Tami Foulger and Professor Peggy Honey, Visual Arts
As proposed, the research portion of my project included both the investigations into the physical benefits of light as well as the spiritual needs of light. We also refer to this light as “His” light or the light of Christ. The creative portion of the project was carried out with a set of watercolors.
It is proven that physically we need light. Ever since the research of William Rowan in the 20’s we have known that seasonal changes in the lengths of daylight and darkness have a significant effect not only on bird migration and mating periods of species, but on human’s physical well being as well. Out of such studies have generated years of research on the subject. We know about the importance of providing an environment of natural light indoors, where so many people spend their time. At the Environmental Health and Light Research Institute studies on the cancer virus indicates the positive relationship between light energy and viruses. A new cancer therapy called PhotoDynamic Therapy (PDT) involves administration of photosensitive compounds to a patient then photoactiviation of the compounds be delivery of light.
Why we need light spiritually begins with the search for truth. I believe that we all seek truth. Truth that gives unity to all history and gives proper relationship to all existing things. We seek truth that fills life with a full meaning and makes this existence desirable. In John chapter 1 verse 9 we read, “Again, all truth is spiritual in nature, revealed through the light of Christ. This is the light that lightenth every man that cometh into the world. In the Doctrine and Covenants section 88 verses 6-13 we learn that all comprehension centers in Christ, in the sense that Christ is the light of truth. Man’s intelligence and spirit are native to truth and intuitively leap toward truth as a flame leaps to unite with flame. It is my understanding that we seek spiritual light as well as physical light. It is no wonder why light and places of worship are inseparable.
During the course of my research I discovered many architects use light as the guiding element in their design. It was hard to narrow down only five who were the most successful. I found that for centuries architects have successfully emphasized light in their designs. I was amazed with the remarkable and creative ways light lifted, transformed and shaped the places of worship. I found that there is a great collaboration between the architect, the ecclesiastical authority and the worshipping community. Many of the churches in my study illustrated the careful articulation of spaces and the skillful use of natural and artificial light. Perhaps other influences unknown inspired the architects to create what Philip Johnson said at the dedication speech at the Crystal Cathedral in 1980, “…a building built for the greater glory of God.” I choose 5 architects whose works not only meet all the criteria for the research portion of the project but who inspired me with their effort to create such magnificent places of worship.
Tadao Ando—Church on the Water
His churches are distinguished by a sophisticated treatment of space and light, and a distinct lack of the customary paraphernalia associated with the church. The precise control of light filtering through his buildings creates objects themselves. As you enter the Church on the Water a passage leads to the rear of the chapel and up into an enclosed space of light: a transparent box which contains four separate but corresponding crosses made of concrete. The translucent base of the cross’s light the chamber situated directly beneath. As you make your way down to the chapel you are welcomed with a spectacular view across the water. Tadao Ando says of his work, “What I have sought to achieve is a spatiality that stimulates the human spirit, awakens the sensitivity and communicates with the deeper soul….the role of architectural space as a spiritual shelter is crucial.
Steven Holl—Chapel of St Ignatius
The warped geometry of the building is volumetrically structured as a continuum of different seven vaults, which Holl visualized as ‘bottles of light.’ Holls concept for the chapel was to create a space that one could have a total sensory experience. With the use of baffles and castglass lens light is reflected and projected in a nontraditional patchwork of color. Holl writes of his work:
“Whether reflecting on the unity of concept and sensation or the intertwining of idea and phenomena, the hope is to unite intellect and feeling, precision with soul.”
Balthasar Neumann—
During the 17th and 18th centuries, many architects designed churches where space was of primary importance where aware of the Byzantine and Gothic architecture. Balthasar Neumann was one of them. His architecture was largely determined in the first instance by the classical language of architecture and followed its principles of design. Balthasar Neumann’s churches were light-saturated interiors. Light entering the interior is not clear daylight, which would produce shadow, highlight, and plastic effects, but light washed with many hues and diffused throughout the interior. The light emphasizes distance, intensifies the vertical and increases the apparent length of the church. The outer skin of the church is transformed into zones of space and light.
Wallace K Harrison—First Presbyterian Church
The First Presbyterian Church is perhaps most impressive of the entire tent/triangle category. It is a remarkable crystalline structure. Harrison asked his biographer, Victoria Newhouse, “Have you ever thought what it would be like to live inside a giant sapphire?” The First Presbyterian glows with a crystal sparkle. From without the exterior is simple and rugged but from within, the interior truly resembles a great tent with walls of jewels.
Fay Jones—Thorncrown Chapel
In the Thorncrown Chapel, the interior space is enlivened and effectively extended by a stabilizing web of cross bracing. There is a dynamic interplay of wooden structural elements, charges the interior with the atmosphere of a gothic church, lifting the eye upwards and beyond the 48-foot high enclosure. The chapel blend in with nature in which is in wrapped. This was achieved by hand-rubbing the wood beams with a greyish stain.
The creative portion of the project utilized the research of the previous two areas with a series of watercolors that tried to capture the architect’s use of light. The art works are interpretations of the buildings and how they interacted with light. Each piece is an abstracted break down of the interplay between light and other important elements of the design. These geometric images are suggestive and abstract, rather than simple depictions of the actual drawings and plans.
This project invoked in me the importance of light on design and how critical light is in our lives. The results of the building discussed seem to reach right inside people, drawing out the powerful invisible connection between the physical and the spiritual.