Tadao Ando Biography and introducing his architectural works

Tadoo Ando was born on September 13, 1941 in Osaka, Japan. Ando has mastered architecture as a self-taught person. He was a truck driver for a whilebefore he was seriously involved with architecture . He worked in a carpentry workshop for seven years from his age of 10 to 17 years, often making wooden models of ships and planes; he was able to turn from a carpenter whose shop on the street in front of his house, the traditional Japanese wooden architecture and structure Learn

From the age of 20 years, from 1962 to 1969, his interest in architecture led him to decide to learn the direct architectural tutorial that made him outside Japan to visit temples, monuments and cafes, to Europe, Africa and America is pulling He learned the architecture by going and seeing the real buildings and studying books on architectural affairs such as Le Corbusier, Ludwig Myself in Rohe, Alvar Alto, Frank Lloyd Wright and Louis Can. At the age of 28, before returning to Osaka and opening his office, he worked as a professor at Tokyo, Harvard, and University of Columbia. Tadao Ando is an intermediate between the East and the West, and it uses concrete, though it is an integral part of the modern European movement, to show the aesthetics of the Orient. He began his first architectural practice in Osaka in 1969 and has designed more than fifty architectural projects.Postmodern is the second generation of Japan. His major focus is on the integration of modern forms with the traditional concepts and practices of Japan. More precisely, his goal is to change the meaning of nature from the architectural passage.

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Architectural materials are Tadao Ando, crude concrete, sun, sky, shade and water, or better, space. His emphasis is on the fact that the users of the building should experience and feel the nature of nature, and this is all rooted in the regional tradition of its habitat, Kannasai. The main and contradictory elements of its architecture are order, people and human emotions. In his own architecture, he interconnects and mutually contradicts them, for example, form versus form and space, inside out and nature against geometry. It emphasizes the fascination of space and ignores the charm of the form. He believes that the form reduces the spatial impact and, as a result, limits the attractiveness of the architecture. According to Ando, giving preference to the form means giving a sense of sight to five senses and not paying attention to spatial depth. As a result, he seeks to deny the form to the concept of using simple forms and simple denial and denial of complex forms.

His eight best architectural achievements that can be easily seen include architectural features such as the Church of the Rocco (the Church of the Wind), the Church of the Nativity, the Church of Light, the Temple of Water, the Raw House, the Times Commercial Complex, the Nakano-Shima Museum, the Nao Shima Museum Is. The works that belong to the Unique Architecture category have a pure form, clear design, and spatial ethnicity. This kind of architecture is most often seen in small houses and churches. In these spaces, we are relaxed, reminiscent of the traditional atmosphere of Japanese printers. In this space, based on a rhythm of unity, the whole becomes instantiated. This rhythm, even in light and shadow, is repeated. In dual architecture, Ando applies his own method. In fact, his method has not affected any other architecture.

It is there that end uses an elliptical shape; but in dual architecture, space is based on dynamic force. This force results from the contradiction between form and space. In this type of architecture, unlike a single-form architecture dominated by space, the form and space are of the same value, and this is where the innovations of the endo are well visible and invisible to the viewer. From 1985 onwards, many of his work included pluralism architecture. In this style, there are various forms with different orientations. The focus of the space that existed in the uniquely constructed architecture here is disintegrated and dispersed more and more towards brightness and dynamism. In design, space is composed of different combinations, so the form is visually, lighter and more diffused, so it is possible to see various methods and scales in the works of Tadao.

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