SYNOPSIS
DISSERTATION
Light, Shade & Shadow In Architecture
Done by
Sahithya.R
LIGHT, SHADE, SHADOW & ARCHITECTURE
ABSTRACT
This dissertation seeks to ascertain the nature of relationships and perceptions of light,
shad, shadow and architecture. This relationship creates a spiritual connection both with its
place and with the people who enter that realm. The study is based on all these factors. The
aim is to highlight the importance of light in all dimensions, both daylight and artificial light,
in relation to architecture.
INTRODUCTION
“Architecture is the skillful, accurate and magnificent plays of volumes seen in light.”
- Le Corbusier
Light has been used for architectural aesthetical effects and object design throughout
human history. The perception of space is directly connected to the way light integrates
with it. What we see, what we experience and how we interpret the elements is affected by
how light interacts with us and with the environment. Regarding architecture, in whatever
dimension it can be analyzed, either as space, as material or as color, it is essentially
dependant on the lighting situation that involves both the object and the observer. The
dynamic daylight and the controlled artificial lighting are able to affect not only distinct
physical measurable conditions in a space, but also to instigate and provoke different visual
experiences and moods. Due to the light, it is possible to perceive different atmospheres in
the same physical environment. Light constitutes an element of fundamental relevance for
the design of spaces and therefore it plays a significant role in the discussion of quality in
architecture.
Architectural lighting design is a field within architecture and architectural engineering that
concerns itself primarily with the illumination of buildings. The objective of architectural
lighting design is to obtain sufficient light for the purposes of the building, balancing factors
of initial and operating cost, appearance, and energy efficiency. Lighting designers are often
specialists who must understand the physics of light production and distribution, and the
physiology and psychology of light perception by humans. Architectural lighting design is
generally concerned with the permanent illumination of a structure.
STUDY
Light
Light that fills a room can give the impression of a space being serene, exhilarating, gloomy,
celebratory or creepy. Spaces are experienced by the mood transmitted within. Peter
Zumthor describes his interest in light, which is crucial in creating atmospheres within his
architecture – “…Daylight, the light on things, is so moving to me that I feel almost a
spiritual quality. When the sun comes up in the morning – which I always find so
marvelous… and casts its light on things, it doesn’t feel as if it quite belongs in this world. I
don’t understand light. It gives me the feeling there’s something beyond me, something
beyond all understanding” (Atmospheres, p. 61).
Böhme outlines the concept; that stage design, like architecture provokes emotions and
atmosphere. This sense of atmosphere is enhanced “not only of objects, wall and solids, but
also of light, sound, colour…” Japanese novelist Junichiro Tanizaki in his book In Praise of
Shadows describes atmospheres poetically, through space and light within Japanese
thought and practice of inhabiting in variations of darkness. “An empty space… a mere
shadow, we are overcome with the feeling that in this small corner of the atmosphere there
reigns complete and utter silence; that here in the darkness immutable tranquillity holds
sway”. The mystery and ambiguity of shadows created by light are primary atmospheric
conditions of interior spaces.
The relationship between light and architecture occurs inevitably. Light, depending on how
it is used can transform the spatial context. It can make a space seem pleasant or
unpleasant, moving or ambiguous, light also plays with scale or it could be used simply to
highlight elements within a space. Light makes space more enjoyable, comfortable,
inhabitable and visible.
As identified by Leonardo da Vinci, we often encounter three types of shadows: Attached
shadow, shading and cast shadow. The attached shadow falls on the body itself – like a
cantilever roof causing a shadow on the façade. The second type belongs to bright and dark
contrasts, which are inherent to the form and depend only on the source of light, e.g. a ball
shaped pavilion, which even under a cast sky shows a darker zone in the lower part. The
third, cast shadow, could be the result of a high house generating shadow on the street due
to the projection of the building outline.
The archetypical forms go back to Greek architecture, which was studied in the 1950s:
“Greek architecture taught me that the column is where the light is not, and the space
between is where the light is. It is a matter of no-light, light, no-light, light. A column and a
column brings light between them. To make a column which grows out of the wall and
which makes its own rhythm of no-light, light, no-light, light: that is the marvel of the
artist.”- Khan.
However, light was also a central element in philosophy because it was regarded as a “giver
of all presences”: “All material in nature, the mountains and the streams and the air and we,
are made of Light which has been spent, and this crumpled mass called material casts a
shadow, and the shadow belongs to Light.” For light is the maker of material, and material’s
purpose is to cast a shadow.
And believed that the dark shadow is a natural part of light, never attempted a pure dark
space for a formal effect. A glimpse of light elucidated the level of darkness: “A plan of a
building should be read like a harmony of spaces in light. Even a space intended to be dark
should have just enough light from some mysterious opening to tell us how dark it really is.
Each space must be defined by its structure and the character of its natural light.” As a
result, the light as a source is often hidden behind louvers or secondary walls, thus
concentrating attention on the effect of the light and not on its origin.
The “mysteriousness” of shadow was also closely linked to evoking silence and awe. For
Kahn, while darkness evokes the uncertainty of not being able to see, of potential dangers,
it also inspires deep mystery. It is in the hands of the architect to evoke silence, secret or
drama with light and shadow – to create a “treasury of shadows,” a “Sanctuary of Art.”
Thus, walking through the sequence of openings at the portico of the Salk Institute brings to
mind the dark silence of a cloister. Dark shadow lines and holes, from the precise defined
moulds, offer a fine texture on the massive walls. The white stone and the grey concrete
walls present a monotone three-dimensional canvas for the play of shadows. Shade turns
into an essential element to reveal the arrangement and the form of monolithic volumes.
CONCLUSION
Light plays a central and manifold role in the design of a visual environment. Work and
movement are only possible when we have light to see by; architecture, people and objects
are only visible if there is light. Apart from simply making our surroundings visible light
determines the way we perceive an environment, influences the way we feel and the
aesthetic effect and atmosphere in a space. You only have to enter a Baroque church with its
bright and inspiring atmosphere to see and feel what effects light can have in architecture,
or, to the other extreme, look at Piranesi’s paintings of dungeons with
their dark labyrinths, where the shadows conceal a never-ending source of horror.
Due to the adaptability of the eye elementary perception can take place at minimum lighting
levels or under difficult visual conditions, while for optimum conditions at the workplace and
for a piece of architecture to be accepted and found to be aesthetically pleasing it is
necessary to create lighting whose qualities, illuminance and luminance distribution are in
harmony with the particular situation. What is really required is lighting
design that meets all the lighting requirements– design concepts that form an integral part
of the overall architectural design and produce a visual environment that supports various
activities, promotes a feeling of well-being and is in line with the architectural design.
BIBLIOGRAPHY Arnheim, Rudolf: Visual Thinking. University of California, Berkeley 1971
Birren, Faber: Light, Color and Environment. Van Nostrand Reinhold, New York 1969
