BETWEEN STRUCTURE AND LIGHT
Spirit from the thinking of the dome
DRU Tutor Name: Helen O’Connor
Studio D-Critical Spatial Practice
Student Name: Yixuan LI
Architecture (MArch Year 4) HT40003
Abstract
Key Words:
-Structure
-Spatial experience
-Light
The essential idea of the thinking machine in this writing is investigating the relationship between structure, space and light. Throughout history, churches have presented architectural wonders that are uniquely beautiful through their interaction with light. One of the most recognizable elements of church architecture is the dome, which can be found in some of the world's most iconic churches, such as the Rome Pantheon and Hagia Sophia. These churches, with their colossal domes, create a spiritual atmosphere that inspires visitors.
Architecture is a discipline that deals with the manipulation of light, space, and form to create memorable buildings. As Le Corbusier said, "Architecture is the masterly, correct and magnificent play of masses brought together in light."1 One of the architectural features that can manipulate light is the dome. Nevertheless, even though they share the same architectural feature, each dome has a distinct design, causing them to react differently to light and structure. This essay seeks to answer the question of ‘How the complex relationship between structure, space, and light in church architecture, with a focus on the role of the domes in admitting and interacting with light?’ 1.
To consolidate the project's purpose, the manifesto of the architecture research is derived from the personal knowledge collage of aesthetics, forms, and space. And further research on the expression of natural and geometric forms and the study of light. The critical theories to explore are Louis I. Kahn's understanding of light and silence in architecture and the pressure of light or the speed of shadow from Steven Holl's thinking.
The methodology of this essay will analyse the domes of the Rome Pantheon and Hagia Sophia. The analysis will focus on the structural elements, construction methods, and materiality of the domes, as well as their interactions with light and space. To explore these concepts further, this project will also involve creating spatial experiments, models, and drawings inspired by the works of architects Louis I. Kahn and Steven Holl. Both architects' unique understanding of light and its relationship with architecture will serve as critical theories to guide my investigation. Overall, this essay aims to shed light on the complex relationship between structure, space, and light in church architecture, focusing on the role of domes in admitting and interacting with light.
CONTENTS
ABSTRACT-
CHAPTER 1: INTRODUCTION-
CHAPTER 2: THINKING OF DOMES-
2.1 PANTHEON (ROME)2.1.1: DOME - INFORMATION STATEMENT2.1.2: DOME - STRUCTURE, CONSTRUCTION METHOD & MATERIALITY-
2.1.3: DOME - LIGHT AND SPACE2.1.4: SUMMARY-
2.2 HAGIA SOPHIA-
2.1.1: DOME - INFORMATION STATEMENT2.1.2: DOME - STRUCTURE, CONSTRUCTION METHOD & MATERIALITY2.1.3: DOME - LIGHT AND SPACE2.1.4: SUMMARY-
CHAPTER 3: REFLECTION OF DOMES-
3.1 DOMES, STRUCTURE & SPACE, GRAVITAS-
3.2 DOMES, LIGHT & SPACE, SHADOW3.3 DOMES-EXPERIMENT OF MANIPULATION OF LIGHT (LIGHT SCORE)-
CHAPTER 4: CONCLUSION-
CHAPTER 5: DESIGN METHOD-
FINAL THINKING MACHINE-
ACKNOWLEDGEMENTSBIBLIOGRAPHY-
FIGURE REFERENCES-
APPENDIX-
I say to church, 'what do you want, church?' Church says to you, 'I like a DOME.' If you say to church, 'Domes are expensive, and I can use a CONCRETE SLAB over the walls. What do you think of that, church?' Church says, 'I like a DOME.'
Introduction
“Space and light are inseparable, as there is no architectural experience of space without light.”1 People need vision and light to distinguish space, even in specific spatial experiences. Holl has mentioned, “Light’ psychological effects can lead to extremes of feeling with direct repercussions.” 2 Each distinct space and place have its characteristic light (Fig.3), they affect people feeling because of the architectural multisensory. If somewhere have light, it must have a shadow. Indeed, experiencing the architecture, light and space are essential aspects, however, the structure also is. Structure creates form, that allows for openings to admit light. Auguste Perret argues, “Structures are the mother tongue of architecture.”3 The structure is the foundation to build up the space and as the giver of light. Kahn mentioned that the structure “presents a rhythm of no light, light, no light, light, no light, light. A vault, a dome, is also a choice of a character of light.” 4
In addition, Structure, space, and light have always been critical aspects of architectural design, with the church being one of the most recognizable types of architecture that utilizes these elements. The dome is one of the most distinctive features of church architecture, and throughout history, churches around the world have used domes to create awe-inspiring spaces that inspire a sense of spirituality and transcendence. However, despite having the same architectural feature, the design of each dome is unique, and as a result, they interact with light and structure in distinct ways.
The purpose of this essay is to explore the complex relationship between structure, space, and light in church architecture, with a focus on the role of domes in admitting and interacting with light. Specifically, this essay will analyze two selected domes, the Rome Pantheon and Hagia Sophia, and investigate their structural elements, construction methods, and materiality, as well as their interactions with light and space.
The critical theories from Robert McCarter and Juhani Pallasmaa’s book -Understanding Architecture, and architect Louis I. Kahn will also as the fundamental guide to the investigation, particularly their unique understanding of light and its relationship with architecture. Moreover, through spatial experiments, models, and drawings inspired by Steven Holl, this essay will shed light on the relationship between structure, space, and light in church architecture, highlighting the importance of considering light in critical spatial practice.
1. Robert McCarter and Juhani Pallasmaa, Understanding Architecture, first edition (Phaidon Press Limited, 2012), 151.
2. Steven Holl, PARALLAX, first edition (Princeton Architectural Press, 2000), 112.
3. Robert McCarter and Juhani Pallasmaa, Understanding Architecture, first edition (Phaidon Press Limited, 2012), 117.
4.John Lobell, BETWEEN SILENCE AND LIGHT SPIRIT IN THE ARCHITECTURE OF LOUIS I. KAHN, first edition (SHAMBHALA Publications, 1985), 34.
Fig.3. Characteristic light
Thinking Of Domes
Rome Pantheon 113-125AD
-Location: Rome, Italy
-Diameter of Dome: 142feet (43m)
-Height from base: 142feet (43m)
-Latitude and longitude: 41.8986°N 12.4768°E
“Natural light breathes life into architecture and connects the material world with cosmic dimensions.” 1
Robert McCarter and Juhani Pallasmaa
1.Robert McCarter and Juhani Pallasmaa, Understanding Architecture, first edition (Phaidon Press Limited, 2012), 151.
Structure, Construction Method & Materiality
The dome of the Pantheon is made of concrete, which was a relatively new material at the time of its construction. The largest concrete dome is supported by a series of concrete ribs forming a network of arches (Fig.5&6), which in turn transfer the dome's weight to eight piers arranged in a circular formation. Furthermore, the lower part of the dome is also reinforced with additional layers of brick and stone, which further distribute the weight of the dome.
In addition, the structure used a series of stepped rings that gradually decrease in size as they ascend to the oculus and the dome's interior surface is covered in coffers (Fig.9), which help lighten the structure’s weight. Additionally, the coffers within the dome create a sense of depth and perspective. As the coffers decrease in size towards the oculus, they create the illusion of a larger, more expansive space. "The dome’s coffers (inset panels) are divided into 28 sections, equaling the number of large columns below. 28 is a “perfect number,” a whole number whose summed factors equal it (thus, 1 + 2 + 4 + 7 + 14 = 28)".1 The coffers also serve a functional purpose, as they help absorb sound and improve the space's acoustics.
In terms of construction methods, the Pantheon was built using a combination of traditional and innovative techniques. The Roman concrete used in the dome was made using a mixture of lime, volcanic ash, and small stones (Fig.7). Then, the concrete was poured into layers, with each layer allowed to dry before the next was added. The interior of the dome was then covered with a layer of plaster, which was decorated with stucco.
1.“The Pantheon,” Khan Academy, accessed March 19, 2023, https://www.khanacademy.org/humanities/ap-art-history/ancient-mediterranean-ap/apancient-rome/a/the-pantheon.
Fig.5. Supporting structure_The arches
Fig.6. Facade_External view of arches
Fig.7. Construction material_Roman concrete
Fig.8. Rome Pantheon_Plan
Fig.9. Rome Pantheon_Section
Light and Space
The oculus serves as the primary source of light for the interior of the Pantheon (Fig.10), creating a unique and ever-changing interplay of light and shadow throughout the day. It creates a sense of transcendence and spirituality within the space, further enhanced by the geometry of the dome and the interaction of its different parts. The interior light quality not merely changes during the day, but the year, as the sun culminates changes. The sun also creates a spotlight effect on the floor of the Pantheon, which moves throughout the space as the sun moved. The interaction of light and shadow is further enhanced by the use of different materials on the walls and floor of the space, which absorb and reflect light in different ways.
In addition to the oculus, the Pantheon also features a series of smaller, circular openings near the dome's base that allow additional light to enter the space. These openings are strategically placed to highlight the architecture and decorative elements within the space and emphasise the interaction between light and structure.
Fig.10. Interior of the Pantheon painting by Giovanni Paolo Panini
Summary
Rome Pantheon is a fascinating innovation for ancient Roman architecture, from the structural dome to its interior light quality. Through careful consideration of both form and function, it was created as an aweinspiring and functional space, with the interaction between the dome and the light as the critical element in the building's structural integrity and visual impact.
Thinking Of Domes
Hagia Sophia 360-537
-Location: Fatih, Istanbul, Turkey
-Diameter of Dome: 102feet 6in (31m)
-Height from base: 182feet 5in (56m)
-Latitude and longitude: 41°00'30''N 28°58'48''E
“The
world as it is evoked by light, and from this comes the thought that material is spent light.” 1
Louis I. Kahn
1.Robert McCarter and Juhani Pallasmaa, Understanding Architecture, first edition (Phaidon Press Limited, 2012), 150.
Fig.12. Hagia Sophia
Structure, Construction Method & Materiality
The structure of the Hagia Sophia combined a centrally planned space with a longitudinal basilica space (Fig.13&14) and built up with a phenomenally high and massive 31-meter main dome supported on pendentives and two semidomes on either side of the longitudinal axis.1 The use of pendentives in Hagia Sophia's design allowed for creating of a spacious and open interior without the need for supporting columns, a monument innovation in architectural engineering at the time.
Moreover, the main dome relies on four pendentives (Fig.15) that connect the base of the dome with the giant supporting piers at the four corners of the squared plan beneath it, which transfer the dome’s weight to the lower levels of the structure and helps to distribute the load evenly. On the other hand, the dome is supported by a series of ribs that radiate from its centre which helps to reinforce the structure of the dome and gives it extra stability.
The construction of Hagia Sophia used a combination of roman bricks, and ashlar and later used mortar to construct the structure. “The brick used in the construction was porous and placed between very thick layers of mortar, which were clamped together tightly, while lead and lead sheets were used in four main piers, the dome, and into the interstices.” 2 Besides, the use of brick and mortar also allowed the architects to create complex geometric shapes. (e.g., the pendentives that support the dome)
1.“Hagia Sophia,” Britannica, accessed March 19, 2023, https://www.britannica.com/topic/Hagia-Sophia/Architecture.
2.“Building Material of Hagia Sophia,” hagiasophiaturkey, accessed March 19, 2023, https://hagiasophiaturkey.com/building-materials-hagia-sophia/.
Fig.13. Old St. Peter's Basilica_Longitudinal planned space
Fig.14. Temple of Vesta_Centrally planned space
Fig.15. Hagia Sophia_Pendentives
Fig.16. Hagia Sophia_Plan
Fig.17. Hagia Sophia_Section
Light and Space
The main dome of the Hagia Sophia features 40 windows that encircle its base, allowing maximum natural light to flood the interior and creating a luminous effect that changes throughout the day. The windows allow light to enter from all angles and develop a sense of openness and magnificence. The dome is decorated with intricate golden mosaics that reflect the light, creating a gorgeous visual effect through colors and patterns. In addition, the light and shadow patterns in the Hagia Sophia is changing throughout the day creating a sense of movement and fluidity.
Fig.18. Hagia Sophia_Light and
Summary
Hagia Sophia with a revolutionary dome that combines a longitudinal basilica and a centralized building in a unique approach, supported by pendentives and two semidomes. The dome was intended to be unprecedented, and more impressive than any other pendentive dome before it. What’s more, Hagia Sophia allows the maximum amount of natural light to filter into the interior of the structure through its windows and other surrounding openings.
Reflection Of Domes
Domes, Structure & Space, Gravitas
“Architectural structures, volumes and surfaces are experienced as virtual movement: The movement of a gothic cathedral is a vertical soar that seems to gain velocity as it rises, the walls of a Baroque space seem to swell and bulge, pushing, pulling and moulding the space.” 1
Robert McCarter and Juhani Pallasmaa
1.Robert McCarter and Juhani Pallasmaa, Understanding Architecture, first edition (Phaidon Press Limited, 2012), 120.
Auguste Perret explained that “Architecture is the art of ordering space. It expresses itself through structures.” 1 Indeed, an overview of the Rome Pantheon and Hagia Sophia, two iconic architectural wonders of the time, offer their unique virtual movement experience. The movement of the grand dome of the Pantheon seemingly floats above its massive columns, which creates a sensation of weightlessness and suspension, as if it's effortlessly hovering above the space below by its mesmerizing spiral. Meanwhile, the intricate mosaics and towering arches of Hagia Sophia create a sense of fluidity and motion, as if the space is alive and constantly evolving. Furthermore, the walls of Hagia Sophia are supported by massive pillars and arches that seem to spring forth from the ground, creating a sense of upward thrust and expansion. These structures are more than mere buildings; they are masterpieces of design that inspire awe and wonder in all who behold them.
1.Robert McCarter and Juhani Pallasmaa, Understanding Architecture, first edition (Phaidon Press Limited, 2012), 116.
Fig.21. Rome Pantheon_ Dome & Gravitas
Reflection Of Domes
Domes, Light & Space, Shadow
“Light and shadow give volumes, space and surfaces their character and expressive power, and they reveal shapes, weight, hardness, texture, moistness, smoothness and temperature of materials. They also connect the architectural space with the dynamics of the physical and natural world, seasons and the hours of the day.” 1
Robert McCarter and Juhani Pallasmaa
1.Robert McCarter and Juhani Pallasmaa, Understanding Architecture, first edition (Phaidon Press Limited, 2012), 151.
Fig.22. Louis Kahn & Tetrahedral Ceiling
The Rome Pantheon and Hagia Sophia employ their structures to convey a sense of dynamic movement.
The Pantheon's oculus floods the space with a beam of light that changes in intensity and direction throughout the year, creating a dynamic interplay between the building and the palpable contrast with the shadow. Its clear long-span & column-free space emphasises a desire, a rhythm of exterior, interior, ground, sky, material, spiritual. A sanctuary has been found.
Similarly, the massive dome of Hagia Sophia creates an ethereal sense of space that showcases the dynamics of light. The use of arched openings and the transfer of load down to the base allowed for the creation of vast, open space and more light sources within the building. However, it's not merely the amount of light that matters in the space, but the interplay of light and shadow on its walls and floors that adds depth and complexity to its forms. The gold mosaics reflect the light and enhance the overall effect, creating a dazzling interplay of light and color. This interplay of light and shadow is integral to the design, revealing the complexity of the space and creating a sense of awe and wonder for all who experience it.
Both buildings/structures employ light and shadow to link the architectural space with the natural rhythms of the world, evoking an awe-inspiring atmosphere that inspires a sense of spirituality and transcendence. Whether soaring towards the heavens or emerging from the earth, they serve as true testaments to the magnificent synthesis of light and space.
Fig.23. Hagia Sophia_Light, space, shadow
Reflection Of Domes
Domes – Experiment of manipulation of light (Light Score)
“As light passes through small holes it spreads out, frays and bends. The resulting shadows do not necessarily look like silhouettes of the objects that cast them. Light bends in ways that yield shadows with bright bands, dark bands, or no sharp edges.” 1
Solange Fabião
1.Steven Holl, Parallax, first edition (Birkhäuser, 2000), 108.
Fig.24. Steven Holl_Light score concept
The domes' intricate interplay between structure, space, and light creates visually stunning and emotionally impactful experiences. However, the underlying reason is straightforward: without light, there can be no visual/ spatial experience. Vision is the primary sense for humans experiencing light. Indeed, light illustrates and highlights the beauty in art, architecture… Nevertheless, Steven Holl argues that light is not only a visual element in architecture but also a malleable medium that can shape and transform spatial experiences dynamically. He developed the concept of "Light Score" to measure and quantify the quality of light in a space, assessing factors such as intensity, color, and direction in relation to the spatial experience.
In line with Holl's ideas, a project on critical spatial practice employed a similar method inspired by the light score, using the dome of the Rome Pantheon as a focal point. The experiment manipulated and traced the light movement from the oculus over time to investigate how light conditions affect spatial experiences under the clear longspan massive structure. This approach allowed for a more nuanced understanding of how light interacts with the dome's structural and spatial elements, revealing the complex relationships between light, space, and structure in church architecture.
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Conclusion
In conclusion, domes are more than just architectural structures. The interplay between structure, space, and light create visually stunning and emotionally impactful experiences that cannot be replicated elsewhere. By exploring the Rome Pantheon and Hagia Sophia, the essay analysis the intricate interplay between structure, space, and light that underpin structure, construction method & materiality also demonstrates how the interplay between light and shadow can create dynamic movement and enhance spatial experiences. Moreover, the thinking and reflection of domes help to understand the inner logic of the Trinity (The nexus between structure, space, and light) according to the unique virtual movement experiences and the relationship between architectural space and natural rhythms.
Furthermore, Steven Holl's concept of "Light Score" provides a framework for architects to quantify and shape the quality of light in a space, which can ultimately enhance the overall aesthetic and experiential qualities of a building. What’s more, the project experiments based on the Rome Pantheon's dome show the potential for exploring light movement and impact in critical spatial practice. Overall, these architectural wonders serve as a reminder of the importance of considering structure, light and space in the design of buildings, and their enduring beauty continues to inspire awe and wonder in all who behold them.
Fig.26. Chapel of Sound_Spcae, light, structure
Experience to Thinking Machine
Critical thinking + study & life experience = Thinking machine(s)
“I ask myself, what is light. For me, it is not just the beam that goes into an architecture. It is what I am unremittingly running to chase. That is my inner hope.” 1
Tadao Ando
1. Tadao Ando, Hem museum exhibition_BBEYOND TADAO ANDO and ARCHITECTURE.
Fig.27. Sea of Japan,Hokkaido
Critical Spatial Practice
“A great building, in my opinion, must begin with the unmeasurable, must go through measurable means when it is being designed, and in the end must be unmeasurable. The only way you can build, the only way you can get the building into being, is through the measurable. (...) But in the end, when the building becomes part of living, it evokes unmeasurable qualities, and the spirit of its existence takes over.” 1
Louis I. Kahn
Design Method:
The initial stages of investigating the thinking machine involved exploring architecture's expression through personal experience, its influence on construction forms, and the interplay between structure, space, and light in architecture. Through the studies, the final thinking machine employs the concept of light score & movement to define the further understanding of the nexus.
Fig.28. Smritivan Earthquake Memorial
Thinking of Church Architecture
At the outset, I created a drawing collage using selected photos from my architectural travels (Fig.29). Through the travel and studies process, I gained a deeper appreciation for the structural beauty of church architecture, particularly in its interplay of light, shadow, and space that creates virtual movement. This led the essay to focus on investigating the relationship between structure and light as the central topic.
Fig.29. Churches
Thinking of Modern Architecture
Moving to the modern era, technological advancements have propelled architectural design to new heights. With the use of materials such as steel and concrete, tall and massive buildings have been constructed. Furthermore, these materials have also led to various deformations in the relationship between structure, space and light of the buildings.
Thinking of Architecture Evolution
In further development, the project is exploring the evolution of architecture and how it has changed over time. Through research, it has been discovered that different architectural styles from Gothic to modern eras have their unique characteristics. Despite these differences, there is a common thread that runs through all of these designs - the belief that architecture has the power to shape our experiences of the built environment and to create spaces that inspire, uplift, and transform us.
Fig.31. Evolution of architecture studies
Thinking of Forms
Forms play a significant role in shaping the visual expression of a building, ranging from simple to complex designs that can convey a building's character and identity. They can also create a sense of balance, rhythm, and harmony within the building, and convey movement or dynamism. Thia study analysed some typical examples, such as Antoni Gaudi's Sagrada Familia, which expressed natural forms to create a sense of flow and organic unity, reflecting his reverence for the mathematical principles of natural structure. Conversely, the Porosity Blocks demonstrated Steven Holl's ability to create both functional and aesthetically compelling spaces using geometric forms and structures.
Fig.32. Architectural forms' studies
Thinking of Manifesto
During my exploration of critical spatial understanding and practice, I developed a manifesto of architecture consisting of five primary points:
Light:
The way light enters and interacts with a building can profoundly impact how occupants perceive and experience the space. Architects can use light to highlight particular features, such as the interplay of shadows on a textured surface or the way sunlight filters through a stained or clear glass window.
Orientation:
The way a building is situated in relation to the sun, wind, and other environmental factors can significantly influence its design, function, and overall expression.
Environment:
The environment plays a crucial role in the expression of architecture, from influencing the form and function of a building to its sustainability and impact on the surrounding ecosystem. The design needs to consider a wide range of environmental factors such as the natural and cultural context of the site.
Structure and Space:
The relationship between structure and space is also crucial in the expression of architecture. Architects use structure to create dynamic and expressive compositions that capture the imagination and inspire the senses while ensuring the building's safety.
Façade and Decoration:
The facade and decoration are vital elements in the expression of architecture, as they help define the visual identity of the building and convey its unique character and purpose.
Thinking Machine_Structure, Light & Space
The artefact combines geometric and natural forms and structures in one. It tries to fuse the organic façade to the semi-cylindrical masses (Fig.35) to create a mystery rhythm. Furthermore, the external “Cracks” (Fig.36) and interior gold mosaic (Fig.34) are secondary movements which show the contrast between light, shadow and space.
Understanding the scale is important. The small scale can evoke a sense of depression, while the large scale can create a feeling of hollowness. Extreme scales challenge the ordinary living scale, that’s what we architect do. It's not a negative thing; it's an invention that realizes people's awareness of architecture.
Based on the artefact, the exploration of natural and geometric structures and forms has been conducted with regard to their relationship to light (Fig.37). Moreover, transforming the artefact into a real architectural space will be a church, especially, the Rome Pantheon. The fake dome link to the primary light source. Additionally, the interior clear height and scattered reflectors (gold mosaic) create a sense of fluidity and motion.
Fig.34. Thinking machine_Space and light
Fig.35. Thinking machine_External view
Fig.36. Thinking machine_Facade/Texture
Fig.37. Thinking machine_Form and space
Thinking of Light & Domes
To consolidate the previous THINKINGS, the focus has been narrowed down from the broader perspective of the relationship between structure, space, and light in architecture to that of church architecture. As mentioned earlier, churches exhibit pure structural beauty, particularly in the case of their domes. Domes are used to create awe-inspiring spaces that inspire a sense of spirituality and transcendence. Despite having the same architectural feature, the design of each dome is unique, and as a result, they interact with light and structure in distinct ways.
As Louis Kahn said that "all material in nature, the mountains and the streams and the air and we, are made of light which has been spent, and this crumpled mass called material casts a shadow, and the shadow belong to light."1 This section delves deeper into the complex relationship between structure, space, and light, by exploring selected domes, the Rome Pantheon and Hagia Sophia. Both these domes were built without the use of tensile rebar/connection, making them true domes and human wonders across the ages.
The methodology for this exploration is focused on the analysis of the structural elements, construction methods, materiality of the domes, and their interactions with light and space link with the theory studies from Louis I. Kahn's 'Between silence and light' and the book 'Understanding Architecture' wrote by Robert McCarter and Juhani Pallasmaa. Furthermore, the study produced the drawings (Fig.38) to compare the unique structural and light conditions of the two domes.
1.John Lobell, BETWEEN
Fig.38. Rome Pantheon v.s. Hagia Sophia
Thinking of Light Score
In the later stages of the project, the concept of "Light Score" by Steven Holl inspired the design process. This concept represents a pioneering effort in the use of light as a design tool in architecture, emphasizing the interplay between light and space and exploring how light can shape and define architectural form. Holl highlights the importance of natural light to create a sense of openness and transparency, considering light as a structural material from a phenomenological aspect. In his book 'Luminosity/Porosity,' he states that "Space is oblivion without light. A building speaks through the silence of perception orchestrated by light." 1
The Light Score concept has been adopted into the final thinking machine, which aims to manipulated and traced the light movement from the oculus over time to investigate how light conditions affect spatial experiences under the clear longspan massive structure.
1."DESIGNED FOR ALL SENSES: THE ARCHITECTURE OF STEVEN HOLL," DAYLIGHT, accessed April 21, 2023, http://thedaylightsite.com/designed-senses-architecture-stevenholl/#:~:text=%E2%80%9CSpace%20is%20oblivion%20without%20light,book%20 'Luminosity%2FPorosity'..
Fig.24.
Final Thinking Machine_Oculus
The thinking machine (Fig.39) explores the relationship between light and space, inspired by Steven Holl's investigations in light score. It also tests the architectural structure of the Rome Pantheon, which is ideal for defining the light beam from the oculus. A self-made digital model is used to collect data from selected months and trace the light movement during the days with the help of a sunlight generator.
Furthermore, this experiment aims to provide a more nuanced understanding of how light interacts with the dome's structural and spatial elements, revealing the complex relationships in church architecture.
The following pages are the thinking machine - oculus. All the light movements are follow the light score data which have defined below.
Rome Pantheon, Key to the score
CI.m
CI.an
CSp?.m
CSp?.an
Sp.m
Sp/W.m
Sp/F.n
coffered-irregular light, morning coffered-irregular light, afternoon coffered-spherical light? morning coffered-spherical light? afternoon spherical light, morning spherical light on wall, morning spherical light on wall, noon spherical light on wall, afternoon "trisection" light, morning "trisection" light, noon "trisection" light, afternoon "dichotomise light", morning "dichotomise light", noon "dichotomise light", afternoon curved-folded light, morning curved-folded light, noon curved-folded light, afternoon oval light on floor, morning oval light on floor, noon spherical light on floor, noon
Fig.39. Rome Pantheon_Light score &movement
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Fig.41. Rome Pantheon_Light score &movement_March
Fig.40. Rome Pantheon_Light score &movement guideness diagram
Fig.41. Rome Pantheon_Light score &movement_March
Fig.41. Rome Pantheon_Light score
Fig.41. Rome Pantheon_Light score &movement_March
Fig.41. Rome Pantheon_Light score &movement_March
Fig.42. Rome Pantheon_Light score &movement_June
Fig.42. Rome Pantheon_Light score &movement_June
Fig.42. Rome Pantheon_Light score &movement_June
Fig.42. Rome Pantheon_Light score &movement_June
Fig.43. Rome Pantheon_Light score &movement_September
Fig.43. Rome Pantheon_Light score &movement_September
Fig.43. Rome Pantheon_Light score &movement_September
Fig.43. Rome Pantheon_Light score &movement_September
Fig.44. Rome Pantheon_Light score &movement_December
Fig.44. Rome Pantheon_Light score &movement_December
Acknowledgements
Writing this essay would not have been possible without the support and encouragement of many individuals, whom I would like to express my deepest gratitude.
First and foremost, I would like to thank my tutor, Dr. Helen O’Connor, for her guidance and expertise throughout the research process. Your insightful feedback, constructive criticism, and unwavering support have been instrumental in shaping this essay. I am deeply grateful for your time, patience, and encouragement.
I would also like to thank the humanity lecture speaker, Mr. Lorens Holm, for his valuable and expert lectures. Your thoughtful critiques on teaching architectural humanity improved the quality of this thesis.
I am grateful to my family and friends, who have provided me with their support and encouragement during the research process. Your encouragement and motivation have kept me going through some difficult times.
In conclusion, I would like to express my gratitude to everyone who has contributed to this essay in any way. Your support and assistance have been invaluable, and I am deeply grateful for it. Thank you all.
Fig.45. Visitng the Dome_London St. Paul
Yixuan LI (James)
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Yixuan LI