Prof. Lee In-Hee, Faculty of Architecture, PNU.

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3 Prof. Lee In-Hee, Faculty of Architecture, PNU.

4 Daylight Daylight or the light of day is the combination of all direct and indirect sunlight outdoors during the daytime (and perhaps twilight). This includes direct sunlight, diffuse sky radiation, and (often) both of these reflected from the Earth and terrestrial objects. Sunlight scattered or reflected from objects in outer space (that is, beyond the Earth's atmosphere) is generally not considered daylight(ex.moonlight).

5 Daylighting Buildings June and July 10, 2009 Harvard University, Cambridge, MA Daylighting a building describes the conscious effort to admit natural light into a building. The objectives for doing so are manifold, ranging from a desire to create healthful and stimulating spaces to efforts to reduce energy use for electric lighting and cooling. Given that the interaction of daylight and building form is a key contributor to the aesthetic experience of a space, one is unlikely to find a designer who does not desire to consider daylighting. As a consequence, daylighting holds an established position within architectural practice and education. Mies van der Rohe even proclaimed that the history of architecture is the history of man s

6 struggle for light. Despite or maybe because of the sometimes conflicting implications daylighting has for a building s appearance, its energy bill, and its ability to provide comfortable work spaces, there exists no commonly recognized or followed daylighting design approach.

7 History of Daylighting The history of daylighting and the history of architecture were one. The major structural changes in buildings reflected the goal of increasing the amount of light that entered. (until 20century) - because artificial lighting had been both poor and expensive until then

8 1) EGYPT Temple of Ammon, Karnac B.C.E.) Bright sky, clear climate. Filtered light/ small openings/ thick walls Limited by structural spans of stone. Ammon- lighted axis to dark sanctum Osiris chapel karnak tempel

9 Beam of sunlight in Edfu Temple

10 Sunlight in the Philae Temple

11 2) GREECE Post and beam stone w/ timber roofs. Colonnades create shade and spatial layers. "Object " buildings + outdoor activity. Colored/gold leaf exterior decoration in bright sun. Dominance of one skylight inside (Temple of Zeus, Olympia) Role of reflected ground light in displaying ceiling detail. Coffered ceilings (Stoa, Athens) Eastern orientation of Acropolis (morning statue illumination). Narrow shafts in AM. Diffuse reflected light during rest of day Orthogonal Greek Town Plan. Access to sun and light

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13 3) ROMAN Arch, barrel vault, dome, Concrete allows longer spans and window walls and "sheets" of light (Basilica of Constantine, Baths of Diocletian) Many public activities indoors. First use of glazing. Domestic architecture: toplight dominated; skylights and atria (Pompeii) Exception: Nero's Golden House Single, featured skylight (Pantheon) Bascillicas- E/W elongation. Raised Nave w/ clerestories.

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17 4) BYZANTINE, ISLAMIC Floating central dome on row of windows (Hagia Sophia) Use of multiple rays and reflected light Sequence of skylights emphasizing linear space (Bazaars) Reflected facets of light to complex vaulting (Isfahan)

18 5) EARLY CHRISTIAN Adaptation of Roman trade Basilica type for religion, after decline of Imperial Rome. Simple structure and rows of windows, creating a perspective that emphasizes the altar (San Apolinaire in Classe, Ravenna, AD ) Timber trusses replace vaulting of Romans. Less sidelight available. Reduced illumination + semi-circular apse for altar w/ more light = mystical reinforcement (?)

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20 6) ROMANESQUE Return to round masonry vaults. Basilica evolves to cross plan w/ elevated dome at intersection. Groin vaults develop. (St. Michelle, Pavia, Italy, c ) Bearing side walls have small windows. Non-bearing end walls have larger windows. Rose windows appear. Larger windows in Northern Europe.

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22 7) Gothic Architecture Gothic architecture was primarily a result of the quest for maximum window area. The roman groin vault replaced the barrel vault partly because it allowed larger windows in the vaulted spaces.

23 8) RENAISSANCE Daylight techniques become more subtle, sophisticated, innovative. Daylight used to emphasize architectural form & dramatize interior spaces. Walls as thick "Poche'" from "hollowing out". Thick, recessed openings, often hidden from view. (St. Peter's, Rome, )

24 9) BAROQUE Playing with light: hidden sources, heavenly domes (Neresheim) Playing with perspective (S. Satiro; S. Ignatio) Light above, dark below (S. Carlo alla Quattro Fontaine) Complexity of light and structure (S Sindone Chapel)

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26 10) INDUSTRIAL ARCHITECTURE Development of structural steel frame = increase in window area, heat loss, glare, summer gain. Thermal qualities of masonry replaced by centralized mechanical equipment. Invention of gas mantle and incandescent lamp = longer hours, but still supplemental Invention of fluorescent lamp = thicker buildings, low ceiling heights and night occupancy. Artificial illumination replaces clerestories, windows, skylights

27 11) MODERN MOVEMENT Wright, Corbu, Aalto (climate sensitive) vs. Gropius, Eliel Saarinen, Mies (International Style (climate rejecting) Emergence of industrially derived, energy-dependent architecture. Efficiency of material, labor, time, cost, but NOT energy. [Wright's Light]

28 [Corbusier's Light]

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32 La Tourette Monastery

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35 [Aalto's Light]

36 [Kahn's Light] Yale University Art Gallery Philip Exter Library

37 KImbel Art Museum Salk Institute

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39 [Ricardo Legorreta's Light] Hotel Camino real Children's Reading Room

40 Nuevo Mall Multi-Plaza

41 School of the Visual Arts

42 [Tadao's Light]

43 12) POST- INDUSTRIAL ARCHITECTURE Rising awareness of finite energy reserves and ecology. Oil "crisis" (economic impact) Rising awareness of consequences of modernism, but few tools and lost traditions.

44 13) OTHER'S sunlight on the macau temple India Madurai Minakshi Sundareshvara Temple

45 marrakech_streets

46 Experiment & Implement of Daylight

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51 Opera House in Sydney It took Jørn utzon three years to develop the tiles that cover the shells of his Opera House in Sydney, and to make their interaction with the ever-changing daylight match his ideas. utzon s Opera is only one of many examples for the sensibility of 20th century architects in their play with textures and light. Their often experimental treatment of material surfaces relates to such diverse factors as solidity and dematerialisation, the genius loci, the human perception and concerns about energy.