ELEMENTAL CHURCHES: Tadao Ando’s holy trinity
Tadao Ando is arguably the most immediately recognizable name when it comes to Japanese architecture. His buildings have garnered international acclaim for the way he ingeniously balances natural light and shadow, utilizes empty space and incorporates the natural world into his minimalist concrete structures.
We take a look at Ando’s elemental churches - a series of 3 buildings designed and constructed between 1985 and 1989 that contributed significantly to his rise to architectural celebrity status.
Church of the Wind (1986)
Just north east of Kobe sits Mount Rokko, a 932m tall peak and home to the first of Ando’s elemental churches - the Church of the Wind (Kaze no Kyoukai). Completed in 1986, the church is the least famous of Ando’s trio and yet it’s just as visually striking. In many ways, it may even be more interesting as it offers an earlier insight into the development of Ando’s craft and his journey to synthesize religious spaces with nature.
exterior shot of ando’s church of the wind | source: wikimedia
This small chapel was constructed on the grounds of the Rokko Oriental Hotel and designed for the express purpose of wedding ceremonies. The structure bears the hallmarks of Ando’s typical ouevre with the central concepts of a simple geometry, concrete & glass and a focus on light all at the forefront of the design.
The focal point of this church, however, is the 40m long tunnel formed of translucent glass that acts as the entryway. This simple addition to the design has the effect of reinforcing the ceremony of the marriage procession.
the tunnel at ando’s church of the wind | source: wikimedia
Once visitors reach the end of the tunnel and take a right into the main chapel, they are greeted with a simple, square, concrete space. The room is flanked by a floor to ceiling window on the left hand side that looks out upon the grounds and is supported by an enormous concrete cross. Directly in front, a large black iron cross hangs above the altar.
the large, cross supported window in the church of the wind | source: hiromitsu morimoto
The space is punctured by a number of slots in the roof that allow natural light to filter down into the space. This use of natural lighting means that the interplay of light & darkness within the chapel is constantly shifting throughout the day.
It’s the combination of these slots, creating a sense of direct connection to the outside world, along with the long tunnel & the chapel’s position on a mountaintop that have led to its designation as the church of the wind.
the church of the wind in a state of disrepair, 2015 | source: hiromitsu morimoto
Unfortunately the Rokko Oriental went out of business in the mid 2010’s and the chapel fell into a state of disrepair. Thankfully, a restoration effort began in 2018 and the church is once again open for weddings or simply for visitors to stop by and witness its magnificence. While it may not have the same majesty as Ando’s following two churches, it is still well worth the visit.
Church on the Water (1988)
Around 150km east of Sapporo and roughly in the center of Japan’s northernmost island of Hokkaido, you’ll find the small village of Tomamu. Mostly known as a resort location popular for skiing getaways, it is also the location of Ando’s second and perhaps most visually stunning elemental church - the Church on the Water (Mizu no Kyoukai). Much like his first, this small chapel sits on the grounds of a hotel (Alpha Resort) and functions as a private wedding venue.
looking out at the flotating cross at ando’s church on the water | source: Tadao Ando Architect & Associates
Originally designed in 1985 but not completed until 1988, the construction itself only took a staggeringly quick 5 months. The bulk of this 3 years, rather, was spent on planning & design. It is clear in the final result that this structure was thought out meticulously, as the church perfectly captures Ando’s philosophy of integrating his architecture into the surrounding environment. As Ando himself put it:
“You cannot simply put something new into a place. You have to absorb what you see around you…”
Situated in a small clearing in a forest of beech trees, the church faces out onto a large, manmade pond that Ando designed to step down in 5 stages to meet a nearby river at its lowest level. In this way, Ando creates a physical connection between his structure and the natural world. Not only that, but by removing the traditional back wall of the church and opening it up directly to nature, Ando is able to draw a direct parallel between god and nature itself.
view from above of the church on the water | source: habitus living
The main structure of the chapel itself consists of two large concrete cubes. The smaller of these acts as an entrance vestibule and is capped with a third cube constructed of steel and glass. This glass adornment contains 4 towering concrete crosses that draw one’s attention skywards upon entry to the building. An initial staircase leads visitors upwards to pass around these 4 monolithic crosses.
A spiral staircase then leads back downwards, into the second and larger concrete cube that functions as the main chapel space. The transition from brightly lit glass enclosure into the dark, enclosed chapel space creates a solemn atmosphere that is befitting of a wedding space. The entire structure is bounded on two sides by a long, L shaped wall that creates a barrier between the church and the nearby hotel building - creating a more intimate atmosphere within the space.
a summer view of the pond and forest before the church | source: wikiarquitectura
This church captures Ando at his very finest. The complexity of the entry passage into the space is evocative of the mystery and ritual inherent to religious ceremony. This, combined with his masterful integration into the surrounding environment and unification with the nearby river create a truly majestic space that leaves any visitor completely awestruck. Since its creation, the space has become one of the most sought after wedding spots in the country and an internationally famous structure - and rightfully so.
Church of the Light (1989)
The final project in Ando’s trinity of elemental churches is the Church of The Light (Hikari no Kyoukai), is situated in Ibaraki, just outside Osaka, and is by far the most well known of his three elemental churches. Completed on a budget of just $250,000 with funds raised by the church’s congregation, Ando was able to work within this restriction by employing his signature, simplistic materials and yet still managed to create a truly incredible space.
the cross of light in ando’s church of light | source: archello
This church offers a significant departure from his previous two ventures, as it is located on the corner of two streets in a common, residential area - not amidst the striking natural environments of the previous two. While this suburban surrounds provides Ando with less of a canvas, it allows him to focus more on the structure itself and the ways in which he can manipulate the interior space - and he has done so masterfully.
The church is, at its core, based on a theme of duality. Most obviously in the interplay of light and dark within the small, 113m2 space. The tightly enclosed interior is purposefully designed to receive minimal light, other than through a large, extruded cruciform in the eastern wall. This extrusion, the centerpiece of the chapel, acts not only as the buildings primary light source but also creates a floor to ceiling cross of pure light, becoming in itself an adornment for the altar.
the oblique wall is visible on the right of this image - penetrating the interior space | source: richard pare
Ando also plays with the duality of void and solid space. The building, itself a rectangular enclosure, is punctured by an angular wall that cuts through the space at a 15 degree angle. This oblique barrier actually hinders direct entry into the chapel space and forces entrants to make a left turn into an interstitial space. To access the main ceremony space requires one to take an awkward path around this wall.
Much like the Church on the Water, this overly complex entry procedure provides an added level of mysticism and ritual to the chapel. It also serves to provide an additional barrier for external light, ensuring that the cross is the primary source of light for the space.
the curciform of light | source: het gallery
Through this cruciform of light, Ando has found a way to still tie his structure into the natural world, despite its urban location. Placing it on the eastern wall, Ando allows the cross to capture the first rays of light of the rising sun. As the morning progresses, more and more light is able to fill the otherwise dark, interior void of the church. In this way, the light entering the church evolves throughout the day and provides a dynamic dimension to the space that is dependent on the natural world.
Nature - a crucial part of worship
Ultimately, while study of these 3 buildings can provide an interesting insight into Ando’s progression as an architect, it’s more interesting to focus on their similarities - as doing so reveals an insight into Ando’s philosophy and understanding of religious spaces.
While there are undeniably differences in the buildings in terms of scale, urban vs natural settings and visual grandeur, all 3 fundamentally boil down to a geometrically simple, minimalistic structure that finds a subtle way to tie into the natural world. This common link makes clear that Ando views nature as a crucial part of worship and that allowing its majesty to contribute to the sacredness of a ceremonial space is paramount.
Ando has become a household name in Japan for his contributions to architecture and this series of chapels makes it clear why. It is rare to come across an architect who can so subtly capture their own personal worldview within the buildings they construct.