AZMA2 - Tadao Ando " Pritzker Architecture Prize "


Tadao Ando " Pritzker Architecture Prize " - 2011_...

Sujet : Tadao Ando, Ceremony Acceptance Speech

Auteur : Ando Tadao

Diffusion : The Hyatt Foundation

Le prix a été remis depuis 1980 à 34 architectes de toutes nationalités et de toutes "orientations" architecturales. Chacun d'eux s'est fendu d'un discours de remerciements.
Certains en profitent pour remercier leur famille, leurs amis, ouvrir une séance d'introspection remontant jusqu'à la petite enfance,s'émouvoir de tant d'honneur… et surtout y exposent leur vision de l'architecture, leur position et leur croyance, leur théorie parfois.
Entre consécration d'une carrière et soutien d'un engagement prospectif, ce prix présente la caractéristique de récompenser l'homme.

Tadao Ando:

"Thank you very much. Thank you. For the past thirty years, I've been engaged
in architectural work, and I'm not at all a good speaker. And I feel very sorry
that it's so inconvenient for you to put on your headphones because of my
linguistic incapability. In 1965, I came to France to see the architecture of Le
Corbusier utilizing the Siberian train, and the first place I visited in France was
Versailles. And at that time, I never thought that I would be awarded, here in
this chateau.
Today I am overwhelmed by receiving the Pritzker Prize. From deep in my
heart, I would like to thank every member of the jury as well as the people of
the Hyatt Foundation who established and administer the prize.
I believe that there are two separate dimensions coexisting in architecture.
One is substantive and concerns function, security and economy, inasmuch as
architecture accommodates human living, it cannot ignore these elements of
the real. However, can architecture be architecture with this alone? Since
architecture is a form of human expression, when it steps out of the exigencies
of sheer construction toward the realm of aesthetics, the question of
architecture as art arises. It is at this point that the other dimension,
imagination, comes into play.
When the Hanshin Earthquake struck recently, causing such extreme disaster,
too many buildings and houses collapsed, and more than 5000 people lost their
lives. Although more than thirty of my building projects throughout that region
were spared, this disaster is emphatically not someone else's problem. For me,
a person born, raised, and now practicing in the Hanshin area, it is my sincere
desire that after this earthquake, and in acknowledgment of Japan's precarious
geographical situation in general, people will consider the security of
architecture, specifically earthquake engineering and contingency planning,
much more seriously than before. Originally architecture offered the most
fundamental shelter from the elements. Then, that architectural theoretician of
ancient Rome, Vitruvius, proposed three indispensable principles of
architecture—utilitas, venustas, firmitas: utilitas is function (commodity) and
firmitas is strength (firmness), both are measures of architectonic potential,
while venustas (delight or beauty) resides in the dimension of imagination. (It
is significant that these three principles are inscribed on the Pritzker
Architecture Prize medallion.)
The modern architecture that I have been weaned on also espouses (clear)
function, (exposed) structure, and (raw) material as principles—characteristics
that tend to be accessed only from realistic or substantive dimensions.
Fictionality or imagination, the other dimension, is omitted entirely. However,
Vitruvius emphasized venustas, in other words attraction or beauty as a
necessity along with strength and function. That is to say that he too, posed
the fictional dimension of imagination combined with the realistic dimension as
that synthesis which deeply effects human spirituality. Since the genesis of
architecture, its fate has been that it connot be constituted by functionality
For me, making architecture is the same as thinking. For more than thirty
years, I have been making architecture by going back and forth between ideals
and reality, between the fictive and the substantive. My hope has been and
continues to be, not only to solve realistic problems, but also to pursue the
ideal by overlaying speculative imaginings. Furthermore, instead of allowing
the ideal to remain simply as the ideal, my goal is to go beyond every obstacle
and challenge, and realize a substantive architecture. That is to say that I have
been trying to achieve a fictionality on the premise of constructing a space that
humans actually use. Therefore, when I say fictionality of architecture, it does
not mean simply a story or superficial decoration. It means the quality of a
spatial experience composed of architectonic elements aimed at aesthetic
What I have sought to achieve is a spatiality that stimulates the human spirit,
awakens the sensitivity and communicates with the deeper soul. In order to
construct the fictionality of architecture, one has to mobilize both reason and
intuition together, seeking a space that is a new discover for oneself. This
space must contain the notion of time as production of the new epoch, and
simultaneously introduce specific regionality, historicity, geography and
tradition. It is my pleasure as an architect to continue to think, to build, by
engaging my full body to combine fiction and the actual into a space of a
higher dimension.
Architecture is deemed complete only upon the intervention of the human that
experiences it. In other words, architectural space becomes alive only in
correspondence with the human presence that perceives it in our contemporary
culture, where all of us are subjected to intense exterior stimulation, especially
by the electronic environment, the role of architectural space as a spiritual
shelter is crucial. Here again,what is of primary importance are the imagination
and fictionality that architecture contains beyond the substantive. Without
stepping into the ambiguous realm of the human spirit—happiness, affection,
tranquility, tension—architecture cannot achieve its fictionality. This is truly
architecture's proper realm, but it is also one that is impossible to formulate.
Only after speculating the worlds of both the actual and the fictional together
can architecture come into existence as an expression, and rise into the realm
of art.
More than 500 children under the age of 18 lost a parent in the Hanshin
Earthquake; 88 of them lost both parents and became orphans. I have
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proposed the establishment of a foundation in order to support the education
of these children so that they can sustain their hopes for the future. To that
end, I would like to contribute the hundred thousand dollar prize awarded to
me today by The Hyatt Foundation towards this new foundation for these
young earthquake victims. I hope that for the next ten years at least, with the
help of five thousand colleagues and sympathizers to whom I will appeal, we
can continue to support these children economically so that they can pursue
their dreams. And I would like to continue to pursue my dreams as well,
instilling these three elements: function, beauty, and strength in my
architecture. Thank you very much."
©2011 The Hyatt Foundation

Voir aussi :

Groupe thématique : texte

Thème majeur : 1995, Tadoa Ando utilise la fiction pour anticiper et fabriquer la réalité

Notions - mots clefs : remerciements, pritzker

Activités : Texte

Famille : Texte "article revue"

Échelle : S,M

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