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INFLUENCES BETWEEN JAPAN AND THE WEST IN MODERN ARCHITECTURE
TWO CASE STUDIES ILLUSTRATING SPACE CONCEPTION, DETAILS AND PHILOSOPHY

2
FINE ARTS GARDEN, KYOTO

Concept, Eastern and Western Influence

Floor plan

Longitudinal section

Tadao Ando's building is a combination of traditional Japanese concepts, particularly the Ryoan-ji (open space with perimeter walls and pebble) and Mies van der Rohe's Barcelona Pavilion, where this pebble is covered with water. Proportions are similar - width and length proportion in Ryoan-ji is 1: 2,22, in the Fine Arts Garden is 1 : 2,15.

Like the Ryoan-ji and the Barcelona Pavilion the Fine Arts Garden has also a diagonal vector - this latter is much more pronounced here than in the two predecessors with a strong diagonal communication line (like a kitchen knife in the floor plan.

While in the two former cases the centre is empty, the communication is around it, here the situation is inverted. The visitor is drawn into the middle of the manifest space, but he does not step on it, but walk above, on an elevated passageway.

JAPANESE TRADITION, MODERNISM AND POSTMODERNISM

General view from the entrance

While the two predecessors follow the pronounced horizonatality of Japanese architecture with only one level of action, the Fine Arts Garden involves the vertical in a Western manner, but with certain dislocations.

Moreover, Tadao Ando's "building" contains a clash of two coordinate system in a postmodernist manner exemplifying dualities, fragmentation that was inherent in Japanese architecture on an intellectual level, but expressed via other means. (Traditional eastern and Western architecture alike did not tolerate such an overt riot against the system. The Japanese garden conveyed the meaning of incomprehension of the universe by blocking the view of the whole space, but it was rendered via the natural principle and not the overt manner of postmodernism.

In the Fine Arts Garden in addition to the tranquil water of the Barcelona Pavilion there are waterfalls too.

The free flow of space of its predecessors is replaced with massive reinforced concrete elements that form a central column. Between and around these barriers, however, the space also flows relatively freely - in a wind-like manner as the Japanese would say.

The glass surface interact with the water surface and the visitor encounters reflections from different materials in different angles exemplifying the postmodern condition.

ANDO'S GREAT SYNTHESIS

The building makes u summary of forms from modernism: the main communication is a ramp recalling Le Corbusier's Villa Savoy, the large concrete beams on massive pillars and the water surfaces resemble Luis Barragan's architecture in Mexico, the reflective glass and aluminium refer to Western high tech architecture.

Nevertheless, the open character of the general scheme, the enclosing nature, the unexpected vistas repeat the Japanese architectural heritage.

In addition to modernism, the cylinder also appears as a sign of Tadao Ando's fascination with Classical round temples and other geometrically precise forms of Western architecture.

LUIS BARRAGAN'S INFLUENCE

Luis Barragán: San Cristobal Stable, Pools and House, Los Clubes, Mexico City, 1967-68

Luis Barragán: Los Clubes, Maxico City, 1963-64

Luis Barragán: Luis Barragán House, Tacubaya, Maxico City, 1947

Luis Barragán, the Mexican architect, exerted a significant influence on Tadao Ando in many respects. Here he adopts the motive of double walls, but without the characteristic colours of the Mexican architect.

The Luis Barragán's free-standing walls connected with rectangular beams and the shallow water inspired Tadao Ando when designing his Fine Arts Garden in Kyoto.

The motive of the cross represents Christianity, but for the Japanese usually the West and its ideas. The thin mullion originated from Barragán, but shows up in Arata Isozaki's Gunma Museum near Tokyo and even as a further quotation in James Stirling's Staatsgalerie in Stuttgart.

FALLING WATER AND THE CROSS

The cross and the waterfall is a combination of Western and eastern culture - manifested in terms of material.

Falling water on the upper edge builds a smooth, glass-like surface with slight movements, like a veil in the wind.

Water reaching the bottom, becomes harsh, rough and noisy. Its unity disintegrates and the falling drops become almost solid.

THE LAST JUDGEMENT

Michelangelo Buonar-roti's panting is dis-played between two artificial waterfalls allo-wing views from dif-ferent angles, as visitors move on the walkways in the building (see below). On the entrance they obtain a short who-is-who for the New Testament.

THE LAST SUPPER

Leonardo da Vinci's Last Supper is burnt on large ceramic plates framed with metallic I profiles and put on a pebble surface covered with water.

THE GLASS RAILING

The slightly greenish glass railing leads the visitor through the building. It also gives interesting reflections of spaces or materials. It is in sharp contrast with the irregular surface of the concrete and stone surfaces.

2	FINE ARTS GARDEN, KYOTO Concept, Eastern and Western Influence
	Floor plan Longitudinal section	Tadao Ando's building is a combination of traditional Japanese concepts, particularly the Ryoan-ji (open space with perimeter walls and pebble) and Mies van der Rohe's Barcelona Pavilion, where this pebble is covered with water. Proportions are similar - width and length proportion in Ryoan-ji is 1: 2,22, in the Fine Arts Garden is 1 : 2,15. Like the Ryoan-ji and the Barcelona Pavilion the Fine Arts Garden has also a diagonal vector - this latter is much more pronounced here than in the two predecessors with a strong diagonal communication line (like a kitchen knife in the floor plan. While in the two former cases the centre is empty, the communication is around it, here the situation is inverted. The visitor is drawn into the middle of the manifest space, but he does not step on it, but walk above, on an elevated passageway.
	JAPANESE TRADITION, MODERNISM AND POSTMODERNISM
	General view from the entrance	While the two predecessors follow the pronounced horizonatality of Japanese architecture with only one level of action, the Fine Arts Garden involves the vertical in a Western manner, but with certain dislocations. Moreover, Tadao Ando's "building" contains a clash of two coordinate system in a postmodernist manner exemplifying dualities, fragmentation that was inherent in Japanese architecture on an intellectual level, but expressed via other means. (Traditional eastern and Western architecture alike did not tolerate such an overt riot against the system. The Japanese garden conveyed the meaning of incomprehension of the universe by blocking the view of the whole space, but it was rendered via the natural principle and not the overt manner of postmodernism. In the Fine Arts Garden in addition to the tranquil water of the Barcelona Pavilion there are waterfalls too. The free flow of space of its predecessors is replaced with massive reinforced concrete elements that form a central column. Between and around these barriers, however, the space also flows relatively freely - in a wind-like manner as the Japanese would say. The glass surface interact with the water surface and the visitor encounters reflections from different materials in different angles exemplifying the postmodern condition.
	ANDO'S GREAT SYNTHESIS
		The building makes u summary of forms from modernism: the main communication is a ramp recalling Le Corbusier's Villa Savoy, the large concrete beams on massive pillars and the water surfaces resemble Luis Barragan's architecture in Mexico, the reflective glass and aluminium refer to Western high tech architecture. Nevertheless, the open character of the general scheme, the enclosing nature, the unexpected vistas repeat the Japanese architectural heritage. In addition to modernism, the cylinder also appears as a sign of Tadao Ando's fascination with Classical round temples and other geometrically precise forms of Western architecture.
	LUIS BARRAGAN'S INFLUENCE
	Luis Barragán: San Cristobal Stable, Pools and House, Los Clubes, Mexico City, 1967-68 Luis Barragán: Los Clubes, Maxico City, 1963-64 Luis Barragán: Luis Barragán House, Tacubaya, Maxico City, 1947	Luis Barragán, the Mexican architect, exerted a significant influence on Tadao Ando in many respects. Here he adopts the motive of double walls, but without the characteristic colours of the Mexican architect. The Luis Barragán's free-standing walls connected with rectangular beams and the shallow water inspired Tadao Ando when designing his Fine Arts Garden in Kyoto. The motive of the cross represents Christianity, but for the Japanese usually the West and its ideas. The thin mullion originated from Barragán, but shows up in Arata Isozaki's Gunma Museum near Tokyo and even as a further quotation in James Stirling's Staatsgalerie in Stuttgart.
	FALLING WATER AND THE CROSS
		The cross and the waterfall is a combination of Western and eastern culture - manifested in terms of material. Falling water on the upper edge builds a smooth, glass-like surface with slight movements, like a veil in the wind. Water reaching the bottom, becomes harsh, rough and noisy. Its unity disintegrates and the falling drops become almost solid.
	THE LAST JUDGEMENT
		Michelangelo Buonar-roti's panting is dis-played between two artificial waterfalls allo-wing views from dif-ferent angles, as visitors move on the walkways in the building (see below). On the entrance they obtain a short who-is-who for the New Testament.
	THE LAST SUPPER
		Leonardo da Vinci's Last Supper is burnt on large ceramic plates framed with metallic I profiles and put on a pebble surface covered with water.
	THE GLASS RAILING
		The slightly greenish glass railing leads the visitor through the building. It also gives interesting reflections of spaces or materials. It is in sharp contrast with the irregular surface of the concrete and stone surfaces.