Interiority -- Church of light

Interiority is a definition supported and inscribed by limits of geometry, time, space, form, and “the dialectics of outside and inside…..a reinforced geometrism, in wihich limits are barriers”. [1]This word assists people to recognize how natural space creates an interiority of enclosure, and also to allow an understanding how a physical architecture is being enclosed by limits of geometry, time, space etc. In real life, to continue to explore and analyze an actual building is a good way to realize what the construction of architectural interiority is.

Tadao Ando is a famous Japanese architect known to the world. He is very unlike other architects. Referring to his personal Zen philosophies, he pursues a ‘Timeless’ architecture. He practices an expression of spiritual, the effects and play of lights and shadows and the use of natural elements such as wind, water and atmosphere. Because of these intense philosophies, his work symbolizes ‘forever architecture’. Therefore, the theme he normally expresses in his work is the dual nature of existence.

The ‘Church of light’ (1987-1989) is one of Tadao Ando’s emblematic works. It is a building imbibed with the power of space and light. It is located in a quiet residential neighborhood in the suburbs of Osaka. The small Christian church made of silky smooth concrete sits modestly within its environment. The communal church consists of two rectangular volumes that are both cut at a 15 degree angles by freestanding concrete walls. One indirectly enters the church by slipping between the two volumes, one that contains the Sunday school and the other that contains the worship hall. As one enters and walks deeper into the building, the lofty and towering corridor is enclosed by freestanding concrete walls constricting ones direction. Then, as one walks deeper into the space, the more private the usage of the space becomes. When one journeys deeper into the corner of the corridor, a triangular lobby area emerges contradicting its linear pathway before. It is a core, which connects the entrance and the interior space. At the same time, this journey enhances the feeling of curiosity and spirituality, because it seems like an enclosed maze leading people towards the next space. It also allows the interiority of anxiety to build up as one gradually proceeds from one space to another more enclosed space which was not anticipated before hand. This 15 degree freestanding concrete wall crosses over on the main building; these links between rooms create an interiority of an imaging closeness, and the relationships of the occupants in the ‘church of light’, bringing everyone closer together in the heart of the building.

What is a church? A church is a place where the human soul meets the divine. It is a shelter not only for religious matters but also for reflection. It also serves as a communal centre for the fellow believers. The one element carried through Tadao Ando's structures is his idolization of the reinforced concrete wall. He says:” I create enclosed spaces mainly by means of thick concrete walls. The primary reason is to create a place for the individual, a zone for oneself within society. When the external factors of a city's environment require the wall to be without openings, the interior must be especially full and satisfying." “Church of light” is located 25km north-northeast of Osaka in the western foothills of the Yodo valley railway corridor. So Ando specially opens these ‘windows’ (openings) in the western wall, and closes all these ‘windows’ in other walls, in order to avoid noises from the western location. It is an efficient way to keep serenity in the interior environment and decline all noises from the exterior environment. The whole building looks like a filter to filtrate all these noises from the exterior environment and the pollution of lights such as the ultraviolet radiation. Therefore, atmosphere is clean, and light is soft in the interior space. Such a clam and sacred ambience in the ‘church of light’ is enclosed and sheltered by the special environment.

The main worship hall of the ‘Church of light’ is created by a large rectangular volume. This design explanation is for understandable religious and psychological reason, and they result in the long reverberation which suited chanting and organs and were much in character with traditional concepts for worship. These towering concrete walls in the building have two efficient functions which are reflect noises from outside and remain a calm atmosphere inside. The high ceiling also is good for the reflection of place with sound. Because narrow enclosure with diffusing columns and plan forms do not support orchestral sound well.

The space of the chapel is defined by light, by the strong contrast between light and shade. In the chapel light enters from behind the altar, which is a cruciform cut in the concrete wall that extends vertically from floor to ceiling and horizontally from wall to wall, aligning perfectly with the joints in the concrete. From this cruciform shape an abstract and universal light seems to be floating on the concrete wall, its rays extending and receding over time with the movement of the sun. Light is also permitted to seep into the interior from the slicing of the volume by the freestanding concrete wall. The darkness of the chapel is further accentuated by the dark and rough-textured wood of the floor planks and the pews which are built out of reused wood used during construction as scaffolding.

The ‘Church of light’ describes Tadao Ando’s personal understanding of lights and darkness. He thinks that ‘light is an important controlling factor’ in all his work. Light and darkness have a relationship between one another; therefore we cannot separate any of them. Light cannot be seen without the existence of darkness and vice versa. The cruciform cut in the concrete wall is the pivot point of the interior space, which shows natural light during the different period. Light is invited to participate across the surface of the concrete, constantly revealing it smooth and cold surface as it gradually moves. The interiority of the architecture changes continuously during the course of the day. The interior environment is effected and controlled by the movement of the sun. During the day, whether it is sunshine or cloudy outside, the interiority of the chapel still remains in darkness because of the enclosed solid concrete walls. Only natural lights can see are come from these hollow gaps which exist between the ceilings and walls and of course from the cruciform itself. The sacred ambiance is enclosed and controlled by these natural lights from outside. They are not just ecumenical natural lights, they are symbolizing the spirit.

Tadao Ando have achieved three famous churches which are ‘church in the wind’, ‘church on the water’ and the ‘church of light’ in the past few years. If we define that the ‘church in the wind’ is an adaptive place to pray; the ‘church on the water’ is a place for weddings; well then the ‘church of light’ is a most suitable place for penance. In the ‘church of light’, the cross-shaped opening at the one end becomes the door to the world above, through which the gods can descend to earth and man can symbolically ascend to heaven. Allied to light, which symbolizes the divine, the austere expression of the cross as an opening in the wall makes it a kind of communication with heaven, an opening through which a symbolic passage is possible[2]. As one seats in front of the cruciform cut in the wall, natural sunlight that comes into the calm interior accentuates the darkness making it more obvious. At the same time, when the brightest sunlight irradiates into people’s eye, this scene permits people to believe that they have already seen heaven. It is alike reaching out to the heavens to ask for forgiveness and pardon from above. Therefore, this is a special interior space to depurate people’s heart and spirit.

There was also much consideration in the arrangement of furniture in the ‘church of light’; typically the wooden chairs. These horizontal timber pews are set in the middle of the chapel row by row and gradually ascending upwards. The sloped arrangement of these timber pews becomes a channel to guide people to get closer to the cruciform cut in the wall. All the furnishings are simple in the interior, but they become an exclusive door to communicate with the gods. The cross motif is repeated in the ends of timber pews and is caught by beams of light as crossed the floor, evoking an austere atmosphere, yet calm at the same time.[3] When people who set on the pew and pray to the gods, this defines a little more explicitly who forms the interiority of intimacy. Their spiritual conversation and communication become a special enclosure. Enclosure achieves a link and correlation for prayer and the gods.

The light which comes from the cruciform cut in the wall is influenced by the movement of the sun. They irradiate constantly on the middle of the warm wooden floor during the daytime. A house occupies a space but with occupants and time it will become a place. This passage way between these rows of wooden pews becomes a main pathway shown with the changing of time. People pass through the modest passage way time and again, so it becomes a fourth dimensional space because of the constant movement of people in that particular pathway. With the scarcity of openings in the wall in ’church of light’, the change of time can be observed by sunlight and darkness. Shadows cast flow across the interior space engulfing walls floors and its furniture. The play of shadow distorts an image, which defines an interiority of concealment and disguise, allowing the particular space to be more secretive and private.

The ‘church of light’ is created by three significant considerations which are inornate materials (reinforce concrete), simple geometry (15 degrees angle by freestanding wall) and nature (sunlight and shadow). This successful architectural work integrates these three elements, which mean it collects all the essential architectural modalities. ‘Church of light’ represents existence of movement and time-they cannot in fact be separated from one another. It also defines nature, its presence reduced to the element of light – takes on an extremely abstract character, and responding to this abstraction. The architecture grows purer with the daily passage of time. In conclusion, ‘interiority’ is not only a word to define that a physical architectural interior is created by limits of geometry, forms and times, but also it created by the natural lights. These natural elements form the interiority of intimacy that to penance fault and refine spirit.

[1] Bachelard, 1958/1994, P.215
[2] Church on the water, Church of the light. Philip Drew. p. 40
[3] Church on the water, Church of the light. Philip Drew. P. 36