koshino house Architecture culture & history 2 Sem 2

1. Architecture Culture and
History 2 (ARC 60203)
PROJECT: ANALYTICAL ESSAY
ALISHA NIAZALI HIRANI 0314325
MELISSA ANNE MEI HONG LI 0320729
MUHAMMAD NABEEL ALI JOOMUN 0320583
MUHAMMAD MUBARAK 0319984
SAURABHA IYER 0320569

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Topic Page Name
Group introduction 1 Group
1.Spatial organization
1.1 Volume
1.2 Types of organizations
1.3 Circulation
1.4 Light and Shadow
1.5 Referencing
5
6
7
8
8
10
Muhammad Nabeel Ali
Joomun
2.Structure, material and construction
2.1 Design Traits and dictum
2.2 Theme
2.3 Comparative analysis
2.4 Conclusion
2.5 Referencing
11
11
13
15
19
20
Muhammad Mubarak
3.Components
3.1 Structure
3.2 Structural Wall
3.3 Windows
3.4 Light
3.5 Roof
3.6 Conclusion
3.7 Reference
21
23
24
25
25
26
29
30
Alisha NIazali Hirani
4. Massing
4.1 Site context
4.2 Geometry
4.3 Form
4.4 Hierarchy
4.5 Conclusion
4.6 Reference
31
33
34
35
36
38
39
Melissa Anne Mei Hong Li
5. Façade
5.1 His design traits and dictums
5.2 His influences
5.3 Theme
5.4 Comparison
5.5 Conclusion
5.6 Reference
40
41
43
43
47
49
50
Saurabha Iyer
6. Group conclusion 53 Group

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1.0 Introduction to Master Architect
Tadao Ando was born on September 13th
1941 in
Osaka, Japan. Ando had many careers from
being a professional boxer to working as a
carpenter. However, he found his true calling as
an architect. His dedication to this new career was
evident in the fact that he was a self-taught
architect and gained all of his experience through
travel and reading.
Fig 1.0 Portrait of Japanese Architect Tadao Ando
Source: (Phaidon Atlas, 2015)
During the 1970’s and 80’s he worked on designing a series of small scaled residential buildings
in Japan such as the Azuma House and Koshino House. Here, he used beautifully hand
detailed reinforced concrete walls which gave his structures a minimalistic appearance. This
was to become one of his famous signatures and can be seen portrayed in all of his designs
right along his career. Taking inspiration from architect Le Corbusier’s work with concrete, to
many more masters like Frank Loyyd Wright and Louis Khan, Ando brings in his own style and
connects deeply to Japanese architectural space and his culture as a native of Japan.
With his increase in reputation, commissions outside of Japan came his way giving him word
wide reputation. Some of his international works include, The Japanese Pavillion in Spain
(1992), The UNESCO Meditation Space in Paris (1996), The Giorgio Armani Theatre in Millan
(2001) and the Modern Art Museum in Texas (1997-2003).

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Tadao Ando’s constant aesthetic has won him many international awards and is a highly
reputed architect across the globe, which is why he remains as one of Japan’s most favourite
leading contemporary architects of the modern era.
(Ando, 2002)
1.1 Koshino House
• Located at the foot of the Rokko Mountains,
in Ashiya City, east of Kobe.
• Client: Designer by the name of Koshin
• Completed in two phases (1980-81 and
1983-84).
• The Koshino House was originally made up
of two parallel rectangular concrete boxes.
Fig 1.1.1 Aerial view of Koshino House
Source: (Dailyicon, 2012)
• The nothern structure is two-storeys high containing a double height living room, a
kitchen and a dining room on the first floor with the master bedroom and a study on the
second floor.

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• The southern structure consists of six linearly organized children’s bedrooms, a bathroom
and a lobby.
• A tunnel connects the two spaces and lies beneath the exterior stairs of the courtyard.
• In the second phase, a fan shaped extension which now contains the Atelier was added
in 1983.
• One unusual feature of this house is that the visitor approaches it from above, and is fully
aware of the plan of the house, if not its specific function from outside.
(Metcalf, 2011)

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Spatial Organization
By
Muhammad Nabeel Ali Joomun
0320583

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1.0 Introduction
Tadao Ando says that, being a Japanese man, his works consists of Japanese architectural
concepts but with Western methods and materials. The Koshino house uses the two main
concepts of Japanese architecture which is blending with nature and minimalism. The blending
with nature was created by merging the house with the slope of the site. The minimalism comes
from the Zen influence which is greatly used in Japanese designs. Tadao represents this in the
shape, material and spaces used. He used different types of volume for the interior. The
circulation is quite different from usual houses and he changes the mood of the space simply by
using light and shadows.
1.1 Volumes
Three types of volumes are used; double volume, single volume and narrow volume. These are
organised in terms of hierarchy where the place which is mostly used is bigger. The double
volume is used in the living room, the reason for this place to be bigger is because that’s where
the people will spend most of their time, when not sleeping. The next one is the bedrooms and
kitchen which requires a smaller space as single volume. The corridors are used only for
circulation and nothing else are narrower. The Rufer house by Adolf Loos, on the other hand,
uses a constant type of volume for every room, which is the typical single volume. This is
because Adolf didn’t use any specific hierarchy for the volume. The interior of the koshino house
is rather plain without any ornamentation, just a few furniture and the concrete wall is left to its
natural grey colour (no painting or plastering). The Rufer house on the opposite; its walls are
painted and partially covered with varnished wood (having some structures exposed), it has
more furniture than the koshino house and it has a more ‘warm’ feeling. The reason for the
koshino house to be plain is to represent the minimalism concept, where the concrete is left to
its natural colour and texture just like the Zen stones. The space itself inside is made to look

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larger by decreasing the amount of furniture so as to give a feeling of freedom and essence of
living. In the Rufer house, the architect wanted to create a balanced composition by reflecting
the internal organization in the elevation. This gives a tight but comfortable feeling in the interior
which is the same as the details of the elevation. Adolf Loos also reflects the square shape of
the whole building in the spaces of the rooms so that in terms of proportion, it is looks more
square. For the koshino house, the spaces has both square and rectangular which is related to
the volume/hierarchy.
“The room has to be comfortable; the house has to look habitable.”- Adolf Loos
1.2 Types of organizations
The koshino house consists of three parts, two rectangular shape and a curved one. The overall
space of these parts are organized in a linear way where the rooms, living room and study are
proportioned. Then there is a repetition of rooms, with equal dimensions, organized in a grid in
the rectangular block. Each of these rooms have a large window, letting light in, which gives an
illusion that the space looks bigger. The tatami room, next to the series of small rooms, is larger,
but appears lower due to the proportion. It can thus be said that there are three types of space
organization; Square type like the small rooms, rectangular- large and low like the tatami room,
narrow but high like the corridors and finally large and high like the living room. All of these are
guessed proportion according to the human eye. The study is a contrast, having a curved
shape, and the space there is large and appears low. Adolf Loos building designs are organized
in grid and clusters. The units all appears to be square in terms of proportion to the whole
building itself, like the Rufer house. The similarity between Adolf Loos and Tadao Ando’s theory
of space is that the upper floor units doesn’t need to continue the shape of the lower floor units.
1.3 Circulation

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For the circulation, unlike the typical front ground entrance from the road (like the Rufer house),
the koshino house is accessed through the upper floors. This is because of the slope which
covers the lower level of the house partially. Now, going inside, the living room is accessed by
going down the stairs. The transition from the upper room to the living room is like going from a
small space to a larger and open one. This makes the user experience and view the different
scenes and rooms while moving. In the next part of the house there are a series of small room
joined by a narrow corridor. As we walk through the corridor, there is like a repetition of the
circulations to the rooms. At the end of the corridor, there is an open door that connects to the
exterior.There is also a corridor when going to the study. The first circulation is made this way in
relation to the site context where the road is at the top of the slope, thus the entrance should be
at the top also. Adolf Loos placed the rooms that are private on higher level. Therefore when
going up, the user goes from public spaces to more private. From his Raumplan theory, there is
no need for all the rooms to be at the same level or having the same height. Therefore in his
designs, he altered the position and height of the rooms according to hierarchy. From this, he
placed stairs for almost every room in his designs and making the user circulate mostly
upwards/downwards. Tadao’s buildings are mostly flat and levelled with a minimal amount of
stairs, which is used only to move to the next storey. But both of the architects uses storeys for
more possibilities of the spaces.
1.4 Light and shadow
Tadao Ando makes use of another concept for changing the mood of the space; light and
shadows. This is created through gaps in the wall and roof. The wall in the corridor and the
living room has vertical slots. This enables the sunlight to penetrate the house and create a
light/shadow pattern. This gives the space a natural feeling and at the same time an abstract
pattern that varies with the movement of the sun. The roof of the living room and study has a
gap near the edge that lets the sunlight illuminate inside. It gives an effect of serenity when it

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reflects on the smooth, semi glossy, concrete wall of the house. Tadao Ando uses these to
express the sequence of space as a drama of light. There are also large glass windows and
doors that enable more light to come in and create the contrast of light and shadows in the
spaces. Adolf Loos makes more use of artificial light to illuminate the interior. There are large
windows placed in some areas in his designs, but these are more functional unlike Tadao’s
representation of the essence of living.
“Light is the origin of all being. Striking the surface of things, light grants them an outline;
gathering shadows behind things, it gives them depth. Things are articulated around borders of
light and darkness, and obtain their individual form, discovering interrelationships, and become
infinitely linked." – Tadao Ando
From all these concept, the main theme of the architect is achieved in the koshino house. The
emptiness and cleanliness of the space supports perfectly the minimalist concept of the Zen
tradition. The only ornamentation used is the light and shadows. The hierarchal spatial
organization, through the volume, shows the importance of life according to the architect’s
philosophy about minimalism and Japanese tradition. The overall space makes the user feel
comfortable, free and light. The natural penetrating light, the unfinished concrete wall and the
wooden flooring makes the user feel closer to the nature which is the Japanese architecture
concept; blending with nature, together with the Zen tradition where the materials are left to their
original and natural finish.

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1.5 Referencing
 Tadao Ando. (n.d.). BrainyQuote.com. Retrieved June 9, 2015, from BrainyQuote.com Web
site: http://www.brainyquote.com/quotes/authors/t/tadao_ando.html
 Rufer House (- Architecture of the World). Retrievd June 9, 2015 from en.wikiarquitectura
Web site: http://en.wikiarquitectura.com/index.php/Rufer_House
 Metcalf, Taylor. (25 Sep 2011). AD Classics: Koshino House / Tadao Ando. Retrieved June
9, 2015 ,from ArchDaily: http://www.archdaily.com/?p=161522
 Alaa Al Khatib. (12 Mar 2014). Koshino House. Retrieved June 9,2015, from prezi.com:
https://prezi.com/badjlfulknmy/koshino-house/
 Phaidon. (19 Dec 2013). Tadao Ando by Francesco Dal Co. Retrieved June 9,2015, from
arcspace.com: http://www.arcspace.com/bookcase/tadao-ando-complete-works/
 Adolf Loos. (n.d.). BrainyQuote.com. Retrieved June 9, 2015, from BrainyQuote.com Web
site: http://www.brainyquote.com/quotes/authors/a/adolf_loos.html

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Structure, Material and Construction
By
Muhammad Mubarak
(0319984)

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2. INTRODUCTION
2.1 DESIGN TRAITS AND DICTUM
There is little doubt that anyone in the world of architecture will not be aware of Tadao
Ando's work. That work, primarily in reinforced concrete, defines spaces in unique new ways
that allow constantly changing patterns of light and wind in all his structures, from homes and
apartment complexes to places of worship, public museums and commercial shopping
centers. (the Hyatt foundation,2015)
“In all my works, light is an important controlling factor,” says Ando. “I create enclosed
spaces mainly by means of thick concrete walls. The primary reason is to create a place for the
individual, a zone for oneself within society. When the external factors of a city’s environment
require the wall to be without openings, the interior must be especially full and satisfying.” And
further on the subject of walls, Ando writes, “At times walls manifest a power that borders on the
violent. They have the power to divide space, transfigure place, and create new domains. Walls
are the most basic elements of architecture, but they can also be the most enriching.”
No matter how traditional the function, Ando uses modern material and is influenced by
the geometry of Le Corbusier, Louis Kahn and Frank Lloyd Wright. Inspired by Corbusier's
Unites d'Habitation, concrete is his trademark, used in a rough dynamic way where with the
quality of construction dependent on the wooden formwork (Source: Project Japan Architecture
and Art Media Edo to Now, 2009). In his 40 year career, Tadao Ando has become associated
with a single material (gray concrete) used in a singular way (with wooden framework that
infuses the concrete with grain and imperfection). With this method, even the heaviest concrete
walls bear permanent reminders of Japan's ancient woodworking traditions (Source:
Architecture- Celebrating the Past, Designing the future, 1 May 2008).

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Ando experimented with glass block and wood construction as his buildings became larger,
but he repeatedly returned to concrete, finding new ways to dematerialize large volumes, such
as placing them in shallow pools of water or burrowing underground. Despite his identification
with a limited palette, Ando's work is as varied as that of any of his contemporaries (Source:
Architecture- Celebrating the Past, Designing the future, 1 May 2008).. Characteristics of Ando's
work include large expanses of unadorned walls combined with wooden or slate floors and large
windows. Active natural elements, like sun, rain, and wind are a distinctive inclusion to his
contemporary style.
2.2. THEME
2.2.1Structure, Material and Construction
2.2.2 Structure
Fig 2.1: Koshino house (Kiernan May, 28 April 2013)

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Tadao Ando’s design for the Koshino House features two parallel concrete rectangular confines.
The forms are partially buried into the sloping ground of a national park and become a
compositional addition to the landscape. The structure of the Koshino house consist of three
parts , two rectangular and one semicircular. the first two rectangular structures were built in the
year 1980 and the semi circular structure which serves as an atelier was added in the year
1984.
2.2.3 Materials
Another factor worth noting is that there are no decorative elements. The view provided by the
wide openings along with the shadows cast by the narrow openings and skylights, and the
texture of the concrete both combined, operate as the only ornamentation.
All the walls are made of smooth concrete and are free of ornamentation and in their natural
form. Tadao Ando used this material because it is a way to admit light and wind within the walls
and creating a sense of serenity and wide open spaces. Another reason why using this material
is due to industrialization and technological resources to which access is the architect living in a
developed country such as Japan.
Other than concrete glass is widely used to make large windows throughout the house. The
reason for using this material is giving way to large quantities of light and offer a view of the
garden.
2.2.4 Construction
Tadao Ando’s concrete walls are constructed on a block-like grid, each block having six
exposed holes made from the board screws used during the construction of the building. The
texture of the walls are unexpectedly smooth because of the added luminous coating,
contradicting the concrete’s toughness. The reflection of the concrete surface produces the
illusion of a textile surface rather than presenting it as a heavy mass. The way Tadao Ando uses

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concrete is to mold them into light homogeneous surfaces. His intent is not to express the
nature of the material itself, but to use it to establish space.
2.3 Comparative Analysis
2.3.1 Salk Institute
The building I chose to compare with Tadao Ando's Koshino House is Salk Institute, designed
by Louis I. Kahn. The reason of choosing architect Louis I Kahn is because he was one of the
inspiration of Tadao Ando and Ando's use of concrete draws on work by Louis Kahn and Le
Corbusier, with whom he is often compared.
Fig 2.3.1: Salk Institute (www.newswise.com, 22 January 2013)

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2.3.2 Salk Institute and Koshino House comparisons
Progressing from the International Style, Louis Kahn believed buildings should be
monumental and spiritually inspiring. In his design for the Salk Institute, he was successful in
creating the formal perfection and emotional expressions that he so vigorously tried to achieve.
Kahn was commissioned to design the Salk Institute in 1959 by Dr. Jonas Salk, inventor of the
polio vaccine. Salk’s vision included a facility with an inspiring environment for scientific
research, and Kahn’s design decisions created a functional institutional building that also
became an architectural masterpiece.
2.3.2.1 Structure
the Koshino house consists of 3 different blocks, two rectangular prisms and one semicircular
structure which are all connected through a common passage. similarly the Salk institute consist
Fig 2.3: Koshino House (lichtecht GmbH, 16 April 2015) Fig 2.4: SalkInstitute (LiaoYusheng, 13 August 2014)

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of 29 different structures which are linked with a common corridor along different levels in
different blocks.
we see the use of punctures in the Koshino house for the play of light while we see the use
of water as a mean of guiding the light in the Salk institute.
2.3.2.2 material
Tadao Ando and Louis I. Kahn are both know to use concrete in many of their deigned
structures. we see this similarity of materials in these two buildings. we see the common use of
concrete, glass, steel and wood in both these structures.
Though the materials are the same in both the structures there is a different design usage
of these materials. the Koshino house uses wood for its flooring while we see the use of wood
as window frames and for window ornamentation in the Salk institutes.
SalkInstitute (rudygodinez.tumblr.com, 24 September)
Koshino House
(http://architectboy.com/koshino-house-
tadao-ando/, date: NA)

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We see the use of metal railing in the Salk institute while we see the use of metal as window
frames in the Koshino house.
The common factor in the materiality of both the buildings is the raw use of concrete as pre
cast concrete for its structure and both the structure so non ornamentation on these concrete
walls.
The open plaza of the Salk institute is made of travertine marble, and a single narrow strip
of water runs down the center, linking the buildings to the vast Pacific Ocean. this narrow strip of
water was used for the guiding of light in this structure. in the koshino house this luminous
coating on the concrete wall was added to the construction for it to reflect light during the day.
2.3.2.3 construction
Construction wise the method of construction for both these structures is the same. the
materials that make up the Salk Institute and the Koshino house consist of concrete, teak, glass,
and steel. The concrete was poured using a technique studied in Roman architecture. they both
used pre cast concrete for their structure with the metal bars that constitute of the columns and
beams imbedded within the structure. we see the 6 tie rod holes in every precast slab. in both
the structure these holes were later filled in with a mixture for it would have leaked once the
building was in function.
Once the concrete was set, Louis I Kahn did not allow further finishing touches to the building
in order to attain a warm glow in the concrete. In its contradiction to this Tadao Ando added
luminous coating to the walls of the Koshino house to give it a smooth texture and make it blend
in more with its surrounding.

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2.4. Conclusion
The materials used in this building ,The Koshino house are concrete, wood, glass which truly
showcase the design principle of Tadao Ando. that is material simplicity non-ornamentation. We
see the similar approach to building materials by the modern master Louis I Kahn in the building
Salk institute, in which we see a different design approach with the same materials.
Hence I feel that Koshino house truly portrays Tadao Ando's design traits and materials used to
build it plays a very major role.

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2.5. References
 AD Classics: Salk Institute / Louis Kahn. (2010, May 28). Retrieved May 22, 2015, from
http://www.archdaily.com/61288/ad-classics-salk-institute-louis-kahn/
 Tadao Ando. (n.d.). Retrieved June 8, 2015, from
http://foundationsakc.com/people/legends/tadao-ando
 Arch. Design. (n.d.). Retrieved June 8, 2015, from
http://gc.springbranchisd.com/ad/arch1/sketches-of-the-week-arch-design-level-
1/sketches-of-the-week-11-04-13-thru-11-08-13/
 Projectfabrica. (n.d.). Retrieved June 8, 2015, from http://www.projectfabrica.com/#!salk-
institute-louis-kahn/c1vq2
 Tadao Ando Facts. (n.d.). Retrieved May 22, 2015, from
http://biography.yourdictionary.com/tadao-ando
 Solomon, N. (2008). Architecture: Celebrating the past, designing the future. New York:
Visual Reference Publications ;.
 An Interview With Louis Kahn Biographer Carter Wiseman. (2013). Retrieved May 22,
2015, from http://calitreview.com/224/an-interview-with-louis-kahn-biographer-carter-
wiseman/
 Cooper, G. (2009). Project Japan: Architecture and art media Edo to now. Mulgrave,
Vic.: Images.
 AD Classics: Koshino House / Tadao Ando. (2011, September 25). Retrieved May 22,
2015, from http://www.archdaily.com/161522/ad-classics-koshino-house-tadao-ando/
 Biography. (n.d.). Retrieved May 22, 2015, from http://www.pritzkerprize.com/1995/bio
 Furuyama, M. (1995). Tadao Ando (2nd ed.). Basel: Birkhäuser Verlag.

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 Tadao Ando: A Master of Mystical Places. (n.d.). Retrieved June 8, 2015, from
http://www.coldbacon.com/art/tadaoando-carolyndavis.html
 http://www.cgarchitect.com/content/portfolioitems/2013/04/76988/8682276691_5f9dd3c8
5f_h_large.jpg
 http://www.newswise.com/images/uploads/2013/01/22/salk1.13.jpg
 http://ad009cdnb.archdaily.net/wp-
content/uploads/2014/08/53fb5b19c07a8009620007a3_getty-conservation-institute-to-
help-conserve-louis-kahn-s-salk-institute-_salk1-530x357.jpg
 http://lichtecht.de/typo3temp/_processed_/csm_lichtecht_3d_Ando_Koshino_20_a9b35a
eae2.jpg
 http://www.californiahomedesign.com/sites/default/files/tadaohead.jpg
 http://architectboy.com/wp-content/uploads/2014/09/Floor-Plan-of-Koshino-House.jpg
 http://40.media.tumblr.com/96426bbc62195083524afe1fff8bc020/tumblr_mtn0osQF8q1r
9xcmto5_1280.jpg

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Components
By
Alisha Niazali Hirani
(0314325)

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3.1 Introduction
Before Tadao Ando became a renowned modernist architect, he took the published works of Le
Corbusier as inspiration and said, “I traced the drawings of his early period so many times, that
all pages turned black” (Manchala, 2015). Corbusier had a lasting impact on Ando as an
adolescent. Tadao Ando is today an architect known for his unparalleled work with concrete and
his strong commitment with nature.
This section of the report aims to compare the components of the Koshino House, designed by
Tadao Ando to that of Chapelle Notre Dame du Haut, a Catholic church designed by Le
Corbusier.
3.2 Structure
The Koshino house consists of two parallel rectangular confines and a fan shape extension
which contains the Atelier. The Koshino building consists of both two story height and single
story height. The Koshino house’s forms are partially buried into the sloping ground of the
national park (Metcalf, 2011). Tadao Ando uses concrete to compose a simplistic and
minimalistic approach.
Tadao Ando believes that architecture is more interesting when it has a double character to it,
which means being as simple as possible and at the same time being complex.
On the other hand, while Corbusier’s works were normally clean and sterile boxy volumes that
were very functional, the Notre Dame du Haut was more conceptual and contextual in response
to the site. Yet it still maintained some of the modern principles. This was why Chapelle Notre
Dame du Haut was one of the most exceptional buildings of Corbusier’s career (ArchDaily,
2010). Additionally, the same way that Koshino house’s form responds to topography, the shape

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of the Chapelle Notre Dame du Haut was formed from its relationship to the natural
surroundings. Le Corbusier used the malleability of concrete to compose organic volumes that
came together to create a dramatic structure.
3.3 Structural wall
“I create enclosed spaces mainly by means of thick concrete walls. The primary reason is to
create a place for the individual, a zone for oneself within society. When the external factors of a
city's environment require the wall to be without openings, the interior must be especially full
and satisfying.” (Kroll, 2011)
Tadao Ando used smooth concrete for the walls in the Koshino House. He also moved the door
openings from the centre to the side walls. The aim was to move away the doors from the
massiveness and static solidity which one relates to masonry construction towards a more
immaterial and weightless architectural enclosure (Metcalf, 2011). Whereas the Chapelle Notre
Dame du Haut had a thick stark white gentle curving wall, that acted as a structural and
sculptural elements calculated to provide stability through rough masonry. This adds to the
feeling of purity and the ethereal atmosphere. Additionally the walls acted as acoustic amplifiers,
that reflects sound to the outdoor alter (ArchDaily, 2010).
"The shell has been put on walls which are absurdly but practically thick. Inside them however
are reinforced concrete columns. The shell will rest on these columns but it will not touch the
wall. A horizontal crack of light 10cm wide will amaze" (Glynn, 2011).

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3.4 Windows
One of the most fascinating aspects of the design is the placement of windows on a wall. This is
the means to affect the whole ambiance within the room. In the Koshino House the living room
is lit by two large rectangular windows with steel frames of different sizes. Though, the
bedrooms have equal sized windows that allow the residents to see a view of nature.
Additionally, in the fan extension, skylights are pierced on the ceiling along the perimeter walls
as well as on the corridor where eight narrow slits illuminate the walkway. In a similar manner
Corbusier applied punctures on façade that allows light to illuminate the Chapelle Notre Dame
du Haut from within. Each wall becomes illuminated through different window sizes and frames
(Glynn, 2011). This gives the chapel an empowering and pure ambiance.
Figure 3.4.1 Notre Dame Du Haut Figure 3.4.2 Koshino House (Catania, 2011)
(Kozlowski,2015)
3.5 Light
In the Koshino House narrow openings have been punched to the exterior to the staircase to
manipulate how natural light casts itself onto the interior of the corridor. Additionally, slots were
cut from other modules within the perimeter of other spaces to manipulate intricate casting of
natural light and shadow in the interior of the spaces (Co, 1995). The contrast between the
shadows and the light provide a complexity to the room and perhaps the ornament into the

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room. In contrast, the effect of light cast through the façade in the wall evoke emotional qualities
that tend to heighten emotions and sensations felt with religious activity. On the wall behind the
alter, the lighting creates a speckled pattern almost like a starry night that leaves the feeling of
awe. (ArchDaily, 2010)
Figure 3.5.1 The Koshino house Figure 3.5.2 Chapelle Notre Dame du Haut
(Perez, 2011) (Kozlowski, 2015)
3.6 Roof
The Koshino House has a flat top roof that goes back to Tadao’s concept of minimalism. It is not
intricate in nature so as not to steal the attention from the nature surrounding. The koshino
house aims to blend with the topography of the surrounding. Nonetheless, One of the most
striking parts of the Chapelle Notre Dame du haut is the roof. The curving roof appears to float
above the building. There is a 10 centimeter gap between the roof and the wall. This casts a
silvery light that creates a feeling as though the heaven is raining down of earth. The roof is both
insulating and water tight covered with gunnite. The concrete shell is left rough just as it comes
from formwork.

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3.7 Conclusion
In conclusion, though the Koshino House and chapelle Notre Dame du Haut are completely
different in appearance, they share the same principles of purity openness. Context plays a big
role for the design of the building. Both Le Corbusier and Tadao Ando use openings to
manipulate light in order to cast light and shadow and therefore create the feeling of
enlightenment to the users.

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References
ArchDaily. (2010). AD Classics: Ronchamp / Le Corbusier. Retrieved June 09, 2015, from
ArchDaily : http://www.archdaily.com/84988/ad-classics-ronchamp-le-corbusier/
Co, F. D. (1995). Tadao Ando Complete works . London: Phaidon Press Limited .
Glynn, S. (2011). Chapel of Nôtre Dame du Haut France. Retrieved June 09, 2015, from
Galinsky : http://www.galinsky.com/buildings/ronchamp/
Kozlowski, P. Chapelle Notre Dame du Haut, Ronchamp. ADAGP, Ronchamp.
Kroll, A. (2011). AD Classics: Church of the Light / Tadao Ando. Retrieved June 09, 2015, from
Archdaily: http://www.archdaily.com/101260/ad-classics-church-of-the-light-tadao-ando/
Manchala, V. (2015). History and Theory of Architecture. Retrieved June 09, 2015, from
academia.edu: http://www.academia.edu/9328101/History_and_Theory_of_Architecture
Metcalf, T. (2011). AD Classics: Koshino House / Tadao Ando. Retrieved June 09, 2015, from
ArchDaily : http://www.archdaily.com/161522/ad-classics-koshino-house-tadao-ando/

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Massing
By
Melissa Anne Mei Hong Li
(0320729)

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4.0 Introduction
As stated in (Clarke & Pause, 2005), Massing consists of the prominent 3 dimensional
configuration of a building. It is the interpretation of the image of a building as a whole. It can
relate to concepts of context, patterns of single or multiple units, primary and secondary
elements etc. of a design. In terms of analysis, massing can accentuate factors such as
geometry, unit to whole and hierarchy which all in turn help highlight the importance in
architecture.
The two buildings discussed in relation to massing are Koshino House and Villa Savoye by
modern master architects Tadao Ando and Le Corbusier respectively.
Fig 4.1 Koshino House – Tadao Ando Fig 4.2 Villa Savoye – Le Corbusier
Source: (Dailyicon, 2012) Source: (Kroll, 2010)

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4.1 Site Context
Both Tadao Ando and Le Corbusier took two distinct approaches in relating their designs to the
surrounding contexts. Koshino House as stated previously is set in the wooded mountains just
outside Ashiya City. Ando believes that the inside and outside are not separate but form a
continuous place. Architecture must look as if it is closed off or stand out but at the same time it
must more importantly have a unique relationship with its surroundings (Dal Co, 1995). “The site
is a sloping rectangular piece of property…” (Dal Co 1995, p. 509) Here, minimum impact is
made on the environment around the house. The house is built in to the hillside as opposed to
on top of it. This shows the level of attention given to the site by Ando which is why Koshino
House stands out for its wonderful adaptation to its site. For Le Corbusier, his approach to
respecting the site was rather different. Villa Savoye boasted of Le Corbusier’s 5 points of new
architecture one being that, “Buildings should be raised above the ground on pilotis to free the
space under the building.” (Baker 1996, p. 286) Here too the site is noy disturbed but instead of
being sunk into the earth, the house is lifted up from it by the usage of the pilotis. This gives the
house a ‘floating effect’, enables it to be free of the dampness the earth provides and increases
its exposure to light and wind (Tanner, 2011).
Fig 4.1.1 Comparison between Le Corbusier’s and Tadao Ando’s approach to context

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However, (Baker, 1996) argues saying that Villa Savoye seems to break away from tradition by
being elevated up from the ground. Though sculpturally compelling, it was not the norm in a
typical Poissy context.
In terms of massing, the orientation of the building is also important. The entire mass of the
building as a whole must be orientated so that it responds best to the site context. Koshino
House is orientated in such a way that its views of nature are maximized. Privacy is created by
closing the street side façade and opening the house to its natural setting. Here fenestration has
been effectively used with large glass windows placed in order to capture these views. All four
sides of Villa Savoye were designed with careful response to the view and orientation of the
sun. For example, the terrace was placed to the east in order to receive maximum morning
sunlight.
4.2 Geometry
Koshino House and Villa Savoye both show simple geometry. With regard to the former, Ando
states that “In order to bring out and make apparent the invisible logic of nature, one must
oppose it with the logic of architecture. It is at this point that geometry comes in.” (Dal Co 1995,
p. 457) Koshino House was originally split into two main rectangular shapes. A circular structure
intended to be the Atelier was added later on. This circular shape would seem a sharp contrast
to the rest of the existing linear forms, but despite this, it blends in perfectly bringing a different
rhythm to the atmosphere.
In terms of the latter, Le Corbusier paid more attention to proportion and balance in terms of his
geometry. Whilst Koshino house is slightly asymmetrical, Villa Savoye depicts symmetry and
balance. As stated in (Tanner, 2011), the ground floor is a perfect example of this where
everything except the stair shaft is in perfect balance about a north-south axis line.

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Fig 4.2.1 The ground floor plan of Villa Savoye showing balance and symmetry
There is however a contradictive notion to Le Corbusier’s balance in symmetry. If you consider
the whole mass of the building like Ando, he too made use of curved structures but they seem
to be in contrast and create a sense of tension with the linear elements of Villa Savoye.
4.3 Form
The form of the building takes shape from its basic geometry and thus is important in massing.
Ando’s earlier work can be thought of as very confined and rigid forms, but he gradually made
slight changes to the way he approached his designs. This is evident in the way he made use of
the walls. With time, Ando began to dismantle these confined forms. He would open up the
walls and treat them as planes allowing him to connect architecture with nature (Dal Co, 1995).
The gaps created allowed light and wind to enter into the spaces thereby justifying his statement
of architecture and its surroundings being one continuous entity. Not only does this change
echo around Koshino House but it also means that the walls no longer impose a solid and rigid
presence. His attention to materiality in the use of smooth poured concrete also contributes to
this. In doing so, Ando’s idea of rejecting the massiveness of form and moving towards a
weightless, calming and homogeneous architectural enclosure is understood (Dal Co, 1995). It
is intriguing how a simple act of refining concrete to make it look smooth can create an entirely
different quality for Ando in terms of form and space. He took a material that is considered to
showcase massiveness and strength in form and transformed it to look simple, linear, free and

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lightweight. Ando’s way of dealing with his walls differs from the Le Corbusian tradition of using
reinforced concrete to showcase strength. Using reinforced concrete as an expression of a
material allowed a sense of massiveness to shine through for Le Corbusier (Dal Co, 1995). In
Villa Savoye, Le Corbusier made use of his walls to create an enclosed form that contains
programing and space. While Ando brought in light and wind though the openings of his walls,
Le Corbusier did so by removing part of the form to create the courtyard.
Fig 4,3,1 Gaps allow natural light to fall through Fig 4.3.2 Courtyard of Villa Savoye
Source: (ArchDaily, 2015) Source: (Baghchesaraei, 2015)
4.4 Hierarchy
From the principle of hierarchy, it is understood that all architectural compositions have various
levels of importance. A form can be interpreted as being important to an organization and is
uniquely visible (Ching, 2007). Both houses show levels of hierarchy but quite distinctively. In
Koshino house, the 3 main structures show hierarchy by size. The main house is of double
volume and can be seen as the dominant from in the whole composition. This is because the
most frequented areas are located here. It includes public areas like the living room and kitchen
hence there is a larger space required for human interaction. The atelier is the second largest
as there is need for ample space for a designer’s work area. However, this is more private than
the main house. The bed rooms and tatami rooms comprise of the smallest structure as they

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need to be private and secure. These 3 spaces are thus laid out in a very linear manner in
keeping with the traditional eastern architectural style with an underground passage connecting
each section. Ando’s work has always been an integration of both eastern and western styles of
architecture. The horizontality of Koshino House brings out the eastern style while the verticality
and pure geometric forms speak of western influence. Here, verticality is brought out by the
stairway that connects the two floors together. Villa Savoye differs from horizontality to being a
more vertical structure.
Fig 4.4.1 Hierarchy by size and connection Fig 4.4.2 Hierarchy by position and connection
of elements horizontally of elements vertically
With the pilotis, the elevated main house becomes the primary hierarchal element of the whole
composition and is the main focus of the design. Second are the service functions and the
solarium is the third (Tanner, 2011). Furthermore, these three levels are connected internally by
a ramp and staircase which can be viewed from different parts of the house. Le Corbusier was
quite clever in strategically placing the main house by elevating it so that it draws attention to
itself by indicating to the viewer that it is the most important element in the composition.

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4.5 Conclusion
For Tadao Ando, it was his intimacy towards traditional Japanese Architecture and his
connection to the emotional and spiritual contents of form and massing that echo throughout
Koshino House. But for Le Corbusier, it was his breakaway from tradition that stands out. His
approach towards Villa Savoye was unlike any other building of that time. His strict modernist
approach did not impress the locals as he had steered away from conventional emotions of
what a home ought to be. The massing was more of a sculptural statement that lacked
sentiment. Yet his 5 points of new architecture were magnificently highlighted in Villa Savoye
and had many influences on architects including Ando. These two masterpieces indicate how
Ando and Le Corbusier interpreted architecture and influenced it thereby creating their own
unique philosophies that have made them world famous architects of the modern era.

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References
 ArchDaily. (2015). Architecture Photography: Koshino House / Tadao Ando (1) (161879).
Retrieved 27 May 2015, from http://www.archdaily.com/161522/ad-classics-koshino-
house-tadao-ando/koshino13_gonzalo/
 Baghchesaraei, A. (2015). Space definition in Villa Savoye. Retrieved 27 May 2015,
from http://baghchesaraei.com/?p=156
 Baker, G. H. (1996). Le Corbusier The Creative Search. UK: Taylor and Francis
 Ching, F. D. K. (2007) Form Space and Order. 3rd
ed. New Jersey: Jonn Wiley & Sons
Inc.
 Dailyicon (2012). Icon: Koshino House by Tadao Ando. Retrieved 24 May 2015, from
http://www.dailyicon.net/2012/07/icon-koshino-house-by-tadao-ando/
 Dal Co, F. (1995). Tadao Ando Complete Works. London: Phaidon Press Limited
 Kroll, A. (2010). AD Classics: Villa Savoye / Le Corbusier. Retrieved 3 June 2015, from
http://www.archdaily.com/84524/ad-classics-villa-savoye-le-corbusier/
 Tanner, N. (2011). The Floating Modern: Pilotis and the Free Plan. Retrieved 1 June
2015, from http://issuu.com/nickmtnman/docs/floating-modern

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Façade
By
Saurabha Iyer
(0320569)

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1. INTRODUCTION
1.1 HISDESIGNTRAITSAND DICTUMS.
Ando'sarchitectural style isemphasizingnothingnessandemptyspace torepresentthe beautyof
simplicity.He favorsdesigningcomplex spatialcirculationwhile maintainingthe appearance of
simplicity.Asanarchitect,he believesthatarchitecture canchange society,that"tochange the dwelling
isto change the cityand to reformsociety”.
Andobuildingsstandforpurity,serenityandstrength.Theyare noteasyto live in,butneitherare
theyarrogantlyindifferenttohumancomfort;theyare notlessonsinarchitectural theorybutexamples
of architectural fact.Theypossessthe bluntnessandthe directnessof ancientZengardens,translated
intothe vocabularyof modernarchitecture.(Goldberger,1995).
He quotes“inthe Westthere has alwaysbeenthe attempttotry
make the religiousbuilding,whetherit’saMedieval or
Renaissance church,aneternal objectforthe celebrationof God.
The material chosen,suchas stone,brickor concrete ismeantto
eternallypreserve whatisinside”we see thisthoughtreflectedin
hisChurch Of Light.
Fig1.1 the church oflight
(Source-Klijs,2011)
He isa firmbelieverinblendinghisdesignsanddifferentaspectsof itto the surrounding.He
quotes“Youcannot simplyputsomethingnew intoaplace.Youhave to absorbwhat yousee around

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you,what existsonthe land,andthenuse that
knowledge alongwith contemporarythinkingto
interpretwhatyousee.” You(the blendingof his
buildingswiththe surroundingstopographyisseenis
hisdesign) see thisblendinginmanyof hisbuildings
like the ModernArt Museumof Fort Worth,Koshino
house,Japanandthe Artsite Noshima,Japan.
Fig 1.2 The Honpuku-ji(theWater Temple)
(Source-www.worldarchitecture.org, 23rd setp,2010)
Hisdesignshasminimalisminthem.He keepshisdesignedspaces
minimum with the different spaces of building designed for the
specific activity only. He believes “If you give people nothingness,
they can ponder what can be achieved from that nothingness.”
Fig 1.3 Conference pavilion
(Source –www.visualthinking.studiojunglecat.com,
23rd july 2011)
2. HIS INFLUENCES

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Ando'suse of concrete draws onwork by Le
CorbusierandLouisKahn,withwhomhe isoften
compared.Andoaddsa masteryof nature,light,and
space whichbecomesasimportantand tangible asthe
walls.Inan interview withPhilipJodidio,forthe book,
Tadao Ando, Andosays,"Iam interestedinadialogue
withthe architecture of the past butit mustbe filtered
throughmy ownvisionandmyown experience.Iam
indebtedtoLe Corbusierorto Miesvan derRohe,but in
the same way,I take whattheydidand interpretitinmy
ownfashion.(LoveToKnow.Corp,1996-2015)
Fig 2.1 Le Corbusier
Source –BRANDNU DESIGN, 26TH NOV 2013
AsmentionedearlierTadao Andowasa self-taught
architect.He travelledaroundthe worldandgathered
hisinspirationfromthe buildingsaroundthe world.His
firstinterestinarchitecture wasnourishedinAndoby
buyinga bookof Le Corbusiersketches“Itracedthe
drawingof hisearlyperiodsomany times,thatall pages
turnedblack”.SaysTadao Ando.“In my mindIquite
oftenwonderhowLe Corbusierwouldhave thoughtaboutthisprojectorthat”.(archidialog.com, 19th
Feb,2011)
3. THEME
3.1 FAÇADE
Designedforthe designerKoshinoandhisfamily,TadaoAndohasusedmanydesignprincipleslike
hierarchy,asymmetrical balance,repetition,etc.inthe Koshinohouse.
Thisbuildingisaclassicexample of TadaoAndotype of architecture.Withhisuse of concrete and
glassinits raw formand non-ornamentedconcrete facade init’sraw fromto preserve the buildingand
internal spaces,isseeninthe Koshinohouse.
The façade of the buildingisaplainconcrete surface withmanyglasspuncturesonthe building.He
hasn’tsimplyplacedthe structure inthe site.The façade of the buildingwiththe smartuse of concrete
and glassjustblendsinwiththe surroundingtopography.The feelingof oneness,whichisthe oneness
of the structure and surroundingisbroughtaboutbythe helpof the façade.

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The glasspuncturesalongthe façade show a pattern,the private placeshave lesspunctures
comparedto the publicspaces.These puncture are usedforentryintothe buildingorusedasan inlet
for light.There are puncturesalongthe façade thatruns alongthe staircase,the same puncturesare
seenalongthe longcorridorin the longerrectangle.We see the playof lightandshadow withthe help
of these puncturesalongthisfaçade.
Fig 3.3 Puncture onthe outer façade fig 3.4 The effect ofthe punctures inside the space
(Source-guestbook.blog.naver.com/,10thoct 2010) (Source-shadowvue.wordpress.com, N.A)
Fig 3.1 the Koshinohouse
Source-Kiernan May28 April2013

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For me the façade of the buildingstandsout,itissimple andwell blendingwiththe topography
aroundit. The buildinggivesthe viewerinside anunrestrictedviewof the nature andtopography
around.The private,semi privateandpublicplaces givenpuncturesalongthe facadestoplaywithlight
and shadowsseemstostandoutin the design.

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Constructionwise thefaçade of thebuildingincorporatesthe columnsandbeamsinthe structure,except
for one side of the structure where we see a row of columnsrunningparallel tothe windows.Thisbeing
an uncommon feature standing out as it the only part of the façade with
such a pattern.
Fig 3.5 The façadewith columns
Source-Kiernan May28 April2013

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One buildingdesignedbythe architectAndoishighlyinspired,isthe CurutchetHouse.The
Curutchethouse isdesignedbyLe CorbusierandissituatedinLaPlataArgentina.Builtin1948 and
commissionedbyDr.PedreoDomingoCurutchetasurgeon. The house isplacedbetweentwoexisting
structures.(Source- PermanentDelegationof Argentina,1st
June ,2007 )
Like the Koshinohouse,the CurutchetHouse housetoowasplannedwith2blocksconnectedwitha
courtyard.The architect,Le Corbusierlike TadaoAndohasalsousedsimple materialslikeconcrete and
glassfor the outerfaçade.
Yet the buildinggivesthe essence of differentkindof space.Itgivesalot of exposure tolight,butwe
alsosee a playof lightandshowdownalongthe buildingfaçade.Like the facade of the Koshinohouse
was builttoblendinwiththe topographyaroundthe façade of the Curutchethouse alsowasbuiltto
blendinwiththe adjacenthouses.
Unlike the Koshinohouse the columnsandbeamsof the Curutchethouse are exposedinitsfaçade
whichwe onlysee onone side of the façade of the Koshinohouse.The use of windowsinformof
puncturesisalsoseenagaininthisbuildingwhichisone of the commontraitsof boththese buildings
these buildings.
4. COMPARISION
Fig 4.1 The CurutchetHouse
Source-http://en.urbarama.com/, 15th dec, 2009

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Koshinohouse hasitsentryfromthe top, hence whenapersonentersthe premisestheyenterfromthe
top façade.Theycan’tsee the functional spacesinsidethe house fromthe outerfaçade.Butinthe
Curutchethouse one can see the functional spacesinside the housefromthe outerfaçade since ithasa
lotof wide openingsonitsouterfaçade.
In appearance the Koshinohouse seemsmore massythanthe Curutchethouse.Fromthe exterior
the Koshinohouse,itseemsrigidandclosed,whilethe Curutchethouse isseemsmore openagaindue
to itswide windowsanduse of glass.
Both the structure have twoseparate bodieswhichare connectedthroughacommoncourtyardor
passage yetthe façade of boththe blocksof boththe buildingsblendinwitheachother,thatisin both
the housesthe twoblockswhichare physicallyseparate give adesignfeelingof beingone withthe help
of theirfacades.
Hence whencomparedondesignprinciple of individual architectsthe Koshinohousestandsgoodon
the designconceptof Tadao Andoi.e.simplicityandmateriality,while the CurutchetHouse standsgood
on the designconceptof free façade,whichisa classicLe Corbusierdesignconceptandone of hismain
5 designconceptswithsimplicityandmateriality.
Fig 4.2 few punctures on the outer façadecolumns
and beams arenotexposed
Source-Kiernan May 28 April 2013
Fig 4.3 many puncture ontheouter façadewith the
columns andbeams exposed
Source-JosephineWaayers, 2013

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5. Conclusion
The Koshinohouse andthe Curutchethouse have theirownspecialties.Eachhasa beautiful façade.
The Koshinohouse portraysthe designprinciplesof TadaoAndothat issimplicity,materialityand
hierarchy.We see the commonuse of lightandshadow inall hisbuildingsandwe see the same in
the Koshinohouse.Hence Ifeel the facade of the Koshinohouse trulyportraysTadaoAndoandhis
ideas.
On the otherhand Curutchethouse designedbyLe Corbusierhasafaçade made withthe same
principlesof minimalism, materialityandhierarchyyetissodifferentfromthe façade of the Koshino
house.Thisshows thatthe same functionsof a façade can broughtaboutby differentwaysusingthe
same materialsanddesignprinciples.Andeachbuildingstandstrue totheirrespective architects
designprinciples.
6. APA Referencing
6.1 Koshino house
1. Metcalf, T. (2011, September 25). AD Classics: Koshino House / Tadao Ando.
Retrieved April 22, 2015, from http://www.archdaily.com/161522/ad-classics-
koshino-house-tadaoando/
2. ARCHITECTS DICTUM. (n.d.). Retrieved May 2, 2015, from
https://quizlet.com/44091784/architects-dictum-flash-cards/

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3. Biography. (n.d.). Retrieved May 22, 2015, from
http://www.pritzkerprize.com/1995/bio
4. Goldberger, P. (1995, April 22). 'Laureate' in a Land of Zen and Microchips.
Retrieved March 30, 2015, from
http://www.nytimes.com/1995/04/23/arts/architecture-viewlaureate-in-a-land-of-zen-
and-microchips.html
5. Koshino House. (n.d.). Retrieved May 12, 2015, from
http://en.wikiarquitectura.com/index.php/Koshino_House
6. Tadao Ando Facts. (n.d.). Retrieved April 22, 2015, from
http://biography.yourdictionary.com/tadao-ando
7. Tadao Ando Quotes. (n.d.). Retrieved May 12, 2015, from
http://www.brainyquote.com/quotes/authors/t/tadao_ando.html
8. Le Corbusier&Tadao Ando"ConsciousInspiration"(2011,February18). RetrievedJune 2,
2015, fromhttp://archidialog.com/2011/02/19/le-corbusier-tadao-ando-conscious-
inspiration/
6.2 Curutchet House
1. Casa Curutchet. (2007, June 1). Retrieved May 22, 2015, from
http://whc.unesco.org/fr/listesindicatives/5140/
2. Casa Curutchet. (2007, June 1). Retrieved May 2, 2015, from
http://whc.unesco.org/fr/listesindicatives/5140/
3. MY ARCHITECTURAL MOLESKINE®: LE CORBUSIER: CURUTCHET
HOUSE. (2011, July 22). Retrieved May 2, 2015, from
http://architecturalmoleskine.blogspot.com/2011/07/le-corbusier-
curutchethouse.html
6.3 Links for the pictures.
https://ajklijs.wordpress.com/tag/church/
http://www.worldarchitecturemap.org/buildings/water-temple-honpuku-ji
http://visualthinking.studiojunglecat.com/2011/07/25/vitra-design-campus/

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http://brandnudesign.com/new-blog/2013/9/26/hip-hop-architecture-unspoken-borders-2009-
ecologies-of-inequality
http://www.cgarchitect.com/2013/04/tadao-andos-koshino-house
http://guestbook.blog.naver.com/PostThumbnailView.nhn?blogId=jinsub0707&logNo=14011610898
5&categoryNo=5&parentCategoryNo=
http://www.cgarchitect.com/2013/04/koshino-house7
https://shadowvue.wordpress.com/2014/04/11/tadao-ando/
http://en.urbarama.com/
https://www.pinterest.com/pin/516717757217062885/
Group conclusion
Throughout this report Tadao Ando was compared to different master architects for the
reason that Tadao Ando has both similarities and differences to not just one architect or one
building, but several. The main theme achieved in the Koshino House, is the concept of Zen
tradition. . The hierarchal spatial organization, through the volume, shows the importance of
life according to the architect’s philosophy about minimalism and Japanese tradition. The
natural penetrating light through the use of glass, the unfinished concrete wall and the
wooden flooring makes the user feel closer to the nature which is the Japanese architectural
concept; blending with nature, together with the Zen tradition where the materials are left to
their original and natural finish. Tadao Ando achieves his philosophy in the way he

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manipulates the components in the Koshino house, from the location and size of the
windows and punctures, to the stairways that make the user interact more with the external
environment. The emotional and spiritual contents of form and massing echo throughout the
façades of the Koshino House and the interior as well. The only ornamentation used is the
manipulation of light and the effect it has on the space.

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Group Referencing
• Ando, T. (2002). The Spirit of Modernism. (R. Ivy, Interviewer) 2015 Dodge Data &
Analytics. Retrieved 24 May, 2015, from http://architect.architecture.sk/tadao-ando-
architect/tadao-ando-architect.php
 Dailyicon (2012). Icon: Koshino House by Tadao Ando. Retrieved 24 May 2015, from
http://www.dailyicon.net/2012/07/icon-koshino-house-by-tadao-ando/
 Metcalf, T. (2011). AD Classics: Koshino House / Tadao Ando. ArchDaily. Retrieved
28 May 2015, from http://www.archdaily.com/161522/ad-classics-koshino-house-
tadao-ando/
 Phaidon Atlas. (2015). Tadao Ando Architects & Associates. Retrieved 2 June 2015,
from http://phaidonatlas.com/architect/tadao-ando-architects-associates/1084
 Belinda-g. (May 2012). Inpiration for existing drawing. Image retreived 10 June 2015,
from http://belinda-g.blogspot.com/