Natural light can be used as a common metaphor, especially within architecture, but also in many other art and design concepts. Not only is natural light important within architecture, it is important in daily life. This natural source allows us humans to see and make life possible here on Earth. As believed by many architects, natural light is used as a key material within buildings, and is something which can be sculpted and used within a space. In this essay, I aim to explore and discuss the use of natural light in architecture, discuss some works by Tadao Ando and explore the role and significance of natural light in his work, how natural light is used in traditional Japanese architecture and how this was one of Ando’s influences, and finally discuss the relevance of nature used within Tadao Ando’s work and also Japanese architecture, and how this element relates to the use of natural light.
Natural light plays a vital role within architecture and allows a sense of being by enabling to bring spaces alive on more of a sensory level. R. Pavia states, “the thought of architecture nowadays is inseparable from the word “light,” for various reasons. First and foremost, it is the element that enables us to discern the architectural space; the connection between it and its objects; the detail of the spaces and lastly, very important, their meaning, interpretations and suggested emotions”. (R.Paivia, 2015, p.110). Following on from this, Henry Plummer (2009) proposes an idea that natural light provides a challenge for architects, as they are forced to creatively control and direct the natural sunlight, which cannot be grasped or worked with the hands. Due to this challenge, he also states that architects have had to resort to a modulation technique by inventing light controlling elements such as roofs, walls, openings and finishings which are “shaped into optical instruments” that can focus, absorb, obstruct and disperse the amount of light they were to receive. Henry Plummer also believes that natural light plays a major role in a person’s life, as studies show that this natural source is able to effect and quite possibly control the individuals emotions, moods and feelings. Therefore, the more natural light exposed within a space, the more this has a significant effect on the individual. Henry Plummer continues to discuss his ideas that natural light can also be viewed in other ways, such as commonly being associated with a religious being or divine presence and therefore believes light can be religious in nature and is able to convey the sacredness of a place or building. This relates to his previous belief that natural light has a significant effect on the individual, as connecting with the natural light inside a building will perhaps make the individual feel spiritually enlightened. (H. Plummer, 2009).
Architect, Tadao Ando, plays, directs and manipulates light within his work and states (quoted by Andrew Kroll, 2011, p.1) “in all my works, light is an important controlling factor.” (A.Kroll : T. Ando). Katherine Allen states Ando’s work used a “sensitive treatment of natural light, and strong engagement with nature”. (K. Allen, 2018). The Church of Light (1989), was a building in which Ando created simple geometries containing a few openings which create a space sculpted out of light (see figure 1). The entry of natural light into the Church of Light building, enters from the cross-shaped opening in the south wall, with the rest of the interiors of the building being dark and obscure. The significance of this bright source of natural light helps to create a strong focus and visual element within the building. This opening helps to achieve the main functions of the church, those being meditation and prayer, due to the natural light breaking through the darkness. The significance of this extreme brightness of light makes the space sacred and powerful, and therefore the natural light inside a dark space directs the visitor towards the altar, making a connection between themselves, the divine being and the nature outside of the church. This relates to H. Plummer’s ideas of light linking to a divine presence. Hao-Long Hsu supports this idea by states, “converting an intangible religious spirit into a poetic space that can be appreciated by people, Ando’s designs present the concept of place spirit, shape the nature and soul of architecture, and create a specific situation to enlighten people and make them experience a realm of awareness.” (HL. Hsu, 2015, p. 456). Furthermore, another significance of natural light within Ando’s creation is the way the light is used as a guidance around the building, as people automatically move toward the light. (Gill, Sukhtej Singh, 2006). Furthermore, Rita Paivia believes natural light is highlighted by Tadao Ando in The Church of Light as the small opening which allows the natural light to flood into the church, emphasises the passing of time and also highlights the concept that everything is in a constant cycle and mutation. (R. Pavia, 2015).
Another work of Ando’s, Koshino House, shows qualities of how light can be directed within a space (see figure 2). Ando states “light is a mediator between space and form. Light changes expressions and time” (K.Frampton: T. Harper, E. Sendensticker: T.Ando). Kenneth Frampton states that natural light enters Koshino House from above, through the narrow slot cut into the roof. Through this slot, a single shaft of light descends through the building which then slides across the adjacent concrete wall in the living room. A similar natural light slot is also let into the roof of the studio. The significance of natural light within this work by Tadao Ando, shows that the pattern of light becomes “increasingly organic in shape” (K.Frampton, 1991) , meaning each panel of light is truly one of a kind and each can be appreciated in its own individual way. K. Frampton continues to state that the significance of natural light within Koshino House is because the empty space within the building is “marked off” with plain wood and walls, therefore the light which is drawn into the building forms dim and lustreless shadows. These shadows then create an atmosphere that which Frampton describes as “complete and utter silence”. (K. Frampton, 1991). Due to the light within Ando’s Koshino House being controlled by other materials, such as wood and concrete, this relates to the previous idea of Henry Plummer’s (2009), that light cannot be grasped or controlled by the hands, so therefore these materials are able to direct the natural light inside the building. (H.Plummer, 2009)
Alex Veal (2002) explains and discusses the significance of light in Ando’s work, The Chapel on Mount Rokko (see figure 3). The colonnade leading to the chapel, provides a space which guides the visitor towards the sacred ground, and includes various areas of dark and light which mark their progress as they make their way to the sacred area within the chapel. In order for the light to enter the colonnade, Ando designed this passage way out of glass, which is a key material of Ando’s, therefore the natural light was able to illuminate and flood into the area. Nitschke, 1993, (quoted by A. Vale, 2002, p. 353), describes the colonnade as a “light tunnel”, which is a “most unusual spatial experience… [that] appears much longer than it actually is”. The significance of natural light within this colonnade shows how light is viewed as an element of the passing of light, and although this concept can be viewed in everyday life, it is indisputable within both traditional Japanese architecture and the work of Tadao Ando. (A. Vale, 2002). As the visitor makes their way into the chapel, the natural light is also used as a passing of time, creating subtle shadows within the colonnade in the process. Natural light begins to illuminate different areas of the chapel as the day progresses, and therefore the light is significant within this work of Ando’s as the sunlight is used for showing the passing of time throughout the day, showing the progression of the twenty-four hour day. (A. Vale, 2002). Following on from this, in regards to the use of natural elements within Ando’s work, Ando states (quoted by Kevin Nute, 2004, p.86) , “I want to emphasise the sense of time and to create compositions in which a feeling of transience or the passing of time is a part of the spatial experience”.
Following on from this, Ando’s work is historically influenced by and immersed in traditional Japanese architecture and values. K. Frampton states that natural light within Ando’s work creates a shadowy darkness, which then relates to the likeness of traditional Japanese architecture. Furthermore, he continues to state that the different levels of light found in Ando’s work are significant due to there being an “interaction between Japanese secular and sacred light”. (K. Frampton, 1991). Alex Vale also states that despite there being differences in appearance between the modern work of Tadao Ando and the qualities of traditional Japanese architecture, there are, however, many similarities, mainly between the natural elements, such as natural light as they are the underlying and key materials, especially when connecting with a spiritual or divine presence. (A.Vale, 2002). Subsequently, Sukhtej Singh Gill also states that Ando’s creations are relates to traditional Japanese architecture, as both show the role and significance of light to be kept sacred and holy. Gill believes that the strength and power of natural lighting is able to transform any space into a space which can be admired by the individual. (S. Gill, 2006).
Courtney Angen discusses the qualities and practicality of natural light within traditional Japanese architecture and states natural light should be a “feeling of peace within and architectural space” (C. Angen, 2013, p.38). Relating to the previous statement of Henry Plummer’s belief that natural light has an affect on one’s mood, Angen states that an individual is automatically drawn to natural light as it affects their mood in a positive way, and increases the comfort of those experiencing the natural lighting. In relation to this, Brown (quoted in Angen, 2013. p,39) believes that “good” light “means having an interesting continuum from light to dark, that lends the brighter spaces a special presence and beauty”. Angen continues to discuss traditional Japanese architecture whereby explaining how the natural sunlight is manipulated within the buildings and designs. Within these extraordinary buildings, architects and designers began to design the space using simple but effective furnishings, as people were able to sit where they wanted, and they were able to move within the space in order to feel and experience the sunlight first hand. However, Angen proposes a challenge that during high climates in summer, too much light was exposed within these buildings, making the environment a hot and uncomfortable place to experience. Following on from this, she states that a modulation technique therefore had to be put in place and therefore architects exaggerated sunlight blocking within their buildings and space, so air was allowed to flow through. Resulting in architects only allowing a certain amount of light and heat into the space. (C. Angen, 2013).
Furthermore, Tadao Ando’s work was heavily influenced by other aspects of traditional Japanese architecture, such as, nature. Kengo Kuma states that Japanese architecture is has become “nature dominated” in all areas such as natural light and outdoor nature. (K, Kuma, ). Kuma also discusses the qualities and ambition of traditional Japanese architecture and believes the space created should develop its own atmosphere and therefore is a space nor indoors or outdoors. He continues to state that Japanese architecture should be a space where the interior space can solely connect with nature aspects such as light, nature and wind. Subsequently, Tadao Ando (quoted in Sunamita Lim, 2007, p.19) states, “I do not believe architecture should speak too much. It should remain silent and let nature in the guise of sunlight and wind speak.” Angen also discusses nature as a key element of traditional Japanese architecture. In order to create shading both inside and outside of the Japanese buildings, Japanese nature such as, trees, bushes and vines were planted to create natural shading. The affect and significance of this modulation was then used as a controlling factor as the nature was used to block the sunlight during the summer seasons, furthermore, they were able to allow more natural light into the buildings during winter as the leaves began to fall off. (C. Angen, 2013). This also links to other traditional element of Japanese architecture, applying and capturing nature to the inside of the building, which Tadao Ando successfully completes within the work analysed previously. Angen continues to state that “this supports the argument that Japanese traditional designs maintained intimate relationship with their surroundings and demonstrated an understand of the natural environment such that they could exist with nature” (C. Angen, 2013, p.45). Other elements of nature such as water are used within traditional Japanese architecture. Similar to natural light, water is a natural material used to provide the individual with “a feeling of comfort and peace”, and also allows people to connect with the nature in a similar way they connect to natural light. (C.Angen, 2013, p.101). Finally, Angen describes the natural qualities of traditional Japanese architecture, whether the qualities being natural light, nature or water, as a “world within a world”, and also these qualities showed that traditional Japanese architects held an “intimate relationship” with the natural elements of the world. (C. Angen, 2013, p.101).
In conclusion, it is evident the source of natural light is a vital material used within architecture, whether that being modern architecture or traditional Japanese architecture. This natural material is significant in architecture as it is able to affect an individuals mood (H.Plummer, 2009), and is also able to show the passing of time throughout the day (A, Vale, 2002). Furthermore, natural light is significant in Tadao Ando’s work as he cleverly manipulates the light in order to make special connections with an individual, such as connecting with the outside world, the natural qualities of the Earth and a connection with a religious divine presence (K. Frampton, 1991). Although Tadao Ando uses modern materials in all of his works, such as concrete, in this essay I have discovered and understood that Ando still makes deep connections with traditional Japanese architecture, therefore his work still holds a sense of peace and tranquility yet a sense of originality, and has developed many attractive qualities over the years, which has proven to be admired by many.