Natural Light: A design tool for space perception

Natural light: a design tool for space perception

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Leilani Denker 13043621 K100 Architecture Newcastle University 2016 2

Natural Light A design tool for space perception

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EMPIRICAL >TANGIBLE

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ACKNOWLEDGMENTS

I would like to thank Doctor Steven Dudek and prof.

Andrew Ballantyne, for all their guidance and support throughout the process of this Dissertation.

Also, Professors Armelle Tardiveau and Daniel Mallo, for their encouragement, exceptional mentoring and inspiration.

And finally, to my Family and Friends for their support and encouragement.

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“The Sun never knew how great it was until it hit the side of a building”.

-Louis Kahn

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PREFACE Artificial light as a replacement for natural light partially solved lighting problems within buildings, however, good daylighting has shown improvement in the overall attitude and satisfaction of building occupants, student educational performance in schools and universities, also patient recovery times in hospitals, sales and, worker performance and productivity in stores, among others. However, when comparing all the benefits and qualities that natural daylight, as an example, the ambience that provides, the need for a better approach to daylight design should be better incorporated into the architectural design. This dissertation is the result of research that addresses the importance of natural light in the built environment and as a design tool for architectural practice. Mainly based on the theories and hypothesis of several architects and artists who dedicated their career to analyse light in architecture, specifically natural light, and have vast experience on the subject.

The primary focus is on the use of natural light as a design guideline for enhancing the overall character of space and a deeper exploration of particular buildings. Analysing the use of natural light as a visual element, which can improve the overall perception of space. The objectives are; first and foremost, to prove the validity of the hypothesis by using precedents as study cases, subsequently, to determine the characteristics of natural light and the impact on the visual perception of space, and finally the exploration and understanding of natural light and the relationship with the overall perception of space.

The research will focus only on the impact of natural light on architecture in spatial perception. Artificial light will not be included in the analysis. It will also not include the analysis or measurement calculations on light exposure; the limitations follow light perception in particular spaces and the ability to enhance the space feature.

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Following next the buildings that will be analysed throughout the dissertation will be presented. All the images are in black and white to accentuate the light qualities without being distracted by the colours.

Note: this dissertation has been updated (20.01.2020)

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Fig. 1

Fig. 2

Fig. 3

Fig. 4

Fig 1: Koshino House, Tadao Ando, 1984, Ashiya, Japan Fig 2: Therme Vals, Peter Zumthor, 1996, Vals, Switzerland Fig 3: Glass House, Phillip C. Johnson, 1949, New Canaan, USA Fig 4: Casa Estudio Barragan, Luis Barragan, 1947, Mexico City, Mexico

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Fig. 5

Fig. 6

Fig. 7

Fig. 8

Fig 5: “Sky Reflection Net” Fulton Center, Grimshaw and James Carpenter, 2014, New York; USA Fig 6: Kimbell Art Museum, Louis I. Kahn, 1972, Fort Worth, USA Fig 7: Nordjyllands Art Museum, Alvar Aalto and Jean-Jaques Baruë, 1972, Aalborg, Denmark Fig 8: High Museum Atlanta Expansion, Renzo Piano, 2005, Atlanta, USA

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Fig. 9

Fig. 11

Fig. 10

Fig. 12

Fig 9: Herning Museum of Contemporary Art, Steven Holl, 2009, Herning, Denmark. Fig 10: Temppeliaukio Kirkko (Rock Church), Timo and Toumo Suomalainen, 1969, Helsinki, Finland Fig 11: Gรถteborg Law Courts Extension, Gunnar Asplund, 1940, Gรถteborg, Sweden. Fig 12: Reichstag Dome, Norman Foster, 1999, Berlin, Germany

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Fig 13: Church of Light, Tadao Ando, 1989, Ibaraki, Japan

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Fig 14: Jewish Museum Berlin, Daniel Libeskind, 2001, Berlin, Germany

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TABLE OF CONTENTS Acknowledgments ....................................................................................................... 5 Preface ......................................................................................................................... 7 Analysed Buildings ....................................................................................................... 9 Table of contents ....................................................................................................... 14 Introduction ............................................................................................................... 16 Chapter 1: Visual Perception ..................................................................................... 18 Direction and perception of light .............................................................. 20 Using light and shadow to perceive movement .......................................... 22 Brightness and Contrast .............................................................................. 24 Sources of light .......................................................................................... 29 Bright and Open ......................................................................................... 30 Side Light ..................................................................................................... 33 Light Coming from the Sky ......................................................................... 35 Chapter 2: Light as a tool ........................................................................................... 39 Defining space with light ............................................................................. 40 Structuring surfaces .................................................................................... 41 Correlation of spaces through light ............................................................ 46 Connect spaces through light ..................................................................... 47 Separate spaces through light .................................................................... 52 Differentiate spaces through light ............................................................. 54 Light as a Building Material ........................................................................ 56 Chapter 3: Relation with the character of space ....................................................... 60 Tadao Ando, Church of Light ...................................................................... 62 The Building ............................................................................................... 63 Visual Perception ........................................................................................ 65 Using light and shadow to perceive movement .......................................... 67 Brightness and Contrast .............................................................................. 69 Sources of light ........................................................................................... 70 Light as a Tool: Structuring Surfaces ........................................................... 71 Light as a Building Material ........................................................................ 74

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Daniel Libeskind, Jewish Museum Berlin .................................................... 76 The Building ............................................................................................... 77 Visual Perception ........................................................................................ 78 Using light and shadow to perceive movement .......................................... 80 Brightness and Contrast .............................................................................. 82 Sources of light ........................................................................................... 83 Light as a Tool: Structuring Surfaces ........................................................... 86 Light as a Building Material ........................................................................ 89 Conclusion .................................................................................................................. 90 List of Illustrations ...................................................................................................... 92 References ................................................................................................................. 98

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INTRODUCTION

Light is a necessity in life, of equal importance as water and air1 Therefore, in the design process, one of the key factors is simply, light. If we take into account, that vision is the primary sense through we experience architecture, and, light is what reveals space, form, texture and, colour to our eyes. Light can be manipulated to evoke an emotional response, to heighten sensibilities, showing that architecture and light have an intimate connection. The understanding, manipulation, and practice of light are the essences of the architectural enterprise.

Daylighting is fundamental to achieve a strong lighting design and visual comfort awareness, but light is not only connected to the visual experience of form and space but is strongly connected to the thermal qualities. Light is energy, and whether diffuse or direct, will change the space when it falls on a surface, more apparent when the light source is intense as with direct sunlight. 2 Regarding the search for a superior daylight design, some contemporary architects have explored and amplified the traditions of vernacular and great architecture combining them to achieve successful lighting design, as a response to climatic and cultural approaches, with a real consciousness of the power and meaning of light. The experience of architecture through light is not given as a simple equation; this is because light communicates both quantitative and sensory information.

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Fritz Hollwich, The Influence of Ocular Light Perception on Metabolism in Man and In Animal (New York, NY: Springer New York, 1979). pp.14 2 Nick Baker and Koen Steemers, Daylight Design of Buildings (London: James & James, 2002). pp.4-7

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Light is continuously evolving with the culture, it is only through the appreciation and careful research of precedents, and the understanding the science of light, that the art of lighting in architecture can be better instilled in the design process.3 The main point of this dissertation is on the use of light as a design tool to enhance the character of space. The essence and character of space can be improved with the appropriate use of natural light. Therefore, sources of light inside the building must be carefully thought of. Multiple architects consider daylighting design as common sense and expertise flair. Therefore, I consider going into depth about particular designs of buildings that achieved the Light qualities of a successful daylighting design.

As design should be considered as a tool to aid architecture to achieve the best out of the design, the following questions arise; which are the main characteristics of natural light as a design tool? How can the general character of space be strengthening the use of daylight as a design tool?

How the direction of light can be linked with different types of buildings?

What is the daylight relation with the character of space? In the following chapters, I aim to respond to the research questions with the aid of illustrated examples of how daylight can be used as a tool to enhance the architecture. With more in-depth research upon two study cases, The Church of Light by Tadao Ando and The Jewish Museum Berlin by Daniel Libeskind, that not only represent an appropriate precedent for successful lighting design but take more in-depth the meaning of using daylight to create a specific perception of the space.

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Alessandro Rogora Paola Leardini, "Light and Color In Architecture: A Shared Experience Between Scandinavia And the Mediterranean" (unpublished Ph. D, Politecnico di Milano, 2010). pp.515-518

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CHAPTER 1 VISUAL PERCEPTION

Fig. 1.1: Koshino House Tadao Ando

What are the main characteristics of natural light as a design tool?

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Direction and perception of light ‘Light is not visible-light makes matter visible’ The overall perception of a given space is affected directly by the use of certain characteristics of the direction of natural light, which can emphasize the impression of the building. Space depends upon the amount, quality and orientation of Daylight, it can be changed based on this and give an entirely different impression. 4 According to Rasmussen ‘the light in architecture has an influence on space perception, how natural light is used and how it can be manipulated in ways that will emphasize the character of space’5. Buy this he meat, that daylight is in continuous change, it is not a static element. “The architect can fix the dimensions of solids… daylight alone he cannot control It is the architect’s power to describe the expectations of the building before the construction process starts and approximate the calculations for daylight to the most precise possible; 6 however one cannot control directly the natural light without designing abilities. Some aspects can be perceived naturally, the intensity of the sun, weaker in the sunsets than in the middle of the day or the quality of light in a room, but not everyone can understand the importance of light regarding architecture, which is more than an assistant to see in the dark. One of the most important and for some rather obvious factors, when designing a building is the appropriate way to introduce light into a building, as the percipient will visualize the particular character of that space in the first by using light as the revealer and will remember and will have of a space. Therefore, the direction in which the light will illuminate is crucial in giving that first impression.

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Wolfgang Rang and Christian Bartenbach, Licht Raum (Fellbach: Ed. Axel Menges, 2013). pp.

96-98 5 Steen Eiler Rasmussen, Experiencing Architecture (Cambridge Mass.: M.I.T. Press, Massachusetts Institute of Technology, 1962). pp.187 6 Steen Eiler Rasmussen, Experiencing Architecture (1962). pp.187

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Fig. 1.2: Koshino House Tadao Ando

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Using light and shadow to perceive movement As light is always surrounding us, it could be not taken into consideration, almost appearing to be missing; the light is a visual proof that light is thereby denial, where there is shadow, the presence of light cannot be neglected. When designing with daylight, there is a need to consider the shadow as a strong animated element. Shadows move, intensify and display several effects and colours in the spectator’s vision, depending on the frequency of the light.

Many aspects contrast artificial light from natural light, but one of the most substantial is daylights property to move through space, with a continuous movement changing the atmosphere, whereas artificial light is purely static without any life, it is a device rather than a being.

Henry Plummer (1917) expressed the importance of shadows regarding light; he explained that shadows show a description of the structure, leading to energetic points in perception whereas with fixed light the shadow remains passive7. A shadow is two-dimensional and does not possess a specific shape or direction, flexible, depending on its factors; it can be vertical or oblique or another shape structure if there is insufficient horizontal area. Natural light and darkness produce various spatial effects, giving the impression of living space, created by the movement of the shadows changing perception in a much higher form than with fixed lighting.

8 As we see buildings, could come alive with the use of natural light through movement, light gives the space the power to be seen transforming and displaying signs of life.

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Henry Plummer and William R Tingey, Poetics of Light (Tokyo, Japan: A+U Pub., 1987). p.26-28 Henry P, The Architecture of Natural Light (New York: Monacelli Press,2009). p. 167-184

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Henry Plummer and Tadao Ando (1941) agreed that shadow can appear as a real and tangible, simple static volumes touched by beams of light evolve to objects filled with the light’s strength of the time and weather of the day, time and season are the factors that give life to static bodies. 9 Tadao Ando defined light as the mediator between space and form; he stated; ‘light changes experience with time, I believe that architectural materials do not end with wood or concrete that have tangible forms but go beyond to include light and wind which appeal to our senses’10

Fig. 1.3

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Fig. 1.4

Philip Jodidio and Tadao Ando, Tadao Ando (New York: RIZZOLI, 2013), pp. 52-61.

Tadao Ando and Richard Pare, The Colours of Light (London: Phaidon, 1996). p.14

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The Koshino House by Tadao Ando plays with light and shadow; this minimalistic house kept most of the surfaces and materials as they are by nature, respecting what the phrase says ‘Less is more’ 11 The walls were left in plain grey reinforced concrete (Fig.1.1-6) allowing the sun to do all the complex design.

Fig. 1.5

Two entities connected by an underground tunnel, designed to show movement by the passing of the sun at different times of the day. (Fig.1.6)

Koshino House, Tadao Ando, 1984 Ashiya, Japan

Features of the outside, like the very narrow apertures, contribute to manipulating the natural light and shadows in-between the interior spaces. The movement is dramatized by the shifting brightness and the liquid shapes that appear on the plain concrete surface. 12

Fig. 1.6

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Ludwig Mies van der Rohe and Ludwig Glaeser, Ludwig Mies Van Der Rohe (New York: The Museum, 1977). p.23 12 Tadao Ando and Philip Jodidio, Tadao Ando - Complete Works (Köln: Taschen, 2004). p.63-69

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Brightness and contrast In the eye of the spectator, the brightness is a tool for comprehension and definition of the actual space and structure, there is a need for more than two surfaces to analyse and one is always brighter than the other. In most of the cases, the high contrast is used on purpose to change the display and dramatize it. The brightness and contrast are certainly of the main importance in creating architectural spaces and needed tools for changing the consciousness of space.

Fig. 1.7: Therme Vals, Peter Zumthor, 1996, Vals, Switzerland

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Contrast and brightness are the components that characterize a design tool in human perception. For instance, in a case where everything is equal in illumination, there is just one bright object; this will appear as being zoomed, everything is about the perspective. 13

Fig. 1.8

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Fig. 1.9

Henry Plummer, The Architecture of Natural Light (2009) pp.49-56

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Fig. 1.10

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Fig. 1.11

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Peter Zumthor (1943) rejected architecture as a form making, explaining that his goal in architecture is to create an emotional space with the aid of light, materials and the atmosphere. As he insists that those be the essential elements of architecture, the ones that matter and that form can be achieved when all of those are in balanced; ‘presence in architecture…. It’s about creating emotional space, if I can do that, I can create a space which is just right for its purpose and place’ 14 The dark interiors in the Therme Vals by Peter Zumthor. (Fig. 1.7-9, 1.11) the bright apertures contrast against the darkness of the space, where light and dark in very gentle combinations alter each other to define the space’s purpose, which is to guide the visitors from space to space all the way to the outside areas. (Fig. 1.9-10). The building serves as a spa, constructed as an underground passage. The stone surfaces emphasize the contrast and brightness of sunrays, filling the building with a natural, relaxed and authentic vibe. The Therme Vals is an appropriate case that demonstrates movement with the different times of the day with the use of brightness and contrast.15 (Fig. 1.11)

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Amy Frearson, "Peter Zumthor at The Royal Gold Medal Lecture 2013", Dezeen, 2013 Peter Zumthor and others, Peter Zumthor (Zürich: Scheidegger & Spiess, 2014), pp. 23-55.

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Sources of light Common openings include windows, doors, skylights, and atriums among others. In many cases, windows provide ample daylight for heating and illumination, also a view of the exterior, yet low angle sunlight at sunrise and sunset can create extreme glare conditions, depending on the location of the window.16 Skylights incorporate light through the roof letting the light traveling from top till bottom; it will provide barely or almost any view, apart from the sky, which can be disorientating, in taller buildings an atrium could allow daylight from skylights to be introduced to the multiple floors of a building.

Apertures can be taken literally as the division between the external harsh climate conditions and the man-made space that provides comfort and shelter. The responsible and conscious incorporation of light has been used as a tool for interpretation and reading the process of modelling contemporary architecture.17

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Nick Baker and Koen Steemers, Daylight Design of buildings (2002). p.23 Marc Fontoynont, Daylight Performance of Buildings (London: James & James (Science Publishers) for the European Commission, Directorate-General XII for Science, Research and Development, 1999). p.55 17

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Fig 1.12: Glass House, Phillip C. Johnson, 1949, New Canaan, USA

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Sources of light: Bright and Open This space purpose is to allow daylight to fill the room; these buildings are perceived as open and free. However, the reflection of sun rays is not always inside the whole building, usually, fifty percent of the building is bathed in light and the other part remaining in the shadow, regarding that, the whole space feels illuminated. A simplistic design is allowing the natural light to enter from all sides; for example, the design outline consists of a large space, originally without walls, making an immediate link with nature and surroundings.

The Glass House by Philip C. Johnson (1906-2005) is surrounded by glass opening walls, exploiting the sunlight and taking all the properties of natural light in advantage, which gives the feel of being almost outside. 18 (Fig. 1.12-14) From the inside the impression is different, the rooms offer an experience of being inside, walls made entirely of glass, protected by white screens or blinds for the purpose of controlling light and to avoid excessive glare. Outside the light falls in-between the trees, perceived as being within nature, feeling the light but also being indoors, protected and safe. A precedent that shows a house surrounded by natural light, completely, that also has the ability to control glare and light itself through a peculiar architectural design for the walls. 19

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Adelyn Perez, "AD Classics: The Glass House / Philip Johnson", ArchDaily, 2010 Henry Plummer, Masters of Light (Tokyo: E Ando Yu, 2003). p.138-141

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Fig. 1.13

Fig. 1.14

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Sources of light: Side Light The light entering through the sides is the most common form of openings; it can be from a simple square window to a carefully designed glass wall.

Used commonly in residential buildings, perceived as the easier form of light penetration, with these features the quality of light can be calibrated in a less demanding way. Sides light apertures form strong and sharp shadows, which improves the perception of structures and space in general; this depends majorly on placing, dimension and shape of the opening.

Luis Barragan (1902-1988) widely recognized for his emphasis on colour, light, shadow, form, and texture; certainly, his former residence possesses all of these elements. The most prominent aspects of the design are the use of flat planes and natural light. The windows support the visual tracking of time throughout the day, with the main purpose of allowing natural light in and the views of nature.20 The play of privacy and visibility are firmly stated in the design, high windows are used to let light towards the front, in but maintain privacy and at the back of the house.

Towards the private areas, the large windowpanes open up to the garden; giving the impression of serving as a structural element rather than being a different element, giving depth to the window by prolonging the walls and cantilevering the floor above 21(Fig. 1.15)

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Megan Sveiven, "AD Classics: Casa Barragan / Luis Barragan", ArchDaily, 2011 José María Buendía Júlbez, Juan Palomar Verea and Guillermo Eguiarte, The Life and Work of Luis Barrágan (New York: Rizzoli, 1997), pp. 217-226.

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Fig. 1.15

34 Casa Estudio Barragรกn, Luis Barragรกn, 1947, Mexico City, Mexico

Sources of light: Light coming from the Sky Daylight delivery elements like skylights can make us notice patterns and reflections of light on the walls; there is something unique about natural light penetrating into the building and washing the walls with its power. 22 Closed from the sides and open from above with a wider variety of lighting visual effects, ‘it can provide a sacred and secure spectrum’23 in some cases disorientating. When the sun enters through gives the feeling of a “heavenly float of light” however, when the sunlight does not enter directly, the light will be diffused into the space.

Fig 1.16: New Fulton Center, Grimshaw and James Carpenter, 2014, New York; USA

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Grimshaw-architects.com, "Fulton Center Projects, Grimshaw Architects" Alan Holgate, Aesthetics of Build Form (Berlin: Oxford Press, 1992), p. 43.

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Before the renovation of the Fulton Center in New York (Fig. 1.17), the feel of the space was of a claustrophobic atmosphere Disoriented, with a sensation of anxiety of being underground. The design was inspired by the Grand Central Station, which is pierced by oblique rays of sunlight.

The new Sky Reflection Net Installation for the Fulton Center by Grimshaw Architects added a 16-meter in diameter and 26 meters above street level skylight, which allows daylight that penetrates from the top of the building to the subway Fig. 1.17 platforms underground.

(Fig. 1.18-19) The reflection panels, apart from allowing daylight through, display a broad view of the sky changing throughout the day. A 24-meter structure suspended inside the atrium work of a perfect combination of sculpture and daylight engineered and designed by James Carpenter (1948), using its folded aluminium panels to reflect light deep into the space “folding the sky down into the station… a heightened. Experience of the sky and the mutable presence of light” “Carpenter. J, 2014) the installation transforms commuters into observers, revealing the sky with clarity

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providing an empirical experience and visual imagination; it succeeds in merging the underground subway area and the sky.24

Fig. 1.18

Fig. 1.19

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Hans Schober, James Carpenter and Michael Stein, "The Sky Reflector-Net for The Fulton Center, New York" (unpublished Ph. d, Technische Universität Berlin, 2014).

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Fig. 1.20 Fig. 1.17

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CHAPTER 2 LIGHT AS A TOOL

Fig 2.1: Kimbell Art Museum, Louis I. Kahn, 1972, Fort Worth, USA

How can the general character of space be strengthening the use of daylight as a design tool? How the direction of light can be linked with different types of buildings

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Defining space with light The responsible and conscious implementation of light has been used extensively as a tool for interpretation and reading the process of modelling modern and contemporary Architecture. 25 The perception of space and structure depends on the existence of light and the intensity of its glare, to understand architectural symphony is to observe the progress of light and shadow, how they form and might deform the appearances of an empty space, changing the perspective. The essence of the material, shadow, shape or even shade will not come to life without the light to illustrate. The union of transparency and dematerialization could be the cutting edge of contemporary architecture, providing a new vision for the use of natural light, by controlling the composition of light in sophisticated manners and also its direction and intensity. 26 With the study of light, it is possible to create elements to give the space an opportunity to achieve the perception wanted. People usually associate space with a place, connecting and defining all the memories and emotions that these evoke. Every space becomes unique or familiar somehow to the human mind, as the architectural design is relevant to the creation of these spaces, the architect judges upon the shape, the colour, and light that give that place a particular soul. 27

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Marc Fontoynont, Daylight Performance of Buildings (London: James & James (Science Publishers) for the European Commission, Directorate-General XII for Science, Research and Development, 1999). p.120-127 26 Camelia Ardei Farcas, "Natural Light in Architecture as A Matter of Space Perception" (published Undergraduate, VIA University College, 2014).

27 John Lobell and Louis, I Kahn, Between Silence and Light (Boston: Shambhala, 2008). p.78-83.

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Structuring surfaces In the way that interaction of light and structure is meaningful in the visual perception, the surface is considered as being empowered by light simultaneously giving the light power by taking the responsibility as a material to absorb, reflect or react the light.

Any form of light naturally has orientation, intensity and, colour, of which the character is created. For example, flat surfaces display an extended area with diverse intensity levels, evenly spread the light and shadow, conversely, curved surfaces exhibit the smoothness of the curve, showing the lines that are closer to the light and gradually shade the surface.

A typical oblique surface presents a progressive and also continuous gradient, this can help in order to study more complex surfaces. The area lacking of light defines the shape, contours of the object with a projection plane cone or pyramid luminous source; the area that is deprived of light is shadow. The proper use of lighting effects gathers the inner comfort of spaces and the ambiance that wants to be projected. 28 The quality of daylight inside the Kimbell art museum by Louis I. Kahn (19011974) is soft and diffused, being controlled by daylight fixtures at the top of the vaulted ceiling.29 (Fig. 2.2) The aluminium reflector expands the light introduced via the sky and makes it appear to be silver, making it seem that the source of light are indeed the reflectors; the target is to highlight the artwork displayed inside, the light comes in from the roof, hits the reflectors bounces of the reflectors, the target is to use the curved ceiling to gently bath the wall artwork in diffuse light. 30

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Camelia Ardei Farcas, "Natural Light in Architecture as A Matter of Space Perception" (unpublished Undergraduate, VIA University College, 2014).

29 Michael Brawne, Kimbell Art Museum Louis Khan (London: Phaidon Press, 1992), p. 17.

30 Henry Plummer, Masters of Light (Tokyo: E ando Yu, 2003). pp.188-197.

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Fig. 2.2

Fig. 2.3 Nordjyllands Art Museum, Alvar Aalto and Jean-Jaques BaruĂŤ, 1972, Aalborg, Denmark

Fig. 2.4

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Fig 2.5: High Museum Atlanta Expansion, Renzo Piano, 2005, Atlanta, USA

In a similar way, the architects Alvar Aalto (1898-1976) and Jean-Jacques BaruĂŤl (1923-2010) implemented a structure that allows light into the Nordjyllands Art Museum in Denmark; the light embodied in the white materials and textures that cover most of the building creates a rich yet reasonably austere atmosphere.31 (Fig.2.4) This building clearly surpasses the museum clichĂŠ of a neutral white display for art, shining white marble floors and the metalwork fixture (Fig. 2.3) that transforms the skylight into a lamp of natural light.32

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Henry Plummer, Masters of Light (Tokyo: E ando Yu, 2003). pp.382-385 Henry Plummer, Nordic Light (New York: Thames & Hudson, 2012), pp. 31-34.

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Fig 2.6: Renzo Piano posing in his designed Roof.

Another relevant precedent for structuring with light is the magnificent installation by Renzo Piano (1937), at the High Museum Atlanta, made in conjunction with Arup Lighting, who managed to create a subtle modulation of light across the space responding only to what the sun movement is outside.33 (Fig. 2.5) Allowing an indirect perspective view of the sun but not letting the glare comes in, improving the quality of space for the visitors to the museum by the use of this integral building element.34

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Renzo Piano and Victoria Newhouse, Renzo Piano Museums (New York: Monacelli Press, 2007), pp. 156-171.

34Ogier Van der Heide, Why Light Needs Darkness, 2010

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Correlation of spaces through light The physical effects of lighting are closely related to the human perception when the perception of the architectural space is changed, also the perception changes. For example, when a simple layout rectangular place has a window facing the south, has a perception of space, as well illuminated, wide room, etc. but when the window position is changed, or perhaps reduced its size, the perception of the space will change, the space will be perceived as smaller or darker. So, when creating a space many considerations have to be taken into account, for example, an indoor space, it is usually perceived with comfort. To provide this, many of the natural elements as cold, heat, rain or dust have to be controlled or excluded from the interior.

The principal linking element between outdoor and indoor spaces are the openings: windows, doors, and skylights, naming others. The size and position of the openings are customized based on the feeling and connection (or separation) from the outside. The window, as a portal for light and an outcome of the relation with the exterior and interior, connecting or disconnecting with the outside environment and controlling the amount of light and visibility.

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Fig 2.7: Herning Museum of Contemporary Art, Steven Holl, 2009, Herning, Denmark

Correlation of spaces through light: Connect spaces through light Creating equal lighting conditions between the spaces will make them appear similar, even if they are not, which is what differs the external light from the internal light. By analysing the spaces levels of luminance just with the perception, space will make sense, in this way they will connect; this can be achieved by letting the light come in from big planes of glass. As demonstrated by Philip C. Johnson Glasshouse (pages 31-32) and other glass-built contemporary architecture, using the transparency to let the same levels of light fill the spaces inside and outside.

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Fig. 2.8

However, when modulating the lighting of a large building, the real challenge is to connect the luminance of the different spaces inside with just the aid of natural light; as shown in the Herning Museum of Contemporary Art by the Architect Steven Holl (1947).

The purpose of this building is to be the new Centre of combined visual art and music, with a permanent and a temporary exhibition gallery and an auditorium, music rehearsal classrooms, media gallery and restaurant among others.35

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Henry Plummer, Nordic Light (New York: Thames & Hudson, 2012), pp. 31-34. p.34-35

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Fig. 2.9

The landscape focal point is the reflecting pool positioned to capture and reflect the south sun.36 (Fig. 2.7, 12) The shape of the building and the wall finishes are inspired by the fabric industry, the building is shaped as a collection of shirtsleeves viewed from above and the walls were filled with fabric trampoline which gave an interesting texture to the exterior white concrete facades. 37 (Fig. 2.12-13)

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Steven Holl and Steven Holl, Scale (Kรถsel: Ast & Fischer, 2012).

ArchDaily, "Herning Center Of the Arts / Steven Holl Architects", 2009

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The irregular imprints of the concrete walls generate imprints of irregular shadows making a pattern throughout the building that connects all the areas via light, which gets deeper and more colourful as the sunlight moves, the design merges the external landscape and the architecture in a one storey building.38 (Fig. 2.10-11)

Fig. 2.10

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Henry Plummer, Nordic Light (New York: Thames & Hudson, 2012), pp. 34.

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Fig. 2.11

Fig. 2.12

Fig. 2.13

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Correlation of spaces through light: Separate spaces through light Separation of spaces through daylight can be achieved with the aid of light level control, from window shutters to openings that allow the only partial entrance of light, offering partial views to the outside controlling the light inside. The point is to use light to benefit the designed purpose of the space, respect and fulfil all its lighting needs.

The space should appear separated from the outdoors, also can be considered as “introverted architecture� an example of this is The Rock Church (Temppeliaukio Kirkko) in Helsinki, Finland designed by the Timo (1928) and Tuomo Suomalainen (1931-1988) built inside of a gigantic rock of natural granite, barely visible Fig 2.14: Temppeliaukio Kirkko (Rock Church), from outside. 39 (Fig. 2.15) The Timo and Toumo Suomalainen, 1969, Helsinki, naked rock walls surround the Finland circular sacred space, naturally lit from above through 180 windowpanes (Fig. 2.14), connecting the copper dome and the walls, totally alienated from the exterior apart from the light that comes in though the 360 degrees aperture. 40

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Henry Plummer, Nordic Light (New York: Thames & Hudson, 2012), p. 76 Henry Plummer, Masters of Light (Tokyo: E ando Yu, 2003). pp.396-399

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Fig. 2.15

In Finland, natural surroundings are not very welcoming due to the severe external circumstances, the weather and the considerable short winters, the Suomalainen brothers response to manipulate surface and volumes, separating the space from the outside is to use low sunlight and variable sky of the site and enrich the interior that are linked to the Nordic light, by the aid of reflection to make the most out of the daylight. 41

41Juan

Carlos DĂ­az Lorenzo, "Iglesia De Temppeliaukio | Del PaĂ­s De Finlandia",

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Correlation of spaces through light: Differentiate spaces through light Light also can be a tool to establish spatial relations, experience and perceive them differently; light can enhance the character of the spaces separately according to their illumination factor, as shown in the Gรถteborg Law Courts By Gunnar Asplund (1885-1940) which is particularly expertly illuminated through daylight entering through a south-facing glazed faรงade looking into the courtyard and a south facing roof skylight, directing the light all the way to the Great hall. (Fig. 2.17-18), The combination of sidelight and skylight shapes the light, changing the light mood as you pass from lateral light to a more intensified centred vertical light in the depth of the great Hall. The two high-level walkways have also differentiated light intensities, the interior one being relatively lighter than the other one; the roof is shaped to ensure low-angle winter sun reflection into the main hall. 42

Fig. 2.16

Fig. 2.17 Gรถteborg Law Courts Extension, Gunnar Asplund, 1940, Gรถteborg, Sweden.

42

Claes Caldenby and Olof Hultin, Asplund (Stockholm: Arkitektur Foreleg, 1985), pp. 106-113.

54

Fig. 2.18

55

Light as a building material Daylight should not be treated just as a plain source of illumination, but distinguished as a building material with its qualities ‘Generally, we light surfaces, and light is used to reveal things. The idea of revealing light is rarely even thought of. ’43 It can make and break up space; it can sharpen or blur structures, and it can bring a new view of building architecture and reality. As it fulfils the illumination needs, has also been employed by many architects to create ambiance and movement, giving the space a turnaround defining its purpose. 44

Fig 2.19: Sketches and Drawings Foster + Partners

43 44

interview 1992 –James Turnell Martin Pawley and Norman Foster, Norman Foster (New York: Universe, 1999). p.228-235

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Fig. 2.20

The Reichstag Dome by Norman Foster (1935) a Modern design evocation of a previous dome that was on the building but was destroyed during WWII, (Fig. 2.25) conceptually quite simple but high-tech designed with steel and glass that can be described as a sculpture of light. The cupola at the top of the parliament building has internal spiral ramps that appear to be freefloating (Fig. 2.20), leading to the observation platform at the top that provides a 360-degree view of central Berlin and a skylight with an opening that is completely exposed to the air. (Fig. 2.22)

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Fig. 2.21

Fig. 2.22

Fig 1.23: Section: view to the chamber and dome, Foster +Partners

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Fig. 2.24

An inverted conical structure allows ventilation and natural lighting to the building. (Fig. 2.20,24)

The “light sculptor� core reflects horizon light down into the debating chamber (Fig. 2.23) with the aid of 360 mirrors, while a sun shield tracks the path of the sunblocking solar gain and glare; the design would not be the same without the use of natural light. (Fig. 2.20) Since most of the process is based on the sun movement, capture, and reflection, to signifying Fig. 2.25 transparency, creating a symbolic relationship of the democratic idea of people above the government. In this way, light can be considered as a building material with the properties to illuminate, reflect, fill, give atmosphere, among others.

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CHAPTER 3 EFFECTS OF NATURAL LIGHT ASSOCIATED WITH SPACE

Fig. Fig. 3.13.1

What is the daylight relation with the character of space?

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When the light reveals the ambiance and character of space, an emotional response is perceived, that is a way in which we can base our visual impression. 45 Primarily understanding the aspects of natural light as a tool as opposed to using quantitative data values and technologies, to provide an explanation of how the different effects of natural light have been manipulated to get several perceptions of space. With the purpose of going more into depth on the Hypothesis that natural light is a design tool that creates the overall character of perception, this chapter will analyse the Church of Light by Tadao Ando and the Jewish Museum Berlin by Daniel Libeskind (fig. 3.2), which are precedents that demonstrate their architects work understanding and experimentation of the quality of natural light inside a space and to take the light and use it in benefit, to create meaningful spaces.

Fig. 3.2

45

Tadao Ando and Richard Pare, The Colours of Light the Colours of Light (London: Phaidon, 1996). p.23

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62 of Light, Tadao Ando, 1989, Ibaraki, Japan Fig 3.3: Church

Fig. 3.4

The Building

Tadao Ando in The Church of Light works with the quality of natural light inside the space exploring its qualities and visual perceptions. Due to its minimalistic design has brought up controversy composed of basic elements, Concrete structure and a few openings that will let just enough light into the space to make it appear alive. 46

46

Philip Drew and Tadao Andō, Church on The Water, Church of The Light (London: Phaidon, 1996). p.112

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A wall cuts diagonally through a rectangular-shaped building; (Fig. 3.12) the light enters through a cross-shaped aperture with intensity through the dark space. (Fig. 3.5) Fig. 3.5

The perception of space is powerful and sacred in manner; this aperture allows the light to come from the South faรงade (Fig. 3.4)

The North wall also plain concrete, is intersected by the west wall in a way in which it could be perceived that the if walls were not touching each other; creating small openings throughout the height of the wall. (Fig. 3.5-6,10,18) The West wall goes through forming an L-shaped entrance creating a rectangular opening going to the full height (Fig. 3.12,14), the ceiling being plain concrete with no openings to the exterior as well as the floor made of dark wood are the different materials in colour and texture provoke light reflection to the walls. (Fig. 3.3)

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Visual perception

The concept of this building is to provide an interior perceived as a sacred space, after all, the purpose of the building is to serve as a church. However, the light is the element that brings the connection from darkness to powerful light causing this effect of purity and divinity.47 Entering from the bright exterior into the dim space with is revealed from the darkness with the sharp light; appear that the light sharpens the shapes. (Fig. 3.5)

Although it is a small space (113m2) the different surfaces, the contour edges and the sharp light provided by the narrow apertures increase the perception of the depth of space. The space is perceived larger than it actually is due to the sharp light coming to the front wall. The dark interior is enhanced by the effect of light crossing the narrow openings making it appear powerful and strong. (Fig. 3.5,10,18)

47

Philip Drew and Tadao Ando, Church on The Water, Church of The Light (London: Phaidon, 1996). p.112

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Grey concrete being the predominant material the contrast of the dark wooden floors giving the impression of the building taller, (Fig. 3.3) the overall character of space is created by the uniform materials that provides a connection between all surfaces, even if they are different. The dominance of grey concrete in the dark space connected with the variation of the sunrays entering through various openings sets out a peaceful impression. (Fig. 3.9-10) The cross-shaped opening in the south faรงade acts as a primary source of light with its sharp projection of light, touching all the surfaces giving similar patterns of shadow and patterns giving symmetry and order in the space. (Fig. 3.7-8)

Fig. Fig.3.6 3.6

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Using light and shadow to perceive moments

Lights and shadows play simply inside the chapel due to the minimalistic and straightforward design avoiding excessive use of shapes, colours, textures, openings, and elements that could obstruct and make the space look crowded. The result of these simple creations allows patterns of shadows to play inside the chapel. Likewise, the shadow produced by the cross-shaped opening being projected and extended in the ceiling, walls, and floor, never leaving the shadow static, simultaneously this makes emphasis in the north and south line showing the depth and orientation of the building. (Fig. 3.9-10)

Fig. 3.7

Fig. 3.8

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Even though there are several openings to allow natural light, the interior remains dark due to the shadows, these shadows extending the darkness on the concrete highlight the emptiness of the space creating an illusion that the mass of the building can dissolve. The intensity of light inside the chapel has various intensities throughout the day. It will evolve its luminescence by the passing of the hours; as the sun moves the light will continuously travel around the space changing the intensity of the light, the contrast, the patterns, and the shadows, the smoothness of the grey concrete act as a static background to project and emphasize these changes through time

Fig. 3.9

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Brightness and Contrast The contrast of lights and shadows is very evident; the sun creates patterns against the concrete surfaces, a strong relationship between the sanctuary and the light provides a strong visual contrast formed by the fierce brightness of the apertures and the concrete surfaces. (Fig. 3.8-9,17) The geometry of the openings is highlighted with energy when the strongest sun rays come through directly; also, when the direct brightness and contrast fill the emptiness of the space.

Fig. 3.10

69

Sources of light The cross-shaped opening being the most outstanding source of light in the building is located on the south wall. (Fig. 3.12) It is the most powerful source of light with its sharp brightness crossing through the narrow openings, which illuminates the walls floor and ceiling simultaneously, making a similar pattern of light that extends throughout the space. However, the visual effect concerning the material changes depending on the texture and colour. For example: on the dark wooden floor it is less visible in terms of quality compared to the other three concrete surfaces. (Fig. 3.18) However, the bright ray extends longer and more fluently due to the glossiness reflection of the wooden finish (more visible when facing the altar) (Fig. 3.12,17). Then the glazed opening in the west wall is the next element that is perceived, which does not provide any views of the outside but delivers diffused light indoors. Then looking upwards, a small aperture running along the crossing west wall makes the illusion that the walls are never touching, providing illumination to the ceiling and the space. The fourth opening of the chapel is a full-height aperture located at the back of the altar (the north wall) connected with the splay-wall, the opening responsible to make the transition from the bright outside through the dark insides, guiding its visitors through the dark acting as the main source of light which breaks the darkness inside the chapel.

Fig. 3.11: Drawings of aerial perspective, partial axonometric

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Fig. 3.12: Church of the Light, Osaka, architectural model

Light as a Tool: Structuring Surfaces

Fig. 3.13

The building is shaped simple and clear to avoid any ambiguity of special properties and ensure a firm sense of orientation indoors.

(Fig. 3.14,18) The exteriors as the interior are concrete-made, the light levels are controlled making the transition from the outside to the inside as a passage to the pure and sacred space and this likewise gives a sense of order to the overall structure. All the surfaces

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appear to be smooth, the wooden floor, as well as the concrete walls, has the characteristic of reflecting light but not in a sharp way just diffused light around the surfaces.

Even though the chapel is naturally dark, to preserve a mysterious ambience, the effects of the direct sun have the capacity to illuminate the colour of the chapel, which is grey, apart from the dark wooden floors. In this way the visual perception is not overloaded by a colour-crowded space, keeping this helps the overall clarity and stability of the space, and most importantly, serves its purpose, keeping a simple character of space in which light entering the space is the strong focal point. 48 As the walls are plain grey, the texture is enhanced by light, making it stand out. (Fig. 3.9) The porous natural effect that the concrete has highlights the dot marks left by the tension steel bars used in the construction, make the play of light and shadows more interesting, leaving both, a symmetric pattern and a story of the creation of the space. The intention of keeping the original naked and “unfinished� material has the purpose of establishing the proportions of the area when observing a repetitive pattern that surrounds the space.

Fig. 3.14 sketch plan representing the intensity and composition of Natural light by Nicolas Lebrasse

48

Masao Furuyama, Tadao Ando (Basel: Birkhauser, 1996), pp. 148-151.

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Fig. 3.15: ‘delicacy of drawing’, Sectional perspective drawing Church of Light, Nara Ha

Fig. 3.16: Orthographic drawings and analysis diagrams

Fig. 3.17: sketch representing the intensity and composition of Natural light by Nicolas Lebrasse

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Light as a building material The purpose of the chapel is to contemplate the light as a pure and powerful source that creates the ambience of a sacred space; the feel of being in a spiritual space and not just in a claustrophobic concrete box where one can feel trapped. As the natural light is the main element in the design of this building and the building and space will be nothing without it, or even substituted for artificial light it would not be the same as the shadows will always be static and it would not communicate the same feel and atmospheric characters. Having this point in mind, light in this example can be considered a crucial design element and a building material49

49

Tadao Ando and Richard Pare, The Colours of Light (London: Phaidon, 1996). p.127-130

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Fig. 3.18

75

76

Fig. 3.19. Jewish Museum, Daniel Libeskind, 2001, Berlin, Germany

The Building The Jewish Museum in Berlin designed by Daniel Libeskind (1956) shows all the criteria of light discussed in the past chapters. It has its own value.

Possesses a unique type of feeling displaying the history of The Jews of Germany conceptually, making an emphasis on the repercussions of the Holocaust.

Therefore, the need to analyse the light qualities is important, taking into account that the natural light in the Museum needs to express that powerful feeling to create a perception in order to make clear the feeling of the victims and commemorate the loss.50 Using architecture as a mean of emotion and narrative to a journey to experience the space that expresses feelings of emptiness, absence, and invisibility of the Jewish culture.

Fig. 3.20

50

Andrew Kroll, "AD Classics: Jewish Museum, Berlin / Daniel Libeskind", ArchDaily, 2010

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From outside it appears as if the interior spaces were similar in the perimeter (Fig. 3.24), although they are extremely complex, visitors enter through the Kollegienhaus (Fig. 3.20-21) the adjacent baroque building that apparently seems to be two different entities, but are actually connected by three underground axes passages, each representing the reality of the life of the victims.

Fig. 3.21

Visual perception The design process began when Libeskind located the homes of the Jewish and German citizens who were affected by WWII, together with important historical events and joined all the dots together to give birth to the shape and geometry language as well as the positioning of the windows.

Fig. 3.22

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Fig. 3.23

Fig. 3.24

Therefore, the façades work as a map, the narrow windows slicing through the coated zinc panels that clad the reinforced concrete structural façade.

Zinc is the material that was used in historical berlin construction by tradition, over time, it would oxidize and change the colour to a bluer tone, projecting dramatic displays of light to the insides moving through the exhibition spaces. (Fig. 3.31,38) The intended spatial sequence attempts to recreate the emotions to understand the complicated history. As a journey, it begins by descending into the ground, which evokes fear. Then the way is divided by passages arousing confusion, one of which shows a glimpse of light that seems like an escape route, the “Axis of Emigration” (Fig. 3.22, left side) the floor ascends gradually, and the walls start to get narrower, then once in front of the glass door that shows the garden the heavy door makes it difficult to escape. The other route named as “Axis of the Holocaust” (Fig. 3.22, right side, Fig.3.23) which is a dead-end passage with sharp edges leading to a black door with

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the feel of uncertainty, there is a third passage that leads to a very steep staircase the “Axis of Continuity” (Fig. 3.23). The passages are disorienting, extremely bright (almost uncomfortable) and change in proportions of spaces feel isolated and depriving making the overall perception of the place frightening and confusing symbolic to what the Jewish felt. 51

Using light and shadow to perceive movement Fig. 3.25

Fig. 3.26

Going out through the glass door that leads from the “Axis of Emigration” forty-nine concrete pillars emerging from the ground at the Hoffmann Garden of Exile and Emigration. (Fig. 3.24-26) Finally leaving a passage of uncertainty, looking up to an open sky, a moment of exaltation, as the false sense of freedom they experienced, them 51

Mary Ann Steane, The Architecture of Light (Abingdon, Oxon: Routledge, 2011), p. 171-188.

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moving on, the floor is on a 12-degree gradient, giving the visitor a sense of instability and lack of orientation experienced by the ones who were forced out of Germany.

The concrete pillars arranged in an array of 7x7 grow willow oak on top symbolizing hope (Fig. 3.24,25), even though it is not an internal space, the space fulfils the qualities of one by being enclosed with the pillars, and the lies of the visual connectivity to the outdoors but actually being a termination point, as there is no escape and will need to return to the uncomfortable passage Libeskind’s ability to translate experiences as such into architectural forms with the aid of light as a tool, perception, and proportions to manipulate materials. ‘The Invisible and visible are the structural features which have been gathered in this space’52 All of these sensations and perceptions are captured by the aid of the sharp light of hope as a freedom representation and the shadows of the structures that delimitate the passing of the hours.

Fig. 3.27

52

Howard Jacobson, "'An Afterthought of Violence'", The Guardian, 2007

81

Fig. 3.28

Fig. 3.29

Brightness and Contrast

Fig. 3.28

The black door at the end of the dark, narrow and sharp-edged “Axis of the Holocaust� (Fig. 3.29) gives the only access to the Holocaust Tower, again, a dead end. A Freestanding, several storeys high-enclosed void with a black painted ceiling. The reinforced concrete structure being cold material by nature unheated and entirely empty with the exception of a small opening, a sharp beam of light comes through it providing a minimal connection to the external world, no views and faint sounds of the city streets. (Fig. 3.2829).

A gradient of contrast between the uncomfortable brightness of the axis passages towards the enclosed darkness of the tower, showing only the

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silhouettes of the visitors with the ‘light of hope’53That is projected from the opening, designed to commemorate the tormented victims who suffered the Holocaust causing this effect of unfamiliar fear, bringing out physiological discomfort Embodies exclusion and incarceration.

Sources of light

Fig. 3.30

53

The “Axis of Continuity” escapes from the harsh, dark uncomfortable underground space, moving up as the motion of climbing from tightly enclosed space into a large naturally lit symbolizing escape as humans and Berlin as a city. The staircase appears very modest from below (Fig.3.30) but the perspective changes once ascending towards a more illuminated space where the dramatic play of light is created by the strip windows when looking back down at the path the concrete structures that span the three storeys of the museum, are visible all at once as if the space is collapsing bellow.

(Fig. 3.31)

Daniel Libeskind, Between the Lines (München: Architekturgalerie, 1991).

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Fig. 3.31

The second level that leads up from the middle of the stairs, contains mainly exhibition and circulation spaces, the museum is filled with a large amount of natural light, the visitors are able to view the city through the dramatic sliced windows, and continue through the museum’s permanent collections.

(Fig. 3.32-33)

There are large windows at the top of the building, where the offices of the museums are located, accommodating the employees in a functional way, where the thin strip windows throughout the rest of the façade serve the larger poetic design of the building.

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Fig. 3.34

Fig. 3.32

Fig. 3.33

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Fig. 3.35

Light as a tool: structuring surfaces Coming from the “Stair of Continuity” the intersections of the zigzagging plan form a 20-meter high void that connects the two buildings, called the Memory Void. (Fig. 3.36) The intention of this space is to express emptiness and absence Void refers to "that which can never be exhibited when it comes to Jewish Berlin history: Humanity reduced to ashes.” 54

54

Daniel Libeskind, Between the Lines ([München]: [Architekturgalerie], 1991).

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Fig. 3.36

The installation consists of ten thousand coarse iron faces covering the floor, symbol of the lost during the holocaust. A sculpture by the Israeli Artist Menashe Kadishman Fig. 3.36 (1932- 2015) titled “Shalechet” Fallen leaves. One is forced to pass through the void and walk on the faces causing them to echo through the void evoking an unpleasant feel55 (Fig. 3.35)

The void, as one of the six central structural elements, are clad in bare concrete, very similar to the holocaust tower, also cold and overwhelming, another opportunity to experience form and narrative through materiality.

The Light that comes in is dispersed gradually into the chamber entering through a small slit at the top of the space. Crashing to the sculpture faces that are not static making them move and reflect the light around the spaces, using that technique to structure light. ‘As one is able to physically occupy these spaces and look upward to the light above, but not physically escape throughout these vertical piercings’56 Fig. 3.37

55

Stephen Andenmatten, "Case Study - Jewish Museum Berlin by Daniel Libeskind", Issuu, 2012.

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Fig. 3.38: Studio Libeskind, Jewish Museum

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Light as a building material The narrow apertures that form the windows along the faรงade follow a precise matrix linked together by irrational and invisible lines, The randomness helps to hide the interior spaces, (Fig. 3.27) not giving information about scale or structure, on the contrary, provokes curiosity and the testament of a building with a mark showing only the patterns of randomness and uncertainty, with a structure that goes further than the physical or tangible realm addressing the social trauma and the absence of Jews in Berlin. Creating an open conversation between the past and present of the Holocaust, only structured with the aid of light perception, therefore, in this case scenario, also, light serves beyond illumination, but as a material that solidifies the purpose of the building.57

57

Andrew Orange, "Is Lighting the Most Important Building Material? | Orange Lighting", Orangelighting.co.uk, 2015

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CONCLUSION

This dissertation discusses the significance of natural daylight in the perception of architectural space as the main focus, as the general perception and significance of space can be improved greatly with the use of natural daylight. I have research cases that use particular ways of lighting to enhance the overall character of the space and taken them as examples to show the qualities of natural light as a design tool, with a further analysis of the Church of Light by Tadao Ando and the Jewish Museum of Berlin by Daniel Libeskind, as designs that represent overall use of light in a satisfactory way.

Light is not just as a visual element, as discussed in the past chapters, light is necessarily involved in architecture, it is the creator of the spatial character that reveals shape from obscurity, and could also decide the general impression of character of space by planning the atmosphere wanted and design features that will enhance the space.

As we saw with the works of Tadao Ando in the Koshino House, to use light and shadow to perceive a moment, Or, Peter Zumthor to use brightness and contrast to enhance the space of the Thermal Vals to make the spa appear more comfortable and relaxing. This being possible by manipulating the sources and direction of light. As the daylight deliver systems: the openings, light coming from above, from the side or even by having an open bright space, like Phillip C. Johnson with his Glasshouse that maximizes the experience of being surrounded by nature, this way the light allowed inside the building has its own properties to create ways of perception for the occupier.

The use of light as a tool in architecture has being used extensively in the design process with the purpose of define space with light using the

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properties of the space as the textures of the materials and the shadows, in addition to structure surfaces as the Kimbell Art Museum by Louis Khan that uses the curved ceiling to gently reflect the light into the gallery.

Furthermore, the correlation of spaces through light can be produced in a manner to connect, separate or differentiate spaces through light by allowing the surface and the structure to interact with the light in a desired approach to reveal the space in the relationship that we want the space to have with its other internal spaces and with the outside. With this said the light will empower the structure and the surface with brightness and shadows that will give the space a purpose in terms of luminance.

Without the aid of light much of the known architecture would not be perceived in the same way, for instance, the example used of the Reichstag Dome by Foster, that uses the light movement to capture and reflect the light around the dome and into the main chamber, or in the Church of Light

By Ando, that light creates an ambience of secrecy and divinity, or as in Libeskind’s museum to translate the feelings of the people that suffered the holocaust and project them around the building as a journey telling the story of what the Jews suffered.

I have taken series of examples of how special spaces have been created with light as an essential element of design, as light can create very powerful and meaningful places; it is in the architects and designers’ hands to use it to fulfil their design purposes, the only conclusion I can make has already been made by Louis Khan. “A room is not a room without natural light” 58

58

Tschumi.com, "Bernard Tschumi Architects", 2005

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LIST OF ILLUSTRATIONS

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Front cover: Matsuoka, Mitsuo, Chichu Art Museum, 2014 <http://www.yayoishionoiri.com/blog/category/all> [accessed 1 February 2016] Fig 1 Matsuoka, Mitsuo, Koshino House Couch, 2006 <Http://Ofhouses.Tumblr.Com/Post/123399097541/198-Tadao-AndoKoshino-House-And-Extension, 2006> [accessed 1 February 2016] Fig 2 Velux Stiftung, Therme Vals, 2012 <http://www.remodelista.com/posts/poetry-in-space-vals-thermal-spa-inswitzerland> [accessed 1 February 2016].

Fig 3 Coder, Lane, A Summer Visit to Philip Johnson’s Glass House, 2015 <http://www.architecturaldigest.com/gallery/glass-house-summer-lanecoder-slideshow#8> [Accessed 1 February 2016] Fig 4 Casa Luis Barragan, AD Classics: Casa Barragan / Luis Barragan, 2016 <http://www.archdaily.com/102599/ad-classics-casa-barragan-luisbarragan/> [accessed 1 February 2016] Fig 5 Ewing, James, Fulton Center Skylight, 2016 <http://www.archdaily.com/780271/fulton-center-grimshaw> [accessed 1 February 2016] Fig 6 Springs greens, Louis I Khan Kimbell, 2001 <http://springgreens.tumblr.com/image/13821663490> [accessed 1 February 2016] Fig 7 Binet, Hélène, Kunsten Museum of Modern Art, 1998 <http://www.helenebinet.com/photography/architects/alvar-aalto.html> [accessed 1 February 2016] Fig 8 Archi Central, Extension to The High Museum of Art, 2008 <http://www.archicentral.com/extension-to-the-high-museum-of-artatlanta-usa-renzo-piano-2896/> [accessed 1 February 2016] Fig 9 Baan, Iwan, HEART Herning Museum of Contemporary Art in Herning, 2008 <http://divisare.com/projects/20055-Steven-Holl-Architects-HEARTHerning-Museum-of-Contemporary-Art-in-Herning> [accessed 1 February 2016] Fig 10 dar-quitectura, Temppeliaukio Church, Helsinki, 2009 <http://architecturepastebook.co.uk/post/43880372180/andreykravchenk o-temppeliaukio-church> [accessed 1 February 2016]

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Fig 11 Roberts, Dominic, Gothenburg Law Courts, 1999 <https://www.flickr.com/photos/stoneroberts/220205801/> [accessed 1 February 2016] Fig 12 BMiz, The Reichstag Dome, Berlin, 2009 <https://www.flickr.com/photos/benmizen/5740000774/> [accessed 1 February 2016] Fig 13 Kezkeyz, Paul, Render Me Speechless, 2015 <http://architizer.com/blog/render-mespeechless/#.VkT9sOhWlBE.pinterest> [accessed 1 February 2016] Fig 14 Photorator, Jewish Museum Berlin - Daniel Libeskind - Berlin Germany, 2016 <http://photorator.com/photo/12906/jewish-museumberlin-daniel-libeskind-berlin-germany-> [accessed 1 February 2016]

Chapter 1 • • •

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Fig 1.1 Houra, Martin, Koshino House Tadao Ando <http://showcase.houra.cz/koshino_house/> [accessed 1 February 2016] Fig 1.2 Houra, Martin, Koshino House Tadao Ando <http://showcase.houra.cz/koshino_house/> [accessed 1 February 2016] Fig 1.3 Henry Plummer, Light Matters <http://www.archdaily.com/627695/light-matters-heightening-theperception-of-daylight-with-henry-plummer-part2/554911b0e58ece50290007e5-light-matters-heightening-the-perceptionof-daylight-with-henry-plummer-part-2-photo> [accessed 1 February 2016] Fig 1.4 Miragstudio, Tadao Ando Official Website <http://blog.miragestudio7.com/tadao-ando-official-website/106/> [accessed 1 February 2016] Fig 1.5 JAKUBIK, Amanda, Koshino House By Tadao Ando, 2013 <http://trendland.com/koshino-house-by-tadao-ando/> [accessed 1 February 2016] Fig 1.6 JAKUBIK, Amanda, Koshino House By Tadao Ando, 2013 <http://trendland.com/koshino-house-by-tadao-ando/> [accessed 1 February 2016] Fig 1.7 Houra, Martin, Koshino House Tadao Ando <http://showcase.houra.cz/koshino_house/> [accessed 1 February 2016] Fig 1.8 to 1.10 Chang Hanway, Christine, Poetry in Space: Vals Thermal Spa in Switzerland, 2014 <http://www.remodelista.com/posts/poetry-in-spacevals-thermal-spa-in-switzerland> [accessed 1 February 2016] Fig 1.11 Fieldguided, Therme Vals Hotel and Bath, In Vals, Switzerland, 2016 <http://blog.fieldguided.com/2011/05/bathing-culture-guest-post-

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by-taraof.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Fee d:+blogspot/fieldguided+(fieldguided)> [accessed 1 February 2016] Fig 1.12 to 1.14 Coder, Lane, A Summer Visit to Philip Johnson’S Glass House, 2015 <http://www.architecturaldigest.com/gallery/glass-housesummer-lane-coder-slideshow#8> [accessed 1 February 2016] Fig 1.15 Casa Luis Barragan, AD Classics: Casa Barragan / Luis Barragan, 2016 <http://www.archdaily.com/102599/ad-classics-casa-barragan-luisbarragan/> [accessed 1 February 2016] Fig 1.16 Ewing, James, Fulton Center Skylight, 2016 <http://www.archdaily.com/780271/fulton-center-grimshaw> [accessed 1 February 2016] Fig 1.17 Dezeen Mag, First New York Subway Commuters, 2014 <http://www.dezeen.com/2014/11/12/grimshaw-fulton-center-transithub-new-york-subway-opens/> [accessed 1 February 2016] Fig 1.18 The Fulton Expected to Be Completed In 2014., 2012 <http://aproposed-world.tumblr.com/post/44416437067/the-fulton-centre-is-atransportation-hub> [accessed 1 February 2016] Fig 1.19 De zeen Mag, First New York Subway Commuters, 2014 <http://www.dezeen.com/2014/11/12/grimshaw-fulton-center-transithub-new-york-subway-opens/> [accessed 1 February 2016] Fig 1.20 Ewing, James, Fulton Center Skylight, 2016 <http://www.archdaily.com/780271/fulton-center-grimshaw> [accessed 1 February 2016]

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Fig 2.1 & 2.2 Springsgreens, Louis I Khan Kimbell, 2001 <http://springgreens.tumblr.com/image/13821663490> [accessed 1 February 2016] Fig 2.3 & 2.4 Acroll, HUMBOLDT's GIFT, 2010 <http://arcroll.tumblr.com/post/1462490517/aalto> [accessed 1 February 2016] Fig 2.5 ArchiCentral, Extension to The High Museum of Art, 2008 <http://www.archicentral.com/extension-to-the-high-museum-of-artatlanta-usa-renzo-piano-2896/> [accessed 1 February 2016] Fig 2.6 WAM Journal, Atl 219 <http://openbuildings.com/buildings/highmuseum-of-art-extension-profile-2782> [accessed 1 February 2016]

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Fig 2.7 to 2.13 Steven Holl, HERNING MUSEUM OF CONTEMPORARY ART <http://www.stevenholl.com/projects/herning-museum> [accessed 1 February 2016] Fig 2.14 & 2.15 Darquitectura, Temppeliaukio Church, Helsinki, 2009 <http://architecturepastebook.co.uk/post/43880372180/andreykravchenk o-temppeliaukio-church> [accessed 1 February 2016] Fig 2.16 to 2.18 Seier + Seier, Gunnar Asplund, 2006 <http://www.flickr.com/photos/seier/515198435/> [accessed 1 February 2016] Fig 2.19 to 2.25 Foster + Partners, Reichstag, New German Parliament <http://www.fosterandpartners.com/projects/reichstag-new-germanparliament/> [accessed 1 February 2016]

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Fig 3.1 Houra, Martin, Koshino House Tadao Ando <http://showcase.houra.cz/koshino_house/> [accessed 1 February 2016] Fig 3.2 Studio Libeskind, Jewish Museum <http://libeskind.com/work/jewish-museum-berlin/> [accessed 1 February 2016] Fig 3.3 kasugaoka, ibaraki, Church of Light <https://uk.pinterest.com/pin/401453754264423403/> [accessed 1 February 2016] Fig 3.4 & 3.5 Detail Inspiration, A Second Look - Tadao Andos Church of Light in Ibaraki, 2016 <http://www.detailonline.com/inspiration/discussion-a-second-look-tadao-andos-church-oflight-in-ibaraki-107219.html> [accessed 1 February 2016] Fig 3.6 Houra, Martin, Koshino House Tadao Ando <http://showcase.houra.cz/koshino_house/> [accessed 1 February 2016] Fig 3.7 & 3.8 Deviant Art, Church of Light, 2015 <http://www.deviantart.com/browse/all/traditional/drawings/?q=tadao+a ndo&order=5> [accessed 1 February 2016] Fig 3.9 & 3.10 Verena, Antje, AD Classics: Church of The Light / Tadao Ando, 2011 <http://www.archdaily.com/101260/ad-classics-church-of-thelight-tadao-ando> [accessed 1 February 2016] Fig 3.11 4th Year Project, Mirror of Drafting, 2006 <http://mdnauck.com/projects.asp?id=60> [accessed 1 February 2016]

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Fig 3.12 & 3.13 STU, Victor, Tadao Ando, Church of Light, 1987 <http://victortsu.tumblr.com/post/61752745599/tadao-ando-church-oflight-1987-via-réunion> [accessed 1 February 2016] Fig 3.14 Labrosse, Nicholas, Sketches Representing the Intensity and Composition of Natural Light, 2016 <https://uk.pinterest.com/pin/401453754264423400/> [accessed 1 February 2016] Fig 3.15 Ha, Nara, Back on Track Church of Light, 2015 <http://dip9.aaschool.ac.uk/page/11/?p=uaixvufotbl> [accessed 1 February 2016] Fig 3.16 Yee Zhing, Lim, 1 Journey for the 5 Senses <http://zhing0205.wix.com/lyzarchitecture#!design-studio-3/ckaz> [accessed 1 February 2016] Fig 3.17 Lebrasse, Nicholas, Sketches Representing the Intensity and Composition of Natural Light, 2016 <https://uk.pinterest.com/pin/401453754264423400/> [accessed 1 February 2016] Fig 3.18 Archpaper, Delicate Balancing Act, 2012 <http://archpaper.com/uploads/qa_ando_05.jpg> [accessed 1 February 2016] Fig 3.19 Studio Libeskind, Jewish Museum <http://libeskind.com/work/jewish-museum-berlin/> [accessed 1 February 2016] Fig 3.20 Yatzer, Overview Captured with Apple Maps. Satellite Imagery from Digital Globe., 2014 <https://www.yatzer.com/daily-overviewcaptivating-satellite-images-earth> [accessed 1 February 2016] Fig 3.21 Studio Libeskind, Jewish Museum <http://libeskind.com/work/jewish-museum-berlin/> [accessed 1 February 2016] Fig 3.22 to 3.24 Studio Libeskind, Jewish Museum <http://libeskind.com/work/jewish-museum-berlin/> [accessed 1 February 2016] Fig 3.25 Ghinitoiu, Laurian, Jewish Museum Berlin / Daniel Libeskind., 2015 <http://www.archdaily.com/773361/daniel-libeskinds-jewish-museumberlin-photographed-by-laurian-ghinitoiu/55f0890be58ece3c06000004daniel-libeskinds-jewish-museum-berlin-photographed-by-laurianghinitoiu-photo> [accessed 1 February 2016] Fig 3.26 to 3.28 Studio Libeskind, Jewish Museum <http://libeskind.com/work/jewish-museum-berlin/> [accessed 1 February 2016]

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Fig 3.29 Rosso, Fiore, Tadao Ando Church, 2011 <http://fiorerosso.tumblr.com Visitar> [accessed 1 February 2016] Fig 3.30 Studio Libeskind, Jewish Museum <http://libeskind.com/work/jewish-museum-berlin/> [accessed 1 February 2016] Fig 3.31 to 3.33 Denker, Leilani, Tracing Patterns: Jewish Museum, 2014 Fig 3.34 Libera, Aigor, Berlino: Museo D'arte E Cultura Ebraica., 2012 <http://www.juzaphoto.com/me.php?p=2178&pg=17319&l=it> [accessed 1 February 2016] Fig 3.35 Foster, Alex, Jewish Museum Berlin, 2013 <https://alexjfoster.wordpress.com/2013/04/25/jewish-museum-berlin/> [accessed 1 February 2016] Fig 3.36 to 3.38 Studio Libeskind, Jewish Museum <http://libeskind.com/work/jewish-museum-berlin/> [accessed 1 February 2016]

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