The religious building is housed in a pure concrete “box”, cut by a 15-degree sloping wall separating the two entrance and prayer spaces. The essential environment, far from the splendour of institutional monumentality, encourages an intimate and authentic spirituality, emphasised by the massive, exposed cement walls, the floors and furnishings made of wooden planks of scaffolding, and the cross carved into the wall behind the altar, from which light filters in during the day.

Situated on the slopes of the mountain of the homonymous name, the residential complex puts Ando face to face with the problem of residential density, here tackled by the designer with a focus on preserving living quality and neighbourly relations. Despite having been completed over a period of almost twenty years, the three blocks have common characteristics that give the complex a unified identity: they exploit the site's conditions to the full through a staggered arrangement that follows the slope; they use exposed reinforced concrete, both for the modular structure and for the façades; they create paths and shaded interstitial spaces that serve as public and semi-public areas for neighbourhood interactions. Each dwelling has a terrace and is appropriately oriented to make the most of the view of the landscape.

The museum complex, situated near Louis Kahn' Kimbell Art Museum and Philip Johnson's Amon Carter Museum, is composed of five volumes of glass, aluminium, steel, granite and concrete, set in a pool of water. A skilful calibration of artificial and natural light characterises the spaces, illuminated by floor-to-ceiling windows and skylights that interrupt the generous concrete cantilevered flat roofs, supported by Y-shaped pillars.

The historic triangular-shaped complex of the Punta della Dogana warehouses, located between the Grand Canal and the Giudecca Canal, has been restored by Ando to house the exhibition spaces of the François Pinault Foundation. The respectful approach to the context has brought back to light the original fine features while eliminating incongruous elements. The project deals with the existing building through a rigorous and minimal contemporary lexicon, evident in the exposed concrete of the new walls and of the sculptural cube placed in the double-height central room, which serves as the core of the exhibition itinerary.

This landscape-scale project concerns the installation of a monumental stone statue of Buddha in the naturalistic context of a cemetery near Sapporo to create a place for meditation. A hill covered with lavender plants, crossed by underground pathways, surrounds the sacred statue: in front of the hill, a rectangular water garden surrounded by concrete walls leads into a 40 m long, concrete path carved into the hillside, from which the visitor enters the circular cone-shaped open-air hall, in the centre of which the statue is placed.