architecture light

8/7/2019 ARCHITECTURE LIGHT

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A R C H IT E C T U R A L L IG H T

A rchite cts h ave vario usly a ve rred tha t sp ace is ligh t, th at form is ligh t, th at

architecture itself is a ll about light. W hat all such proponents have in

common is both an assertion that light is centra l to architecture and a

d ifficu lty in articu lating p re cise ly w ha t is m ean t. T his la ck of cle ar co nce pts o f

lig ht in evita bly m ake s d ifficu lt the sha pin g o f bu ilt form w ith lig ht, th e d raw in g

of these intentions and causes problem s in the communication of ideas to

other consultants, clients and installers. In th is new A J series w e focus on the

con ce pts an d issu es o f n atu ra l a nd a rtificial lig htin g, ra the r th an th e

te ch nolo gy, to he lp b uild a co nce ptu al la ngu age of archite ctura l lig ht.

AJ30.3.88 1 Exp r ess i ve l igh t ing Light is indispensable in expressingarchitectural form. We begin this series with a discussion offundamental ideas, for example, high and low key lighting,modelling, articulation, bounding surfaces

AJ6.4.88 2 T e chn o lo g yu p d a te Although this is not a series built aroundtechnology, a variety of recent technological developmentsoffer new possibilities for architectural expression with light

AJ13.4 .88 3 U g htin g o ff ic es The priorities are to create a lit environmentthat is both functionally efficient and congenial. Too oftenthese priorities, especially the latter, come second best. Thecoming of VDU s does not help

AJ20.4 .88 4 T he re ta il s ho w Lighting is very prominent in today's highstreet show-selling. Lighting expresses and promotes aparticular retailing philosophy. We look at the client's

strategic concerns and the technology

AJ27.4 .88 5 U g htin g f or d is pla y Background and object must be lit, theobject both overall and in detail. While this article focuses onart galleries and museums, many of the principles can beapplied to display elsewhere, say retail or domestic spaces

AJ 30 March 1988 55



Understa nd in g a nd

a rtic u la ting design

c on ce pts a re still

un re so lve d pro blems in

using ligh t exp ressively

in a rch ite ctu re . James

B ell and W illiam B urt

d is cu ss id ea s o f d es ig n

w ith lig ht.

James Bell isemeritus professor ofarchitecture at Manchester Universityand former director ofthe school.William Burt isa lecturer inManchester University school ofarchitecture.

1 Remb r and t' s 'The Ho ly Fam i ly '.

2 G lo om of e ar th , l ig ht o f h ea ve ns :

S te C hap elle on the lie d e Ia Cite

i n Pa r is .

A R C H IT E C T U R A L L IG H T

1 E X P R E S S IV E L IG H T IN G

In the hands of a good designer lighting is anindispensable aid to expressing architecturalideas in concrete terms. Iflighting is to beexpressive, then it will express the nature ofthe aims of a programme and of theemerging design.Over the centuries architects have realised

how the qualities of interior daylighting areachieved by the positions and types ofwindows in relation to the forms and details ofa building. Lighting could be controlled so thata focal area was lighter or more dramatically

lit than the rest, the chancel of a churchbrighter than the nave or the high table in amedieval hall accentuated.Lighting could be used to give expression to

spiritual concepts-the mysterious new lightsought by Abbot Suger at St Denis. Thebaroque architects of Bavaria gave expressionto the aims of the counter-reformation bycreating sensuous interiors, often with an airof majesty and mystery achieved by contrivedlighting effects from unseen sources. Lightingwas used in a symbolic way in the lower partof a church where darker materials andcomparative gloom represented earth, whilethe light of heaven was expressed by theradiance of the upper parts, 2. In Regency

times a propagandist for the ideas of thepicturesque depicted a heavy Georgian roomas introverted with an unsympathetic soot andwhitewash lighting effect, in contrast toexpansive, light and airy views from a room inthe new manner.In the world of commerce today the type of

lighting used for retailing purposes varieswith company philosophy as much as with thenature and quality of the goods.

Apart from philosophical or emotiveexpression, lighting can help to order andclarify architectural elements-to expressform and relationships. The possibilities andoptions are many, due to the ever developingtechnology in lamps and in the means ofcontrol. Indeed, it can be said that the art ofartificial lighting is a twentieth centurydevelopment. Itis now possible to createatmosphere and to give expression to interiorswith the skills that were once confined to thetheatre. Iflighting has such a positive role

then it should not be seen as a final stagein a design process, but should be one ofthe active formative determinantsthroughout.To illustrate the possibilities, look at the

way in which lighting is used in the paintingThe Holy Family, by Rembrandt, 1. The eye isat once drawn to the main group by the glowoflight and yet the light source itself is hiddenfrom view. The glow is intensified by the bolduse ofthe dark silhouette of Mary, the formechoed in the dramatic wall shadow cast byJoseph. Although there is a considerablevariation in the main pattern of light andshade, modelling offorms and surfacetextures ofmaterials maintain interest even

in the darker outer parts. Indeed the lightingclearly expresses and articulates the interior,and the nature of materials is conveyed bycharacteristics revealed by the lighting. Thelow key ofthe painting matches the subject-imagine how different it would have been iftwo 85 W fluorescent tubes had beensuspended from the roof.Many ofthese lighting issues are singled out

below. Different, often interactive, aspects of

2

AJ 30 March 1988 57



3 D ay lig ht r ev ea lin g f or m: L on do n,

T ow er H o te l f oy er .

4 H igh k ey ligh tin g: en tra nce h all to

b ath s a t B ld en B ld en ,

W e st G e rm a ny .

I AJ 30March1988

designing with light are discussed. No claim ismade for completeness either in the headingsor the content but the influences of lighting onmany aspects of the quality of interior designshould be clear.

predictable, but when the sun will shine is not.For this reason, daylight should be thestarting point for window design.

Art if ic ia l l igh t variabil i ty

Whereas daylight and sunlight are inherentlyvariable, which is both a strength and aweakness, the lack of variability of artificiallighting can lead to blandness and monotony.Variation is most easily achieved by means ofdimmer controls. These are readily availablefor tungsten sources and for fluorescentfittings equipped with electronic gear. Theinstallation of, say, two complementary

lighting systems each with separate switchingcontrols allows for three changes of lighting.The treatment ofwalls as separate elementsfrom the generally lit central space allows thebrightness pattern to be varied andcontrolled, ra-d.

Day l i gh t var i ab il it y

Daylight and sunlight should be consideredseparately for their contribution to theenvironment. Although daylight fades withincreasing room depth, it can still make auseful contribution to the workingillumination up to a room depth of about 2 .5times the window head height. Deeper in the

room, daylight still makes a majorcontribution to the illumination of verticalsurfaces parallel to the window. Light strikingsurfaces at grazing angles is particularlyeffective in revealing form and texture, 3. Thegeometry of sunlight penetration is

4



5 L ow k ey lig htin g: 'U gh t

D im e ns io ns' e xh ib itio n a t th e

S cie nc e M u se um , Bath. .6 Mo d ell in g: v ie w a cr os s y es ti bu le

o f Z wiefalten A bb ey , W est

Ge rmany .

7 a·d C on feren ce ro om a t D esig n

S ol ut io n L o nd o n, b y E q ua ti on

U gh tin g D esign . T he room has fou r

m ain settin gs co ntro lled b y

d immers . Ful l l igh t, a . A s ymme t ri c,

focu sin g o n on e w all, b . H ard er

e dg ed e ff ec t of centralt un gs te n· ha lo ge n, c . S ymm e tr ic al

g alle ry e ff ec t u sin g s of t t un gste n

lighting at ed ges, d .

High key l igh t ing

A major consideration in the lighting strategyfor an interior is to identify those areas thatneed particular lighting emphasis. Thedecision must then be made whether to lightsolely those areas or whether the atmospherecalled for needs the rest of the surfaces to belit. Thus the 'key' of the lighting may bedetermined. High key lighting implies that theinterior has light surface finishes and that thelight distribution is even. No area demandsmore attention than another. Light sourcesshould be unobtrusive. The atmospheregenerated should feel light and airy, 4.

L o w key l igh t ing

For other areas a more private, secluded,even sombre atmosphere is required. Thesurface finishes will be in accord. They will be

mainly dark in finish, possibly soft in texture.The lighting will be designed to illuminate theessentials of the interior. Lighting that isevenly distributed would destroy theatmosphere. The contrast between light anddark should be positive.The superimposition of small areas of

lighter finish or additional lighting will beimmediately apparent, 5. The lighting leveland distribution must be such that movement

may be made safely. The provision of illconsidered emergency and exit lighting coulddestroy the atmosphere.

Mode l li ng and textu re

Light flowing obliquely across a form or objectwill create light and shade patterns thatexpress three-dimensional properties andrelationships. This effect occurs whether theobject is a column or the modelling of thesurface of a vault, 6. At a smaller scale,surface textures such as roughcast orimpressions of timber formwork can beexpressed. The geometry is simple. Itis basedon the relationship between the viewing

position, the object and the direction of theflow of light. The more oblique the angle ofincidence the greater the shadow area and thetextural expression. Lighting directed fromthe viewing position reduces modelling effectsto the point offlatness.

Reflect ion

Reflection is an important influence on thelighting of an interior and the way it isperceived. From a quantitative point of viewhigh reflectances make a significantcontribution, such as light coloured floors,light ceilings over large spaces and light wallsin smaller rooms. Both the value and chroma

of surface colours can be used in associationwith light to provide either background oremphasis, 10.

Surfaces that do not have direct light fallingon them will have their appearance tinged by

7b

7d

AJ 30 March 1988 59



8 Un fo r tu n at e s c al lo p e ff ec t f rom

ends o f f it ti ngs.9 L ig ht in g o f w a lls a nd c ei li ng s:

f oy e r o f I Ie n ji e On s ta a t

Centre , Oslo .1 0 Re fl ec ti on : Eu ro p ea n Sou th e rnOb s er va to ry HQ , Ga rc h in g , n e ar

Mun ic h , b y F e hl in g & Goge l .

the colour of any incident reflected light, suchas a white ceiling tinted by the colour of thefloor below. The reflection from a lightcoloured surface will soften shadows.Furthermore, a light floor will influence theappearance of adjacent vertical surfaces; forexample, it can assist the reading ofbookspines on the lower shelves of a library stack.A matt finished surface reflects light in a

diffuse manner, whereas a glossy surfacebehaves like a mirror and reflects the image ofa light source at the point where the angle ofincidence equals the angle of reflection.Unintended images may be disturbing as the

surface may appear to lose any surfacepattern or colour. Planned reflections canproduce sparkle and give an air ofliveliness.

P rope r ti es o f s o ur c eThe warm colour rendering of tungstenfilament lamps is accepted, from domesticapplications to their use as spotlights. The lowvoltage tungsten lamp has better colourrendering and an increased life of up to 3000hours. The fluorescent tube can last for 10 000hours. Lamps range from those that closelymatch the colour effects of the tungsten lamp

60 AJ30March 1988

10

to those simulating daylight from thenorthern sky. The fluorescent lamp most usedis one with high efficiency and moderatecolour rendering properties, but better colourcharacteristics are available if specified.High pressure sodium and mercury

discharge lamps have long been used infactories and warehouses. Improvements incolour rendering have led to their use in sportsand market halls and churches. With thedevelopment of less powerful lamps they areincreasingly used in smaller interiors, mainlyin uplighters. However, when colourrendering is important their use should be

considered carefully.

Ugh t d i s tr i bu ti onThere is a wide range of choice ofl ightdistribution available from lamps and fittings.With tungsten filament sources, the lamp mayincorporate its own reflector so that anyfitting serves only as a housing. Very precisecontrol is available from the low voltagereflector lamps, with beam angles rangingfrom 3-60°. Such lamps are ideal forhighlighting specific objects.Where lamps do not incorporate optical

control, this is provided by the fitting. Thelight may be precisely redirected by polishedelements or generally controlled by paintedreflectors, prismatic or diffusing panels, orlouvres. For general lighting, the narrowestbeam is to be found in downlighters and lowbrightness fluorescent fittings. Fixed ceilingfittings with this distribution concentratetheir light on the horizontal plane and directglare is usually avoided. Little light is directedto vertical surfaces so the modelling will tendto be harsh. The ubiquitous diffuser fittingproduces an all round distribution.Sometimes prisms are incorporated to reducedirect glare.. Wide distribution fittings with theirprecisely designed optical control redirectlight sideways, yet limit glare. This

distribution ensures that vertical surfaces arewell lit. Fittings of this kind may be spacedfurther apart than usual while still providingeven illumination on the working plane.However, vertical obstructions maycause overshadowing.



1 1 A rt ic u la ti ng t he wa ll s:

r ef ur b is hmen t o f T a te Ga ll er y

r es ta u ra n t b y J er emy a nd F e ne ll a

D i xo n ; j ob a rc h it ec t M a r k P im lo tt .

1 2 A rt ic u la ti on o f f oc a l w a ll :

S t Dom ini c's c h ur ch , Ro tt er dam .

1 3 A rt ic u la ti ng a r ou te : Bu rr el l

Ga l le r y, G la sgow , by Barry Gasson.

Ugh tin g o n wa lls a n d c e ili ng s

The majority of lighting standards relate tothe provision of light on the horizontalworking plane. General lighting provided byeither fluorescent lighting or rooflightsproduces even illumination on this plane. Thefall-off to be expected at the room periphery isovercome by halving the spacing betweenfittings. The lighting effect on the boundingvertical surfaces is incidental in this process ofdesign. The wall brightness pattern soproduced depends on the light distributioncharacteristics of the fittings adjacentto the walls.A scallop pattern is projected on to a wall by

a downlighter or by the end of a fluorescentreflector fitting. The sideways distribution ofthis fluorescent type creates a linear shadow

on the upper part of an adjacent wall. Ifanyshadow area occupies too much of the wallsurface the effect may be depressing.Furthermore, people moving through such aspace will be alternately well lit and thenshadowed, 8, 9.

Due to the visual predominance of verticalsurfaces in all but the largest rooms a strongcase should be made for lighting the boundingwalls as separate elements deservingindividual attention. The brightness patternon the ceiling depends on the way in whichlight is distributed by the fittings and on thereflectivity of other room surfaces,particularly the floor.

Ar ti cul at ion o f bound ing su r faces

The way in which walls, ceiling and floor cometogether to create the form of a space, can bemade clear by emphasising the junctions in

one way or another. The nature and materialsmay be different in colour, texture andpattern or the way they are lit may be varied.Planes may be separated at the corners. Thisis very effective when the articulation slot isalso used as a source of light to give emphasisto a particular plane, such as a major displaywall in an art gallery or the focal wall in achurch, 12. A clerestory window, howevernarrow, can also be used to give definition tothe ceiling plane. However, when it isintended to break down the articulation of acorner, this can be assisted by lightingadjacent walls evenly, 11.

Art ic u la tio n w it hi n a sp ac e

Within a larger space, lighting can be used toarticulate a particular through route or todefine a specific area, whether or not inconjunction with changes in form, material,colour or texture, 13.Applications could bepools of light almost like stepping stonesacross the floor of a theatre foyer, or used todefine picture display zones along a wall. Thesoftness or harshness of the edge of a pool oflight will affect the degree ofarticulation ofthe particular element. For example, when aprojector spotlight frames a picture exactly,the articulation is so strong the pictureappears self-luminous.

V is u al e ff ec ts o f l ig h t f it ti ng sThe integrity ofthe ceiling plane can remainintact when the lighting is provided by wall ortable lamps, standards or uplighters.However, when fittings are ceiling mountedthe visual impact on the interior must be

AJ 30March 1988 61



1 4 S e q ue n ce e x pr es s e4 i n l ig h t:

Comme rc ia l Un io n d in i ng r o om .1 5 V i su a l e ff ec t o f l ig h ti ng f it ti ng s :

M i n is tr y o f F o re ig n A ff ai rs , R i ya dh,

b y He nni ng L a rs e n.

1 6 S e ns e o f m o vem en t c re at edwith l ig h t: Comme rc ia l Un io n

cock ta i l l o ung e . 16

1 7 C o nt ra st in g e le m en ts o f a r ou te :

M i n is tr y o f F o re ig n A ff ai rs , R i ya dh,

b y He nni ng L a rs e n.

62 AJ 30 March 1988

17

considered. When continuous lines offluorescent luminaires are used they break upa large ceiling plane into long sections,imparting a strong unilateral perspective, andexpressing direction and movement. Thedirectional property can be used to emphasisecirculation routes and boundaries, or to reflectchanges in level below, such as platforms orcounters. When there are gaps betweenluminaires or when there is a two-dimensionalgrid pattern, perhaps of tungsten or miniaturefluorescent fittings, then counter-perspectivecan be set up in several directions. The effectsof light fittings can be very pronounced and somust be taken into account when designingthe interior, 15.

SequenceThe manner in which one space relates toanother can enrich the experience of movingthrough a building. Many contrastingvariations can be used, for example, a lowrectangular space leading to a larger, vaultedcircular space or a narrow space with anexpansive area beyond. Lighting can add to

the experience or indeed create it. Forexample, in a reception room a dramaticatmosphere can be created by downlightersemphasising the floor plane while the ceilingand dark panelled walls receive only reflectedlight, while in the major room beyond, wallpanelling may be lighter and also washed withlight, providing in contrast a more relaxedenvironment, 14, 16, 17.

Integration

If lighting is to give expression to ideas, tocreate atmosphere and to articulate interiorforms, and ifits hardware is to be cohesiverather than intrusive, then it must be

considered throughout the design process. Ata practical level there is a basic need for taskanalysis and strategic decisions about lightingin energy terms. In interior design both theway surfaces are lit and the fittingsthemselves can create rhythmic patterns, givedirectional emphasis, reinforce concepts ofscale and draw attention to focal points. Theseattributes must be controlled by the designerifharmony is to be achieved. In a principallydaylit space the appearance of unlit fittings isas important as their night time effect. Thereare many examples of interiors where theform of the lighting hardware helps togenerate or to emphasise overall design

themes.In a cinema foyer in San Francisco, squareilluminated wall and ceiling units echo thegeneral theme used in the structure, thefenestration and the floor pattern, 18, 20. Atthe Wallraf-Richartz Museum in Cologne, thestaircase soffit lighting and its hardwareunderline the form and are in harmony withthe linear modelling of the spine and thestair well, 21.Ceilings have been devised incorporating

fittings to provide general lighting. At thePreston headquarters of BDP the V-formationprovides a visual cut-off for fluorescent tubesrunning along the apex. The large ceiling areaacts as a sound diffuser and absorber and

there is ample space in the ceiling voids for therunning of services. The boundary walls arewell lit, reducing the silhouette effect andavoiding glare from the windows by contrastgrading. An early example of a fullyintegrated solution, 19.•



1 8 I nt eg ra ti on o f l ig ht in g e ff ec ts :

c in em a in S an F ra nc isc o by Kaplan

M c la ug hl in D ia z.

1 9 I nte gr atio n o f l ig htin g w ith o th er

e nv ir on m en ta l q ua li ti es : B D P

o ff ic e s, P r es to n .20 In te gra tio n, a s fig ur e 18 .

21 In tegra tion o f lig ht a nd fo rm :W a ll ra f·R ic ha rt z M u se um , C o lo gn e.

P h ot o c re d it s

1,Rijksmuseum, Amsterdam: 2, 3, 4,6,9,11,14,16,19, J. Bell; 5,13,

Concord Lighting; 7, Peter Cook;

8, G. R.Winch; 10, Peter BlundellJones; 12, Jo Reid and John Peck;15, 17,Richard Bryant; 18,20, JohnSutton Photography; 21, PhilipsLighting.

20

AJ 30March 1988 63

architecture light

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