In 1989, the construction of the Church of Light, designed by the Japanese architect Tadao Ando and located in a quiet and small residential neighborhood of the Japanese city of Ibaraki, Osaka, was completed.

The church is characterized by the resounding and abstract prismatic concrete volume that forms it, which is crossed by an oblique concrete wall and into whose dark interior the light penetrates in a poetic way through the cross that is cut out on the altar wall.
In a quiet residential neighborhood of the small city of Ibaraki, in the Japanese Osaka prefecture, you can find the one known as the Church of the Light, one of the most emblematic and representative works of the Japanese architect Tadao Ando. Completed in 1989, the Church of the Light had the purpose of complementing an old Christian complex made up of a vicarage and a small pre-existing wooden church, although it meant the first phase of a process of the complete redesign of the complex that Tadao Ando himself would culminate in 1999.

The relationships that the Church of the Light established with those buildings in its environment and with the sunlight were the main conditioning factors of the building's program, which consists of a resounding prismatic volume that is surrounded by a natural space and at the same time is crossed obliquely, at an angle of 15 degrees, by a cutting plane that materializes in a wall with a height lower than the one of that main volume and separates the interior of the church from the access area.

The approach and entrance to the church is done by following the path of that wall that accompanies and embraces the visitor until accessing the interior of the church through a high-rise hole in one of its walls. Inside, the building descends in a staggered manner until it reaches the altar and its front wall, which is cut out in the shape of a cross, allowing light to penetrate the interior of the church, projecting its silhouette on the floor of the church and generating a great contrast between that light and the dark atmosphere of the temple that comes up due to the few lighting gaps that are distributed throughout the building.

This contrast between light and darkness is not something casual, and it is that Tadao Ando tries to express through the architecture of the Church of the Light the dual nature of existence. Thanks to that large cross that pierces the wall of the altar from floor to ceiling and from end to end, Tadao Ando generates an intersection between the solid and the light which intends to involve the user and their senses, making them aware of the interior of the church of the deep division between the spiritual and the mundane.
 
“The light becomes glorious only when is lit against the background of the deepest darkness. I wanted to abstract the nature to the fullest extent and at the same time to purify the architecture correspondingly. The changes of the transitory light remind us anew the relationship between humans and Nature”.
Tadao Ando1

Other dualities that are observed in the temple are those produced between the artificial and the natural, reflected in the relationship of the chapel with the natural environment that surrounds it and reminiscent of the relationship between traditional Japanese architecture and its gardens, and between the solid and the empty, and it is that, despite the massive appearance that the temple projects to the outside, inside, you can find a deep emptiness that seeks to generate in the user a feeling of serenity and tranquility capable of transporting him to the kingdom of the spiritual.

One of the main objectives that Tadao Ando pursued with the Church of the Light project was to challenge the constructive tendencies that he was going to use and at the same time demonstrate that it was possible to create a rich space with a minimum budget in the materialistic era that he lived at that time. The main material of the temple is a reinforced concrete that is shown devoid of any type of adornment that was not part of the construction process and that was treated during its pouring and formwork stages with maximum precision, taking maximum care of all its joints, which were executed by Japanese master carpenters.

Budget problems are present during all phases of construction, causing the use of wooden boards normally used as scaffolding in the pavement and the seats of the church pews and even forcing Tadao Ando himself to consider the option of building the temple without covering the roof and leaving its interior outdoors, an idea that was rejected when the builder and the members of the church decided to donate the necessary funds for its construction.
 
«I have always tried to introduce natural materials into certain parts of buildings, those that come into contact with people's hands and feet, because I am convinced that materials that have a certain substantiality, such as concrete and wood, are irreplaceable in construction because we perceive architecture through the senses».
Tadao Ando2

Years later, specifically in 1999, Tadao Ando himself was in charge of adding a Sunday school to the complex that is located next to the Church of the Light. From the outside, the Sunday school and the temple share the same shape, although their inside aspects are very different. In this case, by serving as a meeting and storage space, and in turn hosting functions such as the library or kitchen, the interior of the building is much warmer and is illuminated in a more luminous way because the religious character takes less importance.

NOTES.-
1.- Tadao Ando. «Tadao Ando: 1983-2000». Madrid: El Croquis Editorial, pp. 114.
2.- Tadao Ando. «Iglesia de la Luz, Ibaraki, Osaka». Madrid: Revista del Colegio Oficial de Arquitectos de Madrid (COAM), nº 311, 1997, pp. 75.

BIBLIOGRAPHY.-
- Frampton, Kenneth. (1991). «Tadao Ando». New York: The Museum of Modern Art, pp. 38-41.
- Ando, Tadao. (2000). «Tadao Ando: 1983-2000». Madrid: El Croquis Editorial, pp. 106-114.
- Futagawa, Yukio / Eisenman, Peter. (1991). «Tadao Ando: Details 1». Tokio: GA, A.D.A. EDITA Tokyo, pp. 156-163.
- Ando, Tadao. (2019). «Tadao Ando 0 Process and Idea: Expanded and Revised Edition». Tokio: TOTO, pp. 158-165.
- Ando, Tadao. (1997). «Iglesia de la Luz, Ibaraki, Osaka». Madrid: Revista del Colegio Oficial de Arquitectos de Madrid (COAM), nº 311, 1997, pp. 75-77.
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113 sqm.
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Project date.- 1988. End of construction.- 1989. Extension.- 1999.
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Ibaraki, Osaka Prefecture, Japan.
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Tadao Ando was born in Osaka, Japan, in 1941. Ando briefly worked as a professional boxer in his youth. At 17, he obtained a featherweight boxing license and participated in professional bouts in Japan. At the same time, he worked as a truck driver and carpenter, a trade in which he gained firsthand experience in constructing furniture and wooden structures.

Tadao Ando did not attend formal architecture school for economic and personal reasons. He came from a modest family in Osaka, and financial constraints prevented him from attending university. During this time, he began reading architectural books on his own, by Mies van der Rohe and other modern architects, including treatises by Le Corbusier, particularly the book Vers une architecture, which was decisive for his vocation. His alternative training consisted of reading, attending lectures, and learning from direct observation.

A self-taught architect, he spent time in Kyoto and Nara, where he studied firsthand the great monuments of traditional Japanese architecture. Between 1962 and 1969, he travelled to the United States, Europe, and Africa to learn about Western architecture, its history, and techniques. His studies of traditional and modern Japanese architecture profoundly influenced his work and resulted in a unique blend of these rich traditions.

In 1969, he founded Tadao Ando Architect and Associates in Osaka. He is an honorary member of the architecture academies in six countries; he has been a visiting professor at Yale, Columbia, and Harvard University; and in 1997, he became a professor of architecture at the University of Tokyo.

His notable works include the Water Church (1988) and the Light Church (1989) in Japan; the Naoshima Museum of Contemporary Art (1992); the Modern Art Museum of Fort Worth in Texas (2002); and the UNESCO Conference Center in Paris (1995).

In 1991, he completed Rokko Housing II, the second phase of a residential complex begun in 1983 in Kobe, which was expanded in a third phase in 1998.

Ando has received numerous architectural awards, including the Pritzker Architecture Prize in 1995. Tadao Ando was appointed to the Berlin Academy of Arts in 1995. In 1995, he was made a Chevalier of the Order of Arts and Letters by the French government. He was subsequently promoted to Officer in 1997 and to Commander in 2013.

In 1996, he received the Praemium Imperiale for Architecture from the Japan Art Association, and in 1997, he was awarded the Royal Institute of British Architects (RIBA) Gold Medal, the American Institute of Architects Gold Medal in 2002, and the Kyoto Prize for his outstanding career in the arts and philosophy in 2002.

His works have been exhibited at institutions such as the Centre Pompidou in Paris, MoMA in New York, and the Venice Architecture Biennale, where he has participated in multiple editions since 1985. His buildings can be seen in Japan, Europe, the United States, and India.

In the fall of 2001, as a follow-up to the comprehensive master plan commissioned by Cooper, Robertson & Partners in the 1990s and completed in 2001, Tadao Ando was selected to develop a new architectural master plan for the Sterling and Francine Clark Art Institute, to expand its buildings and enhance its 140-acre campus. The project included the construction of the new Stone Hill Center exhibition building (2008) and the expansion of the Clark Museum, which reopened in 2014.

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Published on: July 11, 2021
Cite:
metalocus, GONZALO GARCÍA MORENO
"Shaping the light. Church of Light by Tadao Ando" METALOCUS. Accessed
<https://www.metalocus.es/en/news/shaping-light-church-light-tadao-ando> ISSN 1139-6415
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