The Materiality of Light

T H E M AT E R I A L I T Y O F L I G H T u n d e r s ta n d i n g h o w t o u s e n at u r a l l i g h t w i t h i n a r c h i t e c t u r e t o b r i n g e v e r y d ay o b j e c t s i n t o e x i s t e n c e , ta k i n g i n s p i r at i o n b y t h e w o r k o f ta d a Ĺ? a n d o . j o r d a n pa i g e i n c e

CONTENTS programme

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ta d a o a n d o a n d j a pa n e s e c u lt u r e

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the church of light

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the power of light

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conclusion

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l i s t o f i l l u s t r at i o n s

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bibliography

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PROGRAMME

My design project is loosely based on a collaboration between a storage facility and archive space, creating a space within Stoke-on-Trent which celebrates the folk of the city. The building holding and displaying objects which are donated by the people of the city itself, filtered through the storage facility system, a range of items are on display within the archive. Both spaces are juxtaposing, the storage more a private space is more theatrical and lively with colour whereas compared to the archive space, available to the public, is a darker space with the collections on display illuminated by natural light entering through the roof.

The main influence for this decision being the effective use of light within monastic spaces, the subliminal impact it has on the person experiencing these particular spaces. Although the archive space of these everyday objects is not what you typically define to be monastic, however the value of the quotidian is something which should be contemplated upon and further appreciated.

The everyday life is a topic always in debate for philosophers and therefore contemplating these objects within an unusual light would inherently cause a difference in mind-set over the day to day.

The atmosphere of the archive is integral to this space, therefore this developed into the decision for light to be the main forerunner for the design of the building.

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T A D A O A N D O A N D J A PA N E S E A R C H I T E C T U R E

‘In the beautiful spectacles of the mountains, field, ocean and coast, I see the achievement of the creation.’

– Matsuo Bashō

The above quote by Bashō, a Japanese poet, embodies the long love affair between Japanese architecture and nature, all of its’ beauty and limitations shaping the culture’s design. The country’s civilisation grew alongside the outside realm with the ‘belief that the only way to live in this world is to subject oneself to its natural immutable laws’1 and the teachings of Buddhism, which in turn formed the Japan’s unique aesthetic qualities and their admiration for it.

The country is formed from by an archipelago, where the landscape and climate

vastly differs across its’ entirety, and is under a constant threat by destructive natural forces such as earthquakes and tsunamis. Therefore, it is understandable that Japan’s culture greatly respects the temperamental environment in which it is consumed, and architecture is understood to be temporary rather than permanent.

Growing up in Japan, Tadaō Ando was consumed with the cultures philosophies and therefore greatly refers to the philosophical elements of Japanese architecture; whereby light and shade, time and season, are the principle components of the user’s experience2. His work is particularly reputable for his sophisticated use of light and concrete, creating a harmonious balance between the two reflecting back to his deep rooted connection with Japanese culture.

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Donald Richie, Viewed Sideways: Writings On Culture And Style In Contemporary Japan (Berkeley, Calif.: Stone Bridge Press, 2011), p. 93

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Andō, Tadao, and Richard Pare, The Colours of Light (London: Phaidon, 2000), p. 15

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figure one p r e v i o u s d r aw i n g o f a r c h i v e s pa c e a n d i d e a o f l i g h t e n t e r i n g t h e s pa c e

figure two p r e v i o u s d r aw i n g o f a r c h i v e s pa c e a n d i d e a o f l i g h t e n t e r i n g t h e s pa c e

A self-taught architect, Ando’s work develops from his personal experience believing that convincing architecture is not viable on knowledge alone therefore experience is required to create a space in which people are then able to be in 3 awe . Overall, a poetic approach to obtaining Japanese architectural values within opposing Western culture enables him to create his capturingarchitecture with a keen eye on geometric forms, use of concrete and natural light.

Furuyama, Masao, Tadao Ando (KĂśln: Taschen, 2006)

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T H E C H U R C H O F L I G H T, O S A K A

The Church of Light (Fig. 1), one of Ando’s most infamous designs with beautiful, monastic use of natural light, is a useful precedent for use of materiality, form and light for the archive extension of my design.

The building may seem a simple one, consisting of what may seem just three cubes and a wall at a 15-degree angle free from the chapel itself. The exterior is purely made of reinforced concrete alone (Fig. 2), free of any décor and hence fully exposed to the elements, initially one may think this cold, lifeless and empty. However, there should be every much appreciation towards this build and the keen for detail behind the craftsmanship. ‘The seams and joints of the concrete are built with precision and care by master Japanese carpenters, along with Ando, that have worked to create an immaculately

smooth surface and accurately aligned 4 joint’ , with only the shape of the cross interrupting the uniformity of the exterior.

The light enters from a cut out behind the altar through the form a crucifix, extending entirely vertically and horizontally. This disturbance ultimately provides the atmosphere of the interior, where the small space only feels something of a larger entity creating something highly spiritual yet still, enlightening the purpose of the building. Once entering the space, people are immediately removed from the world they know to a place where the fundamental roots of Christianity are embodied and consume those within.

This thoughtful minimalist design only highlights the power of light. Ando realised that keeping interruptions and openings 9

Brenda Nyawara, “Church of The Light By Tadao Ando”, Archute <https://www.archute. com/2015/11/05/churc h-of-the-light/>

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figure three interior of the church of light, osaka

figure four exterior of the church of light

to a minimum, the light illuminating from the cross will only be intensified within the darkness of the concretes walls. How this “natural material” can form space, create the formations within by simply transforming the dark canvas into space, capturing the essence of Japanese culture’s appreciation for light, shadow and darkness. Light provides the space with life, the use of sun as its sole controller causes the rays to extend and recede throughout time, creating a connection to nature. Furthermore, in particular to this building’s aspect it is more ethereal than realistic, people are able to find existence within the darkness and a connection to God.

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THE POWER OF LIGHT

‘Light gives objects existence as objects connects space and form. A beam of light isolated within architectural space lingers on the surfaces of objects and evokes shadows from the background. As light varies in intensity with the shifting time and changes of season, the appearances of objects are altered.

But light does not become objectified and is not itself given form until it is isolated and accepted by physical objects’ – Tadaō Ando5

Light is a powerful dynamic within the subject of architecture, the effects of which can have great effects on a space whether it is natural or artificial. An area which is constantly experimented within architecture by its’ practitioners, for instance by the likes of Tadao Ando. A natural element which has become a fundamental

part of my design with the concept of providing another perspective on the typical everyday, to celebrate the quotidian and the precious nature of the conventional has within life. Therefore, it is important to understand light and its’ critical presence of its absence, the power of how it enables a person to see, their mood and how they perceive their environment.

Darkness has the power to disorientate a person, there is no sense of space or appreciation of form which surrounds and the mind is then taken to a place of alienation. However, in an increasingly man-made world, artificial light has almost removed darkness from life yet as a result removed the appreciation for illumination.

For this reason, in my design, as with 13

‘Light, Shadow and Form’ essay by Tadaō Ando taken from: Dal Co, Francesco, and Tadao Andō, Tadao Ando (London: Phaidon Press, 1995)

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figure five l i g h t w i t h i n a r c h i v e o n o v e r c a s t d ay

figure six l i g h t w i t h i n a r c h i v e o n s u n n y d ay

figure seven showing contrast between light and dark

figure eight showing contrast between light and dark, a n d t i m e pa s s i n g o v e r o b j e c t

Tadao Ando’s ‘Church of Light’, I would like to limit the amount of light entering the space by solely using natural light. Causing a high contrast between light and darkness, which has an extreme power on people’s emotions by creating a strong character and drama. Therefore, thorough analysis should be undertaken of natural light entering the building and the shadows in which are formed, it is through this understanding that the ‘qualities of light on a sunny morning with its high directional light and sharp contrasting shadows or of an overcast day with its flat grey light and soft, diffuse shadows, we begin to learn how we can employ contrast when working with the 6 built environment.’ .

subliminally enforcing onto others a different perception to what they know of today, inherently causing a difference of opinion on the objects contained within.

On the other side of things, although with all its beauty and ability of understanding an object, it is able to do the complete opposite. Light can deceive when held incorrectly and causes ‘an unintentional pattern of light and shade that belies its true 7 identity.’ . Therefore, for my my project, it is important to remember, that unlike Ando’s where the drama of revealing the chapel is part of connecting to spirituality, the connection between person and object.

Mark Major, Jonathan Speirs and Anthony Tischhauser, Made Of Light: The Art Of Light And Architecture (Basel, Switzerland: Birkhäuser, 2005), p. 69

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Mark Major, Jonathan Speirs and Anthony Tischhauser, Made Of Light: The Art Of Light And Architecture (Basel, Switzerland: Birkhäuser, 2005), p. 67

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Increasing darkness, contrasting to what people know today, and therefore 18

CONCLUSION

Overall it is clear that understanding how nature works within your site is vital for a successful design. In my project, gathering a thorough analysis of daylighting over my building is required from direct sunlight to overcast days. This could be in the form of a model, with the tunnel light sockets removed from thre roof, and then by using stop motion animation to analyse the different light levels.

architecture, and therefore its meaning.

When considering Tadao Andoâ&#x20AC;&#x2122;s successful career and his broad knowledge of lighting, in particular natural, it clearly shows that understanding the contrasts that will be formed in the interior of the building ultimately creates the atmosphere.

It informs the revelations of form in material and shape of objects, how people move throughout the space which all in turn is the creation of the poetry of the 19

L I ST O F I L L U ST RAT I O N S

Figure One and Two - Perspective drawings from Realisation Review, author’s own

author’s own

Figure Three - Photograph of The Church of Light taken from: https://www.archdaily. com/101260/ad-classics-church-of-thelight-tadao-ando Figure Four - Photograph of The Church of Light taken from: https://www.dezeen. com/2017/10/31/tadao-ando-full-scalemock-up-church-of-the-light-exhibitiontokyo-national-art-center/ Figure Five and Six- Study of daylighting over archive and its effects within interior, author’s own Figure Seven and Eight - Close-up study of interior and time passing over objects, 20

BIBLIOGRAPHY

The Art Of Light And Architecture (Basel, Switzerland: Birkhäuser, 2005).

books:

Andō, Tadao, and Richard Pare, The Colours Of Light (London: Phaidon, 2000) Dal Co, Francesco, and Tadao Andō, Tadao Ando (London: Phaidon Press, 1995) Frampton, Kenneth, Tadao Ando (New York: The Museum of Modern Art: Distributed by H.N. Abrams, 1991) Furuyama, Ando (Köln:

Masao, Taschen,

Tadao 2006)

Jodidio, Philip, and Tadao Ando, Tadao Ando (Köln [u.a.]: Taschen, 2001) Mark Major, Jonathan Speirs and Anthony Tischhauser, Made Of Light:

Richie, Donald, Viewed Sideways: Writings On Culture And Style In Contemporary Japan (Berkeley, Calif.: Stone Bridge Press, 2011) Tanizaki, Junichrō, In Praise Of Shadows (London: Vintage 2001, 1991) journals:

Erzen, Jale Nejdet, “Tadao Ando’s Architecture In The Light Of Japanese’s Aesthetics”, Middle East Techinical University: Journal Of The Faculty Of Architecture, 21 (2004), 67-80 <http://jfa. arch.metu.edu.tr/archive/0258-5316/2004/ cilt21/sayi_1-2/67-80.pdf> 21

Veal, Alex, “Time In Japanese Architecture: Tradition And Tadao Ando”, Arq: Architectural Research Quarterly, 6 (2002) <https://doi. org/10.1017/s1359135503001878> websites:

Brenda Nyawara, “Church Of The Light By Tadao Ando | Archute”, Archute <https://www.archute. com/2015/11/05/church-of-the-light/> Peluso, Salvatore, “5 Lessons From Tadao Ando”, Domusweb.

It, 2018 <https://www.domusweb.it/ en/from-the-archive/2018/01/06/5lessons-from-tadao-ando.html>

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