安藤忠雄和早间弥生

—CLAIRE BARLIANTБайду номын сангаас
A HOVE; Tadao An do's debut as a protcssional boxer, 1958. CourU'sy I'adao Aiido. HT.i.ow: View of painting conservaiion siudio (pictured; paintings by Arshilc (iorky). Stone Hill Center, Williamstown, Massachusetts, 2008. BOTTOM: Exterior views of StoneHillCenler, 2008, Photov; Richard Pare. All Stone Hill Center images coiirtesyTadao Ando and Associates.'^Sterling and Krancinc Clark Art In.>ititute, TOP RICH r: Futurism Manifesto appearing on the front pagE ufl.e Figaro, February 20, 1909. Newspaper, 2 4 x 1 7 in. Photo; Georges Megu e rd i tch ia n. '^ Centre Pompidou, Paris.
WILLIAMSTOWN, MASSACHUSETTS
PARIS
Into the woods: Tadao Ando's newest building is nestled in the Berkshires
Walls, in Tadao Ando's buildings, have always straddled the boundaiy between architecture and ait: they are functionally load bearing, yes, but also sculpmral and monumental. He incises them with crosses, sends them into sharply descending grades, and swivels them at odd angles so that they cut through a landscape with the force ofa blade. The thick concrete is never disguised as anything but, reveling in its austere, solid materiality, Ando's latest construction. Stone Hill Center in Williamstown, Massachusetts, inc!ude.s a prominent exterior wall gracefully extending on either side of the gray, airy building, evincing the architect's predilection for strong statements. But with a key difference: having been cast in wood forms, the concrete is imprinted with the grain and texture of wood, lending the wall a considerably softer touch. According to Ando, the wail creates space between the visitors and nature, giving the museum a sense of serenity. Ando never had any official training as an architect, but he was trained as a boxer, and during a lecture he doesn't pull any punches. "I like Yayoi Kusama's art, but she's not someone I would have a cup of coffee with," he says cheerfully ofthe 79-year-old artist, whose work was included in one ofthe six major museums he has built over his 39 years in practice. Yet when it comes to discussing the Stone Hill Center, he is unfailingly polite and deferential. When asked during a rare break in the architect's hectic schedule about the difference between building here and in Japan, Ando says, through a translator, that the biggest differences, obviously, are the people and the culture. "Especially the culture of construction," he adds. "For each project, wherever it is, you have to understand how the people and the culture come into play, which affects the way they make buildings. You have to make sure they understand your method of construction, and then they can help," LE FUTURISME A PARIS Housing two intimate galleries and the Williamstown Art Conservation Center, the Stone CENTRE POMPIDOU Hill Center is a promising precursor to Ando's expansion ofthe Sterling and Francine Clark Art This coming February is the centennial of Institute, which is scheduled for completion Futurism, marking the month that F, T, Marinetti published his manifesto on the front around 2013. Unlike the Institute, a stuffy and page of Le Figaro, singing the praises of ornate faux—Greek temple built in 1955 and "bridges with the leap of gymnasts flung across Iiüusing a collection of French Impressionist the diabolic cutlery of sunny rivers," "great .uid early American painting, the Stone Hill breasted locomotives," and the beauty of war, Center fits in to its exquisite Berkshires setting speed, and all that is new. Numerous exhibi\vith ease, blending seamlessly with the gently tions, conferences, symposia, celebrations, rolling landscape rich in yellow birch, beech, and performances wilt mark the anniversary and sugar maple trees. High windows elegantly throughout 2009, but the Centre Pompidou is kicking things off with an ambitious survey that I [jme these views, hut also serve to let in ample aims to trace the impact of Futurism on French light, which is key for the conservators working Cubism and other avant-garde movements of inside. Ando has the utmost respect for these its day. Featuring more than 200 artworks and professionals and gives them plenty of natural documents, the exhibition—vwhich travels to light to ply their trade—at least as much, as he Quirinal Stables in Rome and the Täte Modern repeatedly says during; a tour ofthe facilities, in London next year—will present a recon,is the painters had when they made the works struction ofthe Futurists' influential 1912 currently under repair. exhibition at Galerie Bernheim-Jeune in Paris, While the building, which is modest in size, alongside paintings and drawings by the sole French Futurist, Félix Del Marte. Also on may have little to offer visitors who aren't dieview is a comprehensive international survey hard Ando fans {aside from a bit of respite of concurrent artistic revolts, such as French in a beautiful location), it excels at providing Cubism, Russian Futurism, the British a comfortable, inspiring work space for those Vorticists, the Orphists, the American laboring within. "My intention is not only to find the best way to exhibit Synchronists, and the Parisian Section d'Or works of art, but also to create an ideal work environment," Ando says. IGolden Section], which included Raymond "These people take conservation very seriously, and I wanted to convey Duchamp-Villon, Frantisek Kupka, and Francis how important it is in our lives to create and have a good space to work." Picabia. Linking Futurism to our present day