Daylighting in Architecture

Architecture is the learned game,corrected and magnificent of forms assembled in the

light."- Le Corbusier

NAME- AMBUJ MISHRA

[Link]. 4th yr. 8th SEM

ROLL. NO. - 1672181003

 ACKNOWLEDGEMENT

On the outset of this report, I would like to extend my heartfelt gratitude towards all the
personages who have helped me in this endeavor. Without their active guidance and
encouragement, I would not have made headway in the dissertation.

First and foremost I offer my sincerest gratitude to my dissertation guide and Assistant Professor,
Ar. Rajdeep Yadav for his insight, patience and knowledge in helping me during the course of
my dissertation. His valuable inputs were indispensable during the project guiding the
exploration forward.

Lastly,

I dedicate this dissertation report, with deep respect and great love, to my parents, who not
only gave me the gift of life but an unrelenting passion to live it fully for which I am grateful.

A room is not a room without natural light

- Louis I Kahn
 ABSTRACT

The paper discusses the reasons for using daylight in the design of architectural form and space.
These reasons extend from those of a practical nature, including energy conservation, cost
factors, and health and wellbeing, to those of a more intangible, aesthetic nature. Some
historical precedents are offered as examples of projects in which designing to maximize
daylighting was crucial in the mind of the architect. By contrast there is also discussion relating
to the ‘the lost art’ of using natural lighting in architecture. Gallagher states, however, that
environmentally minded scientists are now questioning what we traded off in order to live
indoors, with artificial lighting, heating and cooling - a new world order structured as she says
around economic rather than biological concerns.

The availability of daylight and its impact on the health and wellbeing of building users is
generally nowadays acknowledged as fact, and writing some five years later Gallagher (1999)
cites winter statistics for the north of the United States, pointing out the serious nature of an
illness known as seasonal affective disorder (SAD). Six percent of New York residents suffer
severe depression during winter, but as many as 50% of the residents suffer mild symptoms,
including low energy, and disturbed eating and sleeping patterns. Gallagher believes that this
behavioural problem has a specifically environmental cause: lack of light.
 INDEX

 The daylight optimization problem

 An overview about daylight in architecture

 Case for daylighting

 Terms related to daylighting in architecture

 Characteristics and effective use of daylight in architecture

 Daylighting design- role of an architect

 Strategies of using daylight into a volume -

 Different conventional methods of borrowing daylight in architecture

 Daylight distribution

 Aim - Objective - Scope - Limitations

 Keywords

 Criteria for case study selection

 Case Studies

 Case 1 - The Chichu Museum, Japan.

 Case Il Solomon R. Guggenheim Museum, New York„ U.S.

 Case Ill - The Jewish museum, Berlin.

 Health ,wellbeing, performance

 Orientation

 Innovative daylighting systems

 Type of radiation diffuse

 Lighting control

 Legislation

 Conclusion

 References
The daylight optimization problem

In the new environmental context, we want to better use the two effects of the solar radiation:
light and heat. Note that both have an impact on the energy cost. In both situations, we have
to take into account not only the building itself, but also its vicinity that can act as a mask for
the radiation process. In practice, the problem is still more complex because of objects
interactions; radiation can also be transmitted by refraction or reflection. Today, many
programs are able to compute realistic images of a scene taking into account all the luminous
effects. The problem is that the designer cannot use this information to modify his design.
Because we are interested by the preliminary design, we want to simplify the model in order to
make the effects of the design modifications more easily understandable. We are also convinced
that a progressive use of the different phenomena will be more efficient in the design process.

The general formulation can be stated as follows: we know the localization of the new building,
latitude, longitude and altitude. We also know the topography and the neighborhood. In a first
step, we will neglect the atmospheric conditions with the consequence that our study always
deals with some kind of ideal or extreme situation: a sunny day or an overcast sky. With classical
algorithms, we are able to describe or evaluate punctual situations either in space or in time.
However, to deduce rules helping the user to improve his design, it is often necessary to
compute more global results and therefore to perform some integration in space or in time. For
time aspect, we need to consider two scales: one related to a day and the other one to a year.
But the difficulty is to compare many of these situations. The necessity of navigating in a five
dimensions problem - three for space and two for time - is increasing the interest of the
optimization.

In this kind of simulation, we introduce the full geometry of the project. Full geometry means
that we have not only to describe the exact position and the shape of the analyzed object but
also of all the objects that could hide the sources (Sun and sky). In this way, we are able to
compute at any point and at any time the contribution in the radiation process of any element:
Sun, sky or other objects. These contributions can vary in magnitude and in nature. Sometimes,
we observe directly the solar beam or a beam produced by its reflection; other times we have to
deal with diffuse light or its reflection. For interiors, we have also to take into account the
property of the windows. Glasses are producing reflection, refraction and filtering. In a first step
of design, we want to avoid giving the properties of materials and to limit ourselves to the pure
geometry. In a second step or for improving the behavior of the building, it will be useful to
introduce the physical properties of the materials.
 IIN

INTRODUCTION
DAYLIGHT IN ARCHITECTURE

The perception of space is directly connected to the way light integrates with it.

Due to the light, it is possible to perceive different atmosphere in the same physical
environment.

Daylight contributes an element of fundamental relevance for the design of spaces and
therefore it plays a significant role in the discussion of quality in architecture.

In architecture, light as in form of daylight, the generous use of both sunlight and
skylight in the spaces is considered positive, adding spatial values to the architectural
object.

The concept of perception is used to describe how we see and directly apprehend and
understand spaces size, shape, depth and distance.

It also addresses experiences such as the level of light and the level of color as perceived
qualities.

Evidence that daylight is desirable can be found in research as well as in observations of

human behaviour.

Windows that admit daylight in buildings are impportant for the view and connection
they provide with the outdoors. Daylight is also important for its quality, spectral
composition, and variability.

A review of people's reactions to indoor environments suggests that daylight is desired

because it fulfils two very basic human requirement:

To be able to see both a task and the space well,

To experience environmental spatiality

CASE FOR DAYLIGHTING

The history of daylighting in architecture is punctuated by major developments, such as the discovery
of new structural systems, which allowed larger openings, and hence better natural lighting. Arguably,
however, the one single event, which could be considered pivotal, but also detrimental to the role of
daylighting in architecture, was the invention of fluorescent lighting in the mid-1930s. This gave the
architect virtual carte blanche to design deep, windowless spaces, in which lighting levels were
consistent no matter where an occupant was located. No longer was the building necessarily designed
to take advantage of natural light, and architects were thus deprived of an important design element,
one that their predecessors had considered so vital to the crafting of their architecture.

The limitation imposed on architects of having to be entirely reliant on the sun no longer applied, and
they saw the advent of efficient, uniform artificial lighting as lifting huge

constraints on their creativity. In reality, though, and as a consequence of this technological

advancement, the art of using natural light in an architectural manner was rapidly lost to architects
practising in the middle and second half of last century. Paradoxically, the new found freedom to
design with ultimate flexibility did not, as might reasonably have been expected, give rise to better
architecture. On the contrary, too many other considerations were being ignored, and above all a
feeling of alienation was being experienced by the inhabitants of the new deep plan buildings.

In spite of technological developments such as fluorescent lighting, there were a few twentieth century
architects for whom there could be no compromise, and who recognised the crucial role played by
natural lighting in their work. As long ago as 1964, for example, Professor S.E. Rasmussen, in a series
of lectures to the Royal Institute of British Architects, stated that “… the same room can be made to
give very different spatial impressions by the simple expedient of changing the size and location of its
openings. Moving a window from the middle of a wall to a corner will utterly transform the entire
character of the room.” He contended that daylight was “… fundamental in allowing us to experience
architecture”

By way of illustration, Professor Rasmussen cites Le Corbusier’s Chapel at Ronchamp, which he

considers to be a major shift in thinking by the architect. Le Corbusier’s earlier work he sees as
employing strident, strong side lit spaces, but in the design of this chapel there is a new approach, in
which “Le Corbusier has created a church interior … which has the emotional appeal that is based on
the shadowed dimness
Terms related to daylighting in architecture:

1. Spatiality - having a particular nature

2. Atmosphere - the pervading tone or mood of
a place or situation ambiance.
3. Visibility - the state of being able to see or be
seen.

The consideration of spatiality is the

possibility to define the physical room —
volume, distance, proportion and orientation.
Depending on the light in a space, we can
perceive its volume as huge, as small, open
and crowded. The perception of a particular
space can also change a lot from an airy to a
cramped space.

Even the orientation is influenced by

lighting, because how we find our way in
the space can be well determined by the
light present there.

Any atmosphere consists the general character

related to the psychological mood that light
creates.

Many times user experience the space as public,

private, boring, cheerful etc., due to lighting
influences. The visibility is connected only to
functions, to the building.

THE ULTIMATE SUNDIAL

Only at noon on an equinox does the Sun Shine thtou0h the Pantheons oculus at the perfect
angle to through grille the light up the front courtyard

4
9

Section through the oculus

According to Mrliljefors, there are seven basic terms for description of the light in the
space visually:
  Level of lightness
 Spatial distribution of brightness
 Shadows
 Reflections
 Glare
 Color of light
 Colors in terms of surfaces.

All these aspects are effective to describe and understand the effects of lighting in a space and
reliable to classify among themselves.

Characteristics and Effective Use In Architecture:

Daylight – As a building element:

Project Name: Pantheon

Location: Greece

The interior has the shape of a

cylinder covered by a half of a
sphere The main structure consists
of thick masonry walls, which are
curved to improve stability and
provide structural support.

The main structure consists of

thick masonry walls, which are
curved to improve stability
and provide structural support

Project Name: Notre Dame du Haut,

Location: France

Architect: Le-Corbusier
 Massive wall with punctures to infuse natural light with spiritual
feelings

Recalling feelings:

Project Name: Church of light

Location: Ibaraki,

Japan Architect: Tadao Ando

In all my works, light is an important controlling factor. I create enclosed spaces mainly by
means of thick concrete walls. The primary reason is to create a place for the individual, a zone
for oneself within society. When the external factors of a city's environment require the wall to
be without openings, the interior must be especially full and satisfying. —Tadao Ando

Here, Ando's this urban insert adds a symbolic value to the religion, the way of borrowing
daylight in the structure enhances spatial character.

Inside view of church of light

Perception of space:

Project Name: Hall of Nations

Location: New Delhi,

India Architect: Raj Rewal

The Permanent Exhibition Complex

is designed to form the focus of 130
acres of Exhibition ground designed
by Raj Rewal in New Delhi

The depth of the structural system was

utilized as a Sun breaker and
conceived of in terms of the traditional
jails

Interior of exhibition space,

"Hall of Nations" A geometrical
pattern of perforation that
serves to obstruct directs rays
of the harsh Sun while permit
ting air circulation.

The main pavilion of the Hall of

Nations has a clear span of 78
metres and a height varying
from three metres to 21 metres,
thereby providing a vast
capacity for items to be
exhibited, from books to
bulldozers

Reflection:
Project Name: Kimbell Art Museum - Piano Pavilion

Architect: Louis I Kahn, Renzo Piano

The location of Kimbell Art Museum, Fort Worth, Texas ,with its sunny/arid
climate ,sets off the stage for the conceptual gesture of light reflection carried
throughout the design.

Shadow:

1. Project Name: Indian Institute of

Management

Location: Bengaluru, lndia

Architect: Bal Krishna Doshi

The interplay of walls and openings, light and

shadows, and solids and voids change the
character of the main building during different
times of the day and during different seasons.

The high corridors are sometimes open; sometimes

partly covered with skylights and sometimes with
only pergolas to heighten the spatial experience.

Shadows in a particular manner segregates and adds spatial experience to space

2. Structure Name: Sanchi Stupa
Location: Sanchi, Madhya Pradesh, lndia

The Stupa of sanchi has a

significant value in terms of its
monumentality and as the oldest
structure in India.

Materials and construction

method is used In most
effecient way to create this
stupa.

3. Project Name: Salk Institute

Location Texas U.S.A

Architect: Louis I Khan

In order for these spaces to receive ample sunlight, Kahn designed a series of light wells on
both sides of each building that were 40 feet long and 25 feet wide.

The laboratories above ground are also well-lit spaces with large glass panes for their
exterior walls.

The materials that make up the Salk Institute consist of concrete, teak, lead, glass, and
steel.

The concrete was poured using a technique studied in Roman architecture. Once the
concrete was set, he allowed no further finishing touches in order to attain a warm glow
in the concrete.
Daylighting Design - The Role of the Architect
Consideration will be given to the role of the architect, and the relationship between architect,
building user, and other professionals working in the arena of daylighting. As with many issues
in architectural design, the primary aim must be to meet the specific needs of users. At the basic
level in considering what these needs may be, Evans (1981) believes there is failure, on the part
of both architect and building owner, to examine and address specific visual task needs at the
design stage. User needs, however, go much more deeply than the ability to carry out visual
tasks, into considering the overall comfort, health and wellbeing of the building’s occupants.,
Gallagher (1999) and Cherulink (1993) believe that architects need to show more interest in the
findings of environmental behavioral research, and to be more proactive in adopting some of
the findings.

There is something of a grey area in all of this debate, however, and the question needs to be
asked, “how far can the architect go in assessing and judging user needs, or is this the realm of
another professional?” In answering this, and speaking from his standpoint as a lighting
engineer and designer, Hopkinson (1963) is unequivocal in his view. He believes that
establishing the needs, per se, of people, falls firmly within the arena of the psychologist, and
that the architect’s role is to provide the environment necessary to meet these needs. He
suggests “the architect’s task of creating a favorable environment for living and working
demands a study of the response of the human being to this environment. Such a study is new
as a science, though not as an art” (Hopkinson,).

Cook (1997) believes that the understanding of daylighting techniques could well become an
important aspect of the architect’s services, and that more clients are likely in the future to seek
this form of expertise. Hopkinson (1963) also emphasizes the important role played by the
architect, though he sees it more as assimilating the engineer’s expertise into design solutions.
Writing exactly one decade before the first oil crisis, Hopkinson suggests a more responsible
and pro-active approach be taken by architects, and that the ‘seat of the pants’ approach must
be underpinned by the more scientific expertise. “Lighting and glare, acoustics and noise, etc.,
are all matters to be studied by a new kind of specialist, although the application of the results
of all these experimental studies lies with the architect” (Hopkinson,).

Ander (1995) makes a strong plea to building design consultants to work cooperatively and for
all disciplines to become involved at an early stage in the design process. This, he considers,
gives the best chance for all aspects to be properly considered and integrated. In considering
what the best approach might be to the successful integration of daylight in architectural
design, Moore (1995) introduces the idea by suggesting “…daylighting is the most recently
discovered realm of architecture. Once inseparable from the practice of fine building design,
lighting by natural means began to be regarded as anachronistic early in the twentieth century
when electric lighting became both practical and economical. Instant, safe, predictable, and
absolute, artificial lighting has tended to overwhelm building

Design since the Industrial Revolution. Electricity has also made possible constant illumination
levels that do not reflect the natural rhythms and the unpredictable variations of each day’s new
light” (Moore, 1995)

Ander considers that there is an intimate relationship “between people, daylight and
architectural form, with daylight being the ‘design variable’” and consequently the most
significant element in determining the form and scale of the building, its orientation on the
site, and the interior spaces, both in terms of the quality and character of those spaces, and in
how the occupants respond to those spaces.

Selkowitz (1998) suggests that technological advances, such as more efficient types of glazing,
will be insufficient to change mindset, and he believes that the process needs to be much more
holistic in nature: “Daylighting is fundamentally a systems integration challenge, involving the
building siting and orientation, fenestration design, lighting systems design, control systems
selection, and ongoing maintenance”

Lam (1986) essentially agrees with this viewpoint, and he suggests that designing for sunlight
involves careful architectural design in terms of both the planning and the geometric forms
relative to the light available. He also suggests that an overall understanding is needed on the
part of the designer, of the nature of light, and the methods of controlling light, and the ability
to relate this to an architectural context. He cites the Cambridge University History Faculty
building by James Sterling as an example of failure to address environmental concerns “Many
of the best known architects have created dramatic top lighted sculptural statements that must
have assumed sunless skies and then attempted to ameliorate the self-imposed problems with
technical solutions, sometimes with little success. One example is the fully glazed greenhouse
ceiling/roof at the Cambridge University History Faculty building (James Sterling, 1967). This
building is an environmental disaster, cold and drafty in winter and hot as an oven in summer”

Strategies for Using Daylight into a Volume:

 Diffused or skylight ( through window or open ing)

 Externally reflected light through the same win dow. (by ground or other
building )

 Internally reflected light from walls, ceilings and interior

surfaces.

 Direct sunlight along a straight path from the sun through

a window top a given point.

Region specific guidelines:

For hot-dry climate.

▪ Internally reflected light is the best form of

daylighting.

▪ Small sizes of openings and blue skies reduce

the sky component in such areas.

▪ Shading devices should be non-reflective and

positioned
So that they are directly visible as they can cause glare.
 ▪ High-level windows should be used; low-
level windows are acceptable only if they
open to shaded and planted courtyard.

▪ Strong illuminance difference (contrast)

between a sunlit view and window can be
avoided by painting adjacent walls and
inside of window frames.

▪ All wall sections - shows the methods of borrowing daylight from the side surfaces to
create Light wells, Atria and courtyards

Different methods to borrow daylight within the space:

Overhang Method

Where cantiliver is created in

roofing member.

Prevents the direct glare to get

inside the building

Generally been used as a

conventional method to get
protection from harsh sun in
hot dry climate
 Slit provision

Where a slit at a desired level is

given to reflect the direct rays
and to get inside the reflected
componants of it.

Creepers

This technique on south facade

is used effectively to lower
down the summer heat in hot
dry climate

Due to the plantation it reduces

the radiation of heat into the
building and keeps the inteior
environment workable

Side lighting - Angled

According to the climatic conditions of a particular region and based on the desired conditions
of daylighting the angle of the inclined covering is decided in which the puncture is made of
derived dimension.

It also been used as a spotlight to focus artwork in exhibition spaces and museums.

For hot dry climate this angle of opening are majorly 30 and 45 degrees, it may vary based on
desired.
 Saw tooth Technique - Roofing
Conventionally and largely used in factory buildings, large span structures for better ventilation
and to avoid glare.

Diagram shows the preferred dimensioning for a typical saw tooth roof.

It is a preferred method to have reflected daylight, for those reflectors are used in terms
of another roof or any surface or slit... Saw tooth method of daylighting
 FLAT

SHED

DOMES

NONHLIGHT

Some of the other useful methods

daylight-ing in terms of roofing a space.
Based on the nature of space the method is chosen in certain scale.

The height of the ceiling in relation to theproportons of the room affect the probability
that the skylight may cause glare
Daylight Distribution
The amount of light skylights can provide
depends directly on how much daylight is
available outside, which varies with
climatic conditions, the time of day, and
the season of the year.

In the winter, days are short, and the number

of daylight hours may be eight hours or less.
In the summer, days are long and daylight
may last for 16 hours or more per day.

Once daylight has passed through the opening it

can be controlled and diffused by the shape and

reflective properties of light wells, shading devices,

skylight wells and the surfaces of the room itself.

Sunlight or Skylight?
In reality, they have very different physical
properties and different effects on sky lighting
design. The most important differences are
their intensity, their color, and the extent to
which their light is scattered, or diffused.

The sun is considered a point source of light, often

referred to as "beam" sunlight, because it is
directional. Light from the sky, on the other hand,
arrives from a large area and is more or less diffuse,
meaning scattered and arriving from all directions.

Beam light will cast a shadow; diffuse light will not cast a distinct shadow Again, depending
upon the angle and orientation of the sloped roof, the sun may not reach the skylight during
certain times of the day or year

For example, a skylight on an east-facing roof with a 450 slope will only receive direct sun during the
morning and midday hours. In the afternoon, it will receive skylight, but only from three-fourths of
the sky. As a result, in the afternoon it will deliver substantially less light to the space below than an
identical skylight located on a flat roof.

Light wells:
Light wells are a primary component of skylight-ing systems. They bring the light through the
roof and ceiling structure, and they simultaneously provide a means for controlling the
incoming daylight before it enters the main space
Light wells can be designed in a wide variety of the surface reflectance of walls, floors, ceilings,
and furnishings have an impact on light distribution. Light-colored surfaces, which have high
reflectance, will help to distribute brightness around the space, and this, in turn, will reduce
the shapes. The simplest are vertical-sided shafts, the same size as the skylight opening. More
elaborate wells have splayed or sloping sides that spread the light more broadly through the
space.

Room Surfaces:
Once the daylight has penetrated past the glazing, the light well, and the shading devices, it
interacts with the interior of the building. Although these effects tend to be much more subtle
than building geometry. For example, a flat-glazed skylight on a fiat roof will intercept very
little sunlight when the sun is very low in the early morning and at the end of the day

A skylight with angled sides, whether a bubble, pyramid, or other raised shape, can intercept sub
statically more sunlight at these critical low angles, increasing the illumination delivered below by
five to 10 percent at the start and end of the day.

The difference in transmission of solar energy (light and heat) for a 50 percent translucent
glazing material as a function of the angle of incidence for three different shapes: a fiat skylight,
a hemispherical skylight, and a segment of a sphere (which most closely models the typical
bubble skylight). It shows for very low sun angles (600 - 909 angle of incidence) that the rounded
shapes will collect noticeably more light. It is also interesting that they allow in less light at
midday.

Sizes and Shapes:

Skylights are available in a wide variety of sizes and shapes to match nearly any building need.

They range from simple rectangles to complex polygons. They can be small, to fit between rafters, or
large enough to run the length of a building.

To cover big spaces, the skylights can be in the form of long barrel vaults or smaller units combined
on a space frame.

The glazing comes in several configurations as well. Flat glazing can be used in a single plane
or in a facteted framing system that assumes various pyramid shapes. Plastic glazing is also
available in molded dome or pyramid shapes for greater stiffness
Layout and Spacing:
The layout and spacing of skylights in a roof are important factors for the light distribution
characteristics of the sky lighting system. Given a fixed percentage of the roof area given to Image.43.
According to standard spacing between two skylights, a designer could select anything from a
skylights components single large skylight to many small skylights distributed uniformly across the
roof.

However, when skylights are provided in order to create uniform lighting in large open spaces,
careful attention to spacing is important.

The differences in illuminance level between locations directly under the skylight, compared to
locations between skylights, will be greater as skylight spacing becomes wider. The diagram
shows close skylight spacing, with relatively even illuminance at the work plane also a wider
range of light and dark areas. The total skylight area is the same for both.

The general rule of thumb is to space skylights at 1.0 to 1.5 times ceiling height (center- to-center
in both directions). This assumes a highly diffusing glazing and a modest depth for light wells;
Actual designs can vary considerably from this rule of thumb.
Skylight Glazing
Ceiling height matters in terms of visibility of skylight component to users Common glazing
materials for skylights include a variety of plastics and glass. The common plastic materials
include acrylics, polycarbonates, and fiberglass.

These materials come in a number of colors from clear and translucent white, to bronze and gray
colors. They also come in a variety of thicknesses and number of layers. All these variables affect the
performance of the skylight.

The choice of the glazing material for a skylight can have an enormous effect on the quality of
the light provided and the energy efficiency of the design.
Aim
To understand "DAYLIGHT" as a qualitative element of space making in Architecture and
demonstrate the understanding into a permanent exhibition space region .

Objective
To create a platform to appreciate art and craft of saurastra region in form of permanent
exhibition space.

Scope n limitations
Basically, the opportunity is to demonstrate and celebrate the 'daylight' as an element of
architectural design.

A space can be provided at regional level to exhibit the artwork.

Limitation could be the nature of site and context of this urban insert.

The space will not be active at night as compare to day with this type of lighting system.

The kind of exhibition is limited to a specific type at a time.

KEYWORDS
Glare

 Glare is difficulty seeing in the

presence of bright light such as direct
or reflected sunlight or artificial light
.
 Glare is caused by a significant ratio of luminance

 between the task (that which is being looked at) and

 the glare source

Discomfort and disability

Glare can be generally divided into two types,

dis comfort glare and disability glare.

▪ Discomfort glare results in an

instinctive desire to look away from a
bright light source or difficulty in
seeing a task.

▪ Disability glare makes unclear the vision of

objects without necessarily causing
discomfort.
▪ Disability glare is often caused by
reducing the contrast between task
and glare source to the point where
the task cannot be distinguished.
▪ When glare is so intense that vision is
completely impaired, it is sometimes called
dazzle.

Illuminance:

▪ The amount of luminous flux on a surface,

per unit area.
▪ In Sl derived units these are measured in lux
Ox) or lumens per square meter
▪ In the CGS system, the unit of illuminance
is the photon, which is equal to 10000 lux.

Criteria for selection of case studies.

The case study should give an overall idea

about the Inquiry- Daylight, the nature of
space - exhibitbit-ion space.

The case study could be able to demonstrate

different approach to use daylight in
architectural insert.

The various case studies in various

context would give considerations to be
taken care off while designing in urban
context.
CASE STUDIES
CASE 1:
Project: Chichu Art Museum

Location: Naoshima Island, Japan.

Architect: Tadao Ando

The museum was constructed in 2004 as a site

rethinking the relationship between nature
and people.

The museum was built mostly underground to.

An Ariel view of the museum avoid affecting
the beautiful natural scenery of the Seto Inland
Sea.

Despite being primarily subterranean, the

museum lets in an abundance of natural light
that changes the appearance of the artworks
and the ambience of the space itself with the
passage of time, throughout the day all along
four seasons, year.

Taking considerations of ideas from artists and

architect to each other, the museum in its
entirety can be seen as a very large site-specific
artwork. The entrance space

The whole building has conceived as a part of

existing terrain and as merging into the existing
landscape.

The
main

exhibition space daylight from wall - roof junction

Iso view of the ceiling in exhibition space SECTION -that shows the opening
type
 Learning:

The case study suggests an approach to existing

site responsive architectural design with
conscious decision of using daylight as a prime
element to design with.

• The building is designed as a certain contextual

response, gives guidelines for using daylight from
top and side covering for enclosed volumes.

Daylight - as a decorative element- to create a spatial

experience to the space.

Exploded view of Chichu Museum which

shows all spaces and their connectivity and
circulation
 CASE 2:
Project : Soloman R. Guggenheim
Museum

Location: Newyork,
USA.

Architect: Frank Lloyd Wright.

As one-step, forward the low-ceilinged

area suddenly opens into the rotunda (the
central space) and draws eye up to the
skylight or oculus 96 feet above. The works
of art remain mostly hidden,
before you get to them.

.An Exterior view of guggenheim It is a spiral-ramped building topped by a

museum large skylight, the main central space is the
heart of the Guggenheim Museum. It
functions almost like a town plaza.

A quarter-mile of concrete ramps climb the

outer walls, visitors on the ramps not only
view the art, but also are also aware of
people in other areas of the museum.

Prime Concern
The central atrium in the museum

The architect conceived of the museum as

an airy, open place where visitors would
not have to foot up steps, instead entering
the building on the ground level, taking an
elevator to the top and descending
gradually, enjoying the art on display until
returning to the entrance.

Built v/s open diagram of Guggenheim

museum

Top floor gallery space panoramic view

The museum has designed with a view to

Learning

having a journey while observing

artworks.
As being surrounded by tight urban
context, it also offers a public Informal
gathering at the ground floor level.

It has a significant role to perform as a

benchmark for an ideal exhibition space
at city as well as global level... Building
view with immediate context It was a
design call of making this building
publically more channelized as well as
easily accessible and to decide a
controlled movement within the
building.
 CASE 3:
Project: Jewish Museum

Location: Berlin,
Germany.

Architect: Daniel Libeskin

The nature of this museum is all about

telling the historical turnover of
germany, structure is the part of this
narration

Form of building

Naked concrete walls with sharp angles are

not constructed as a regular stuctural
componants,they go far beyond the physical
realm.

The structure is intended to generate a

meaningful conversation between the body
and visitors

The informal geometry evokes

emotions, conveys anger, fear, exile and
death.

Squeezing between tall narrow

walls ,walking on iron faces, walking in
exile garden and terrifying in a uncanny
dark space are all the real experience
and this real experience make the
museum immortal iñ visitor's mind.

Mass and voids:

The voids are structural ribs of the museum which organize elements, they make discontinues
empty space illustrates; these are broken backbones of a society which represents the cultural
history of berlin„ Image.61. Interior- the corridor to express death, pain and sacrifice
 Learning :

How to build a building

typology to convey a particular
message to the visitors.

Designing with natural light, as

a prime tool to design

The voids and emptiness

emphasize the disturbing
nature of space creates a space
exist between two lines

Behaves like ã unhomely home,

which has been haunted by
absence silence and violence

In addition, represents the

Jewish memories presents feel
ings like terror inside its cold
*spiritless and strange body.

The visitors experience terror

Scaledifferently
of built in form:
each spaces
within one body of
architecture.
The scale of architecture ridicules human proportions and embodies neither the perfect nor the
inappropriate human for confronting the withdraw exterior and disturbing interior space,
visitors find themselves in an world which they find themselves not exactly at home, certainly in
bodily and mentally crisis.

The rhythm of city views is achieved by the use of fully transparent glass —that
allows a view to Helsinki Station and as full curtain-wall facades at the north and
south ends of the building's volumes.

More than simple punctures in the ceiling, the skylights work with the curving,
irregular lines of the building to turn light into a sculptural element in itself.

.Horizontal 'light-catching' sections along the ceilings and upper walls deflect and diffuse light
from skylights and clerestory windows down into the museum spaces, this system allows natural
light from a single roof opening to penetrate through and illuminate multiple levels.
The shapes and textures of the building were designed with light in mind.

The character of natural light changes depending on

the direction it is coming from, and artificial lighting
in the building adapts to the natural light.

Natural Light, which is borrowed in Kiasma is uni

form in all its diversity.

Scale of desired spaces:

The unit in the scaling of spaces at Kiasrna is the
human body. One of the standards in the design of
the building adopted by Steven Holl was eye-level at
165 cm.

The height and width of doors, the grid on sliding

based on the golden section

. Portion of an exhibition space on upperC

 HEALTH, WELLBEING AND PERFORMANCE
Gallagher (1994) suggests that the Industrial Revolution made a significant difference to the
way we lived. We changed from an agrarian, substantially outdoor way of life, to a more indoor,
urban environment. She believes we adapted rapidly to this new lifestyle, in spite of millions
of years of evolution which had seen us respond to the cycles of the earth and sun. Gallagher
states, however, that environmentally minded scientists are now questioning what we traded
off in order to live indoors, with artificial lighting, heating and cooling - a new world order
structured as she says around economic rather than biological concerns. For the first time in
our history we were no longer wakened by the dawn, and lulled to sleep by darkness.

The availability of daylight and its impact on the health and wellbeing of building users is
generally nowadays acknowledged as fact, and writing some five years later Gallagher (1999)
cites winter statistics for the north of the United States, pointing out the serious nature of an
illness known as seasonal affective disorder (SAD). Six percent of New York residents suffer
severe depression during winter, but as many as 50% of the residents suffer mild symptoms,
including low energy, and disturbed eating and sleeping patterns. Gallagher believes that this
behavioural problem has a specifically environmental cause: lack of light Ruck is also very
specific on the issue of health and wellbeing of the occupants of buildings, and suggests that
“… light can also be considered on physiological and biological grounds as being essential for
the wellbeing of a building’s occupants owing to its non-visual effects such as brain stimulation
and body orientation and balance. A good luminous environment therefore depends not only
on environmental and task lighting design, but also on the spectral composition effects of the
light on individuals. Great architects, including the designers of the Parthenon, the craftsmen
of the Gothic cathedrals, and indeed certain twentieth-century architects, have understood the
impact of natural light and its importance for putting human beings in touch with their
environment” (Ruck, 1989:40-42).

It is no coincidence, therefore, that natural light has always played a key role in the design of
certain building types, in particular where human emotional wellbeing could be an issue,
including sacred and religious architecture. Stegers considers that “natural light… [has] a
fundamental effect on the atmosphere of sacred spaces. Light and shadow determine the
spatial qualities of a space … light can accentuate, direct attention, create an atmosphere of
contemplation and composure, foster togetherness in prayer, or underline the solemnity or
festiveness of an occasion” (Stegers, 2008:60).

Ruck discusses the issue of human biorhythms, and the importance to human wellbeing of
maintaining the 24-hour pattern. The quality and quantity of natural light plays a central role
in this, and she refers to evidence indicating that seasonal physiological and psychological
problems can be caused by “the pattern of light changes in winter”

On this question of the ‘adaptability’ of human beings, Thomas (1996) makes an interesting
point in regard to how we also adapt our physical environment. We do this in order to arrive
at similar environmental conditions internally, regardless of external climatic conditions. He
contrasts the English cob cottage with the Middle Eastern ‘doha’ house, both of which are
constructed of earth. Both buildings, the cob cottage under overcast skies, and the doha house
in bright and hot sunlight, have evolved to provide around 100 lux of light, whilst both have
also dealt successfully with very differing external temperature conditions. There are, however,
other considerations over and above lighting levels visible light plays a much wider role than
just that of stimulating ‘vision’

Gallagher (1994) suggests that architects are starting to respond to the growing awareness of
the importance of light to wellbeing, and she cites the New York Board of Education and their
experimentation with classroom shape, as shown in Figure 5, “… rather than the traditional
box, this version’s plan resembles a bisected square whose halves have been pushed in opposite
directions; because it has eight corners and walls instead of four, the room allows for bay
windows and a lot more light”

Evans (1981) points out that the human organism works most effectively and productively when
there are conditions of changing stimuli, and that by its very non-constant nature, daylight is
an excellent vehicle for providing this - “… the trick in building lighting design is to find a way
to provide reasonably subdued surface-brightness variations while at the same time providing
some visual flexibility and stimuli. The proper introduction of daylight into the environment
is the simplest and most effective way to provide these valuable variations”

Evans also points out the importance of orientation, and the fact that human beings have an
innate need to be able to relate, both physically and psychologically, to their surroundings. In
making the case for orientation and the need for exterior views within buildings he uses the
analogy of a passenger on board ship, and points out that the passenger is more likely to suffer
sea sickness below decks, than if he or she has a view of the horizon, and that (although
significantly milder in effect) the same holds true for people inside buildings. Lam (1992) and
Ruck (1989) also emphasise that humans have a biological need for visual information,
including aspects that can be related to the daylighting of buildings, such as orientation,
contact with nature, awareness of the time of day, and of the weather. Evans (1981) cites
research by others such as Ruys and Sommer, in which view to the outside has been shown to
be as important as sun and daylight to the occupants of buildings. He also makes the important
point that duration of stay in an interior non-daylit space has a significant bearing on
acceptability to the occupant. The most extreme situation of unacceptability is the totally
windowless environment, which, more than 30 years ago, Collins (1975) was researching at a
time when the concept was very acceptable, with the main emphasis being to conserve energy.
ORIENTATION
The importance of orientation in a building must be considered at the outset, when the
architect is planning the location of the building on the site, the aim being to ensure the
maximum availability of useful natural light and sunlight to the interior. There may of course
be severe restrictions where the building is set into a rigid street pattern, or where there are
severe external obstructions; but even in these circumstances the best use of the daylighting
available should be considered. The architect will have the greatest flexibility to get the
building orientation right on a greenfield site, where he can plan the site layout to take
advantage of the sun path and the availability of the daylight.

Taking an example from residential buildings in the northern hemisphere, and using the
simple fact that the sun rises in the east and sets in the west, it would be normal to ensure that
those rooms which might benefit most from early morning light, such as a kitchen, morning
room or even bedrooms, are placed on the east side, whilst those more likely to be used in the
afternoon or evening such as living rooms face south or west. There will of course be debate
about the desirability of selecting a specific orientation for a particular use of room and it will
be up to the 10 Daylighting: Natural Light in Architecture The charioteer statue at Delphi,
daylit (See Case Study pp. 170^171) London Metropolitan University architect to discuss this
with his client, and there may also be conflict with the orientation of a room when associated
with the ability to enjoy a particular view. As with all architecture a compromise will need to
be established which best fits the needs of the interior function. What is essential is that the
orientation of a building and the interior layout takes most advantage of the daylight available
and is a factor taken into consideration at the outset of the building design. Each architectural
programme whether an office, school or church, will have its own specific needs of orientation,
and this is of special significance where the interior function is one requiring the inhabitants
to sit in fixed positions, often the case in offices or classrooms.

Another aspect of orientation and one where the mere presence of daylighting is reassuring, is
the subconscious desire of people when inside a building to keep in touch with the outside
world, whether to know the time of day or the nature of the weather. An example of this might
be taken from the modern shopping centre. The Victorians had got it right when they
introduced overhead daylighting from domes or barrel vaults to their shopping arcades. But in
the 1960s many of our early shopping centres cut out daylight altogether, leading to people
finding it difficult to negotiate their way around or to find the exits.

In one large shopping centre built in Hong Kong in the 1970s where daylight had been
eliminated, visitors felt so disorientated that extreme measures had to be taken; whilst at City
Plaza, another shopping centre of similar size where daylight had been provided over much of
the multistorey space, it was an immediate success. There is little likelihood that any shopping
centre built now would not be daylit, there is a public demand for natural light in large open
areas used by the public during the day and whilst the individual shop may be lit with artificial
light to enhance the goods on sale, the public areas will assist orientation by the provision of
daylight. At night the whole atmosphere will change, contributing to the variety we associate
with the high street shop with artificial light taking over after dark.
INNOVATIVE DAYLIGHTING SYSTEMS

In 1998 Paul Littlefair of the BRE wrote a seminal paper on this subject, listing as its aims: to
improve the distribution of daylight in a space and to control direct sunlight. Of the various
methods none can be said to have achieved a universal application, but each has a specific use
and is worthy of mention. Mirrors.

There are many ways in which the interaction of light or sunlight with a mirrored surface can
be used for reflection. From the use of a large hand-held mirror to throw light into the dark
recesses of a renaissance church for the delight of visitors, to the fixed mirrored louvres which
may be related to vertical windows, installed to direct light upwards to a ceiling; alternatively
there are those which, when related to glazed openings in a roof, can project light downwards
to the interior These tend to be specialist solutions requiring the mirror to be controlled by a
motorized tracking system or heliostat . . . not for general application. Prismatic glazing.

The principle is to use methods of refraction of light, rather than reflection. Whilst this method
can be applied to vertical windows, they are perhaps more successful when associated with
systems of rooflight, a good example being Richard Rogers’ redevelopment of Billingsgate fish
market to a modern computer centre where sunlight is refracted away from the occupants to
eliminate glare, whilst allowing daylight to the space below. As these have only a limited
application they are expensive. Light shelves.

It is possible by means of comparatively inexpensive building construction, to provide light

shelves. These have already been mentioned in terms of solar shading, but they are useful also
to provide a view window below the light shelf, with the light above reflected to the ceiling to
redistribute daylight further into the room. It must be recognized that light shelves do not
increase the daylight factors in a room, but they alter the distribution, assisting in getting light
further towards the back of the room so that uniformity is improved. Light shelves are
relatively cheap to install, and are less subject to damage than those used externally, but do
require cleaning on a regular basis.
TYPE OF RADIATION DIFFUSE

Radiant or luminous power Sky factor Sunbeam energy Related to a surface, irradiance or
illuminance Sky view factor Sunbeam energy on the surface Reflected light Sky reflection
Sunbeam reflection

The sky factor is the part of the sky visible from a point; it is measured in percent of the area
of the vault of heaven or of the hemisphere limited by the local horizontal plane. This area
measured in steradians is equal to 2π sr. Without any mask, we obtain one hundred percent,
i.e. on the roof of the highest building in a flat area or on the top of the highest hill or mountain
of the considered area. With this quantity, we can find the most opened place inside a given
area or volume. To compute averages or to detect maximum or minimum value, we need to
define a grid or a mesh and to eventually perform integration. Building the graph of sky factor
on a section of a volume allows finding by simple inspection the point where this function is
maximum.

Sometimes, one has to choose the place where the total direct illumination is a maximum. To
get this information, we need another kind of evaluation: in a given point, what is the number
of hours of direct illumination either during the whole year either in a period of the day during
a period of the year? We can achieve this evaluation by using what we call the isochronal
diagram. This one is able to give this information in real scale. The two axes of the diagram
correspond to hours and days. A horizontal line is describing a day and a vertical one
corresponds to an hour along the year. The masks are also projected, so we can directly see
without any deformation the time of illumination of this point for all the days of the whole
year. Moreover it is possible to take into account the angular elevation of the sunbeam.
 LIGHTING CONTROLS

The careful introduction of lighting controls can ensure that the maximum use is made of the
available daylight; so that the amount of artificial light is reduced automatically when all, or
most of it, is no longer required to meet the design level. The term ‘daylight linking’ has been
used already, and this perhaps needs some explanation. It is used in the sense that the artificial
lighting in a building is planned and controlled to support the natural light 40 Daylighting:
Natural Light in Architecture available during the day, to ensure that the combined lighting
level meets the desired design level. This can be done by planning the artificial lighting circuits
so as to allow control by simple switching, so that those sources close to the window may be
switched on only when required. Such unsophisticated means of control suffer from the human
factor, in that once the artificial light close to the window is switched on it tends to be left on
all day.

A more sophisticated method known as Permanent Supplementary Artificial Lighting (PSALI)

was proposed by Prof. Hopkinson in the late 1950s; the first practical application of the
technique being developed for the Esso Building (see Lighting Modern Buildings, p. 89) where
there was dual switching for day and night, with the same lamp energy used throughout, but
using the daylight available close to the windows to achieve the required design level when
available. This still relied on the human factor to turn on the switch. One of the greatest
advances in the technology of lighting is in the development of modern control systems. These
will be associated with light fittings which can react by photocell to the level of daylight
available outside, enabling the design level to be maintained throughout the day, but offering
considerable savings in energy. The control system should be appropriate to the occupation of
a space, and in a leaflet published by the British Research Establishment, Watford, UK, the
following are identified.

1. Variable occupation. Occupants spend part of their time in the space, and part elsewhere,
e.g. an office

2. Intermittent scheduled occupation, a meeting room

3. Full occupation, reception area

4. Intermittent occupation, storeroom areas.

Before deciding on the appropriate type of control it is useful to analyse the type of
‘occupation’ as above, as this may help to determine the nature of the control system. It is
unnecessary to dwell on the many types of control system, from ‘intelligent’ light fittings which
react automatically to the ambient light level, adjusting the total light to meet the design level;
to systems where each fitting may be controlled individually by an occupant to meet his or her
needs by means of a manual controller, or groups of fittings which can be controlled by means
of proximity switches, reacting to an occupant’s presence.

It should be emphasized that the control system for a particular building or part of a building
should be appropriate for its use, for example the control system for a church will be very
different to that of an office or a factory. Each programme should be analysed and those areas
of buildings where there is intermittent use, such as storage or warehouse, need to be provided
with an appropriate control regime; if daylight is available, artificial light may not be required
during the day at all, or by some means of occupancy or proximity switching. Control systems
are at the heart of energy savings, and daylight linking is an essential part of the solution, and
may be linked into the BEMS (Building Energy Management System)
 LEGISLATION
Up to the twenty-first century little effort had been made to limit the amount of energy used
for the lighting of buildings by legislation; but a start was made by Part L of the Building
Regulations of 1995, dealing with the conservation of fuel and power; this was a start to limiting
the amount of energy used for lighting in buildings, and this coupled with the increased
efficacy of the lamps and light fittings available from the lighting industry, had a material effect
upon the energy demand.

In 2002, revisions to Part L made it a requirement to consider the need for ‘energy efficient
lighting’ more seriously, and architects should be aware of the current regulations, which in
themselves will no doubt be further updated and modified, to increase the need for further
energy savings for the future. The new Part L requires that ‘Reasonable provision shall be made
for the conservation of fuel and power in buildings other than dwellings, by . . . installing in
buildings artificial lighting systems which are designed and constructed to use no more fuel
and power than is reasonable in the circumstances and making reasonable provision for
controlling such systems’.

There is some flexibility for lighting designers to comply with the regulations, and there is
every reason for the spirit of the regulations to be wholeheartedly adopted. The regulations are
divided into two parts, the first (Part L1) dealing with dwellings, and the second (Part L2) with
non-domestic buildings. 42 Daylighting: Natural Light in Architecture The latter takes in
offices, industrial buildings and those of multiresidential use, such as hotels, hostels, old
people’s homes, hospitals and boarding schools.

This is a very broad sweep of the majority of buildings, and architects should be aware of the
implications . . . it will not be sufficient to say that your client has demanded illumination levels
of 1000 lux in a hotel foyer when to provide this level the amount of energy used is far in excess
of the amount allowed for this type of space. To give an example of the legislation the following
is a quotation from Part L2:

This refers to general lighting efficiency in office, industrial and storage buildings: 1.43 Electric
lighting systems serving these buildings should be provided with ‘reasonably efficient
lamp/luminaire combinations.’ A way of meeting the requirements would be to provide
lighting with an initial efficacy averaged over the whole building of not less than 40 luminaire-
lumens/circuit watt. This allows considerable design flexibility to vary the light output ratio of
the luminaire, the luminous efficacy of the lamp, or the efficiency of the control gear.
 CONCLUSION

The main problem for using optimization in architectural design is to define the
relevant quantities of interest. These variables must be meaningful for designers. A
second difficulty is to identify an objective function that corresponds to the insight of
the architect who wants to improve his design. Depending on the problem we want to
solve, we have to select the proper optimization algorithm.

The advantages of the presented methodology are the utilization of specific projections
to obtain fast computations and the progressive introduction of complexity to enable
the designer to manage all the aspects of the project. We have suggested four possible
levels of optimization: distribution and geometry of solar panels, interactions of
buildings and their impacts on each other, architectural shape optimization and
treatment of interiors. These four situations correspond to the present trend of urban
densification. Here we are far from academic optimization problems but with an
adequate formulation and efficient evaluation algorithms we are convinced that
optimization will improve the illumination quality and the energetic balance of the
architectural projects.
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