Kidosaki House by Tadao Ando is a masterpiece of architecture that incorporates Japanese style and eclectics in built environment along with specific motives pertaining to the natural location of the building. In fact, critics view the talent of Ando in his capability of delineating the natural light as penetrating through the building materials. It is as if the enlightenment which runs across human minds. To be precise, the paper discovers the peculiarities of Kidosaki House. In this respect one should pay special attention to the manner of the architect, his style and philosophy. To say more, the whole idea of Ando’s creation is in the constituent parts which characterize it. It is true, for Kidosaki House is implemented in some peculiar way. Thus, the way a person should understand the architectural design of Kidosaki House is the philosophical and naturalistic.
Tadao Ando is recognized as one of the world’s most influential architects in the twentieth century. This idea is illuminated in the range of his buildings. First of all, it is vital to take a look at the spatial interlocking introduced in the house. It is no wonder that Ando needed to use more space, so that to illuminate more light in it. Interlocking served to make a difference between the “world of Ando” and the outer world. Nute (2004, p. 53) outlines the words of Tadao Ando: “I view as profound the role of natural light, which can speak to us – at any point of our built environment – with remarkable immediacy of “place” and “time.” Hence, the architect fulfilled his main intention in the conceptual performance of Kidosaki House.
Being a self-taught architect primordially, Tadao Ando usually tried to evoke a calling for creativity in him (Hien, 1998, p. 1). Since the very start of his carriers as an architect he leaned to find out the answers on his ideas in measuring the area into specific parts. It means that in Kidosaki House the architect implemented masterly coherent incorporation of threshold conditions between public and private space. Elliptic lines in the exterior and the interior parts only extend the way of how Kidosaki House is destined. It is remarkable that “Ando uses the wall as “territorial delineation,” a separating device to “break the unlimited monotony and random irrelativity” of walls used in the modern urban context, such that “walls… control walls” (Wu, 2006, p. 6). Ando’s adaptation to the architectural style was quite poetic. In this respect he was considered as “concrete regionalist” in using materials which amplified more easthetics than wealth (Wu, 2006).
The main feature of Kidosaki House is in its eclectics and understated elegance. The question is that it repeats the philosophy of Tadao Ando who always paid more attention to natural forms and sceneries. Thus, the building environment he created cannot fail to be addressed to the nature. The architect himself never neglected the essence of natural elements inside and outside the building. His independent thoughts as for the architecture helped him to materialize the scope of features that he initially wanted to include despite the opinions of different schools of architects. Here lies the source of the unquenchable enthusiasm of Ando. When building Kidosaki House, it is apparent that the architect put up his idea in the role of windows in the house. It is clear that Tadao Ando wanted not to solely allow a light to search into the house, but also to incorporate light in terms of the enlightened nature of Kidosaki’s owner (Hien, 1998). Hence, Kidosaki House is best suitable for those seeking for the brightest ideas of living on earth through the essence of light.
Ando uses spatial experience in Kidosaki House, but on a small scale, for he lays more emphasis on inside and outside measurement of the building. Tall thresholds of the house reflect the unity of the building and nature. Additionally, it is a characterization of a man being the main object within the house. Conditions of thresholds make people prepare to be summoned. Providing maximal transparency inside and outside the public area, Kidosaki House seems spacious and incorporated in the poetics of four walls.
The design of Kidosaki House with its square corners accommodated into oval ergonomics fits significantly the Australian landscape and climate. The idea is that the spacious and opened-to-the-outside interior part would complement predominantly sunny days in Adelaide. It is necessary to admit that such buildings as Kidosaki House hare allegedly for places with low density. Among villas, terrace houses, and high-rise towers this building represents the multitude of minimalistic patterns and scholastic context. It would ornament the sceneries in any Australian town or city as its functionality and appropriateness to what people seek in architecture today are obvious. In fact, it is seen that by his architectural thought, Ando makes every observer learn from architecture as such (Inc Icon Group International, 2008). Based on the example of Kidosaki House, it is easy to suppose his talent and an innovative minimalistic thought as righteous for those looking for resilience and relief in life. It is no wonder that the rest of the buildings by Tadao Ando are related to aesthetics of art and purity of religion.
To conclude, Kidosaki house is the masterpiece of Ando’s minimalistic views on architecture. Thus, the way a person should understand the architectural design of Kidosaki House is the philosophical and naturalistic. It is described on the idea of green landscapes and parts of the nature represented obligatory in the area of the house. Drawing measures between public and private parts, the architect is apt at using thresholds of different size. Moreover, he magnified the role of windows which embody light and its positive energy on inhabitants. Summing up, an observer might admit the originality and symbolism of elliptic forms introduced into square corners. It allegedly hints the many-faceted character of Kidosaki House suitable for any kind of people.
Reference list
Hien, PT 1998, Abstraction and Transcendence: Nature, Shintai, and Geometry in the Architecture of the Tadao Ando, Universal-Publishers, New York, NY.
Inc Icon Group International, Osaka: Webster’s Quotations, Facts and Phrases, ICON Group International, Inc., New York, NY.
Nute, K 2004, Place, time, and being in Japanese architecture, Routledge, London.
Wu, X. (2006). Concrete Resistance: Ando in the context of critical regionalism. (P. K. Gutschow, Ed.) Web.