Le Corbusier, the greatest architect of the last century, noted that 'architecture is the learned game, correct and magnificent, of forms assembled in light', demonstrating to what extent light has been prioritized in the Western tradition. Tanizaki, on the other hand, spoke of the important of shadows, of extended eaves. Rather than the light that shines directly into a room, he praised the soft light that penetrates a space after being reflected off the floor, and again from the ceiling.
...In Japanese architecture, the gentle light that passes through shoji screens serves a key purpose. It reaches right to the back of the room, so that the space feels bright, even without the aid of artificial light. The soft light filtering through the white film at Takanawa Gateway Station represents a form of light that was forgotten about by Japanese Modernism.
There is an Escher-like quality to these flights of steps, but it is the intricate net of shadows created by the roof structure of this sky-lit sculpture gallery, falling across a succession of vertical planes and reflecting back on the surface of the glass, which commands attention. Slender metal bars set crosswise between the rafters add their own animating rhythm. It all makes for a very complex visual arena in which to view art.
Writing about style in architecture, the nineteenth-century theorist Viollet-le-Duc asserted that "style consists in distinction of form," and complained that animals expressed this better than the human species. He felt that his contemporaries had "become strangers to those elemental and simple ideas of truth which lead architects to give style to their designs," and he found it "necessary to define the constituent elements of style, and, in doing so, to carefully avoid those equivocations, those high-sounding but senseless phrases, which have been repeated with all that profound respect which most people profess for that which they do not understand."