Church of Light by Tadao Ando - Essay Example

?Light Within Close your eyes. Imagine a spectrum of colors flash through your mind. View in the eye of your mind colors of all kinds and variations - in all their beauty, in their strength, in all their glory. Now imagine having to pick two colors from the numerous that flood your mind. It’s not easy, is it? How do you make a choice if each entity is unique and beautiful in its own way? Similarly my selection as far as choosing two architectural structures of a religious background was no easy decision. Various cultures, unique structures, intriguing historical backgrounds and such architectural genius exist when one looks at the numerous available choices. Look at the unparallel beauty of St. Basil’s Cathedral in Moscow designed by Postnik Yakolev and built between 1555 and 1561. Look at the magnitude of the Notre Dame in France worked upon by numerous architects. Head towards Istanbul, Turkey and bask your eyes upon the Hagia Sophia mosque with its intriguing history. The Nidaros Cathedral, the most beautiful cathedral in Norway, probably in all Scandinavian Peninsula; Or the Cologne Cathedral in Germany, an exceptional work of creative genius (Florin Nedelcu, 2008). Remember the anticipation and the excitement you experience as a child when your father takes you out to buy a new toy. At this point I am that child. However after a lot of deliberation on the basis of personal as well as architectural preference The Church of light by Tadao Ando and the Shah Mosque in Iran are the religious structures my essay will focus upon. Church of Light by Tadao Ando Being a student of architecture the work of Tadao Ando has always been one that I have greatly admired. I had initially associated Tadao Ando’s accomplishment for receiving the 18th Prtizker Prize as a result of his notable work and the fact that he had accomplished great architectural credibility being a self-taught designer. However looking at his vast body of work and his artful use of natural light and landscape, from all of his work the design that is my favorite is the Church of Light. I had always had great feelings of respect for Ando’s ability to design the church of light within a limited budget. Not only was that the case but during the course of his work there existed a strong possibility that the church would end up with no roof. I strongly believe that the work of an architect is a mere depiction of his personality. Isn’t that just what the core essence of architectural phenomenology all about? Feelings that are so strong that they are imprinted on the structure that a person designs. The Church of Light is not just a brilliant piece of architectural genius but it is the tangible proof of Tadao Ando’s resilient, diligent and creative strength of character. Tadao Ando, as an architect is brilliant but as a person he is a source of great inspiration for me. He fills my heart with joy and a longing that perhaps one day I can grow into a person that not only excels in his work but receives the admiration and respect of millions around the world. That being said I can clearly recall the reason for my insistence to go visit Ibaraki during my family trip to Japan. I had seen various pictures of The Church of light as any student of architecture during the course of his work would have. However seeing the actual structure was a minor motivation for me to explore Ibaraki. I remember a certain disagreement that I had prior to my trip with my father. The details of which are hazy but I clearly remember the bad and restless mood I had been in. I remember dragging my feet and wanting to get away from everyone with little regard about where I was headed towards. It was with this black mood that I made my way towards the Church of light. At some point I thought I had gotten lost. If I recall correctly I didn’t particularly care. At some point I angrily muttered a few unappreciative words to Ando for selecting such a confusing location. This was when I ran into an old Japanese man. He smiled at me and said something in Japanese. His jovial mood and his toothy grin somehow did not do much to improve mine. It was as if his mood was a mere opposite reflection of mine. Even the fresh breeze, the swaying grass and the clear weather mocked me. It seems funny now but the effort that it took to politely thank the old man for pointing me in the right direction was actually difficult for me to gather. Initially, I had always thought that the Church of Light, like the Church on the Water would be out in the wilderness or a plaza-like isolated space. This I had thought would have been the elements that benefited the structure. So I was confused as I found myself in a neighborhood. After a moment of confusion the building fell into my clear view. There it was in all its glory- A small, slightly hidden church sitting in the middle of a quiet neighborhood. At this point Martin Heidegger’s concept of dwelling crosses my mind. I had initially struggled to grasp what he had meant when he had related buildings to dwelling. How he had mentioned the fourfold elements of earth, sky, divinities and mortals as essential for the idea of dwelling. At this point I could see with certain clarity what he had meant. Ando could not have picked a better spot. I blinked several times expecting the magically simple structure to vanish. As a child I had a habit of wanting to stare straight into the sun despite the obvious discomfort of the gesture. Norberg-Schulz would categorize my behavior being as an innocent outcome of his belief that humans are phototrophic by nature - we simply are drawn to light. Similarly the sharp contrast and the simple beauty of the church in comparison to its surroundings caught me completely by surprise. How the natural light flooded its surface as if a huge spot light had been place right above it highlighting the structure while everything else faded into the background meekly. Seeing the Church of Light in its intended context in person is something no photograph can ever compare to. It was then that the faint realization that Norberg-Schulz’s linkage between the character of the environment and its critical impact on the place for a structure hit me. With new found respect for Schulz I realized the importance of the connection a man made structure formed with its supplementary environment. How much power light held over the design of a structure; how it could beautify it with its presence and emphasize the quality of its exquisiteness with a sharp contrast of its absence. At that moment all my previous emotions were replaced with curiosity and wonder. Moving forward I realized it was so quiet and no one seemed to be there. It gave me a distinct feeling like I was the only person left on earth. The silence soothed me and I stepped into the vicinity of the light surrounding the structure as if it was calling out to me. It was left open for visitors obviously but I remember a sensation of welcome and excitement at the possibility of not having any barriers to entry. The white silky smooth concrete structure was calling out to me and to me only. Like a little child on a mischievous adventure I stepped into the church’s cave-like interior. That was initially the first word that came to my mind if I had to describe the interior of the church. However it took me a few moments of disoriented adjustment after which I was surprised to say that my description of the inside had been highly inaccurate. There was nothing small or claustrophobic about being inside of this seemingly small structure. Light danced inside its interior as it illuminated the space or perhaps only tricked my perception of it. I smiled as I heard a small voice at the back of my mind whisper brilliantly utilized element of space due to the presence of natural light. The form of this structure did not belong to anybody but how artful had been Ando’s signature all over the design. Yes, Louis Kahn you were right. Being inside the church I felt light and very aware of myself. It was like I had been given a shot of spiritual awakening and it was flowing throughout my veins making my heart beat faster. It was a pleasant sensation. The interplay of light, shadow, the cool air, the silence and the solidity of the walls all combined to encourage a moment of clear-mindedness. The other elements were a contributing factor but it was the light that captivated my complete attention. It was the alluring goddess that charmed a visitor and at the same time demanded your undivided concentration. I once saw a snake charmer playing some music while the snake danced to its tune like it was in a trance. The light that flooded the church, in its contrasts of high and low had a similar effect on me; for now it was the music and I was the charmed serpent. For the first time, in a long time my mind was clear and uncluttered. It made me feel like I had left all my troubles at the entrance and the only thing that mattered was to absorb the calm that the structure exuded. The more I stood around the better my perception of the utilization of space unfolded. As I understood more my admiration and wonder at the detail of the structure multiplied. You see the space of the chapel was defined by light; it was the strong contrast between light and shade. This is why one felt serene and awed. The light’s entry point was from behind the altar, from a cruciform cut into a wall of concrete that extends vertically from the floor to the ceiling. It was the brightest over here as if this was the throne on which it rested leading us to believe that the illumination it cast on the rest of the structure was its mere shadow. I cannot help but feel that there is something organic and spiritual about his building despite its simplified, rectilinear form and bare, naked concrete walls that define the spaces within (Chung, Web). Looking at the structure closely I got the impression that comfort was not what Ando had in mind while designing the structure. And yet, I found that being inside I felt very comfortable within its confined space. The darkness of the chapel even was a constant reminder of the absence of light which seemed to be an artful manipulation to bring it back to the observer’s attention. Like tactful moves that a chess player makes as he gives up a pawn to pave way for a bigger picture. The light here was playing a similar role as it further amplified the dark and rough-textured wood of the floor planks and the wooden pews. I sighed as I realized I had been holding my breath unable to feel anything but admiration. The Sunday school another part of the church was built of lighter colored wood with a smoother surface and the nature of light that flooded the place seemed somewhat shy. It was in no way the focus in this portion however its presence was still noticeable like it had now shifted form from a dominating force to one that drifts in and out of focus. I smile as I imagine the space come to life because of the ever changing light and also imagine the voices of children laughing and singing, the sounds of an organ playing melodically and adults enjoying the sanctuary and peace this place had to offer. I closed my eyes and I was there with them; in that peaceful place where light floats above you, below you and within you. The material of Ando’s preference was clearly concrete. It was smooth which gave the impression of high quality. Once I touched its cool surface the event in itself felt spiritual. It took me to a trip back to my childhood when I would lie down on the cool marble floor in my house on hot summer days. The memory filled me with peace and joy. It was at that point I realized my irritation and anxiety had vanished. I couldn’t even remember why I had held onto my bad mood for so long. I laughed as I made a mental note to officially catalog Tadao Ando on my list of people I’d want to be for a day. How my father would react if he knew that his spot at being the biggest inspiration for me was in threat of being replaced by another man. Considering our disputes of late the thought made me smirk with slight satisfaction. If there was one message that this structure was speaking to me of, it was of letting bygones be bygones. I could almost guess how Norberg-Schulz would explain this feeling; ‘An unconscious exhilaration around natural light that would leave one with a vague feeling that their mood and spirits had been lifted’. It was strange that I didn’t want to leave. Crazy as it seems I wanted to trap some of the magical light and take with back with me. I even took a few minutes to speak to God. For at this moment I felt he was listening very closely. I could ask him for anything. I could ask him for everything. With that in mind I stood up straight with the warm light shining up on me and began my prayer. And yet the words that left my mouth were those of thanks and gratefulness. I surprised even myself with the distinctive flow of my words. It was as if somehow I knew just what to say. Sometimes in life the surprises that you bring upon yourself are quiet pleasant. This was definitely one of those moments. I walked out smiling, with a spring in my step. I even came up with a silly phrase to explain my sharp conversion that I personally felt I owed to the light, to a happy version of myself. I had been Ando-ised. My shout of laughter as I processed my creative use of the term was loud enough to scare a couple of birds close by. Shah Mosque in Iran There are a lot of moments in my childhood that are very dear to me. There are memories I hold close in times of despair and discord. There are memories I gaze upon fondly in times of happiness and celebration. Like most people take a trip down memory lane after coming across an old toy or perhaps an old photo album. I have always associated a lot of my fond memories whenever I come across a picture of the Shah Mosque. As a child I had always been fascinated with stories of danger and adventure; Stories that revolved around castles, a Shah (King), a fiery dragon, magic and swordfights. My mother and father frequently told me these stories knowing how fond of them I was. My mother would always proudly say that I had a very imaginative mind. My perceptive father, seeing my heightened interest promised to take me somewhere special. I remember the anticipation and the curiosity that his promise evoked in me. Even today I recall the tingly sensation in my stomach and the wondering possibilities that ran through my mind as I repeatedly nagged my father to tell me where. I had talked nonstop throughout our road trip from Tehran to Isfahan. How hard is it to not envy children? Simple things bring out such amplified joy in their days that it’s a wonder that adults can’t help but be drawn to their emotional climate. Normally a bouncing and noisy child would be enough to annoy just about any adult. But I remember the calm patience and the constant smiles on the faces of my parents throughout our 6 hour road trip. I remember my first glance as a child at the Shah Mosque. I recall clearly how my eyes widened until I was sure they were as round as a coin and I stared in a way I was sure my mother would categorize as rude. My childlike analysis of the mosque was simple but now that I think about it, quiet accurate. The mosque was enormous and so beautiful it made my eyes water. The halo of light that seemed to surround it gave me the impression that perhaps they had put a lot of spot lights around it to make it seem to clearer. I remember taking a very brief glance at my parents to see my wonder and joy reflect in their eyes but their gaze was fixed on me. At that moment their gesture had seemed strange to me but now I realize it was a token of their love to want to see joy shine in my eyes which had made them drive out all the way here. Back then a focus on the architecture was not one of my areas of interest. However I remember being captivated just by my first view of the Shah Mosque. Its onion formed cupola, decorated with so many colors filled me with pleasure and serenity. Reminding me so much of an enchanted structure from the numerous stories my mother had told me. I distinctly recall running in the inner courtyards feeling the cool marble under my feet and the fresh breeze on my face. I pretended this mosque was my kingdom and the numerous children and people who dwelled in this structure were my subjects. The beautiful garden with flower’s so many and color’s so perfect that I could not help but be reassured that they were watered by some magic portion. My memories include meeting a very old baba (man), who of course might have been a gardener, but his long white beard and his long white shirt somehow clicked in my imagination and he came to be known as the white sorcerer. I had found my secret kingdom. As an adult there are many specific details I have noticed regarding the architectural structure of the Shah mosque. Before I get to those I would like to take this moment to marvel at the historical solidarity which forms a basic background for the construction of this mosque. Turns out this mosque was constructed by a Shah Abbas as a place for public worship. Not only is its structure unparallel in size and a vision of grandeur. But it has the largest dome in the city, with a religious school and a winter mosque clamped at either side of it. That being said that the founders utilization of space coincide greatly with Louis Kahn’s notion of the true definition of architecture being the creation of spaces that evoke a feeling of use. Also, no, there were no magical spot lights illuminating the structure it was a huge amount of natural light flooding the structure and beautifying every inch of it. I am originally from Iran and a Muslim which is why it fills me with great pride to say that the Shah Mosque is an excellent example of Islamic architecture. I have never been very religious however being in this structure I cannot help but be in awe and reverence of a higher power – the provider of an unparallel source of light. One that has created man with such incomparable genius that he is capable of constructing such a wonder merely by using materials and angles. What about the light? Can man take credit for that? When you think about it I believe so. The natural source of light which contributed so much so modestly to this mosque seemed not to be given the acclaim it deserved. The critical role that the light played can be best expressed by an example that comes as close to how I feel. Have you ever put on a candle in utter darkness? Seen how it illuminates whatever’s close by as it embraces things in its beautiful radiance. Have you ever seen a moth drawn to its beauty and destroy itself in a trance so strong and a pull so deep? The artful use of light for a structure has a similar effect on an observer. The Shah mosque is the candle. I am the helplessly captivated moth. The Architecture and the design of the Shah Mosque that I am so taken with is based on a format called the four-iwan format which gives a maximum exposure to light and the founders believed was a key mode to express themselves through architectural techniques. My mind works overtime as I dwell on the possibilities that these founders had so thoroughly considered and imagine the time and effort it must have taken them. So many times in my own life I have skimmed through work simply because I had viewed it as a chore. One that had to be done; I put myself in the shoes of these founders and imagine the greatness and the potential that lies in the human mind if we just tune it to perceive things in a way that motivates us. I push around the possibilities in my mind and come to a humble acceptance that perhaps if you come to love what you do you would never see work as a burden and hence excel in whatever you do. Is that the key ingredient? ; The push that my life requires? I shake my head and smile. I have always been able to clear my mind and think with such precision whenever I come to visit this Mosque. Such was the magic of this religious structure. Like the noise and clutter of the world and my mental baggage was all obsolete here. Standing in the public square the gateway to the mosque looks like a semicircle. This reminds me of the beauty and radiance of the moon even more so due to the turquoise ornament and rich tile work that frames the arch. In my mind I evaluate the role that the light plays in this mosque. I look around and I see it everywhere; dancing, whispering, dominating, calming and making its presence known. I can’t help but compare it with the light I had experienced in the Church of light. You see while the light beautified and amplified the glory of both structures it seemed to be extremely different in terms of presence; like one was chocolate while the other had been vanilla. It added to the serenity and evoked an element of peace and spirituality. However while the natural light in the Church had been somewhat limited and diminished in certain parts, in the Shah Mosque it dominated every aspect of the structure. In the Church you could easily distinguish the source of natural light and where it had been strongest but in the Mosque the light was everywhere. Personally it had made me feel like the part of the Church one was most drawn towards had been the point where the light had been the strongest. It was there that the spiritual connection was so strong that one could feel it flowing within. In the Shah mosque with light surrounding every aspect of the structure with equal strength made one feel like they were floating on an illuminated spiritual cloud. I was on a magic carpet ride. Another reflection of the ingenuity of the architects was when creating the dome of the Mosque that enables the Imam to speak with a subdued voice and still be heard clearly by everyone inside the building. It was a bubble of light, with light bouncing, reflecting and glowing on the beautiful tiles that decorated it. It also amplified the call for prayer, so serene and so powerful, that my heart longs to hear it simply because it makes everything seem so much better. For me to go into the detail of each and every inch of the Shah Mosque is what my heart greatly desires. But I will simply just sift through the parts which are the closest to my heart. Looking at this structure I’d say it centers around Norberg-Schulz’s notion of the ‘construction of the miraculous’, which consists of man’s motivation to build mainly being to fill structures with light-filled things. This can be seen in the way another part of this Mosque is the religious school or the madrasa. In this children of all ages come to study the Quran and learn about religion. It contains further proof some of the most beautiful calligraphy that I have ever come across. The material used for the construction of the Mosque is said to be 18 million bricks and 475,000 tiles (Digital library, Web). A figure that I’m sure amazes most people as it does me whenever I try to comprehend the huge amount used in the construction of this structure. The tiles used are of a special kind. They aim to amplify the beauty and light as well as the aesthetic appearance of the structure. They inject an element of what Schulz would define in art as ‘lustrous gazes’. The tiles in the Masjed-e Shah are predominantly blue and some of cooler, yellowy-green shades. Viewing the light hop on these tiles I am constantly reminded of a certain line that Norberg-Schulz uses to highlight bright elements ‘...a surge with newfound energy and power they immediately take on a spirited existence’. Also a great deal of beige marble with carved inscriptions was used throughout the mosque which blesses the spectator with a space of internal serenity. Norberg-Schulz says everyplace has its light. A structure can have imaginative power as the darkness itself amplifies fragments of light and fields of energy created by charged light that define space. I understand now that his repetitive reference to light might’ve been the artful manipulation of light to compliment a structure. But somehow I now believe he meant something more. Like perhaps, the use of light in the architecture of a structure isn’t just limited to the structure but to the extraction of light from the individuals who form a bond with it. It serves not just to beautify a structure but to also mask its vulnerabilities. It is how a religious structure is designed to be; a depiction of light, of calm, of peace; of forming a connection to a higher power; of connecting and being aware of you at a spiritual level. In these structures we are all equal. We are all more. As a child I had labeled those feelings as magic. As an adult I associate the architectural genius of the Shah Mosque to its artful design, to the religious history that is ingrained so deeply in its being. But even now that I have visited the mosque numerous times as an adult I am at a failure to explain the calm and spirituality it exudes. The joy it fills me with. How it makes me feel like a little child visiting his secret kingdom. How I still walk on the marble tiles and feel the same happiness I felt, walking on these tiles so many years ago. How I marvel at the vivid blue tiles and the beautiful wall paintings inside. How I still see an old gardener and think of him as a sorcerer. Perhaps it is still magic. And no matter how many times I come back and no matter how many ways I try to explain how I feel inside the Shah Mosque. Magic is all it will ever be. As I view the structure and the overpowering light blind me. I bask in its warmth, in its beauty, in its strength, in its solidarity. A feeling so peaceful that it renders me speechless; A light so strong that it would shame the sun, for it is not a light that you shy away from. Like your heart it beats in you illuminating your existence. A light within. References Florin Nedelcu. 2008. Europe’s most beautiful Sacred destinations. Retrieved from: http://blog.hotelclub.com/europes-most-beautiful-sacred-destinations/ Louis Kahn. (1969). Wanting To Be Progressive Architecture. Michael. K. Chung. The Churches of Tadao Ando. Retrieved from: http://michaelchung.name/lsu-100307/documents/ando-dialogue.pdf Norberg-Schulz. Significance of the Shadow. Norberg-Schulz. (1965). Intentions in architecture. First MIT paperback Edition. 1968. Shah Mosque. Digital Library. Retrieved from: http://archnet.org/library/sites/one-site.jsp?site_id=2306 Read More