Why was the church on the water successful?
In this sense, the Church on the Water is one of his most successful projects, in that it uses nature as an implicit element of the design.
Why is Tadao Ando’s church on the water important?
Enveloped in an aesthetic without ornamentation, many of Tadao Ando‘s works base their worth on the relationship of the building with nature. In this sense, the Church on the Water is one of his most successful projects, in that it uses nature as an implicit element of the design.
Where is the church on the water in Japan?
The relationship with nature is once again highlighted as a principal concept of this work. The church is found located close to Tomamu, in the heart of the island of Hokkaido, Northern Japan. It is a small chapel which is attached to the Alpha Resort hotel.
How are the crosses used in the church on the water?
The act of transferring the cross from the interior of the church further increases its visual impact. By rounding the L-shaped wall, the visitor ascends and descends small steps which surround a space defined by four crosses. The crosses define a transparent cube intended as a divine space that disperses toward the cardinal points.
How big is the church on the water?
The composition of the Church on the Water is based on the intersection of two volumes (a prism with a square base of 15 metres each side and a cube of 10 metres each side) which share a corner on an area of 5 by 5 metres. The complex is separated from the hotel by two arms in an L-shape of 39 metres and 75 metres,…
The relationship with nature is once again highlighted as a principal concept of this work. The church is found located close to Tomamu, in the heart of the island of Hokkaido, Northern Japan. It is a small chapel which is attached to the Alpha Resort hotel.
How big is the pond in front of the church?
The pond in front of the church is a rectangle of 45 by 90 metres, bordered by four platforms of 15 metres which establish a virtual enclosure: a perfectly visible aquatic plaza with which the user cannot make physical contact and which connects the church with nature.
The act of transferring the cross from the interior of the church further increases its visual impact. By rounding the L-shaped wall, the visitor ascends and descends small steps which surround a space defined by four crosses. The crosses define a transparent cube intended as a divine space that disperses toward the cardinal points.
