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Working with smooth-as-silk concrete, Ando creates spaces using walls which he defines as the most basic elements of architecture, but also the most enriching. In spite of his consistent use of materials and the elements of pillar, wall and Windows, his different combinations of these elements always prove exciting and dynamic. His design concepts and materials have linked international Modernism to the Japanese tradition of aesthetics.

Shoji(windows) in which it exploit the natural light to create a subdued radiance. An introduction of light into a room can introduce life and liveability. By incorporating zenithal (above viewer) and contrasting light with shadows used for focal points assist in the power of Ando’s work. By moving light into the raw concrete walls it assures high artistic levels behind his work. This is best exampled by the Church of Light in Ibaraki, Osaka, designed by Ando in 18iii.

Light gives objects existence and connects space and form. If a beam of light that is isolated within an architecturally designed space can change the appearance of objects as time changes.

Light patterns were crucial to traditional Japanese Architecture. Architectural mutual relationships are established as the light changes. Even with Japanese Architecture, a person seated in the traditional tea ceremony room can experience endless volume when seated silent and contemplative with the interplay of light and dark.

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The way decorated sliding doors and moveable partitions define one’s sense of living space. The wall is one of the most basic elements of Architecture but when utilised in Ando’s buildings it becomes a ‘territorial delineator’. He uses tall-defined walls, which captures the inhabitants in their own world. Ando defines the wall as a source of power that acts as a border. “They have the power to divide space, transfigure place, and create new demains.” says Ando. Walls are Architecture’s most basic element, but Ando believes they can also be the most enriching. He aims to create a place for the individuals to be at one with themselves without distraction from the surrounding society.

The wall in his buildings can best be viewed using architectural expression; in their plainness they deny symbolism. They are silent which is where its expressiveness lies. His walls often exceed those required for the buildings structural purposes; they often stand alone without load bearing requirements or functional purposes. In some ways Ando’s “walls have begun to resemble paintings”. His walls are meticulously crafted and lacquered with a protective coating; this luminous sheen on the surfaces contradicts their mass. “ The concrete that I used does not give the expressing of solidarity or weight”, Ando in reference to his Rokko housing.

Dialogue of materials is the mainstay of Ando’s attempts to create the space in his designs. The concrete does not have sculptural solidity and weight but it produces light and homogeneous surfaces. The attached separated are finished tom produce smooth surfaces with sharp edges. Concrete is a strong and cool material. When light ids drawn into it, into a tranquil space, it liberates the space and almost makes the walls cease to exist. Ando eliminates all non-essential materials in his design. The interplay of light and dark reveals form and brings richness into Architectural spaces.

Fabricated generally from the hardest materials, Ando’s buildings can appear servere yet at the same time gentle. Ando insists on the highest level of workmanship in casting his walls he makes no effort to conceal the makes of the concrete pour imperfections-these being natural characteristics of its fabrication.

Ando has sensitiveness to the life of materials. Along with knowledge of the natural sense and beauty of this material he empowers the work he designs.

In his stonework at the Naoshima Contempory Art Museumz he uses texture not only for ascetics but sometimes to impart meaning. The ochre rubble walls and stones are in harmony with the surrounding landscape.



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