When the Dojunkai Aoyama Apartments were reborn as Omotesando Hills, I vividly remember seeing the completed building and naturally accepting its existence with a sense of “Oh, this is nice.” That memory remains crystal clear even now.
Rather than being a flashy new structure competing in novelty and grandeur, the building was regenerated as if it respected the history and current environment, the people conducting business there, and the thoughts of those who gather there. The way it expresses meaningful existence and respect for the past was deeply moving and beautiful.
Standing on Western ground, one clearly understands the stark “difference” in urban development between Tokyo and the West. A history of urban renewal where old cities were scrapped and immediately overwritten with new development. I was pleased that Tadao Ando seemed to be speaking out from the cutting-edge city of “Omotesando.”
The author is an amateur unfamiliar with the industry. I have neither the professional perspective to discuss architectural plans nor detailed information, nor am I in a position to know what circumstances surrounded the completion of Omotesando Hills.
Even now, I am not in a position to break this down into its factors and pursue it to its depths, but by structuring the building to recede deeply underground, the height of the building itself is restrained, and the gentle slope inside evokes the streetscape of Omotesando—these are things an amateur like myself could understand.
In that sense, rather than excessive embellishment, it may have been designed with an understated, exquisite recipe, like the work of a skilled chef.
Tadao Ando, who designed such Omotesando Hills.
I went to see “Tadao Ando Exhibition—Challenge—” held as a commemorative exhibition marking 10 years since the opening of the National Art Center.
I visited shortly after opening on a fine weekend. The good weather was meaningful, allowing me to view outdoor exhibits in good condition.
The 550 yen audio guide includes commentary from the architect himself.
Tadao Ando
Tadao Ando is an architect known to all, having designed buildings of all sizes and genres—from tiny residences of just 12 tsubo with a frontage of 2.9 meters to large apartment complexes and museums owned by wealthy collectors.
The exhibition displayed his past works through plans, models, photographs, and videos, treated as if they were historical art pieces.
What particularly captured my attention was the “Makomanai Takino Great Buddha.” The boldly unconventional design has genuine meaning—the idea of converting a negative (difficulty seeing it clearly) into a positive by drawing forth the viewer’s imagination. It has apparently become popular with Asian tourists in recent years. I definitely want to see it once.
The area attracting the most visitor attention was the “Church of the Light,” which was recreated at the same scale as the actual building.
The beauty of light seeping through the cross-shaped opening is beautiful precisely because it is a sacred church space—brilliant yet ephemeral. I was breathless at the powerful force of natural energy that, being unchanging, accompanies human activity.
Is Architecture Art?
But then, is architecture an “art work” deserving to be viewed in a place like the “National Art Museum”?
While buildings are created through imaginative work, they are also products of certain rules—surrounding environment, legal requirements, client requests, and constraints. They are not purely expressions of the architect’s own independence and originality uncompromising with the world. I felt some discomfort seeing someone’s necessity reframed as “art.”
Even so, I sensed the leadership and coordination ability that guides various rules and conditions to completion, and the professional skill of balancing meaning and playfulness.
Architect Tadao Ando possesses the ability to understand the meaning and commitment hidden in the background and surroundings of his architectural works, and the drive to push them toward realization.
“My houses might be somewhat difficult to live in.” The strength and forthrightness with which he can state this boldly contains no artist-like posturing. Perhaps because there is a strong perspective as someone who actually lives in these spaces, the work carries its own persuasive power.
However, I could not find the kind of empathy with beauty, enthusiasm, or impulses that stir the heart—the time to project one’s own feelings—that comes from standing before art works.
도진카이 아오야마 아파트가 오모테산도 힐즈로 새롭게 탄생했을 때, 완성된 건물을 보고 “아, 멋진데”라며 자연스럽게 그 존재를 받아들였던 기억이 아직도 생생하게 남아 있습니다.
새로움이나 화려함의 크기를 경쟁하는 것 같은 새로운 건축물이 아니라, 역사와 현재의 환경, 그리고 그곳에서 일하는 사람들과 모여드는 우리의 마음을 존중하는 듯한 건물로 재생되었으며, 의미 있는 방식과 과거에 대한 존경을 표현하는 모습이 매우 아름다웠고 마음이 움직였습니다.
유럽과 미국의 땅에 서면 명확하게 알 수 있는 것이 도쿄의 도시 개발과 분명한 “차이”입니다. 오래된 도시를 폐기하고 갑자기 도시가 덮어씌워진 도시 재생의 역사. 안도 타다오가 최첨단 거리인 “오모테산도”에서 목소리를 높여주는 것 같아서 기뻤습니다.
필자는 업계에 어두운 외부인입니다. 전문가의 관점에서 말할 수 있는 설계 계획이나 상세한 정보를 갖고 있지 않으며, 오모테산도 힐즈의 준공에 어떤 경위가 있었는지 알 수 있는 입장도 아닙니다.
지금도 그것을 인수분해해서 추구하는 입장은 아니지만, 지하에 깊숙이 파고들어간 구조로 건물 자체의 높이를 억제했거나, 내부의 완만한 경사로가 오모테산도의 가로를 연상시키는 점 등, 외부인으로서도 이해할 수 있는 것들이 있었습니다.
그런 의미에서, 과한 연출은 아니지만, 솜씨 좋은 요리사처럼 은근한 절묘한 균형의 레시피로 설계되었을지도 모릅니다.
그런 오모테산도 힐즈를 손으로 직접 만든 안도 타다오.
국립신미술관의 개관 10주년 기념 전시로 개최된 “안도 타다오전-도전-“을 보러 다녀왔습니다.
