I. Daylight in Architecture
A. Daylight is constantly changing i. Cannot be controlled by the archite
size and location of its openings
B. There are three main types of openings in which light may enter a room i. The bright open hall
a. Particularly common in countries with warm climates b. Offers a variety of lighting effects in different parts of the room c. Consists of a roof supported on columns for protection from the burning sun d. E.g. Philip C. Johnson’s house in New Canaan,Connecticut 1. Consists of one large cell, a rectangular room about twice as long as it is broad, with glass wall on all four sides and a solid roof
e. To most people light means only much light 1. However the quantity of light is not as important as the quality of light 2. A front light is generally considered a poor light
• When light falls on a relief at almost a right
angle, there will be a minimum of shadow
and therefore of plastic effect
• If the object is moved form front light to a
place where light falls on it from the side it will be possible to find a spot which gives a particularly good impression both of relief and of texture
3. In the old days, the light on actors on stage in theatre came from below as opposed to now where the light falls from on top.
• The footlights created a world of enchantment and unreality which is the world of the stage
• They produced shadows so that the audience was not cheated of textural effects
• The important thing is not the amount of light which matters; the important thing is the way the light falls.
ii. The room with a skylight
a. The antithesis of the bright open hall is the room which
is closed on all sides and open at the top
b. Can be planned so that the light is equally good in all
parts of the room
c. Pantheon in Rome
1. The circular opening at the summit of the dome forms the only connection with the outside world
2. The floor receives most of the light and enough is reflected to brighten even the darkest spots so that there are no really black shadows anywhere
d. There are many examples of rooms in which the entire ceiling is one large skylight
1. The free influx of natural light gives a shadowless interior; forms are not quite plastic and textural effects are generally poor
• Copenhagen’s city hall
iii. And the room with light entering from the side
a. Most common types
b. E.g. Dutch houses such as Rembrandt’s
C. Saw-tooth roof, i.e. a series of high side lights which produce an
excellent light in all parts of the room
D. A more or less concentrated light- that is, light from one or more
sources falling in the same direction- is the best in which to see
form and texture
II.Class notes
A. Daylighting: The use of indirect natural lighting to illuminate the interior of buildings reducing the need for electric lighting
i. How is it possible to work with daylighting?
a. Variations in the quantity of light can be ignored,
though they can be measured with the help of the
instruments, we ourselves are hardly aware of them.
b. Light is very important in experiencing architecture. The same room can be made to give very different spatial
impressions by the simple expedient of changing the
size and the location of the opening.
c. Three main categories:
1. The bright open hall
2. The room with a skylight
3. The room with the light entering from the side
What is an excellent lightening?
To most people a good light means only much
light. If we do not see a thing well enough we simply demand more light. And very often we find that it does not help because the quantity of light is not nearly as important as its quality.
A “front light: is general a poor light
• Min shadow
• Min plastic effect
• Poor textural effect
Floodlighting was used in the theatres, and when
footlights went on they immediately created the atmosphere of enchantment n unreality which is the world of the stage.
• The essential thing about them is that they actually did produce shadows so that the audience was not cheated of textural effects.
• Modern theatres are just the opposite. In such illumination even the richest materials appear flat and shoddy.
• The lighting of the modern stage conclusively that is not the amount of light
which matters. The important thing is the
way the light falls. The Pantheon
Copenhagen Cathedral
• It is remarkable to see how different the
light effect becomes when the same section is employed on a rectangular ground plan so that the dome becomes a barrel vault ith an oblong instead of round opening.
Sky Light
• Copenhagen City Hall: The free influx of
natural light gives a shadow less interior: forms are not quite plastic and textural effects are generally poor
• The room with the light entering only from one side
o Dutch houses
Deep, tall, narrow gabled
buildings,
Lower floors for dwelling
purposes
Upper for storage of foods
Light had to come from windows
in front
Front consists of a thing brick
wall above and wood and glass
below
Sometimes the upper part was
also equipped with shutters
This produced a 4-framed
window with a shutter to each frame that could be opened and close independently as the light could be regulated at will.
Rembrandt, Vermeer, Pieter de Hooch utilized these qualities of Dutch houses in their work
o In an experiment done by the School of Architecture in Copenhagen for the illumination control in old Dutch houses by shutting the lower shutters a more even light over the entire room was produced and by darkening the upper halves and leaving the lower shutters the light was concentrated near the windows. In this way the best plastic qualities and textural characteristics were experimented in the best light conditions. So it resulted in the taught about the effects the architect can produced by skillful utilization of daylight
• Functionalism
o More matter of slogans than of
definite solutions to problems of design and structure, Such words as free, open, and light were the keynotes of the new style. However, it was quantity of light rather than quality of light was sought.
o One of the problems with which modern architects are often faced is to obtain good, even lighting for many different parts of a large room.
Sky lighting is not good because the light form is much too diffused.
Solution: Sawtooth light source
o A more or less concentrated light - a light from one or more sources falling in the same directions is the best in which to see form and texture. At the same time it emphasized the closed character of the room. Light alone can create the effect of enclosed space.
But if you wish to create an effect of openness you cannot employ concentrated light. Frank Lloyd Wright was best aware of this fact.
Play of light
• “The shell has been pit on walls which are
absurdly but practically thick. Inside them however are reinforced concrete columns. The shell will rest on these columns but it will not touch the wall, a horizontal crack of light 10 cm wide will amaze.” – Le Corbusier
• “Architecture is the learned, correct, and magnificent play of the forms under the daylight...” – Le Corbusier
• Day-lighting design principles:
o Allow no direct sun penetration that
can fall on viewers eyes, except in circulation spaces (e.g. staircases, elevators) because you need a direct light source
o Diffuse the light broadly though diffuse reflectors, glazing and or shading
o Introduce daylight as high as possible o Use light-colored surfaces
o Keep brightest surfaces out of line of
sight
o Provide blinds or louvers where there is potential for glare and for audio visual control.
A. Daylight is constantly changing i. Cannot be controlled by the archite
size and location of its openings
B. There are three main types of openings in which light may enter a room i. The bright open hall
a. Particularly common in countries with warm climates b. Offers a variety of lighting effects in different parts of the room c. Consists of a roof supported on columns for protection from the burning sun d. E.g. Philip C. Johnson’s house in New Canaan,Connecticut 1. Consists of one large cell, a rectangular room about twice as long as it is broad, with glass wall on all four sides and a solid roof
e. To most people light means only much light 1. However the quantity of light is not as important as the quality of light 2. A front light is generally considered a poor light
• When light falls on a relief at almost a right
angle, there will be a minimum of shadow
and therefore of plastic effect
• If the object is moved form front light to a
place where light falls on it from the side it will be possible to find a spot which gives a particularly good impression both of relief and of texture
3. In the old days, the light on actors on stage in theatre came from below as opposed to now where the light falls from on top.
• The footlights created a world of enchantment and unreality which is the world of the stage
• They produced shadows so that the audience was not cheated of textural effects
• The important thing is not the amount of light which matters; the important thing is the way the light falls.
ii. The room with a skylight
a. The antithesis of the bright open hall is the room which
is closed on all sides and open at the top
b. Can be planned so that the light is equally good in all
parts of the room
c. Pantheon in Rome
1. The circular opening at the summit of the dome forms the only connection with the outside world
2. The floor receives most of the light and enough is reflected to brighten even the darkest spots so that there are no really black shadows anywhere
d. There are many examples of rooms in which the entire ceiling is one large skylight
1. The free influx of natural light gives a shadowless interior; forms are not quite plastic and textural effects are generally poor
• Copenhagen’s city hall
iii. And the room with light entering from the side
a. Most common types
b. E.g. Dutch houses such as Rembrandt’s
C. Saw-tooth roof, i.e. a series of high side lights which produce an
excellent light in all parts of the room
D. A more or less concentrated light- that is, light from one or more
sources falling in the same direction- is the best in which to see
form and texture
II.Class notes
A. Daylighting: The use of indirect natural lighting to illuminate the interior of buildings reducing the need for electric lighting
i. How is it possible to work with daylighting?
a. Variations in the quantity of light can be ignored,
though they can be measured with the help of the
instruments, we ourselves are hardly aware of them.
b. Light is very important in experiencing architecture. The same room can be made to give very different spatial
impressions by the simple expedient of changing the
size and the location of the opening.
c. Three main categories:
1. The bright open hall
2. The room with a skylight
3. The room with the light entering from the side
What is an excellent lightening?
To most people a good light means only much
light. If we do not see a thing well enough we simply demand more light. And very often we find that it does not help because the quantity of light is not nearly as important as its quality.
A “front light: is general a poor light
• Min shadow
• Min plastic effect
• Poor textural effect
Floodlighting was used in the theatres, and when
footlights went on they immediately created the atmosphere of enchantment n unreality which is the world of the stage.
• The essential thing about them is that they actually did produce shadows so that the audience was not cheated of textural effects.
• Modern theatres are just the opposite. In such illumination even the richest materials appear flat and shoddy.
• The lighting of the modern stage conclusively that is not the amount of light
which matters. The important thing is the
way the light falls. The Pantheon
Copenhagen Cathedral
• It is remarkable to see how different the
light effect becomes when the same section is employed on a rectangular ground plan so that the dome becomes a barrel vault ith an oblong instead of round opening.
Sky Light
• Copenhagen City Hall: The free influx of
natural light gives a shadow less interior: forms are not quite plastic and textural effects are generally poor
• The room with the light entering only from one side
o Dutch houses
Deep, tall, narrow gabled
buildings,
Lower floors for dwelling
purposes
Upper for storage of foods
Light had to come from windows
in front
Front consists of a thing brick
wall above and wood and glass
below
Sometimes the upper part was
also equipped with shutters
This produced a 4-framed
window with a shutter to each frame that could be opened and close independently as the light could be regulated at will.
Rembrandt, Vermeer, Pieter de Hooch utilized these qualities of Dutch houses in their work
o In an experiment done by the School of Architecture in Copenhagen for the illumination control in old Dutch houses by shutting the lower shutters a more even light over the entire room was produced and by darkening the upper halves and leaving the lower shutters the light was concentrated near the windows. In this way the best plastic qualities and textural characteristics were experimented in the best light conditions. So it resulted in the taught about the effects the architect can produced by skillful utilization of daylight
• Functionalism
o More matter of slogans than of
definite solutions to problems of design and structure, Such words as free, open, and light were the keynotes of the new style. However, it was quantity of light rather than quality of light was sought.
o One of the problems with which modern architects are often faced is to obtain good, even lighting for many different parts of a large room.
Sky lighting is not good because the light form is much too diffused.
Solution: Sawtooth light source
o A more or less concentrated light - a light from one or more sources falling in the same directions is the best in which to see form and texture. At the same time it emphasized the closed character of the room. Light alone can create the effect of enclosed space.
But if you wish to create an effect of openness you cannot employ concentrated light. Frank Lloyd Wright was best aware of this fact.
Play of light
• “The shell has been pit on walls which are
absurdly but practically thick. Inside them however are reinforced concrete columns. The shell will rest on these columns but it will not touch the wall, a horizontal crack of light 10 cm wide will amaze.” – Le Corbusier
• “Architecture is the learned, correct, and magnificent play of the forms under the daylight...” – Le Corbusier
• Day-lighting design principles:
o Allow no direct sun penetration that
can fall on viewers eyes, except in circulation spaces (e.g. staircases, elevators) because you need a direct light source
o Diffuse the light broadly though diffuse reflectors, glazing and or shading
o Introduce daylight as high as possible o Use light-colored surfaces
o Keep brightest surfaces out of line of
sight
o Provide blinds or louvers where there is potential for glare and for audio visual control.
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