capable of presenting his pictures in a contemporary setting, which would be supplemented by works commissioned from American artists James Turrel and Walter De Maria created specifically to be housed in this same location.
On the coast of the island of Noashima in West Japan’s inland sea Seto, which can only be reached by ferry, Tadao Ando made this dream a reality in close cooperation with the two artists. What was created was an underground building comprising basic geometric volumes and lit only from above.
The work of each of the three artists is installed in a separate, independent exhibition room whose dimensions were initially fixed at 10x10 metres, although these initial measurements began to change in step with evolving the art installations. The rooms are linked by corridors designed as labyrinthine passages encompassing a sequence of spaces to stop and rest between enjoyment of the different art works. Two open, light courtyards complete the museum tour. One of them is square and grassed over, the other has been filled with coarse rubble.
The only outside view afforded by the museum is of the sky – visitors increasingly lose orientation in relation to the surrounding countryside as the introverted structure concentrates on itself and its art works, and makes the same playful use of light as the installations it houses.
The book, published in 2005, contains 208 pages, and features not only colour plates of the museum architecture and the exhibited art works, but also sketches by Tadao Andos, model photos and black and white pictures taken during the construction work. The illustrations dispense completely with captions or explanatory ground plans and sections.
Readers may search in vain for detailed information about functional or room layouts. The focus of interest lies firmly with the mood of the location, the atmosphere evoked by the spaces and the art itself. Containing “just” nine art works, the Chichu Art Museum is a highly selective but impressive collection.