oes shadow have the power to give form to architecture? The increasing number of transparent buildings and LED installations would enforce the impression that light has eliminated the relevance of shadow. But to answer that question, let’s look back to a master of light whose architecture was shaped by shadow: Louis Kahn.
As identified by Leonardo da Vinci, we often encounter three types of shadows: Attached shadow, shading and cast shadow. The attached shadow falls on the body itself – like a cantilever roof causing a shadow on the façade. The second type belongs to bright and dark contrasts, which are inherent to the form and depend only on the source of light, e.g. a ball shaped pavilion, which even under a cast sky shows a darker zone in the lower part. The third, cast shadow, could be the result of a high house generating shadow on the street due to the projection of the building outline.
Kahn´s archetypical forms go back to Greek architecture, which he studied in the 1950s: “Greek architecture taught me that the column is where the light is not, and the space between is where the light is. It is a matter of no-light, light, no-light, light. A column and a column brings light between them. To make a column which grows out of the wall and which makes its own rhythm of no-light, light, no-light, light: that is the marvel of the artist.”
As identified by Leonardo da Vinci, we often encounter three types of shadows: Attached shadow, shading and cast shadow. The attached shadow falls on the body itself – like a cantilever roof causing a shadow on the façade. The second type belongs to bright and dark contrasts, which are inherent to the form and depend only on the source of light, e.g. a ball shaped pavilion, which even under a cast sky shows a darker zone in the lower part. The third, cast shadow, could be the result of a high house generating shadow on the street due to the projection of the building outline.
Kahn´s archetypical forms go back to Greek architecture, which he studied in the 1950s: “Greek architecture taught me that the column is where the light is not, and the space between is where the light is. It is a matter of no-light, light, no-light, light. A column and a column brings light between them. To make a column which grows out of the wall and which makes its own rhythm of no-light, light, no-light, light: that is the marvel of the artist.”
However, light was also a central element in Kahn´s philosophy because he regarded it as a “giver of all presences”: “All material in nature, the mountains and the streams and the air and we, are made of Light which has been spent, and this crumpled mass called material casts a shadow, and the shadow belongs to Light.” For him, light is the maker of material, and material’s purpose is to cast a shadow.
And because Kahn believed that the dark shadow is a natural part of light, Kahn never attempted a pure dark space for a formal effect. For him, a glimpse of light elucidated the level of darkness: “A plan of a building should be read like a harmony of spaces in light. Even a space intended to be dark should have just enough light from some mysterious opening to tell us how dark it really is. Each space must be defined by its structure and the character of its natural light.” As a result, the light as a source is often hidden behind louvers or secondary walls, thus concentrating attention on the effect of the light and not on its origin.
And because Kahn believed that the dark shadow is a natural part of light, Kahn never attempted a pure dark space for a formal effect. For him, a glimpse of light elucidated the level of darkness: “A plan of a building should be read like a harmony of spaces in light. Even a space intended to be dark should have just enough light from some mysterious opening to tell us how dark it really is. Each space must be defined by its structure and the character of its natural light.” As a result, the light as a source is often hidden behind louvers or secondary walls, thus concentrating attention on the effect of the light and not on its origin.
And even though Kahn erected many buildings in regions exposed to extreme sunlight (such as India and Pakistan), he did not design his buildings to protect users from the sun, but rather to protect the sanctity of the shadow. He didn’t believe in artificial shade such as the ‘brise-soleils’, instead he used windows and doors in his double walls to direct the light into the interior. As Kahn describes the large open windows and doors “The outside belongs to the sun and on the inside people live and work. In order to avoid protection from the sun I invented the idea of a deep intrados that protects the cool shadow.”
Kahn´s path of designing with shadow attracted numerous followers, like Tadao Ando with his Church of Light, Peter Zumthor and his Therme Vals or Axel Schultes with his Crematorium. They all include shadow as a form giver for silent spaces. This perspective presents a pleasant counterpoint in today’s architecture that strives for dynamic and bright icons.
Kahn´s path of designing with shadow attracted numerous followers, like Tadao Ando with his Church of Light, Peter Zumthor and his Therme Vals or Axel Schultes with his Crematorium. They all include shadow as a form giver for silent spaces. This perspective presents a pleasant counterpoint in today’s architecture that strives for dynamic and bright icons.
