蒙特雷UDEM的“创造之门”（2013年）
UDEM’s ‘Gate of Creation’, Monterrey, Mexico (2013)
Image credit: Laura Wilson
安藤忠雄：自学成才的当代建筑大师，能够“化感悟为形”
Tadao Ando: the self-taught contemporary architecture master who “converts feelings into physical form”
由专筑网Yinglin，小R编译
安藤忠雄，一位自学成才的建筑师，他崛起为当代建筑界的璀璨明星。在本文中，我们将探讨这位日本大师的起源、经历及其杰出作品。
传说安藤忠雄从小便与建筑结缘，这可从其一段童年“窥匠”的经历说起。那时他家请了木匠来干活，安藤忠雄便整日里趴在一旁，看那些匠人挥斧运斤、丈量裁木，倒是看出了些门道来——这般“习木”的趣味，颇有几分鲁班学艺的意思。后来他在一家二手书店里，与勒·柯布西耶的著作不期而遇，顿觉相见恨晚。这书价格不菲，他便省吃俭用、积少成多，总算将这“建筑圣经”收入囊中。其后日日临摹书中图纸，潜心钻研，竟摸索出一套自成一家的建筑门道来。这般“自学成才”的经历，倒与他心驰神往的柯布西耶如出一辙，可谓“英雄所见略同”。如今再看这位曾在拳台上叱咤风云的建筑师，其大部头著作早已成为各大样板间、星级酒店和高档书店的“标配”，摆在书架上既显气派，又添文化，倒是应了那句“书非借不能读也”的话——只不过这“借”字，已从当年他省钱买书的寒酸景况，变成了今日他著作装点门面的风雅典故。
Tadao Ando is a self-taught architect who rose to become one of contemporary architecture”s biggest stars. Here, we explore the Japanese master”s origins, journey and finest works
The story goes that Tadao Ando had become interested in building through watching carpenters work on his family home as a child. Then he saw a book on Le Corbusier in a second-hand bookshop, he saved up for it and it was through tracing the drawings in that book that he learnt architecture. Like his idol, Corb, Ando was self-taught. Now, it is chunky blockbuster books on the Japanese one-time boxer, which populate the shelves of show apartments, five-star hotels and upmarket design bookstores.
安藤忠雄经常出现在 Wallpaper* 的版面上，并担任 2008 年 Wallpaper* 设计奖的评委。上图为这位建筑师在 2020 年巴黎证券交易所开业前与弗朗索瓦·皮诺 (François Pinault) 握手，这张照片刊登在 Wallpaper 2021 年 2 月刊上
Tadao Ando has regularly frequented the pages of Wallpaper* and served as a judge at the Wallpaper* Design Awards 2008. Above, the architect is shaking hands with François Pinault ahead of the opening of the Bourse de Commerce in Paris in 2020, as featured in Wallpaper's February 2021 issue
Image credit: Maxime Tétard
安藤忠雄：一位大师的诞生
1941年，安藤忠雄生于大阪，彼时战火纷飞。及至八十年代，正值后现代主义建筑崇尚繁复装饰之际，他却反其道而行之，一举登上世界建筑的大雅之堂。其作品别具一格：混凝土的质朴外表下，自有一番禅意；那些经过精心设计的缝隙与十字形开口，引光入室，明暗交错，恰如禅画中一笔一划皆有来处。这般简约中见深邃的手笔，在当时可谓惊世骇俗，却也因此开一代风气之先。他为现代主义注入新的活力，将极简主义建筑推向一个新的高峰，使之成为全球建筑界趋之若鹜的新风向。
1968年，安藤在大阪开设建筑事务所，可谓踏出了追寻建筑真谛的第一步。他取法于西方现代主义建筑的精要，却又浸润着东方的灵韵，两相调和，自成一格。世人常道禅宗对建筑的影响，话题虽旧，落在安藤笔下却显得格外贴切。观其建筑，处处可见“虚”与“实”的辩证：那些留白的空间，若即若离的光影，以及刻意淡化的居家氛围，无不透露着禅宗“万物生于有，有生于无”的玄思。这般建筑理念，非是刻意为之，实乃水到渠成，颇有“不立文字，教外别传”的意味。
Tadao Ando: a master is born
Ando, who was born in Osaka in 1941, arrived on the global scene during the zenith of the decorative excesses of post-modernism in the 1980s. His work, with its austere concrete surfaces and dazzling light, admitted through slits and crosses for openings, also cast deep shadows, causing a sensation. He reinvigorated the rigour of modernism and his work ushered in minimalist architecture as a new global aspiration.
Establishing his practice in Osaka in 1968, Ando’s work was influenced by Western modernist architecture and tempered by an Eastern sensibility. There is much cliche written about the influence of zen on architecture but in Ando’s spare forms in which the void, the shadow, and often the absence of any obvious signs of comfort or domesticity, those assumptions do seem to ring true.
水之教堂，日本，1988
Church On The Water, Japan, 1988
Image credit: Yoshio Shiratori
安藤忠雄的早期作品
再说安藤忠雄的早期住宅作品，1976年的“住吉的长屋”便是一例：这座城市民居外表全然封闭，唯以一处内天井引光入室，自成天地。其后在1983至1993年间，他又在神户近郊的陡峭山坡上，匠心独运地建造了六甲住宅群。这两处作品都显露出他如今标志性的工艺：现场浇筑的混凝土墙面上，模板螺栓孔清晰可见，坦然呈现。混凝土表面的纹理在强烈的光线与细腻的阴影交织间，自然生出几分趣味来，引人驻足。
真正让安藤忠雄声名远播、誉满天下的，是两座别具匠心的礼拜堂。1988年的“水之教堂”落成于北海道，次年“光之教堂”又现身大阪茨城。这两座建筑以其精致的极简室内设计震惊世人，既借光与自然之造化，又以戏剧性的空间效果，营造出一处静思与庆典交融的空间。通过符号与景观的巧妙结合，两座教堂各具特色：光之教堂中那十字形的开口，以一种震撼而富有象征意味的方式映入会众眼帘；水之教堂则在倒影池上方向森林延展的视野中，重塑了一处现代意境的禅意园林，让人联想起1957年赫基和凯娅·西伦的奥塔尼埃米教堂的早期形态。
Tadao Ando's early works
The architect’s early houses, including the 1976 Azuma House (a completely blind concrete townhouse illuminated by an internal courtyard) and the Rokko housing complex outside Kobe (1983-93) built into a steep hillside, revealed his now characteristic in-situ concrete with the formwork bolt-holes left exposed. It was left to strong light and delicate shadows on the textured surface of the material to create interest. And interest there was.
It was two remarkable chapels which brought him global accolades and made him such an influential figure. The Church on the Water in Hokkaido (1988) and the Church of the Light in Ibaraki, Osaka (1989) were defined by exquisitely minimal interiors in which light and nature were employed to great theatrical effect to create spaces of intense contemplation and remarkable celebration through both symbol and landscape. The cross-shaped opening at the latter burnt the symbol onto the retinas of the congregation in a visceral and symbolic act while the view over the reflecting pool towards the forest at the former created a revived zen garden of modern spatial practice which evoked earlier forms including the Heikki and Kaija Siren”s Ottaniemi Chapel of 1957.
小筱邸住宅，1981-84
Koshino House, 1981-84
Image credit: Shinkenchiku Sha
安藤忠雄：影响与灵感
与其同道相较，安藤忠雄可谓独树一帜——他不汲汲于理论建树，反倒是从那些出人意料的简约几何形态中，以及光影与形体的元素交融中，寻得了建筑的精髓。“建筑师的责任。”他在去岁与我畅谈时道，“便是将那些难以捉摸的感受，化作触手可及的实体。”这番话虽短，却道出了建筑艺术“形神兼备”的真谛。
若论其师承渊源，除了人尽皆知的柯布西耶（尤以朗香教堂最具代表性）之外，西方建筑对他的影响可谓渗透骨髓。当我就此询问时，他如数家珍般娓娓道来：从那罗马万神殿（只消抬首望那混凝土穹顶，那独具匠心的天窗，便知其中奥妙），到丹麦路易斯安那博物馆，无不令他心折神往。更有趣的是，他所推崇的路易斯·康与赖特，却又是受日本建筑启发最深的西方建筑师，这般“和魂洋才”的传承，倒是应了那句“师夷长技以制夷”的妙喻。在这东西方建筑艺术的往来激荡中，安藤忠雄犹如一位巧匠，将两股源流汇于一处，开创出一番新天地来。
Tadao Ando: influences and inspiration
Unlike some of his contemporaries, Ando eschewed theory, his work draws its power from its often surprisingly simple geometries and the elemental effects of light and mass. ’An architect’s duty’ Ando told me last year ‘is to convert feelings into physical form.’
Beyond the obvious influence of Le Corbusier (notably the church at Ronchamp), Ando has acknowledged the huge impact of Western architecture. When I asked him about his influences he mentioned everything from the Pantheon (look up at its concrete dome with the single source of light and it becomes obvious) and the Louisiana Museum in Humlabaek, Denmark alongside, of course, Louis Kahn and Frank Lloyd Wright, who were themselves in turn heavily influenced by Japanese architecture.
法国巴黎商业交易所 (2021)
Bource de Commerce, Paris, France (2021)
Image credit: Marc Domage
当代作品与安藤忠雄的“重磅”项目
从小型住宅和礼拜堂开始，安藤忠雄在2000年代声名鹊起，世界各地涌现出一些引人注目的建筑，包括沃斯堡现代艺术博物馆、直岛的千千艺术博物馆（Chichi Art Museum）、同一岛屿上的宾尼斯酒店、圣路易斯的普利策艺术基金会以及威廉斯敦的克拉克艺术学院扩展项目。不过，有人可能会争辩，随着他的事务所不断壮大和全球化，他的许多作品的基本力量在日益自我指涉的创作中逐渐消失。
近年来，安藤忠雄的目光转向了既有建筑的改造，颇有几分“旧瓶装新酒”之妙。在威尼斯，他那简约而有力的设计手法与多加纳角古老的砖墙、木梁交相辉映；在巴黎，他又将那座形似气罐又酷肖万神殿的商业交易所，化腐朽为神奇。这两座建筑，皆为奢侈品巨擘弗朗索瓦·皮诺重新打造成艺术殿堂，可谓珠联璧合，相得益彰。安藤的手笔，既保留了建筑的历史记忆，又赋予其新的生命力，堪称"推陈出新"的典范。
Contemporary work and Tadao Ando's 'blockbuster'projects
From small houses and chapels, Ando’s reputation and practice went ballistic in the 2000s with some spectacular structures across the world including the Fort Worth Modern Art Museum, the Chichi Art Museum, its geometric forms set into the earth of the island of Naoshima, the Benesse House on the same island, the Pulitzer Arts Foundation in St Louis and an extension to the Clark Institute in Williamstown. You might argue though that as his practice grew and globalised, much of the elemental power of his work was lost in an increasingly self-referential oeuvre.
More recently Ando has been working with existing buildings and his sparse, powerful forms seem to chime with the raw brick and timber beams of the the Punta Della Dogana in Venice and, more recently, with the gasometer/Pantheon shape of the Bourse de Commerce in Paris (both superbly reimagined as art museums for luxury magnate Francois Pinault.
Museum SAN的“光之空间”，韩国（2023）
Space of Light Pavilion at Museum SAN, South Korea (2023)
Image credit: Museum SAN
安藤忠雄其人：短小精悍，机敏灵动，毫无矫饰之态。
那一头酷似“披头士”的浓密黑发，如今已略显稀疏，眼下的阴影也愈发深邃。然而，纵使与病魔多番缠斗（尤其是那场本该夺其性命的癌症，却被他硬生生熬了过去），他依旧神采奕奕，身姿矫健，举手投足间，依稀可见当年拳台上那份矫捷灵动的风采。记得上回相见，他方才与金·卡戴珊和她彼时的夫婿坎耶·韦斯特会面后走出，神情恍惚，想是为这对名人设计住宅，颇费了些心力（听闻如今那房子已被这位说唱歌手改得面目全非，倒是应了那句“巧妇难为无米之炊”）。
安藤忠雄，当真可谓是一位“不倒翁”式的人物——他的性格，恰如其建筑：坚韧中见沉静，朴实处显深邃。在后现代主义式微之际，他一手将混凝土这种被世人嫌弃的材料，重新捧上神坛。较之其他设计师，他更懂得在现代主义的创新锐气中，注入东方的节制之美：或借光影明暗，或借水土天空，无不显现出几分禅意。想当年那个省吃俭用、整月攒钱只为买一本柯布西耶画册的少年，如今已然成就一番事业，倒真应了那句“书山有路勤为径”的古训。
In person, Ando is small, thoughtful and completely without pretension.
His once dark mop of Beatles-type hair has thinned a little and the bags beneath his eyes have grown darker but he has survived innumerable brushes with illness (notably a cancer that was meant to be terminal and have long dispensed with him) and he still appears pugnacious and lithe, with a little of the former boxer’s stance about him. The last time I met him he was emerging, apparently dazed, from a meeting with Kim Kardashian and her then-husband Kanye West, a little bruised perhaps by the stress of designing them a house (apparently now much altered by the rapper).
Ando is a survivor, a figure as tough, quiet and thoughtful as his architecture. He revived concrete from the nadir of later modernism and, more successfully than any other designer, reconciled the formal inventiveness and power of modernism with a Japanese self-restraint and admiration of light, darkness, surface, water, Earth and sky. Not bad for the boy who had to save for a month to buy that Le Corbusier book.build
安藤忠雄：重要建筑
普利策艺术基金会，美国圣路易斯（2001年）
Tadao Ando: Key buildings
Pulitzer Arts Foundation, St Louis, USA (2001)
Image credit: Robert Pettus
位于圣路易斯的普利策艺术基金会是日本大师安藤忠雄在美国的首个独立公共委托项目——这座2001年落成的建筑，是这位日本宗师在美国接手的首个独立公共项目。及至2014年，因基金会业务蒸蒸日上，原建筑已显窘迫，遂在安藤亲自掌舵下，对其进行改造扩建。这番“改弦更张”的工程，重在扩充展览空间，颇有几分“他山之石，可以攻玉”的意味。
The Pulitzer Arts Foundation in St Louis is Japanese master Tadao Ando's very first freestanding public commission in the United States, completed in 2001. Starting in 2014, the original building underwent a makeover, in consultation with Ando, to accommodate the foundation's growing needs. Responding to an increasing demand for space, the new project includes a significant expansion of the foundation's gallery area.
直岛千千艺术博物馆（2004年）
Chichu Art Museum, Naoshima (2004)
Image credit: Tadao Ando
2018年，巴黎蓬皮杜艺术中心为安藤忠雄举办回顾展，重温这位建筑大师的早期杰作，其中就包括他在日本直岛的一系列匠心之作。说起直岛的千千艺术博物馆，这可是安藤为宾尼斯艺术基金会操刀的诸多力作之一。这座建筑以其“藏若敝帚”的姿态——深深潜入地下，又以其对自然的敏锐共鸣，在安藤的作品谱系中可谓独树一帜，堪称一绝。
A retrospective at Centre Pompidou in Paris in 2018 revisited lots of Ando's early works, including his schemes at Naoshima island in Japan. The Chichu Art Museum there was one of the architect's several schemes for the same client, the Bennesse Art Foundation, and is a landmark in its author's portfolio for its sensitive, sunken nature.
沃斯堡现代艺术博物馆，美国（2004年）
Modern Art Museum, Fort Worth, USA (2004)
Image credit: Mitsuo Matsuoka
同年，安藤忠雄又在美国完成了一座传世之作——沃斯堡现代艺术博物馆。这座建筑的玻璃与混凝土构件如鹤立鸡群般挺拔其中，既显王者之气，又透露几分缥缈之意。那倒影池上的倒影，更是令整座建筑有若浮光掠影，泛起阵阵涟漪，倒让人想起李白那句“日照香炉生紫烟，遥看瀑布挂前川”的意境来。。
In the same year that saw the completion of Chichu Art Museum in Naoshima, Tadao Ando completed one of his most well known projects in the US - the Modern Art Museum of Fort Worth. Its tall, glass and concrete forms look grand and at the same time ethereal, seemingly floating over a reflective pool.
蒙特雷UDEM的“创造之门”（2013年）
UDEM’s ‘Gate of Creation’, Monterrey, Mexico (2013)
Image credit: Laura Wilson
成立于1969年的UDEM是一所拥有约12000名学生的私立大学。在讨论为学校最具创意学科设计和开发一座新型现代化建筑时，总部位于大阪的普利兹克奖得主安藤忠雄成为了首选。这座以学校恩人、商界传奇罗伯托·加尔萨·萨达命名的艺术、建筑与设计中心，可谓主客两得其所——既显东主气度，又见匠心独运。安藤常道：“吾欲构一奇观，令蒙特雷之名传遍寰宇。”此言虽狂，却也道出了几分建筑师的豪情壮志。
Founded in 1969, UDEM is a private university with some 12,000 students. When the design and development of a new, state-of-the-art home for the school’s most creative disciplines was discussed, Osaka-based, Pritzker Prize-winning architect Tadao Ando was top of the wish list. Named after one of the university’s chief benefactors and a legendary local entrepreneur, the Centre Roberto Garza Sada for Art, Architecture and Design was a project of grand scale and ambition for both client and architect. ‘I was going to make a design that was very daring, something that would send images of Monterrey around the world,’ says Ando.
瓦比基金会，墨西哥（2014年）
Casa Wabi Foundation, Mexico (2014)
Image credit: Fernanda Romandia
由艺术家博斯科·索迪（Bosco Sodi）创办、并由前主任兼策展人Patricia Martin管理的瓦比艺术基金会，位于墨西哥城西南约500英里的瓦哈卡州普埃尔托·埃斯孔迪多的郊区。创始人博斯科·索迪素仰慕安藤建筑之风骨，便请这位日本普利兹克奖得主为其基金会新址操刀。更有一桩趣事，这“瓦比”二字，竟是取自日本“侘寂”之意，讲究的是物不求全、缺憾见美的禅意，倒也与安藤一贯追求的建筑美学不谋而合。
Set up by artist Bosco Sodi and directed by Patricia Martin (former director and curator of La Colección Jumex), Casa Wabi art foundation is situated on the outskirts of Puerto Escondido, Oaxaca, about 500 miles southwest of Mexico City. Sodi '“always admired Ando's architecture'and approached the Japanese Pritzker Prize-winning architect for the design of his foundation's new headquarters. There is one more Japanese connection - Casa Wabi is named after the Japanese ideal of wabi-sabi, which revolves around the beauty of life's imperfections.
伊丽莎白街152号，纽约，美国 (2016)
152 Elizabeth Street, New York, USA (2016)
Image credit: press
伊丽莎白街152号是一座美丽的七层、七个住宅单元的建筑，位于诺利塔中心，于2016年底完工。这是安藤忠雄在曼哈顿的第一座住宅建筑。由本地公司Sumaida + Khurana开发，该公司致力于与尚未在纽约市建造的知名建筑师合作，伊丽莎白街152号注定要在豪华生活中树立新的标杆。
152 Elizabeth Street is a beautifully formed, seven-storey, seven-residence building situated in the heart of Nolita that completed at the end of 2016. It was Ando’s first residential building in Manhattan. Developed by Sumaida + Khurana, a local firm that is making it a point to work with renowned architects that have yet to build in New York City, 152 Elizabeth Street was poised to set a new standard in luxury living.
商业交易所，巴黎，法国（2021年）
Bourse de Commerce, Paris, France (2021)
Image credit: Marc Domage
说到2021年开张的巴黎商业交易所，可谓是弗朗索瓦·皮诺（François Pinault）收藏艺术的又一处锦绣江山。这已是这位法国商界巨擘第三次邀请安藤忠雄，为其艺术珍藏改造历史建筑了——此前威尼斯的 Palazzo Grassi和the Punta della Dogana,，便是两位故人重逢的见证。
Opened in 2021, the Bourse de Commerce in Paris is the latest home for François Pinault to show works from his phenomenal art collection. This is the third time the French businessman has chosen Japanese architect Tadao Ando to convert a historical building into a contemporary museum for his collection (following the Palazzo Grassi and the Punta della Dogana, both in Venice).
新门前酒店，日本京都（2022年）
Shinmonzen hotel, Kyoto, Japan (2022)
Image credit: Ben Richards
其外立面完美展现了传统京都町屋的所有特征，从低矮的深色木材的对称设计到弯曲的屋顶瓦片。然而，走进新门前酒店，氛围瞬间转向未来：一条长长的走廊，一侧是生硬的混凝土，另一侧则是垂直的木条，延伸深邃，流入意想不到的现代建筑内部。在京都历史悠久的祗园区，这座新酒店中传统与当代创意形成了有趣的对比。尽管外观上看似传统建筑，它实际上是从零开始建造的，由日本建筑大师安藤忠雄设计，而酒店的创始人帕迪·麦基伦则将其构想为位于法国南部现代艺术与建筑的圣殿——拉科斯特别墅的小姊妹。
Its façade ticks all the boxes of a traditional Kyoto machiya townhouse, from the low-rise symmetry of its dark timber to its curved roof tiles. Step inside The Shinmonzen, however, and the atmosphere veers into the future: a long corridor, sharply lined with a sweep of raw concrete on one side, and vertical wood slats on the other, flows deep into the unexpectedly modern building. Heritage and contemporary creativity stand in playful contrast throughout this new hotel in Kyoto’s historic Gion district. Despite its external appearance, it was built from scratch, designed by none other than Japanese architecture master Tadao Ando, and dreamt up by hotelier Paddy McKillen as the far-flung little sister of Villa La Coste (W*214), the sleek temple to modern art and architecture in southern France.
谷仓画廊，日本直岛（2022年）
Valley Gallery, Naoshima, Japan (2022)
Image credit: Masatomo Moriyama
谷仓画廊将自然、艺术与建筑完美融合，标志着自安藤忠雄在直岛建造的第一座建筑——宾尼斯艺术博物馆以来的30周年。新画廊坐落在一条深谷的底部，结构朴素，拥有一个带有棱角的钢制屋顶，平面呈梯形，设计灵感来源于周围的自然景观。安藤忠雄的目标是“创造一个独立的建筑空间，同时尽可能保留现有的地形和树木”，以最大程度地发挥这个地点的潜力。新馆依谷而建，构制质朴，钢顶棱角峥嵘，平面则因地制宜，成梯形之制。
Merging nature, art and architecture, Valley Gallery marked 30 years since Tadao Ando's first building on the island, the Benesse House Museum, which was Naoshima’s first art museum, as well as a hotel. Nestled in the base of a deep valley, the new gallery is a modest structure with an angular steel roof and a trapezoidal floor plan informed by the landscape. Ando aimed ‘to create an independent architectural space while preserving as much of the existing topography and trees as possible’, in order to make the most of the site’s potential.
和美术馆，中国（2022年）
He Art Museum, China (2022)
Image credit: HEM
中国南方传统的圆形建筑独具特色，体现了古老的信念：天圆地方。今得普利兹克桂冠的日本建筑家安藤忠雄，在顺德新建的何氏艺术博物馆中，别出心裁地重释此中三昧，又融入岭南水乡建筑之神韵。馆主何剑锋乃英富实业之掌门，素有盛名。其雄心所向，既网罗巴勃罗·毕加索（Pablo Picasso）、Olafur Eliasson、达明安·赫斯特（Damien Hirst）西方艺坛巨匠之杰作，又广集岭南水墨、粤剧之精粹，可谓融汇东西，冀以此激发世人对文化艺术之挚爱，堪称“利之所在，亦义之所在”。
Southern China’s traditional distinctive round buildings reflect the ancient belief that the sky is round and pine and the earth is square. Now Pritzker prize-winning Japanese architect Tadao Ando has reinterpreted this vernacular and the region’s famed waterside architecture for the new contemporary He Art Museum (HEM) in Shunde.The founder, He Jianfeng who owns industrial investment Infore Group, one of the region’s most successful businesses, hopes the museum’s striking architecture and Western works of art – by masters such as Pablo Picasso, Olafur Eliasson and Damien Hirst – together with a focus on southern China’s Lingnan culture, including a fine collection of Lingnan-style ink art and Cantonese opera, will spark serious interest in culture and the arts.
直岛新美术馆，日本（2025年）
Naoshima New Museum of Art, Japan (2025)
Image credit: Tadao Ando Architect & Associates
2025春，安藤忠雄将重返这座饱受艺坛推重的海岛，为直岛新艺术博物馆揭开面纱。此为其为宾尼斯艺术园区所献第十件“心匠”，将展陈蔡国强（Cai Guo-Qiang）、村上隆（Takashi Murakami）、赫里·多诺（Heri Dono）、Do Ho Suh、N. S. Harsha、Marta Atienza等艺术名家之力作与场域创作，可谓群英荟萃，珠玉在前。
Ando returns to the feted Japanese island in Spring 2025 with the opening of the Naoshima New Museum of Art. The project marks his tenth contribution to Benesse Art Site Naoshima, which is set to host a range of works and site specific commissions by artists such as Cai Guo-Qiang, Takashi Murakami, Heri Dono, Do Ho Suh, N. S. Harsha, Marta Atienza, and more.
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