rich in history and culture, sandwiched between its symbols, the Louvre Museum and Center Pompidou.A mature urban culture. The challenge continues today: how can this architecture become powerful and full of life for tomorrow's future?

Lose the vitality of the city and its people
Uniform architecture that has lost its individuality

We have projects not only in Europe and the United States, but also in Asian countries, such as China's ``Shanghai Poly Theater'' and ``Xinhua Red Star International Plaza,'' and South Korea's ``Museum SAN'' and ``Church in the Forest.'' When I asked about the differences between working overseas and working in Japan, I received the following answers:

``For example, I have worked on several projects in Italy, including Venice and Bologna.Although Italy's economy has been in a slump and is on the verge of collapse, I was impressed by how energetic and happy the workers were. On the other hand, in Japan, large companies are prosperous, but I feel that the workers are not energetic.Also, when working overseas, technical problems are unavoidable, and recently, for example, in China. The level of technology has improved surprisingly in just a few years.Of course, Japan's construction technology is still among the best in the world in terms of quality, safety, and schedule management, but the drawback is that it is expensive.

Above all, the biggest problem facing Japan is that architecture has completely lost its individuality. I don't have the strength to appeal for anything. This is because buildings have become prefabricated, and the process of building them is labor-saving. This cannot stimulate the sensibilities of the people who live there, so I think it's no wonder the city and its people lose their vitality.''

To the young people who will lead the next generation
What is the question from Tadao Ando?

There are also concerns about the young people who will lead the next generation. As Ando, ​​who has repeatedly had the experience of reading books and learning, actually visiting various places and experiencing various things, being stimulated by interacting with people in the flesh, and gaining new awareness, It seems that he is also irritated by the negative attitude of young people.

"Unfortunately, I hear that more and more young people don't want to go abroad these days. Is it because of the recession, or is it because the Internet has made it easier to get information about overseas? In any case, considering the world that will become more globalized in the future, I think this reluctance is more important than their language skills and international awareness. I think this is the biggest problem.

I have traveled all over the world and interacted with people from various cultures, and I believe that first-hand experience is the most important thing for a person to grow. Japanese young people are reluctant, but I want them to cross the ocean and experience an unknown world with a sense of urgency that now is the time to live in an international society. By actively learning about the world with curiosity, you will discover more about yourself.”

Ando, ​​who has overcome cancer twice and is now in his late 70s, is becoming increasingly active. The Hyogo Green Network's activities include planting trees with white flowers in the areas affected by the Great Hanshin-Awaji Earthquake, and the activities started in 2000 to create a rich environment for islands in the Setouchi Inland Sea, including Teshima, where there were incidents of illegal dumping of industrial waste. He is also passionate about social contribution activities that involve a variety of people, from experts and business people to the general public, including the activities of the Setouchi Olive Foundation, which carries out tree-planting activities to restore greenery. Finally, we asked him about his future plans, as he says, ``For me, creating architecture and creating forests are synonymous in that they work with a place and bring new value.'' .

“There are limits to what we, as building builders, can do. When we think about environmental issues, the only thing we can rely on in the end is the awareness and sensibilities of the people who live there. If you take the problem as your own and turn that thought into some action, it will become a challenge that is more creative and full of possibilities than anything else. I believe that thinking beyond this is the vision that will be needed in the coming era."

Learn about the challenges of architect Tadao Ando (Part 1)

(Titles omitted)

Tadao Ando
Born in Osaka in 1941. He studied architecture on his own and founded the Tadao Ando Architectural Institute in 1969. His representative works include ``Church of Light,'' ``Pulitzer Museum,'' and ``Chichu Art Museum.'' 1979 Architectural Institute of Japan Award for "Sumiyoshi Nagaya", 1993 Japan Art Academy Award, 1995 Pritzker Prize, 2003 Person of Cultural Merit, 2005 International Union of Architects (UIA) Gold Medal, 2010 John F. Kennedy He has received numerous awards, including the Center Arts Gold Award, the Goto Shinpei Award, the Order of Culture, the 2013 French Order of Arts and Letters (Commandeur), the 2015 Grande Ufficiale of the Italian Star, and the 2016 Isamu Noguchi Award. Held solo exhibitions at the Museum of Modern Art in New York in 1991 and at the Center Pompidou in Paris in 1993. He has been a visiting professor at Yale, Columbia, and Harvard Universities. He has been a professor at the University of Tokyo since 1997 and is currently professor emeritus.
Tadao Ando Architectural Institute　http://www.tadao-ando.com/