Zhen li

NATURAL LIGHT IN CONTEMPORARY ARCHITECTURE STUDENT NAME: ZHEN LI STUDENT NUMBER: 10405998 XTD304 Design Culture: Dissertation

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CONTENTS 1

ABSTRACT

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INTRODUCITON: (1) Historical perspectives on natural light; (2) Natural lighting in late 20th century; A. Le Corbusier 1. About 2. Impression B. Tadao Ando 1. About 2. Impression (3) Space formed by light (Design Factor); A. Environment factor B. Human factor C. Energy D. Windows (4). Case Study: 1. Church of the Light 2. The Kimbell Art Museum Conclusion

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18 18-20 21-23 23-26 27-29 30 30-36 37-44 45-46 47-50 51-52

References List Bibliography

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ABSTRACT： Natural light is one of the most important aspects to consider when we are designing an interior space or building façade. Architect Louis Kahn mentioned, “Architects in planning rooms today have forgotten their faith in natural light. Depending on the touch of a finger to a switch, they are satisfied with static light and forget the endlessly changing qualities of natural light, in which a room is a different room every second of the day.”1 Throughout the day, the sun subtly changes the colour and pattern of the space. Sunlight is the most important part of human existence. Like other fundamental element like water and fire, sunlight is a basic energy source that has the great impact on mankind’s existence since the beginning of the humanity.

The relationship between natural light and architecture has been established since the ancient time.

Chinese philosopher Lao-Tse said that “architecture is not four walls and a roof; it is also, and above all, the air that remains within, the space that these enclose”. The point of Bruno Zevi’s essay called “light as an architectural form” says that is why architecture and light, or light and architecture are concepts that were interdependent throughout history, as Le Corbousier state, “architecture is the wise, correct and magnificent play of volumes collected together under the light”2 In contemporary architecture, natural light should be advocated for mood or atmosphere, to reveal form; to complement structure; to direct movement; to express intended use and to modify the appearance of a space. In modern society, natural light seems to be forgotten by people, as we spent most of our time under artificial lighting. However, the importance of natural light needs to be re-established. How it can influence people’s well-being physiologically and psychologically, and how it can work with technology to reduce energy consumption. The potential of natural light should be addressed for a more eco-friendly future.

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Robert McCarter,(2005), “Louis I. Khan”(London Phaidon),pg 475.

Neal Bryant, “Light Architecture (Natural Light)” http://columnsoflight.blogspot.co.uk/2009/02/light-architecture.html date accessed. 20/03/2013 2

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Introduction: “Daylight’s primary function is to activate the visual world around us, so that we experience spaces, colours, emotions, etc. This is especially obvious in the arts, whether in painting, sculpture or architecture; light reflected on surfaces links the visual environment with human feelings, creating mood. Famous architects have used light in order to convey message to, and most importantly stimulate emotions in the observer.” 3 The main objective of architectural design is to provide a framework to the human activity, socially as well as environmentally. Architects and spatial designers should be particularly sensitive to the interaction between natural light and architecture space, which directly implies an exploration of shape, materials and atmosphere in the space.4 “Shelter and natural light are fundamental elements of architecture. The first is concerned with protection from natural elements; the second with the creative and sometimes spiritual interaction between the man-made and the natural worlds. One is solid and static, the other illuminates and animates”5 This paper is intended to express the important role of natural light in contemporary architecture.

Firstly, to reiterate the importance of natural light in architecture by understanding the historic fact of natural light in architecture. Secondly, to emphasize some of the key design factor should be considered when we design with natural light. Finally, explore some of the best architecture works which used natural light as a key design element. Through this paper we shall have a better understanding about natural light in contemporary architecture, and how much potential benefit it has for us in the future. The attitude expanded upon in this paper is aimed at developing a renewed respect for, and understanding of natural light.

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Fordham,M,(2005), “Environmental diversity in architecture”.( the Taylor & Francis e-Library) pg 179 Karole Biron, Claude Mh Demers(2009), “Perceptual Interactions between Light and Architecture”(26th Conference on Passive and Low Energy Architecture, Quebec City, Canada) pg1 5 Henry Plummer ,(2009), “The architecture of natural light”.(London : Thames & Hudson) pg 4

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Historical perspectives on natural light: ‘It is impossible to overestimate the important influence of natural light on the interior and exterior forms of buildings and on those who dwell in them. So daylight is the natural beginning.’6From the ancient time, natural light has been used in inhabitant’s daily life. In the beginning, daylight has been used as a tool to distinguish the difference between day and night. However, as the society structure became more complicated and people became more cultured and cultivated, habitants started to use openings or windows to allow the daylight shine into dwellings.

The beginning of architecture in human history actually is also the beginning of the window. Window is one of the primary considerations in architecture which letting in light and air, causing the changing of temperature through the opening. The window was the vehicle for the introduction of daylight.

Eventually, window has become one of the most important components in mediaeval cathedral or the baroque churches, as well as, many other buildings of the eighteenth century. The window has developed and redeveloped over centuries. However, its original purpose has never changed. As linkage between indoor spaces to outdoor space, it required durable materials in order to adapt the changing of temperature or climate. At the earliest stage of the development of window, Sheet of mica or oiled paper was used. However, use of glass has made a great step forward in the primary development. This significant development actually set the tone for the history of window and the usage of natural night in interior architecture through centuries until now. Glass used for the infill to window openings was during the Roman period. In seventeenth century, the large panes of glass developed in England which brought possibility to make a larger window.7 “It is generally believed that the first manufactured glass was in the form of a glaze on ceramic vessels, about 3000 B.C. The first glass vessels were produced about 1500 B.C. in Egypt and Mesopotamia.” 8But it used only for decorative purpose.

Phillips (2004) points an emphasis on the history of windows and of daylighting, the history of windows is really the history of architecture, start with crude opening which direct natural light into the interior space, until the 18 century opening in the roof construction, to collect the rainfall water

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Derek.Phillips, (1997), ”Lighting Historic Buildings”, (Architectural press). Pg1 Derek Philips,(2004)“Daylighting”, (Architectural press). Pg3 8 Steve W. Martin, Ph.D, (2001) Iowa State University, “Historical facts about glass” http://www.texasglass.com/glass_facts/history_of_Glass.htm date accessed 22/03/2013 4 7

in a central pool.9 The façade of buildings of all periods reflects the nature of the windows, shape and location of the window might functionally relate to the natural light. However, in some other period such as renaissance period, the window served purpose as a decorative element in the appearance from outside of the building. This purpose remains until today. According to history, a further innovative development was made in medieval period. This development can be seen in the stained glass windows of the cathedrals, telling the Christian story.10 At the same time, the vertical window was also played a great role in the architecture over centuries.

Initially, it allows the daylight into the central parts of the building that had a great influence on the layout of the dignified house in seventeenth and eighteenth centuries. In this case, the method of day lighting provided great possibilities for architects to control the layout of the central areas of their buildings in more feasible and flexible way.

The modern movement in England in the 1930s saw the use of full walls of glass and wrap-around windows at corners. This was one of the earliest attempts aimed at expressing the freedom in the relation between the exterior and the interior.11 Day lighting used as the primary method of lighting in all kinds of architecture over centuries until the early twentieth century, for various reasons, the electric source was developed which made people start to question the primary role of day lighting.

The workplace was starting to grow in nineteenth century. However, it had seen buildings need higher levels of illumination. For the sake of economies, buildings were required to reduce ceiling height. This reduced the penetration of daylight into buildings. Therefore, continue using horizontal windows to let in the daylight became no longer sufficient. Natural light was to be disregarded as a functional source. However it was not until the energy crisis in twentieth century. People started to realize that the limitation of energy and started question this high energy approach in architecture. In the same time, architect started to look for solution to reduce the electricity load within buildings.

Daylight happened to be one of the most efficient ways that would achieve this purpose. That is the 9

Derek Philips,(2004)“Daylighting”,(Architectural press),pg3.

Richard Spilsbury, (2008) “Stained glass windows”,( London : Wayland) pg6-7 11 Derek Phillips,(2004) “Daylighting”, (Architectural Press).pg4 10

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start of contemporary architect brings back the natural light into modern architecture. There are many reasons for the refreshed interest in natural lighting, such as the high cost of fossil fuels and the realization that sources of electricity have a limitation; however, in terms of architecture design, more important factor about natural lighting is the sense of abstract which relate to human spirit, and the quality of life.12 ‘It is inevitable that artificial light must become the primary light source where efficiency of vision is combined with an economic analysis of building function. Natural lighting is becoming a luxury’13

Natural lighting in late 20th century: In the period that is known as Expressionism, the architectural research aimed on light as the main topic. This period spanned before and after the First World War. As Sukhtej Gill wrote, “The idea of building new cities with glass as the predominant material of expression saw some of the utopian ideas being put on paper before the actual reconstruction began.” 14In that time period, architects were starting to design with natural light by manipulating glass.

“It is a light which plays on the subjectivity of perception, a light filtered, guided, and materialized, determining a kind of identification within the observer between light and space, extension and illumination”15. (Paolo Portoghesi).

Plummer (2003), talks about the change in the light quality of different spaces towards the start of the twentieth century. He associates this with a much broader understanding of the perceptual, physiological and psychic experience associated with the way light behaved in a space16. “The rational and Cartesian light of the functionalists is not born from darkness, and has no need for its opposite in order to exist and assert itself; it lives autonomously, asserts itself as the natural and necessary condition of an architecture intending to prefigure a pacified society, free of contradictions and internal conflicts. Gropius’ Bauhaus, Rietveld’s Schröder House, the Villa Savoye by Le Corbusier, three of the most celebrated models of functionalism, share the same conception of light, 12 13 14 15 16

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Derek Phillips,(2004) “Daylighting”, (Architectural Press).pg3-4 Derek Phillips,(1964) “Lighting in architecture design”, (McGraw-Hill).pg5 Sukhtej Singh Gill,(2006), “A study of the characteristics of natural light”,(Texas A&M University),pg16 Portoghesi,P,(1994), “Light and modern architecture”,(Ga International Co Ltd, Tokyo),pg 9 Henry Plummer, (2003), “Masters of Light”, (Architecture and Urbanism, Tokyo).

understood as ‘universal light’ that describes the geometric consistency of the architectural object: an ideal midday light, inclined at 45°, which penetrates the interior without changing quality, since all divisions between the interior and exterior are temporary and occasional, and do not ‘separate’ different worlds, but at most distinguish ‘zones,’ separate a ‘microclimate’ within the same environment” 17(Portoghesi 1994, p. 9-12).

Although there were a number of architects that made significant contributions, it is not possible to list each of their work individually. In next section plans to study and analysis the works of Le Corbusier, and Tadao Ando. These two master architects manipulated the effect of natural light in their buildings. Also, the focus is on the use of concrete as a common material of expression. For both of them, their works are great examples of how little light that human need within an architecture space to heighten emotion and human spirit.

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Portoghesi,P, (1994), “Light and modern architecture”,(Ga International Co Ltd, Tokyo),pg 9-12 7

Chapel at Ronchamp Architect: Le Corbusier Location: Ronchamp, Haute-Saone France Project Year: 1954 8

LE CORBUSIER ABOUT: Corbusier was born Charles-Edouard Jeanneret-Gris in Switzerland on October 6, 1887. In 1917, he moved to Paris and assumed the pseudonym Le Corbusier. In his architecture, he chiefly built with steel and reinforced concrete and worked with elemental geometric forms. Le Corbusier's painting emphasized clear forms and structures, which corresponded to his architecture18 As Sebastian.J wrote, “Easily regarded as one of the most adroit architects of 20th century, Le Corbusier was a relentless designer, urban planner and writer dedicated to industrializing almost every city he came across.” 19Swiss architect, urban planner, painter, writer, designer and theorist, active mostly in France. In the range of his work and in his ability to enrage the establishment and surprise his follower, he made a magnificent influence on contemporary architecture.

IMPRESSION: Pauly (1997) lists the work of Le Corbusier in a way that light becomes the language expressed in his architecture. He quotes Corbusier, ‘As you can imagine, I use light freely; light for me is the fundamental basis of architecture. I compose with light.’ The light sources have been used in a reticent way, but Corbusier lays maximal importance to define the interior volumes.20 Transparency retained its symbolic value in the early projects by Corbusier such as Geneva Apartment 18

The Biography Channel website, (2013). “Le Corbusier”. Available from: http://www.biography.com/people/le-corbusier-9376609 ,Date accessed 22/03/2013 19 Jordana , Sebastian. "Le Corbusier: The Art of Architecture" 07 Mar 2009. Available from ArchDaily http://www.archdaily.com/16080, Accessed 23 /03/ 2013 20 Dani le Pauly, (1997), “Le Corbusier: The Chapel at Ronchamp” (Paris : Fondation Le Corbusier Boston : Birkhauser Verlag) pg113 9

building “Transparency and light in the functionalist code are, however, intellectual symbols that aim not at evoking impressions, sensations and emotions, but merely at confirming an affirmation of a principle that identifies light with hygiene and habitability, and with the moral call to the necessity that nothing remain mysterious and hidden in the development of social relationships, in the operation of great machine of human society” 21(Portoghesi 1994) Portghesi (1994) lists art deco as one of the important movements in the 1920s that aimed at the improvisation of the traditional models to the current function and taste of modern society, which finally led to the revival of interest in the varied effects of light and shadow from the universal, technological and absolute light of the International style.22 Sukhtej Singh Gill wrote that “The period after the Second World War saw some of the great examples that were to bring back all that were lost in the sole pursuit for achieving the transparent light effects. Le Corbusier’s chapel at Ronchamp, Alto’s church at Imatra, Eero Saarinen’s chapels at M.I.T., and the first Unitarian Church in Madison by Frank Llyod Wright, all related to religion, were attempts at express the mystical character of the space through the light-shadow dialectic.” 23 “At Ronchamp, Le Corbusier lets light enter from slits that seem carved out by the light itself, interpreted as a crystalline pyramidal block, or better, as beams of glass blades spread apart, which cut the wall, making its inertia and materiality stand out in contrast … If, with the perforated wall, Le Corbusier seems to have wanted to symbolize human light descending from on high but reaching us and describing the qualities of our world, another light, divine light, seems to be symbolic referent of the luminous flux channelled down from those sorts of hatches rising above the roofing. To the observer looking from below, the light, filtered through vertical slits, appears pearly and distant, coming from an unfathomable region: a transcendent, but not triumphant light and binding light, like that of Baroque ‘glorie’: a light projecting the divine within the confines of an existence lived in frustration and desire”24 (Portoghesi 1994).

21 22 23 24

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Portoghesi,P, (1994), “Light and modern architecture”,(Ga International Co Ltd, Tokyo),pg12 Ibid Sukhtej Singh Gill,(2006), “A study of the characteristics of natural light”,(Texas A&M University) pg18 Portoghesi,P, (1994), “Light and modern architecture”,(Ga International Co Ltd, Tokyo), pg13

Chapel at Ronchamp (Interior view) Architect: Le Corbusier Location: Ronchamp, Haute-Saone France Project Year: 1954

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One of the most interesting aspects of the project is the sporadic window placement on the walls.

Corbusier implemented small puncturing apertures on the façade that amplified the light within the chapel by tapering the window well in the wall cavity. “However once inside, the curving walls and roof no longer define the pure essence of the project, rather the light is what defines and gives meaning to the chapel experientially.”25 Plummer (2003) lists the chapel at Ronchamp as one of the greatest metaphysical work of the century which can be seen in light of Le Corbusier’s famous dictum that ‘architecture is the masterly, correct and magnificent play of forms in light.’26 In the book of Dani le auly, he wrote, “Light in fact takes the lead, qualifying the space and lending a spiritual dimension to the edifice.” 27 Another building that defines the new culture of light in which there exists a continuous relationship between the two dialectic factors, light and matter and light and space, is convent at La Tourette built

by Corbusier in the year 1952-1960. The formwork on concrete shows that the presence of light-shadow dialectic which has been used as the main design inspiration of his work in that period.

However, Sukhtej pointed that, “The Dominican monastery of La Tourette is more severe in its expression with the use of a single material, and the strength expressed by unfinished concrete coated at times with plaster. Each basic void is characterized by its own unique light and shadow that brings in atmospheric richness to a character of total poverty.”28(Sukhtej, 2006) “Light and shadow are ‘loud speakers’ in the convent at La Tourette as well: they in fact amplify the character of an uninterrupted chain of different spaces tied to one another by a sort of complementarily, and underline its extraordinary metric and proportional qualities, realized through the subtle experience acquired in the theoretical toil of the Modulor” 29(Portoghesi 1994,).

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Kroll , Andrew. "AD Classics: Ronchamp / Le Corbusier" 03 Nov 2010. Available from: ArchDaily, http://www.archdaily.com/84988, Date Accessed 23/03/2013.

26 Henry Plummer, (2003), “Masters of Light”, (Architecture and Urbanism, Tokyo).

27 Dani le Pauly, (1997), “Le Corbusier: The Chapel at Ronchamp” (Paris : Fondation Le Corbusier Boston : Birkhauser Verlag) pg113 28 Sukhtej Singh Gill,(2006), “A study of the characteristics of natural light”,(Texas A&M University) pg20 29 Portoghesi,P, (1994), “Light and modern architecture”,(Ga International Co Ltd, Tokyo),pg17 12

Koshino House Architect: Tadao Ando Location: Ashiya, Hyogo, Japan Project Year: 1980-1984 13

Tadao Ando ABOUT: Tadao Ando was born in Osaka, Japan in 1941.Ando had a unusual learning experience when he was young. Most of the modern architects had formal training and receive architectural knowledge at school. Instead, he trained himself by reading and travelling extensively through Africa, Europe, and the United States. His first interest in architecture was nourished in tadao's 15 by buying a book of Le Corbusier sketches. "I traced the drawings of his early period so many times, that all pages turned black," says Tadao Ando: "in my mind I quite often wonder how Le Corbusier would have thought about this project or that."30 Tadao Ando is a Japanese architect and winner of the Pritzker Prize. He works primarily in exposed cast-in-place concrete and is renowned for an exemplary craftsmanship which invokes a Japanese sense of materiality and a spatial narrative through the pared aesthetics of international modernism.31 Through professional publications and travelling exhibitions, Ando and his work had great influence on the entire generation of architecture students.

Tadao Ando is the only architect to have won the discipline’s four the most prestigious prize: the Prizker, Carlsberg, Praemium Imperiale, and Kyoto.32Combining influences from Japanese tradition with the best of modernism, Ando has developed a completely unique building aesthetic that make

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“Le Corbusier & Tadao Ando ‘Conscious Inspiration’”, available on “Someone Has Built It Before”, http://archidialog.com/2011/02/19/le-corbusier-tadao-ando-conscious-inspiration/, Date accessed 25/03/2013 31 Aleesha Callahan,(2013) “Tadao Ando | Architectuul”, http://architectuul.com/architect/tadao-ando, Date accessed 25/03/2013 32 Philip Jodidio, (1997), “Tadao Ando”, (K ln ; London : Taschen),pg1 14

use of concrete, wood, water, light, space & nature in a way that has never been witnessed before in architecture.33 IMPRESSION: Materiality is the first impression of Ando’s architecture. His large and powerful walls set a limit. A second impression of Ando’s architecture is its tactility. Hard walls seem soft to the touch. They exclude then enclose, admitting light, wind and the passing visitor, who leaves behind the disorder of everyday existence to be sheltered in a realm of stillness. A third impression of Ando’s architecture is its emptiness. Within, only light and space surround the visitor.34 NATURAL FORCE: Ando’s architecture style and design concept is seen as carrying toward a certain kind of Japanese tradition which integrates a certain attractive connection with nature.

“In all my works, light is an important controlling factor. I create enclosed spaces mainly by means of thick concrete walls. The primary reason is to create a place for the individual, a zone for oneself within society. When the external factors of a city’s environment require the wall to be without openings, the interior must be especially full and satisfying.” 35 –Tadao Ando “As we grow less aware of darkness, we forget spatial reverberations and the subtle patterns created by light and shade. When this happens, everything is uniformly illuminated and object and form are limited to simple relations. The remedy to this situation is a restoration of richness to space”.

36 (Ando, 1995).

The quote above proposed the essence in Tadao Ando’s works, which is aim to restoring the subtle relation between the light and the darkness, to give meaning to the space through the depth perceived through the formation of shadows. Nowadays, modern architecture reached a stage where 33

Philip Jodidio,(2012), “Ando: complete works 1975-2012”,( Taschen) Philip Jodidio, (1997), “Tadao Ando”, (K ln ; London : Taschen),pg6 35 Journal of the Indian institute of architects(1995), “Journal of the Indian institute of architects” (Bombay : S. Kumar),Volume 60, Issues 2-12 ,page 43.

36 Francesco Dal Co,(1995),”Tadao ando: complete works 1945-1995”,( London : Phaidon) pg458 34

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Church on the Water Architect: Tadao Ando Location: Hokkaido near Tomamu, Japan Project Year: 1988

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the freedom of the form from the structural envelope made way for the use of structural glazing, thus creating a uniform blanket of light in the interior.37 Most of architecture project done by Tadao Ando can be suggested as the innovation of natural light which provides future generation a basic concept that how natural light could coexist with modern architecture.

“Ando places a wall in the midst of full light. A single wall is arranged in connect the space of light with the space of shadows – Ando’s walls appear this way.” wrote Darell Wayne Fields.38 The shadows shaped by walls which interfere as a screen between light and space. Then an opening which allows light to enter the space is incised in the wall. However, the opening does not let in all the light but only controlled and softened light; and the light penetrate the wall is curved and purified.

His works seem like a piece of abstract painting. Balancing the play of form, geometry and the way light is made to interact with the physical objects.

As we enter the 21st century, we are all too aware of the repaid change taking place throughout the world – urban populations raise dramatically, the quality of life declines and the our sense of values is changing. Countries around the world are obsessed by economics and, deluded by the mass media.

How can architecture respond to the need to find a spirit of this time? The role of certain creative architects becomes central in defining the future of the built environment. Tadao Ando is one of those creators, an architect who has sought and found the keys to adapting modern architecture to the needs of this time. Although he makes abstract reference to Japanese tradition, he is just as much influenced by the powerful simplicity of the best of modernism. 39Undoubtedly, in his design we can sense his respect to nature. Ando has made tremendous impact on today’s architectural design, and how he deal with natural light has made many great examples for future architects and students.

Space formed by light (design factor) 37

Sukhtej Singh Gill,(2006), “A study of the characteristics of natural light”,(Texas A&M University) pg22 Darell Wayne Fields,(1991), ”Tadao Ando: dormant lines ”,( Rizzoli) pg9 39 Philip Jodidio,(2012), “The Simplicity Of Perfection”, http://treatsmagazine.com/magazine/issue-4/tadao-ando/, Date accessed: 27/03/2013 38

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A. Environment factor B. Human factor C. Energy D. Window A. Environment factor The needing for daylight is human nature, which indicates that daylight has great influence on man’s physical and mental condition. However, more than any other element on the earth, light (daylight, natural light) it has a varied and unique characteristic. A space could be formed or defined by natural light.

1. Alteration and variation: The changing nature of natural light is a part of life, change and variety might be the most obvious and certain aspect of daylight. Perception reacts to a certain degree of change; it is the natural order of things that the appearances of interior space alter with time; however, there is a natural process in renewal in the photo chemical process of the eye as it adapts to accommodate change in daylight.

Daylight resets our body clock each day and our state of arousal is partly determined by our exposure to high light levels experienced during the day.

The variation associated with the natural change from day to night; then the change related to the weather which is an important aspect of daylight. This specific gives daylight a strong character, Thus daylight have a certain influence on energy level of the space. In addition, human’s mood and spirit is seen to associate with the variety of daylight. However, the closely change associated to different season, and the capacity of daylight changes according to different season. Daylight is the vehicle that links the exterior world with the interior space. Daylight leads to the delicate change throughout every minute within the space.

2. Orientation According to Sukhtej Singh Gill (2006), “The directional characteristics of natural light are defined out of the movement of the sun across the sky. The depth of shadows and the contrast between two surfaces are born out of the directional characteristics of the source of natural light once interrupted by a physical plane or boundary. These are associated with the character of a space and help to draw 18

a meaningful relation with the source at all times of a day, month or season of a year.”40 Within a space, the shape and form of the daylight that enter the space is defined by the opening.

However, the opening is determined by the design of the specific construction plan and the general orientation of the building. “Orientation is of importance not only in the external sitting of buildings to maximize the influence of diurnal change, but to enable those within a building to establish them in relation to the world outside.” ( hillips 2004)41 3. Colour Different colour and light pattern could give different character to the space. The intensity and colour of natural light provides different level of visual stimulation and perception. Lighter colour reflects more light and the room seems to be bigger. Dark colour absorbs light that falling on the surface, same room appears smaller than its actual size. Apart from this, the colour of daylight could change broadly through day time to night time. The colour varies from rosy hues of the sunset to the cool blue hues of a pure and clear sky. “The natural light changes in colour as the case is when comparing the morning, afternoon or evening light from the sun,”42 According to hillips (2004), “the experience of natural colour; for whilst the physical colour of our world as experienced in daylight changes from morning to night, the changes are part of our experience; we compensate automatically, a white wall appears a white wall even if in the evening it may be warmer, or is colour by sunlight, or altered by cloud formations … it is the colour we regard as natural.”43 It is generally recognized that vision is enhanced by good contrast. Under the colour of daylight the contrast increased. However, daylight provides more than just visibility; it also is the connection between artificial environment and natural environment.

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Sukhtej Singh Gill,(2006), “A study of the characteristics of natural light”,(Texas A&M University) pg25 Derek Phillips,(2004) “Daylighting”, (Architectural Press).pg10 Sukhtej Singh Gill,(2006), “A study of the characteristics of natural light”,(Texas A&M University) pg27 Derek Phillips,(2004) “Daylighting”, (Architectural Press).pg13 19

The Nas朝r al-Mulk Mosque In the city of Shiraz 20

B. Human factor: It is impossible to consider daylight and sunlight under architecture term alone. Apart from that, architects should have the understanding of the importance of human factor when they are designing with daylight. hillips indicated, “ eople like daylight, and in some of countries such as the Netherlands and Germany, there are regulations determining that in a work situation, the staff must not be located further than six meters from window. Daylight is essential in providing a pleasant visual environment, contributing to a feeling of well being. ”44 1. Impact on physical well-being of human: The proof of the umbilical relationship between humans and natural light has widely recognized. This close connection can be seen in two health related condition – S.A.D, and also the impact of natural light on Biological Rhythms.

S.A.D: SAD stands for seasonal affective disorder, a type of depression that is due to a lack of exposure to light during the winter. It begins in the autumn (usually October or November) and subsides in the spring (usually March or April).45 However, it is obvious that daylight has necessary impact on our health and physical well being.

Over centuries, human’s sleep cycles have been accorded to the pattern of light and darkness.

Daylight is an important factor for maintaining biological rhythms as well. Human being’s behaviour, physical condition is closely associated with the character of daylight. In order to reach the level of ‘daylight linking’, architect’s responsibility is to introduce daylight into an architecture space wisely, and fully consider the human factor whilst the feasibility of structure system.

2. Impact on perception When designing with lighting, the first step is to establish the character of the space – the identity of the place as it will be sense by the observer. Lighting and colour of the interior space not only provide necessary details about objects and surface, but also they enrich the atmosphere of space. 46 For designer, natural light can be a powerful design element within the spatial envelope.

“Images of light in nature can be used as powerful models for designing the luminous qualities of room. The poetic use of light adds new qualities to a given place. When light create an image of

44 45 46

Ibid pg9 “Seasonal Affective Disorder”, http://www.sada.org.uk/what-is-sad.html Date accessed: 29/03/2013 Peter Tregenze, David Loe,(1998), ”The design of lighting”,( London ; New York : E. & F.N. Spon) pg47 21

Casa do Conto, arts & residence Architects: Pedras de Ronfos Project year:2011

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nature a building, associations are evoked through the type of light (intense, filtered, weak), the direction of the light (speckled, dappled, smooth, wispy), the direction of the light, the color of the light, and the relation of the light to the surroundings. Light in this case create a visual connotation, suggesting the presence of something perhaps far distant. The representation may be as abstract as an impressionist painting or more literal.”

Natural light has proved to be beneficial for the health, productivity, and safety of building occupants.

Natural light also has a necessary association with human’s perception within the space. In a spatial envelope, a subtle atmosphere is created by the penetration of daylight. However the experience of a space has explored by the movement of human which is the dynamic connection from one point to another. Our perception of a space is based on experience and preconceptions.47 “As we walk through a room, our visual perceptual system tells us both about the invariant structure of the environment and also our movement in relationship to it. The light is structured both according to its source and also by the surfaces of the environment, so that the resulting illumination of the room surfaces informs us about the room. A change in the lighting conditions means a change in our perception of the room. We perceive the physical structure of the room as unchanging even as we react to changes in the patterns of light.”48(Millet 1996) C. Energy Factor: Due to the growing awareness of energy crisis, modern architects start to look for a way to make the most of natural light. However, the beneficial contribution of natural light in architecture has more than just shown in the aesthetic aspect. An architecture cooperated with natural light has significant efficiency in energy saving which might directly affect environment locally and globally.

“The most obvious vehicle for energy saving in building is in exploiting the most abundant source of light available to us – daylight. Environmentally conscious assessments of building design are recognizing that daylight to the full. Generally, people when asked, always prefer to work in a daylight environment. There is a growing acknowledgement that daylight produces positive effect, both physiological and psychological.”( hillips 2004)49 It is generally recognised that artificial lighting might be the primary energy consume in modern 47 48 49

Sukhtej Singh Gill,(2006), “A study of the characteristics of natural light”,(Texas A&M University) pg28 Millet, M. S. (1996), “Light Revealing Architecture”, (Van Nostrand Reinhold, New York) pg 94-95 Derek Phillips,(2004) “Daylighting”, (Architectural Press).pg40 23

architecture. However, with the revolution of energy efficient design, daylighting strategy can be accepted and implemented by design professions, in terms of fenestration design, that have the potential to provide the necessary positive impact on the energy consumption within the building.

According to “Daylighting In Architecture”50. These positive impacts can be listed. Daylighting system could 1. Managed to provide a better illumination in the internal environment, whilst reach the standard of visual comfort and enhance productivity.

2. Minimise energy consumption.

3. Decrease cooling load, and affect air movement, air conditioning and peak electrical demand.

The daylighting strategy has been developed over the last decade. Technology has been involved into the revolution of lighting system in architecture. Intelligent lighting control could be one of the greatest advances in technology, in terms of lighting control. This system associated with light fittings which can response by photocell based on the level of daylight available outdoor. Due to this particular lighting control system, interior space could remain desired level of illumination throughout the day, whilst a certain amount of energy could be saved. Maximum savings are realised by using daylight linking to dim the lights up and down in response to the natural light levels. hillips indicates that, “Whilst a day lighting strategy will be needed in those buildings where a decision to provide air-conditioning has been adopted, it is in those buildings described as ‘passive’ where the greatest saving can be made. A passive building is one in which the greatest use is made of natural resources… natural light, solar power and ventilation derived from making use of the natural environment. Nature cannot provide all that is necessary, and even during the day there may well be a need for some additional energy use, in terms of lighting from artificial sources, or ventilation from some form of fan assistance, whilst in term of solar power, this can be used to advantage.“51 As the major light source of our life, natural light has multiple benefits, in terms of energy saving.

Architects and designers carefully introduce natural light into the space to achieve the best effect aesthetically and functionally.

50

Koen Steemers ; Nick Baker ; A Fanchiotti ; Commission of the European Communities. Directorate-General for Science, Research, and Development.(1993). “Daylighting in architecture: A European reference book”,( published for the Commission by James & James).

Chapter 10, Intergrated Energy Use Analysis.

51 Derek Phillips,(2004) “Daylighting”, (Architectural Press)pg40 24

Roland Levinsky Building, University of Plymouth – View: Central atrium, roof opening.

25

Marina Bay Sands Architects: Safdie Architects Location: Singapore, Singapore Project year: 2010

26

D. Window: Daylight has inevitable connection with windows and openings. However, in a spatial envelope, windows are links between man and nature. They not only let in light but also they have associations with the permission of heat and of heat loss and with the admission of the sound of exterior environment. In addition, they are closely connected to the air movement of interior space.

In ancient time, windows were used before the discovery of glass; therefore originally windows were served as a connection between internal space and exterior space. However, some other materials or forms were used to remain the indoor temperature at night. Generally, there are two types of windows, first the opening placed at side of walls in architecture; the second is the windows that attached into the ceiling of the building.

When we discuss about window and natural light there are many facts are involved in this topic, such as the ceiling height of the space; the material of the window surface; orientation of the window. 52 As Stephen Bayley wrote that, “Natural light is a beacon for the human spirit, whether in private homes or public spaces, a burst of sunshine is a wonder of behold.” 53 To make the most of natural light without interfere with nature (removing trees or habitat of other creatures).

Atrium design has been widely implemented in contemporary architecture. In terms of atrium design, atrium is a further improvement of the dome or vault. It is a structure method opens the rooftop to let in natural light whilst keep the rain out, and make connection to exterior environment. This design solution provides more feasibility for architects to bring in the light whilst save certain amount of energy. Moreover, atrium design provides not only illumination; it also improves interior air movement and helps control interior temperature.

Contemporary architects and designers are highly aware of the importance of window in architects.

In Chinese Feng Shui54, the placement of window is closely associated with occupant’s well-being. In some cases, bad window placement could cause stress to building occupants. As millet indicates that, 52

Ibid pg19-20 th Stephen Bayley,(FEB 19 2013), ” Natural light is a beacon for the human spirit”, http://www.telegraph.co.uk/culture/art/architecture/9880212/Natural-light-is-a-beacon-for-the-human-spirit.html , Date accessed 02/04/2013 54 Feng shui is a Chinese system of geomancy believed to use the laws of both heaven and earth to help one improve life by receiving good fortune. feng shui was widely used to orient buildings—often spiritually significant structures such as tombs, but also dwellings and other structures—in an auspicious manner.

27 53

“The window is a major component of the ‘spatial record’ between inside and outside. With its size relative to the solid wall, it determines the sense of separation from or connection to the outside.

With its placement, it determines the direction in which attention is focused. With its details, it defines the transition between the room and landscape” (Millet 1996,).55 The design of window is not only related to the appearance of the building, but also it controls the internal environment of the building. It shapes light and shadow, defines character of the space.

Glazing materials: There are quite a few glazing materials valuable for today’s architects. There basically there are three types of glazing: Clear glazing: This type of glass can be single sheet, or multiple sheets. They can be flexible in thickness. The daylight will dim down when it penetrates thicker glass, but the colour of outdoor view will still appear as natural.56 Tinted glass: There two type tinted glass, first is just like clear glass itself but with thickness, it can control the radiant heat from sunlight. Secondly is those coated glass with microscopically thin layer of metallic oxides which could resist heat from sunlight.

Miscellaneous glazing: A number of different types of glazing are placed in this category, Patterned glass, wired glass, laminated glasses However, high tech glazing is also very popular nowadays. There are many types of those high tech glazing available in the field of architecture. The most advanced technology is the photovoltaic glazing.

This type of glass is designed to reduce energy consumption from the artificial light. it can produce electricity from solar radiation. There are two other types of high tech glass which should be included into this category. Firstly, photochromic glasses which is designed to respond directly to variation of environment (temperature, light). Secondly, electrochromic glasses, electrically switchable which could change daylight transmission property when low-voltage electrical applied. Hi tech glazing could play a big part in the future of window design which closely relate to energy conservation.

55 56

28

Millet, M. S. (1996), “Light Revealing Architecture”, (Van Nostrand Reinhold, New York) pg 96 Derek Phillips,(2004) “Daylighting”, (Architectural Press)pg26

More importantly it provides more flexible design solution.

57

57

Ibid 29

Church of the Light Architect: Tadao Ando Location: Ibaraki, Osaka, Japan Project Year: 1989

30

Church of the Light Ibaraki, Osaka (1989) In the small town of Ibaraki, 25km away from Osaka, Japan, stands one of Tadao Ando’s most famous architectural works, the Church of the Light. It consists of a rectangular concrete box crossed at a 15 degree angle by a freestanding wall. Light penetrates the profound darkness of this spatial envelop through a cross which is cut out of the altar wall. The interiors are dark and mystical with the entry of light from different openings becoming a dramatic event in itself. The intensity with which light enters from the cruciform opening in the south wall makes the space sacred and powerful.

31

South wall - There is a cross shape opening behind the altar. The opening on the concrete wall let in light which is the only natural element that enters the interior environment. The light shaped into cruciform by concrete wall, as it highlights the divine character of the place and invades the profane darkness of the interior space.

32

East wall - There is no opening on this plain concrete wall. The concrete construction is a reinforcement of Ando’s principal focus on simplicity and minimalist aesthetic; however, the way in which the concrete is poured and formed gives the concrete a luminous quality when exposed to natural light.

33

North wall - There is a slit opening on the north wall of the chapel. The concrete wall is cut through by the extended wall on the west side. Two walls cut across each other, the unique placement of these two walls create a two full height gap which let in the light and direct visitor to enter the chapel.

34

West wall – Two exposed concrete walls are intersecting at west side of the church. The west side wall of the interior space is cut through by the free standing “L” shape wall. There is also a full height glazed opening on the west side of the chapel. However, the splay-wall does not reach the ceiling so that a linear of light is allowed to enter the space. The entrance of the chapel is a rectangular opening on the north side of the “L” shape splay-wall. These opening and placement of walls are the expression of simplicity and emptiness of Ando’s work.

35

Ceiling – The plain exposed concrete roof is without any opening towards to outside.

Floor’s material is dark wooden floor with oil stain finish. It provides contrast to the concrete surface on walls and ceiling. Planks and other parts of the scaffolding used during building construction were re-utilized as the floor and benches inside the church, harmonizing with the austere and minimal character of the place.

In many designs of Ando’s are used concrete and light as a reinforcement to achieve the effect of minimalist and simplicity aesthetic. The fact that Ando combine modern architecture principals with nature facts in this project are what I think makes it such a perfect project. According to the interior shots, during the day the sacred light coming in through the cruciform opening in the concrete structure illuminate the materiality of the inside in a dramatic contrast of light and darkness. The light and shadow define the character of the space, whilst the structure shaped light to enhance the spiritual and sacredness of the space.

36

the Kimbell Museum Architect: Louis Kahn Location: Fort Worth, Texas, United States Project Year: 1967-1972

37

the Kimbell Museum Architect: Louis Kahn

“Inspiration is the feeling of beginning at the threshold where silence and light meet. Silence, the unmeasurable, desire to be, desire to express, the source of new need, meets Light, the measurable, giver of all presence, by will, by law, the measure of things already made, at a threshold which is inspiration, the sanctuary of art, the treasury of shadow.�58 ---- Louis I, Kahn

58

38

Lobell, John. 1985.Between Silence and Light: Spirit in the Architecture of Louis I.Kahn. (Boston, Mass.: Shambala), pg20

The Kimbell Art Museum is located in Fort Worth, Texas. The element of natural light is the key focus of the design, and creates elegant spaces that are perfectly suited for the art that it houses. The Kimbell Art Museum consists of six bays of 104-long concrete cycloid shells, divided crosswise into three equal sections. On the west entrance side, two of the central bays have been removed, and one enters the museum here. On this side, the outermost bay is an open portico. On the main floor are located the galleries, an auditorium, refreshment area, entry lobby, and bookstore, with the library above on a mezzanine. On the lower floor, level with the east parking lot, are the offices and laboratories, shipping and receiving, shops, mechanical space, and the lower entrance lobby from the parking lot.59 The Kimbell Art Museum remains unparalleled in its mastery of light and materials。 59

Millet, M. S. (1996), “Light Revealing Architecture”, (Van Nostrand Reinhold, New York) pg160 39

Interior view of the entrance lobby looking towards the south.

Full height aluminum glazing doors are on the west side of this space. These glazing doors let in natural light which soften by the shading of open porch.

40

View from the entrance lobby looking towards the west porch

41

Interior view of the entrance lobby looking towards the north

Detail at the gable end of the vault.

The section hangs in mid air and spans between the two edge columns. This forms a small glazed opening with the cyclonical vault and gable end of the circle thereby defining the two ends of the linear axis. This brings in direct light that creates a contrast with the soft diffused silvery light that spreads along the entire length of the ceiling.60

60

42

Sukhtej Singh Gill,(2006), “A study of the characteristics of natural light�,(Texas A&M University) pg96

Generally, the material and surface in the spatial envelope generate a soft and monotone.

Throughout the space, Diffused natural light enters the space via continuous interior suspended screen and reflected downward off the curve of the concrete vault. The softened natural light not only brings a peaceful feeling to the interior but also enhances character of the objects that being displayed. Its classic sense of timelessness is ennobled by a reverence for material and detail.

However, the greatness of Kahn’s natural technique is not only within the interior space, also the subtle relationship between indoor environment and outdoor environment. Kahn pursued vision of the silence throughout the entire design. The changing in light quality and quantity happened quietly 43

and delicately.

“Natural light should play a vital part in illumination; the visitor must be able to relate to nature momentarily, to actually see at least a small slice of foliage, sky, sun, water. And the effects of changes in weather, position of the sun, seasons, must penetrate the building and participate in illuminating both art and observer, we are after a psychological effect through which the museum visitor feels that both ht and the art he came to see are still part of the real, rotating, changeable world.”61

61

44

Meyers,Marshall.(1979), “Maters of Light: Louis Kahn.” AIA Journal,68(11):60-61. Reprinted with permission of the publisher.

Conclusion The form of buildings for a wide range of functions and purposes, from simple shelter to ritual and religious purpose, and as media of state and government, has undoubtedly been the most significant of expressions of culture and human activities. It is reasonable that the introduction of light in building has been a primary concern of architects and designers, as primary as the function to modify climate or the durability of structure.

Throughout the history of architecture, natural light has been corporate with structures in many ways to create desired result inside the building. In earlier history of architecture, natural light has played a big part of the interior decoration. In addition, within the built form, light was the media of all visual effect. People live upon the character of natural light. Natural light was the most basic element in people’s daily life. However, since most recent times artificial light was used as an option when daylight fades. Nowadays, the most of the population of developed world would spend their work life under artificial light, and spend their leisure life indoor, at home or sports centre, shopping mall and restaurant, all these places no long relied on natural light to provide illumination.

In the past a few decades, there are two issues came to concern when we were designing a building.

First of all, the energy consumption related to great contribution of artificial light. It was widely recognised that the energy use involved with artificial light might have tremendous impact on global environmental pollution. Behind the endless need of light, overuse of artificial light might not be the best solution. However, secondly, according to investigation, the absence of natural light might have necessary impact on people’s physiological and psychological condition. Along with these two major issues, there are also some other factors that relate to natural light might be considered in architecture design, such as aesthetic factor, spiritual factor and structural factor.

However, in the recent years, many architects and organizations have already realised the importance of natural light. The increasing number of research has indicated a growing interest in natural light.

The rapidly rising context of ecological conscious research, combined with the research on the psychological and physical effects of daylight and daylight deprivation, have activated a number of researches international that develop the potential of daylight for reducing energy consumption, and upgrade the well-being of building occupants.

45

What about the future, energy-saving is potentially the most major and critical field in today’s society.

It will be more concerned in the future. It is possible to make the most of natural light in order to save energy. As we have discovered daylight system before, our technological development will certainly allow us to explore more eco-friendly and feasible methods and materials for filtering, and manipulating natural light. New development in hi-tech materials such as those glasses could respond accordingly to exterior light level. This kind of technology will lead to a new perspective on natural light. On the other hand, the further study and research in the field of photobiology will possibly reinforce the belief that natural light is indispensable for the survival of all creatures in this planet. All these aspects will lead to increasing opportunities and expanding possibilities for dealing with natural light,

46

Reference List: 1. Robert McCarter,(2005), “Louis I. Khan”(London Phaidon),pg 475.

2. Neal Bryant, “Light Architecture (Natural Light)” http://columnsoflight.blogspot.co.uk/2009/02/light-architecture.html date accessed. 20/03/2013 3. Fordham,M,(2005), “Environmental diversity in architecture”.( the Taylor & Francis e-Library) pg 179 4. Karole Biron, Claude Mh Demers(2009), “ erceptual Interactions between Light and Architecture”(26th Conference on assive and Low Energy Architecture, Quebec City, Canada) pg1 5. Henry Plummer ,(2009), “The architecture of natural light”.(London : Thames & Hudson) pg 6. Derek.Phillips, (1997), ”Lighting Historic Buildings”, (Architectural press). Pg1 7. Derek hilips,(2004)“Daylighting”, (Architectural press). Pg3 8. Steve W. Martin, h.D, (2001) Iowa State University, “Historical facts about glass” http://www.texasglass.com/glass_facts/history_of_Glass.htm date accessed 22/03/2013 9. Derek hilips,(2004)“Daylighting”, (Architectural press). Pg3 10. Richard Spilsbury, (2008) “Stained glass windows”,( London : Wayland) pg6-7 11. Derek hillips,(2004) “Daylighting”, (Architectural ress).pg4 12. Derek hillips,(2004) “Daylighting”, (Architectural ress).pg3-4 13. Derek Phillips,(1964) “Lighting in architecture design”, (McGraw-Hill).pg5 14. Sukhtej Singh Gill,(2006), “A study of the characteristics of natural light”,(Texas A&M University),pg16 15. ortoghesi, ,(1994), “Light and modern architecture”,(Ga International Co Ltd, Tokyo),pg 9 16. Henry lummer, (2003), “Masters of Light”, (Architecture and Urbanism, Tokyo).

17. ortoghesi, , (1994), “Light and modern architecture”,(Ga International Co Ltd, Tokyo),pg 9-12 18. The Biography Channel website, (2013). “Le Corbusier”. Available from: http://www.biography.com/people/le-corbusier-9376609 ,Date accessed 22/03/2013 19. Jordana , Sebastian. "Le Corbusier: The Art of Architecture" 07 Mar 2009. Available from ArchDaily http://www.archdaily.com/16080, Accessed 23 /03/ 2013 20. Dani le auly, (1997), “Le Corbusier: The Chapel at Ronchamp” (Paris : Fondation Le Corbusier Boston : Birkhauser Verlag) pg113 21. ortoghesi, , (1994), “Light and modern architecture”,(Ga International Co Ltd, Tokyo),pg12 47

22. Ibid 23. Sukhtej Singh Gill,(2006), “A study of the characteristics of natural light”,(Texas A&M University) pg18 24. ortoghesi, , (1994), “Light and modern architecture”,(Ga International Co Ltd, Tokyo), pg13 25. Kroll , Andrew. "AD Classics: Ronchamp / Le Corbusier" 03 Nov 2010. Available from: ArchDaily, http://www.archdaily.com/84988, Date Accessed 23/03/2013.

26. Henry lummer, (2003), “Masters of Light”, (Architecture and Urbanism, Tokyo).

27. Dani le auly, (1997), “Le Corbusier: The Chapel at Ronchamp” (Paris : Fondation Le Corbusier Boston : Birkhauser Verlag) pg113 28. Sukhtej Singh Gill,(2006), “A study of the characteristics of natural light”,(Texas A&M University) pg20 29. ortoghesi, , (1994), “Light and modern architecture”,(Ga International Co Ltd, Tokyo),pg17 30. “Le Corbusier & Tadao Ando ‘Conscious Inspiration’”, available on “Someone Has Built It Before”, http://archidialog.com/2011/02/19/le-corbusier-tadao-ando-conscious-inspiration/, Date accessed 25/03/2013 31. Aleesha Callahan,(2013) “Tadao Ando | Architectuul”, http://architectuul.com/architect/tadao-ando, Date accessed 25/03/2013 32. hilip Jodidio, (1997), “Tadao Ando”, (Köln ; London : Taschen),pg1 33. Philip Jodidio,(2012), “Ando: complete works 1975-2012”,( Taschen) 34. hilip Jodidio, (1997), “Tadao Ando”, (Köln ; London : Taschen),pg6 35. Journal of the Indian institute of architects(1995), “Journal of the Indian institute of architects” (Bombay : S. Kumar),Volume 60, Issues 2-12 ,page 43.

36. Francesco Dal Co,(1995),”Tadao ando: complete works 1945-1995”,( London : Phaidon) pg458 37. Sukhtej Singh Gill,(2006), “A study of the characteristics of natural light”,(Texas A&M University) pg22 38. Darell Wayne Fields,(1991), ”Tadao Ando: dormant lines ”,( Rizzoli) pg9 39. hilip Jodidio,(2012), “The Simplicity Of erfection”, http://treatsmagazine.com/magazine/issue-4/tadao-ando/, Date accessed: 27/03/2013 40. Sukhtej Singh Gill,(2006), “A study of the characteristics of natural light”,(Texas A&M University) pg25 41. Derek Phillips,(2004) “Daylighting”, (Architectural ress).pg10 42. Sukhtej Singh Gill,(2006), “A study of the characteristics of natural light”,(Texas A&M University) pg27 43. Derek hillips,(2004) “Daylighting”, (Architectural ress).pg13 48

44. Ibid pg9 45. “Seasonal Affective Disorder”, http://www.sada.org.uk/what-is-sad.html Date accessed: 29/03/2013 46. eter Tregenze, David Loe,(1998), ”The design of lighting”,( London ; New York : E. & F.N. Spon) pg47 47. Sukhtej Singh Gill,(2006), “A study of the characteristics of natural light”,(Texas A&M University) pg28 48. Millet, M. S. (1996), “Light Revealing Architecture”, (Van Nostrand Reinhold, New York) pg 94-95 49. Derek hillips,(2004) “Daylighting”, (Architectural ress).pg40 50. Koen Steemers ; Nick Baker ; A Fanchiotti ; Commission of the European Communities.

Directorate-General for Science, Research, and Development.(1993). “Daylighting in architecture: A European reference book”,( published for the Commission by James & James). Chapter 10,Intergrated Energy Use Analysis.

51. Derek hillips,(2004) “Daylighting”, (Architectural ress)pg40 52. Ibid pg19-20 53. Stephen Bayley,(FEB 19th 2013), ” Natural light is a beacon for the human spirit”, http://www.telegraph.co.uk/culture/art/architecture/9880212/Natural-light-is-a-beacon-for-thehuman-spirit.html , Date accessed 02/04/2013 54. Feng shui is a Chinese system of geomancy believed to use the laws of both heaven and earth to help one improve life by receiving good fortune. feng shui was widely used to orient buildings—often spiritually significant structures such as tombs, but also dwellings and other structures—in an auspicious manner.

55. Millet, M. S. (1996), “Light Revealing Architecture”, (Van Nostrand Reinhold, New York) pg 96 56. Derek hillips,(2004) “Daylighting”, (Architectural ress)pg26 57. Ibid 58. Lobell, John. 1985.Between Silence and Light: Spirit in the Architecture of Louis I.Kahn. (Boston, Mass.: Shambala), pg20 59. Millet, M. S. (1996), “Light Revealing Architecture”, (Van Nostrand Reinhold, New York) pg160 60. Sukhtej Singh Gill,(2006), “A study of the characteristics of natural light”,(Texas A&M University) pg96 61. Meyers,Marshall.(1979), “Maters of Light: Louis Kahn.” AIA Journal,68(11):60-61. (Reprinted with permission of the publisher.)

49

Images: 1. http://www.archdaily.com/161522/ad-classics-koshino-house-tadao-ando/koshino13_gonzalo/ 2. http://ssb2011.files.wordpress.com/2011/08/dsc_9483.jpg 3. http://www.archdaily.com/84988/ad-classics-ronchamp-le-corbusier/ronchamp/ 4. http://4.bp.blogspot.com/-1oO5RWZgCCU/To3KTCZHn3I/AAAAAAAACSY/7VDSG29KVDo/s1600/Le +Corbusier1.jpg 5. http://www.archdaily.com/84988/ad-classics-ronchamp-le-corbusier/ronchamp_pieter-morlion/ 6. http://www.archdaily.com/96824/ad-classics-convent-of-la-tourette-le-corbuiser/ludwig_latourett e_no-13/ 7. http://trendland.com/koshino-house-by-tadao-ando/#./koshino-house-tadao-ando-04?&_suid=13 65563214902018458896904954047 8. http://tselentis-arch.tumblr.com/post/46015554800/church-on-the-water-hokkaido-near-tomam u-japan 9. http://www.flickr.com/photos/rowan-castle/3001197958/lightbox/ 10. http://www.archilovers.com/upload/BigImageProject/7a0c6440-53a1-4b77-b2ca-5457ea14fa71.J PG?w=1440&h=781 11. http://ad009cdnb.archdaily.net/wp-content/uploads/2010/07/1279918328-99233c-copy.jpg 12. http://2.bp.blogspot.com/-SE166Msmsdk/UBI8YTGPFXI/AAAAAAAAAgQ/QE-EEm-98Oo/s1600/Ch urch+of+Light+exterior.JPG 13. http://a2studioe.blogspot.co.uk/2011/04/case-study-church-of-light.html 14. http://3.bp.blogspot.com/-Ef8cn0povdM/TxtCvEX9n6I/AAAAAAAAAFU/VjGTvaF9ITY/s1600/church _of_light_ando.jpg 15. http://www.materialproject.org/w/images/f/fe/Chlight1.jpg 16. http://ad009cdnb.archdaily.net/wp-content/uploads/2011/01/1294204527-churchoflight-naoyafu jii2.jpg 17. Sukhtej Singh Gill,(2006), “A study of the characteristics of natural light”,(Texas A&M University) pg127 18. Ibid pg92 19. http://upload.wikimedia.org/wikipedia/commons/0/09/Kimbell_Art_Museum_interior.jpg 20. http://ad009cdnb.archdaily.net/wp-content/uploads/2011/03/1301506932-kimbell2-528x396.jpg 21. Sukhtej Singh Gill,(2006), “A study of the characteristics of natural light”,(Texas A&M University) pg94 50

22. Ibid pg95 23. Ibid 24. Ibid pg96 25. http://ad009cdnb.archdaily.net/wp-content/uploads/2011/03/1301507258-kimbell4.jpg

51

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Directorate-General for Science, Research, and Development.(1993). “Daylighting in architecture: A European reference book”,( published for the Commission by James & James). Chapter 10, Intergrated Energy Use Analysis.  Lobell, John. 1985. “Between Silence and Light: Spirit in the Architecture of Louis I.Kahn.” (Boston, Mass.: Shambala)  Meyers,Marshall.(1979), “Maters of Light: Louis Kahn.” AIA Journal,68(11):60-61. (Reprinted with permission of the publisher.)  Millet, M. S. (1996), “Light Revealing Architecture”, (Van Nostrand Reinhold, New York)  Peter Tregenze, David Loe,(1998), ”The design of lighting”,( London ; New York : E. & F.N. Spon)  hilip Jodidio, (1997), “Tadao Ando”, (Köln ; London : Taschen)  Philip Jodidio,(2012), “Ando: complete works 1975-2012”,( Taschen)  ortoghesi, , (1994), “Light and modern architecture”,(Ga International Co Ltd, Tokyo)  Richard Spilsbury, (2008) “Stained glass windows”,( London : Wayland)  Robert McCarter,(2005), “Louis I. Khan”(London Phaidon)  Sukhtej Singh Gill,(2006), “A study of the characteristics of natural light”,(Texas A&M University) 52

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