Tadao Ando - Light as a material (DISSERTATION)

Ediz Ali Student ID 96998520 Architecture Ravensbourne University of London ARC16301 Submission date: 16th December 2022

Word count: 6502

DISSERTATION

Tadao Ando : Light as a material

Table of Contents

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List of Figures Abstract Introduction

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Chapter 1 : Light and dark

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1.1 What is light in architecture?

1.2 Effects of light and dark spaces 1.3 Effects of neglecting light Chapter 2 : Tadao Ando

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2.1 Tadao Ando 2.2 Influences - Japanese Influence 2.3 Projects - Azuma House - Koshino House Chapter 3 : Case Study - Church of Light

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Conclusion

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Bibliography

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List of Figures Figure 2 Furuyama, M. (2006) Photograph of Tadao Ando. TASCHEN. Tadao Ando Architect & Associates.

Figure 3 Furuyama, M. (2006) Row House courtyard. Mitsuo Matsuoka Figure 4 Ando, T. (1987). Church of Light view of interior. Mitsuo Matsuoka. Osaka. Available at: http://www.jstor.org/stable/4381165 Figure 5 Fujii, N. Verena, A. (1999) Exterior of the church looking at the crucifix opening. Tadao Ando Architect & Associates

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Abstract For users to experience a space, light is essential in defining the form and materials of the space. This dissertation aims to explore the use of light and whether light should be used as a material rather than an ornament to plainly light up a space. Tadao Ando, a Japanese architect, whose fascination of implementing light in spaces has led him to be known as the ‘master of light’ (Campbell, T), in which Ando uses light to create architecture. Ando’s use of natural light in his spatial design has been a result of his upbringing, education, and inspirational influence over his years of self- study. Through research from books and articles looking at studies of light and analysis of Ando’s previous work, before determining the influence of light on users through the influence his previous work has had. Visual analysis of spatial experience will be carried out and by comparing and examining related literature from published books and articles to determine its importance in its incorporation with architecture and whether it is an essential element.

Based off the research carried out, the use of natural light is essential in creating a positive effect on human senses and should be seen as an important element in the creation of architectural spaces. Light should be seen as an essential material, rather than just an ornament to create light in a space for basic needs and purposes, in which there is a deeper meaning and effect that light in spatial design creates. This can be seen in the projects of Tadao Ando.

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Introduction

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There is ‘no true architectural experience without light’ (Pallasmaa. 2021). It can be argued whether light is the most crucial element to allow people to explore and experience spaces and whether it should be implemented into architecture as an essential material. Although light has no physical matter, can it be acknowledged as a material in architecture?

One of the most known architects who recognises the importance of light is Tadao Ando, a self-taught Japanese architect in which the incorporation of light in his designs is a big element. This dissertation will investigate Tadao Ando, with his culture and past influences, as well as his previous work. The aspect of the importance of light for spatial design, and its impact on users will be discovered and it will argue the importance of the use of light as a material rather than an ornament to simply light a space. Instead, should light be used as an architectural element along with the materials used for a space?

Should light be used as a material, which influences other materials?

Light draws attention to more details of a space. We do not value light directly, but how It affects materials and surfaces around us (Entwistle, J. and Slater, D, 2019).

It allows users to experience forms, textures and colours which creates a deeper experience when exploring a space. The importance of understanding the element of light in architecture as a material will be important for the future of architecture. Especially with the fast evolution of technology which is allowing the use of artificial light to take over.

This has therefore led to light being used more as an ornament to create aesthetics in an environment, rather than focusing on how natural light can be utilised to create space and an atmosphere.

To understand the importance of light in architecture, we should look at the extent of the effects of the use of light for spatial design and psychological effects on users. Looking at the use of artificial light compared to the use of natural light to determine a difference in its effect. Tadao Ando’s main use of light in his projects is natural light, where he believes architecture should be used to allow nature to ‘speak’ (Ando, 1990), highlighting his belief of the importance of allowing natural light into a space. This dissertation will use primary sources, such as case studies. Visual analysis of important case studies of Ando’s work 4

will be investigated which include his ‘Church of Light’. This work uses ‘restricted openings’ as its main source of light in which the restriction of natural light influences the atmosphere of an enclosed space. By looking at the ways Ando utilises natural light in the Church of Light through openings and enclosed spaces, to help determine its atmospheric effect and how this connects with people emotionally and spiritually.

In addition, previous articles and books will be used to undertake the research.

Through looking at case studies, biographies, and autobiographies on Tadao Ando to help understand his background and past and how it influenced his use of light in architecture.

Furthermore, looking at a range of Ando’s previous projects and focusing on a project which heavily focuses on the ability of light in a space, The Church of Light. This will help determine Ando’s use of light as a material rather than an ornament and the importance of doing so to achieve an atmosphere intended to affect users in a positive way. In addition, to how over his career, he utilises light and how his projects have communicated his aspirations of the importance of light for architecture.

The dissertation will begin with exploring the different uses of light and ways it can be used in a space to create an atmosphere. As well as looking at the diversity of light and how users perceive light for it to overall create emotional effects on the users of a lit space. It will further investigate Ando’s biography, looking at his education, from being a self-taught architect as well as Ando’s culture. This chapter aims to demonstrate an understanding of Ando’s upbringing and his ways of learning the elements of architecture and the extent to which his culture of his birthplace, Japan, has influenced his work later in life. Furthermore, it will look at Ando’s inspirations and influences throughout his early years from famous architects who heavily incorporate light into their work. It will visually analyse ways at which light is already used by these architects to create an experience. In addition, to how crucial the understanding of using light to create an atmosphere in order to promote comfortability and to create a place that will ‘help people connect emotionally with the building or spaces’ (Master. 2021). Moreover, this paper will analyse one of Ando’s previous design projects, The Church of Light, in order to establish the common elements of light utilisation in his architecture and the effects. It will use the case study of his previous work to justify Ando’s importance of natural light for spatial design and to 5

determine whether the importance justifies his use of light in architecture as a material rather than an ornament, in which it will question if its only function is to merely create light in a space. The aim to find the deeper meaning of light in architecture will be carried out.

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Chapter 1 Light and Dark

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What is light in architecture?

Light in architecture has a purpose to fulfil. Its purpose is to enhance our perception of architecture by drawing attention to other elements of a space, where ‘without light, we would not be able to see the breadth and depth of space’ (Brandon Ro, AIA. 2020), for example textures and forms. ‘Light is not built’ (Hillbrand. 2018), but the way we perceive light and its ability to create impressions on surfaces and objects is what creates its effect and indicates its importance. Architecture cannot be separated from the word ‘light’ where light allows us to discover architectural spaces and the connection between objects and details (Paiva. 2015). It enhances our ‘visual understanding’ of the environment we are in, by interacting with the space that surrounds and by ‘softening and hardening surfaces’. This allows us to connect and comprehend the space. Light is able to transform a space, adding depth and textures to surfaces and creating various levels of shadows and darkness. By doing this, illusions of space can be created, in which light can be used to make spaces look bigger or smaller. This is an important result of the use of light and can be used to create various atmospheres in which these different types of spaces will produce different effects on our emotions, well-being, and spatial awareness.

Effects of light and dark spaces Understanding the importance of light should allow the understanding of how light should be used in architecture. Without light, what is architecture? Light allows our senses to widen through our vision. The importance of our vision is what contributes to our spatial orientation and safety through safe movement and awareness of our surroundings, allowing us to experience architecture in a positive effect (Moore. 1991).

How we see architecture is ‘based off the existence of light’ and the contrast between light and dark (Borys. 2004). Light is believed to be the ‘protagonist’ In architecture, however light and dark both play a role and are both a result of each other in which the perception of architecture can only be seen through the contrast. Through dark spaces we see ‘glimpses’ of light (Schielke. 2013). Through light we see the dark spaces and shadows 8

created.

Through our vision we can calculate factors of our environment and what makes us feel comfortable, in which light plays a major factor to determine this. Spanish architect, Alberto Veiga, who designed buildings such as the Neanderthal Museum, believed ‘the power of architecture’ was to be able to ‘transmit feelings’ and to allow people to feel ‘comfortable inside’. They believed this could be achieved through using ‘fundamental elements’ such as ‘light’ (Veiga. 2015). This highlights their importance of working with light in architecture and its ability of being able to affect people's emotions. By being able to create a sense of comfortability in a space through light emphasises its importance for the main function of architecture.

Although light can be used to create comfortability in an environment, it must be used correctly in order to do so. Light can also make us uncomfortable. The main aspect to why a person feels uncomfortable is because of their feeling of safety where it is ‘not possible to feel comfortable without feeling safe’ (Innes. 2012). Kahn believed darkness created an ‘uncertainty of not being able to see potential dangers’ (Lowe. 2016). Our vision is an important sense which protects us from these ‘potential dangers’. Darkness restricts our vision, creating a sense of fear of the unknown we cannot see, therefore making us feel more vulnerable to possible threats. However, although darkness can create a feeling of fear and uncomfortableness, it can also create interest and curiosity in a space. Kahn believes darkness can ‘inspire deep mystery’. Restricting the vision of users and their ability to clearly see forms creates, a sense of curiosity to investigate the space, in which the architect can create areas for users to explore and create experiences. Creating an experience will emotionally connect people with the space which will make it unforgettable (Master. 2021).

With a lack of light, contributes to the amount of darkness in a space. The level of darkness is ‘elucidated’ by the amount of light, even a ‘glimpse’ of light will help determine how dark a space is (Schielke. 2013). Without light, we would not be able to perceive the amount of darkness in a space, for architect Louie Kahn, known for his architecture heavily incorporating uses of light said, ‘Even a room which must be dark needs at least a crack of light to know how dark its is’ (Kahn. 2016). Even glimpses of light allow shadows to be 9

created and forms to be visible in which architects use shadows to ‘create a sanctuary of art’ as shadows mould and define the surfaces they touch, overall forming the architecture inside. Light projected, in which its ‘origin’ is made unknown by being hidden, heightens the ‘effect of light’ itself and reduces the focus on where the light came from but how it makes you feel (Schielke. 2013).

Early uses of light which help argue its importance for architecture began during the Roman era. Structures during this period were designed with light as a major element for its interior function, for their intentions were to ensure the interior was ‘defined by light’ (profilitec. 2020). An example of Roman architecture is the Pantheon. The Pantheon was created with a large 43.2 metre diameter dome which sat on top of a cylinder (Ando.

1997). At the top of the dome, in the centre, was a 9-metre hole (oculus). This hole was used as an entry point; a way of connecting the interior of the building to nature. This was a factor architect Tadao Ando appreciated and incorporated in his work. He believed, ‘for humans to feel at ease in architecture, embrace and live together with beautiful nature’ (Ando. 2022). The pantheon used natural light to create a spotlight projecting light onto the depths and details, allowing light and shadow to interact (Fig.2). The exaggeration of the light entering and the contrast of light and dark focuses your attention to the light as it is the major contrast, almost directing a person’s gaze to the important feature. This enables users to appreciate the environment and elements of the interior, overall emphasising the use of natural light as a useful tool for user experience. The Pantheon was one of Ando’s first experiences of an architectural space, made by light where the ‘illuminated’ light from the oculus is where the space ‘truly becomes manifest’. An important realisation Ando made was that ‘light cannot be experienced in nature’. Architecture is what allows the power of light to be known and to be able to create atmospheres where light and dark can contrast to form a space.

Figure 1 Pantheon section showing different angles of light throughout the day 9

Effects of neglecting light Natural light is essential to the ‘symphony of our senses’, which is necessary for human health, and provides us with a feeling of space and time. However, we are often oblivious of lights significance and take its existence for granted. The existence of architecture allows us to experience light and how its interplay with space forms an architectural experience, essential for the design process.

The importance of light in architecture can normally be neglected, ‘treated as a quantitative phenomenon’ (Pallasmaa. 2021) in which light may only be used because it is an essential for architectural spaces, where it will be used to simply light a space.

Neglecting the impact and power light can have on a space will have negative effects on the atmosphere of the space, furthermore, impacting a user and how they feel in that space.

The Alienation of light, where upon, spaces that ‘permit too much light’ or where light is distributed ‘evenly’, has the ability to ‘weaken the sense of place’. This is because in a space where light is dispersed ‘evenly’ (Pallasmaa. 2021), deprives the space's ability to create shadows. Shadows being the primary product of light, means a lack of atmosphere being created. When excessive amounts of light are used, it ‘weakens the capacity of vision’ (Pallasmaa. 2021), making the space uncomfortable. These factors reduce the spatial impact on users negatively and by looking at these effects of the neglection of light in the design process, emphasises the importance of light in architecture and how it should not be neglected.

We often become aware of the ‘phenomena’ of light only after it is taken away from us. Natural light and its dynamics throughout the day and the seasons throughout the year are necessary for life, yet we can be unaware of the numerous ways in which light is essential to our survival and well-being. Typically, we treat light as a ‘medium of vision’ (Pallasmaa. 2021), ignoring the deep aspects light can create. Because light is not a physical object, alongside essential components of architecture, it may be forgotten about.

However, it should be seen as the most necessary component, in which the absence of light can detrimentally impact architecture. James Turrell believed, although light may 10

seem ‘intangible’ with no physical presence, it can be ‘physically felt’ through the ‘quality and sensation of light’ by describing light as being ‘tactile’ (Turrell. 1987). The idea that light can create a physical feeling through its presence with contexts and how they interact which creates ‘sensations’, supporting the idea of light as a physical phenomenon.

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Chapter 2 Tadao Ando

Figure 2 Furuyama, M. (2006) Photograph of Tadao Ando. TASCHEN. Tadao Ando Architect & Associates.

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Tadao Ando is a self- taught, contemporary Japanese architect, who had ‘no formal training’ (GREAT MINDS Official. 2022) in architecture. He was born in 1941, in Osaka, Japan. Growing up in Japan influenced his future work heavily, with his use of asymmetrical geometry and designs which ‘harmonizes... with natural elements’ (Trisno.

2021), as well as the ‘simplicity and minimalism of Japanese thought and culture’ (Michalarou. 2022). Ando has subsequently completed over ‘200 projects’ across the world (Bailey. 2015). Studying traditional Japanese and modern architecture had a major influence on his work in which a mix of elements can be seen in his work. He would study monuments of traditional Japanese architecture and travelled to western countries to learn and absorb the architecture, history, and techniques.

Since his earliest years, he has been known for his use of concrete, geometric forms, and his major contribution of light in his projects. ‘In all my works, light is an important controlling factor’ (Ando. 1995). Ando would use light with ‘poetic and creative power’ to create architecture which contributed to the quality of human existence. He believed for us to ‘feel at ease in architecture, embrace and live together with beautiful nature’ (GREAT MINDS Official. 2022). His important belief of the value of nature to humans was great and believed we should appreciate nature as what we ‘coexist with’.

With this belief, Ando used architecture as a way of utilising nature to create different architectural experiences, where he would use nature (light) as an additional ‘material.

This allowed Ando to create moments of ‘enlightenment’ (Jodidio. 2001), which reveal shadows and spaces.

His architecture has been described as ‘subtle and serene’ with a sense of phenomenology, where users who experience his spaces ‘never forget them’ (Bailey.

2015). His ability to use architectural impressions to create powerful spaces have made him one of the most ‘respected architects in the world’ (Jodidio. 2001). Ando has three important impressions he uses to create spatial experiences. The first one being, ‘Materiality’, with his common use of concrete. Ando’s use of concrete often described as ‘soft as silk’, was intentionally used in order to create a ‘canvas-like’ structure. This would enable it to co-operate with the various amounts of light Ando lets into the space, which dramatizes its spatial effect by intensifying the depths created from the contrasts created.

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The concrete would be used in a ‘unique way’ which allowed for ‘constantly changing patterns of light... in his structures’ (Pritzkerprize.com. 2020). The second impression is ‘Tactility’, his ability to create tactile environments from concrete and light. Concrete which seems ‘soft to the touch’, as well as the use of gaps to allow light to flood through which feel as if you can reach out and touch. The third impression of his architecture is ‘emptiness’ through which Andos makes users feel as if they are alone with light and space. With minimalistic openings of light mixed with the simple geometric forms (Jodidio.

2001) and the complexity of using nature as a way of combining with the architecture to create atmospheres (Jodidio. 2001).

Influences Ando could not afford a formal architectural degree, Instead, he taught himself, which is an extremely remarkable achievement in the profession of architecture. With modernism and minimalism seen common in Andos projects, and through being selftaught, inspiration from other architects have been a major contribution to Ando’s education of architecture and spaces. He visited places across the world, from the Parthenon to the Pantheon and toured Japanese architects' buildings and studied them thoroughly. Inspiration from architects which Ando has said to have had a major influence on his work, come from the works of, Le Corbusier, Frank Lloyd Wright, and Louie Kahn (Bailey. 2015). Architects who used the phenomenology of light in spaces to create a ‘feeling of vastness and immensity’, which can be seen in Andos work.

Japanese Influence Ando had an ability to create intense yet serene feelings through simplicity and combining modern architecture with unconscious inspiration of his Japanese influence.

His projects can be seen as a modern reinterpretation of traditional Japanese spaces.

Aesthetics of Japanese architecture and culture is described as ‘simple, rustic, quiet, harmonious’ (Paiva. 2015). Following Japanese culture allowed Ando to show the power 14

of light and shadow through its contrast and creating areas of light and dark, similarly seen in Zen buildings. Taking aspects of Zen which heavily uses nature, helped Ando create architecture of peace, where light is the major factor that ensures this peace and comfortability in the spaces. Zen derived from Japanese culture, where it involves creating peace and tranquillity in a space to help calm and reduce stress in people.

Within the Japanese culture of Zen Buddhism lies what is known as ‘Wabi-Sabi’.

Wabi-Sabi is a Japanese belief for ‘finding beauty in imperfection’ (CKSPACE. 2019). It looks at things naturally beautiful or ‘detaching yourself from the material world’ to find simplicity and naturalness in reality. Zen Buddhism is described as the ‘bedrock’ of WabiSabi or a path to enlightenment where it is a way of proving ‘nothing has to be perfect for you to appreciate it’ (CKSPACE. 2019). Ando’s influence from Wabi-Sabi can be seen in his projects where he uses minimalistic aesthetics to ‘provoke in us a feeling of serene melancholy and spiritual longing’, relating to the idea of enlightenment from Buddhism.

The secular aspect can be seen in the Ando’s various church projects, such as the Church of Light, where the use of light is used in a symbolic tradition of the religion as well as a spiritual aspect. Ando views Wabi-Sabi as ‘Japanese view of life’ where we learn to embrace the simple aesthetics. Embracing the aspects of nature, which can usually be taken advantage of and paid very little attention to. Ando uses Wabi-Sabi in his projects as a way of bringing the attention to nature and allowing users, who are so caught up in the ‘chaotic urban environment’, to embrace nature and see the beauty of it. By using various opening which allow light to flood into a space and how it reacts with other objects by creating contrasts of shadows to allow us to appreciate the powerful effect of nature. This therefore is a major contributing factor to Andos work.

His Japanese influence has allowed him to incorporate an important aspect of the culture into his work in that his use of nature (light) is an important element which creates his architecture. His use of light, inspired by the Japanese culture has allowed him to create meditative and intimate spaces which can help prove the argument of light being a material through Andos ability to create tactility with the use of light. How light, being the dominant element to his spaces in allowing users to feel the light, not just see it, and how it affects them emotionally by creating serene, relaxing experiences.

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Projects The Azuma House, also known as the ‘Row House’, built in Japanese city of Osaka in 1976, was one of the early works of Tadao Ando and served as a ‘starting point’ for all his subsequent work, where it is closely inspired by ‘local architecture and Japanese architecture’ (Jodidio. 2001). Ando’s intentions were to create a space where one could be in peaceful nature, whilst being isolated from the ‘chaotic urban environment’. He achieved this through the limiting factor of a small-scale site and through designing a simple, rectangular box structure including an open courtyard (Fig. 4), which created a contrast of exterior and interior. By creating the living spaces to transmit feelings of closure as well as openness through having to travel through the central court from the bedroom to the bathroom. This forced the users closer to nature, through which the courtyard was open to ‘natural forces’ and forced users into ‘direct contact’ with light and wind. The courtyard was built within the building ‘A secluded space cut off from the commotion of the city’(zaxarovcom. 2021), however the open ceiling allowed the nature of light and wind to enter, for residents to feel the ‘rhythms of nature’. With Andos intentions of using light as a component, his play with shadows and the contrast of light and dark can be seen through large opening ceiling courtyard which floods the interior with light. Although this creates little atmosphere, it could be argued whether this was intentional to replicate the feeling of being outside with nature, where you are surrounding by large amounts of light, with the feeling of wind and air. What is interesting about the secluded courtyard space is that it also acts as a ‘window’ (Furuyama. 2006) for nature to access the interior space, making It feel like an exterior space, bringing users closer to nature. The ‘mute’ walls allow ‘complex shadows’ to project and make us aware of the changing seasons of nature. This takes inspiration from further Japanese culture of Haiku, a form of poetry, originated from Japan, which focuses on ‘brief moments in time’ (Voutiritsas. 2019) and seasonal references.

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Figure 3 Furuyama, M. (2006) Row House courtyard.

Mitsuo Matsuoka

As Ando furthered in his career, his use of nature in his architecture developed.

Paying more attention to certain elements of nature, specifically light and wind, using these elements to bring people closer to nature and using them in ways which create spatial atmospheres to affect users emotionally and spiritually. Projects of residential architecture for living, as well as sacred architecture which heavily uses light for the purpose of spatial architecture as well as its symbolism to religion and purity.

The Koshino House was a later project of Tadao Ando which was completed in 1984. This was designed as a one family house surrounded by the natural environment.

Ando used elements from the Azuma house, created 2 concrete boxes which connected as well as an additional element including a section which had a curved wall. A different element to what is usually seen in Andos work where the use of straight geometric shapes is dominant among his work through use of smooth concrete walls and forms to allow a ‘play of light’ (Jodidio. 2001). Ando created gaps in the walls and the ceiling to allow light to enter at different angles at various times of day. This allows ‘interior and exterior spaces to communicate’ where light from the exterior impacts the interior by creating shapes and shadows from the light utilised. All that is used for the interior is the concrete walls and light. There is no ornamentation and decorative elements to the design where the concrete is used with light to illuminate shapes and definitions of forms of the house. The curved wall of the house has a ‘slit’ in the ceiling above which runs along the top of the curve. This allows the light to enter, highlighting the form and taking the shape of the curve through creating the contrast of the light and the dark spaces untouched by the light. The shadows are formed due to the light in which its contrast allows the shape of the light to stand out.

With Andos many uses of narrow opening and skylights which cast shadows in the house at different periods of the day has led the house to be known as the ‘Dance of light’, referring the constant changing shapes of the light projecting into the home like a ‘dance’ (Garcia Moreno. 2021).

Andos conceptual use of light in the Koshino house has developed since the Azuma house. The use of light in the Koshino house can be seen as a material through the way it is used to create spaces through Ando using light from the exterior to create an interior space through using gaps in walls and ceilings. Furthermore, how concrete and 17

light interact together to define forms where the ‘slit’ in the ceilings ‘take the form of the geometrical figure’ (Furuyama. 2006). The importance of light with the interaction of the surfaces of the building is what creates its effect and importance for the space. The use of light in the Azuma house can only be seen in the function of the courtyard where light is used to flood parts of the courtyard. The house is seen as a concrete box, isolating users from the outside environment, expect the courtyard is open to the sky, allowing users to forget about the urban environment and forcing a focused attention on nature (light, wind and air). Light in the Azuma house can be seen more as part of the function of the architecture, rather than being used as a material in which the use of light as a material can be seen more in his later work of the Koshino house as well as The Church of Light.

The Church of Light uses light in a unique way which creates the architecture and its spatial atmosphere where it is used with concrete to create a dark and scared place.

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Chapter 3 Church of Light

Figure 4 Ando, T. (1987). Church of Light. View of the Interior. Mitsuo Matsuoka. Osaka

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Tadao Ando’s Church of light, completed in 1989, was a project in which Ando incorporated nature and architecture, using natural light to help define the space. The Church was built in a residential suburb in Ibaraki, Osaka, a city in Japan. The project was a renovation to the original Christian Church that was in the area of Ibaraki, on a low budget of around $218,000, due to being commissioned by the minster of the church, Noboru Karukome.

The low budget worked as a challenge for Ando, however extra funding allowed him to complete his design which led the minister to be satisfied in what he described the church as a ‘rich space’.

The church was designed as a rectangular concrete box which served as the main space for the church, with a diagonal freestanding wall cutting through. The angle of the wall is what separates the main church room to the vestibule, the small room before you enter the main space. The angle of the wall creates an opening and leads users into the entrance and the vestibule. Entering the main room users are able to witness the illumination of the crucifix opening at the end, surrounded by the soft concrete walls. The floor is made of wood, as well as the benches for users of the church. Ando’s intention for using a natural material for the benches were because of his important belief of our relationship with nature. He wanted to use natural materials for parts which users were able to physically touch and interact with and be close to nature.

Throughout Ando’s career and many projects, The Church of Light is where Ando communicates the use of light the most and demonstrates its importance in architecture where light is used as a material. Light in this building, is used to drive the purpose of the project in which it can be used as an influence to display the uses of light in architecture and highlight its importance for spatial design. Ando believed that ‘Through light... we are made to recognise in the most basic sense our relationship to nature’ (Furuyama. 2006).

Although light was a main focus of Andos in this project, creating darkness was just as important. For light to be present, darkness must be available for light to illuminate and shine (Furuyama. 2006). The church is described as a ‘dark box’ (Furuyama. 2006) due to its rectangular box structure, entirely made of concrete, creating an interior of ‘true darkness’ (Francesco Dal Co. 1997). It was used to a ‘critical catalyst’ to ‘absorb and reflect’ light causing the light to dissolve into the atmosphere creating a glow as the light 20

fades into the darkness (Church of the light designed by Tadao Ando. No date). Ando uses concrete as a way of producing light, with concretes smoothness, giving it the ability to draw light into it to create a ‘cool, tranquil’ space, which Ando identified as an element of architecture (Ando. 1997), highlighting his importance of light. However, its importance is justified through its use with the material concrete. They are used together to bring out the architectural effects, such as creating depths in simplicity and silhouette forms which are functional and purposeful to the Church and as a religious space. Elements from Ando’s inspiration of Le Corbusier can be seen with his use of light and concrete in the Church of Light. Using both materials (concrete and light) to create a ‘sense of weightlessness’ (Campbell. 2021) to allow people to experience the simplicity of the materials The Church of Light, for some, is seen as a representation that light comes from darkness. The thick concrete walls which create a sense of enclosure to construct the darkness (Ando. 1997),

Figure 5 Fujii, N. Verena, A. (1999) Exterior of the church looking at the crucifix opening. Tadao Ando Architect & Associates

creating a canvas for the play of light. The darkness within is saved by the crucifix opening, which allows natural light to flood through.

The natural light is abstracted by the opening, creating an abstract silhouette of a cross which ‘floats’ in the darkness of the church (Francesco Dal Co. 1997). The light created from the crucifix is described as a sculpture, in which the shape of the opening carves the light into a diffused shadow, casting onto the surfaces of the interior, invading the darkness. ‘The creation of space in architecture is simply the condensation and purification of the power of light’ (Ando. 1997). The light projecting through the cross opening is what creates the space of the church. It restricts the amount of light that can enter the space to prevent removing the atmosphere of the space by overpowering the darkness with light. This has the ability to ‘weaken the sense of place’ through preventing the amount of shadows and contrast of light and dark, which has negative effect on the atmosphere, 21

overall effecting the experience for users.

For the Church of Light, light becomes a functional programme. It’s positioning, being orientated to the sun, is what allows the use of natural light to be utilised and create the atmosphere within the building. The Church is orientated towards South-East. Its orientation is described as ‘one of the most beauty geometry operations of intersection that the architecture has ever seen’ (Bruno. 2017). The orientation allows for natural light to interact with the building. The crucifix uses the paths natural light, projecting and diffusing it into the interior of the church. This creates an illuminated cross onto the interior surfaces, furthermore, creating a physicality of light through creating shapes out of light and dark contrasts which fuse with textures of the concrete. Orientating a building so it interacts with the natural light is a necessity for architectural design in ensuring natural light is utilised throughout the day. The functional programme of natural light in the relation of the Church enables light to have more use than lighting the space. Instead, the changing sun path throughout the day creates forever changing shapes of light and shadows depending on the time of day, seen in the Koshino House. The constant change creates different poetries of light, which create atmospheres of calmness and serenity (Garcia Moreno. 2021). This overall highlights the important function of light, when programmed according to the natural path of the sun, and how it creates a materiality through creating shapes and poetries of light and dark depths. ‘one important thing being lost from modern Japanese culture is a sense of depth and richness of darkness’ (Ando. 1997), in which Ando would include elements of Japanese architecture in a contemporary way, as seen in Andos Church of Light. The use of Japanese simplicity and the use of light to create spiritual experiences as well as the interaction of light and dark to reveal forms in order to ‘bring richness’ (Ando. 1997) into the architecture. Influence of Zen Buddhism can be seen through the interaction of nature and the poetries of light, which create serene, meditative spaces. The secular aspect of the church which relates to the Japanese culture of Buddhism is seen through the simplicity of the church. The simplicity brings further attention to the aspects of nature incorporated in the Church, which has a high religious significance in both Buddhism and Christianity.

Light in these religions relate to purity and enlightenment, also as representation of Christ.

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Conclusion To conclude, this dissertation has analysed the factors of light and the effects light has on an architectural space, through analysing the works of renowned architect, known for their important influence of light, Tadao Ando. Through studying one of his major projects, The Church of Light, as well as previous projects such as, the Azuma House and the Koshino House, to determine his influence over his career and whether light in architecture is a material.

This dissertation has shown the important impact of using light in architecture and how light has the ability to impact a space tremendously, through how it enters a space and how it interacts with other materials. Furthermore, the importance of contrast with dark and the ability to creates shapes and impact textures of materials, through creating shadows. Through looking at early architecture from previous periods such as The Pantheon, and how light is utilised, as well as the Japanese influence of Tadao Ando has helped determine the use of light in architecture as a material. Light is determined as a material based on its importance on impacting an architectural space and how it creates a feeling of tactility, as if you can feel and touch the light, depending on how it enters a space, through openings and how it interacts with the textures, form, and colour of other objects.

The dissertation aimed to show that light should be used as a material rather than an ornament, to simply to light a space. Through studying uses of light and analysing the works of Tadao Ando, this dissertation has clearly illustrated that light is essential for architecture and has the ability to be used as a material, where neglecting the power of light has negative impacts on an architectural space.

Based on the conclusion, designers should consider the power light and its ability to affect the atmosphere of a space and the people who use it, which will ultimately determine how effective the spatial design is for its function and its ability to positively impact users. The design of light should not be neglected and treated as an ornament. It should be used as an essential material and must be used effectively by creating areas of dark and shadows to create abstraction, forms and depth within a space.

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