Essay1

Sacred and mysterious: Light as a material in religious architecture

Wing Lam, Lau

Keywords: Light, Material, Religious, Architecture, Sacredness, Atmosphere

Introduction

Light is a matter that is of paramount importance in architecture1. Imagine an architecture as a porous pot, light is strong to penetrate through it, merging with it or even transfiguring it. Churches are sacred spaces where it is holy for religious believers to worship their God2. It is recognizable due to its spatial experiences of holy, peace and mystery. In order to create such a spatial experience, a number of approaches such as arrangements of parti and choices of

materials matter, while light is one of the most crucial elements. Light is a mysterious yet powerful material which more and more architects are investigating and utilising in their projects. This essay analyzes how light as a relational and intangible material contributes to the holiness and sacredness of religious architecture and its relationship with modernism. To scope the discussion, the essay will only discuss examples of Christian churches and Christianity.

How does natural light contribute？

2.1 As a holy illumination

Symbolism is one of the paramount elements in religious architecture3. Through symbolization, visual metaphors are created to deliver messages. In Christianity, the representative of the Holy is the ‘’Holy Trinity’’ – God the Father, God the Son

and God the Holy Spirit4. Meanwhile, God is expressed by light according to the Bible.

“Jesus is a glittering candle light… In the beginning God created the heavens and the earth. Now the earth was without shape and empty, and darkness was over the surface of the watery deep, but the Spirit of God was moving over the surface of the water. God said, “Let there be light.” And there was light! God saw that the light was good, so God separated the light from the darkness. God called the light ‘day’ and the darkness ‘night.’ There was evening, and there was morning, marking the first day. God said, “Let there be lights in the expanse of the sky to separate the day from the night, and let them be signs to indicate seasons and days and years, and let them serve as lights in the expanse of the sky to give light on the earth.” It was so. God made two great lights – the greater light to rule over the day and the lesser light to rule over the night. He

made the stars also. God placed the lights in the expanse of the sky to shine on the earth, to preside over the day and the night, and to separate the light from the darkness. God saw that it was good. There was evening, and there was morning…5“

As in St. Ignatius Chapel, Hong Kong, daylight shines through hollows on the facades and enters the church. Warm daylight relates worshippers to the content of the Bible. It leads to the thinking of God’s blessings and goodness, which in the case that the glory of God is symbolized with daylight6. Due to a fluid quality of light7, light comes in and takes over a space. The quality is regarded as a representation of God’s omni. The omnipresent as in everywhere, omnipotent as in all-power and omniscient as in allknowing are expressed8 .

Figure 1.9

Figure 2.10

Often daylight acts as a spotlight to emphasize the presence of God11. Contrast of dark and light guides human sights towards specific objects. Taking the MIT Chapel as an example (Figure 1), daylight falls from the glazing up above the altar12. A giant spotlight creates visual focus13 on the altar and visually emphasizes the presence of Holy to the worshippers. In modern churches in an urban context, sunlight from a huge sky glazing may be over demanding. Wesleyan House, Hong Kong applies the similar concept by a glazed cross on a concrete wall and a smaller sky glazing right above the altar (Figure 2). Daylight falls from the above and glows the cross to illustrate a glory come of God.

From the two approaches, natural light can symbolize holy illumination. It creates an experience to be with God in an enclosed space, contributing to the creation of a sacred space.

2.2 To uplift human spirit

In religions, believers pursue a spiritual improvement through reading holy books, listening to expository preaching and listening to God’s words. In Christianity, the holy book Bible is mainly written in descriptive paragraphs14 about actions done and quotes spoken by God, Christ and Holy Spirit. To visualize the stories as an element in church constructions, stained glasses associated with paintings are not unusual in traditional churches. One of the most famous churches with its stained glass is Saint Chapelle, Paris. With natural light glow on the stained glasses, each glass reveals as a glowing painting about a scene in the Bible stories. They deliver an experience surrounded by Bible scenes, leading to a reminder to the teaching of stories and an obsession to the artworks. In modern churches, stained glasses still exist but are no longer trendy with associated paintings. It suits the idea of

shrinking aesthetic elements of architecture in modernism15. Natural light, here, acts as an indicator to raise people’s spirits to a higher level. It suits the expectations in religions of people and leads them to recognize a religious place.

2.3 Create a mystical and mysterious presence

Figure 3.16

In worshiping a higher power, religions and sacred spaces often deliver a mysterious sentiment to people. It implies an incomprehensible face of the higher power17 . In most cases, churches create dimmer spaces with natural highlights so as to reach the goal. Dimmer spaces allow people to experience getting into the unknown while white and coloured lights penetrating through glazings and stained glasses coat a mythical sentiment on the chapel. Some architects would like to optimize the mysterious characteristic of a church with a play of light. For example, Notre-Dame du Haut, France(Figure 3) has randomly patterned sizes, colors and arrangement of widows in the church18 . Through the irregularity, angles and intensities of daylight entering the church are increasingly unpredictable. Uncontrollable factors mean leading humans to step out of their comfort zone and allowing humans to understand their limits on power. Different from traditional churches, modern churches

tend to orient pure white daylight instead of shifting light colors to reach a mystical atmosphere of a sacred space.

Relationships between light and modernism

In architecture, Modern Movement is a period in history when a rigorous emergence of modernist designs between the 1930s and early 1960s19. Modernism, Modernity and Modernization are the three main factors to construct ‘’modern’’.

Modernism is a style that emphasizes functions, simplicity and rationality. Responding to escalated Industrialization and social changes, modernism rejects old and pursues order, universals and advanced technology in architecture20 .

Modernity is a condition that emphasizes experiencing the progress of being modern21 .

Modernization is a process, an act or a state of modernizing22 .

Glass is a modern material. Discovered in the first century Europe, glass blowing then revolutionized the entire glass making industry and architectural designs. Not until the thirteenth century, sheet glass production was not perfected in techniques23. By blowing sheet glasses, plate glasses are ready to become a part of a ‘’window’’. Glass was considered as a new breaking-through material in the construction field. It was the first transparent building material to allow a total penetration of light24. Through advanced industrial technology, glass is a product under modernization in Europe. With the usage of glass, people are allowed to enjoy daylight in an enclosed space.

Glass has been a vital medium for people to experience shine inside an architecture and further development in forms or facades. Stained glass is one of the extensions of glass discovery. Aesthetic effect created by glass and stained glass provides an opportunity for people to enjoy modernity.

Natural light, itself, is modernism. In modernism, a large number of architects treated simplicity and rationality as a new authentic art standard. Natural light, as a raw form of material, retains its pure form when entering any space. Rationalizing the fluid quality of light, natural light is in fact formed by an infinite number of parallel light rays25. As a new material, light broke through the tangibility constraint in old materials. In the usage of light as an architectural material, natural light itself facilitates a rise of modernism.

Conclusion

Apart from functional lighting effects, daylight is more often treated as spiritual influences especially in sacred spaces26. Trust in worshippers to praise their God is significantly built by the atmosphere through lighting. Discussing modernism in natural light, glasses manufactured under modernization allows natural light to penetrate through shells of buildings. It was the first step for natural light to be treated as a design element in the future. When light is appreciated as an architectural design material, it reveals its characteristic in modernism. Together, light brings an experience of modernity in architecture.

34

Notes

1. Nelson, Louis P. Essay. In American Sanctuary

Understanding Sacred Spaces, 32. 2. Peirson, Ellen. “Mapping Sunrays: Light as a Material.”. 3. Nabil Guirguis, Marianne, Khaled M. Dewidar, Shaimaa

M. Kamel, and Maged F. Iscandar. “Categorization of

Symbolism in Religious Architecture; a Case Study of the Coptic Orthodox Church Architecture.” Alexandria

Engineering Journal 59, no. 1 (2020): 533–45. 4. Boff, Leonardo. “What the Blessed Trinity Is.” Essay. In

Holy Trinity, Perfect Community, 53. 5. Genesis. Paris: J-M. Place, 2006. 6. Berkin, Genco. “Space Light & Beliefs: The Use of

Daylighting in Churches and Mosques.” 7. Entwistle, Joanne, and Don Slater. “Light as Material/

Lighting as Practice: Urban Lighting and Energy.” 8. Poon, Anthony. “Light as a Building Material: Sacred and Symbolic.” 9. Poon, Anthony. “Light as a Building Material: Sacred and Symbolic.” 10. Harrouk, Christele. “Rocco Designs Skyscraper Church in Hong Kong.” 11. KREUZ, EVA-MARIA. “Light in Sacred Buildings.”

Sacred Buildings, 2008, 60–68. 12. Harrouk, Christele. “Rocco Designs Skyscraper Church in Hong Kong.” 13. “Research on Application of Natural Light in Modern

Architecture Design.” 14. Gunton, Colin E. “Metaphor and Theological

Language.” Essay. In The Actuality of Atonement:

A Study of Metaphor, Rationality and the Christian

Tradition, 28. 15. “Modernism in Architecture.” 16. “ロンシャン礼拝堂: ル・コルビュジエとパリの建築を 訪ねて（フランス）No.9: Tabi／世界の建築: お知らせ: デザイナーズマンション,株式会社リネア建築企画.” 17. Poon, Anthony. “Light as a Building Material: Sacred and Symbolic.” 18. Poon, Anthony. “Light as a Building Material: Sacred and Symbolic.” 19. “Modernism.” RIBA. 20. “Modernism in Architecture: Definition & History.” 21. Seng, ARCH2058: MODERN ARCHITECTURE, LECTURE 1: Modernity, Modernization & Modernism, 4. 22. Seng, ARCH2058: MODERN ARCHITECTURE, LECTURE 1: Modernity, Modernization & Modernism, 5. 23. “Glass as a Building Material.” Understand Building

Construction. 24. Stirton, Paul Stirton. “Glass: The Fundamental Material of Modern Architecture.” 25. Gershun, A. “THE LIGHT FIELD .” 26. Berkin, Genco. “Space Light & Beliefs: The Use of

Daylighting in Churches and Mosques.”

The Significance of Materials in Religious Architecture: Comparative Analysis of Traditional and Modern Churches

Sam Zung, Fong

Keywords: Material, Religious, Architecture, Modernisation, Traditional, Modern

Introduction

Constructing religious architecture has always been a difficult practice. It serves as a place to release the boundaries between body, mind, and spirit, to encounter God and provide a sense of surveillance. Materials are always important in architecture, with no exception to churches, as materials not only act as structural support, but also constitute visual effects, indicate religious symbols and

produce the sacred atmosphere.

Churches in Hong Kong were only built in historical styles, such as the Romanesque and the Gothic style up until World War I. After that, new architectural styles such as brutalism which were developed until the 1950s marked a new beginning of religious architecture. Under modernisation, traditional architectural elements were nearly completely expelled from the mainstream churches design during the regime of modernist style. Yet, materials in both traditional and modern churches function to form a space with spirituality, revelation, and enthrallment. This essay aims to analyze comparatively the importance of material in traditional and modern religious architecture, with the three sites of the guided tour as contemporary examples to concretize the ideas.

Structural Support

Both traditional churches and modern churches require materials to signify structural existence, but they adopt different materials to construct their structures. A typical example of traditional churches is Gothic Cathedrals. Large amounts of stone and iron are demanded for scaffolding and reinforcement. Stones were the most commonly used building material in the old times. They are either recycled from other architectures, or quarried far away. 1 2 The Gothic churches serve as a critical moment in the use of metals as many cannot believe people far from ancient Greece and Rome, before the industrial revolution, have the wisdom to apply such a brilliant material approach which had made all those seemingly impossible structures obtainable. 3

Similar to traditional churches, modern churches use steel as the backbone of the building. However, material frames of

traditional churches are usually made up of organic material from earth such as mud, bricks, blocks or stones, piling upon one another in compression; Whereas the modern churches make use of concrete structural frames which is sometimes not as robust as the traditional material since the inherent parts of the building are not inherent.

Visual Impacts

Be it traditional or modern religious architecture, building materials contribute greatly to the retention of the true aesthetics of the theme and function of churches. Customs and traditions are conserved, without having to obstruct the philosophy of the design. Not only do building materials impart a sense of function and utility, they as well produce aesthetic pleasure without losing focus of the practicality. 4 People have been blessed with remarkable experiences and mystic design aspects as a result of this

combination. In traditional churches, mouldings and various decorative details are carved on materials with great precision. Ornaments in traditional churches are significant to achieve its aesthetics. Ornamented with engraved decorations can usually be found on huge columns. There is so much visual information and details with the material that one has to spend some time to appreciate them - colours of stained glass and perfectly carved stone sculpture.

Regarding the visual impacts material brings to modern churches, consider the Ward Memorial Methodist Church again, its concrete panels and exposed beams displayed a raw and pure design, detailed by the texture of each materials themselves. The reductive aesthetic of the church which stepped away from the traditional fancy details and glamorous religious figures, shows how modern churches decorate their appearance by materials in a more simple

way. Without naves, flying arches, enormous bells in towers with sharply pitched roofs, Venetian arches, transepts, and brilliant rose windows, modern churches could still be aesthetically stunning. They do not have to have a spire with a cross solidly affixed at the top. Indeed, modern churches can be as abstractly beautiful in form as a contemporary art gallery.

Religious symbols

The absolute and unpredictable Creator, God, can only be understood by us humans through metaphors as we only have limited mind and knowledge to understand God’s world. Materials provide a medium for these symbols to work out and to be displayed. There are numerous kinds of symbolism in architectural form, such as numerical symbols, graphic characters, conceptually plans, metaphors and imitation. With the use of material, both traditional and modern

religious architecture implement various symbols in their design to symbolise the existence and words of god.

In traditional churches, ornaments do not only act as visual appeal but often with certain definite meanings or symbolic significance. A religious tale, for example, may be seen on the Notre Dame Cathedral’s facade, where Jesus Christ is enthroned and accompanied by angels bearing the cross, spikes, and spear used during the Crucifixion. There are several saints on the archivolts too. Another example is Hagia Sofia’s spherical dome. Piers between the windows are nearly unnoticeable on sunny days. It gives an impression that a huge hoop is hovering over the worshippers. In the components of the arch construction and in the shape of gigantic chandeliers, the circular form is repeated many times and in various proportions. A visitor can perceive as if they are in a spherical realm with the design of such architectural forms. Participating in the collective motion in a circle can

lead to a meditative trance or immersion in a transcending reality, the essence of which is the Bosom of God. As a result, the entire universe is depicted here and can be understood in architectural symbolism. 5

However, in modern churches, symbolism in ornaments are less complicated and more direct. Less religious stories are hidden in their designs and only direct graphical symbolism can be discovered. For instance, you will see a cross when you go to a Christian church, a Crescent and star when you go to a Islam Mosque, an aum when you go to a Hindu Temple. 6 Besides, rather than using materials to contain symbols, modern churches focus more on cost effectiveness, programs and sustainability.

Sacred atmosphere

“Materials react with one another and have their radiance, so that the material

composition gives rise to something unique. Material is endless (Zumthor, Peter, 2006).” 7

Materials create architectural atmospheres in both traditional churches and modern churches. Materials interacting and intervening with other materials in architecture can play with texture, colour, temperature and tone, generating different architectural qualities. To create a restful, solace and sacred space, besides implementing high ceilings and openness, natural materials are one of the most effective ways to achieve it. 8

To produce a sacred atmosphere with materials, traditional and modern churches apply similar methods - organic material. The texture of organic materials appeals to our sense of touch. No matter if it is the stone in traditional churches or the concrete in modern churches, the soft and organic colours of material invite one to stillness and contemplation. When nature enters the space in organic material, for instance earth,

water and light, it creates a sacred emptiness that anticipates the visitors.

The dramatic interplay of light and the red hollow bricks of the St. Ignatius Chapel created a sacred and peaceful atmosphere as well. Instead of the material nature itself, modern churches utilize the interaction of material and light to heighten the sacredness. Only through materials, light can be cast in different ways and act as a visible representation of God.

Conclusion

In conclusion, places for worship can take many forms.9 Materials are significant in both traditional and modern religious architecture, but in many different ways. This essay is not a debate between whether traditional or modern churches are better, but a retrospection of how religious architecture evolved in the context of modernisation and

how traditions transit to the modern styles.

“Only the architecture itself offers the tactile sensations of textured stone surfaces and polished wooden pews, the experience of light changing with movement, the smell and resonant sounds of space, the bodily relations of scale and proportion (Holl, 1994).” 10

In order to experience the opiate qualities of religious architecture, we have to wander through the space and dwell in it. The church needs a human body for it to be perceived and anticipated. Photographs and even films cannot reproduce the sacredness and silent intensities that are revealed in religious architecture. Authentic materialised experience can only be discovered in the present, in a specific location.

Notes

1. Wenzler, Claude, Cathédales Gothiques - un Défi

Médiéval (in French), 65. 2. Blaine Brownell, “Iron Found to Be an Essential Element in Gothic Architecture,” The Journal of the American

Institute of Architects. 3. “The First Industrial Age - Development of Iron

Technology,” Encyclopædia Britannica. 4. Partha Sarathi Mishra, “ARCHITECTURE - Time Space & People ,” ARCHITECTURE - Time Space & People 5. Deyemi Akande. “Awe-Chitecture and Ornamentation of Gothic Cathedrals.” Society of Architectural

Historians. 6. Brandon University, “10 Religious Symbols in Stained

Glass,” Brandon University. 7. Peter Zumthor, Peter Zumthor: Atmospheres:

Architectural Environments, Surrounding Objects, 25. 8. Amelia Melbourne-Hayward, “Sacred Spaces,”

Architecture Now. 9. Vinnitskaya, Irina. “The Traditional versus the Modern in Church Design.” ArchDaily. 10. Steven Holl, Juhani Pallasmaa, and Pérez Alberto

Gómez, Questions of Perception: Phenomenology of

Architecture, 41.

Discussing the role of material and immaterial in modern architecture with time and technology through studying the St. Ignatius Chapel, Hong Kong.

Sze Chai, Hau

Keywords: Material, Immaterial, Modernism, Modernity, Modernization, Chapel

Introduction

“Overwhelmed by the eerily melancholy white light shining through the glass of this huge space - showing by their absence where the multiple colors of medieval glasswork would have once glittered (Gary Waller, 2011).”1

Chapel is a sacred place2 and has long

been the spotlight in literature and art pieces. Waller described space via glass and light, as a demonstration of material and immaterial in architecture. With the rise of modern architecture, the importance of materiality in designing spaces rises. Soon, the idea of maintaining a balance between material and immaterial gradually developed and was rooted in the minds of architects. Nonetheless, the quick rise in technological development resulted in new materials that replace natural immaterial sources, creating a new perspective in viewing modern buildings. The first half of the essay will investigate the roles of material and immaterial in modern architecture via studying the St. Ignatius Church, while the second will explore the idea of being modern with new technologies.

St. Ignatius Chapel

Father Herbert Dargan dreamed of a chapel for the spiritual well being of students. After taking over as the Principal of Wah Yan

College in Nelson Street, Yau Ma Tei 19573 , his idea was implemented with Jesuit Fathers managing the school. In 1950, the unique modern Catholic architecture, St. Ignatius Chapel was completed with support4 .

Gordon Brown, Luke Him Sau and his firm PAPRO, successively participated in the project5. The design concept behind the chapel championed functionalism, appreciating the removal of unnecessary ornaments6 together with the idea of “form follows function7”. It is aimed at providing a comfortable space for one main program: praying and worshiping for Catholics, resulting in a plan with a corridor surrounding one room where religious activities were held. Materials have the role of achieving function needs and design aims.

Material and Immaterial

“Immaterial-material” weaves the two together, so that they are in conjunction not

opposition (Jonathan Hill, 2006) 8.”

Modernism (1737—1985) is most defined as the characteristic of modern times, later generally agreed as a distinctively modern feature9. Material, referring to the solid substance for the construction or aesthetics10 , comes at first glance when viewing a building. Modern materials, such as glass and concrete, give a unique appearance, and form to an architecture and act as a driving force to shape modernism.

Modernity (1635—2006) is a condition, focusing on the experience of being modern11. Immaterial is a psychological perception in the absence of matter12, usually formless. It is more of an experience of space, decided by users of what is present but non-touchable. Experienced modern architects are powerful in shaping the immaterial condition, relating to modernity.

Modernization (1770—1988) is the act or state

of modernizing or being modernized13. Where material shapes immaterial, considering modernism and modernity together, forming a process of giving modern qualities to a building. In the St. Ignatius Chapel, concretemade cruciform and circular hollow bricks joined to form the facade, creating crossshaped shadows on the inner-corridor when light shines through. Peeking in from the holes can vaguely see the stained-glass walls surrounding the prayer room. Concrete was commonly used in modern eras for its strong protection, while glass could create large spaces at a low cost14. Lighting is sacred in chapels, therefore architects put effort in shaping light and shadows15. The hollowed area of the facade and glass held together with concrete columns to allow controlled amounts of light shining in16 . “It is a matter of no-light, light, no-light, light. A column and a column bring light between them (Louis Kahn, N.D.)17.”For Louis Kahn, material casts a shadow, while light shapes the material. Similar cases as in the chapel, concrete,

and glass act as the material, being shaped by light. Other examples could be seen in terms of air and temperature, cold air blows into the corridor through the holes on the facade to reduce heat in Summer. The glass further facilitates cold air to enter the praying room, forcing the hot air to escape from the 27 holes on the concrete roof18. Material and immaterial joins together to achieve functionalism, forming a comfortable space. “External to the other (Derrida, 1997)19‘’ , does not apply to material and immaterial, the two maintain a balance, to form the characteristics and unique experience in the building. Lacking one of the two does not form architecture20. It is the process of searching for balance, shaping the idea of modern, or commonly said, “modernization”.

The undefined boundary with rise in technology

Material and immaterial has been a long history in modern architectural development,

but time has changed, the newly developed technologies begin to alter the way one perceives modern21. The evolution of fluorescent lights, air-conditioning, etc. is gradually blurring the relationship of material and immaterial, developing an undefined boundary (Figure 1.) in which the technologies could hardly be defined which side it is on.

(Figure 1.) The Undefined Gap Between Material and Immaterial Rajesh Kolli, 2016. Edited by Hau Sze Chai.

In the “modern” we all know, material and immaterial are two separated concepts connected. In the past, when light strongly relied on the sun, the materials chosen, and usage are considered together with light and shadows22. Today, the St. Ignatius Chapel was installed with florescent lights. The invention itself becomes the source of light. Similar in the air aspect, after Father George Zee, S.J took over the post of clergy, the chapel no longer relies on the hollow bricks nor the glass for maintaining the air temperature at a comfortable level, and air-conditioners were installed comprehensively in 199823. The new material becomes the source of temperature. More examples could be the newly installed displaying screens, sound systems, or fans. These new inventions which become both material and immaterial, is the undefined gap, and have been altering the intention of being modern.

Today if one visits the chapel, the hollow bricks and the stained glass become ornamental,

since it does not serve the purpose of maintaining a comfortable space. When ornamental overweighs functionality, the modern intention is lost. Furthermore, the 27 holes on the roof formed by having concrete columns to support 9 horizontal beams24 were attached with light tubes, further losing the concept of facilitating air circulation. The stained glass or cruciform shaped bricks only retain the symbolism significance of a Catholic Church. Importance in materials of achieving functionalism in modern terms is gradually disappearing with the rise of technology.

Modern or not?

Nowadays when the rule of functionalism is no longer achieved through materials, is it still modern? The question traces back to the idea of modernism, modernity, and modernization. The built material of the St. Ignatius Chapel never changes, concrete and glass, which has strong linkage to essential conditions in life, is still the material as in the

past. The characteristic and facade of the structure still correspond to modern material criteria. In this sense, the St. Ignatius Chapel still achieves modernism. With the alteration of light, air, sound, and lots more, the immaterial one experience is not traced by materials the architect decided, but by technology in the later years. Although the building still achieves its function, the function is no longer sourced to materials. The experience is no longer completely modern, in other words it is the partial loss of modernity in the building. Modernism and modernity come together, leading to modernization. For this aspect, it is debatable. Material shaped immaterial, and vice versa, this is how the cycle, or process is developed. Deficiency of any breaks the cycle, modernization becomes less dominant in shaping the experience of one in the chapel. A short response to the question could be it is a modern building built with modern materials in the 1950s, and an undefined building built with modern materials in the 2021s. A more objective key

would be the “modern” of St. Ignatius Chapel we have been looking over for many years is no longer the same “modern” as nowadays. The idea of modernity is still ongoing, the way human beings preserve it is never the same as time goes on since none knows what happens next.

Conclusion

There are 29,600,000 newspaper articles, 2,110,000,000 google entries, 326,000,000 books on Modern Architecture25. Among astronomical figures, only a small proportion are viewing past modern architecture from the lens of today. This essay is not to judge how new technologies are destroying modern qualities but providing new perspectives to look at “the modern” we have been understanding for years. The St. Ignatius Chapel, Hong Kong, is just one example from the millions of modern architectures modified from technological developments. Materials are improving,

immaterial are also following the quickpaced modification trend. Is it still modern? This simple question deserves much more research and investigation. “Architecture should be rooted in the past, and yet be part of our own time and forward looking (Moshe Safdie, N.D.).26” Modern architecture is as modern as the time it was built, but definition and understanding towards “modern” could change, as now, and as future.

Notes

1. Waller, The Virgin Mary in Late Medieval and Early

Modern English Literature and Popular Culture, 12. 2. Schwarz, Brent, Ruth, Eero Saarinen’s Firestone

Baars Chapel: Poetics of a Sacred Place, 1. 3. Wah Yan College Kowloon, “Wah Yan College

Kowloon A Jesuit Secondary School: History of WYK.” 4. St. Ignatius Chapel, “St. Ignatius Chapel History.” 5. Lai, “Hong Kong Modern Architecture: St: Ignatius

Chapel.” (PAPRO for Progressive Architecture,

Planning & Research Organisation) 6. Pugin, The true principles of pointed or Christian architecture: set forth in two lectures delivered at St.

Marie’s, Oscott. 7. Greenough, Form and Function: Remarks on Art. 8. Hill, Immaterial Architecture, 3. 9. Seng, ARCH2058: MODERN ARCHITECTURE, LECTURE 1: Modernity, Modernization & Modernism, 6. 10. Nathaniel, Materials and Meaning in Architecture:

Essays on the Bodily Experience of Buildings. 11. Seng, ARCH2058: MODERN ARCHITECTURE, LECTURE 1: Modernity, Modernization & Modernism, 4. 12. Hill, Immaterial Architecture, 2. 13. Seng, ARCH2058: MODERN ARCHITECTURE, LECTURE 1: Modernity, Modernization & Modernism, 5. 14. Cannon-Brookes, “Modern” architecture,

“Modern” materials and “Modern” technology. 15. Paiva, Light and Shadow. The importance of light in the Church of Sta. Maria and the Church of Light, of

Sita and Ando.

16. Lai, “Hong Kong Modern Architecture: St: Ignatius

Chapel.” 17. Kahn, Museum of Art “The Art Museums of Louis I.

Kahn.” 18. Lai, “Hong Kong Modern Architecture: St: Ignatius

Chapel.” 19. Derrida, Chora L Works: Jacques Derrida and Peter

Eisenman. Ed. Jeffrey Kipnis and Thomas Leeser, 157. 20. Hill, Immaterial Architecture, 3. 21. Chen, Contextual Relations between Modern

Architecture and Science, Art and Technology in

Social Changes. 22. Lau, “Society of Jesus, Chinese Province:Little Chapel:

St. Ignatius Church (小聖堂- 聖依納爵小堂).” 23. Lau, “Society of Jesus, Chinese Province:Little Chapel:

St. Ignatius Church (小聖堂- 聖依納爵小堂).” 24. Lai, “Hong Kong Modern Architecture: St: Ignatius

Chapel.” 25. Seng, ARCH2058: MODERN ARCHITECTURE, LECTURE 1: Modernity, Modernization & Modernism, 1. 26. DD Architects, “Architecture should be rooted in the past, and yet be part of our own time and forward looking - Moshe Safdie.”