FROM THE NARROW BEAMS
OF LIGHT ILLUMINATING THE STATUES IN ANCIENT GREEK TEMPLES, THE DRAMATIC
CONTRASTS OF LIGHT AND SHADOWS IN THE BAROQUE CHURCHES, TO THE INFUSION OF LIGHT
IN THE RONCHAMP CHAPEL, DAYLIGHT HAS ALWAYS BEEN USED AS A FUNDAMENTAL ELEMENT
OF ARCHITECTURE, ACTING AS PLASTIC COMPOSITIONAL MATERIAL. APART FROM
SATISFYING OTHER HUMAN NEEDS, BUILDINGS SHOULD SATISFY EMOTIONAL NEEDS,
AFFORDING SENSORIAL PLEASURE AND THE SKILFUL PLAY WITH LIGHT IS ONE OF THE MOST
EFFECTIVE MEANS BY WHICH SUCH A PURPOSE CAN BE ACHIEVED.
THE ROLE OF DAYLIGHT
TRANSCENDS THE FUNCTION OF ILLUMINATION. IT HAS ALSO BEEN A SYMBOL OF
“CLEANLINESS, PURITY, KNOWLEDGE AND HEAVEN” (MOORE, 1985). RELIGIOUS BUILDINGS
HAVE HISTORICALLY EMPLOYED LIGHT “TO AROUSE FEELINGS OF MYSTICISM AND TO CONVEY
THE SACREDNESS OF A PLACE” (PLUMMER, 2009).
MOREOVER, SHADOWS
INTENSIFY THE EXPRESSIVENESS OF LIGHT AND THE PLAY OF BOTH CAN BE USED TO
EMPHASISE THE COMPLEXITY OF THE SPATIAL COMPOSITION, ARTICULATING SPACES. IT
CAN ALSO DEFINE SPACES, PUTTING IN RELIEF A PARTICULAR AREA OR REVEALING A
PARTICULAR OBJECT.
PLUMMER (2009) MAKES A
BRILLIANT ANALOGY SAYING THAT, FOR A MUSICIAN, THE VALUE OF A VIOLIN OR A PIANO
LIES IN THE SOUNDS IT GENERATES AND SIMILARLY, FOR A VIRTUOSO ARCHITECT, A
BUILDING IS AN INSTRUMENT WITH WHICH SUBLIME EFFECTS ARE CREATED OUT OF NATURAL
LIGHT.
REFERENCES
Moore, Fuller, Concepts
and Practice of Architectural Daylighting (New York: Van Nostrand Reinhold
Company, 1985)
Plummer, Henry, The
Architecture of Natural Light (London: Thames & Hudson, 2009)
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