4.1.1.2 Visual Perception of the Envelope

Orchestration of darkness and light in architecture.

for the walls has been achieved by spraying mortar on the vertical surfaces by the use of a cement gun. Both the interior as well as the exterior have been white-washed with lime to achieve the final finish.

d) West Wall – This wall also curves out from the inside (concave shape, see Figure 3) with a confessional contained in the bulge that comes out from the mass of the wall. It is a stone and concrete wall that has a rough white finish and is the only side without any openings to the exterior

e) Floor – The floor has a downward slope towards the altar. The construction material is cement paved and poured in place between the battens, giving the floor a tiled pattern; the design of which is dictated by the modulor.

The change in the flooring material takes place where the interior and exterior altars rest and is done in white stone matching with the material used for the altar.

f) Ceiling – The roof consists of two concrete membranes. The idea of this roof represents the shell of a crab that inspired Corbusier in the design of the final form for the roof. This roof is supported by short struts, protruding from the vertical surfaces at the south and the east end of the chapel. The grey ceiling has been left unfinished and rough with the impression of the formwork visible from the inside.

4.1.1.2 Visual Perception of the Envelope

The use of curves for all the major surfaces and dominant boundary edges has a strong impact on the visual perception of the spatial envelope inside the chapel. The sculptural beauty of the overall form is less predominant inside when compared to the exterior. This is due to the low light levels inside the space with the emphasis being more on hiding than revealing the interiors of the chapel. The sources of light become all the more prominent in the dark interiors because of the strong visual contrast that is generated by the openings particularly on the south and east walls. The rough finish on the vertical surfaces provides greater surface area for the scattering of natural light inside the chapel thus creating a soft and diffused interior space. The contrast between the light and shadow is further enhanced by the white painted surfaces seen against the dark floor and the ceiling. Also, the use of the convex and concave shapes for the adjacent walls, to support the curved roof, creates a strong outward thrust from within the building. This effect is further