A matter of light.

CHURCH OF LIGHT

Osaka, Japan

Tadao Ando

1989

Outlined as a rectangular concrete box from the outside, the Church of Light shares this formal and aesthetic similitude with the former project. The box is in this particular case intersected by a concrete wall which inclination (15º), regarding the plane of the large facade, creates an entrance path guiding in that way the visitor towards the access. This access leads one to the end of the room, having to drastically turn towards the right to face the altar. 

 

Light filters through the cross opening cut out from the wall that houses the altar, illuminating the obscure chapel. The light penetration through the hollow also carefully signalizes where ‘the Lord is’. The opening is glazed due to climatic conditions, although Tadao Ando would have preferred to leave it uncovered so the wind could penetrate so as light does. Therefore light is in fact the only natural element to come into the interior, outlining the compositional materials that make up the architecture of the church. 

 

Because light shines the most intensely when confronted by darkness, Ando minimizes the openings of the edifice, almost completely eliminating contact with the outside. To enhance even more this situation, he orientates the building from the main facade towards the natural spotlight so the cross opening always receives backlighting, creating a bigger contrast from the inner space. 

 

The presence of the subtle introduction of light as the only natural phenomena embraces the abstractness of the architecture itself. The linear compositions the shadows form on the floor and the ever-mobile projection of the cross which deforms along the daytime enliven the architectonical experience.  

 

The conceived atmosphere mainly resultant from the interaction between light and darkness is well explained by Ando, as he states: “The Church of Light is, paradoxically, a dark bulging. Light couldn’t function without darkness. Once again, it’s the combination of mutually exclusive terms which provides the real interplay through which architecture acquires movement”.