Architecture & Light: An Interview with Paolo Zermani
Architecture & Light: An Interview with Paolo Zermani written by Jake Pickard
Questions curated by Jake Pickard, Samuel DeBartolo, Carlos Toshiro Kurimoto, Marinda Ergovic, Marta Klara, and Kiran Hacker.
Paolo Zermani, founder of Zermani Associati, is a professor, author, and architect recognised for his pioneering use of light in architecture. During his lecture, Zermani delved into the logic behind some of his projects, including: The Church of San Giovanni in Perugia, The Crematory in Parma, and The Chapel in the Woods. Following his lecture, my colleagues and I had the opportunity to discuss architecture, spirituality, and light with Paolo Zermani.
The San Giovanni Church, Studio Zermani Associati, Photo: Mauro Davoli
The Earthly and the Eternal
You mentioned the quote, ‘sacredness is being in a space and seeing a window where light enters from another world’. What is this other world that we are aspiring to make present through phenomena?
In a powerful reflection on sacred architecture, Zermani reminds us that architecture can reveal an “inner world – one might even say a higher world” through elements that transcend the physical. Light becomes a numinous force, not just a visual one. He reflects on the Temple of Apollo at Bassae, where morning sunlight was choreographed to illuminate the deity, and the Pantheon, where a sunbeam traces a daily path. Zermani believes that if we use “Light as medium”, we can weave a divine thread between the earthly and the eternal.
The Shadow that Reveals
Do you see darkness as a necessary counterpart to inner light? And in relation to that, when you consider a place like the Vatican, do you believe its impact, its spiritual weight, would be the same without its layers of ornament, sculpture, and intricately detailed craftsmanship?
“There is no light without darkness.” In a meditation on Western tradition, Zermani reflects on how shadow is not merely absence but a vessel of meaning. From Plato’s cave to the Gospel of Luke, shadow has shaped human consciousness. In the Annunciation, “the power of the Most High will overshadow you,” revealing light as a divine agent. Renaissance art echoes this mystery—light touches, shadow reveals. In architecture, this interplay becomes spatial and lived: “architecture is evidently of ‘flesh’, that is, of matter,” yet its true essence is shaped by “a higher light, one visible only to a few.”
The Medici Chapel Exit, Studio Zermani Associati, Photo: Stephane Giraudeau
Architecture as a Threshold
Many of your projects have a similar quality of a perspective shift or serial progression where people move through a series of spaces, move down to up/darkness to lightness, and plan to elevation. Is this an architectural technique you use to bring about the sacred in architecture?
Drawing inspiration from the divine rhythm of creation, Zermani states that “Sky and earth represent the two foundational elements for every subsequent act”. In his design for the new exit of the Medici Chapels Museum in Florence, he evokes a journey — “a gradual sequence... between darkness and light, between death and life.” Crafted from matte travertine, the architecture serves as a tomb, threshold, and vessel—quietly connecting sacred history to the contemporary city. The stairway ascent becomes a symbolic resurrection.
Inner Light
When you look back on your life, what kind of activity or practice most helped you channel your creative ideas? Was there a particular turning point that marked this shift? Also, besides Andrei Tarkovsky, were there any other thinkers who significantly influenced the way you approach architecture?
Whilst tracing his journey back to the ninth-century castle he grew up next to, Zermani explained how these ruins first stirred his architectural imagination. Additionally, encounters with great thinkers—Borges, who taught him to see through “an inner light,” and poet Attilio Bertolucci, who revealed how a barn could become sacred—shaped his understanding of architecture as a vessel for memory and time. This “true light,” soft and transformative, “never blinding,” allows everyday materials and spaces to become poetic. In his work, architecture is not built solely with stone—but with perception, presence, and quiet revelation.
The Temple of Cremation, Studio Zermani Associati, Photo: Mauro Davoli
Architectural Continuity
In the first two projects you showed us - the church and the crematorium - you used false columns in both spaces as a kind of scenographic element. Could you talk a bit more about your use of these elements? And more broadly, how can we responsibly use classical allusions like this?
Zermani explains that although non-structural, the columns carry profound symbolic weight: without them, “we would feel a bit more alone.” He proceeds to clarify how every piece of land is in fact sacred, “Every square meter we excavate in Italy holds the remains of someone who lived centuries ago. That land is, therefore, sacred.” Zermani reminds us that architecture is not merely about form, but about memory, place, and transmission. In a world seduced by superficial modernity and market logic, he calls for architecture rooted in history—built not on novelty, but on continuity.
The Chapel in the Woods, Studio Zermani Associati, Photo: Mauro Davoli