Healing architecture with light and colour by Narpal Singh

Title: Healing architecture through light and colour: An exploration on correcting illuminance levels and passive colour generation in architecture. Narpal Singh s/o Jigeet Singh A0072871B

A dissertation submitted in partial fulfilment of the requirements for the degree in Master of Architecture, 10th September 2014

Department of Architecture School of Design and Environment National University of Singapore

Abstract: The paper explores alternative methods of perceiving daylight techniques in sustainable architecture through the use of various case studies. Illuminance levels often peak at areas close to the fenestration but drop drastically at spaces further away. The aim is to correct illuminance levels through a space providing for a greater spread of controlled day lighting. A study on the behaviour of light is done in two parts; one that it behaves as a wave before it comes into contact with a human eye, and the second that it behaves as combination of waves and energy when it reaches the human eye. In this manner, illuminance is defined by the former and colour, by the latter. Passive colour generation techniques are also explored in this paper. The function of colour is thoroughly examined. The query of how colours generate psychological and biological reactions from people is evaluated. As a result, passive colour generation techniques are explored to work with these causes. Eventually, an idea of laminating diffraction grating film on LCP is explored as a material possibility that produces a â&#x20AC;&#x153;healing architecture with light and colour.â&#x20AC;? Since, colour generation only occurs on surfaces with low illuminance levels, this works perfectly in this scenario, as colour generation will be focused on regions closer to the elevation fenestration and daylight transferred equally to the deeper regions of the space. A fresh expression of daylight in sustainable architecture is found and a design tool is developed for use on an architectural scale after analyzing all the current technologies that are present in the market today.

Key words: Laser cut light reflecting panels (LCP), passive colour generation, correcting illuminance levels, diffraction grating, daylight, sustainable architecture

Supervisor: Dr. Shinya Okuda

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Acknowledgements:

Firstly, I would like to thank Dr. Shinya Okuda and Dr. Samina Azeemi for their unwavering support and expertise. I would like to offer my sincerest gratitude to my mentor, Dr. Shinya Okuda, who guided me throughout my dissertation. His patience, advice and consistent support, allowed me to complete my dissertation without much difficulty in these three months.

I would also like to acknowledge my friends for their guidance and encouragement. They believed I could complete my dissertation well even though I had no prior knowledge on this topic. This was a motivation for me. Special thanks goes out to Crystal Chew.

I would like to thank my family members, especially my parents for supporting me to pursue my dreams. Without their encouragement, I would not be at this stage of my life today.

Finally, I would like to thank God for giving me the chance to live through this experience. Sometimes in life, you donâ&#x20AC;&#x2122;t need a plan. Just breathe, trust, let go and see what happens. â&#x20AC;&#x201C;Mandy Hole

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Table of Contents Chapter 1: Introduction ............................................................................. 1 1.1 Background ............................................................................................................................................ 1 1.2 Research objective .............................................................................................................................. 2 1.3 Hypothesis:............................................................................................................................................. 8 1.4 Methodology .......................................................................................................................................... 9

Chapter 2: Understanding daylight......................................................... 11 2.1 A brief history ..................................................................................................................................... 11 2.2 Wave theory......................................................................................................................................... 12 2.3 Properties of wave theory in focus ............................................................................................ 13

Part 1 - Healing architecture through light- A study on correcting illuminance levels ...................................................................................... 18 Chapter 3: The expression of illuminance correction strategies in sustainable architecture ............................................................................ 19 3.1 Santa Monica Parking Structure #6 // Behnisch Architekten + Studio Jantzen (2013) ............................................................................................................................................................ 21 3.2 Somfy-Phillips ..................................................................................................................................... 24 3.3 Cross-Analysis..................................................................................................................................... 27 3.4 Conclusion ............................................................................................................................................ 28

Chapter 4: Laser Cut light reflecting Panels (LCP) .............................. 29 4.1 Background .......................................................................................................................................... 29 4.2 Performance ........................................................................................................................................ 32 4.3 Use and application .......................................................................................................................... 33 4.4 Conclusion ............................................................................................................................................ 37

Part 2- Healing architecture through colour â&#x20AC;&#x201C; A study on passive coloured light generation .......................................................................... 38 Chapter 5: Colour and Human Responses ............................................. 39 iii | P a g e

5.1 Psychological Implication of Colour .......................................................................................... 40 5.3 Interview analysis with Dr Samina Azeemi (Professor of Physics, University of Balochistan, Quetta, Pakistan) ............................................................................................................ 42 5.4 Conclusion............................................................................................................................................ 44

Chapter 6: Passive colour generation in sustainable architecture (A light that reveals) ....................................................................................... 45 6.1 SwissTech Convention Centre //Richter Dahl Rocha (2014) ........................................ 46 6.2 La Defense: Almere Pear //UN Studio (2004) ...................................................................... 49 6.3 Cross -Analysis ................................................................................................................................... 53

Chapter 7: Passive colour generation techniques using daylight (The revelation, that is light) ............................................................................. 55 7.1 Kongens Nytorv Metro Station (Copenhagen) //KHR Architekter (1994) .............. 55 7.2 Helen and Peter Bingâ&#x20AC;&#x2122;s Childrenâ&#x20AC;&#x2122;s Garden - Prism Tunnel (San Marino, California) //Ned Kahn (2004) ................................................................................................................................. 59 7.3 Cross Analysis..................................................................................................................................... 62

Chapter 8: Results and analysis ............................................................... 63 8.1 Healing architecture with light and colour ............................................................................ 63 8.2 Proposed design tool analysis ..................................................................................................... 64 8.3 Performance ........................................................................................................................................ 71 8.4 Economic Cost .................................................................................................................................... 72 8.5 Design Implication ............................................................................................................................ 73 8.6 Conclusion............................................................................................................................................ 73 8.7 Limitations ........................................................................................................................................... 73 8.8 Further explorations ....................................................................................................................... 74

List of appendices: ..................................................................................... 76 Interview transcript ................................................................................................................................ 76

Bibliography............................................................................................... 80 References: .................................................................................................................................................. 80

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Books: ............................................................................................................................................................ 80 Journals: ........................................................................................................................................................ 81 Websites: ...................................................................................................................................................... 83

Word count: 10,373

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List of figures:

Fig 1.1: Two peasant women digging in a snow-covered field at sunset, 1890, by Van Gogh

3 Fig 1.2: Illustration of Newton’s prism experiment showing that light produces colour and not the prism

4 Fig 1.3: Artist’s impression of the moment when Newton made the ground-breaking discovery

Fig 1.4: Understanding illuminance

Fig 1.5: Illuminance level chart

Fig 2.1: Chart of different types of waves

Fig 2.2: Behaviour of light waves

Fig 2.3: Types of reflection

Fig 2.4: Principles of diffraction and dispersion respectively

Fig 2.5: The bending of light waves in diffraction (Close up)

Fig 2.6: Passive colour generation from diffraction grating film

Fig 2.7: Dispersion of light through a prism

Fig 3.1: Anidolic Daylight System (ADS) sectional view

Fig 3.2: Diagrammatic light duct mechanics

Fig 3.3: Elements of parking structure façade design

Fig 3.4: Detailed view of parking structure light duct system

Fig 3.5: Diagrammatic relationships between sun angle, blind angle and level of

artificial lighting Fig 3.6: Rendered view of internal space with low angle evening sun

Fig 4.1: Diagrammatic relationship between light shelf and sun angle

Fig 4.2: Interior render of diffused light direction using a light shelf

Fig 4.3: Laser Cut light Reflecting Panels prototype

Fig 4.4: Percentages of incident daylight redirected

Fig 4.5: LCP used as adjustable louvers and daylight redirection

Fig 4.6: LCP used as venetian blinds and daylight redirection

Fig 4.7: LCP used in atria skylight and daylight redirection

Fig 5.1: Successful treatment of young boy through chromotherapy

Fig 6.1: Grätzel façade

Fig 6.2: Summer visualization

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Fig 6.3: Section

Fig 6.4: Grätzel façade treatment

Fig 6.5 Light from Grätzel cells

Fig 6.6: Bird’s eye view of the complex

Fig 6.7: Contrast of monotony (urban) and vibrancy (private)

Fig 6.8: Variation of passive colour generation

Fig 6.9: Glass cladding with laminated iridescent foil

Fig 6.10: Interior view from the offices to the courtyard space

Fig 6.11: Threshold between interior and exterior spaces

Fig 6.12: The foil exhibiting a large spectrum of colours

Fig 7.1 Pyramid shaped skylights on street level

Fig 7.2: The skylights are fitted with prisms

Fig 7.3: Light on the platform level that has been dispersed by the prism

Fig 7.4: Light on the walls of the concourse level that has been dispersed by the prism 57 Fig 7.5: Longitudinal section of the underground metro station relative to skylights

Fig 7.6: Platform perspective of the metro station

Fig 7.7: Site plan of children’s garden

Fig 7.8: Artist’s impression of children’s garden

Fig 7.9: View of prism tunnel from exterior

Fig 7.10: Entrance to Prism tunnel

Fig 7.11: Intricate patterns of coloured light from diffraction gratings from the ceiling 61 Fig 8.1: Rendered view of LCP laminated with diffraction grating implementation

Fig 8.2: Film has ability to reflect a variety of colours when there is incident light on it 66

(Scale 1:10)

Fig 8.3: When there is no incident light, the film is absolutely transparent (Scale 1:10) 67 Fig 8.4: Passive colour generation casted follows the geometries on the LCP. LCP deflecting incident light to the ceiling Scale (Scale 1:10) Region A: Colour Generation, 68

Region B: deflected light by LCP and Region C: incident daylight Fig 8.5: Colour generation is more vivid in shaded regions (Scale 1:10) Region A: Colour Generation, Region B: diffused light by LCP and Region C: incident daylight. Subtle bends are observed in region A which reflects that colour formations takes the geometry of the LCP.

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Fig 8.6: Comparison of illuminance level on ground with LCP and without LCP (Scale 1:10) Region A: Colour Generation, Region B: diffused light by LCP and Region C: incident daylight

Fig 8.7: Passive colour generation by Diffraction grating film using daylight

List of tables

Table 1: Research methodology

Table 2: The three theories of psychological implication of colours stimuli

Table 3: Comparison of all illuminance correcting technology

Table 4: Comparison of all passive colour generating technology

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Chapter 1: Introduction

1.1 Background The key objective of this paper is to question the position of “sustainability” in sustainable architecture. From the intellectual conceivement of architecture as a subject of study in the middle ages, buildings and their envelopes have always been regarded as barrier to protect the people inhabiting the inside space from the environmental conditions that exist on the outside. (Dahl, 2010) With this, an artificial environment is created within the architecture. The relationship between the architectural space and our natural environment is almost always completely diluted. It has always been the role of the architect to protect his inhabitants from the harsh conditions of weather and at the same time express his architectural intent through the creative process of design. Often, this leads to the creation of hermetic architecture that completely ignores the positive aspects that weather can provide for as well. Thus, in this paper, examples of architectural ideas will be discussed where projects highlight this sustained dialogue between the natural environment and architectural intervention allowing for the celebration of responsive architecture through a contemporary understanding of weather and built environments.

The subject of sustainability has taken centre stage in the discipline of architecture preceding the post-modern movement, which focuses on a form saturated design pedagogy. With the spotlight shifting from the industrial age, mechanizing everything at the expense of the environment, the emphasis has now shifted to using energy systems that are closed loop. They are built from and disintegrate back into the environment. This idea of “cradle-to-cradle” can be argued as one that is utopian and immense in terms of the reach of study, not a ball game that can be played to entertain, even for a considerable number of internationally renowned think-tanks. However, one of the linchpins of this movement is the interpretation of weather and the manner in which we express it in architecture. According to Neeraj Bathia and Jurgen Mayer H. in their book –arium, the notion of sustainability can be classified under two branches of adaptive reuse and the creation of environmental-atmospheric relationships. My research will 1|Page

focus on the latter and it will reinvent the current understanding on what weather means to sustainable architecture. The focus will be on daylight.

For example, if we were to assess the matter of daylight, there is a potential of going beyond the solar heat gain and loss aspect of the envelope and pushing the notion of light further as a colouring tool. When light is split to its true form, it displays a spectrum of colours. The spaces are coloured and then the colours return back to nature with time. At the same time, these colours can be used as a service to human rehabilitation. People with Cutaneous Leishmaniasis for example have been successfully treated through exposure to red light. (Azeemi, Samina T. Yousuf, 2011) To understand the value of sustainability, it is essential to appreciate nature in its purest forms and to utilize it for purposes that it can be exploited for. The crux of this probe is to bridge the gap between the undesirable environmental conditions and the optimal use of daylight through innovative façade systems and designs that form a dialogue with the weather. To appreciate this paper, it is integral to be aware of the correspondence of these two elements. Once this has been established, then the performance based aspects of the façade will be extended through the context of social engagement and benefit. Sustainability should be addressed not just through building but through the framework of culture, function and people.

1.2 Research objective John Turell stated, “Light is not so much something that reveals, as it is itself the revelation.” (Plummer, 2003) However, time and again, in architecture we see a heavy focus on the “revealing” aspect of light and hardly its revolutionary dexterity. The sages of daylight, from Tadao Ando to Jean Nouvel, have shown almost absolute mastery in the former aspect of daylight but have hardly generated a ripple in the latter. Therefore, I feel that there is a need to re-evaluate the position and interpretation of daylight in architecture.

Many lessons can be learnt from the understanding of art and its intimate proximity to architecture. One such instance is in the work of Vincent Van Gogh. “Van Gogh exploited as well the modern knowledge of light being broken down in the sky as complementary wavelengths, playing intense yellows and blues of one another, 2|Page

juxtaposing colours to make the canvas vibrant and strangely luminescent.â&#x20AC;? (Plummer, 2003) Unlike his predecessors, as an artist, Van Gogh expressed light not in the clarity of white but instead through the composite of the different colours that it is actually composed of. This provided for a novel interpretation in the reading, contemplation and expression of light that was different from those observed before this time.

Fig 1.1: Two peasant women digging in a snow-covered field at sunset, 1890, by Van Gogh (Source: http://upload.wikimedia.org/wikipedia/commons/8/86/Van_Gogh__Zwei_grabende_B%C3%A4uerinnen_auf_schneebedecktem_Feld.jpeg)

This knowledge was already available in 1672 when Sir Isaac Newton discovered the phenomenon through his prism dispersion experiment. Previously, the masses believed that it was actually prisms that coloured light through the control of lightness and darkness but by introducing a second prism to reconstitute the bundle of colours back into white, Newton proved that it was indeed light that was the revelation.

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Fig 1.2: Illustration of Newtonâ&#x20AC;&#x2122;s prism experiment showing that light produces colour and not the prism (Source: http://chipl.edublogs.org/files/2010/11/Reverse-light-spectrum-yy6cje.jpg)

Van Gogh took this knowledge and expressed it through his paintings. This reference then begs the question of whether this phenomenon can be transferred and applied to the academia of architecture. It must be clear that although the Newtonian theory is used to understand how light behaves as an entity; this autonomy will not be imposed on how people react to light. The process governed by this law only goes so far as the human eye. This convergence of biologically transcendent and energetic fireworks that take charge thereafter will be discussed in the later chapters.

In architecture, the quantity and quality of light are the two major aspects that have to be considered. Eventually, the delivery and execution of lighting is key to the representation of space. The next step is to inquire with what tools can we measure the quantity and quality of light that is desired.

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Fig 1.3: Artistâ&#x20AC;&#x2122;s impression of the moment when Newton made the groundbreaking discovery (Source: http://jdgrunert.files.wordpress.com/2013/10/newton-prism-experiment-2.jpg)

There are several integral lighting terms that have to be understood before any form of light analysis can be done, namely, illuminance and luminance. It is key to distinguish the difference between them. To understand these terms, a simple diagram can be constructed to illustrate this relationship.

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Fig 1.4: Understanding illuminance (Source: http://www.met.reading.ac.uk/pplato2/h-flap/phys6_2.html)

The easiest way to understand the difference between the two would be to think in terms of what exactly happens to a beam of light when it strikes a surface. From Fig 1.4, we can see a beam of light (incident ray) directly striking a surface. Let us think about what happens to this beam of light when this happens. In this scenario, we can see that the light behaves in two distinct manners. Some of the light is reflected from material 1 whereas some of it is refracted into material 2. To distinguish between illuminance and luminance, we have to understand what happens to the incident light as it strikes the surface. Luminance is what is measured off the surface of an object that has light hitting it, which is also considered the human perception of brightness or how bright the light is when it is reflected off the surface. Illuminance is measured as the amount of light striking a surface. This study will focus on the correction of illuminance levels in a space. The SI unit for illuminance is lux.

By definition, the lux (lx) is the SI unit of illuminance and luminous emittance, measuring luminous flux per unit area. It is equal to one lumen per square metre. The figure below shows how optimum illuminance levels relate to certain activities.

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Fig 1.5: Illuminance level chart (Source: http://www.ilo.org/oshenc/images/stories/enlarged/Part06/LIG_imgs/LIG021T1.jpg )

Usually, in a room, we experience a high level of illuminance at openings, where a high concentration of light passes through the envelope. Daylight levels decrease asymptotically with the distance from the window. (Okuda, Yang, Wittkopf, 2012) This results in glare problems as it leads to a high level of contrast and an uneven distribution of light. The main objective to heal a space with an opening would be to normalize this graph such that the illuminance levels at the opening and inside a given space are balanced. In addition to correcting illuminance levels through the space, an additional passive light generation treatment, through the use of diffraction grating, will also be introduced to provide for coloured lighting. This works perfectly with this scheme which seeks to produce these colours at the areas near the faรงade, as diffracted grating colour generation works best when illuminance levels are reduced to a minimum.

Unlike stained glass where the colours are casted through the beam of light shining directly upon it, the spectrum of the grating is only casted vividly, where there is shadow. The impact of these colours, generated in this manner, to human responses will also be discussed. Work that proves that the exposure, perception and interpretation of colour has recorded scientific impacts on the human brain and body will also be 7|Page

evaluated. The goal of this paper is then to propose an optimum internal environment that can provide for a space that is healed through a well-balanced illuminance levels and in turn heal people with the passive colours it produces using a sustainable daylighting interface.

1.3 Hypothesis: The exposure to colour has psychological and biological impacts on the human response system of people. Corrected illuminance level in a space contributes to the well-being of people through visual comfort and lowers economic costs. The use of LCP laminated with diffraction grating can provide for a suitable design tool that corrects illuminance (500 lux, 750mm from ground), provides for incident daylight distribution and colour generation with low economic costs, good performance and design flexibility.

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1.4 Methodology The initial ignition of the study comes with looking for an alternate view of sustainable architecture. The focus was given to daylighting and the exploration of architectural expressions that can come with looking at this aspect from a fresh outlook. The first thing that has to be done is to understand light. The history, application, theorization and behaviour of daylight in both physics and architecture. Next, this paper is organized in two main parts. The first part covers all the references in the current position of sustainable architecture with respect to daylighting and the second part will involve the understanding of colour and the psychological and biological impact it has on people. Eventually, a design tool will be developed that can be adapted for architectural use relating to both these causes. In order to objectively evaluate the credibility and value of the proposed design tool, it is crucial to understand the processes that lead up to it.

Sustainability

Daylight

Illuminance

•Re-evaluation of framewrok •Environmentalatmospheric relationships

•Correcting lluminance •Passive Colour Generation

•ADS •Somfy-Philips •LCP

Passive colour generation •Gratzel cells •Iridescent foil •Prism •Diffraction grating

Development of new design tool •LCP and diffraction grating

Table 1: Research methodology (Source:http://www.indutec-holding.de/uploads/pics/qualitaetsmanagement_01.jpg, http://www.decoradvisor.net/wp-content/uploads/2013/05/contemporary-interior.jpg, http://www.solartran.com.au/norman_park_school_files/image002.jpg, http://upload.wikimedia.org/wikipedia/commons/0/0b/Dispersive_Prism_Illustration_by_Spigget.jpg, Author’s own)

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Chapter 2: Understanding daylight 2.1 A brief history According to mainstream history, until the 1600’s there has been no scientific explanation to the mechanics of light. To state briefly, before the wave theory was credited for the acknowledged elucidation of visual phenomenon, two groups of scientists were at loggerheads regarding the interpretation of light. They can be categorized under the headings of emissionists and wave theorists. The former believed light to be “a sequence of rapidly moving particles subject to forces exerted by material bodies.” Wave theorists, however, thought of light as “a spreading disturbance in the omnipresent ether.” We can already identify subtle indications of two schools of thought, which are coherent with our current wave-particle theory understanding of light, albeit unsubstantiated at that time.

Sir Isaac Newton believed light was a composition of tiny particles. In 1678, Christiaan Huygens provided a means of visualizing wave propagation by stating that there were waves that travel up and down perpendicular to the direction of travelling light. This became known as “Huygen’s principle”. As time went by there were many proponents of Huygen’s principle like Thomas Young and Augustin Fresnel who proved that light indeed existed as a wave introducing several changes to the laws through the scientific method. As a result by the mid 1800’s, given the influence of wave theory in explaining contemporary experiments, the scientific community were in overwhelming favour of wave theory as the explanation to light. The emissionists on the other hand, fell far behind until the introduction of Max Planck and Albert Einstein in the 1900’s.The existence of a light quantum was proposed by Max Planck in 1900. Einstein further built on this ground proving that light is composed of tiny pockets of energy named photons. However, this property of light can only be appreciated on an atomic scale. We can hardly use this information to study how light behaves until it reaches the human eye. We will utilize this theory in great detail the moment the light has reacted with the

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human eye and energy driven processes take place. In the first part of the paper, the focus is on the control and delivery of light. Therefore, to first familiarize ourselves with this process, the predominant theory that will be utilized would be the wave theory of light. In the second part of the paper, when visual perception and human responses come into question, the latter will be explained.

2.2 Wave theory The light that is visible to the eye is only a tiny proportion of the energy emitted by the sun. The only component of the electromagnetic spectrum that we can see is the visible portion. It is depicted in the illustration below.

Fig 2.1: Chart of different types of waves (Source: http://sob.nao-rozhen.org/userfiles/image/green%20flash/EM_spectrum.jpg)

From this visible fraction, we only still perceive daylight to be white, which comes as a mixture of all the colours in the spectrum. The different wave properties of white light are depicted in Fig 2.2.

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Fig 2.2: Behaviour of light waves (Source: http://images.tutorvista.com/cms/images/39/properties-of-light.png)

There are five major behavioural properties of light. They are reflection, refraction, interference, dispersion and diffraction. The only properties that we will be discussing with regards to this paper are the reflection, diffraction and dispersion of light. Interference will be utilized briefly as a means to provide for further exploration at the end to propel the development of the proposed design tool.

2.3 Properties of wave theory in focus The first property of light that will be discussed is the reflection of light. The image below depicts the fundamentals of this property.

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Fig 2.3: Types of reflection (Source: http://www.opticampus.com/nature_light/images/Slide15.GIF)

The two forms of reflection that will be discussed are specular reflection and diffuse reflection. The image at the top describes how the law of reflection works. It states that if a ray of light approaches a flat surface then the angle at which it strikes the surface is equal to the angle at which it is reflected from the surface. Reflections off smooth and completely even surfaces always lead to specular reflections, where all the angles of reflection are the same. On the contrary, reflections that occur on rough surfaces like clothing and asphalt roads lead to diffuse reflections where the angle of incidence of each ray is only equal to the angle of reflection of that particular ray. This would give a variation of angled reflections through the surface. This knowledge is imperative to the later part of the paper where incident rays have to be channelled from the LCP to the deeper areas of a volume to ensure balanced illumination.

The next two properties of light, dispersion and diffraction will be discussed together as they possess the ability to break white light into its constituent colours.

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Fig 2.4: Principles of diffraction and dispersion respectively (Source: http://physwiki.ucdavis.edu/Optics/Components/Lenses/Diffraction_Gratings)

The property of diffraction is depicted in illustration one of Fig 2.4. The small bending of light through the edge of an object causes diffraction.

Fig 2.5: The bending of light waves in diffraction (Close up) (Source: http://ww2010.atmos.uiuc.edu/(Gh)/guides/mtr/opt/mch/diff.rxml)

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The size of the opening relative to the size of the wavelength of light directly influences the amount of bending observed in the light. Therefore, if the difference between the opening size and the size of the wavelength is large, then the bending of light is not noticeable. However, if the two are relatively close, then the bending is observable with the naked eye, hence the formation of component colours. The image below shows a double axis diffraction of light when passed through a film with 13,500 lines/mm.

Fig 2.6: Passive colour generation from diffraction grating film (Source: http://2.bp.blogspot.com/_fFraTyopZ0/TISkEDcHfLI/AAAAAAAAAHo/WeaGYR8cfzg/s200/Colour+spectrum.JPG)

Fig 2.7: Dispersion of light through a prism (Source: http://www.tutorvista.com/physics/dispersion-of-white-light)

Dispersion is another property of light that has the ability to split light. Illustration two of Fig 2.4 shows this property. Unlike diffraction, it works on a completely different 16 | P a g e

mechanism. There is an in depth scientific explanation with reference to the optical density of this phenomenon. In layman terms, since white light is made up of its constituent colours, when it enters glass, it undergoes refraction where the component colours are bent at different degrees. Indigo and violet light have shorter wavelengths and they bend the most whereas the colours that bend the least are red and orange, as they have longer wavelengths. There have been studies done on metamaterial prisms that can manipulate the bending of the constituent colours, rearranging the order of the colours that are bent (Silveirinha, 2009), but for this paper, we will focus on the conventional prism. Rainbows are natural phenomenon that occurs through this principle. It occurs through the dispersion of sunlight through water droplets in the sky. The water droplets here act as a transparent medium or prism. In architecture, daylight has more often been viewed as a property of illumination and contrast than as a device of balanced illuminance and colour generation. Only in recent times have we seen a shift in this perception. Next, we will look at architectural strategies that have been established to achieve spaces with corrected illuminance levels.

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Part 1 - Healing architecture through light- A study on correcting illuminance levels

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Chapter 3: The expression of illuminance correction strategies in sustainable architecture Three technologies that have shown aptitude in correcting illuminance levels will be discussed in this part, namely, the light duct system, Somfy-Philps and LCP. The objective of analyzing these case studies is to familiarize ourselves with the level and direction of technology in the market today with reference to correcting illuminance levels in the context of sustainable architecture. The purpose behind introducing all three systems is to ensure a more in-reaching distribution of light from the elevation fenestration to the depth of a room. This is to reduce the load on artificial lighting and also to improve the working environment for the occupants through higher visual comfort. Besides being energy efficient, daylight control is also beneficial for the wellbeing of the occupants. There are advantages and disadvantages in each system and they will be discussed.

Fig 3.1: Anidolic Daylight System (ADS) sectional view (Source: http://origin-ars.els-cdn.com/content/image/1-s2.0-S0038092X10000277-gr1.jpg)

Although the promise of an ADS system is encouraging, it must be established that all the efficiencies of the system have only been recorded in a simulated environment. 19 | P a g e

(Linhart, Friedrich, Wittkopf, and Scartezzini, 2010) There are no built forms available. Despite not strictly following the conventional design of the traditional light duct system, the next project shows a variation of the system that stems from the same principles, integrated into a public building.

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3.1 Santa Monica Parking Structure #6 // Behnisch Architekten + Studio Jantzen (2013) Project Overview: This development in Santa Monica is one of the more recent projects that have taken the principle behind the light duct system and adapted it to a communal setting. The programme of the building is fundamentally a public parking structure. The faรงade is an adaptation of a light duct. It is implemented as a light enhancement screen, which has been assembled to guide light into a deeper space and reducing glare from the faรงade.

Fig 3.2: Diagrammatic light duct mechanics (Source: http://www.archdaily.com/530512/city-of-santa-monica-parking-structure-6-behnischarchitekten-studio-jantzen/)

There are two components in this faรงade design. The first are the folded panels that direct the light from the high angle sun through mirrored internal panels. The second is 21 | P a g e

the perforated unfolded faรงade component that allows low angle sun to penetrate the space, at the same time providing a high level of visual transparency.

Fig 3.3: Elements of parking structure faรงade design (Source: http://www.archdaily.com/530512/city-of-santa-monica-parking-structure-6-behnischarchitekten-studio-jantzen/)

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Fig 3.4: Detailed view of parking structure light duct system (Source: http://www.archdaily.com/530512/city-of-santa-monica-parking-structure-6-behnischarchitekten-studio-jantzen/)

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3.2 Somfy-Phillips Architecture always falls in the danger of being static objects that fail to react to environmental conditions to optimize the internal environment for the occupant. Although weather patterns are predictable, they are hardly stable. They vary through the year and much investment has gone into the research and development of dynamic facades to compensate for this downside. This is one of the systems that have been put in place for this purpose.

Fig 3.5: Diagrammatic relationships between sun angle, blind angle and level of artificial lighting (Source: http://www.iesve.com/software/somfy-philips/somfy_philips_1.png)

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The next case study (Philips Electronics, 2012) is a motorized venetian blind illuminance control system that directly relates to the level of artificial lighting utilized in the building. Fig 3.5 depicts this relationship. Somfy-Philips states that 75% of a building’s energy consumption is used for lighting and heating/cooling. The main objective of this technology is to invent a system that manipulates daylight to control this percentage. “Somfy - Philips ‘light balancing’ system is a dynamic solar shading and lighting control system, which reacts by taking into account the occupant presence and external climatic conditions in order to achieve visual comfort when a space is occupied and energy saving when the space is vacant.” The mechanism is easy to understand, as the venetian blinds are electronically controlled to avoid glare while the luminaire photo sensors are positioned to dim or intensify lighting depending on the amount of daylight penetrating into the indoor space. Visual comfort is a key element in this design system. The system can be bypassed via a real time strategy remote control.

A product analysis study was done to observe the potential energy savings of this technology to explore its potential benefits on heating, cooling and lighting energy demands through the IES Virtual Environment, an advanced dynamic simulation tool, for five different climatic conditions - Abu Dhabi, Paris, Beijing, San Francisco and Singapore. This was done on a seven story office building model. The results showed that this technology reduces overall energy consumption from 2.2% to 7.7% via reductions in both lighting energy usage and internal cooling loads. (Ya, Nolan, Wheatley, McEwan, 2013) The biggest variation in energy usage is dependent on location and climatic conditions. The same technology was used in both Singapore (equatorial) and Beijing (humid subtropical) and it was ten times more effective in the former. This implies that it is essential to understand how a certain technology reacts to its context. Another conclusion that was made is also that much higher savings could be achieved if these factors are considered the quality of the shading, occupant behaviour, occupation rate and the application of the building, and the efficiency of the lighting system. (Ya, Nolan, Wheatley, McEwan, 2013)

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Fig 3.6: Rendered view of internal space with low angle evening sun (Source: http://www.newscenter.philips.com/pwc_nc/be_nl/standard/about/news/downloads/somfycoll/somfy_doc .jpg)

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3.3 Cross-Analysis With reference to the two case studies, we can acknowledge the fact that, research teams have introduced greater complexities into existing daylighting systems. Despite still tweaking conventional ADS systems in a simulated environment, with extensive research done on the different composing elements (inner reflectors, distributor element etc.) architects have taken components of its construct and adapted it to their designs. The parking structure, using a dual façade system is very successful in moderating both high angle and low angle light in terms of glare, from the façade into the structure. However, the reach of this corrected illuminance level is in question. Theoretically, given the large span of the parking structure, the maximum depth that could be impacted by the introduction of this façade would be 6 meters from the façade. A strategy that could be implemented to combat this shortcoming would be to introduce a light well at locations that meet this threshold. As a result, introducing a light duct system will indubitably impose design implications. An entire system has to be placed at a chosen part of a project. The overall design would have to be subjected to the performance of the system. It must be established that this is not a small system that has no spatial consequence. Ceiling heights would have to be compromised. Façade considerations would have to be made. Furthermore, there is also the question of economic cost and maintenance. Therefore, although this system is successful in correcting illuminance levels in a space, it puts the design integrity in a compromised position.

Most kinetic façade systems that are in development in the market today fail to correct illuminance levels but simply shelter the fenestration from direct daylight. However, in the recent Somfy-Philip motorized venetian blind façade system, we see an exception union of a kinetic façade system and correcting internal illuminance levels. This system is almost perfect in moderating the amount of daylight penetrating into a space. Studies also show that context is key to strategy implementation. Yet, we have to question if this is architecture or simply a fixture that can be attached to a building. In terms of lighting, this fixture and the architectural space are undoubtedly interactive but in terms of construction and architectural design, they are divorced.

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3.4 Conclusion From these case studies we can see that there are various technologies that are being developed at the moment with reference to daylighting and sustainability. There is much that can be taken from the projects and much that should be omitted from further progression. Since the goal of this paper is to utilize daylighting as a tool of balanced illuminance in a space, the only aspects that we will be focusing on are those that contribute to this cause within the contexts of economic cost, performance and design implication.

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Chapter 4: Laser Cut light reflecting Panels (LCP) 4.1 Background Glare is reduced from areas near the fenestration with the implementation of a light shelf. The disadvantage is that it collects dust over time.

Fig 4.1: Diagrammatic relationship between light shelf and sun angle (Source: http://archrecord.construction.com/resources/images/0512lutron2.jpg)

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Fig 4.2: Interior render of diffused light direction using a light shelf (Source: http://www.lighthome.com.au/Images/Dear%20Design%20Expert/get-the-light-in/lightshelf.jpg)

Laser cuts are made in thin sheets of acrylic sheets in the manufacturing of LCP. Instead of designing a fitment, which is a light shelf, this acrylic sheets are a direct adaptation of the light shelf. The laser cuts act as mirrors which deflect the incoming incident light. The variables are the depth of the cuts, the distance between the cuts, the angle of the incident light and the inclination of the LCP panel. It is very cheap to fabricate and can be done with a laser machine.

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Fig 4.3: Laser Cut light Reflecting Panels protoype (Source: Photo by Narpal Singh, samples by Dr Shinya Okuda, July 2014)

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4.2 Performance The strengths of the material are, (a) Large angle deflections of more than 120째 produce a great quantity of deflected (b) Panels give undisrupted line of vision (c) Manufacturing flexibility (d) The deflection of light is near specular reflection, thus easy to predict and control.

Fig 4.4: Percentages of incident daylight redirected (Source: I.R Edmonds, P.J Greenup, Daylighting in the tropics, Solar Energy, Volume 73, Issue 2, August 2002, Pages 111-121, ISSN 0038-092X, http://dx.doi.org/10.1016/S0038-092X(02)00039-7. (http://www.sciencedirect.com/science/article/pii/S0038092X02000397))

As the deflection of incident light is almost specular, the deflection transfer is high, much more efficient than prismatic glass. An essential feature to take note of is the fact that LCP deflects lights very effectively from higher angles of incidence and transmits light with low angle with no disturbance. This maintains the views of the space to the external environment. There is a correlation of the light deflected with respect to the cut width and depth on the sheet. The pricing can go up to US$100 per square metre for large areas.

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4.3 Use and application There are several ways to implement the LCP on the fenestration. The most conventional was is to fix the panel inside the existing glazing. However, if the LCP laser cuts do not extend fully through the panel or if it is laminated within thin glass sheets, it can be used as an external glazing as well. More control can be gained to control the deflection of light through imposing an angle on the laser cuts. In the simplest application, incident light above 45째 will be deflected if the LCP is fixed as a vertical element in a window. Incident light below 20째 will be transmitted with no disturbances. (I.R Edmonds, P.J Greenup, 2002) In its application, it behaves very similarly to a light shelf through diffused illumination. A case study done in the equatorial region, namely Rio De Janeiro, Brazil, shows that the use of LCP with venetian blinds can reduce the total energy use of a building by 37%. The LCP here is used in the clerestory. It is extremely effective in correcting illuminance levels in a space and lowering the energy use of a building. Another application shows the use of LCP as movable louvers, acting as venetian blinds themselves through the day. The movable components (LCP) are subjected to 2/3 of the fenestration and the fixed LCP on the other 1/3. When they are used in unison, in this manner there is very high shading coefficient and good daylight transmission. (I.R Edmonds, P.J Greenup, 2002) For example, in illustration (a) of Fig 4.5, when the bottom two thirds of the movable LCP component deflects the incident light away from the fenestration, the top one thirds, which is fixed and not depicted in the figure, still deflects diffused light into the space.

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Fig 4.5: LCP used as adjustable louvers and daylight redirection (Source: I.R Edmonds, P.J Greenup, Daylighting in the tropics, Solar Energy, Volume 73, Issue 2, August 2002, Pages 111-121, ISSN 0038-092X, http://dx.doi.org/10.1016/S0038-092X(02)00039-7. (http://www.sciencedirect.com/science/article/pii/S0038092X02000397))

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Fig 4.6: LCP used as venetian blinds and daylight redirection (Source: I.R Edmonds, P.J Greenup, Daylighting in the tropics, Solar Energy, Volume 73, Issue 2, August 2002, Pages 111-121, ISSN 0038-092X, http://dx.doi.org/10.1016/S0038-092X(02)00039-7. (http://www.sciencedirect.com/science/article/pii/S0038092X02000397))

Again, application and energy use are related. The level of natural light in a deep space can increase up to 30% if the LCP is placed on the upper one third of a normal window. (Edmonds, 1992) Shading with venetians can boost the daylight gains. The previous explanation of Fig 4.5 provides the best outcome with dramatic light penetration into a space. (I.R Edmonds, P.J Greenup, 2002) Also, energy savings depends on context. This technology is perfect for areas with a large amount of high angle sun through the year, like the equatorial region. Additionally, Fig 4.7 shows the adaptability of LCP on a skylight.

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Fig 4.7: LCP used in atria skylight and daylight redirection (Source: I.R Edmonds, P.J Greenup, Daylighting in the tropics, Solar Energy, Volume 73, Issue 2, August 2002, Pages 111-121, ISSN 0038-092X, http://dx.doi.org/10.1016/S0038-092X(02)00039-7. (http://www.sciencedirect.com/science/article/pii/S0038092X02000397))

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4.4 Conclusion In conclusion, this part of the paper has looked at all the potential illuminance correcting technologies in the market today, including the proposed material, LCP. The strengths, weaknesses and implications of each technology was also assessed. One of the most important pieces of information that was gathered is the fact that location and context are key in the implementation of any technology. The incident sun angle at different times of the day can be predicted in different regions of the world but simply relying on the extrapolations from this fact does not guarantee reliable results.

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Part 2- Healing architecture through colour â&#x20AC;&#x201C; A study on passive coloured light generation

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Chapter 5: Colour and Human Responses Before proceeding into this chapter that analyzes what colour is, given the vast area of this topic, it is important to establish that we will only be looking at colour through the capacity of the human responses it generates. Following this, there will be case studies done on the architectural expression of passive colour generation and how it draws on the response system of people. The processes are both human and scientific.

Colour is perceived by the eye through different wavelengths of light carried to us by our surroundings and interpreted by the brain. (Nassau, 1998) Without light there would be no colour. Light reflects off surfaces, triggering an electromagnetic response in the eye, which in turn translates into colour within the brain. Our perception of colour is dictated by its hue (actual colour), its intensity or depth of tone (saturation) and its brightness, creating shade and shadow.

Some studies argue that only objects that emit their own light, like the sun, actually projects “true” colour and others that do not only prove to reflect inaccurate projections of colour. Arguments alike, various papers assert that colour itself does not exist as an entity, but for the scope and sake of argument for this paper, we will take the perceived colour of an object as an entity. The key question to answer is, “does the exposure to colour have any implication on the human response system?” There are various thresholds of human responses but there are two that we will be looking at, namely, psychological and biological.

Let us return to the theories of understanding light. Before this juncture, we have predominantly looked at light in the form of a wave, given the interactions it has had with us. However, the moment light comes in contact with the human eye, processes becoming far more complex. “Newtonian ideas helped us to understand solid matter and moving objects found in the earth's gravitational field. Einstein, however, through his renowned equation E = mc2, determined that energy and matter are dual expressions of the same universal substance.” (Klotsche, 1993) Therefore, here on, we must look at

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light as both wave and energy. The Newtonian understanding of light limits us greatly to the observable. The introduction of Einstein’s approach transforms the vision of the human body from an assemblage of mechanical components to the understanding of an absolute system working together with the cosmos. Therefore, to understand the relationship between colour and people, Newtonian mechanics would have to be transcended into a far more complex understanding of non-physical energies. (Klotsche, 1993)

5.1 Psychological Implication of Colour Many researchers believe that colour induces various responses from human beings. There have been several theories attempting to categorize this phenomenon. Three of these theories will be discussed and through the use of a case study, validation will be provided on their legitimacy. They are outlined below: Theory

Responses to colour

Learnt and subjective

General and innate

A combination

Table 2: The three theories of psychological implication of colours stimuli

The paper that was reviewed, (Hettiarachchi, Anishka, and De Silva, 2012), studies these three scenarios. According to the surveys held through their sample size, responses to colour seem to be general and innate (theory B) “Red and orange (79%) was dominating in their imaginations as appetizing and blue as least appetizing (60%). None (0%) imagined red as a calming colour and blue (2%) as a violent colour. The study also revealed certain learnt emotional responses. For instance, white (51%) was found to be calming, suspect to be a religiously and socially learnt emotion.” (Hettiarachchi, Anishka, and De Silva, 2012) This study proves that each individual colour does indeed have a psychological impact on people. (Hettiarachchi, Anishka, and De Silva, 2012)

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5.2 Biological Implication of Colour There is a rich history in the use of colour in the field of medicine. In fact, the ideology of colour medicine is one that dates back as far as any other denomination of medicine from as far back as 2000BC. One interesting fact to note is that the Russians were developing this form of healing very exhaustively until post-world war two. If we were to engage scientific databases, it becomes clear that there was plenty of interest in this field right until the 1960’s when it seems like all research came to a premature standstill. However, all the research that has been retrieved will be used in this paper for the development of a cogent argument. “Colours generate electrical impulses and magnetic currents or fields of energy that are prime activators of the biochemical and hormonal processes in the human body, the stimulants or sedatives necessary to balance the entire system and its organs.” (Babbitt, 1942) In modern times, one who has contributed to the rediscovery of this knowledge, in his book titled, The Principles of Light and Colour, is Edwin Babbitt. He held firm to a belief that the union of science and philosophy should not be given the blind eye in the adherence to chaste mathematical derivations. He speaks about a great variety of subjects in his book that comes under the umbrella of “pseudo-science” as we know it today, and one of the chapters he broaches is the healing capacity of colour therapy.

He contextualized his claims through applications of his theories on the ailing population. He invented various instruments, for example, a distinctive cabinet that split light into its seven colours and the focalization of this light on burns, stopping excessive bleeding and headaches etc. were extremely effective. One other thing that he utilized was water. Like the Greeks, Babbitt determined an association between colour and minerals, which he utilized to supplement his treatment with coloured light. He developed his medication by irradiating water with sunlight that was filtered through coloured lenses. He asserts that this “potentized water” retained the energy of the crucial constituent within the coloured filter used and worked wonders for the ailing. If we were to analyze what he was trying to explain here, it would most certainly be the fact that water had the ability to store memory. It would be used as a medium to transfer data from one element to another. It is difficult not to draw a correlation to Dr. Masaru Emoto’s research on the memory of water. However, this is a feud for another day. 41 | P a g e

There are many other physicists from the likes of Ghadiali to Klotsche and Messer who have carried on researching after Babbitt trying to scientifically prove the biological implications of colour and they have made baby steps towards their goal. If a system were limited by its existence then the only perspective that is available would be defined through that lens, all else ridiculed as madness. However, today we find major breakthroughs in this once thought of fantasy through the work of Dr Azeemi.

5.3 Interview analysis with Dr Samina Azeemi (Professor of Physics, University of Balochistan, Quetta, Pakistan) To gather more knowledge on the scientific standing of using coloured light to treat diseases, an interview with Dr Samina Azeemi was conducted. Dr Azeemi has spent most of her academic career studying the effects of coloured light on people with diseases and its influence on potentizing water. She has written close to ten papers on the scientific journal with the results she has obtained. After going through the interview and looking through her papers and her personal manuscripts it is apparent that the biological implications of chromotherapy are very real. Take for example, in one of her studies, she successfully treated, Cutaneous Leishmaniasis, which is a form of open ulcerated lesion on the exposed part of the body using the electromagnetic spectrum of light. The procedure was simple and extremely cost efficient. All that was needed was a 60 watt incandescent light bulb or direct sunlight and cellophane paper, which can be purchased at any stationary shop. The results for the treatment are shown below.

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At the start

After 7 days

After 30 days

Fig 5.1: Successful treatment of young boy through chromotherapy (Source: Dr Samina Azeemi, August 2014)

After thirty days of exposure to predominantly green and red light, which were found to be most effective, from a distance of 0.8m for 30 minutes daily, this boy was cured of his disease with no side effects or relapse. (Azeemi, Yasinzai, Raza, 2011) The more mainstream method of treating this disease is via antimonal injections that take twenty days of daily dosage and with exponentially higher costs. Side effects are also commonplace in chemical medication. There are various other eye opening studies that have been done by her that prove the efficiency of chromotherapy in curing diseases. In the interview, she stated â&#x20AC;&#x153;I think colour therapy can be used for treating all kind of diseases but my faith is that it is more useful when treatment is given free of cost.â&#x20AC;? If the treatment comes from a free source of energy like the sun, then faith is restored to her closing words. Since the biological implications of colour can be academically proven, we should embrace its contributions to the scientific realm and discover techniques in which architecture can utilize the power of coloured light through design to provide for natural healing for the masses.

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5.4 Conclusion We have already seen certain more mainstream breakthroughs in some processes where the exposure of light to human beings has helped in healing processes. One of these applications is in the treatment for jaundice with blue light. Also, in 1990, there was a report by scientists to the American Association for the Advancement of Science during an annual conference that stated that blue light was used to successfully treat addictions, eating disorders and depression. Red light was effective in treating cancer, constipation and healing wounds. Next let us look at the current technologies of passive colour generation in sustainable architecture. This information will be presented in two parts. The first part will be through material technology that passively colour the light and the second component will be through material technology from which light that has been split into its spectrum passively provides for colour.

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Chapter 6: Passive colour generation in sustainable architecture (A light that reveals) The next part of this paper seeks to explain the colouring ability of light and its current application in architecture today. We see various interpretations of it through the use of materials like PV integrated stained glass and through processes like the lamination of iridescent foil. One of the main questions that has to be answered through the study of these projects is what, eventually is the function of colour in these spaces and through which form of technology it has been generated. Why use colour and what does it say about an architectâ&#x20AC;&#x2122;s interpretation of space.

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6.1 SwissTech Convention Centre //Richter Dahl Rocha (2014) Project Overview

Fig 6.1: Grätzel façade (Source: Image Courtesy of SwissTech Convention Center and Northern District)

This project is the first architectural scale project in the world to use EPFL’s dyesensitized solar cells called Grätzel Cells. To understand how this works, like green plants and algae, these cells use a molecular absorber, the dye, to harvest sunlight and generate electric charges. The cells also utilize the principle of stacking, where the sunlight can penetrate through multiple monolayers before getting extinguished. According to Michael Gratzel, this is a critical component of their invention. Now, there is even a very high efficiency in the ambient light conditions of the cells. In an interview, he goes on to say that this pioneering invention is the first in the world that can be integrated in building fenestrations and still harness energy for the overall building use. Besides generating energy for the building it also reduces heat gain through the coloured façade. These are very different development processes that are completely different from conventional solar cell utility. Through his radical thinking,

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he has reengineered a solar cell that is far more efficient in capturing sunlight in addition to its many other advantages.

Fig 6.2: Summer visualization (Source: Image Courtesy of SwissTech Convention Center and Northern District)

Fig 6.3: Section (Source: Image Courtesy of SwissTech Convention Center and Northern District)

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Fig 6.4: Grätzel façade treatment (Source: Image Courtesy of SwissTech Convention Center and Northern District)

Fig 6.5 Light from Grätzel cells (Source: Image Courtesy of SwissTech Convention Center and Northern District)\

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6.2 La Defense: Almere Pear //UN Studio (2004) Project overview The La Defense office complex is constructed out of two volumetric elements that outline an inner courtyard space. The exterior façade is a direct reflection of the urban conditions. They are constructed out of silver aluminium panels. The interior courtyard spaces were however designed for the users of the complex. To break the monotony of everyday routine, the façade is clad with glass panels that have been laminated with iridescent foil. This foil emits a different colour at different times of the day, dependant on the angle of incidence from the sun. This creates a dynamic façade with constantly evolving interior and exterior spaces.

Fig 6.6: Bird’s eye view of the complex (Source: http://unstudiocdn3.hosting.kirra.nl//uploads/original/7d4df3a6-2153-468c-aa8d4b111db8b464/2615067616)

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Fig 6.7: Contrast of monotony (urban) and vibrancy (private) (Source: http://www.buildingbutler.com/images/gallery/large/building-facades-621-1381.jpg)

Fig 6.8: Variation of passive colour generation (Source: http://bywojtek.net/wp-content/uploads/2013/03/Netherlands-WojtekGurak02.jpg) 50 | P a g e

Fig 6.9: Glass cladding with laminated iridescent foil (Source: https://c1.staticflickr.com/9/8297/7853225050_c3c548cd5e_z.jpg)

Fig 6.10: Interior view from the offices to the courtyard space (Source: http://unstudiocdn2.hosting.kirra.nl//uploads/original/18a1e823-a71f-4970-bd05ca13e7050d09/2615067600)

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Fig 6.11: Threshold between interior and exterior spaces (Source: http://www.e-architect.co.uk/images/jpgs/holland/la_defense_offices_almere_unstudio07_3.jpg)

Fig 6.12: The foil exhibiting a large spectrum of colours (Source: http://api.ning.com/files/mWqPv8RWzR7T87IiZTNwItBYoQjxHdYV1rE9XcSTnEalgzqh3OkDaRPz-PQac62RShWMzzAwNvae8BhfCOc*2CTvd9Lzyz/1.jpg)

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6.3 Cross -Analysis From these references, we can see where the sustainable use of colour is headed in architecture. In the Swiss Tech Convention Centre, the use of PV cells is intelligently embedded in the coloured panels that eventually give a similar end product to that of stained glass, but with electric charging properties. The expression of colour here is used as a metaphor for passive energy cultivation. When the colours are sprayed across the floor, energy is being generated. Once when the colours disappear, passive energy generation also come to a halt. This is a possible psychological implication of the coloured spaces; however, from the use of the space and the execution of the technology in this project, it is more likely that the architect is trying to exhibit the transparency of the solar panels and its ability to adapt to the fenestration features of an architectural space. Nevertheless, this project shows us an alternative technological possibility. These solar panels can be adapted to a building with a different programme, like a medical centre, and provide chromotherapy for the patients and at the same time generate energy for the building, given its transparency and flexibility of form.

In the project of the La Defense building by UN studio, the utility of a material that has not been previously used in conventional architecture has allowed for a very robust expression of colouring spaces. One challenge that the studio faced was the lamination process of foil onto the glass panel but they seemed to have overcome it with a continuous flow a cladding on the façade. Here, colour is seen as the transitional element of space. However, as previously mentioned, this strategy still plays on the “revealing” aspect of light and not what a revelation it is. In theory, light has the ability to manifest all the colours that are projected through stained glass. As we know, this project is one that has been designed for office spaces. One of the overarching themes of this project is the delegation of the interior courtyard and exterior façade space. UN Studio has reinforced the point that the coloured spaces of the interior courtyard are solely for the use of the patrons in the complex. Here, it is difficult not to identify that the purpose of introducing these colours in the project is for the rehabilitation of the worn out, routine subjected mind. All the colours of the spectrum are present in the iridescent foils and the architect understands that interaction with these colours heals the tired mind. 53 | P a g e

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Chapter 7: Passive colour generation techniques using daylight (The revelation, that is light) In this section of the paper, we will discuss projects that have exploited the colouring property of light itself in their designs. The first project is the Kongens Nytorv metro station that uses prisms to disperse light into its primary colours. The second project is an installation by Ned Khan in the Helen and Peter Bing childrenâ&#x20AC;&#x2122;s garden called prism tunnel. This project uses the principles of diffraction grating.

7.1 Kongens Nytorv Metro Station (Copenhagen) //KHR Architekter (1994) Project Overview: A series of metro stations were designed by KHR Architektur along the Copenhagen line in Denmark. They all have similar design themes with visual continuity being of primary focus from the platform to the street level. These were achieved through the devices of pyramidal skylights that allow for daylight penetration all the way to the platform level. Prisms were fitted in these skylights to allow for the natural dispersion of light into its spectrum of colours.

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Fig 7.1 Pyramid shaped skylights on street level (Source: http://www.arcspace.com/features/khr-as-architects/copenhagen-metro/)

Fig 7.2: The skylights are fitted with prisms (Source: http://www.arcspace.com/features/khr-as-architects/copenhagen-metro/)

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Fig 7.3: Light on the platofrm level that has been dispersed by the prism (Source: https://www.flickr.com/photos/anetq/9723380827/)

Fig 7.4: Light on the walls of the concourse level that has been dispersed by the prism (Source: https://c1.staticflickr.com/1/82/217136273_7d0a4b35d0.jpg)

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Fig 7.5: Longitudinal section of the underground metro station relative to skylights (Source: http://www.arcspace.com/CropUp/-/media/716234/khr_as-copenhagen_metro%20(5).jpg)

Fig 7.6: Platform perspective of the metro station (Source: http://i.imgur.com/b5PeB.jpg)

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7.2 Helen and Peter Bing’s Children’s Garden - Prism Tunnel (San Marino, California) //Ned Kahn (2004) Project overview: Ned Kahn was presented with the task of designing a playground for kids in California. What he intended to do was not to engage a child so much in the world of literal education but more on the level of sensory perceptions. As a result, he designed various play stations that taps on the magic that is our senses and took completely different design pedagogy when it comes to educating our young. One installation that is of interest in this project is the prism tunnel. White light that is incident on the ceiling goes through diffraction gratings to split it into its spectrum of colours.

Fig 7.7: Site plan of children’s garden (Source: http://www.huntington.org/uploadedImages/Files/images/childgardmap.jpg)

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Fig 7.8: Artist’s impression of children’s garden (Source: http://www.huntington.org/uploadedImages/Files/images/childgarddwg.jpg)

Fig 7.9: View of prism tunnel from exterior (Source: http://www.lotsafunmaps.com/view.php?id=4136)

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Fig 7.10: Entrance to Prism tunnel (Source: http://bennittdesign.com/images/DSC_1790_edit-cropped.jpg)

Fig 7.11: Intricate patterns of coloured light from diffraction gratings from the ceiling (Source: http://nedkahn.com/wp-content/uploads/2012/10/prism-400.jpg)

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7.3 Cross Analysis These projects show one aspect of how light itself is a phenomenon. There are other qualities to light that we have not yet mastered in the field of architecture. As for the project in the Kongen Nytorv metro station, the use of prisms to disperse the light is lacklustre. The amount of light that is dispersed is minimal and the main focus is on daylight reaching the platform. Instead, if they would have made the pyramidal skylights themselves as a stacked series of prisms, the effect would have been far more elaborate. The point of interest is then why add this expression of colour to the station. A train station is a transitory space. More often than not, in spaces like these, we see architects finding a need to insert notions for contemplation, like art pieces, or what the Land Transport Authority of Singapore (LTA) have decided to call them, murals. However, that might not have been a priority for the architects, hence the lack of care displayed in the execution of the component.

As for the installation by Ned Kahn, prism tunnel, this is the first time diffraction gratings have been used in a scale like this to interact with people. The intention here is extremely clear, teaching children the beauty of light and colour through their senses. This is a very stimulating gesture in design as diffraction grating film is flat and if incorporated with poise it can be adapted to an architectural scale. A similar construction as previously seen in the La Defense building by UN Studio can be used. The foil can be laminated to glass cladding and fitted on an overall structure. This opens the possibility of transferring this innovation to a kindergarten for example where children can be taught with their senses.

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Chapter 8: Results and analysis The role of the architect is changing with time. One point of view is given by Astrid Piber, who states that “In contemporary architectural practice, the relationship between experimentation and physical implementation has become more immediate, propelling design processes.” The position of material and its use is key to this evolution. “Innovative application and use of materials have since lead to visionary design ideas which in turn have triggered building technology to advance and to facilitate the production of innovative architecture.” (Piber, 2009) This in turn has a major impact on the design processes that follow. When prefabrication of such visions are done, immediate feedback is recorded. Spatial determination and material sensibility are in flux. This is the adaptation of predominant façade systems to more flamboyant sustainable interpretations.

8.1 Healing architecture with light and colour Through the course of this paper, we have fundamentally looked at two techniques that have contributed to enhancing daylighting expressions in sustainable architecture. The first is the concept of correcting illuminance levels in a space and the second is the advantages and potential of passive colour generation in architecture. To arrive at the current position, there were several things that were looked at in detail. One, is the behaviour of light in each of the two processes. There is a realization that light extracts different responses from people when it is in different forms. When it was studied for illuminance, it is clear that light behaves primarily as a wave to human perception.

However, when it was studied in the expression of colour, light started to display its wave-particle duality in its influence on human perception. The various case studies that were analyzed gives an in depth analysis on the manifestation of these two devices in an architectural capacity. This methodology had to be followed as one of the main aims of this paper is to gather the current developments of these devices in the practise of architecture so as to eventually propose a design tool for these functions through the use of LCP and diffraction grating film. The proficiencies of all the technologies are shown in the tables below. 63 | P a g e

Technology

Type

Performance

Economic

Design

Ease of

(illuminance

cost

implication

integration

correction) LCP

Light Shelf

Mid

Low

Flexible

Somfy-

Kinetic

High

Rigid

Phillips

System

ADS

Light Duct

Low

High

Rigid

Table 3: Comparison of all illuminance correcting technology

Technology

Colour

Performance

Economic

Design

View from

generation

(Colour

cost

Implication

fenestration

source

generating

High

Coloured

ability) Gratzel cells

Material

High

and refracted Iridescent

Material

High

Low

and clear

foil Prism

Coloured

Natural light

Low

High

Colourless and refracted

Diffraction

Natural light

High

Low

grating

Colourless and clear

Table 4: Comparison of all passive colour generating technology

8.2 Proposed design tool analysis After analyzing all the content that was discussed in the paper, a design tool was developed to showcase the properties of balancing illuminance and passive colour generation, through the use of LCP and diffraction grating, that could be adapted on an architectural scale. The main factors that were considered were chiefly, performance, economic cost and design implication. The two materials are shown in the images below and we will take the context of a small room (6600mm in depth) with the 64 | P a g e

adaptation of this tool only on the points marked (A) which is on the clerestory. The size of each clerestory is 1200mm by 600mm and it is situated in the equatorial region. The physical model is identical and was constructed to identify relationships between the uses of both the materials and to judge the illuminance correction and colour formation potential.

Fig 8.1: Rendered view of LCP laminated with diffraction grating implementation (Source: Photo and render by Narpal Singh, August 2014)

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Fig 8.2: Film has ability to reflect a variety of colours when there is incident light on it (Scale 1:10) (Source: Photo, Model and Diffraction grating samples by Narpal Singh, LCP Sample by Dr Shinya Okuda, August 2014)

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Fig 8.3: When there is no incident light, the film is absolutely transparent (Scale 1:10) (Source: Photo, Model and Diffraction grating samples by Narpal Singh, LCP Sample by Dr Shinya Okuda, August 2014)

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Region B

Region C

Region A

Fig 8.4: Passive colour generation casted follows the geometries on the LCP. LCP deflecting incident light to the ceiling Scale (Scale 1:10) Region A: Colour Generation, Region B: deflected light by LCP and Region C: incident daylight (Source: Photo, Model and Diffraction grating samples by Narpal Singh, LCP Sample by Dr Shinya Okuda, August 2014)

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Region A

Region B

Region C

Fig 8.5: Colour generation is more vivid in shaded regions (Scale 1:10) Region A: colour generation, Region B: diffused light by LCP and Region C: incident daylight. Subtle bends are observed in region A which reflects that colour formations takes the geometry of the LCP. (Source: Photo, Model and Diffraction grating samples by Narpal Singh, LCP Sample by Dr Shinya Okuda, August 2014)

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Region A

Region B

Region C

Fig 8.6: Comparison of illuminance level on ground with LCP and without LCP (Scale 1:10) Region A: colour generation, Region B: diffused light by LCP and Region C: incident daylight (Source: Photo, Model and Diffraction grating samples by Narpal Singh, LCP Sample by Dr Shinya Okuda, August 2014)

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Fig 8.7: Passive colour generation by diffraction grating film using daylight (Source: Photo and Diffraction grating samples by Narpal Singh, LCP Sample by Dr Shinya Okuda, August 2014)

8.3 Performance Illuminance Comparing the use of LCP to the technologies of Somfy-Philips and the light duct, in terms of balancing illuminance levels, LCP pales in comparison when used on its own against the former but is better than the latter. Somfy-Philips showcases astonishing aptitude in moderating the use of energy in a building by creating a system that forms a union between interior artificial lighting and exterior daylighting. The performance of LCP is enhanced when venetian blinds are introduced on the main fenestration. There is a possibility of combining both these technologies together to create one that has a very high performance. Also, instead of limiting the use of LCP to the clerestory, there are other strategies that can be implemented, like through the use of LCP as movable louvers, to increase its efficiency as a product. 71 | P a g e

Colour Comparing solely with the case studies that show light itself to be a revelation, the only competitor in terms of generating colour would be the prism. In terms of performance, the diffraction grating film is a far better option than the prism. Through the prism, colour generation lacks any clarity or control. However, with the diffraction grating film, one can control the focus, spread and even geometries of the coloured lighting simply by introducing more or less lines per millimetre on the film (standard production pieces come in 500 lines/mm, 1000 lines/mm and 13,500 lines/mm). If the density increases, colour generation becomes more intense and vice versa. However, a high intensity is not always desirable. With the grating, the possibilities can be controlled and stretched. Also it is essential to stress that colour generation becomes more concentrated with the use of LCP as the deflection of light allows the diffraction grating to generate colour with higher resolution by diminishing glare. This complimentary relationship makes the use of both materials ideal.

8.4 Economic Cost Illuminance In the implementation of an illuminance correcting device, economic cost is always in question. Comparing all three options, the use of LCP is an exponentially cheaper option. The cost only lies in the price of the acrylic sheet and the renting of laser cutting equipment. However, it must be noted that like the price of glass, the cost of manufacturing larger sheets increase exponentially.

Colour The cost of diffraction grating film is extremely cheap in comparison to the production of a regular prism. The cost of a single sheet of film with the dimensions of 300mm by 150mm can be purchased for below 5USD whereas a regular palm sized prism is sold for over ten times more than that price. Furthermore, the sheets can be easily cut in any desirable dimension. As for attaching the grating sheet on the LCP, it can be easily laminated on the panel.

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8.5 Design Implication Illuminance Using LCP over the other two technologies gives the designer absolute liberty over designing in any way that is desirable. The only factor to consider is orientation such that its functions and use are maximized. The light duct system puts the designer in a compromised position as the final geometrical form of the faรงade has is subjected to the performance of the device. The technology by Somfy-Philips is more of a fitment than an architectural integration.

Colour The use of diffraction grating is extremely flexible. Although it produces coloured spaces, eventually unlike stained glass or iridescent foil, it still upkeeps the integrity of transparent glass as a material. The views will still remain untainted and it can be easily adapted to many architectural design expressions.

8.6 Conclusion To conclude, this tool is very successful in aiding to create architecture of corrected illuminance levels and passive colour generation. Although it might be as effective when it comes to illuminance performance, all the other factors that were considered outweighs any other technology that is in the market today. With more studies done on the LCP and fine tuning its mechanics, there is a possibility that in the future, its performance can be drastically improved. As for the diffraction grating film, its passive colour generation potential is unmatched, given its transparency and colour generating ability.

8.7 Limitations Limitations of this paper include the fact that there is no existing simulation software to prove the efficiency of colour generation that is displayed by the diffraction grating film. All the experiments and results that were conducted and obtained come from a physical model. Furthermore, technologies like these only uncover their true potential when they are built on a 1:1 scale, as only then can their responses be accurately recorded. As of 73 | P a g e

right now, there is no knowledge on how to control the colour generation that is provided by the diffraction grating in terms of individual colour intensity and management. To add, the distance, intensity and angle of the sun cannot be simulated to an accurate degree. Therefore, the colour generation and incident daylight deflection are not accurate. The colours that are generated are solely controlled by these elements, the quality of the film, the amount of daylight passing, the type of LCP used and the amount of light illuminating the interior space.

8.8 Further explorations This study is only a stepping stone to realizing the unbounded potentials of these two technologies. As of right now, when diffraction grating is used, all the colours of the spectrum are revealed. With proper study and experimentation, there is a possibility of this technology only manifesting one colour. This opens up the idea of having commercial lighting during the day that is solely dependent on the energy we get from the sun. One theory that has potential to contribute to a single or controlled colour variation generation would be to a secondary film behind the primary one. We know what the dominant constructive wavelengths for each colour is, therefore the use of the secondary film would be to provide for use destructive interference for the wavelengths of the colours that are not desirable and interference for the colours that are wanted. In this way only the colours that are desirable will be seen. Furthermore, a spectrometer can be used to apply diffraction gratings directly on the acrylic sheet. This would eliminate the need the use of a film.

As for LCP, more studies can be done on different elements of the sheets to show how different geometries influence illuminance levels in a space. Focused orientation studies should also be done. This could create very dynamic faรงade systems and possibly improve the utility of the product. With motivated development, the hope is to create an architecture that is healed in terms of lighting and one that heals the ailing through its splendour of colour, thus healing architecture through light and colour. To end,

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“The taste of the apple….lies in the contact of the fruit with the palate, not in the fruit itself; in a similar way…poetry lies in the meeting of the poem and the reader, not in the lines of symbols printed on the pages of a book. What is essential is the aesthetic act, the thrill, the almost physical emotion that comes with each reading.”

Jorge Luis Borges- Forward to Obra Poetica

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List of appendices: Interview transcript Narpal Singh: Dear Sir/Maam, I am a graduate student from the National University of Singapore (NUS) and am completing my masters in the faculty of Architecture. One of the partial requirements for this course is to complete a dissertation. I am writing my dissertation now and there is a part on it which looks at the biological healing properties of colour. I was looking at some online databases and I chanced upon a paper that you co-authored called â&#x20AC;&#x153;A Critical Analysis of Chromotherapy and Its Scientific Evolution.â&#x20AC;? I thought that the insights and knowledge that you had in the field was very impressive and in fact very encouraging on my end of the line. There are very limited scientific sources online that prove the healing properties of colour. I just wanted to ask if it would be okay for me to interview you through email, given the knowledge you have in this field. It would be a tremendous boost to my paper. I am currently trying to develop healing spaces through sustainable architecture and one of the components is through the use of colour. I look forward to a dynamic discussion. Thank you for your time and I hope to hear from you soon.

Dr Samina Azeemi: Dear Singh, It is good to hear about your interest in Colours. You may ask questions pertaining to my work.

Narpal Singh: Dear Dr Samina Azeemi, First and foremost, I would like to thank you for your kind gesture of allowing me to interview you with regard to the topic of colour. My main queries are basically to gather knowledge on the premise of the healing properties of exposure to colour, essentially the projection of the spectrum of colours (light) and its implications on a human body through space. I am using diffraction gratings as a tool for my design intervention and in your writing I picked up a fact that stated, Edwin Babbitt in particular had a cabinet that was able to split light into the seven colours of the spectrum and it in turn was able to account for healing properties. 76 | P a g e

Facts like these gives me some promise as for the next step of my project, I would have to design spaces that rely on phenomenon like these for medical causes. So with this brief outline I hope you can understand the basis of my paper with greater resolution. I shall proceed with the interview questions.

Question 1. Have there been any scientifically or statistically backed evidence on the healing properties from the light of the spectrum of colours (all 7 colours dispersed by a prism or diffracted from diffraction gratings via natural light) or from an individual colour?

Question 2. Are there any psychological implications from the exposure to the light that forms the spectrum of colours? If no, there are various papers out there that suggest that different colours cause people to have different psychological responses. How do you think the exposure to all 7 colours will impact the human mind?

Question 3. In the case of jaundice, the exposure to blue light is effective in combating the disease. Do you think it would be possible to split daylight into its seven colours and in turn contract the light back only to the wavelength that the colour blue comprises and expose a patient with jaundice to that blue light in order to achieve that same medical proficiency?

Question 4. I am thinking of designing a medical centre for my thesis project that splits natural light into its spectrum of colours as a form of therapy and treatment for people with illnesses. Do you think this has the potential to be a successful medical strategy? What are the possible illnesses that can be combated with a strategy like this?

Question 5. Through your work, it is evident that you have worked with colours to a great extent. As a closing question, I would love to hear about what you have to say regarding the promise of an architecture that splits light into its seven colours and its impact, if any, on people. If not for medical use, what other advantages or disadvantages are there while exposing people to this expression?

By giving me the opportunity to ask you these questions, you will be imparting knowledge to me that will be very crucial to my final product. I believe in world of 77 | P a g e

sustainability and I feel that light is one form of free energy we have not used to its greatest potential. I thank you very much Dr Samina Azeemi for your time, expertise and graciousness.

Dr Samina Azeemi: Dear Singh, I am attaching my research manuscripts; I hope they will certainly fulfill your questions. Certainly colours do affect the human mind and a number of psychological diseases are reported which have been cured using colours only. In my research, instead of splitting light by diffraction grating, I have using filters known as cellophane sheets of certain wavelengths. These are easily available everywhere through stationary shops. When you will see my manuscripts, you will find the methodology adopted for curing different diseases. I have worked on this project only because of its simplicity, costeffectiveness and direct way of treatment. I think colour therapy can be used for treating all kind of diseases but my faith is that it is more useful when treatment is given free of cost. The manuscripts that were attached are: Journals: 1. Azeemi, Samina T. Yousuf. "A Case History of Treatment of Cutaneous Leishmaniasis by Chromotherapy." Chinese Medicine: 43-46. 2. Azeemi, S. T. Y. "A Critical Analysis Of Chromotherapy And Its Scientific Evolution." Evidence-based Complementary and Alternative Medicine: 481-88. 3. Azeemi, Samina T. Yousuf, Syed Mohsin Raza, Masoom Yasinzai, and Mujeebur Rehaman. "Absorption of Radiant Energy in Water â&#x20AC;&#x201C; A New Conjecture and Theory of Charge Quantization in Chromotized Water Samples." Science International- (Lahore) 20, no. 3 (2008): 189-96. 4. Azeemi, Samina T. Yousuf, Syed Mohsin Raza, and Masoom Yasinzai. "Colours as Catalysts in Enzymatic Reactions." Journal of Acupuncture and Meridian Studies 1, no. 2 (2008): 139-42. 5. Azeemi, Samina T. Yousuf, S. Mohsin Raza, Masoom Yasinzai, and Abdul Samad. "Effect of Different Wavelengths on Superoxide Dismutase." Journal of Acupuncture and Meridian Studies (2009): 236-38. 6. Azeemi, Samina. T. Yousuf. "Effects of Different Colours in the Visible Region on Leishmania Tropica.â&#x20AC;? Advances in Bioscience and Biotechnology: 380-84.

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7. Azeemi, Samina T. Yousuf, Syed Mohsin Raza, and M.Ashfaq Ahmed. "Newly Developed Recursive Relationship for Fractional Quantum States and Associated Energy Eigen Values." 8. Azeemi, Samina T. Yousuf, Rubina Tazayyen Yousuf, and Masoom Yasinzai. "Review of a Case History of the Treatment of Cutaneous Leishmaniasis." Science International- (Lahore) 25, no. 4 (2013): 749-50. 9. Azeemi, Samina T. Yousuf, Syed Mohsin Raza, and Masoom Yasinzai. "Short Review Effect of Visible Range Radiations (colours) on Superoxide Dismutase and Immune System." Science International- (Lahore) 25, no. 2 (2013): 285-86.

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Anushman, Sachin and Kumar, Bimal (2005) Intelligent Building Facades: Beyond Climatic Adaptivity. Computing in Civil Engineering (2005): pp. 1-13.

2. Azeemi, Samina T. Yousuf. "A Case History of Treatment of Cutaneous Leishmaniasis by Chromotherapy." Chinese Medicine (June 2011): 43-46. 3. Azeemi, S. T. Y. "A Critical Analysis Of Chromotherapy And Its Scientific Evolution." Evidence-based Complementary and Alternative Medicine: 481-88. 4. Azeemi, Samina T. Yousuf, Syed Mohsin Raza, Masoom Yasinzai, and Mujeebur Rehaman. "Absorption of Radiant Energy in Water â&#x20AC;&#x201C; A New Conjecture and Theory of Charge Quantization in Chromotized Water Samples." Science International- (Lahore) 20, no. 3 (2008): 189-96. 5. Azeemi, Samina T. Yousuf, Syed Mohsin Raza, and Masoom Yasinzai. "Colours as Catalysts in Enzymatic Reactions." Journal of Acupuncture and Meridian Studies 1, no. 2 (2008): 139-42. 6. Azeemi, Samina T. Yousuf, S. Mohsin Raza, Masoom Yasinzai, and Abdul Samad. "Effect of Different Wavelengths on Superoxide Dismutase." Journal of Acupuncture and Meridian Studies (2009): 236-38. 7. Azeemi, Samina. T. Yousuf. "Effects of Different Colours in the Visible Region on Leishmania Tropica.â&#x20AC;? Advances in Bioscience and Biotechnology: 380-84. 8. Azeemi, Samina T. Yousuf, Syed Mohsin Raza, and M.Ashfaq Ahmed. "Newly Developed Recursive Relationship for Fractional Quantum States and Associated Energy Eigen Values." 9. Azeemi, Samina T. Yousuf, Rubina Tazayyen Yousuf, and Masoom Yasinzai. "Review of a Case History of the Treatment of Cutaneous Leishmaniasis." Science International- (Lahore) 25, no. 4 (2013): 749-50. 10. Azeemi, Samina T. Yousuf, Syed Mohsin Raza, and Masoom Yasinzai. "Short Review Effect of Visible Range Radiations (colours) on Superoxide Dismutase and Immune System." Science International- (Lahore) 25, no. 2 (2013): 285-86. 11. Edmonds, Ian R. "Performance of laser cut light deflecting panels in daylighting applications." Solar Energy Materials and Solar Cells 29, no. 1 (1993): 1-26. 12. Edmonds, I. R., and P. J. Greenup. "Daylighting in the tropics." Solar energy 73, no. 2 (2002): 111-121. 81 | P a g e

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