The Sense of Brightness

The sense of Brightness

A Profile search Presented by Kosuke Osawa

Submitted to the Bern University of Applied Sciences Master of Arts in Architecture spring 2016

ABSTRACT

When i visited to some architecture in some countries, I could realize quite often the difference of brightness in each spaces and each countries And i got some questions that What is the brightness to perceive in our a space? Why every space has different kind of brightness? Is there a concept behind the difference of the brightness in a architecture?

Naturally an image of an architect has influenced a space brightness. However i would like to know a thing which affect to the space brightness . This is the reason that i started think about it. Perhaps the difference which we could realize in those spaces might be the influence due to the natural features. The problem is my perception of the brightness and the perception of another people are different. Because the idea of the brightness which is included the light and shadow have a character of phycological aspect. So, this report use an objective way to analyze the brightness in various kind spaces.

Tetsuro Watsuji1 tried to ask about the difference of sturacutaual human existence from the nature feature field. However this report will focus on the difference of the brightness of two architects

from cultural fields.

Today our life could success to make a same

environment in various situations due to remarkable development . However we did not have seen a report that focus on the differences of light’s brightness which architects select unconsciously.

This report will develop from the hypothesis is that a thing which integrated with culture, different philosophy and the architects vision can be affect to the interior brightness. And based on the main book “In Praise of Shadows” Junichiro Tanizaki and some other books of different theories sustained by different authors and architects. The aim of this study is 1

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Fūdo (風土) ; Climate and Culture: A Philosophical Study trans : Tetsuo Watuji ; 1961; Greenwood Press

to identify the validity of the main hypothesis. And to clarify the mechanism about the sensibility which an architect has.

For testing the hypothesis and to compare, this report will survey various brightness in different sites and after that i analyze the two case studies. The first case study is a media center in Switzerland, “The Rolex Learning Center” by architects group SANAA, The second one is the “Museum der Kulturen” by Herzorg de Meuron in Switzerland too. This research will constitute a way of knowledge about how can we crate a effective brightness space derived from the results of these case studies.

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Page

ABSTRACT………………………………………………………………………………………………….. 02 CHAPTER I.

INTRODUCTION…………….………………………………………………………………06 1-1 Delimitaron …………………………………………………………………………..07 1-2 Problem statement ………………………………….………………………………..07 1-2 Problem statement ………………………………..….………………………………08

II.

THE DIFFERENCE OF BRIGHTNESS ……………………………..……………………….09 Brightness …………………………………………………………………………………10 Light and Shadow in Religion ……………………………………….……………………11 The art of East and West.

..………………..…………………………….……………… 14

Technological innovation and architecture ……………..…..….……………………… 16

III.

SURVEY ………………………………….…….….……………………………………………16 The protocol of the survey

……………………………………………………………18

Survey to various sites …………………………………………………………………24 The comment about the survey…………………………………………….……………42

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III.

CASE STUDY OF SPACES ……………….…………………………………………………46 Rolex Learning center : SANAA ………………….……..……………………………46 Museum der kulturen :Herzorg de Mueron…..………….……………………………… 50

IV.

THE CONCLUSION ………………………….….……………………………………………54

IIV

BIBLIOGRAPGY ….………………………….….……………………………………………56

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INTRODUCTION

This report is written as a spring semester 2016 Profile Search II for the MA of Architecture at Bern University of Applied Sciences, Switzerland.

This report is presenting the relationship between the brightness of the sequences and the contrast of the brightness. My interest about this subject has developed since my trip and life in some countries. At that time i could realize differences of the brightness in differences spaces. When we observe public space till passional space from differences regions, I understood differences of brightness resulting from how to use natural light and artificial light. This subject has started from the hypothesis is that there are affect from cultural background to the space.

This report is based on the main book “In Praise of Shadows” Junichiro Tanizaki and some other books of different theories related to about the brightness, natural light and culture by different authors and architects and my personal ideas and self study analysis.

To test the brightness, this report will survey various brightness in different sites and after that i analyze the two case studies. The first case study “The Rolex Learning Center” by architects group SANAA, The second one is the “Museum der Kulturen” by Herzorg de Meuron. And finally this report forward to conclusion with my own case studies analysis of spaces related to the theory in use.

Researching the facts and theories is increasing my knowledges in my architectural filed.

And also doing this study can develop my certain way of how to use the natural light into the inside space for my future work.

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1-1 Delimitation The focus on this report will be on the differences of how to use natural light resulting from differences of regions through differences of brightness. Artificial lighting will be included in this analysis. Case studies are analyzed by some of my pictures and testing about the differences of the brightness to compare with another site, i took pictures by same ISO level, same shutter speed and same Aperture diaphragm. This report will not be included the functional aspect of the light and measurement calculation on light exposure. All the analysis is limited to find the differences of brightness how is the differences which i felt it in different spaces.

1-2 Problem statement

• What is the brightness ?

• Why i could feel the differences of the brightness in each countries.

• What is the relationship between brightness and architectural program?

Research Question • How does it take natural light into the room?

• How does natural light cooperate with inside?

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Key words • • • • • •

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Brightness Sequence Contrast Perception Art Nature

THE DIFFERENCE OF BRIGHTNESS “One need only compare American, French, and German films to see how greatly nuances of shading and coloration can vary in motion pictures. In the photographic image itself, to say nothing of the acting and the script, there somehow emerge differences in national character. If this is true even when identical equipment, chemicals, and film are used, how much better our own photographic technology might have suited our complexion, our facial features, our climate, our land. “ In Praise of Shadow,p4 Junichiro Taniguchi; translated by Leete’s Island Books, 1977

This book “In Praise of Shadows” published on 1930’s , and in that time japan was in the epoch which was changing the candle lighting to electronic light. Therefore it is difficult to compere with our life in which we are living in this moment. However Tanizaki pointed our about the differences of the sensibility of the spaces of occidental country and japan, He was writing that in that time, occidental country is trying to decrease the shadow in the rooms. Conversely In japan they accept the shadow and approve it. And tried to create Japanese spacial art. He argued that this is a Japanese traditional art character . From this argument, he described the shadow with Japanese architecture, the lighting, the paper, the life style and theater. However, Now our room has not only one lamps, there are more lamps. We do not living in same situation. So, we could understand that our sensibility also changed due to differences of this epoch and now.

From the above the life style of now and before are totally different. but Tanizaki pointed out about the differences of the brightness and character in cinema of each counties.

According to Tanizaki this differences could be affect to the culture. For example we could apply to another situation as a town brightness and character. In Tokyo they do not have the landscape planning such a Paris landscape planning. Therefore in Tokyo there are many aggressive commercial lighting. because the human can activate when they see the strong light. so they are some kind of competition to use more bright light to the public space, commercial interior and facade. Due to this reason, Tokyo is a place which has many over bright lights in the town scape. According to Tanizaki, each country has own character even we use same material. In other ward there are some deferences of the sensibility due to differences of regions.

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Brightness

Brightness is a kind of visual experience which related with amount of light and strangeness of light., And indicate to a gradation between perfect lights space and perfect dark space. Light is the thing which eye cause a bright feeling. Physically Light is an electromagnetic radiation. The word usually refers to visible light, which is visible to the human eye. inducted the infrared light and Rays. The light goes straight in the space and reflects. The speed of light is about 300000 metres per second in vacuum.2

Light has been handled in a subjective category until the before 19th century. The sense of sight is one of the most important sense in the human. The human. The human understood naturally about the brightness and different shades of color and expressed it as bright , dark , red , green or blue. However, it is impossible to experience the brightness that each person feels. The idea of the light was built mainly on the human sense of sight, Also light and the shadow which the human can perceive under the sun became the normative model of light. Until optical products developed, the means to recognize the quantity of light was due to the human eyes. Around the beginning of the 19th century, the electrical physics made rapid progress. And that age, A metal (semiconductor) which react to the light was invented. And also we became able to replace the quantity of light with electricity by this invention. Numerical value of the expression about the light has two system. The first one is that light deal with the quantity. for instance, Candela(cd), Lux(lx) and Lumen(lm). The second system is that light deal with energy, for instance, Joule(j) and Watt(W). Light has two kind of important attributes. Not only brightness but also color. Light is wave and the human recognize the difference of the wave length as color. The human photoreceptor cell can recognize color from blue to red. and that color indicate the wavelength from λ=380nm ~ 780nm. 3

2 3

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Kojien dictionary ; Iwanami publish; 2008 Light and their recorder ; http://www.anfoworld.com/LightsMF.html

For this reason ,It is very difficult to regulate and share t he br ig ht ness f rom t he somatic sensation with another people. This things related to the environment and also human body condition.

Moreover human eye has functions which are called The dark adaptation and The light adaptation. Therefore the feeling of brightness of the first moment in the space and after 5 minutes are different.

Un Chien Andalou

by Luis Buñuel;1929; http://summaars.net/unchienandalou.html

Light and Shadow in Religion Since ancient times, Light has beeb said an attribute of the transcendental existence such as a god in various religion and ideas. God and Light have been associated with the sun in religion worldwide. For instance, a god of Amen and Ra of Ancient Egypt, Helios of Greek myths, Amaterasu-oomicami in Japan, and Inti of los Quechuas in Latino america .

In philosophy, Plato associated the sun which is the origin of light with the supreme principle of the Form of the Good in Allegory of the Cave.4

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Allegory of the Cave ; https://ja.wikipedia.org/wiki/洞窟の比喩 11

And also there is a difference of the brightness in religion space. Tanizaki pointed out a way of how to use the light in Japanese temple and west.

“In the temples of Japan, on the other hand, a roof of heavy tiles is first laid out, and in the deep, spacious shadows creates by the eaves the rest of the structure is built.”

In Praise of Shadow,p8 Junichiro Taniguchi; translated by Leete’s Island Books, 1977

“Lacquerware decorated in gold is not something to be seen in a brilliant light, to be taken in at a single glance; it should be left in the dark, a part here and a part there picked up by a faint light.”

In Praise of Shadow,p8 Junichiro Taniguchi; translated by Leete’s Island Books, 1977

According to Tanizaki, Japanese religious space use gold as a faint light in dark space. In consequence, that thing to give a mysterious effect to the people who are stay in the space.

A Japanese temple (Fig.01) , Sanjyu-Sangen-do, there is a space which also is a darkness room. However the gold faint light from a lot of sculptures of Kannons illuminate faintly.

And light can pass from the eves, and reflect with the sculptures light illuminate whole space faintly.

In contrast the way of west about the brightness in religious space is more contrast of the brightness using by decorated wall and structures. (Fig.02) The natural light comes from the top of the cupola, and same time calculated with many religious decorations. And when people stand under the cupola, the people receive always the light from the top. It is mean that there is a relationship with vertical connection and the God as the light.

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Fig 01, Sanjyu San Gendo

by Hiroshi Sugimoto ; http://www.aestheticamagazine.com/hiroshi-sugimoto-sea-ofbuddha-pace-gallery-new-york/

Fig02,San Carlo alle Quattro Fontane Source: http://www.aguidetorome.com/san-carlo-alle-quattro-fontane.html

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The art of east and west

As the religion difference, Also we could recognize from the difference in the art field. As pointed out by Japanese artist Masahito Yoshimura, General Europe paint was drawn the object by the shadow and The mainstream in Japan and some other eastern asian paint was drawn by the line which is called “Sobyo”. In the Europe that assumed religion paint background developed to express the reality that seems to be God of the existence as a visible tool for the people who do not use same language. During the improvement of the reality drawing, The perspective drawing which draw the three dimensional space to the two dimensions as paper was born. And then architecture drawing and general drawing show a consistent connection. Conversely, Oriental side, they thought that it is line to dive a domain into that recognized the difference between object and object. Besides they grasped the space without fixing a viewpoint, and tried to constitute into the two dimensional space subjectively and ideally. That was oriental drawing aim.

However, It is unchanged that both Europe and Asia express three dimensions space into the two dimension space.5 To draw the one more dimension in the two dimension space, In Europe they expressed “ To just see it in visible thing” (Fig.03) and Asia regards subjective expression as important that is “I see me in this way”. (Fig.04) For this reason we could find a big difference of the human sense in the drawing.

Fig.03 The Mill by Rembrandt Harmenszoon van Rijn (1606-1669); 1648 Source: https://commons.wikimedia.org/wiki/ File:Rembrandt_van_Rijn_-_The_Mill__Google_Art_Project.jpg

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Draw Light; Masahito Yoshimura; Copper book: No,174; Japan Copper Development Association; 2012

Fig.04 ”Pine Trees" by Hasegawa Tōhaku (Japanese, 1539–1610); 16th C Source: http://www.emuseum.jp/detail/100151/001/004? word=&d_lang=en&s_lang=en&class=1&title=&c_e=&region=&era=&cptype=&owner =&pos=25&num=5&mode=detail&century=

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Technological innovation and architecture

From 19th century and 20th century an appearance of industrialization glass and metal mass-production were developed. Under the this revolution, This changing of industry structure fundamentally changed the relation with human and architecture. In former days people was woking in bad situation where is in far form the sunlight. From the health demand of people who were working in that situation, the technology which is to take the sunlight into the interior developed quickly. For example In the structure system changed from masonry construction to the steel structure or the reinforced Concrete structure. Because of this changing we could get possibility to have bigger windows and Skeleton spaces. Theses changing of technologies applied to another programs which are the school, the factory, the museum, library and dwellings. However this revolution was not only amount of the appreciation to architecture field. But also It was developed as a new democratically system which was a way to express the individual liberty that was architects had never stated before. It could create an opportunity to change the human consciousness about the old idea of light. Such a idea were no longer merely for dogma or propaganda. But now it could offer people a range of undetermined experience. 6

This innovative changing crate whole glass with metal blinding which is called “The Crystal Palace” This building was constructed by Architect Joseph Paxton. (Fig.05)

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Fig 05,The Crystal Palace,Joseph Paxton https://en.wikipedia.org/wiki/The_Crystal_Palace

The architecture of natural light; Henry Plummer; 2009; Thames & Hudson Ltd

SURVEY

The protocol of the survey I do not understand clearly the idea of the brightness in architectural spaces, So this investigation tried to take the pictures in many kind of spaces and various kind places.

The goal of this serve is to know how is the brightness in different spaces. To know how is the space and to understand more detail, i took pictures by two kind of the setting. The first one is 1/100 second, F5.0, ISO400(Fig06) and second one is 1/30 second, F5.0 ISO400.

(Fig07) Also each places has picture from the front of the entrance, in the entrance, some space (corridor, room, or public spaces etc) and inside space. We might say these division “Sequence” However some of them do no have four picture. It is because the differences of the programs of each spaces. Some of them does not have a such a big difference between in the entrance and after the entrance.

Fig 06

Sony α 6000; Setting: Manueal mode 1/100s, F5.0, ISO400, 2 seconds timer shoot

All pictures of this survey were taken by me (Kosuke Osawa, BFH) The way of the taking pictures is to know the brightness of the space and to compare with another situation. This survey used a camera “Sony α6000” Manual mode and All pictures were taken by two kind of settings. This meaning is to could perceive

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Fig 07 Sony α 6000; Setting: Manueal mode 1/30s, F5.0, ISO400, 2 seconds timer shoot

about the space from two different situations.

The camera is sustained by tripod(Fig08) for the problem of shaking of arms. In general each site has 4th kind of pictures. I divide the each sequence from the before entrance ( it is written 1st space) (Fig 09), after the entrance (2nd space), the next of the after entrance space (3rd space) and inner space (4th space).

And each site has my comment was few explanations.

For the case study, I chose two different site and to know differences of about the sensibility of brightness. The first one is “The Rolex Learning Center” which is a projects was designed by Japanese architects team SANAA on 2010.

The second one is “Museum der Kulturen” which goes back to the middle of 19th and In 2008 renovated and design by Swiss architects team Herzog de Meuron.

Before to see the survey, I would like to show two case studies pictures which have forth different scenes. After these case studies, you will see 30 different site of the pictures and my comments, Also they have 4th scenes. After that i write my analysis for my two case studies. The pictures were taken on daytime.

However each site and each time, each day

Fig 08 Shooting Method.

Using tripod base . take a shutter bottom after the Two seconds

Fig 09 The view of the way to taking a picture at front of the entrance.

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has own situations. It is mean that each site has own brightness. Therefore, in a way, we can not compare with level of the brightness in each sites. But we could compare the contrast of brightness in each sites. As this example of the pictures(Fig 10), this site has two dark room in the middle. so, we could understand the contrast of the brightness in each sequences. And when we compare two pictures of 1th and second , there are strong contrast, so we could imagine from this space the experience of the space Every situation and every site has own brightness and different time. The aim of this pictures to compare about the brightness with another sites.

Museum der Kulturen 1/100 , ISO400,F5.6

1st space

2nd space

3rd space

４th space

Fig 10 The example of the naming of eace scene of pictures.

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1/3

Rolex learning center, Public, Laussane Switzerland (Case study) 1/100 , ISO400,F5.0

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1/30 , ISO400,F5.0

Museum der Kulturen, Public, Basel Switzerland (Case study) 1/100 , ISO400,F5.0

1/30 , ISO400,F5.0

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Survy No.1

Survy No.2

Abotanical garden, Public, Bern, Switzerland

Factory , Semi-public, Bern, Switzerland

The space has simple program. Because of the structure and glass wall, There is no such a difference of the brightness between outside and inside.

Comment After the 1st space, there is a dark room (2nd space).

After the second space there is a more light space using the artificial lighting.

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Survy No.3

Survy No.4

Bern Station, Public, Bern , Switzerland

A cafeteria, Semi public, Bern Switzerland

Comment The space has big glass roof covering the every platform of The sequence is very simple. We could recognize two kind trams. By this reason, There is no big difference of bright- of spaces in this program. In general, after the 1st space is ness between under the roof and outside. However they some kind of closed space, However this kind of program sequence is connected to the underground. When you is included with public space and a space to relax. there walk to downstair, we will find a dark space comparing are two kind of brightness. from outside.

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Survy No.5

Survy No.6

Inselspital, Public , Bern , Switzerland

My apartment. Public Common, Bern, Switzerland.

The 1st space has big roof covering the whole entrances.

This place does not have inner void. There four the sequence pf the brightness was became darker when you walk to inside.

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Comment A old swiss apartment. After the 1st place (2nd space) there is a stairs, 3rd place is a inside of the apartment, 4th place is a room of the apartment. The corridor doesn’t have any windows. therefore it is the darkest part of the blinding. However, Generally the inside of the apartment is dark.

Survy No.7

Survy No.8

BFH, Public, Burgdorf, Switzerland 1/30, ISO400,F5.0

SBB train, Public, Bern Switzerland 1/30, ISO400,F5.0

Convention center, Public, Lausanne, Switzerland 1/100, ISO400,F5.0

Comment The 1st space has big roof covering the whole entrances. This place does not have inner void. There four the sequence pf the brightness was became darker when you walk to inside.

Comment The sequence of the brightness is quite simple and because of the big windows, artificial lighting and rational design, there are few differences . Inside of the train is just continue the same space.

Comment I could not enter to the inside because it was Sunday.

However I put my comment about this picture. The project has metrical material reflecting the surround light.

So, when we look these picture, the projects seems to melt into the sky in spite of the big volume.

1/30, ISO400,F5.0

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Survy No.9

Survy No.10

BFH, Public, Burgdorf, Switzerland 1/30, ISO400,F5.0

Bienne station, Semi-public, Apartment, Personal Common, Bienne, Switzerland Bienne Switzerland 1/30, ISO400,F5.0 1/30, ISO400,F5.0 1/30, ISO400,F5.0

Comment The 1st space has big roof covering the whole entrances. This place does not have inner void. There four the sequence pf the brightness was became darker when you walk to inside.

Comment

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This station has a way to the The apartment is located in the down town of Bienne. The brightness of the sequence became darker when you walk platform under the railway. 2nd space has a strong to inside. There is no inner void and it has small windows. artificial light. It seems that the light removing the darkness and contrast from the outside.

Survy No.11

Survy No.12

Tunnel, Public, La nuveville, Switzerland

Downtown, Public, La nuveville , Switzerland

Comment There is a strong contras between 1st space and 2nd space. In fact, it was not inside of the space. But structurally this The sequence of the brightness also show us the strong place has outside and inside because of the wall. 1st space contrast. is a front of the entrance of the town , 2nd space is a corridor, 3rd is the plaza, and 4th is a small place in the town, 1st and 3rd place have strong brightness.

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Survy No.13

Survy No.14

An Office, Private, La nuveville , Switzerland.

Iglesia, Public - Religious, La nuveville, Switzerland

1/100 , ISO400,F5.0

1/100 , ISO400,F5.0

1/30, ISO400,F5.0

Comment The office has big windows on the south side and north side. By this reason the brightness of the sequence is something very flat.

1/30, ISO400,F5.0

Comment 1st space and 2nd space there is no difference. After the entrance also has open air , therefor there is no such a difference between 1st and 2nd.

Survy No.15

Survy No.16

Coop, Commercial, La nuveville, Switzerland.

Chocolate Factory, Educational, Fribourg, Switzerland.

The difference of brightness about the 1st place and the others are easy to understand. However from the sound space to the end, there is no difference of the contrast of the brightness. After the 1st space they have full of the artificial lights.

Comment There many small windows. there is no such a difference of the brightness from 2nd space to 4th space about the sequences. 3rd place is the darkest part of the building .

And others have small windows. They are many artificial lighting.

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Survy No.17

Survy No.18

Building, Public Educational 01, EPFL, Lausanne, Switzerland

School restaurant, EPFL, Public ,Lausanne, Switzerland.

Comment The building is similar to the Inselspital. And also the se- The 2nd spcae has all glass wall. Therefor there is no such quence of the brightness too. When you walk to inside the a difference between 1st place and 2nd place. But When space became darker. you walk to inside the space became darker. The Sequence of the brightness is similar to “EPFL a Building, “

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Survy No.19

Survy No.20

Building, Public Educational 02, EPFL, Lausanne, Switzerland

Collège de Grand-Vennes, Public, Lausanne, Switzerland.

I could not enter to the inside. because of the big glass entrance and wall , there is no big difference between 1st space and 2nd space about the contrast of the brightness.

Comment The building has many gates. And I started to walk from the side of pool. In the 2nd space, there are big windows.

However It is just only one side. corridor was so dark(3rd space), 4th space is touching to outside. But there is a big wall with few windows under the wall and upper part. So, this space is controlling by artificial lighting.

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Survy No.20

Survy No.21

mudac, public, Lausanne, Switzerland.

Palais de Rumine, Public, Lausanne, Switzerland.

1/100 , ISO400,F5.0

1/100 , ISO400,F5.0

1/30, ISO400,F5.0

Comment The building is a old construction . Now it renovated to a museum. There is no big window inside . and the door also is very small.

1/30, ISO400,F5.0

Comment This place does not have big windows. There is a strong contract between 1st place and 2nd place. 3rd place also has strong brightness. However this place is using full of the artificial lightning . 4th place has roof window , passing natural light , and Many sculpture details was coming up . 4th place has soft brightness.

Survy No.22 Cathedral, Public Religious, Lausanne , Switzerland.

The brightness in the cathedral is totally different from outside. 2nd space is a picture that is started from inside.

In the cathedral there are many small lights which are stand glasses and some decorations . and when you go under the cupola there is a soft brightness difference.

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Survy No.24

Survy No.25

A Cafeteria in museum area, Public commercial, Zurich Switzerland

Zurich Bahnhof, Public Commercial, Zurich Switzerland

Comment The sequence of the space is simple. we could find just two The sequence of the station started from the entrance to spaces which are the 1st space and 2nd space (the front of the platform. 1st space is the main entrance of the stathe entrance and after the entrance) tion. After the entrance there is a big space hall. After that There is no wall. there are glass wall and it has just a core we could arrive to the platform. In fact, 3rd space is not in the space Receiving many natural light from outside. outside, However the experience of sequence is a like a outside. the brightness of the sequence has one dark space. after that we reached to bright space.

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Survy No.26

Survy No.27

Zurich Bahnhof under ground, Public Commercial Zürich, Switzerland

Schauspielhaus, Theater, Public Commercial, Zurich Switzerland.

The 1st space is started from platform where is in the underground. In a way, this space is a kind of inside. However the feeling of the sequences about this space was like the out side. Therefor i started to take the pictures from here to the inside. The brightness of the 1st place is little bit darker than the others , But there is no remarkable difference in this program. The whole spaces are using the artificial lightning.

Comment The building has traditional old typology, by this reason we could recognize strong structure of the spatial hierarchy. The brightness of the spaces became darker, When you walk to inside. Inside was using all artificial lighting.

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Survy No.28

Survy No.29

Zurich Bahnhof under ground, Public Commercial Zürich, Switzerland 1/100 , ISO400,F5.0 1/30, ISO400,F5.0

Schauspielhaus, Theater, Public Commercial, Zurich Switzerland.

1/100 , ISO400,F5.0 1/30, ISO400,F5.0

Comment

Comment

Survy No.30

Survy No.31

Kunsthaus Zurich, Public space, Zurich , Switzerland

Apartment with a exposition space. Semi-public, Milano ,Italy

Comment Old building. It is about 19st style. It was easy to defined It is a typical apartment in Milano. the floor has a exthe 1st space in which is front of the entrance. Also this position area which was before another kind of space. building has strong hierarchy about the space as the The building has inner void. We could say it “courtyard”.

Schauspielhaus. So when you walk to inside the brightness Because of the inner void, the contrasts of the brightness was became darker. show us two dark spaces in the middle, And the first and last spaces are bright.

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Survy No.32

Survy No.33

A complex apartment , Public , Personal, Milano, Italy

Fundazion Prada, Semi Public, Milan, Italy

Comment Inside of the building has another outside space. The dark- The projects is a renovation project which is designed est place is 2nd place where is in the corridor connecting by OMA. The building was used to use for a factory .The to the room and inner void. This sequence of the brightinside pf the sequence of the brightness is seme tone. ness went from entrance to inner void. So, the experience show us the strong contrast in the 2nd and 4th place.

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Survy No.34 Kunsthaus Zurich, Public space, Zurich , Switzerland

Old building. It is about 19st style. It was easy to defined the 1st space in which is front of the entrance. Also this building has strong hierarchy about the space as the Schauspielhaus. So when you walk to inside the brightness was became darker.

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The comment about the survey The first of all, the before this survey i thought that I can take the pictures whole picture in same situation of the brightness. However when i started it i understood that it is impossible to take all pictures in the same situation of the brightness. Therefor we can not compare just only the strength of the pictures color. However, i could understand that how people perceive the brightness in a space. It is that the people feel unconsciously “bright” when people walk from dark space to bright space, it is mean that we do comparison automatically with the space in which we were before. And another thing is that we connect the brightness and architectural programs due to own experience of eace people. Therefor if you used to live in a apartment which has big window and when you go to the another apartment, also it has big windows, you can not feel bright. However you used to live in a apartment which is different situation, (small windows) when you go to the another apartment which has big windows, you can feel that it is bright. Those are mechanisms which i found.

Therefor, this survey i compare the contrast of the brightness in each sequence. I wrote the programs in each sites. That is mean that we could understand the relationships about the changing of the brightness about the sequence from out side to the inside and the brightness the architecture programs. I tried to dived those brightness survey into four kinds of types regarding to the structural difference of how to pass the natural light into the side and the form. Those names are Type A, Type B, Type C and Type D. The Type A is the most general type in this survey (Fig 11). The windows which is a function to take a natural light into the inside’s space are located around the building. Therefor, the center of the building is the darkest part of the brightness. The part where is close to the out side is more bright than center. By this reason, when you walk to inside the space gradually become darker. For example the surveys of No. 2, 6, 15, 17, 18, 27 are showed a typical character of Type A. The second one is the Type B. In generally this type use the frame structure in this survey.

And they can take the windows as much as they can. Therefor the experience of the brightness is most bright in those types. The representational examples are the survey No1 42

Type A

(Fig 11)

General space.

The window are located around the building. The natural light pass into the inside space from the windows

Type B

Skelton space.

Using the frame structure, glass wall, or many big windows.

Type C

Inner void.

Structure has various kind types.

However inside of the architecture has inner void such as a courtyard. The natural light could pass from around and inner void.

Type D

Closed space , This typology has few connection to the outside. The natural light pass from specific or special part of the space.

Fig 11

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and the part of No3. This structure create the brightness such as out side. Therefor when you walk to inside from outside, we can not find a big difference. And the inside of the space there is no wall. Hence there is no dark place in the space. However, for this reason, it is difficult to make a strong contrast of the brightness in the sequence.

Next one is the Type C. The character of this type has the inner void. In other words, it could called “the courtyard”. The unique experience of this type is to create a strong contrast of the brightness in the sequence. For example, the survey No,12, 31, 32, we could find the darkness in the middle and also there are natural brightness in the beginning and the end. Therefor, When you walk to inside, the beginning f the experience became dark. However sundry the space became very bright. This thing is a unique point of this type.

Type D is a building which has totally different atmosphere from outside. The unique character of this type is that the natural light can enter to the inside from specific place.

The representational examples are No,21 and 22. The program of No21 is a museum.

Therefor inside space is using artificial lights for the visitor. But if they turn off the light, we can have light just from inner cupola. The light pass from the cupola with decorative sculptures. However the survey No,22 is the best example of this type. The connection such as the windows is extremely few. Moreover alway light pass the surface to the inside with some figures. The inside of this building has extremely different than the outside. In generally, we could see this type in some traditional building or the architecture which has a power to show the people.

I explained about the types of the brightness regarding to the structural difference of how to enter the natural light into the inside and the form. But each architecture of survey does not have only one type. Some of them has 2 types of the character about the brightness. However from this survey we could find a direction of the spatial brightness and character of brightness about the sequences.

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CASE STUDY OF SPACES Rolex Learning center : SANAA

This building is constructed in 2010 in Lausanne Switzerland. The architecture has 20,000m2 with some programs which are library media center, investigation space and free space in to the “Big One room” . The space doesn't has a separation such as the walls.

It is because the architects would like to design a space to be more free about the relationships with another students and professors from another departments.

The Rolex Learning center does not has remarkable entrance. When i arrive to the site, i could recognize just the volume of the architecture. The architecture has a form as a rectangle and each faces of the architecture are uniformity. By this reason this project does not have a front face of the architecture. The project has some gaps as the inclinations between the ground and the construction. People could enter and pass under the gaps(fig 12). And it is connected to inner-space of the architecture. In a way it is a kind of courtyard. When you stand under the gap of the architecture , we could recognize some holes passing the natural light from the sky. Even i stranded in this place, still it was difficult to find a entrance to the interior. It is because SANAA try to make a space which does not have such as a program hierarchy. Program hierarchy is related to sequence as well. For example general architecture has a entrance in the beginning. After that there is a a kind of common space as a hall or corridor and after that it connect to another programs. However this case did not fit the general architectural idea. When i find a flow line, And tried to follow it. Then i could arrive to the entrance which is connected to the interior.

By this reason i assumed that my 1st space is the out side of the architecture and took a picture a place where is before the gap ② . 3rd space is a entrance to the interior. The 4th space is a inside of the building.

Regarding to the brightness comparison with survey in various site analyze the building, This building has relation about the brightness of the sequence which are No,1(Coop) and 46

3

4

Fig,12, DETAIL 05,2010 https://2010rhino494asu.wordpress.com/p06-ex-living-pod-david-greene/

1

Type A

2

Type B

3

4

Type C 47

1

2

3

Fig,12, DETAIL 05,2010 https://2010rhino494asu.wordpress.com/p06-ex-living-pod-david-greene/

No,15(Botanic), Moreover A part of it has a little No,32(Milano). No,1(Coop) is using full of the artificial light and In contrast No,15(Botanic) is using just only natural light. The interesting point is that both of them there is no contrast in their sequences. The Coop show us the uniform brightness everywhere in the space by artificial lighting , And the other one use uniform brightness everywhere in the space by natural lighting. When we compare with the Rolex learning center, we could find some holes in somewhere. This part has a relation with Type C in which you can check on the Sequence No,2 . However from the sequence No,3 and No,4, it start uniform brightness. Even we look whole sequence of the brightness there is no such a strong contrast. Due to the interior color which are white and light gray, it emphasize more about the uniform brightness.

Considering from this points, This architecture is a kind of Type C. However in there space theres in no strong contrast such as Type A or B .

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Museum der kulturen :Herzorg de Mueron

The museum der Kulturen is a constracted in 2011 in Old area in Basel, designed by Herzog de Mueron. The museum history started from 19th, and had extended three times up to the present time. Herzog de Meuron designed a new extensional space included the courtyard and inside. Extending the building horizontally would lose the area of the courtyard. Instead the second extension building of 1917 got a new roof which is a space for the extension. In this modification, Herzog de Meuron would include an entrance especially for the museum, thereby giving it a new identy.

The building is in the old town of Basel and surrounded by traditional buildings. The projects has a entrance which is very easy to find. And it is using a typology that inherited from existed old typology. Moreover the courtyard has a inclination to the main entrance.

This thing give us a suggestion unconsciously. By this reason we could understand that the project has a strong hierarchy of the programs. The 1st space( fig13). is the front of the main building where is in the courtyard. Then i walked to the entrance, following the spatial design which is the steps connected to it. When i entered into the entrance which is the picture of the 2nd space, i could feel a darkness and the contrast of the brightness.

Because the area of the entrance and close to the entrance has windows just on the side of the courtyard. Three sides of the space is surrounded by the wall. Due to this situation, the natural light can enter from only one side of the space.

The 3rd space is the front of the steps , which is vertically connected to every exposition spaces. So that this space is a kind of main corridor or common space. The building does not have horizontal connection to another programs. Therefor the building no exist the kind of corridor which are connected to another spaces. And this space there is no windows, using full of the artificial lights. However those artificial lights are not strong. In fact they are very few light. By this reason this space is much darker than the entrance. I walked to the next floor which connected to the 1st floor and 1st exposition space.

When i walked and up to the stairs, naturally i could arrive to the 1st exposition space which is the 4th space of the picture (fig 14). Also that is a related to spatial design and strong hqieralkie of the architecture. The brightness of this space sundry appear in front of us. And the atmosphere and brightness out the space are totally changed. This space is much more bright than 3rd space. By this situation, this space could gave us a impact of 50

1 3

2

Fig,13, MUSEUM DER KULTUREN,HERZOG & DE MEURON https://proyectos4etsa.wordpress.com/tag/herzog-demeuron/

1

Type A

2

3

4

Type C

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4 3

1 2

Fig,14, MUSEUM DER KULTUREN,HERZOG & DE MEURON https://proyectos4etsa.wordpress.com/tag/herzog-demeuron/

the contrast of the brightness. Due to these sequence of the brightness, i could figure out a rhythmical changes of the brightness.

Regarding to the brightness comparison with survey in various site and to analyze the building, we could find a contemporary idea in a traditional architectural hierarchy. Due to the comparison with No,31 and 32, we could understand that there is a same kind of the sequence of the brightness in both sequences. The both sequences has a strong darkness in the middle. In fact, The type of building of The museum der Kulturen is the Type A. There is no inner void and is a wall structure. And the No,31 and 32 are Type C. Because there is a inner void such as a courtyard. However Herzog de Meuron designed a effect such as the Type C sequence from the entrance to the exposition space. A interesting point of the design is that the museum is the Type A. In other word, Herzog de Meuron design a Type C sequence in the Type A. Moreover In generally the Type C building connect to the inner void horizontally. However the museum connect to the brightness space vertically. Considering the results, Herzog de Meuron has a design will to use this sequence that to show a psychological effect to the visitor.

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4 CONCLUSION Further consideration will be needed to yield any findings about my hypothesis that a thing which integrated with the culture, different philosophy and the architects vision can be affect to the interior brightness. However considering the results, in the relation between the brightness and the architectural space has brightness sequence from a space to the another space. And people precept the brightness of the space in the contrast of the brightness about the sequences. This is a mechanism of the perception of the brightness in the space.

In my case study which i choose are totally contemporary one and the new one which inherited from the old typology. Certainly the museum der Kulturen has a new space in a traditional architecture. However, this work is developed to make a new kind of brightness due to the Type C brightness. It can find similarity from the scurvy No,31 and 32 building where are in Milano. Nevertheless i did not find a relation with a difference of the brightness and difference of the region. But the point which we could find a similarly in Milano buildings deserve more than a passing notice.

In contrast, the Rolex Learning Center has two kind of brightness. Under the gap of the building is a little the Type C. After that when we go forward, the space will change to a kind of Type though architecture is integrated Type A and C. The interior space brightness is a kind of the survey No,1(Coop) and No,15(Botanic). In light of the evidence, there is a relationship between design will of the SANAA in this architecture and the brightness. Also i did not find a relation with a difference of the brightness and difference of the region. However the traditional Japanese space used to use the multi functional spaces which we can transform many kind of function. It is mean that there is no a kind of program hierarchy. This point has possibility to find a similarity with the concept of this architect that is “Big One Room” which does not have program hierarchy.

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At the same time i got a some questions about the brightness as a design tool for the architecture. For next i keep analyze about my first questions and to find how to use the brightness Though much still remains to be unsettled, I believe I made a few contribution toward the subject.

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BIBLIOGRAPGY 1. In Praise of Shadows; Junichiro Tanizaki; 1933; Kadokawa Publish 2. Silence and Light; Louis I.Kahn; February 12,1969; Auditorium Maximum ETH Zurich 3. Aion : researches into the phenomenology of the self; C.G. Jung ; translated by R.F.C. Hull; 1959; :London : Routledge & Kegan 4. Cities of Light, Two Centuries of Urban Illumination; Sandy Isenstadt, Margaret Maile Petty and Dietrich Neumann; 2015; Routledge 5. Draw Light, No-174,Copper; Masahito Yoshimura; 2012; JCDA; http://www.jcda.or.jp/center/ shuppan/dou174/d174_06.7.pdf 6. The Condition to prescribe a sense of the brightness; Satoru Aiba; 1973; Hokkaido University 7. Nordic Light; Henry Plumer; 2012; Themes & Hudson Ltd, 8. The architecture of natural light; Henry Plummer; 2009; Thames & Hudson Ltd 9. Climate and Culture: A Philosophical Study trans : Tetsuo Watuji ; 1961; Greenwood Press

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