3Влияние света на архитектуру
Зубкова Дарья Дмитриевна
студент, НИУ МГСУ, darizubkova@yandex.ru
Ушанова Надежда Петровна
старший преподаватель кафедры nadezhdaushanova@ gmail.com
ИЯ и ПК НИУ МГСУ,
Исследование влияния света на архитектуру является основной целью статьи. Гипотезой данного исследования является возможность использования естественного света, ламп, прожекторов, экранов в архитектуре. Методами исследования, используемыми в этой статье, являются анализ и сопоставление данных. Основанных на опыте обучения в университете и литературных публикациях. Результаты исследования показывают различия в влиянии света на архитектуру.
Ключевые слова: естественный свет, искусственный свет, архитектура, освещение, внутреннее пространство, лампы.
Light is the first and main factor of the phenomenal world. It would be impossible to perceive the world around us without light, because no other sensory sensations have a greater impact on a person than visual ones. No wonder, the involuntary psychological identification of the lighting process and the vision process as a cognitive activity are observed almost everywhere. Light and the sun present in almost all known mythological narratives and in poetry. From the point of view of linguistics, light is a culturally significant concept, the unique position of which has led to a specific perception reflected in the sphere of language. In addition, it should be noted that light is one of the first objects of religious worship. The connection of light with the "divine" principle is largely due to the same reasons as its sources: all illumination is the primary organization of chaos.
The history of human relations with natural light shows an infinite variety of techniques for organizing (modeling) light and its semantic capacity - the ability to embody a wide range of beliefs and values that cannot be expressed by material form alone. The first experience of this kind of modeling are architectural monuments focused on the sun and solar cult: obelisks, Egyptian pyramids, Stonehenge, etc. The main role in the construction of their spatial structures was played by the light of the sun, stars and the moon. At the same time, according to the hymns of Aton, the deification of the Sun and natural light was applied. A similar situation is observed in ancient Greece. Plato, the founder of the metaphysics of light, considers light not only as an independent transcendental principle, but also as an important principle of cognition, because vision motivates a person thinks about processes and allows him to see "ideas" - the essence of things.
The views of ancient philosophers, combined with the specific nature of natural illumination by sunlight, are reflected in architecture. In the classical period, light was often used to reveal the shape of objects, their plastics. The light confirmed the structure and, above all, the architectural order.
Natural light in architectural theory is studied within the framework of lighting engineering, the psychophysiological impact of light space on a person, as well as within the framework of the theory of architectural form. Interpretation of the process of interaction between light and architecture within the framework of lighting technology makes it possible to objectify the subjective processes of human perception of light space. Computer modeling of the light field, based on data of the light climate of the area, allows predicting the state of natural light with high accuracy, enabling architects to make a meaningful approach to create an image of an architectural space, and also opens up wide opportunities for studying the influence
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of natural light on the perception of an architectural structure. The study of the psychology of color perception and human behavioral reactions to natural light let us know that variations in the states of light in space induce consistent and shared by groups of people emotional and cognitive reactions. Natural light conditions also have an impact on a person's external behavior: movement patterns, postures, judgments, gestures, facial expressions. Within the framework of the theory of architectural form, the interaction of natural light and the shape of the building is considered, the semantic aspects of the work of architects with natural light are clarified, the role of natural light in the formation of an architectural and artistic image of the internal space of buildings is investigated.
Light is the most important factor in evaluating, as well as in understanding architecture. The connection between light and architecture is based on the principles of physics (energy and matter), but it is also in the realm of perception. Light affects on our perception, and architecture is used to enhance or eliminate this perception. Light is a prerequisite for spatial perception, which is one of the most important components of architecture. The issues of designing buildings for a certain emotional feeling are an integral part of architectural design.
Since ancient times the relationship of the architect with light has crossed the limit of practical necessity throughout the world. A lot of attention was paid to the functional and material components of the design, while the semantic and spiritual components of the organization of light remained poorly studied. Until now, natural light has been considered in the theoretical works of architects who turned to studies of it in the course of their own philosophical searches, but the ontology of light as an independent direction in architectural design was not a separate object of their study. The role of natural light in the formation of the architectural and artistic image of the internal space of buildings in modern architecture has not yet been comprehensively studied. The study of the state of the issue in the studies of architectural theorists at the present stage has shown that natural light is considered as the basic category of architecture, which is the basis of its cultural and artistic value. A comprehensive analysis of the creativity of modern architects, who use natural light as a means of shaping the architectural space, made it possible to single out the following aspects of their activities. From the point of view of architectural metaphysics, natural light is considered as a tool for the formation of a meaningful space through the translation of meanings and meanings that architects lay in their structures (S. Hall, D. Libeskind, J. Pawson, F. Schultz, A.K. Baeza, M. Lahound, VaV and others). For such architects as A.K. Baeza, P. Zumthor, D. Libeskind, S. Hall, St. Beal, N. Campodonico, R. Rosselli, T. Phifer, etc., natural light is a kind of index of time, which is able to put a person in a temporal relationship with architecture. A strong cognitive and emotional reaction of a person to natural light has led to its use in modern architecture as an important tool that guides and orients a person in space (P. Zumthor, S. Hall, T. Phifer, D. Mutal, Urbis, Archohm, etc.).
Throughout history, the perception of light has dramatically affected the architecture of most civilizations, the most fundamental architecture. Today, light design in architecture still plays a vital role and has become more explicit and vivid in the last few years. The shape of any architectural detail is perceived differently depending on the nature of the lighting. Direct (strong) lighting is characterized by sharp profiling, deep contrasting shadows, some roughness of the perceived shape. On the contrary, soft diffused lighting smooths out details, often does not create shadows at all, as if depriving a thing of volume. The architecture of interior design mixes natural lighting and specialized artificial light to create a sense of spatial sensation, emphasizing certain areas or a different atmosphere within a certain space. The way the sun illuminates the architecture of buildings during the day with external lighting is contrasted with the way artificial lighting at night plays the same role to give the building a unique and special look. In many cases, the quality of light in space determines its character and creates an overall impression.
In today's world, space lighting is designed to make a certain impression conceived by the author. A visual impression is interpreted in consciousness and placed in context to create specific reactions or emotional feelings. To find out the difference between these reactions and feelings, consider the example of lighting in the living room and at the workplace. The purpose of the light in the living room determines it to be warm and dim, without shiny dots, with a uniform distribution of light. This subdued light shows textures and colors and creates an atmosphere of comfort and relaxation. While workplace lighting should be shiny, cool in appearance and focused in certain areas where work will take place. The whole room will be evenly lit, creating a perception of a wide, clean workspace and an emotional sense of dynamic actions favorable for the working environment. Both of these examples use light in very specific ways, and the architectural design of the space includes these properties to enhance their effects. Light defines an architectural space, it promotes the perception of purpose in space or helps to create certain emotions associated with space, and it is a vital component of any design. Everything described before demonstrates our ability to work with both natural and artificial light to improve the overall perception of the projected space.
Seven principles of the formation of the architectural and artistic image of the internal space of buildings by means of natural light are revealed. The first of them is the use of natural light as a means of translating meanings. The second principle defines light as an expression of the category of time, the invisible flow of which materializes in the architectural space in the form of the daily movement of the sun. The third principle is natural light as a factor stimulating movement, guiding and orienting a person in space. The fourth principle is natural light as a means of revealing the interaction of internal and external space. The fifth principle is the use of light to reveal the properties of materials. The sixth principle is light as a material for the construction of visual images. The seventh principle is the use of
natural light as a tool for creating the atmosphere of an architectural space.
The group of techniques based on light modeling includes methods for transforming the characteristics of the light flux. There is not talking about changes that depend on the daily movement of the sun or the impact of the environment, but there are discussions about a conscious change in the properties of natural lighting by the architect. Modeling the qualities of natural light, as a rule, occurs as a result of the interaction of sunlight with any material. Thus, the characteristics of natural light become directly dependent on the ability of the material to reflect, transmit and absorb the sun's rays. The most significant influence on the architectural and artistic image of the building is exerted by the following characteristics of natural lighting: the distribution of light in space (distribution of brightness in the field of view, light saturation, contrast and direction of light fluxes) and the spectral composition of light. Consideration of the dynamic basis of the architectural and artistic component of light space made it possible to identify a number of techniques based on modeling the temporal flow, modifications of which can be based on the movement of light, the transformation of building elements and the movement of the viewer.
It should be considered like Mario Praz (Italian writer, translator, journalist) said that architecture is a kind of "guide art", because as Mario observed:" Architecture and costume, being the arts, which are closest to everyday life, offer the clearest indications of the temper of an age. Painting, sculpture, music, even literature, prominent as they are, and important as embodying the chief expressions of artistic genius, have a relatively limited appeal". Every day impacting of common architecture. So, in architecture not only the correctness of functional solutions and neatness of a structure are crucial but also creating moods and an atmosphere. Peter Zumthor (Swiss architect) in his meditations states:" Architecture has a special physical relationship with life. It is as envelope and background for life which goes on it and around it, sensitive container". If it is so, our daily experiences and standstill depend on architecture moods.
Insightful play of the structure and light is one of the elements building architecture mood. Surely, the rule of serious reflection on light concept is used in designing monumental buildings like churches, memory places. But it could be used in a more common way, in common architecture, as continuity of gained experience and achieved heritage in work with natural light. The author's intention was to attract, in particular, attention to a role of natural light in the context of modern architecture.
Turner Contemporary Gallery in Margate in England opened in 2011 and designed by David Chipperfield is a kind of experiment performing use of natural light in a building intended for art exhibitions. Dedicated to the memory of William Turner, it was built in a place, which was visited by the precursor of impressionism just because of light „Light is therefore colour", Turner said. The architect's intention was to design the structure of the gallery in a way that allows for feeling a connection between visitors and Turner owing to the natural light
effect. The gallery space intended to resemble an artist's studio than a traditional museum (that often is tended to make overwhelming impression). Feeling and light quality in rooms seem to be unique." At times when you look into the corner, there is almost no shadow and it disappears, creating a strange sense of perspective. "Whilst one can't categorically prove it, the quality of light coming off water feels different and I think people do appear to sense that. I think they also understand that daylight is different to artificial light in a gallery context", explains Chipperfield (Britain architect). Daylight -which creates unique atmosphere and mood-causes every visit in the gallery differing from another one, such as day after day and season after season. It is perverse, how huge impact on light quality has our perception of what we see and feel. A blurred, concave corner in the gallery interior became a desired object. Some indistinctness of a space perception should make visitors feel a materiality of light. The same analysis on light but searching for a quite different effect - making an ejected corner created by two planes look clearer -was described by Steen Eiler Rasmussen in "Experiencing Architecture" in 1959.
A kindergarten designed by RCR (Rafael, Carme, Ramon) Architects, looks like a box full of colourful crayons, cleverly put between hills in Besal, in Girona district in Spain. Opened at the top, it created its own inner introverted space in which the outside world of the central courtyard penetrates the spaces of internal rooms. The flow of natural light and spaces goes through huge, floor-to-ceiling glass panels shaded at the top with glossy arcades, which are supported by irregularly placed steel posts. There are also transparent and half-transparent pipes made of plastic. Additionally, parts of the courtyard were shaded at the top with delicate, transparent and sliding panels. The whole project is a result of thorough observation made by the designers, their perception of light and shadow, various colour plays, reflections in used materials. The world of the children became a world of constant penetration and imposition, light interaction filtered with various colours. It's a magical, fairy-tale world of fantasies and shadows. In the designing process the authors search for something between wisdom and uncertainty - "the wiseness of uncertainty to be certain. In this context, the word uncertainty goes hand in hand with another, which is complexity", Ramon Vilalta (member of RCR architects) explains. He also adds: "the world of ideas - that's what moves us".
Winding, 70-metre-long pathway across a lake near Royal Botanic Gardens in Kew, one of suburban districts of London, is the work of architect John Pawson and was built in 2006. Captivating in its simplicity, "shimmering, serpentine, bronze ribbon of a bridge" is, with no doubt, an ideal element of the precious landscape of historical gardens. The walkway is built only with two visible materials: a granite deck and a balustrade made of a row of bronze uprights. The fact that supporting construction is not visible and light reflections may be seen in glossy bronze make an effect of sculptural abstraction attracting mystique sunlight. The impression is strengthened by the reflections of „S curve" on the water surface. Here ascetic architecture
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gives a way to light. "It does not leap across water, showing every straining sinew. Instead, it seems to float, a supple, unemphatic ribbon", the essence, the bridge idea captured by Deyan Sudjic, director of Design Museum in London.
As a part of the lighting design, architectural lighting of building facades helps to significantly enhance urban aesthetics. At the same time, it increases the attention to the object from visitors, landlords, tourists.
A more detailed breakdown of the tasks of architectural and artistic lighting depends on the type. Facade lighting can be functional (basic) and decorative. Functional is responsible for the safety of movement and is primarily aimed at practical purposes, artistic and decorative - aesthetically beats the facade, giving the architecture individuality and recognition. There are several types of building lighting.
General - full illumination of facades with the help of high-power floodlights mounted on support posts. Ground lighting devices create uniform lighting throughout the entire area of the building. This type of illumination is suitable for historically significant objects, facades of private buildings, but it should not be used with obvious architectural defects.
Accent lighting is installed on facade elements, highlighting the beauty of windows, columns and moldings with the diffused light of a narrow beam. Directional light is necessary for placing accents on individual sections of the building.
Contour lighting highlights the perimeter of the object and its large facade parts. For this architectural illumination, both a conventional LED (Light Emitting Diode) strip and linear lamps are suitable. The spectacular appearance of the building is due to the apparent weightlessness.
Background lighting can serve as the basis for a brighter facade illumination. Although it involves the installation of powerful halogen devices, but their scattered light creates the effect of weightlessness. The purpose of architectural background light is to create a background, hide details and focus on selected parts of the facade.
Dynamic architectural lighting is a programmable type of light using RGB (red, green, blue) devices. The artistic feature is the creation of a controlled backlight, depending on the musical rhythm, weather conditions and time of year. The light creates an unusual bright atmosphere, decorates the facade in an original way and increases the recognition of the building. Dynamic illumination is universal for both residential and commercial buildings. Favorably highlights the facade against the background of the city.
Vienna is one of the European cities where a lot of attention is paid to the lighting of buildings. The light architecture of the city has found its expression in a number of specific solutions. Their analysis allows us to determine the main directions of the use of light in this area of modern urban planning: revealing the planning structure of the city by light and solving the spatial structure of the main architectural ensembles by means of light.
The dominant light ensemble of Vienna is St. Stephen's Cathedral — a magnificent example of
Gothic architecture. The cathedral is illuminated by the flooding light. The aspiration to the sky is emphasized by a gradual increase in brightness towards the spire. The expressive silhouette and lacy plastic of the cathedral thanks to the well-thought-out arrangement of spotlights and mirror lamps on the buildings surrounding the cathedral.
The techniques of architectural lighting of buildings located in the Ring are interesting. Baroque church on St. Charles Square with two free-standing columns located on the sides of the portico and the dome of the central nave is illuminated by the light of ordinary spotlights and mirror lamps and the dagger light of spotlights with iodine lamps. At the same time, slit-shaped screens were used, allowing to illuminate the details of this structure from long distances. This type of searchlights is located on supports hidden among the greenery of the park. The light, passing through the windows in the upper part of the building, is very spectacular with a reddish hue. Sodium lamps hidden in the interior are used for this purpose. The combination of the cold light of the dome, the neutral color of the walls and the portico with the warm light passing through the windows makes the architecture of the cathedral very expressive in the evening.
St. Petersburg is considered to be the light capital of Russia. Each structure is inimitable in its own way. Sometimes the backlight itself is a work of art, rather than just a way of lighting. After the city is plunged into twilight, an impressive artistic illumination changes the appearance of familiar buildings beyond recognition.
The most important art museum of the Northern capital was highlighted as one of the first in the city. Illuminated by multicolored bulbs, it looks especially impressive. "Night Hermitage" is what many tourists call a museum with illumination at night and talk about it as a unique phenomenon. After all, with special lighting, all the outstanding elements of the facade are visible, while each detail carries its own light load and gives something special. The view of the Hermitage at night fascinates especially if you take a walk along the Neva.
Not far from the Palace Bridge there is another attraction of St. Petersburg, the illumination of which in the dark does not leave anyone indifferent. The arrow of Vasilievsky Island is one of the symbols of the city. If you want to admire the ensemble of the arrow of Vasilievsky Island at night, let's reveal a little secret — it's best to do it from the opposite shore. As they often say, great things are seen from a distance. From the other shore, you can see not just individual illuminated objects, but the whole complex, striking every imagination with its beauty, as, in principle, at any time of the day.
Thus, we can make a conclusion that from ancient times to the present, artistic techniques of using natural light in architecture are an effective way of influencing human feelings. Architect Campo Baeza interprets Mies van der Rohe's famous phrase "Less is more" as "Light is more". For him, light is the main element of architecture that models space. The architect works with natural light as if it is as material as stone: it needs to be used properly, given direction and proportions. The dynamics of light is the main way to describe the
feeling and mood of space. A significant part of the project descriptions is the movement of light, the ways of its propagation in space. Space in modern architecture is no longer "read" as a text, but is experienced as an emotion — sensually, physically, through an impression that arises in a person, and light, along with texture, texture and form, becomes one of the tools of emotional impact on the human soul.
The Influence of light on architecture
Zubkova D.D., Ushanova N.P.
Moscow State University of Civil Engineering (National Research University)
The purpose and objectives of this study is to consider the influence of light on architecture. The hypothesis of this study is the possibility of using natural light, lamps, spotlights, screens in architecture. The research methods used in this article are the analysis and synthesis of data based on education experience and literary publications. The results of the research show the differences of influence light on architecture.
Keywords: natural light, artificial light, architecture, illumination, internal space, lamps.
References
1. "Arkhitekturno-khudozhestvennaya rol estestvennogo sveta v formirovanii vnutrennego prostranstva zdaniy v sovremennoy arkhitekture" avtoreferat dissertatsii na soiskaniye uchenoy stepeni kandidata arkhitektury. FGBOU VO «Voronezhskiy gosudarstvennyy tekhnicheskiy universitet». Nizhniy Novgorod. 2018
2. "Light in Architecture as an Inspired Them" Danuta D^bowska 1 1 Faculty of Architecture, Gdansk University of Technology, ul. Narutowicza 11/12, 80-233, Poland, 2017
3. Архитектурное освещение - история, различия направлений, приемы (lifeandlight.ru)
4. https://e-architecture.com/buildings/importance-of-light-in-architecture
5. http://totalarch.com/lighting-architecture-creative-method-and-modern-technology
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