DAYLIGHT

D E S I G N OF
DESIGN
BUILDINGS
BUILDINGS
This page intentionally left blank
 DAYLIGHT
DAYLIGHT
DESIGN
D E S I G N OF
BUILDINGS
BUILDINGS

Nick Baker and Koen

Koen Steemers

~~[iDrn~~~LU
from Routledge
First published
First published by
by James
James & James (Science
& James (Science Publishers)
Publishers) Ltd.
Ltd. in
in 2002
2002

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2002 Nick
© 2002
© Nick Baker
Baker and
and Koen
Koen Steemers
Steemers

The moral
The moral right
right of
of the
the authors
authors has
has been
been asserted.
asserted.

All rights
All rights reserved.
reserved. No
No part
part of
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this book
book may
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A catalogue
A
A catalogue record
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book is
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British Library.
Library.

ISBN 978-1-873936-88-7
ISBN 978-1-873936-88-7 (pbk)
(pbk)

Daylight Design
Daylight of Buildings
Design of Buildings documents
documents aa major
major outcome
outcome ofof aa comprehensive
comprehensive
European research
European research program,
program, Daylight
Daylight Europe
Europe JOU2-CT94-0282,
JOU2-CT94-0282, 119-97,
119-97, aa pro-
pro-
ject of
ject of the
the European JOULE III
European JOULE III Research
Research Program.
Program. The
The project
project was
was funded
funded by
by
the European
the European Commission
Commission DG DG XII
XII for
for Science,
Science, Research
Research and
and Development,
Development, Rue
Rue
de la
de la Loi
Loi 200,
200, B-1049
B-1049 Brussels,
Brussels, Belgium,
Belgium, and
and individual
individual member
member states
states partici-
partici-
pating in
pating in the
the project.
project.

Legal Notice:
Legal Notice:

Neither the
Neither the European
European Commission nor any
Commission nor any person
person acting
acting on
on behalf
behalf of
of the
the
Commission is
Commission is responsible
responsible for
for the
the use
use which
which might
might be
be made
made of
of the
the information
information
and advice
and advice contained
contained within.
within. Results
Results are
are presented
presented in
in good
good faith
faith for
for the
the improve-
improve-
ment of
ment of building
building design
design and
and daylighting
daylighting conditions
conditions in
in buildings
buildings throughout
throughout
Europe.
Europe.

Cover photograph:
Cover photograph: Internal
Internal view
view of
of Trinity
Trinity Library,
Library, Cambridge.
Cambridge. Courtesy
Courtesy of
of
0yvind Aschehoug.
0yvind Aschehoug.
 contents
Contents
ACKNOWLEDGEMENTS
ACKNOWLEDGEMENTS vii
vii
Contents INTRODUCTION
INTRODUCTION
PART 1:
PART 1: THE ROLE OF
THE ROLE OF LIGHT
LIGHT IN
IN ARCHITECTURE
ARCHITECTURE 11
ix

1 The role
The role of
of light
light in
in architecture
architecture 3
1.1 Spectacular vernacular
Spectacular vernacular 5
1.2
1.2 Light and shade
Light shade -- revealing
revealing form 9
1.3 Structure and
Structure and light
light -- letting the light
letting the in
light in 11
1.4
1.4 Enlightenment and reason
Enlightenment 14
1.5 Sculpting with
Sculpting with light
light 15
1.6
1.6 Painting with light 17
1.7 Technology comes
Technology comes of of age
age 19
1.8 Man versus nature
Man nature 21
1.9 Modern masters of
Modem masters
Modern of light
light 23
1.10
1.10 Summary
Summary 25

PART 2:
PART 2: DAYLIGHTING
DAYLIGHTING DESIGN
DESIGN 27
2 Climate and
Climate and context
context 29
2.1 The sun
The sun and
and sky
sky 31
2.2 Daylight and building
Daylight strategies and function
building function 38
2.3 Summary
Summary 40

3 Building form
Building form and
and the
the potential
potential for
for daylighting
daylighting 41
3.1 The plan
The and section
plan and section 43
3.2 Orientation and
Orientation and obstructions
obstructions 45
3.3 Atria, lightwells,
Atria, lightwells, courtyards
courtyards and
and galleria
gallería 47
3.4 Summary
Summary 52

4 The daylight design

The daylight of spaces
design of spaces 53
53
4.1 Transition and
Transition and differentiation
differentiation 54
4.2 The components
The components of of daylight
daylight 58
4.3 The configuration
The configuration of
of windows
windows 63
4.4 Daylight modelling
Daylight modelling techniques
techniques 73
4.5 Summary
Summary 78

5 Refurbishment of
Refurbishment of existing
existing buildings
buildings 79
5.1 Daylighting options
Daylighting options 80
5.2 Summary
Summary 86

6
6 Materials, surfaces,
Materials, surfaces, light
light and
and colour
colour 87
6.1 Reflection,
Reflection, transmission and absorption
transmission and absorption 89
6.2 Light and
Light and colour
colour 92
6.3 The specification
The specification of of colour
colour 96
6.4 Colour in
Colour in architecture
architecture 99
6.5 Subjective effects
Subjective effects of
of colour
colour 102
6.6 Summary
Summary 104
vi
vi Daylight Design of
I Daylight of buildings
buildings

77 The design
The design of
of windows
windows 105
7.1
7.1 Thermal properties
Thermal properties 107
7.2
7.2 Shading design
Shading design 109
109
7.3
7.3 Acoustic performance
Acoustic performance of
of windows
windows 119
7.4
7.4 Summary
Summary 120
120

88 Artificial lighting
Artificial lighting controls
controls 121
121
8.1
8.1 Control types
Control types 123
123
8.2
8.2 Daylight and
Daylight and energy
energy 128
128
8.3
8.3 Summary
Summary 134
134

99 Advanced daylighting
Advanced daylighting systems
systems 135
135
9.1
9.1 The functions
The functions of
of aa daylighting
daylighting system
system 138
138
9.2
9.2 A general
A general design
design procedure for daylighting
procedure for daylighting systems
systems 140
140
9.3
9.3 Reflectors and
Reflectors and lightshelves
lightshelves 151
151
9.4
9.4 Integrated window
Integrated window elements
elements 156
156
9.5
9.5 Light-guides
Light-guides 161
161
9.6
9.6 Summary
Summary 164
164

10
10 Daylight, comfort
Daylight, comfort and
and health
health 167
167
10.1
10.1 Visual comfort
Visual comfort 169
169
10.2
10.2 Daylight and
Daylight and health
health 181
181
10.3
10.3 Summary
Summary 187
187

PART 3:
PART 3: DESIGN
DESIGN CRITERIA
CRITERIA AND
AND DATA
DATA 189
189
11
11 Design tools
Design tools 191
191
11.1
11.1 Manual tools
Manual tools 193
193
11.2
11.2 Computer-based analytical
Computer-based analytical tools
tools 195
195
11.3
11.3 Computer-based image
Computer-based image solution
solution tools
tools 197
11.4
11.4 Physical models
Physical models and
and artificial
artificial skies
skies 199
199
11.5
11.5 Practical df
Practical df measurement
measurement procedures
procedures for
for fixed
fixed skies
skies 205
205
11.6
11.6 BRE daylight
BRE daylight protractors
protractors and
and ERC
ERC nomogram
nomogram 207
207
11.7
11.7 Sunpath diagrams
Sunpath diagrams 212
212

12
12 Design data
Design data 219
219
12.1
12.1 Building codes, daylight
Building codes, daylight standards
standards 220
220
12.2
12.2 Daylight availability
Daylight availability 222
222
12.3
12.3 Photometric data
Photometric data for
for materials
materials 225
225
12.4
12.4 Light source
Light source and
and luminaires
luminaires 229
229

13
13 Post-occupancy evaluation
Post-occupancy evaluation 231
231
13.1
13.1 Types of
Types of POE
POE study
study 232
232
13.2
13.2 POEs for
POEs for daylight
daylight 234
234

ANNOTATED BIBLIOGRAPHY
ANNOTATED BIBLIOGRAPHY 237
237
GLOSSARY
GLOSSARY 241
241
INDEX 245
245
 acknowledgements
Acknowledgements
Acknowledgements
The European Commission has funded funded research and
development into the improved energy efficiency efficiency and
performance in
environmental performance in buildings
buildings for
for more
more than
two decades.
two decades. In
In particular
particular the the EU
EU Daylight
ED Daylight Europe
Europe
project Ooule
project (Joule II
Qoule II CT
CT 94-0282)
94-0282) provided
provided the
the inspiration
inspiration
and the
and the majority
majority ofof the
the source
source material
material for
for this
this book.
book.
Firstly we
Firstly we would
would like
like to
to acknowledge
acknowledge Dr. Dr Georges
Georges
Deschamps, our
Deschamps, our project
project supervisor
supervisor from
from the
the European
European
Commission DGXII,
Commission DGXII, and and secondly
secondly Poul
Poul E E Kristensen
Kristensen
who, as
who, as one
one ofof the
the participants,
participants, waswas the
the scientific
scientific
co-ordinator of
co-ordinator of the
the project.
project.

The project
The project involved
involved 22 22 participating
participating groups
groups from
from 1313
l3
countries. These
countries. These groups
groups have
have contributed
contributed directly
directly with
with
material from
material from the
the 60
60 case
case studies,
studies, published
published inin detail
detail
separately under
separately under thethe title
title Daylight
Daylight Performance
Performance of of
Many participants
Buildings. Many
Buildings. participants also
also contributed
contributed to the
to the
shaping and
shaping and development
development of of this
this document
document during
during
~uring
discussions held
discussions held atat project
project meetings,
meetings, and
and inin written
written
comments on
comments on early
early draft
draft material.
material.

More specific
More specific contributions
contributions as
as authors
authors have
have been made
been made
as follows:
as follows:

Raphael Compagnon
Raphael Compagnon Chapter 99 and
Chapter and 10.1
10.1
lO.I

David Crowther
David Crowther Chapter 10.2
Chapter 10.2
lO.2

Paul Littlefair
Paul Littlefair Chapter 88
Chapter

0yvind Aschehoug
0yvind Aschehoug Chapter 2.1,
Chapter 2.1, 2.3
2.3 and
2.1,2.3 and
ILL
Chapter 11.1.
Chapter 11.1.
Laurent Michel Chapter 11.4
Laurent Michel Chapter 11.4
Katerina Parpairi l3
Chapter 13
Ka terina Parpairi Chapter 13
Marc Fontoynont
Marc Fontoynont and
and Andre
André de
de Herde
Herde also
also contributed
contributed
material to
material to Chapters
Chapters 66 and
and 44 respectively:
respectively. Simulation
respectively. Simulation
results have
results have been
been provided
provided by
by Joe
Joe Clarke.
Clarke.

In their
In their role
role on
on the
the Design
Design Guidelines
Guidelines steering
steering commit-
commit-
tee we
tee we also
also acknowledge
acknowledge the
the valuable
valuable comments
comments and
and
suggestions of
suggestions of Alexandros
Alexandros Tombazis,
Tombazis, Helena
Helena Coch
Coch and
and
Bernard Paule.
Bernard Paule.

Finally, vital
Finally, vital contributions
contributions have
have been
been made
made by Katerina
by Katerina
Parpairi, coordinating
Parpairi, coordinating thethe production
production of
of this
this draft
draft docu-
docu-
ment as
ment as well
well as
as making
making numerous
numerous direct
direct contributions
contributions to
to
it, and Mike Baker for the graphic design and drawing
it, and Mike Baker for the graphic design and drawing
the majority
the majority of
of the
the diagrams.
diagrams.
This page intentionally left blank
 introduction
Introduction
Introduction

civilised man learns to

"Daylight is a gift of Nature. As civilised to use
use artificial
artificial light
light sources
sources which
which free
free
learns to
him from total dependence on daylight, he also learns to appreciate
appreciate the
the value
value of
of daylight
daylight and
and
become aware of its special advantages."

Hopkinson wrote
Hopkinson wrote these
these words
words in
in 1966,
1966, in
in the
the opening
opening chapter of what is now regarded as the
'scientific Bible'
'scientific Bible' of
of daylighting
daylighting design
design 1.l .. In
In spite of the sentiments expressed having resonance in
the minds
the minds of
of the
the architect,
architect, as
as well
well as
as the engineer and
the engineer and scientist,
scientist, Hopkinson's
Hopkinson's book
book is
is little known
little known
by the
by the design
design profession
profession and
and has
has had
had little
little direct
direct influence
influence on
on the
the actual
actual design
design of
of buildings.
buildings.
Why is
Why is this?
this?

Many architects
Many architects would
would regard
regard daylighting
daylighting design
design as
as aa matter
matter of
of common
common sense
sense and
and experience.
experience. It
It is
is
primarily seen
primarily seen as
as aa problem
problem of
of facade
facade composition,
composition, and the architect uses precedent,
precedent, exemplars and
stylistic rules
stylistic rules for
for support.
support. However,
However, the
the widespread
widespread acceptance
acceptance of
of the
the use
use of
of artificial
artificial lighting
lighting dur-
dur-
ing daytime
ing daytime acts
acts as
as aa fail-safe,
fail-safe, often
often masking
masking the
the lack
lack of
of success
success of
of the
the daylighting
daylighting design.
design. Only
Only with
with
the growing
the growing interest
interest in
in energy
energy saving
saving by
by the
the use
use of
of daylight,
daylight, and
and an
an increased
increased awareness
awareness of
of visual
visual
comfort, is
comfort, is the
the success
success of
of daylighting
daylighting design
design being
being viewed
viewed more
more critically.
critically.

A critical
A critical and
and objective
objective view
view such
such as this
this has
has been
been applied in 60 European building case studies,
described in
described in the
the companion
companion volume
volume Daylight Performance
Performance of Buildings• .Here
ofBUildingl.
Buildings Here in
in Daylight
2
Daylight Design
Designofof
we provide
Buildings we
Buildings provide aa more
more synthetic
synthetic approach,
approach, developing
developing the
the scientific
scientific principles
principles that
that lie
lie behind
behind
successful daylighting
successful daylighting design.
design. However,
However, to to keep
keep this
this within
within aa real
real context,
context, we
we illustrate
illustrate the
the princi-
princi-
ples with
ples with examples
examples drawn
drawn almost
almost entirely
entirely from
from the
the case
case study
study buildings. Furthermore, the
buildings. Furthermore, the scien-
scien-
tific principles
tific principles are
are put
put forward
forward not
not for
for their
their own
own intrinsic
intrinsic interest
interest (although
(although this
this may
may exist
exist for
for
many readers)
many readers) but
but only
only in
in so
so far
far as
as they
they assist
assist in
in understanding,
understanding, andand ultimately
ultimately improve
improve thethe
quality of
quality of the
the design
design solution.
solution.

The traditional
The traditional approach
approach to
to design
design can
can be
be likened
likened to
to an
an evolutionary
evolutionary process
process -- small
small changes,
changes, often
often
made for
made for arbitrary
arbitrary reasons,
reasons, are
are reviewed
reviewed and
and judged, and the
judged, and the more
more successful
successful retained.
retained. Where
Where rates
rates
of change
of change are
are relatively
relatively slow
slow this
this can
can be
be satisfactory.
satisfactory. However,
satisfactorr However, due
due to
to the
the long
long timescale
timescale of
of build-
build-
ing design,
ing design, production
deSign, production and
and use,
use, the
the feedback
feedback loop
loop is
is slow.
slow. When,
When, as
as we
we have
have seen
seen in
in the
the past 50
past 50
years, both
years, both functional
functional constraints
constraints and
and technical
technical opportunities
opportunities change
change rapidly,
rapidly, we
we need
need the
the support
support
of analytical
of analytical methods.
methods. ForFor example
example we
we have
have no
no 'traditional
'traditional response'
response' to
to the
the daylighting
daylighting require-
require-
ments for
ments for aa room
room full
full of VDUs; similarly
of VDUs; similarly few
Similarly few deSigners
designers could
designers could claim
claim that
that they
they have
have intuitive
intuitive knowl-
knowl-
edge of
edge of how
how to
to design
design aa lightshelf
lightshelf or
or specify
specify aa lighting
lighting control
control system.
system.
xx I Daylight
Daylight Design
Design of
of Buildings
Buildings

objective of
The objective of this
this book isis to provide
provide the
the necessary
necessary tools
tools to assist the designer
designer to provide well-
well-
interiors. At the same
daylit interiors. same time itit seeks to
to show
show that good
good daylight design is not a restriction
restriction on
on
architectural expression - on on the contrary,
contrary it is more likely
likely to
to act
act as
as an inspiration
inspiration and foundation
foundation
for good
for good architecture.
architecture. In
In this respect, Part 1I1 provides a historical overview, placing developments in
daylighting design onon aa timescale,
timescale, and against thethe background of of climate, building
building use and
and cultur-
cultur-
al values.
al values. It
It demonstrates
demonstrates the
the huge
huge impact
impact that
that the
the provision
provision of of daylight
daylight within
within aa building
building has
has had
had
upon the
upon the architectural
architectural expression
expression and
and meaning,
meaning, atat all
all levels.
levels.

Part 22 is
Part is the
the main
main technical
technical section,
section, following
following aa logical
logical structure
structure that
that moves
moves from
from the
the geographical
geographical
site and form
location, the site form of the
the building,
building, through room design to to the detailed design of of the
the win-
win-
dows including
dows including advanced
advanced daylighting
daylighting elements.
elements. At
At the
the end
end of
of each
each chapter
chapter there
there is
is aa summary
summary that
that
contains the
contains the essential
essential points.
points. The
The sequential
sequential structure
structure does
does not
not however
however imply
imply that
that the
the reader
reader has
has
to work
to work rigorously
rigorously through
through the
the sequence.
sequence. By
By use
use of
of cross-referencing,
cross-referencing, the
the glossary,
glossary, and
and the
the sum-
sum-
mary pages,
mary pages, it
it should
should bebe possible
possible to
to join the text
join the text at
at any
any point.
point.

Part 33 contains
Part contains much
much of
of the
the data
data and
and information
information referred
referred to
to in
in the
the earlier
earlier text.
text. The
The authors
authors have
have
attempted to
attempted to include
include sufficient
sufficient data
data to carry out the more basic daylight design
design calculations,
calculations, e.g.
daylight factor
daylight factor and
and daylight
daylight sufficiency
sufficiency This
sufficiency. This section
section also
also contains
contains information
information on
on daylighting
daylighting
design tools,
design tools, both
both manual
manual and
and computer-based.
computer-based. However,
However, quite
quite aa lot
lot of
of useful
useful data
data (tables
(tables and
and
graphs) will
graphs) will be
be found
found in
in the
the main
main text
text of
of Part
Part 22 illustrating
illustrating the
the relevant
relevant topics.
topics.

Finally, the
Finally,
Finally; the authors
authors are
are aware
aware ofof the
the difficulty
difficulty in
in achieving
achieving comprehensiveness.
comprehensiveness. TheThe book
book is
is the
the
result of
result of inputs
inputs from
from many
many individuals
individuals and
and institutions,
institutions, spread
spread over
over aa lapsed
lapsed time
time of
of several
several years.
years.
However, in
However, in spite
spite of
of limitations
limitations we
we hope
hope that
that the
the book
book contributes
contributes to
to re-kindling
re-kindling an
an interest
interest in
in day-
day-
lighting design,
lighting design, and
and provides
provides sufficient
sufficient technical
technical information
information and
and analysis,
analysis, to
to bring
bring the
the designs
designs to
to
aa successful
successful realisation.
realisation.

References
11 RG
R G Hopkinson,
Hopkinson, PP Petherbridge
GHopkinson, Petherbridge andJ
and J Longmore,
Longmore, Daylighting (London:Heinemann,
Daylighting(London:
DayIighting Heinemann,1966).
1966).

2. M
2. M Fontoynout
Fontoynout (ed),
(ed), Daylight Peiformance (London: James
Performance of Buildings (London:
Performance James &:
& James
James (Science
(Science Publishers)
Publishers) Ltd
Ltd // EC
EC
DGXII,1999).
DGXII,1999).

Referencing convention:
Referencing convention: Bibliographic
Bibliographic references
references appear
appear as
as superscript
superscript numbers.
numbers. Cross-referencing
Cross-referencing
to other
to other parts
parts of
of this
this book
book appears
appears in
in round
round brackets
brackets viz
viz (2.3).
(2.3).
Part 1
The role of light in
The role of light in
architecture
archi tecture
architecture
This page intentionally left blank
 I

chapter
1
The
The role
role of
of light in
light in
architecture
--~rchitecture

Bibliothèque
Bibliotheque
National, Paris,
National, Paris, by
by
Labrouste, 1859-68.
Labrouste, 1859-68.
(James Austin,
(James Austin,
Cambridge)38
Cambridge)38
44 II The
The role
role of
of light
light in
in architecture
architecture

The role
The role of
of light
light in
in architecture
architecture
""...
"... Architecture is
... Architecture is the
the masterly,
masterly, correct
correct and
and magnificent
magnificent play
play of
of volumes
volumes brought
brought together
together in light..."
in light
light..."
... "
"The history
"The history of
of architecture
architecture is
is the
the history
history of
of the
the struggle
struggle for
for light."
light."
Corbusier11
1
Le Corbusier
Le

The roles of daylight in architecture are considered from from Thus light in architecture is not of singular concern that
two basic perspectives in this chapter: that of art and sci- from other
can be isolated from other design
design concerns,
concerns, but relates
relates to
to
ence, emotion,
ence, emotion and
emotion and quantity,
quantity, or or heavenly
heavenly and and earthly.
earthly a rich integrated webweb of
of interdependent aesthetic
aesthetic and
and
Historically these roles have been intertwined, but since functional criteria.
functional criteria.
the age
the age ofof Enlightenment
Enlightenment they they have
have begun
begun to to separate
separate
and become
and become distinct.
distinct. InIn that
that separation
separation we we have
have lost
lost aa It is
It is through
through the
the critical
critical appreciation
appreciation of
of precedents, and
and
holistic understanding
holistic understanding of of the
the role
role of
of light,
light, but
but gained
gained the understanding
the understanding of of the science of
the science of light,
light, that
that the
the art
art of
of
knowledge of
knowledge of the
the science
science ofof light.
light. It
It is
is through
through thethe appli-
appli- lighting in
lighting in architecture
architecture can
can bebe better
better instilled in the
instilled in the
cation of
cation of this
this knowledge
knowledge to to scrutinise
scrutinise the
the qualities
qualities ofof design process.
design process.
process. An
An investigation
investigation of of the roles of
the roles of light
light
architectural .masterpieces
architectural.
architectural masterpieces that
masterpieces that we
we can
can hope
hope toto acquire
acquire through history
through history reveals
reveals both the power
both the power andand beauty
beauty of of
the artistry
the artistry ofof lighting
lighting design.
design. TheThe purpose
purpose of of this
this light in
light in architecture.
architecture. The
architecture. manipulation of
The manipulation of daylight
daylight
endeavour is
endeavour is to
to fulfil
fulfil both
both the
the personal
personal emotional
emotional needs
needs through building
through designs of
building designs of our
our architectural
architectural heritage
heritage
-- of
of well-being,
well-being, comfort
comfort andand health
health -- and
and the
the practical
practical shows the
shows the ingenuity
ingenuity ofof integration
integration and
and the
the resolution
resolution ofof
communal needs
communal needs -- ofof energy
energy conservation
conservation -- to to underpin
underpin the perceived struggle between aesthetic purpose
the perceived struggle between aesthetic purpose and and
an environmentally
an environmentally sustainable
sustainable future.
future. technical understanding
technical understanding of of light.
light.

The understanding
The understanding and and manipulation
manipulation of of light
light goes
goes to
to the
the It is
It is possible
possible to trace the
to trace the roots of the
roots of the meaning
meaning of
of light
light
heart of
heart of the
the architectural
architectural enterprise. Vision is
enterprise. Vision is the
the prim-
prim- back to
back to early
early civilisation
civilisation and and before.
before. Through
Through the the evolu-
evolu-
ary sense
ary sense through
through which
which wewe experience
experience architecture,
architecture, andand tion of man
tion man and of society,society, light is associated with with safety,
light is
light is the
the medium
medium thatthat reveals
reveals space,
space, form,
form, texture
texture and
and warmth and
warmth and community.
community. Daylight Daylight gave gave man expansive
man expansive
colour to
colour to our
our eyes.
eyes. "More
eyes. "More and
and more,
more, so
so it
it seems
seems toto me,
me,,
me views over
views over hishis territory.
territory. At
territory. night, the
At night, the flame
ñame defined
defined aa
light is
light is the
the beautifier
beautifier of
of the
the building"
building" (Frank
(Frank Lloyd
Lloyd social focus, allowed man to see
social focus, allowed man to see in the dark where in the dark where
Wright). More
Wright). More than
than that,
that, light
light can
can be
be manipulated
manipulated dangers lurked,
dangers lurked, and and to to bebe protected
protected from from the cold.
the cold.
through design
through design to
to evoke
evoke anan emotional
emotional response
response -- to to Buckminster Fuller
Buckminster Fuller eloquently
eloquently links links sunsun and
and fire:
fire "Fire is
fire:: "Fire is
heighten sensibilities.
heighten sensibilities. Thus
sensibilities. Thus architecture
architecture andand light
light are
are the sun
the sun unwinding
unwinding from from thethe tree's log".
tree's log".2
tree's log"? TheThe strong
strong rela-
rela-
intimately bonded.
intimately bonded. tionship of
tionship of light
light with life is
with life is likely
likely to to be
be the
the reason
reason for its
for its
spiritual associations
spiritual associations today today. This
This is is revealed
revealed most power-
most power-
However, light
However,
However, light is
is not
not only
only related
related toto the
the visual
visual experience
experience fully through
fully through the the religious
religious and and ceremonial
ceremonial architecture
architecture
of form
of form and
and space,
space, but
but is
is strongly
strongly connected
connected to to thermal
thermal of past
of past civilisations.
civilisations. However,
civilisations. However, it it is
is not
not only
only in in the
the exclu-
exclu-
qualities. Light
qualities.
qualities. Light isis energy,
energy, and
and whether
whether diffuse
diffuse or
or direct,
direct,
direct, sive context
sive context of of 'high'
'high' architecture
architecture that that anan artful
artful skill
skill in
in
will change
will change to to heat
heat when
when itit falls
falls on
on aa surface.
surface. This
This is
is most
most daylight design
daylight design can can bebe witnessed,
witnessed, but also in
but also in the
the more
more
noticeable when
noticeable when the the light
light source
source is is intense,
intense,
intense, asas with
with direct
direct widespread
widespread and
Widespread and often
often functionally
functionally led led vernacular
vernacular and and
sunlight. The
sunlight. The implications
implications of of this
this for
for the
the sensorial
sensorial 'primitive' designs.
'primitive' deSigns. Put simply, high architecture
designs. Put simply, high architecture is con- is con-
environmental characteristics
environmental characteristics of of aa space
space are
are numerous
numerous cerned with
cerned with the lighting of
the lighting of the architecture, whereas
the architecture, whereas ver- ver-
and have
and have aa direct
direct impact
impact on
on airair and
and surface
surface temperatures,
temperatures, nacular buildings
nacular buildings are are predominantly
predominantly concerned concerned with with
as well
as well as
as indirectly
indirectly onon thermal
thermal comfort
comfort and and air
air move-
move- bringing daylight
bringing daylight in in to enable activities
to enable activities to to take
take place
place --
ment. The
ment. The characteristics
characteristics of of light,
light, heat, air
light, heat, air movement
movement and and the lighting
the lighting of of aa task.
task. Notwithstanding
Notwithstanding this this polarity
polarity of of
comfort are
comfort are the
the key
key factors
factors in in determining
determining aa building's
building'sS
building' purpose,
purpose, it it is frequently the
is frequently the vernacular
vernacular
vernacular· that
that produces
produces the
the
energy consumption,
energy consumption, and and if if manipulated
manipulated and and controlled
controlled spectacular, particularly
spectacular, particularly in in terms
terms of of the embodied wis-
the embodied wis-
correctly will
correctly will minimise
minimise reliance
reliance on on artificial
artificial systems.
systems. dom that
dom that isis represented.
represented.
represented.
 .
IfepeAacular
pe ul ar vernacular
acular
p.ei ac vernac ul ar |I 55
vernacular

Spectacular
Reotacular vernacular
Rectacular vernacular
• tit
"Thousands
"Thousands of
of years
years of
of accumulated
accumulated expertise
expertise has
has led
led to
to the
the development
development of
of economic
economic building
building
methods
methods ...
... climatization
climatization ...
... and
and an
an arrangement
arrangement of
of living
living and
and working
working spaces
spaces in
in consonance
consonance with
with
their
their social
social requirements.
requirements. This
This has
has been
been accomplished
accomplished within
within the
the context
context of
of an
an architecture
architecture that
that
has
has reached
reached a
a very
very high
high degree
degree of
of artistic
artistic expression."
expression."
Hassan Fathy33
Hassan Fathy

Figure 1.1 The

fortified cathedral at
Albi, France (begun
1282) seen against the
vernacular buildings
of the town.
town. (Wim
London)44
Swaan, London)

The vernacular tradition has much to teach the modern

designer, particularly in response to climatic parameters,
notably sunlight with all its visual, thermal, and energy
implications. It is also the background against which more
monumental architecture is seen and understood (Figure
1.1).. Although 'high' architecture demonstrates the level
1.1).
l.1)
of sophistication, power and standing of the elite,
elite, tradi-
tional design is more closely related to the views and needs
of all
of all people,
people, and thus an unselfconscious expression of of
Figure 1.2
Figure 1.2 Design
Design of
of traditional
traditional structures
structures responding
responding toto the
the
1.2).
the society and its culture (Figure 1.2).
l.2).
needs of
of climate
climate and
and culture.
culture. Unusual
Unusual roofscapes,
roofscapes, typical
typical of
of the
the
needs
Sind district
Sind district in
in Pakistan,
Pakistan, which
which channel
channel the
the wind
wind into
into the
the building.
building.
(Courtesy Atlantis
(Courtesy Atlantis Verlag, Zurich)5
Verlag, Zurich)5
Zurich)5
1.1.1
1.1.1 Shade and
Shade and air
air
In extreme
In extreme climates,
climates, particularly
particularly where
where thethe sun's
sun'ss light
sun' light
and heat
and heat are
are too
too intense,
intense, the
the vernacular
vernacular and
and even
even primi-
primi- In warm
In warm humid
humid climates
climates primitive
primitive dwellings
dwellings typically
typically
tive builders
tive builders have
have turned
turned their
their hand
hand and
and initiative
initiative to
to the
the consist of
consist of aa raised
raised open
open stick
stick construction
construction with
with aa wide
wide
architectural expressions
architectural expressions of
of solar
solar control.
control. over-sailing roof
over-sailing roof to
to keep
keep the
the sun
sun off
off (Figure
(Figure 1.3).
1.3). The
l.3). The
6 I The
The role
role of
of light
light in
in architecture
architecture

Figure 1.5
Figure 1.5 AnAn outside
outside
view of
view of a mashrabiyaatat
a mashrabiya
the As-Suhaymi
the As-Suhaymi house
house
in Cairo,
in Cairo, showing
showing the
the
privacy of
privacy of the interior.77
the interior.

Figure 1.6
Figure
View from
from a
mashrabiya. The
mashrabiya. The
camera is
camera is
positioned inside
positioned inside
Figure 1.3
Figure 1.3 A tree house
A tree house in
in the village of
the village of Buyay,
Buyay, located
located on
on the room
the room but but
Mount Clarence
Mount Clarence in
in New
New Guinea,
Guinea, making
making thethe most
most of
of the
the faintest
faintest focused on
focused on the
the
breeze.66
forest breeze.
forest building across
building across
the
the courtyard,
courtyard,
showing the
showing the
views allowed
views allowed
of more
of more public
public
8
spaces.
spaces.s

is to soften
soften the light (particularly
(particularly when
when made of of turned
wood - roundround in section) and allow air flow through
through
whilst maintaining
maintaining a combination
combination of of privacy and a view
out. Privacy and view out are the result of of the relative
intensities of light on either side of the screen, where
from the lighter
lighter side you see the screen but are unable to to
Figure 1.4
Figure 1.4 The
The simple
simple timber
timber or
or bamboo
bamboo envelope,
envelope, typical of
typical of see detail through
through it to darker interior, thus providing
to the darker
traditional architecture
traditional architecture in
in warm
warm humid
humid climates,
climates, reduces
reduces glare,
glare,
privacy (Figure 1.5). Conversely,
Conversely, from the darkerdarker side the
diffuse solar
diffuse gains and
solar gains and provides
provides privacy
privacy while allowing good
while allowing good
cross-ventilation. A
cross-ventilation. A wide overhang provides
wide overhang provides the primary shading
the primary shading screen allows
screen allows views
views through
through toto the lighter and
the lighter and more pub-
more pub-
from sunlight (Vernacular
from sunlight (Vernacular Buildings
Buildings Museum,
Museum, Hainan
Hainan Province,
Province, lic spaces (Figure 1.6). Furthermore, the size
lic spaces (Figure 1.6). Furthermore, the size of the inter- of the inter-
South China).
South China). stices between
stices between the the wood
wood pieces is such
pieces is such asas to minimise
to minimise
direct high
direct angle sun
high angle sun penetration,
penetration, but
but toto transmit
transmit some
some
open lattice bamboo walls reduce the intense glare of of diffuse reflected light perpendicular to the mashrabiya.
diffuse reflected light perpendicular to the mashrabiya. At At
reflected
reflected light, limiting visual discomfort,
discomfort, whilst allowing
allowing eye level
eye level the spacing is
the spacing is reduced
reduced toto limit glare, but
limit glare, higher
but higher
the cooling breeze through to the occupants (Figure 1.4).
1.4). up the
up spacing is
the spacing is increased
increased to to allow
allow daylight
daylight deeper
deeper into
into
the space (Figure 1.7). Apart from such
the space (Figure 1.7). Apart from such screened open- screened open-
A similar lattice, but
but made of highly crafted
made of crafted timber, is ings, other
ings, other less
less important
important windows
windows areare kept
kept small
small and
and set
set
often seen within the openings in hot
often hot arid climates. with deep reveals in the thick masonry walls,
with deep reveals in the thick masonry walls, helping to helping to
Called a mashrabiya, environmental role of
mashrabiya, the environmental of the lattice minimise
minimise glareglare and
and sunlight
sunlight penetration.
penetration.
 lkpeclacu]
p.ei ac ul aarr vernacular
ve rn ac ul ar I 77

1.7 The
Figure 1.7 The interior
interior sunlight,
sunlight, and that buildings would provide mutual shade
view of
view of the mashrabiya
the mashrabiya
(Figure 1.8).
1.8).
of Figure
of Figure 1.5.
1.5. ItIt covers
covers
the entire facade
the entire facade of of a
a
room in
room in the
the house
house and and The private organisation of the dwelling around the
increases ventilation
increases ventilation focus of
focus of aa deep
deep shady
shady courtyard,
courtyard, often
often planted and with
planted and with
while glare.99
reducing glare.
while reducing
the cooling effects
the cooling effects of
of aa small
small fountain, allowed aa range
fountain, allowed range of
of
social and
social and working activities to
working activities to take
take place outside --
place outside
including sleeping -- in
including sleeping in privacy
privacy and security during
and security during hot
hot
summer months.
summer During the
months. During the daytime
daytime the diffuse light
the diffuse light
from the
from courtyard can
the courtyard can be allowed into
be allowed into the interior
the interior
via large mashrabiya-filled
via large openings with
mashrabiya-filled openings minimum
with minimum
glare problems.
glare problems.

1.1.3
1.1.3 Sun and shade
Sun and shade
As we move to southern Europe, away from the extreme
climatic conditions
climatic conditions of
of northern
northern Africa,
Africa, the climate is
the climate is
milder and has
milder and distinct seasonal
has distinct seasonal variations,
variations, with warm
with warm
summers and cooler
summers and cooler winters.
winters.

The sun'
The sun'ss energy
energy needs
needs toto be selectively controlled
be selectively controlled
through design to
through design ensure shade
to ensure shade in
in the summer and
the summer and
solar warmth
solar warmth in in the
the winter.
winter. This
This was
was particularly import-
particularly import-
1.1.2
1.1.2 Urban vernacular
Urban vernacular
ant where
ant alternative fuel
where alternative fuel sources,
sources, notably
notably timber,
timber, were
were
The vernacular
The vernacular urban architecture of
urban architecture of predominantly
predominantly hothot either becoming
either scarce or
becoming scarce or were
were needed
needed for construction
for construction
arid climates,
arid climates, such
such as
as Egypt, is characterised
Egypt, is characterised by
by dense
dense (of buildings
(of buildings andand more importantly of
more importantly of ships).
ships). In Greece
In Greece
courtyard forms,
courtyard forms, constructed
constructed ofof thick
thick masonry
masonry walls
walls and Italy,
and Italy, the
the value of the
value of sun became
the sun well understood
became well understood
with
with aa predominance
predominance of of small
small window openings. The
window openings. The and its
and its manipulation
manipulation through
through building design became
building design became
proximity of
proximity of the
the dwellings
dwellings to
to each
each other
other ensured
ensured that the
that the highly refined.
highly refined.
narrow streets remained
narrow streets sheltered from
remained sheltered from the
the intense
intense direct
direct
In ancient
In ancient Greece,
Greece, the
the naturalist Theophrastus noted
naturalist Theophrastus noted
Figure 1.8
Figure 1.8 Plan
Plan of
of part
part of
of the
the village of Baris,
village of Baris, AI-Kharga
Al-Kharga Oasis,
Oasis, that "the sun
that "the sun provides the life-sustaining heat in animals
provides the life-sustaining heat in animals
Egypt, with
Egypt, with its
its multiple
multiple shaded and exposed
shaded and courtyards.10
exposed courtyards. 1O and plants",
and plants", and exposure to
and exposure sun was
to sun considered good
was considered good
for
for health. The medical
health. The authority Oribasius
medical authority Oribasius claimed
claimed that
that
north-facing areas were
north-facing areas were healthier, compared with
healthier, compared the
with the
south, because
south, because they "do not
they "do not receive
receive much sun and
much sun and when
when
they do,, the
they do the light
light falls obliquely without
falls obliquely without much vitality".11
much vitality"

The Greeks' use

The Greeks' of sundials
use of sundials made
made them aware of
them aware of solar
solar
geometry and how it could be related to building design.
geometry and how it could be related to building design.
The orthogonally planned
The orthogonally cities of
planned cities of Olynthus
Olynthus and
and Priene
Priene
consisted of
consisted of house
house plans organised around
plans organised around south-facing
south-facing
courts and
courts and porticoes. Socrates described
porticoes. Socrates described the concept:
the concept:

"In houses
"In houses that
that look
look toward
toward the south, the
the south, sun pene-
the sun pene-
trates
trates the
the portico
portico inin winter,
winter, while
while in summer the
in summer the path
path of
of
the sun is
the sun is right over our
right over our heads and above
heads and above the roof so
the roof so that
that
there is shade"
there is shade".. 12

Thus
Thus there is aa subtle
there is subtle but significant variation
but significant from the
variation from the
Egyptian
Egyptian house
house with courtyard and
with courtyard and mashrabiya keeping
mashrabiya keeping
direct sunlight
direct sunlight out
out at
at all
all times,
times, toto the Greek dwelling
the Greek dwelling
88 I The
The role
role of
of light
light in
in architecture
architecture

with 'atrium'
'atrium' and portico, which
which selectively
selectively allows win- Figure
Figure 1.9
1.9
Reconstruction
Reconstruction of of aa
ter sun (Figure 1.9).
1.9). The critical first
first steps in passive
classical
classical Greek
Greek home,
home,
solar design were thus established. from
from excavations
excavations atat the
the
city
city of
of Priene.
Priene. The
The
rooms
rooms behind
behind the
the
1.1.4
1.1.4 Orientation portico
portico faced
faced south
south
13
onto
onto the
the courtyard.
courtyard.'3
Vitruvius,
Vitruvius , the pre-eminent
pre-eminent Roman architect
architect of
of
the
the first
first century
century BC,
BC , enunciated
enunciated the
the need
need for
for aa
relationship
relationship between
between the
the design
design of
of dwellings
dwellings and
and the
the
sun's
sun's path:
path:

"One
"One type
type of
of house
house seemsseems appropriate
appropriate for for Egypt, anoth-
Egypt, anoth-
er
er for
for Spain
Spain ...
.. . one
one still
still different
different forfor Rome...
Rome ... This
This is
is
because
because one
one part
part of of the
the earth
earth isis directly
directly under
under the
the sun's
sun's
course,
course, another
another is is far
far away
away from
from it,it, while
while another
another lies
lies
midway
midway between
between the the two
two ...
... It
It is
is obvious
obvious that
that designs for
designs for
homes
homes ought
ought toto conform
conform to to the
the diversities
diversities of climate".. 14
of climate"

Dwellings for the wealthy were planned in accordance aim

aim has
has been
been to to allow
allow the
the winter
winter sun
sun in
in whilst keeping
whilst keeping
with the solar principles established by the Greeks and the
the cold out through
cold out through window
window designs
designs and shutters. It
and shutters. It is
is
described in
described in detail by Vitruvius.
detail by Even the
Vitruvius. Even the orientation
orientation of
of typically
typically these
these elements
elements of of environmental
environmental control,
control, as
as well
well
specific rooms
specific rooms was outlined by
was outlined by Vitruvius,
Vitruvius, whowho forfor as
as the
the fireplace
fireplace andand its
its chimney,
chimney, that
that receive
receive design and
design and
example recommended
example recommended that that winter dining rooms
winter dining and
rooms and aesthetic attention
aesthetic attention in in vernacular
vernacular buildings. Even the
buildings. Even the
baths
baths looked
looked towards
towards thethe winter sunset "because
winter sunset "because the
the most
most humble dwelling required a careful consideration of
humble dwelling required a careful consideration of
setting sun,
setting sun, facing
facing them
them inin all
all its splendour but
its splendour with
but with lintel design, typically
lintel design, typically made
made of of superior
superior quality
quality stone
stone
abated heat,
abated heat, lends
lends aa gentler
gentler warmth
warmth to to that
that quarter
quarter in
in brought
brought fromfrom further
further afield,
afield, to carry the
to carry more random
the more random
the evening"
the evening"..1 5 Transparent
Transparent window coverings became
window coverings became quality local
quality materials of
local materials of the
the wall
wall above.
above. Windows
Windows would
would
available, initially
available, initially in
in the
the form
form ofof thin
thin stone
stone (mica
(mica oror become
become increasingly elaborate with
increaSingly elaborate with increasing wealth.
increasing wealth.
selenite) and by the first century AD in the form
selenite) and by the first century AD in the form of clear of clear The simple
The simple rectangular opening consisted
rectangular opening consisted ofof vertical
vertical tim-
tim-
glass. Seneca,
glass. Seneca, the
the philosopher,
philosopher, records
records thisthis development
development ber or stone
ber or stone mullions
mullions and and timber
timber shutters
shutters -- adequate
adequate forfor
in AD
in AD 65:
65: basic ventilation
basic ventilation control.
control. Later,
Later, the
the use
use ofof oiled
oiled paper,
paper,
and subsequently
and subsequently glass glass panes
panes byby the
the middle
middle of of the
the 17th
17th
"Certain inventions
"Certain inventions have come about
have come about within
within our our own
own century, allowed
century, allowed light
light in
in but
but not cool air
not cool air through
through the
the tall
tall
memory -- the
memory the use
use of
of window
window panes
panes which
which admit admit light
light openings with
openings with more
more elaborately
elaborately carved
carved surrounds.
surrounds.
through transparent
through transparent material,
material, for example"..1166
for example"
Most of
Most of life
life took
took place
place outdoors,
outdoors, with the dwelling
with the dwelling
The use
The use of
of glass
glass enabled
enabled openings
openings toto be
be larger
larger without
without required to
required to provide
provide onlyonly basic
basic protection
protection and
and security
security in
in
letting the
letting the warm
warm interior
interior air
air escape.
escape. This,
This, together
together the night.
the night. Early
Early windows,
windows, rather
rather than
than being
being Significant
significant
with the
with the structural
structural innovations
innovations ofof the
the Romans
Romans,, allowed
allowed for daylight,
for daylight, were
were more
more important
important as
as aa way
way to
to ensure
ensure that
that
large amounts
large amounts of of daylight
daylight into
into their
their buildings.
buildings. This
This fresh air would reach the smoky interior caused
fresh air would reach the smoky interior caused by the by the
became an
became an increasing
increasing asset
asset as
as the
the Roman
Roman Empire
Empire central open
central open fire
fire.. It
It was
was not
not until
until the
the 16th
16th century
century that
that
reached northwards.
reached northwards. candle light
candle light and
and oiloil lamps
lamps became
became available,
available, though
though anan
expensive source of interior lighting.
expensive source of interior lighting.

1.1.5 Temperate
1.1.5 Temperate Europe
Europe
This is
This is the
the vernacular
vernacular architectural
architectural context
context of of the
the
In the
In the more
more temperate
temperate climates
climates ofof Europe
Europe it it is
is note-
note- great architectural
great architectural masterpieces
masterpieces ofof past
past civilisations.
civilisations.
worthy that
worthy that an
an equivalent
equivalent amount
amount of of effort
effort is
is invested
invested in in Imagine the
Imagine the impact
impact of
of coming
coming from
from aa modest
modest Medieval
Medieval
the design
the design and
and construction
construction of of the
the key
key moderators
moderators of of dwelling, with a few shuttered unglazed openings
dwelling, with a few shuttered unglazed openings and and
light. The
light. The need
need for
for shelter
shelter from
from high
high summer
summer sun sun inin aa smoky
smoky low low ceiling
ceiling interior,
interior, and
and entering
entering the the
southern Europe
southern Europe is is provided
provided by
by the
the primitive
primitive yetyet effect-
effect- dramatically high,
dramatically high, elegantly
elegantly structured
structured and
and beautifully
beautifully
ive south-facing
ive south-facing loggia
loggia of
of the
the Greek
Greek dwelling,
dwelling, or or the
the light cathedral
light cathedral ofof Chartres.
Chartres. Such
Such stark
stark contrasts
contrasts are
are
urban arcades
urban arcades of
of Spanish
Spanish towns.
towns. In
In northern
northern Europe
Europe,, the
the difficult to
difficult to imagine
imagine today.
today.
 .
i~2 and shade
Lighjrand
igh shade II 99

Light and shade -

and shade
revealing form
"Shadows have
"Shadows have always
always been
been the
the brush
brush work
work of
of the
the traditional
traditional architect."
architect."
Frank Lloyd
Frank Lloyd Wright
Wright

In order
In order toto fully
fully appreciate
appreciate the the design
design successes
successes of
of onlookers. These
onlookers.
onlookers. These skills
skills are
are based
based both
both on
on the
the wisdom
wisdom of of
ancient civilisations,
ancient civilisations, it is necessary to understand the
civilisations~ it is necessary to understand the evolving vernacular
evolving vernacular explorations
explorations and
and on
on new
new knowledge
knowledge
nature of
nature of the
the light
light inin which
which their
their buildings
buildings areare revealed.
revealed. of mathematics
of mathematics andand solar
solar geometry.
geometry. As
As the
the quote
quote from
from
In southern
In southern climates
climates dominated
dominated by clear skies
by clear skies and
and bright
bright Frank Lloyd
Frank Lloyd Wright suggests, the
Wright suggests,
suggests, the manipulation
manipulation of of light
light
sun, the
sun, the great
great architectural
architectural masterpieces
masterpieces explOited
exploited the
exploited the and shade
and shade in
in the
the clarity
clarity of
of the
the southern
southern sky
sky establishes
establishes
intensity and
intensity and directionality
directionality of of light
light to
to great
great visual
visual effect.
effect. the foundation
the foundation ofof the
the rich
rich and
and varied
varied palette
palette of
of daylight-
daylight-
It is
It is particularly
particularly inin the
the religious
religious monuments
monuments of of Ancient
Ancient ing design.
ing design.
Egypt and
Egypt and Greece
Greece that
that we
we can
can witness
witness the
the skill
skill and
and sub-
sub-
tlety with
tlety with which
which intense
intense light
light is
is controlled
controlled toto inspire
inspire the
the
1.2.1
1.2.1 Egypt
Egypt
Figure 1.10
Figure 1.10 Great
Great The monumental
The monumental stone stone temples
temples set
set in
in the
the desert
desert land-
land-
Temple of
Temple of Amun,
Amun, scape manifest
scape manifest the
the deep
deep understanding
understanding of of the
the effects
effects of
of
Karnak, Egypt
Karnak, Egypt sunlight and
sunlight and its
its diffusion
diffusion from
from the
the vernacular
vernacular tradition,
tradition,
tradition,
(1530-323 Be).
(1530-323 BC). Plan,
BC). Plan,
section and
section and detail
detail of
of :i .
...I
but interpret
but interpret this
scale. The
The role
this in
role is
is now
in innovative
now no
innovative ways
no longer
ways and
longer simply
and on
simply one
one of
on aa grand
grand
of protection
protection
tn .
l:

the hypostyle
the hypostyle hallhall • ~• scale.
indicating how
indicating how the
intense sunlight
intense
the
sunlight isis ..
• 2•
~
and privacy,
and privacy, but
to the
to
but of
the dedication
dedication of
of creating
creating an
of the
the gods
an atmosphere
gods or
atmosphere appropriate
or kings.
kings.
appropriate

diffused and
diffused and filtered
filtered
into the
into the hall
hall via
via stone
stone
slits to
slits to provide
provide aa cool
cool The pyramids
The pyramids were were sheathed
sheathed in in white
white limestone
limestone and and
interior luminous
interior luminous a crowned by
crowned by aa pyramidion
pyramidion of of gleaming
gleaming precious
precious metal
metal
environment. (Gregory
(Gregory that would
would catch
catch the
the dawning
dawning sun sun before
before anything
anything else.
environment.
Anderson)17 17
" fully open lotus
· bell'·
bell" capital
(response to light?)
that
The obelisks
The obelisks too
too would
would be capped with
be capped with gold
gold to
to pick
else.
else.
pick up up
pierced slabs of
pIerced
the first
first and
and last
last light
light of
of the
the day.
day. The
The monuments
monuments take take

1"
stone filter light
the
closed lotus
~ bud" capital advantage of
advantage of the
the strong
strong sunlight
sunlight toto reveal,
reveal, through
through the the
small light slits (response to dark?)
contrast of
contrast of light
light and
and shadow,
shadow, three-dimensional
shadow, three-dimensional form.form.
form.
Many of
Many of the
the structures
structures ofof ancient
ancient Egypt
Egypt are
are adorned
adorned with
with
hieroglyphics -- bas
hieroglyphics bas relief carving in
relief carving in stone
stone -- effectively
effectively
revealed by
revealed by the
the sharp
sharp directional
directional light
light of
of this
this climate.
climate. It
climate. It
b
is not
is not surprising
surprising thatthat the
the ancient
ancient Egyptians
Egyptians above
above all all
worshipped the
worshipped the sun
sun god
god Ra.
Ra.

To illuminate
To illuminate thethe interior
interior ofof the
the temples,
temples, light
temples, light isis intro-
intro-
duced into
duced into the
the deep
deep plans
plans via
via clerestory
clerestory elements
elements con- con-
sisting of
sisting of narrow
narrow slots
slots carved
carved into
into stone
stone slabs
slabs that
that act
act as
as
giant stone
giant stone mashrabiya (some are
mashrabiya (some are still
still intact).
intact).. The
intact) The inten-
inten-
sity and
sity and location
location ofof light
light reinforced
reinforced thethe axis
axis ofof the
the main
main
processional route.
processional route. For
For example,
example, in in the
the Hypostyle
Hypostyle Hall Hall
of the
of the Great
Great Temple
Temple of of Ammon
Ammon light light isis brought
brought in in
through clerestory
through clerestory slotted
slotted slabs
slabs above
above the the central
central axis
axis
supported
supported on
supported' on open
open lotus
lotus capitals
capitals (symbolic
(symbolic of of the
the light)
light)
C (Figure 1.10).
(Figure 1.10). In
In order
order toto emphasise
emphasise the the expanse
expanse of of the
the
10 I The
10 The role
role of
of light
light in
in architecture
architecture

darker Hall in either direction

direction,, the lowered roof of which
is supported by vast columns with closed lotus capitals
darkness),, a relatively small amount
(symbolic of the darkness) amount of
of
light is allowed to filter in through slots around the
periphery of the enclosure. This light establishes a new
artificial horizon of dimly lit stone, and can just be
glimpsed through,
glimpsed through, andand thus
thus reveals,
reveals , the
the forest
forest of
of
columns. The
columns. The whole
whole building
building form
form and sequence of
and sequence of
spaces is
spaces is manipulated
manipulated to accentuate the
to accentuate processional
the processional
movement
movement from from light to dark.
light to dark.

1.2.2 Greece
1.2.2 Greece
Further
Further north,
north, the Greek temples
the Greek temples too too demonstrate
demonstrate aa
clear understanding
clear understanding of of solar
solar geometry
geometry and lighting
and lighting
effects. The
effects. The east
east orientation
orientation of of the
the doorways
doorways enabled
enabled the the
low-angle morning
low-angle morning sun sun -- the first rejuvenating
the first rejuvenating light light ofof
Figure 1.11
Figure 1.11 The
The Parthenon,
Parthenon, Athens.
Athens. TheThe sharp modelling of
sharp modelling of the
the
day -- to
day to penetrate
penetrate deep deep into
into the
the interior and reveal
interior and reveal thethe fluted columns and
fluted columns the base
and the base relief
relief of
of the frieze exploit
the frieze exploit the direct,
the direct,
statues of
statues of deities
deities within.
within. Externally,
Externally, the the depth
depth of of the
the oblique sunlight
oblique sunlight to
to animate
animate the architecture. (John
the architecture. (John Donat,
Donat, London) 18
London)'8
facade,, with
facade with layers
layers of closely spaced
of closely spaced columns
columns in in front
front ofof
solid stone walls, is revealed by the
solid stone walls, is revealed by the strong daylight strong daylight
(Figure 1.11)
(Figure 1.11).. At
At aa more detailed level,
more detailed level, the sharply flut-
the sharply flut- day and
day and over
over the seasons. The
the seasons. The whole
whole effect,
effect, as
as seen
seen from
from
ed channels
ed channels on on column
column shafts
shafts accentuate
accentuate their curvature
their curvature afar and
afar and close
close to,
to, is
is of
of an architecture animated
an architecture animated by the
by the
in
in direct sunlight through
direct sunlight through aa changing
changing rhythm
rhythm of vertical
of vertical moving sun.
moving sun. Thus
Thus the ancient civilisations
the ancient civilisations have demon-
have demon-
lines of
lines of light and shade.
light and shade. The details of
The details of the
the triglyphs
triglyphs strated their
strated knowledge of
their knowledge of how
how the
the bright
bright light of their
light of their
above
above setset upup aa rapid
rapid rhythm synchronised with
rhythm synchronised with the the climates can
climates can be manipulated to
be manipulated to reveal architectural
reveal architectural
broad
broad beat
beat ofof the
the colonnades.
colonnades. Entablatures
Entablatures and and thethe bas
bas qualities beyond
qualities beyond the purely formal
the purely or geometrical.
formal or geometrical.
relief carvings
relief carvings in in the
the pediments,
pediments, as as with
with the hieroglyph-
the hieroglyph-
ics
ics inin Egypt,
Egypt, are are revealed
revealed in in thethe bright
bright light.light. This heritage
This heritage ofof light and shade,
light and shade, chiaroscuro,
chiaroscuro, has been
has been
Furthermore,
Furthermore, this this light
light isis dynamic,
dynamic, both both in
in its intensity
its intensity handed down
handed down through
through the ages and
the ages and is embodied in
is embodied the
in the
and in
and in its
its directionality,
directionality, imbuing
imbuing the the architecture
architecture and and graphical technique
graphical technique of of sCiagraphy
sciagraphy (the
(the drawing
drawing of of shad-
shad-
sculpture with
sculpture with life.life. ows). More
ows). More recently,
recently, the
the use
use ofof aa heliodon
heliodon to project
to project
shadows of
shadows of the sun's path
the sun's on scale
path on scale models
models isis aa technique
technique
Daylight
Daylight varies,
varies, being sometimes diffuse
being sometimes diffuse and
and soft,
soft, and
and at
at that not
that not only
only reveals
reveals the dynamic three-dimensional
the dynamic three-dimensional
other times
other times direct
direct and
and sharp.
sharp. The
The angle
angle of
of incidence
incidence onon qualities of
qualities of aa deSign,
design, but also allows
but also allows the
the deSigner
designer to to pre-
pre-
the building
the building facade changes constantly
facade changes constantly throughout
throughout thethe dict sunlight
dict sunlight penetration and patterns
penetration and into the
patterns into interior.
the interior.
 It r~u3ure
I t tru
u ^ uure
r e and
and light
light III 11
11

Structure
ffitruoture and light
and light -
•
e
letting the
letting the light
light in
in
"Structure is
"Structure is the
the giver
giver of
of light."
light."
Louis Kahn
Louis Kahn19

Although the
Although the sunlight
sunlight ofof Egypt
Egypt and
and southern
southern Greece
Greece hashas and glass as described above, to illuminate and warm the
been expertly
been expertly exploited
exploited toto reveal
reveal the
the exterior
exterior form
form and
and activities within.
within.
surface modelling
surface modelling of of ancient
ancient monuments,
monuments, it it is
is rarely
rarely
allowed to
allowed to enter
enter the
the interior
interior in
in any
any great
great quantity.
quantity. This
This is
is Vitruvius was perhaps the first architectural author who
not only
not only to
to prevent
prevent excessive
excessive solar
solar gains
gains and
and thus
thus poten-
poten- studied daylight both qualitatively and quantitatively
quantitatively. He
tial overheating,
tial overheating, but
overheating, but also
also to
to create
create aa subdued
subdued dimly
dimly lit
lit proposes the explicit rule
the following explicit to assess
rule to assess whether
whether an
an
interior to
interior to invoke
invoke aa mood
mood of of contemplative
contemplative reverence.
reverence.
reverence. interior
interior is
is well daylit:
well daylit:
daylit:
Furthermore, the
Furthermore, the structural
structural limitations
limitations ofof the
the simple
simple
post and
post and beam
beam configuration
configuration made
made itit impossible
impossible toto attain
attain "We must take care that all buildings are well lighted lighted....
....
significantly large
significantly large openings.
openings. Hence we must apply the following test in this matter.
On one side from which the light should be obtained let
If one
If one considers
considers more
more northerly
northerly latitudes,
latitudes, the
the winter days
winter days aa line
line be
be stretched
stretched fromfrom the
the top
top of
of the
the wall
wall that
that seems
seems toto
become shorter
become shorter and
and colder,
colder, and
and more
more social
social activities
activities take
take obstruct the light to the point at which it ought to be
obstruct the light to the point at which it ought to be
place indoors.
place indoors. In
In such
such aa context,
context, letting
letting the daylight in
the daylight in introduced,
introduced, and
and ifif aa considerable
considerable space
space of
of open
open sky
sky can
can
becomes both
becomes both important
important to to reveal
reveal the interior and
the interior the
and the be
be seen
seen when
when one
one looks
looks upup above
above that
that line,
line, there
there will
will be
be
activities as
activities as well
well as
as to allow any
to allow any available sunlight in
available sunlight in to
to no
no obstruction
obstruction toto light
light inin that situation.",,20
that situation.
warm the
warm the space.
space.
The angle of
of the view ofof the sky that Vitruvius is deter-
mining in this way is not dissimilar
dissimilar from
from the modern
modern 'sky
1.3.1 Rome
1.3.1 Rome
component'
component' of of daylight,
daylight, although
although no
no clear
clear criteria
criteria are
are set
set
The
The structural
structural inventions
inventions ofof the
the Romans
Romans enabled
enabled larger
larger (e.g. what is "a considerable space of open sky"?)..
(e.g. what is "a considerable space of open sky"?).
sky"?)
openings and
openings and spaces
spaces to
to be
be created.
created. The
The arch,
arch, vault and
vault and However,
However, such
such functional
functional considerations
considerations were
were not
not the
the
dome -- together
dome together with
with the
the use
use of
of clear
clear glazing
glazing -- allowed
allowed only
only expression
expression of of daylight
daylight manipulation
manipulation in in Roman
Roman
greater column-free
greater column-free space
space toto be
be flooded
flooded with
with light,
light, in
in architecture.
architecture.
contrast
contrast toto the
the narrow
narrow shafts
shafts of
of light
light in
in Greek
Greek or or
Egyptian
Egyptian post
post and
and beam
beam architecture.
architecture. The
The public
public Roman
Roman The
The Pantheon
Pantheon in in Rome
Rome (Figure
(Figure 1.12)
1.12) demonstrates
demonstrates aa
baths
baths demonstrate
demonstrate most
most clearly
clearly the
the opening
opening upup ofof the
the subtle
subtle and
and skilful
skilful useuse of
of light.
light. A
A shaft
shaft of
of daylight
daylight enters
enters
architecture,
architecture, with
with glazed
glazed arched
arched windows
windows facing
facing thethe high
high upup in
in the
the spherically
spherically proportioned
proportioned interior
interior space
space
early
early afternoon
afternoon sun
sun for
for the
the hot
hot baths,
baths, while
baths, while cold
cold baths
baths through
through thethe oculus.
oculus. As As the
the sun
sun moves,
moves, the the sunpatch
sunpatch
were
were on
on the
the northerly
northerly side.
side. traces
traces aa path
path across
across thethe interior,
interior, producing
producing strong
strong shad-
shad-
ows
ows as
as well
well as
as scattering
scattering light
light diffusely
diffusely into
into the
the vast
vast inter-
inter-
The
The use
use ofof large
large arched
arched clerestory
clerestory windows admitted
windows admitted ior
ior to
to reveal
reveal all
all its
its full
full architectural
architectural plasticity.
plasticity.
daylight
daylight high
high upup in
in the
the naves
naves ofof the
the Basilicas, flooding
Basilicas, flooding
the
the interior
interior with
with daylight.
daylight. The
The scale
scale of
of such openings
such openings However,
However, it it is
is not
not only
only the
the luminous
luminous quality
quality ofof the
the
was
was not
not to
to reappear
reappear again
again until
until the
the Gothic
Gothic period,
period, when
when interior
interior that
that makes
makes thethe Pantheon
Pantheon aa particularly beautiful
particularly beautiful
structural
structural ingenuity
ingenuity enabled
enabled walls
walls to
to virtually
virtually disappear
disappear example
example ofof daylight
daylight design.
design. It
It is
is the
the way
way that
that the
the approach
approach
from
from the
the interior
interior into
into slender
slender lines
lines of
of structure.
structure. and
and entry
entry into
into the
the dome
dome are
are modulated
modulated that
that sets
sets the
the scene
scene
and
and leaves
leaves aa deep
deep impression,
impression, as as Rasmussen
Rasmussen describes:
describes:
In
In Roman
Roman society,
society, much
much public
public activity
activity took
took place
place in
in the
the
large monumental buildings. This required effective
large monumental buildings. This required effective day- day- "Coming
"Coming .toto
to the
the Pantheon
Pantheon from
from the the tangled
tangled network
network ofof
lighting
lighting strategies,
strategies, through
through the
the inventive
inventive use
use of
of structure
structure streets
streets outside,
outside, we
we experience
experience itit as
as the
the perfect
perfect expression
expression
12 I The
12 The role of light
role of in architecture
light in architecture

Figure 1.12
Figure 1.12 The
The Pantheon,
Pantheon, Rome.
Rome. Entering
Entering the
the vast open interior
vast open interior space from the
space from the colonnaded peristyle heightens
colonnaded peristyle heightens the
the sensibilities,
sensibilities, accen-
accen-
tuated by
tuated by bright
bright sunlight
sunlight from
from the oculus to
the oculus draw the
to draw the eye
eye up
up to
to the
the heavens.
heavens.

of peace
of and harmony.
peace and harmony. The The ordinary
ordinary scale
scale of
of the houses
the houses and pointed
and arches laterally
pointed arches laterally to
to point
point locations in the
locations in the
just
just passed
passed makes
makes the the peristyle,
peristyle, in comparison, seem
in comparison, seem walls. Flying buttresses extending perpendicularly
walls. Flying buttresses extending perpendicularly to the to the
overwhelmingly high
overwhelmingly high with
with its gigantic columns
its gigantic columns disappear-
disappear- outside resist
outside resist the outward forces
the outward forces ofof the
the vaults,
vaults, whilst the
whilst the
ing into
ing into the twilight under
the twilight under thethe roof.
roof. AsAs you enter the
you enter the vertical
vertical loads are transmitted
loads are transmitted downdown slender
slender columns
columns
rotunda you
rotunda you areare immediately
immediately aware aware of of the
the mild light
mild light clustered in
clustered groups. The
in groups. The result
result is
is that
that the walls no
the walls longer
no longer
coming from
coming from aa source
source high above you,
high above you , three times as
three times as have
have aa load
load bearing
bearing role
role to
to play and become
play and highly
become highly
high
high as as the
the ceiling
ceiling in
in the
the peristyle.
peristyle. TheThe dome
dome does does not
not glazed with
glazed with expanses
expanses of of stained
stained glass.
glass.
seem to
seem to limit
limit the
the space
space but rather to
but rather to expand
expand and and raise
raise
it....
it. The circular
... The circular opening
opening at at the
the summit
summit of of the
the dome
dome Abbot Suger
Abbot Suger (1081-1151)
(1081-1151) waswas patron
patron of the work
of the work onon the
the
forms the
forms the only
only connection
connection with the outside
with the outside world
world -- notnot church of St-Denis near Paris, and it is in the
church of St-Denis near Paris, and it is in the ambu- ambu-
the
the noisy, casual world
noisy, casual world of of the streets but
the streets with aa still
but with still latory around
latory around the choir that
the choir that the
the new Gothic architecture
new Gothic architecture
greater hemisphere,
greater hemisphere, the celestial sky
the celestial above.,, 211
sky above." was embodied. The
was embodied. The use of pointed
use of arches and
pointed arches and ribbed
ribbed
vaults on slender
vaults on columns allowed
slender columns allowed space
space and
and light
light to
to
flow freely,
flow unconstrained by
freely, unconstrained heavy supporting
by heavy supporting walls.
walls.
1.3.2 Gothic
1.3.2 Gothic
Suger describes
Suger describes the
the result:
result:
The symbolism and
The symbolism and imagery of light
imagery of light and
and dark
dark were ideal
were ideal
vehicles for
vehicles for the expression of
the expression of religious
religious mysteries,
mysteries, and
and ""...the
... the whole church would
whole church shine with
would shine wonderful and
with wonderful and
were used to inspire devotion. Structural ingenuity
were used to inspire devotion. Structural ingenuity was was uninterrupted
uninterrupted lightlight of
of most
most luminous
luminous windows, pervad-
windows, pervad-
exploited in
explOited Gothic architecture
in Gothic architecture toto provide
provide aa clear
clear ing
ing thethe interior beauty.",,23
interior beauty.
break
break with
with the past:
the past:
The association
The association ofof God
God with
with light,
light, and
and the
the use
use of
of stained
stained
"The elimination
"The elimination of
of the
the massive
massive wall structure and
wall structure and the
the glass to
glass to create
create aa coloured
coloured and
and mysterious quality, are
mysterious quality, are cen-
cen-
frontality of
frontality of Romanesque churches in
Romanesque churches in favour
favour of
of aa lighter
lighter tral
tral themes
themes inin aa Gothic
Gothic architecture
architecture that
that creates
creates aa unique
unique
and more
and diaphanous structure
more diaphanous structure with
with anan emphasis
emphasis on on luminous experience.
luminous experience.
diagonal lines and views."
views.,, 22
The Gothic
The Gothic style
style culminates
culminates inin the
the Perpendicular style,
Perpendicular style,
The structural
The structural sophistication
sophistication of
of Gothic
Gothic architecture
architecture so called
so called because of the
because of the rectilinear
rectilinear vertical stone panels,
vertical stone panels,
allowed the
allowed the loads
loads to
to be traced via
be traced via ribs
ribs from the vaults
from the vaults and the
and the fan
fan vault
vault where
where the simple ribs
the simple ribs have become an
have become an
 It u~~
t t rtru ure
t t uur
r e and
and light
light 13
li ght I 13

intricate filigree
intricate filigree of
of decorative
decorative stone
stone tracery
tracery over
over cone-
cone-
like vaults.
like vaults. King's
vaults. King's College Chapel
King's College Chapel is
is aa magnificent
magnificent exam-
exam-
ple of
ple of the
the result
result (Figure
(Figure 1.13).
1.13). The
The weight
weight ofof the
the fine
fine
stonework high
stonework high upup in
in the
the vaults
vaults is is transferred
transferred outout
through the
through the building's
building's glassy walls,
building'S glassy walls, which appear
walls, which appear tootoo
light and
light and thin
thin to
to support
support the
the load.
load.
load.

Figure 1.13
Figure 1.13 King's
King's
King College Chapel,
's College Chapel, Cambridge.
Chapel, Cambridge. The
The refinement
refinement of
of
Gothic structure
Gothic structure using
using exterior
exterior buttresses
buttresses allow
allow the
the walls
walls to
to be
be
glazed to
glazed an unprecedented
to an unprecedented andand awe-inspiring
awe-inspiring degree.
degree.
(A F
(A F Kersting, London)24
Kersting, London)24
14 I The
14 The role
role of
of light
light in
in architecture
architecture
arc hitecture

Enlightenment
~tenment and
neIi ,fr:ltenment and reason
reason
•
1.4.1
1.4.1
lA.l Defining light
Defining light The natural
The natural environment
environment was,
was, at
was, at this
this time,
time, often
often used
used as
as
the basis
the basis for
for linking
linking and
and evoking
evoking emotional
emotional response to
response to
By the
By the time
time of
of the
the Renaissance
Renaissance two
two words
words were
were used
used to
to
light. For
light. For example,
example, the
example, the patron
patron of
of the
the design
design of
of Pienza
Pienza --
describe light:
describe light: Lux and Lumen.
Lux and Lumen. Although the
Lumen. Although the terms
terms have
have
the first
the first ideal
ideal city
city of
of the
the Renaissance
Renaissance -- Pope
Pope Pius
Pius II
II
quite distinct
quite distinct and
and clear
clear definitions
definitions today,
today, in
today, in the
the past
past they
they
(Aeneas Silvius
(Aeneas Silvius Piccolomini),
Piccolomini),
Piccolo had aa love
mini) , had love of
of nature,
nature,,
nature
were defined
were defined more
more ambiguously
ambiguously as as follows:
follows::
follows
and describes
and describes the
the environment
environment around
around Pienza
Pienza in
in his
his
early commentaries:
early commentaries:
commentaries:
"Lux isis the
the natural
natural property
property of of luminous
luminous bodies
bodies that
that
imparts aa motion
imparts motion similar
similar to
to that
that ofof the
the body
body toto which
which "Grassy fields
"Grassy fields spread
spread beneath
beneath thethe chestnuts
chestnuts and
and are
are
it belongs.
it belongs. This
This movement
movement is is its
its essence
essence and
and does
does not
not always shady
always shady except
except after
after the
the autumn
autumn frosts
frosts when
when leaves
leaves
depend on
depend on anything
anything else
else intrinsic
intrinsic in in the
the body.
body LuxLux was
was have fallen
have fallen and
and thethe sun'
sun'ss rays
sun's rays penetrate
penetrate the
the branches.
branches.
branches.
given its
given its existence
existence by by the
the Creator
Creator at at the
the act
act of
of creation
creation Surely here
Surely here if
if anywhere
anywhere inin the
the world,
world, sweet shade
world, sweet shade and
and
of the
of the world
world..."
......" silvery springs
springs and and green
green grass
grass and
and smiling
smiling meadows
meadows
silvery
11ure poets.
aallure
11 poets."
poets.
,, 27
,,27

"Lumen namely
"Lumen namely thethe illuminating
illuminating light is
is the
the image
image of
of the
the
light itself
light itself that
that is
is toto say
say of
of lux,
lux, and
lux, and its
its derivation
derivation is
is of
of aa In describing
In describing the
the design
design for
for the
the cathedral
cathedral and
and palace at
palace at
. ,, 25
,,25
primary
prImary nature."
pnmary nature.
nature. Pienza, Pius
Pienza, Pius makes
makes much
much reference
reference to
to the
the luminous
luminous qual-
qual-
ities. The
ities.
ities. The cathedral's
cathedral's unusual
unusual orientation,
orientation, entered
orientation, entered from
from the
the
In these
In these terms
terms LuxLux signifies the the emotional response
response to to north
north with
with the apse facing
the apse facing south,
south, is
is described
described as
as follows:
follows::
follows
light and
light and cannot
cannot be be measured.
measured.
measured. Lumen
Lumen on
on the
the other
other
hand refers
hand refers to
to the
the light
light oneone can
can seesee and
and which
which thusthus can
can "As you
"As you enter
enter the
the middle
middle door
door the
the entire
entire church
church with with its
its
be measured,
be measured,, and
measured and is is more
more tangible
tangible than
than Lux:
Lux: Lumen
Lumen chapels and
chapels and altars
altars is
is visible
visible and
and is
is remarkable
remarkable for
for the
the clar-
clar-
and Lux
and Lux could
could be be construed
construed to to represent
represent thethe rational
rational edifice.",,,,28
ity of light and the brilliance of the whole edifice.
edifice. 28
and the
and the emotional,
emotional, or or the
the scientific
scientific and
and the
the poetic
poetic
aspects of
aspects of light.
light. ItIt isis evident
evident that
that there
there was
was greater
greater The palace
The palace isis designed
designed in
in accordance
accordance with
with rules
rules regard-
regard-
ambiguity between
ambigUity
ambiguity objectivity and
between objectivity and subjectivity
subjectivity than than ing light
ing light and
and orientation
orientation set
set out
out by
by Alberti,
Alberti, who
who was
was aa
today. This
today. This dualistic
dualistic aspect
aspect ofof light
light has
has been
been aa funda-
funda- member of
member of thethe Pope's
Pope's staff. Alberti,
Pope's staff.
staff. Alberti, the
Alberti, the archetypal
archetypal
mental debate
mental debate throughout
throughout the ages. Aristotle
the ages. Aristotle and and Renaissance man
Renaissance (scholar, author,
man (scholar,
(scholar, author, mathematician
mathematician and and
Empedodes of
Empedodes of Agrigentum
Agrigentum in in the
the 5th
5th century
century BC BC athlete),, saw
athlete),
athlete) saw architecture
architecture asas an
an intellectual
intellectual discipline
discipline
considered light
considered light asas the
the metaphysical
metaphysical linklink between
between the the and aa social
and social art
art necessitating
necessitating both
both artistic
artistic and
and mathem-
mathem-
object and the soul, and that light could not
object and the soul, and that light could not be consid- be consid- atical skills.
atical skills.
ered objectively.
ered objectively. Conversely,
objectively. Conversely, Euclid
Conversely, Euclid inin the
the 4th
4th century
century
BC established
Be
Be established the the geometry
geometry and and physics
physics ofof light,
light, and
and The romantic
The romantic andand empirical
empirical descriptions
descriptions ofof light
light in
in nature
nature
thus the
thus the rational
rational school
school of of light,
light, developed
developed furtherfurther and architecture
and architecture were
were followed,
followed,, in
followed in the
the late
late Italian
Italian
by Ptolemy
by Ptolemy in in the
the 1st 1st century
century BC. BC.
BC The The rationalist
rationalist Renaissance, by
Renaissance,
Renaissance, by Andrea
Andrea Palladio'
Palladio'ss more
Palladio's more mathematical
mathematical
architects and
architects and builders
builders based
based their
their approach
approach on on thethe rules to
rules to size
size openings.
openings. His
His texts
texts expressed
expressed the the need
need toto
empirical tradition,
empirical tradition, which,which , not
which, not until
until the late 19th
the late 19th strike aa balance
strike balance between
between wanting
wanting aa "clarity
"clarity of
of light"
light" whilst
whilst
century, developed
century, developed into into aa mathematical
mathematical approach.
approach.
approach. not allowing
not allowing inin too
too much
much heat.
heat. Palladio
Palladio proposes
proposes that:
that:

During the
During the Renaissance,
Renaissance, light
light was
was nono longer
longer regarded
regarded ""...
"... the windows
.. . the windows ought
ought notnot toto be
be wider
wider than
than the
the fourth
fourth
as aa symbol
as symbol of of the
the presence
presence ofof God,
God, asas in
in Medieval
Medieval part of
part of the
the breadth
breadth of
of the
the rooms,
rooms, or
rooms, or narrower
narrower than
than the
the
times, but
times,
times, but asas an
an enhancement
enhancement of of the
the sense
sense of
of life.
life. fifth, and
fifth, and to
to be
be made
made two
two squares
squares and
and aa sixth
sixth part
part of
of their
their
Leonardo da
Leonardo da Vinci,
Vinci, the
the scientist-artist,
scientist-artist, explored
explored the
the breadth . h'
more In
b rea d th more in
In eigh t. ,,24
height."
eIg ,, 24

nature of
nature of light,
light, and
light, and commented:
commented:
Despite such
Despite such formulaic
formulaic approaches
approaches in
in architectural
architectural treat-
treat-
"On studying
"On studying the
the causes
causes and
and motives
motives of of Nature, the
Nature, the ises, the
ises'
ises, the science
science of
of light
light was
was subordinate
subordinate to
to the
the aesthetic
aesthetic
observer is fascinated,
fascinated , above all light.",,,,26
all,, by light. 26 effects of
effects of proportional
proportional systems.
systems. Even
Even Palladio'
Palladio'ss villas,
Palladio's villas, La
La
 }bcumting
c.u tin g with
with light
li ght II 15
15

Rotunda and
and Villa
Villa Chiericato,
Chiericato, do
do not conform
conform to the rule
rule The Renaissance
The Renaissance revival of interest
revival of interest in
in visual harmony
visual harmony
and have more appropriate
and appropriate (lower)
(lower) average
average daylight
daylight fac-
fac- and proportion,
and proportion, inspired
inspired by classical architecture,
by classical architecture, results
results
tors (3%
tors (3% to
to 4.5%)
4.5%) compared
compared with
with the rule (7%).
(7%). At this
this in aa more
in subtle and
more subtle and clever
clever manipulation
manipulation of of daylight,
daylight,
stage in
stage in architectural
architectural history
history the
the romantic and
and the prag- used
used to emphasise form
to emphasise form and
and dramatise
dramatise space.
space. TheThe modu-
modu-
matic understandings
matic understandings ofof light
light in
in architecture
architecture seem
seem to
to be
be lar
lar and
and rhythmic arrangement of
rhythmic arrangement of tall
tall windows
windows is typical
is typical
approaching aa degree
approaching degree of
of balance,
balance, with both having
with both their
having their and provide
and provide the appropriate 'universal
the appropriate 'universal light'.
light'.
impact on
impact on design.
design.

Sculpting
ting with light
with light
•
1.5.1
1.5.1 Baroque
Baroque
Baroque architecture -- an
Baroque architecture an architecture
architecture in
in which
which light
light isis aa light conditions,
light conditions, external
external walls and the
walls and the windows
windows in in them
them
central concern
central concern -- is
is typified
typified by
by aa sculptural
sculptural exuberance
exuberance are hidden
are hidden from
from view by surrounding
view by surrounding the the main
main space
space with
with
and dynamic
and dynamic spatial
spatial qualities,
qualities, but
but has its basis
has its basis in calmer
in calmer an intervening
an intervening light-filled
light-filled mantle
mantle -- aa veil
veil of divine light.
of divine light. In
In
classical and
classical and Renaissance
Renaissance traditions.
traditions. The
The three-dimen-
three-dimen- smaller buildings
smaller buildings the
the relatively large windows
relatively large windows areare treated
treated
sional articulation
sional articulation of
of forms
forms enables
enables aa more imaginative
more imaginative as ornament,
as ornament, with deep scalloped
with deep scalloped reveals,
reveals, to
to minimise
minimise thethe
control of
control of light
light introduced
introduced between
between thethe overlapping
overlapping lay-lay- attention
attention that
that they
they draw
draw toto the
the walls.
walls.
ers of
ers of the enclosure. Openings
the enclosure. Openings were
were no longer simple
no longer simple
holes in simple
holes in simple walls,
walls, but
but perforated
perforated vaults behind which
vaults behind which The architect
The architect who
who had given the
had given first expression
the first expression ofof the
the
concealed light
concealed could reach
light could other areas
reach other areas indirectly
indirectly to illu-
to illu- Baroque style
Baroque style was
was Bernini,
Bernini, with
with the
the baldacchino
baldacchino atat St
St
minate the
minate the interior dramatically and
interior dramatically and mystically.
mystically. Peter's,
Peter's, Rome (Figure 1.14).
Rome (Figure 1.14). St
St Peter's expresses aa 'carving
Peter's expresses 'carving
out' of
out' of the
the interior space from
interior space from the
the masonry enclosure. The
masonry enclosure. The
Unlike
Unlike the Gothic cathedral,
the Gothic cathedral, which
which cancan be seen as
be seen as
representing the
representing the light-filled
light-filled heaven
heaven,, the Baroque church
the Baroque church
represents the
represents the link
link between
between earth
earth and
and heaven
heaven -- between
between
earthbound architecture
earthbound architecture andand heavenly
heavenly light.
light. The
The use
use of
of
mysterious light
mysterious light andand indefinite
indefinite spacial
spacial enclosure
enclosure
signifies transcendence.
signifies transcendence.

Typically, the
Typically, the central
central space
space is is illuminated
illuminated by indirect
by indirect
light, and
light, and with
with the the use
use ofof frescos,
frescos, ornamental
ornamental stuccostucco andand
sculpture the
sculpture boundaries of
the boundaries of the
the space
space are are indefinite.
indefinite. TheThe
illusions created
illusions created in in frescos
frescos andand sculptures
sculptures are are either
either anan
extension of
extension of the real architecture
the real architecture and and space
space (from
(from aa given
given
point
point ofof view),
view) , or or can
can be
be perceived
perceived as as anan opening
opening cut cut into
into
the vault
the vault with
with aa view into the
view into heavens (or
the heavens (or aa combination
combination
of both).
of These images
both). These images and and forms
forms require
require aa significant
significant
amount of
amount of light
light in order for
in order for their full impact
their full impact to to be
be visible.
visible.
However,
However, the source of
the source of light must be
light must be hidden
hidden from direct
from direct
view
view soso as
as to avoid glare
to avoid glare -- paintings
paintings will will appear
appear dark
dark ifif
there is a bright source within the visual
there is a bright source within the visual field - and, par-field - and, par-
Figure 1.14
Figure 1.14 St Peter's, Rome
St Peter's, Rome (1607-<:
(1607-c 1614).
1614). Parallel
Parallel shafts
shafts
ticularly
ticularly forfor sculptural
sculptural decorations,
decorations, light light should
should fall on
fall on
of sunlight
of sunlight cut
cut through
through the hazy incense-laden
the hazy incense-laden air
air to enter at
to enter at the
the
them obliquely to
them obliquely to emphasise
emphasise the the three-dimensional
three-dimensional forms forms fulcrum
fulcrum ofof the building. (Sonia
the building. (Sonia Halliday,
Halliday, Weston Turville // Jane
Weston Turville Jane
with light
with light andand shade.
shade. As As aa way
way of of creating
creating the required
the reqUired Taylor)30
Taylor)30