8 tadao ando, Naoshima

NaoshimaMan is not a dualistic being in whom spirit and flesh are essentially distinct but a living, corporeal being active in the world. The ‘here and now’ in which this distinct body is placed is the point of departure, and subsequently a ‘there’ appears. Through a perception of that distance, or rather the living of that distance, the surrounding space becomes manifest as a thing endowed with various meanings and values.Tadao Ando, ‘Shintai and Space’, Tadao Ando: Complete Works, London, 1995, ed. Francesco dal Co

¶ The small island of Naoshima is one of almost a thousand Seto Inland Sea islands in southern Japan. According to unwritten sources, the history of Naoshima is practically just as long as the history of the whole of Japan and originates from the 3rd century. Seto Inland Sea was intensively industrialized at the beginning of the 20th century, and there are several industrial plants on Naoshima even today, the largest being the smelting and refining plant of Mitsubishi Materials. Still, coming to Naoshima does not give the impression of a modernized area, although the majority of its less than 4000 inhabitants live from industry. The human activity and heavy industrial impact throughout the years caused severe damage to the

fotografije photographs by

Benesse Foundation Art Site Naoshima, Kagawa, Japan

Maroje Mrduljaš

Tadao Ando (TA)Kaori Ichikawa (KI)Mitsuo Matsuoka (MM)Shigeo Ogawa (SO)Tomio Ohashi (TO)

Tadao Ando

Lee Ufan Museum, Naoshima, Japan, 2010

(SO)

Muzej Lee Ufan, Naoshima, Kagawa, Japan, 2010.

tadao ando, Naoshima

Naoshima

napisaowritten by

Čovjek nije dualističko biće u kojem su duh i tijelo esencijalno zasebni, nego živuće, utjelovljeno biće aktivno u svijetu. ‘Ovdje i sada’ u kojem je to zasebno tijelo smješteno početna je točka da bi se zatim postepeno pojavilo ‘ondje’. Kroz doživljaj te udaljenosti ili, bolje rečeno, kroz življenje te udaljenosti prostor koji nas okružuje manifestira se kao stvar obdarena različitim značenjima i vrijednostima.Tadao Ando, Shintai and space, Tadao Ando, Complete Works,

London, 1995., ur. Francesco dal Co

¶ Nevelik otok Naoshima jedan je od gotovo tisuću otoka unu­trašnjeg mora Seto (Seto Inland Sea) u južnom Japanu. Prema nepisanim izvorima, povijest Naoshime gotovo je jednako duga kao i povijest cijelog Japana i seže u 3. stoljeće. Unutrašnje more Seto već je početkom 20. stoljeća intenzivno industrijalizirano, pa tako na Naoshimi još i danas djeluje nekoliko pogona od ko jih je najveća talionica i rafinerija kompanije Mitsubishi. No, dolazak na Naoshimu ne odaje dojam moderniziranog prostora iako dobar dio od manje od 4000 stanovnika živi od industrije. Zahvaljujući razmjerno toploj i vlažnoj klimi, sli ko­viti brežuljkasti otoci prekriveni su bujnom vegetacijom iako je situacija prije tridesetak godina bila sasvim drugačija. Dva

Umjetnički projekti Benesse fundacije, Naoshima, Kagawa, Japan

arhitektarchitect

10 11oris, number 76, year 2012 tadao ando, Naoshima

Naoshima site plan

(TA)

situacija Naoshima

Benesse House Beach / Park

Benesse House Oval

Benesse House museum

Lee Ufan Museum

Chichu Art Museum

12 13oris, number 76, year 2012 tadao ando, Naoshimaoris, broj 76, godina 2012 tadao ando, Naoshima

14 15oris, number 76, year 2012 tadao ando, Naoshima

island’s vegetation and the impression of the island 30 years ago was completely different. Due to the relatively warm and moist climate, the picturesque hilly islands are covered by lush vegetation. The two larger settlements on the island – the main harbour Miyanoura and the larger, historically most important settlement Honmura – are connected by a small bus, for merely thirty passengers, with a loose schedule. Besides a few modernist public facilities, most of the buildings are low, generally wooden houses with two­eaved roofs and small gardens. Narrow streets, paths and canals meander organically among them like capillaries, and to a Westerner the ambience and buildings may seem tiny, modest, but carefully utilized. Also, it is difficult to read what is old and what is newly constructed because the forms of vernacular architecture, at least according to scale and appearance, have not significantly changed with modernization. Miyanoura and Honmura’s atmosphere is of a neat and peaceful life. If we disregard the traces of modern culture in the form of individual artistic interventions, such as the lonely installation in the form of a red pumpkin visible right from the boat in Miyanoura, it is not immediately evident that Naoshima has been gradually hosting an ever richer collection of artwork and installations since 1989, as well as ambitious contemporary architecture. ¶ In 1985 Tetsuhiko Fukutake, the founder of the mighty Fukutake Publishing Co., Ltd. (today the Benesse Corporation) and Chikatsugu Miyake, the mayor of Naoshima, decided to begin a project to revitalize the island through educational and cultural activities. After his father’s death, Souichiro Fukutake took the lead, and formed his clear vision how to transform the island. In 1989 a children’s camp was opened under the supervision of the architect Tadao Ando, and the first artistic interventions in the public space and nature began appearing. The principal curator of the project, Yuji Akimoto, describes the revitalization of Naoshima, and then the neighbouring islands of Inujima and Teshima, through contemporary culture as ‘rebuilding the uniqueness of a formerly nameless location’. This long­term and continual process has been carried out through the aimed ordering of artwork and building of exceptional architecture. In 1992 the Benesse House was opened as a combination of hotel and museum with a high­quality and heterogeneous collection of newer Japanese and international art. The Benesse House is also Ando’s first large work on the island, that outlined the consistent strategy of designing other museums which followed – the Chichu Art Museum, finished in 2004 and the Lee Ufan Museum, finished in 2010. Ando also designed many other buildings on the island: the extension of the Benesse House – the Oval, then

the hotels Park and Beach, as well as some more assemblies of architectural interventions and artworks distributed all over the Naoshima landscape, that make Naoshima one of Ando’s ‘serial’ projects, like the Rokko housing complex in Kobe. In parallel with the construction of new buildings, the Fukutakes and Tadao Ando conducted a reforestation campaign as an integral part of the revitalization process. On Naoshima Ando had the chance to systematically and gradually develop projects, research topography and natural features in order to select locations, as well as to vary the concepts of the relationship between art and architecture.

Project Strategies ¶ According to Ando, the cultural role of architecture is the affirmation of individual experiences of physical and spiritual existence in the world. But this process is not being realized through the ‘domestication’ of buildings or the accessibility of their spatial concept. On the contrary, it is necessary to establish a distance between the individual and the architecture to be filled with his or her existence in that space. Architecture in the conceptual sense may, therefore, not be ‘literally transparent’ and easily readable, but should be discovered as a process in which an individual maintains an active relationship with the building. Still, a building for Ando may not be an ephemeral, but a permanent participant of the universal development of architectural thought. In his effort to draw the project near to the universal, Ando applies rigorous

Benesse House Museum, Naoshima,

Japan, 1992, sketch by Tadao Ando

Muzej Kuća Benesse, Naoshima, Kagawa, Japan, 1992.

Benesse House Museum, Naoshima, Japan, 1992

(MM)

oris, broj 76, godina 2012 tadao ando, Naoshima

Benesse House Museum, Naoshima, Japan, 1992

Muzej Kuća Benesse, Naoshima, Kagawa, Japan, 1992.

glavna mjesta na otoku – glavno pristanište Miyanouru i ve­će, povijesno najznačajnije naselje Honmuru povezuje ma leni autobus koji prometuje u rijetkom ritmu i u koji jedva sta ne tridesetak putnika. Uz nekoliko modernističkih zgrada s jav­nim sadržajima, većina gusto izgrađenog tkiva čine niske, uglav­nom drvene kućice sa dvostrešnim krovovima s male nim vrto­vima. Između njih poput kapilara organski meandriraju uske ulice, puteljci i prolazi, a zapadnjaku se čini da su ambijenti i građevine majušni, skromni, ali i pažljivije i briž lji vije iskorišteni. Također, teško je iščitati što je staro, a što novoizgrađeno jer se obli ci vernakularne arhitekture, barem u mjerilu i dojmu, ni­su znatnije promijenili dolaskom modernizacija. Miyanoura i Hon mura odišu ozračjem urednog i mirnog života i ako se izuz­mu tragovi suvremene kulture u vidu pojedinih umjetničkih intervencija, poput usamljene insta la cije u obliku tikve crvene bo je, uočljive odmah po iskrcaju s broda u Miyanouri, nije od­mah očito da Naoshima još od 1989. postepeno udomljuje sve bogatiju kolekciju umjetnina i insta lacija, kao i ambicioznu suv re menu arhitekturu. ¶ Godine 1985. Tetsuhiko Fukutake, osni vač moćne Fukutake Publi shing Co., Ltd. (danas Benesse Corporation) i Chikatsugu Miyake, gradonačelnik Naoshi me odlu čili su započeti projekt revitalizacije otoka putem edu ka­cijskih i kulturnih aktivnosti. Soichiro Fukutake nakon očeve smrti preuzima vođenje akcija i kreira jasnu viziju projekta. Go­dine 1989. otvoren je dječji kamp pod supervizijom arhitekta Tadaa Anda i na otoku se počinju postavljati i prve umjetničke

in ter vencije u javnom prostoru i prirodi. Glavni kustos pro­jek ta Yuji Akimoto opisuje revitalizaciju Naoshime, a zatim i susjednih otoka Inujima i Teshima, putem suvremene kulture kao ‘ponovnu izgradnju je dinstvenosti nekad bezimenog mjes­ta.’ Taj dugoročni i kon tinui rani proces provodi se ciljanim na ru­čivanjem umjetničkih radova i izgradnjom izuzetne arhi tekture. Godine 1992. otvo rena je kuća Benesse (Benesse Hou se), spoj hotela i muzeja sa žanrovski eklektičnom, no vrlo kva li tetnom kolekcijom novije japanske i svjetske umjetnosti. Be nesse House ujedno je i prvi veliki Andov rad na otoku kojim je i zacrta na konzistentna strategija projektiranja ostalih muzeja ko ji su uslijedili – Chichu Art Museum dovršen 2004. te Lee Ufan Museum dovršen 2010. godine. Ando izvodi i više drugih zgrada na otoku: proširenje Benesse Housea – Oval, zatim hote­le Park i Beach, te više sklopova arhitektonskih intervencija i umjetničkih djela razmještenih diljem pejzaža Naoshime, što Naoshimu čini jednim od Andovih ‘serijskih’ projekata poput stambenih kompleksa Rokko u Kobeu. Uz izgradnju, Fukutake i Ando proveli su i opsežnu akciju pošumljavanja kao integralni dio procesa revitalizacije. Ando je u Naoshimi imao priliku sus­tav no i postepeno razvijati projekte, istraživati topografiju i pri rodne datosti kako bi odabrao mjesta za gradnju, te varirati koncepcije odnosa između umjetnosti i arhitekture.

Projektne strategije ¶ Prema Andu, kulturna je uloga arhitekture afirmacija pojedinčeva iskustva tjelesnog i

Muzej Kuća Benesse, Naoshima, Kagawa, Japan, 1992., skica:

Tadao Ando

(MM) (ki)

16 17oris, number 76, year 2012 tadao ando, Naoshima

spatial geometry, as well as the reduction of the building to the minimal set of ‘abstract’ materials and forms. ¶ The precision of the project, solidity of performance and the robustness of construction elements emphasize the materiality and the ‘reality’ of architecture and thus confirm its relationship with the human body. On the other hand, the uniqueness, simplicity and particularity of the effects the building offers, rely on imaginative spatial organizations and the unusual use of spatial elements. Therefore, the architecture sets a kind of a challenge and also certain requirements for the individual faced with the abandonment of known patterns. The individual is practically forced to reflect and sharpen his relationship with the environment and reality. Since Ando’s architecture speaks to both the spiritual and the physical, it offers a fullness of existential experience surpassing the visual perception. In this way, the distantness of architecture enables the individual to realize his various affinities and potentials. ¶ Based on these premises, he is developing project strategies on Naoshima to establish relationships between phenomena usually considered opposites: between natural and artificial topography, between art and space, between the body and the building. Ando insists on the integrity and inseparability of those phenomenological pairs. At the same time, each phenomenon maintains its integrity so that a network of their various, but legible interrelationships is established. This network is a whole in which space, nature and art play equally important roles, support and emphasize each other. ¶ Ando’s works on Naoshima, as well as his other works, are connected by a series of project design procedures: serial spatial sequences, discontinuities between spaces, authoritarian linear routes branching into multiple connections between the spaces, including or precluding nature from a certain scene. The space is generally defined by concrete, large walls, but due to their smoothness, they react to the light and the environment. These procedures were consequently carried out in all projects, but each with specific features depending on the project task, as well as the location. ¶ In the development of artistic and architectural interventions on Naoshima there was no ‘urban planning’, and the projects were conditioned by the fact that the area was protected as a nature park. Ando’s constructions stretch along the coast and none of the museums was placed as a ‘house/object’ in the nature, but rather integrated into the topography. This integration is not mimicry because the strict geometry and the materiality of architecture emphasizes its artificial origin, even when only the discretely visible.

oris, broj 76, godina 2012 tadao ando, Naoshima

duhovnog prebivanja u svijetu. No, taj se proces ne ostvaruje putem ‘udomaćenosti’ građevine ili pristupačnosti njene pros torne zamisli. Naprotiv, između pojedinca i arhitekture potrebno je uspostaviti udaljenost koju on ili ona ispunjava proživljenim bivanjem u prostoru. Arhitektura zato ne može u kon ceptualnom smislu biti ‘doslovno transparentna’ i jednos­tavno čitljiva, nego se mora otkrivati kao proces u kojem pojedinac uspostavlja aktivan odnos prema građevini. No, građevina za Anda ne može biti efemerna, nego je trajni su dio­nik univerzalnog razvoja arhitektonske misli. U tom nas tojanju približavanja projekta univerzalnome, Ando pri mje nju je rigo­roznu prostornu geometriju te redukciju gra đevine na mi ni­malni skup ‘apstraktnih’ materijala i oblika. ¶ Projektantska pre ciznost, solidnost izvedbe i robusnost građevnih elemenata nag lašava materijalnost i ‘realnost’ arhi tekture i time se učvršćuje njen odnos prema ljudskom tijelu. S druge strane, je dinstvenost i posebnost učinaka ko je građevina pruža oslanja se na imaginativne prostorne organizacije i neuobičajeno ko­rištenje prostornih elemenata, a arhitektura postavlja svo­jevrsni izazov, pa i određeni napor pred pojedinca koji je suo čen s napuštanjem poznatih obrazaca i gotovo je prisiljen na refleksiju i izoštreni odnos prema okolišu i stvar nosti. S obzirom na to da se Andova arhitektura obraća i duhovnom i tjelesnom, ona pruža puninu egzistencijalnog iskustava koje nadilazi vizualnu percepciju. Tako distanciranost arhitekture omogućuje pojedincu da ostvari svoje raznolike afinitete i potencijale. ¶ Na temelju tih premisa, Ando na Nao shimi razvija projektantske strategije koje uspostavljaju veze između fenomena koji se uobičajeno smatraju oprečnima: izme đu prirodne i artificijelne topografije, između umjetnosti i pros­tora, između tijela i građevine. Ando inzistira na cjelovitosti i nedjeljivosti tih fenomenoloških parova. Istovremeno, svaki fenomen zadržava svoj integritet, pa se uspostavlja mreža nji­hovih raznorodnih, no jasno čitljivih međuodnosa. Ta mreža čini cjelinu u kojoj prostor, priroda i umjetnost igraju jednako važne uloge, međusobno se podupiru i potenciraju. ¶ U razvoju umjetničkih i arhitektonskih intervencija na Naoshimi nije pos tojao ‘urbanistički plan’, a projektiranje je uvjetovano či­nje nicom da je područje zaštićeno kao park prirode. Andove gradnje protežu se u obalni potez, a ni jedan od muzeja nije postavljen kao ‘kuća/objekt’ u prirodi, nego su oni integrirani u topografiju. Ta integracija nije mimikrična jer stroga geometri­ja i materijalnost arhitekture naglašava njeno artificijelno po­rijeklo, čak i kada je sasvim diskretno vidljiva. Andove radove na Naoshimi, kao i u njegovim drugim djelima, povezuje niz projektantskih postupaka: nizanje prostornih sekvenci, diskontinuiteti između prostora, autoritarne linearne rute

Benesse House Museum, Naoshima, Japan, 1992

(MM)

Muzej Kuća Benesse, Naoshima, Kagawa,

Japan, 1992. + 1 level plan

± 0 level plan

­1 level plan

­2 level plan

tlocrt nivoa + 1

tlocrt nivoa ± 0

tlocrt nivoa ­1

tlocrt nivoa ­2

18 19oris, number 76, year 2012 tadao ando, Naoshimaoris, broj 76, godina 2012 tadao ando, Naoshima

detailed drawing

detaljni prikaz

Muzej Kuća Benesse, Naoshima, Japan, 1992.

Muzej Kuća Benesse, Naoshima, Japan, 1992.

Benesse House Museum, Naoshima,

Japan, 1992

(KI)

Benesse House Museum, Naoshima,

Japan, 1992

(KI)

20 21oris, number 76, year 2012 tadao ando, Naoshima

Sequentiality – Approach Paths, Relations of the Building, Topography and Nature ¶ In all the mu­seums on Naoshima Ando designs long approach paths to buildings, with rotational trajectories. This process serves as a psychological preparation and a gradual passage from the world of nature to the world of architecture, and it is familiar from numerous other projects of Ando’s. The Benesse House is revealed through a steep climb up a hill, then a tour around a long free­standing stone wall, at the end of which one sees only a portion of the building’s entrance. The paths through the building are various and equally valid; not one vertical communication has priority. The interlacing of stereotomic elementary volumes creates a complex spatial configuration which is never revealed as a whole, but sequentially, and that is also true of the relation to the topography. The interior is expanded towards various outside spaces, while the relationship with nature is always carefully controlled and graded, from the introverted atrium in the basement, through the yard partially framed by walls, to the terraces open towards the sea. The Benesse House is connected by cable car with

the Oval, the hotel’s annex with rooms around an intimate inner atrium with a pool. ¶ The Lee Ufan Museum stands out as an accent in the landscape defined by a tall vertical spike which is a part of an Ufan installation and a long outer wall as a carefully constructed horizontal ‘cut’ in the topography. The artificiality and the sternness of the composition contrast with the landscape, but the spatial distribution of the museum remains hidden. The free­standing wall is situated vertically on the hill and leads to the stairway and the valley. It directs movement through the plateau with Ufan’s installations and towards the gap in the outer wall. A narrow, high passageway follows, meandering without suggesting an ending to the visitor, but encouraging him to move on. The passageway ends at a covered entrance space with dimmed light leading to the spacious atrium with a Lee Ufan installation. The atrium offers the visitor the chance to stop and contemplate before entering the museum’s interior. The entrance sequence is discontinued, every spatial segment in the sequence is revealed suddenly and as a separate element. ¶ The Chichu Art Museum is probably the most complex movement sequence that Ando

oris, broj 76, godina 2012 tadao ando, Naoshima

kretanja koje se granaju u višestruke veze između prostora, uključivanje ili isključivanje prirode iz određenog prizora. Pros tor je uglavnom definiran betonskim zidovima koji su kor pulentni, ali uslijed glatkoće reagiraju na svjetlo i okoliš. Ti postupci konzekventno su provedeni u svim projektima, no svaki od njih nosi svoje specifičnosti u ovisnosti o projektnom zadatku, kao i o mjestu na kojem su nastali.

Sekvencijalnost – pristupne putanje, odnos gra đe­vi ne, topografije i prirode ¶ U svim muzejima na Na o­shi mi Ando projektira duge prilaze građevinama s rota cija ma putanje kretanja. Taj proces služi kao psihička priprema i pos­te peni prijelaz iz svijeta prirode u svijet arhitekture i poz nat nam je i iz brojnih drugih Andovih projekata. Benesse House otkriva se strmim usponom uz brijeg, a zatim obi laskom oko du goga slobodnostojećega kamenog zida iza kojeg se uočava tek dio ulaznog segmenta zgrade. Putanje kre tanja kroz zgra­du raznolike su i jednakovrijedne, a ni jedna vertikalna ko­mu nikacija nema prioritet. ¶ Prožimanja stereotomskih ele­mentarnih volumena tvore složenu pros tornu konfiguraciju

koja se nikada ne otkriva kao cjelina nego sekvencijalno, što vrijedi i za odnos prema topografiji. Interijer se proširuje prema različitim vanjskim prostorima, pri čemu je odnos prema priro­di uvijek brižljivo kontroliran i gradiran, od sasvim introvertnog atrija u suterenu, preko dvorišta koje djelomice uokviruju zi dovi, do terasa s kojih se otvara pogled prema moru. Benesse House uspinjačom je povezana s Ovalom, aneksom koji udomljuje hotelske sobe razmještene oko intimnog unutarnjeg dvorišta s vodom. ¶ Lee Ufan Museum ističe se kao akcent u pejzažu, definiran visokim vertikalnim šiljkom koji je dio Ufanove insta lacije te dugačkog vanjskog zida muzeja koji se čita kao pažljivo izveden horizontalni ‘rez’ u topografiji. Artificijelnost i strogost kompozicije u kontrastu je prema pejzažu, no pros­torni raspored muzeja ostaje prikriven. Slobodnostojeći zid postavljen okomito na brežuljak vodi niz stubište u udolinu i usmjerava kretanje kroz zaravan s Ufanovim instalacijama prema procjepu u vanjskom zidu. Slijedi uski i visoki prolaz koji u tlocrtu meandrira i posjetitelju ništa ne sugerira njegov kraj, već ga prostor navodi na kretanje. Prolaz završava natkrivenim ulaznim prostorom s prigušenim svjetlom iza kojeg se otvara

Benesse House Museum and Oval, Naoshima, Japan, 1995, sketch by Tadao Ando

Muzej Kuća Benesse i Oval, Naoshima, Japan, 1995.,

skica: Tadao Ando

Benesse House Oval, Naoshima, Japan, 1995

(TA)

Oval Kuća Benesse, Naoshima, Japan, 1995.

22 23oris, number 76, year 2012 tadao ando, Naoshima

has ever realized. The visitors’ path begins at the ticket centre with an ascending path through nature to the edge of the complex. The path continues over the ramp to the entrance carved in a concrete wall behind which the adventure begins, a walk through a meandering promenade of longitudinal and prismatic, open and closed spaces. Narrow corridors lead to a square atrium planted with bamboos and a staircase around it. An intimate and naturally illuminated space with a small bookshop follows, and movement continues through the corridor connected to the roofed ramp. A slim horizontal gap follows the outer wall of the ramp and opens to another, triangular atrium paved by stone. The hallways and the atriums are freely located around the floor plan, so that the angle of motion changes when one passes from one spatial sequence to another. The walls of some hallways are slanted, and the choreography of intermittent climbs and inclines add to the feeling of almost a pilgrim’s descent to the museum’s core. The architecture is experienced exclusively through spatial boundaries, that is, as an ‘inverted object’, because the entire museum is underground. There is no ‘building’, but only the ‘inside’, regardless whether it is interior or exterior space. The geometry of architectural boundaries hosts the differences and changes created by the nature: the sky cut­out scenes change, such as the illumination levels, senses of warmth, wind or moisture. Especially impressive is a visit to the museum when it is raining, because the visitor passes alternately through roofed and open spaces exposed to the atmosphere. In the end, the visitor feels completely separated from the outside world and faces artworks in the order of his or her own choosing.

Space and Art Relationship ¶ The complex approach to the museums does not exhaust the visitor, but rather entices anticipation, so that the climax of the ‘procession’ through the architecture is actually meeting the spaces with artwork. The Benesse House has no conventional monumental hall, but after a modestly dimensioned entrance the paths fork around the central circular space with a lantern, which is also a spatial accent of the museum, a kind of an inner square. There is no common and immediately visible rule to which all the muse­um’s spaces are subject, but they are defined as clean geo­me tric forms, mutually compatible and sequential. Spaces of various proportions, geometries and atmospheres are revealed during the museum tour. In the spirit of the gradual growth of the collection on the entire island, the idea is for the collection in the Benesse House to be created as artists react to the architecture, select spaces for interventions and design works

Oval Kuća Benesse, Naoshima, Japan, 1995.

Benesse House Oval, Naoshima, Japan, 1995

oris, broj 76, godina 2012 tadao ando, Naoshima

prostrani atrij s Ufanovom instalacijom. Atrij posjetitelju nu­di zaustavljanje i kontemplaciju prije ulaska u unutrašnjost muzeja. Ulazna je sekvenca diskontinuirana, svaki prostorni segment u slijedu otkriva se iznenada i kao zaseban element. ¶ Chichu Art Museum vjerojatno je najsloženija sekvenca kre­tanja koju je Ando ikada realizirao. Od paviljona za prodaju karata putanja započinje usponom cestom koja vodi kroz pri­rodu do ruba kompleksa. Put se nastavlja rampom do ula za urezanog u betonskom zidu iza kojeg slijedi avantura šetnje kroz razlomljenu ‘tunelsku’ promenadu longitudinalnih i priz ma tičnih, otvorenih i zatvorenih prostora. Uski hodnici vo de do kvadratnog atrija zasađenog bambusom oko kojeg je postavljeno stubište. Slijedi intiman i prirodno osvijetljen prostor s malom knjižarom, a kretanje se nastavlja kroz hod nik koji se spaja na natkrivenu rampu. Niz vanjski zid rampe provlači se tanki horizontalni procjep otvoren drugom, trokutastom atriju čiji je pod prekriven kamenom. Hodnici i atriji u tlocrtu su slobodno raspoređeni, a prolazeći iz jedne prostorne sekvence u drugu mijenja se kut kretanja. Zidovi pojedinih hodnika su zakošeni, a osjećaju gotovo hodočasničkog poniranja prema jezgri muzeja doprinosi i koreografija izmjeničnih uspona i spuštanja. Arhitektura se doživljava isključivo kroz granice prostora, odnosno kao ‘inverzni objekt’ jer je taj cijeli muzej ukopan u zemlju. Ne postoji ‘objekt’ nego samo ‘nutrina’, bez obzira na to je li riječ o interijerskom ili eksterijerskom pros toru. Geometrija arhitektonskih granica udomljuje razli­ke i promjene koje stvara priroda: mijenjaju se prizori izreza neba, stupnjevi osvijetljenosti, osjećaji topline, vjetra ili vla ge. Naročito je dojmljiv posjet muzeju za vrijeme kiše jer posje­titelj naizmjence prolazi kroz natkrivene i nenatkrivene pros to­re, potpuno izložene atmosferi. U konačnici, posjetitelj stječe dojam da je potpuno odijeljen od vanjskog svijeta i suočava se s umjetničkim radovima u redoslijedu koji sam odabire.

Odnos prostora i umjetnosti ¶ Složenost pristupa mu­zejima ne iscrpljuje posjetitelja nego potiče iščekivanje, pa je klimaks ‘procesije’ kroz arhitekturu susret s prostorima i umjetničkim radovima. Benesse House nema konvencionalni ceremonijalni hall, nego se nakon skromno dimenzioniranog ulaza granaju putanje kretanja oko središnjega kružnog prosto ra s lanternom koji je i prostorni akcent muzeja, svo­jevrsni unutarnji trg. Ne postoji jedno zajedničko i odmah očigledno pravilo kojem bi bili podređeni svi prostori muzeja, nego su oni definirani kao čisti geometrijski oblici koji se međusobno uklapaju i nadovezuju jedni na druge. Obilaskom muzeja otkrivaju se prostori različitih proporcija, geometrija i atmosfera. U duhu postepenog rasta kolekcije na cijelom detail drawing

detaljni prikaz

(MM) (TO)

24 25oris, number 76, year 2012 tadao ando, Naoshima

in relation to the building. The setup of an artwork influences the way it is experienced. The neon installation by Bruce Nau­man 100 Live and Die stands alone in the circular space with dimmed lights and may be read from various positions, as part of the collective experience. The subtle and atmospheric photographs by Hiroshi Sugimoto Time Exposed show the sea recorded at various locations in the world. These photographs are exhibited in the exterior, like windows on two concrete walls between which the view opens to the sea. Nature framed by architecture and the artworks show the same motif of the sea and are experienced simultaneously. The exhibited photographs fade in the sunlight over time, recording the flow of time. Kan Yasuda researched the spatial characteristics of the deep atrium. He realized the concept of Secret of the Sky in 1996 from his efforts to affirm the view upwards, so he placed two large, rounded marble blocks in the atrium, where the visitor may lie down and watch the sky. It was Yasuda who established various relationships between observers, artworks, nature and architecture, starting from the challenge set by the architecture itself. ¶ While the Benesse House building is the starting point for spatially specific interventions, the Chichu Art Museum is also based on the integration of architecture and art, this time Ando either directly collaborated with the artists, or he designed architecture specifically intended for

oris, broj 76, godina 2012 tadao ando, Naoshima

otoku, predviđeno je da i u Benesse Houseu kolekcija nasta­je tako da kustosi i umjetnici reagiraju na arhitekturu, oda­biru prostore za intervencije i osmišljavaju radove koji su u relaciji sa zgradom. Postava rada u prostoru utječe i na načine njihova doživljaja. Neonska instalacija Brucea Naumana 100 Živjeti i umrijeti (100 Live and Die) stoji sama u središnjem kružnom prostoru s prigušenim svjetlom te se čita iz različitih pozicija, kao dio kolektivnog iskustva. Suptilne i atmosferične fotografije Hiroshi Sugimotoa Razotkriveno vrijeme (Time Exposed) prikazuju more snimljeno na različitim mjestima u svijetu. Te fotografije postavljene su u eksterijeru, poput prozora na dva betonska zida između kojih se otvara pogled na more. Priroda kadrirana arhitekturom i umjetnički ra do vi prikazuju isti motiv mora i doživljavaju se simultano. Foto­gra fije izložene suncu s vremenom blijede, bilježeći pro tok vre mena. Kan Yasuda istraživao je prostorna svojstva du bo kog atrija. Koncepciju rada Tajna neba (The Secret of Sky) izveo je 1996. godine iz nastojanja da se afirmira upravo pog led prema gore te je u atrij smjestio dva velika zaobljena mra­morna bloka na koje posjetitelj može leći i promatrati nebo. Upravo je Yasuda uspostavio raznolike odnose između pro­matrača, umjetničkog rada, prirode i arhitekture, polazeći od izazova koji je postavila sama arhitektura. ¶ Dok je kod Benesse Housea zgrada bila polazište za prostorno specifične

Lee Ufan Museum, Naoshima, Japan, 2010,

sketch by Tadao Ando

Muzej Lee Ufan, Naoshima, Japan, 2010.,

skica: Tadao Ando

Lee Ufan Museum, Naoshima, Japan, 2010

Muzej Lee Ufan, Naoshima, Japan, 2010.

axonometric view

aksonometrija

(SO)

26 27oris, number 76, year 2012 tadao ando, Naoshimaoris, broj 76, godina 2012

Lee Ufan Museum, Naoshima, Japan, 2010

(SO)

Muzej Lee Ufan, Naoshima, 2010., Japan,

section

presjek

Lee Ufan Museum, Naoshima, Japan, 2010

(SO)

Muzej Lee Ufan, Naoshima, 2010., Japan,

28 29oris, number 76, year 2012 tadao ando, Naoshimaoris, broj 76, godina 2012 tadao ando, Naoshima

axonometric view site plan

Chichu Art Museum, Naoshima, Japan, 2004, sketch by Tadao Ando

aksonometrijasituacija

Muzej umjetnosti Chichu, Naoshima, Japan, 2004., skica: Tadao Ando

Chichu Art Museum, Naoshima, Japan, 2004

(TA)

Muzej umjetnosti Chichu, Naoshima,

Japan, 2004.

30 31oris, number 76, year 2012 tadao ando, Naoshima

the works. The Chichu Art Museum houses not a large, but definitely an impressive collection: three artworks by James Turrell, one Walter de Maria installation and a group of Claude Monet’s paintings. These artworks belong to various periods, media and approaches, but still present a consistent whole. ¶ The James Turrell section is opened by an early artwork, Afrum, Pale Blue from 1968, which deconstructs the angle and simulates a cube body formed by a light projection – the light thus acquires a precisely defined three­dimensional form. Then there is the spatial­light installation Open Field. In front of a cut­out in the wall with monochromatic light behind it, there is a steep stairway. The visitors climb the stairway in small groups and discover that the cut­out is the outer rim of a trapezoidal room. The cut­out of pure light, which from the outside appeared as a one­dimensional plane, reveals itself as a space filled with light thick like a liquid. The boundaries

– the walls, the ceiling, the floor and the entire space – are of the same colour, tone and intensity; the space is completely abstract and without shadows. Turrell gives the medium of light a physical quality, he ‘spatializes’ its colour to make it palpable. The third Turrell work is a kind of a counterpoint to Open Field and a part of a series of Turrell works dealing

oris, broj 76, godina 2012 tadao ando, Naoshima

intervencije, Chichu Art Museum također se bazira na inte­graciji arhitekture i umjetnosti, ali ovoga puta je Ando ili ne pos redno surađivao s umjetnicima, ili je projektirao arhi­tek turu posebno namijenjenu radovima. Chichu Art Museum udomlju je brojem neveliku, ali upečatljivu kolekciju: tri ra­da Jamesa Turrella, jednu instalaciju Waltera de Marie, te gru pu slika Claudea Moneta. Riječ je o radovima koji pri­padaju različitim periodima, medijima i pristupima, no čine konzistentnu cjelinu. ¶ Sekciju Jamesa Turrella otvara komorni rani rad Afrum, Pale Blue iz 1968. koji dekonstruira ugao i si mulira tijelo kocke formirano svjetlosnom projekcijom – svjetlo tako dobiva precizno definiran trodimenzionalni oblik. Slijedi prostorno­svjetlosna instalacija Otvoreno polje (Open Field). Ispred izreza u zidu iz kojeg zrači monokromno svjetlo postavljeno je strmo stubište. Posjetitelji se u malim grupama uspinju uza stubište i otkrivaju da je izrez vanjski rub sobe koja se trapezno širi. Izrez čistog svjetla koji se izvana doimao kao jednodimenzionalna ploha, otkriva se kao prostor ispunjen svjetlom gustim poput tekućine. ¶ Granice prostora – zidovi, pod, strop i sam prostor jednake su boje i gotovo sasvim ho mo genog, jednakog tona i intenziteta – to je potpuno apstrak tan prostor bez sjena. Turrell mediju svjetla pridaje

Chichu Art Museum, Naoshima, Japan, 2004

(MM)

Muzej umjetnosti Chichu, Naoshima, Japan, 2004.

section

presjek

Chichu Art Museum, Naoshima, Japan, 2004

(MM)

Muzej umjetnosti Chichu, Naoshima, Japan, 2004.

Muzej umjetnosti Chichu, Naoshima,

Japan, 2004., izložbeni prostor Claude Monet

Chichu Art Museum, Naoshima Island,

Japan, 2004, Claude Monet exhibition space

(MM)

32 33oris, number 76, year 2012 tadao ando, Naoshima

34 35oris, number 76, year 2012 tadao ando, Naoshima

centre of the space with a wide stairway, and gilded wooden bars on concrete consoles on the walls. The light comes from gaps on the edge of the space and descends down the walls and bars, while the central overhead light reflects off the sphere. The space is an integral part of the installation and was developed in a caring collaboration between de Maria and Ando. The ambiance is monumental, almost sacral, which is supported by loud echoes of each step or movement. This artwork is probably one of the most hermetic on Naoshima. ¶ The Museum’s highlight is the Monet room as one of the most beautiful exhibition spaces the author of this text has ever visited. The visitor takes off his shoes and enters an antechamber with a view to Monet’s gigantic diptych with water lilies (2x300x200 cm) dated 1920–26 which belongs to the Le Bassain aux Nymphéas series. Besides the main artwork, there are four more paintings from this period in the dimly lit room. The floor is covered by hand­made small white marble blocks detectable by slippered feet. The proportions and size of the room perfectly match the size of the diptych which may be observed from a distance and from different perspectives. The room’s corners are slightly rounded so that soft natural light flows through the space homogenously to create a magical

atmosphere which perfectly corresponds to the relatively dark, almost abstract painting that Monet painted when he was almost blind. The visitor experiences the diptych in a similar manner as the artist himself during its creation; it is impressive and very different from most museums where strong lights equalize all artworks. As in the Museo Castelvecchio by Carlo Scarpa in Verona, natural light changes during the day and with weather. ¶ Although the visitor is separated from the outside world and focused on art, the constant presence of natural light prevents a sense of isolation. As expected, in the Chichu Art Museum, Ando created controlled but direct contact with the landscape which opens towards the sea from a discretely located small cafeteria. ¶ Lee Ufan is a Korean­Japanese artist and philosopher who was affirmed at the end of the 1960s as one of the members of the Mono­ha group inspired by the Arte Povera movement. In the museum on Naoshima, the exhibition concept locates Ufan’s artwork in various contexts: outside and immersed with nature, framed by architecture or located in intimate rooms. The museum’s space is not identical with the physical boundaries of the building or the immediate surroundings. A tall, slender column is one of the especially visible signs of artistic intervention on Naoshima.

with natural light. The visitor enters the room with an open roof. The cut­out is square, sharp­edged with a white ‘passe­partout’. The sternly defined crossover from the sky to the whiteness of the ceiling leads the observer to concentrate on the observation of constant changes of the sky and the atmosphere. ¶ Walter de Maria’s work Time/Timeless/No Time consists of a large black granite, polished sphere, set in the

Muzej umjetnosti Chichu, Naoshima,

Japan, 2004., Walter de Maria, Vrijeme/

Bezvremensko/Bez vremena

Chichu Art Museum, Naoshima, Japan,

2004, Walter de Maria, Time/Timeless/No Time

(MM) (MM)

oris, broj 76, godina 2012 tadao ando, Naoshima

promatrača na koncentrirano promatranje neprestanih mije­na neba i atmosfere. ¶ Rad Waltera de Marie Vrijeme/Bez­vre mensko/Bez vremena (Time/Timeless/No time) sastoji se od ve like kugle od crnog granita uglačanog do visokog sja ja, postav ljene u središtu prostora sa širokim stubištem te po­zla ćenih drvenih šipki na betonskim konzolama uza zidove. Svjetlo dopire kroz procjepe uz rub prostora i spušta se niz zi dove i šipke, dok se središnje nadsvjetlo reflektira u kugli. Prostor je integralni dio instalacije i razrađen je u brižljivoj suradnji između de Mariea i Anda. Ambijent je monumentalan i go tovo sakralan, čemu doprinosi i snažna zvučna jeka svakog koraka i pokreta, a rad je vjerojatno jedan od najhermetičnijih na Naoshimi. ¶ Vrhunac muzeja je Monetova soba koja je jedan od najljepših izložbenih prostora koje je autor ovog teksta posjetio. Posjetitelj skida obuću i ulazi u predprostor iz kojeg se otvara pogled prema gigantskom Monteovom diptihu s motivom vodenih lopoča Le bassin aux nymphéas (2x300x200 cm), datiranom 1920.­ 1926. Uz glavni rad, u prigušeno osvijet­lje noj sobi nalaze se još četiri slike iz istog ciklusa. Pod je prekri­ven ručno rađenim bijelim mramornim kockama čija se blaga izbočenja osjećaju pod papučama. Proporcije i ve ličina sobe savršeno odgovaraju veličini diptiha i može ga se sagledavati iz

daljine iz različitih perspektiva. Uglovi sobe blago su zaobljeni, pa nježno prirodno svjetlo homogeno teče kroz prostor i stvara čarobnu atmosferu koja savršeno korespondira s razmjerno tamnom, gotovo apstraktnom slikom koju je Monet naslikao kada je već bio gotovo slijep. Posjetitelj sliku doživljava slično kao što ju je sam umjetnik gledao prilikom njenog stvaranja, a dojam je impresivan i sasvim drugačiji od onog u većini mu zeja gdje (jako) osvjetljenje ujednačava sve radove. Kao i u Museo Castelvecchio Carla Scarpe u Veroni, i ovdje se pri­rod no svjetlo mijenja tijekom dana i u ovisnosti o vremenu. ¶ Iako je posjetitelj odijeljen od vanjskog svijeta i fokusiran na umjetnost, neprestana prisutnost prirodnog svjetla sprečava osjećaj izoliranosti. Očekivano, i u Chichu Art Museumu Ando ostvaruje kontrolirani, no neposredni kontakt s pejzažem koji se prema moru otvara iz diskretno smještene kafeterije. ¶ Lee Ufan je korejsko­japanski umjetnik i filozof koji je afirmaciju ste kao krajem 1960­ih kao jedan od pripadnika Mono­ha gru­pe inspirirane pokretom arte­povera. Izložbena koncepcija pos tavlja Ufanove radove u vrlo različitim kontekstima: na ot­vo renom i pretopljene s prirodom, uokvirene arhitekturom ili smješ tene u intimističke sobe. Područje muzeja nije identično s fi zičkom granicom građevine ili njenoga neposrednog

fizičku kvalitetu, ‘uprostoruje’ njegovu boju i čini ga gotovo opipljivim. Treći Turrellov rad svojevrstan je kontrapunkt ra­du Open Field i dio je serije Turrelovih radova koji se bave prirodnim svjetlom. Posjetitelj ulazi u prostoriju s kamenom klupom, postavljenom uza zidove sobe čiji je krov otvoren. Izrez je kvadratan, s oštrim rubom i bijelim ‘paspartuom’. Čvrsto definiran prijelaz od neba prema bjelini stropa upućuje

Chichu Art Museum, Naoshima, Japan, 2004

(MM)

Muzej umjetnosti Chichu, Naoshima, Japan, 2004.

36 37oris, number 76, year 2012 tadao ando, Naoshima

Next to it there are installations made of stone blocks and a steel board. The concrete wall of the museum serves as a horizontal background and an integral composition element, while art, architecture and nature are parts of the entire scene. The long approach is spatially larger than the interior portion of the museum, but in the visit’s script time is also important and not proportional to the premises’ purpose, but rather to the script of the experience of the relationship between art artefacts and architecture. After meeting the stone and metal installations in the nature outside, an installation made of the same materials follows, but is set in the atrium whose architectural configuration is adjusted to this minimalist artwork. The paintings and one multimedia installation are located in the interior assembly in several not especially large rooms lit from above. Visitors enter the last room by taking off their shoes and are encouraged to experience the space and artwork in a meditative way, by sitting on the floor.

Minamidera ¶ A special initiative on Naoshima is the Art Houses Project in the Honmura settlement where five localities and traditional constructions were remodelled to host artwork. Among them is Minamidera which compresses the entire concept of Naoshima and Ando’s work into an essential concept. On a site next to a former temple, Ando constructed a house made of black wood, with a very simple square floor plan, to be the frame for James Turrell’s installation Back Side of the Moon. The house is harmoniously immersed in its surroundings, traditional materials and archetypal forms of rural buildings with two­eaved roofs were used, but due to the simple geometry and the precise, cleansed details it is without doubt a new construction. The entrance is here also from the back, after an approach along the building. Visitors slowly enter the totally dark space at regular intervals and orient themselves by touch. Then they sit in the dark unaware of the fact that there already is discrete light on the front and side walls. Their pupils adjust and widen in approximately ten minutes and the visitors sitting on benches become aware of the blue and orange light, as well as the space that slowly emerges from apparently total darkness. This process of gradual revelation is an example of filling the distance between the individual and the architecture: until the space is perceived, visitors may use this time for themselves and their thoughts, like following and anticipating some unannounced event development. This process of slow, gradual, discrete scene creation is an exciting discovery and it is clear to each individual on an almost intuitive level that the lights are not amplified but that his or her perception is increasing. The visitor has an

oris, broj 76, godina 2012 tadao ando, Naoshima

okoliša. Visok i vitak stup jedan je od posebno uočljivih zna­kova umjetničkih intervencija na Naoshimi, a uz njega su posta vljene instalacije sačinjene od kamenih blokova i plohe čelika. Betonski zid muzeja služi kao horizontalna pozadina i integralni je element kompozicije, a umjetnost, arhitektura i priroda dio su cjelovitog prizora. Dugačak pristup prostorno je opsežniji od interijerskog dijela muzeja, no u scenariju posjeta bitno je vrijeme koje nije proporcionalno namjeni prostora, nego scenariju doživljaja odnosa umjetničkih artefakata i arhi­tekture. Kao i arhitektura, i doživljaj radova je sekvencijalan. Nakon susreta s instalacijama od kamena i metala u prirodi i na ot vorenom, slijedi instalacija sačinjena od istih materijala, no postavljena u atriju čija je arhitektonska konfiguracija uskla­đena s tim minimalističkim radom. Slikarski radovi i jedna multi medijalna instalacija smješteni su u interijerskom sklopu s nekoliko, ne posebno velikih, soba osvijetljenih odozgo. U finalnu sobu ulazi se skidajući cipele, a posjetitelji se potiču da prostor i radove doživljavaju meditativno, sjedeći na podu.

Minamidera ¶ Zasebnu inicijativu na Naoshimi predstavlja Projekt umjetničkih kuća u mjestu Honmura gdje je pet loka­liteta i tradicionalnih gradnji prenamijenjeno kako bi udomili umjetničke radove. Među njima je i Minamidera koja i čitav kon cept Naoshime i Andov rad sažima u esencijalnu koncepciju. Na mjestu bivšeg hrama Ando je izveo kuću od crnog drva sa sasvim jednostavnim četvrtastim tlocrtom koja je okvir za svjetlosnu instalaciju Jamesa Turrella Stražnja strana Mje seca (Back Side of the Moon). Kuća je skladno uklopljena u okol­no tkivo, koristi tradicionalne materijale i arhetipske oblike ruralnih zgrada sa dvostrešnim krovom, no uslijed jednos­tav ne geometrije i preciznoga, pročišćenog detaljiranja ne­dvo smisleno je da je riječ o novoj zgadi. I ovdje je ulaz zao­bi lazan i kući se pristupa sa stražnje strane. U pravilnim in ter valima, posjetitelji sasvim polako ulaze u potpuno mra­čan prostor orijentirajući se dodirom. U dubokom mraku pos jetitelji sjede sasvim nesvjesni činjenice da u prostoriji već postoji vrlo diskretno svjetlo na frontalnoj i bočnim stra­nama. Zjenice se u periodu od desetak minuta postepeno pri­vikavaju i šire, a posjetitelj sjedeći na klupi postaje svjestan plavog i narančastog svjetla i prostora koje izranja iz prividno potpune tame. Upravo je taj proces postepenog otkrivanja primjer ispunjavanja distance između pojedinca i arhitekture: dok se prostor ne nazire ili se tek pojavljuje, posjetitelj se mo že posvetiti i sam sebi i svojim mislima, kao što prati i išče ku­je razvoj događaja koji mu nije najavljen. ¶ Proces pola ga no­ga, neprimjetnog uprizorenja prostora uzbudljivo je otkri će i pojedincu je na gotovo intuitivnoj razini jasno da se ne radi o

Muzej umjetnosti Chichu, otok Naoshima,

Japan, 2004., James Turrell, Otvoreno nebo

Chichu Art Museum, Naoshima Island,

Japan, 2004, James Turrell, Open Sky

(MM)

38 39oris, number 76, year 2012 tadao ando, Naoshima

experience which is teaching him that the perception of the world and his own position in the world are simultaneously physical and spiritual. Turrell’s work with its own meanings, enabled by the building itself, is an enticing turn that precisely describes the intentions of Ando’s approach to architecture. ¶ The contemporary art collection on Naoshima grows in a reasonable rhythm and the community accepts the new situation with pride. The remoteness of the island somewhat assists the sustainability of the project, because the over­population of the ‘culture tourists’ we are used to in large museums of metropolises might destroy the delicate balance between daily life and ‘high culture’, between the universal and the local, the artificial and the nature. Ando’s projects are an especially prominent part of the island’s revitalization process and his responsibility is huge. Still, Ando has accepted the complex task of harmonizing architecture, art and local given features with full awareness and self­confidence which has resulted in some of his most specific works.

oris, broj 76, godina 2012 tadao ando, Naoshima

Umjetnički projekti Benesse fundacije, Naoshima, Kagawa, JapanBenesse Foundation Art Site Naoshima, Kagawa, Japan

pojačavanju rasvjete, nego o njegovoj povećanoj spo sob nos ti percepcije. Upravo zbog postepenosti tog pro cesa i dis kret­nosti slike koja i na kraju djeluje i kao činjenica i kao fan taz­ma koja se može različito tumačiti, suočeni smo s ljepotom pri zora za koji znamo ili osjećamo da je fizički upisan i u na šu rožnicu i u našu mentalnu sliku prostora. Posjetitelj je do­ži vio iskustvo koje ga upućuje na to da je percepcija svijeta i po zicije sebe u svijetu istovremeno i tjelesni i duhovni čin. U jednom poticajnom obratu Turellov rad koji ima i svoja vlas ti ta značenja i omogućen je samom građevinom, dobro opisuje i intencije Andova pristupa arhitekturi. ¶ Kolekcija suvre mene umjetnosti na Naoshimi raste u razumnom ritmu, a zajednica s ponosom prihvaća novu situaciju. Udaljenost otoka do neke mjere pomaže održivost projekta jer bi pre­napučenost ‘kultur­turistima’ na koju smo navikli u velikim muzejima u metropolama mogla narušiti ravnotežu između svakodnevnog života i ‘visoke kulture’, između univerzalnog i lo kalnog, između artificijelnog i prirode. Andovi projekti po­sebno su istaknuti dio procesa revitalizacije otoka i nje go va je odgovornost ogromna. No, Ando je složenost zadatka uskla­đivanja arhitekture, umjetnosti i lokalnih datosti prihva tio s pu nim samopouzdanjem, što je rezultiralo nekima od njegovih najspecifičnijih radova.

Minamidera Art House Project, Naoshima, Japan, 1999

Minamidera Art House Project, Naoshima, Japan, 1999, James Turrell, Backside of the Moon

(TA)

Projekt umjetničke kuće Minamidera, Naoshima, Japan, 1999.

Projekt umjetničke kuće Minamidera, Naoshima, Japan, 1999., James Turrell, Stražnja strana mjeseca

(TA)

Muzej kuće BenesseBenesse House Museumpovršina parcele site area 53 369 m²izgrađena površina built up area 1 775 m²ukupna površina total floor area 3 643 m²projekt project 1988­1990realizacija completed 1990­1992

Projekt umjetničke kuće MinamideraMinamidera Art House Projectpovršina parcele site area 396 m²izgrađena površina built up area 203 m²ukupna površina total floor area 163 m²projekt project 1998realizacija completed 1999

Muzej Lee UfanLee Ufan Museumpovršina parcele site area 9 860 m²izgrađena površina built up area 443 m²ukupna površina total floor area 443 m²projekt project 2007­2009realizacija completed 2009­2010

Oval kuće BenesseBenesse House Ovalpovršina parcele site area 53 369 m²izgrađena površina built up area 693 m²ukupna površina total floor area 598 m²projekt project 1993­1994realizacija completed 1994­1995

Muzej umjetnosti ChichuChichu Art Museumpovršina parcele site area 9 990 m²izgrađena površina built up area 35 m²ukupna površina total floor area 2 573 m²projekt project 2000­2002realizacija completed 2002­2004

autor author Tadao Andoarhitektonski ured architectural office Tadao Ando Architect & Associatesinvestitor client Benesse Holdings, Inc, Naoshima Fukutake Art Museum Foundation