Summary Statement:
Light is considered a divine element in sacred architecture because it enhances the spiritual experience. The transition between light and darkness in certain settings can symbolise the spiritual journey from earthly to divine.
What is the significance of light and shadow in a sacred space, or worship space?
The integration of light and shadow is a substantial factor in determining the aesthetic and spiritual atmosphere of sacred buildings, including mosques, synagogues, churches, and temples of various faiths, among others. Hence, the role of light is of utmost importance in establishing a sacred ambiance in these areas, eliciting feelings of reverence and spirituality (Lau, 2008).
The philosophical profundity of Tanizaki’s (1977) depiction of light and shadow is its greatest strength; he addresses intricate philosophical notions, such as the interplay between light and darkness and the beauty that can be discovered in obscurity and ambiguity, with grace and poignant simplicity. Tanizaki challenges Western ideals that value clarity and brightness by emphasising the significance of the dynamic relationship between light and shadow in the evaluation of beauty: “Beauty is not found in the object itself, but rather in the interplay of light and darkness, the patterns of shadows that one thing creates in opposition to another” (Tanizaki, 1977:30).
Light vs Darkness: Impact on Spiritual Experience in Sacred Settings
Saint John of the Cross, a Carmelite saint and Spanish mystic known for his writings on The Dark Night and contributions to spiritual depth, describes in one of his letters that the spiritual path to light requires darkness: “… the endurance of darkness prepares for great light.” (Cross et al., 1991:787)
In a study conducted by Geva and Mukherji (2007), researchers explored the impact of light and darkness on spirituality in the sacred settings of Brihadeshvara Hindu Temple in India. The temple’s internal structure was found to gradually increase illumination, symbolising the spiritual journey of devotees from material existence to the divine realm. This design focuses on creating a visually immersive experience by minimising distractions. The investigation revealed that the illumination of Hindu temples was primarily influenced by religious considerations; Geva et al. (2007) argue that the temple’s “holy light” gave rise to a profound sense of spiritual “holy darkness”.
Workshop Objectives:
The workshop’s primary goal is to investigate the relationship between light, darkness, and sacred space, as well as how light influences human perception and encounters with sacred space. As a result, the workshop’s goal is to investigate and answer a few questions while also uncovering and answering a central question: What effect does light have on the spatial perception of a sacred space? It will attempt to answer several related questions, including: What are the cultural variations of the concepts of light and darkness? Is there a universal meaning and symbolism for light and darkness, or does it differ depending on culture and beliefs? What effect do light and shadow have on spiritual and spatial experiences in sacred spaces? How do light and shadow elicit transcendental reality in a sacred space? What exactly is the relationship between light, shadow, and sacred space? Moreover, what is the importance of technology, encompassing both digital and physical components like windows and fenestrations that facilitate the entry and manipulation of natural light? Contextually, to determine why Middle Eastern churches and mosques are using fewer windows for natural light.
Objective and Outcomes:
To compose a short film (movie 1-3 minutes) documenting the transcendental experience between light and shadow in a certain sacred space, as a threshold and liminal experience between light and darkness, to demonstrate how the contrast between light and darkness can affect our perception and influences our emotions and spatial experience. Hence it can be an illuminating practice that will help us, as designers and architects, to create future spaces utilise light and darkness as critical building materials.
Scope: Practical Workshop Focused on Light, Shadow & Sacred Space – Interior & Exterior, Istanbul – Turkey
| Topic | Description, Objectives & Method | |
| 1 | Introduction: Light, Shadow, Space & Perception | Day 1 1.1 Introduction 1.2 Phenomenology of Light (Experiential & Philosophical) What is phenomenology of light? What cultural differences exist in understanding light and darkness?Does light have a universal meaning and symbolism, or does it vary across cultures? 1.3 The Relationship Between Light, Shadow, and Space 1.4 How Light and Shadow influence the Spatial Experience? 1.5 Light and Technology. Lighting design technology can be physical or digital. Windows and fenestrations allow and control daylight. Nevertheless, digital technology refers to digital lighting and controlling software. |
| 2 | Site Visit & Creating a Narrative | Day 2 2.1 Creating a Scenario/Concept 2.2 Story and Narrative in Lighting Design 2.3 Spatial Analysis (each participant selects a sacred/worship space) 2.4 Creating Story Boards (plan) 2.5 Producing Lighting Scenarios: using still or animated images of interior and exterior of the chosen site/case study. Case Studies: Hagia Sophia (Eastern Orthodox Church converted to a Grand Mosque) Hagia Irene Museum (Eastern Orthodox, a Byzantine Church converted to a museum). Hagia Irene means “sacred peace” (https://muze.gen.tr/muze-detay/ayairini) Tools: Mobile devices’ cameras can record slow-motion and time-lapse video. Short films can be created and edited using mobile apps or desktop software. |
| 3 | Composing and Editing Films | Day 3 3.1 Site and Building Analysis 3.2 Creating a Story Board – Plan 3.3 Producing Light and Darkness Scenarios. How to Make a Short Film in Six Simple Steps Step 1: Create a Plan. Step 2: Write A Script. Step 3: Select Partners/Collaborators. Step 4: Practice and Brainstorm Steps. Step 5: Film. Step 6: Edit. |
| 4 | Presentations & Discussion Session | Day 4 4.1 Presentations by Participants 4.2 Outcome and Conclusions 4.3 Questions & Answers. |
| Note | Participants have the option of collaborating in small groups of two to three people. |
General Notes:
Every space and place are unique, the workshop contents serve as a template that can be adapted and modified to meet the diverse needs of the participants.
It should be noted that the workshop does not include software training or the creation of architectural space conceptual design.
Examples of Middle Eastern Sacred Sites:
Figure 2: Anafora – Egypt, portraying the interplay of light and shadow created by sunlight filtering through the foliage. (Own photograph, February 2023)
Figure 3: Anafora Coptic Church – Egypt, the aperture in the dome resembles God’s eye, as though holy light penetrates the interior worship dark space and forms a beam of sublime light that falls upon the worshippers (own photograph, February 2023).
Figure 4: Illuminating oil flames at Lalish, one of the holiest Yazidis temples and a mountain valley in Shekhan district, which is a spiritual centre for the Yazidis religion in Northern Iraq. (Auther’s own photograph, 2020).
Figure 5: The main entrance to the Yazidis temple in Lalish, which acts as a threshold between the sacred and the profane, where pots of prayers and offerings are placed.
This threshold can be is seen as a symbol of a spiritual and spatial liminal experience. (Auther’s own photograph, 2020).
Figure 6: The sunset over Egypt’s South Sinai Mountains, with its dramatic golden light, shadows, and ethereal, layered mountains effect caused by the sun’s low angle of incidence. This landscape evokes a profound and transcendent experience, both in terms of spirituality and spatial perception. (Auther’s own photograph, 2022).
References:
Geva, Anat, Mukherji, A. and Anuradha. (2007) ‘A Study of Light/Darkness in Sacred Settings: Digital Simulations.’ International Journal of Architectural Computing. Vol. 5 – no. 3, pp. 507-521, 5, 09/01.
Lau, B. (2008) ‘338: The Poetics of Sacred Light – a comparative study of the luminous environment in the Ronchamp Chapel and the Church in the Monastery of La Tourette.’ In Passive and Low Energy Architecture. Dublin, 22-24 October 2008.
Tanizaki, J. I. (1977) In praise of shadows. Stoney Creek: Leete’s Island Books.
Cross, S. J., OCD, O. R. and OCD, K. K. (1991) The Collected Works of St. John of the Cross. [Kindle Edition] United States: ICS Publication
