Poetics of Light in Architecture:

¶ … Poetics of Light in Architecture: Tadao Ando

Art is an expression of the human spirit. It is a way of describing elements, which lie in the sublime, the world that is just out of reach of the present reality. Architecture is a means for humanity to connect with the finite nature of existence. The edifices that we build in our lifetime will stand long after we are gone as a testimony to our very existence. Buildings are more them concrete and walls to serve a functional purpose. Buildings are a reflection of the humans that built them and their search for a place in the universe. It is for this reason that we study architecture and its various forms. The following will explore the work of modern architect, Tadao Ando in a search for our definition of spirit as expressed by light, shadow and texture in his work.

Ando's Concept of Light and Architecture

Tadao Ando was born in 1941 and witnessed reconstruction of Japan after the war. He was self-taught and drew his inspiration from his travels around the world where he studied the works of famous architects. His work is known for is use of light and space in creating spaces where a person can find connection with the source of all creation. His use of expansive concrete walls gives the impression of expansiveness. Ando uses light play on these walls to define the passage of time and to contrast the world of light with the world of shadow.

Tadao feels that light is the source of creation and he attempts to create clean lines that give the feeling of spatial purity, using a play between light, shadow and the platonic forms. Tadao's work is meant to nurture the spiritual side of humanity as well as its physical side. This is most apparent in his churches and temples. It is not difficult to distinguish the connection of his work to the principles of Zen Buddhism. However, Tadao did not explicitly create his work for a single religion, but for all of humanity that wished to find greater connection to spirit.

Zen Buddhism and related traditional religions, such as Shintoism have had one of the most profound effects on the development of Japanese art and architecture. This philosophy emphasizes the connection between man, heaven, and the world between. The lofty heights of early temples reflect the heavens and man's attempt to ascend these heights. Zen and Shintoism emphasize a connection with nature. This philosophy holds that architecture should blend or compliment the natural surroundings, rather than overpower it, as Western architecture has a tendency to do. Regardless of the setting, Ando's work reflects this desire to compliment the surrounding landscape and to blend with the natural setting as much as possible. The use of light in his structures often reflects the chaotic use of light and shadow in nature.

Light Environment in Traditional Japanese Architecture

Buddhism teaches that man achieves enlightenment through meditation. A man reaches enlightenment when they reach the realization that they are already an enlightened being. The practice of meditation is a key element to this realization. Shintoism places an emphasis on help from deities and spirits (Kami) in the attainment of one's enlightenment. Traditional Japanese art emphases the use of light through monochromatic painting styles and minimalist designs that flow upwards towards heaven. Zen Buddhist art emphasizes simplicity and the importance of nature in aesthetics.

Light is one of the most important elements in Japanese art. Light can either be reflected or absorbed. When it is absorbed, it becomes shadow, which is often thought of as the opposite of light. The interplay and contrast between light and shadow provide food for thought in the practice of meditation. Light and its interaction with various elements form the basis for analysis of Japanese art forms. When asked about traditional Japanese architectural forms, Ando replied,

When you look at Japanese traditional architecture, you have to look at Japanese culture and its relationship with nature. You can actually live in a harmonious, close contact with nature -- this very unique to Japan. Japanese traditional architecture is created based on these conditions. This is the reason you have a very high degree of connection between the outside and inside in architecture."

This statement summarizes the role of nature in Japanese architectural design. The connection with nature is a central theme in Japanese art and architectural design.

Light and Water

When light falls onto the surface of a body of water, it creates interesting effects. The first and foremost effect is that it provides the viewer with a mirror image of themselves and their surroundings. When the water ripples, the image is obscured by the motion. We know intrinsically that water can be hot or cold, cloudy or clear. We know that sediments fall to the bottom and that the surface becomes clear once again when this happens. We know that water is never still and that it is always flowing from one place to another. We know that water itself carries things, but the image that is produced on the surface does not change as long as the waters are not violent.

Water produces an unchanging image on the surface, although in reality the water itself is in motion. It is the depth of these effects that make water an essential element to many types of Japanese design. Water is common element in paintings, sculpture, and gardening. The use of a body of water in architecture produces a sense of calmness and serenity. Water can be used to tie two elements together, such as an indoor and outdoor scene, or a natural setting to an artificial one. Water is an essential element of life on earth and its inclusion in architecture highlights this connection.

Light and Nature

The play between shadow and light is often more complex in nature than in human structures. Consider how light filters through leaves onto a forest floor. There is not predictable pattern and the amount of light can change every few inches. When the wind blows the leaves, the light on the forest floor seems to dance. Light in the human world is often ordered and controlled to such a degree that it would appear the humans could manipulate it for their own purpose.

Consider, for instance, the sundial. This instrument uses light to measure the passage of time accurately. The cycles of night and day give us clues to the passage of time as well. The sharp edges created by buildings give us specific reference points to measure passage of time. Light plays differently in the world of nature and the world of man. Cycles of light and dark help us to organize our world and count the passage of time. We use light to gain a sense of time in our daily lives. Light tells us when it is time to get up and work. The dark signals a time of rest and sleep. Cycles of light help us to track the passage of time in our world and often represent this desire in art as well.

Light and Colour

Colour is a direct result of light. The reflection and absorption of certain wavelengths creates our sense of color. Light plays an important role in the perception of color. Certain colors make us feel different emotions. They can give a piece a certain feel or be used to express a certain emotion. Paints and pigments are the most commonly used methods for imparting color. However, the natural color of the materials can be used to convey emotion as well. For instance, concrete comes in many colors ranging from whites to dark grays. Each of these colors gives a different feel to the piece. Wood grains come in a variety of hues and patterns that can be used to express a variety of feelings. Wood and bamboo are thought of as traditionally Japanese design elements.

One generally associates light colors with happiness and peace. Dark colors often reflect turmoil or chaos. Dark colors tend to set a somber tone. The colors of a piece play an important role in conveying the meaning that it conveys. Monotones are often used in Zen painting to eliminate clues as to the piece's meaning. In the case of monotones, the seeker must meditate to decide the meaning the mood of the piece within themselves. Concrete provides an excellent monotone environment for the seeker. This is the palette that Ando used for many of his creations of religious nature.

Light and Shadow

Humans are often fearful of what they do not understand. Their preference for light is demonstrated by their obsession with the electric light bulb and its ability to turn darkness into light. Humans associate darkness with fear and the darker side of human nature. Humans tend to prefer light to darkness. However, in order to understand ourselves we must explore the areas of our psyche that represent the darker side of our nature. The use of shadow in art is just as important as the use of light. It is impossible to have one without the other. The progression of shadows is used to indicate the passage of time in Ando's work. One can watch the progression of shadow across a light piece of concrete and track the passage of time.

It can be said that light represents the concept of somethingness and shadow represents the concept of nothingness. It is the nothingness that humans seek to understand in their spiritual endeavors. The world of somethingness represents the reality that we know in our physical world. Light allows us to see our world and the things in it. Darkness, however, masks these objects. The objects themselves are still there, only we cannot see them until it is light again. Shadow represents the human journey into the nothingness of the soul. When we sit in the shadow and cannot see our physical world, we are forced to confront the darker reaches of our soul. The line between the light and the dark can be seen as the line between somethingness and nothingness. Although we fear the darkness, humans are on a constant quest to seek it.

The use of the effects of light on water, nature, colour, and shadow are important elements to consider in any design project. However, they are especially important when the space will be used for religious or spiritual purposes. Tadao Ando was an expert in the use of light with these various elements. He used these elements together to create a world where the person could experience solitude, yet a sense of oneness with the rest of humanity. He gave the visitor a sense of light and the passage of time. He created pristine lines between light and darkness. He used light and reflection to create a feeling of inner peace and a source for contemplation. Ando was a master at the use of simplicity of form and light to create a sanctuary where the visitor could experience a connection with the light. The following will examine how Ando used these principles in the creation of three of his most famous religious works.

Light Environment in Ando's Religious Buildings

It is necessary to return to the point where the interplay of light and dark reveals forms, and in this way to bring richness back into architectural space.

Yet, the richness and depth of darkness has disappeared from our consciousness, and the subtle nuances that light and darkness engender, their spatial resonance - these are almost forgotten. Today, when all is cast in homogeneous light, I am committed to pursuing the interrelationship of light and darkness. Light, whose beauty within darkness is as of jewels that one might cup in one's hands; light that, hollowing out darkness and piercing our bodies, blows life into 'place'."

- Tadao Ando (1990, 1993)

Church of Light

The Church of Light was completed in 1989 and is located in the quiet suburb of Ibaraki, Osaka, Japan. It is an addition to an earlier structure made of wood. When Ando was first contracted for the project, he faced several challenges. The first is that the structure had to be completed with a minimal budget. Yet, it still needed to reflect the sacredness and power that it intended to convey. In order to meet the budgetary requirements, Ando eliminated all adornments. He combined simple architectural elements to create a womb-like feeling for those that wished to meditate.

The church itself is a simple concrete rectangular box with a free-standing wall that is 15 degrees relative to the long side of the church. This creates a separate entryway where the visitor is forced to turn 180 degrees to face the altar. The structure is relatively dark and is illuminated by an opening in the shape of a cross behind the altar. The opening creates a cross of light that illuminates the space, reinforcing the sense of sacredness. The light literally pierces its way through the darkness. This creates a very dramatic space.

The furnishings are simple black oil stained benches that emphasize the simplicity of the structure. The light of the crucifix creates movement as the angle of light changes throughout the day. The cold feeling of the concrete is a stark contrast to the warmth of the wood furnishings and the cross of light. The space is simple and pure, yet creates tension through the use of contrasts.

Church On The Water

Church on the water has a feeling of stillness, without the tension of Church of Light. It uses a combination of concrete, glass and steel to create a sense of stillness and serenity. Church on the Water is located at the foot of the Yubari Mountains. Church on the Water is located in Tomamu, east of Sapporo, on the Island of Hokkaido. It was designed between 1985 and 1988. It only took five months to complete. Light, serenity, and space are the key aesthetic elements of Ando's work. The church sits on a large pond that is in a clearing in a beech forest. There is a resort hotel neat the church. The pond steps down towards a small river.

Like Church of the Light, this work uses geometric simplicity to achieve a sense of sacred space. The building consists of two overlapping cubes. The larger cube faces the pond and serves as the sanctuary. A semi-circular spiral stairway connects the two cubes. Ando wished to separate this space from the materialism of the hotel, so he used an L-shaped wall to accomplish this. A cross sits in the water just outside the sanctuary. One of the key elements of Ando's work is the experience that visitors have when they enter the space. In church of the light, the sight of the cross and the darkness is meant to inspire a sense of awe. Church on the Water has a similar effect as the visitor enters the building. The visitor enters the building and finds themselves in a glass and steel cube. Four large crosses direct the attention upwards. The path leads up and around the crosses. This portion is well-lit, which contrasts to the darkness as the visitor descends the spiral staircase to the chapel below. The visitor is then presented with a view of the pond and a steel cross in the middle of the water

One of the key observations that can be made about Ando's work is that he tends to use concrete boxes to enclose and darken space, and glass to provide light and the sense of openness. With both the church of the Light and Church on the Water, the visitor enters a brightly lit space and then must enter a darker chapel area for meditation. Ando's work is often thematic in the sense that it embodies a part of the transformative spiritual process. For instance, Church on the water uses a spiral circular path to create tension and suspense. Then the person is rewarded with the awe-inspiring view of the lake. The use of water and all of its characteristics of reflection, movement, and life giving properties create the perfect setting for meditation and connecting to source. The sanctuaries are typically dark and look onto a spectacular source of light. There is a sense of coming out of the darkness and into the light.

The Water Temple

The water temple is the third piece that we will examine. Once again, the visitor enters through a stairway that parts a lotus-filled pool. The pool is actually the roof of the ceremonial rooms, which are underground. The feature that stands out about Water Temple is the departure from the monochromatic palate usually seen in Ando's work. The monochromatic use of concrete, steel, and glass lend a sense of east meets west to the buildings. Monochromatic colour schemes reflect the monochromatic work of the Zen artists. The chapel in Water Temple is vermillion, rather than the monochromatic palette typically found.