The Cathedral of Christ the Light, Oakland

Have you really been to a city if you haven’t taken some form of public transit there? A subway or a bus, if those are available?

Maybe. But I can think of certain exceptions, such as Saigon, whose bus system was described as “user hostile” in a ’90s guidebook I had. Things might be different now, but in 1994 we got around using three-wheeled cyclos, taxis that tended to be Japanese cars, and — going to the airport — a Trabi functioning (barely) as a taxi.

I didn’t rent a car in the Bay Area, partly to cut costs, but also because I didn’t particularly want to drive around San Francisco or Oakland, put off by the prospect of steep hills, carjacking, etc. So I got around by foot, subway and bus. Last Thursday I caught a bus in downtown Oakland and took it to the shores of Lake Merritt. That’s still in the city, and not an especially long ride, but further than I wanted to walk at that moment.

One thing I wanted to see near the lake was the Cathedral of Christ the Light, seat of the Catholic Archdiocese of Oakland and a recent development.

The building was completed in 2008 to replace the Cathedral of Saint Francis de Sales, which was irreparably damaged in the 1989 earthquake and later razed. As modernist churches go, I liked Christ the Light better than the Cathedral of Our Lady of the Angels in LA.

“Designed by the San Francisco office of Skidmore, Owings & Merrill (SOM), with Craig Hartman, FAIA, as the design partner (and Kendall Heaton Associates the architect of record), the glass, wood, and concrete structure reaffirms the power of an abstract Modern form to function as both a spiritual and civic presence,” wrote Suzanne Stephens in Architectural Record not long after the cathedral opened.

“It also evokes the manipulation of light and space memorably demonstrated by the modern religious architecture of Eero Saarinen, Louis Kahn, Jørn Utzon, and Frank Lloyd Wright.”

The manipulation of natural light is especially skillful, I’d say.

“The major surprise comes from encountering the 58-foot-high apparition of Christ, based on a Romanesque sculptural relief (1145–1150) on the Royal Portal of the west facade of Chartres Cathedral,” Stephens notes.

“Rather than erecting a stained-glass window behind the altar, the architectural team took a digital image of the Chartres Christ and created a mammoth artwork with 94,000 laser-cut perforations on 10-by-5-foot anodized-aluminum panels. Light admitted through the translucent frosted film on the glass of the north-facing Omega Window seeps softly through the panels. The process enhances the image’s ethereal quality: The Christ seems to float like a hologram above the circular altar.”