Daylight and Color in Architecture (Rasmussen)
Daylight is an interesting element when it comes to architecture. It is in constant motion, changing by the minute and impossible to be controlled. But it can however be utilized artistically.
There are three main categories of how daylight has become a factor of architectural building and design. The first one is the " Bright Open Hall" which is typical for warm climates. It consists simply of a roof held on supporting columns allowing for a bright and airy interior. Rasmussen mentions Philip C. Johnson's house in New Canaan as a good example of such building typology, which regardless of the transparent glass box effect manages to create an indoor feeling. He also explains the concept of "excellent light" which refers to the quality of light instead of its quantity. A poor light for instance would be light coming from a ninety degree angle, or differently called front light. It diminishes the textural effect of the object and provides a minimum of shadow. On the other hand, the light used on stage in the old days used to come from below, creating a a world of enchantment through a richness of shadows and texture recognition.
The second method of using daylight in architecture is called "The Room with a Skylight". It is the antithesis of the room with a bright open hall, as it consists of closed side walls and an open ceiling. It can be calculated so that the light from the top falls equally on all parts of the room. A great example of such lighting would be the Pantheon in Rome with its circular opening at the summit of the dome. However this free influx of light creates a shadowless and faded interior where forms are not quite plastic.
However the most common category remains the "Room with Light Entering from the Side" which is easily associated with Dutch houses such as Rembrandt's. We are introduced with the Saw tooth roof; - a series of high side lights producing excellent lighting allover the room. Rasmussen labels this category as the best one when it comes to light quality, providing concentrated light from different sources falling in the same direction.
Moving a bit further from light, another similar and just as important architectural factor that is discussed by Rasmussen is Color. It is believed to influence our mood and many civilizations such as the Ancient Egyptians and Chinese even supported the chromo therapy practice. Today it plays a crucial role in marketing and websites.
When it comes to Color in architecture we can determine different uses such as emphasizing the character of the building , accentuating its form and material and elucidate its divisions.
As man discovered new building materials which were more durable, new colors started appearing as well, with yellow bricks and deep black wood serving as examples.
Color has also been regarded as a symbol for different purposes such directing and suggesting the function of a building or a room. It has also not escaped the many different theories trying to schematize it into perfect combinations. One of them would be the famous German Theorist description who says that small rooms should be paired with pale colors and cold rooms with warmer tones.
All in all, as Rasmussen also agrees, there exists no perfect scheme when it comes to better utilizing light or color in architecture. However there are certain rules, be them scientific or psychological, which may help in better deciding on the building design regarding daylight and color.
They are both a powerful means of expression for an architect who has something to say.
There are three main categories of how daylight has become a factor of architectural building and design. The first one is the " Bright Open Hall" which is typical for warm climates. It consists simply of a roof held on supporting columns allowing for a bright and airy interior. Rasmussen mentions Philip C. Johnson's house in New Canaan as a good example of such building typology, which regardless of the transparent glass box effect manages to create an indoor feeling. He also explains the concept of "excellent light" which refers to the quality of light instead of its quantity. A poor light for instance would be light coming from a ninety degree angle, or differently called front light. It diminishes the textural effect of the object and provides a minimum of shadow. On the other hand, the light used on stage in the old days used to come from below, creating a a world of enchantment through a richness of shadows and texture recognition.
The second method of using daylight in architecture is called "The Room with a Skylight". It is the antithesis of the room with a bright open hall, as it consists of closed side walls and an open ceiling. It can be calculated so that the light from the top falls equally on all parts of the room. A great example of such lighting would be the Pantheon in Rome with its circular opening at the summit of the dome. However this free influx of light creates a shadowless and faded interior where forms are not quite plastic.
However the most common category remains the "Room with Light Entering from the Side" which is easily associated with Dutch houses such as Rembrandt's. We are introduced with the Saw tooth roof; - a series of high side lights producing excellent lighting allover the room. Rasmussen labels this category as the best one when it comes to light quality, providing concentrated light from different sources falling in the same direction.
Moving a bit further from light, another similar and just as important architectural factor that is discussed by Rasmussen is Color. It is believed to influence our mood and many civilizations such as the Ancient Egyptians and Chinese even supported the chromo therapy practice. Today it plays a crucial role in marketing and websites.
When it comes to Color in architecture we can determine different uses such as emphasizing the character of the building , accentuating its form and material and elucidate its divisions.
As man discovered new building materials which were more durable, new colors started appearing as well, with yellow bricks and deep black wood serving as examples.
Color has also been regarded as a symbol for different purposes such directing and suggesting the function of a building or a room. It has also not escaped the many different theories trying to schematize it into perfect combinations. One of them would be the famous German Theorist description who says that small rooms should be paired with pale colors and cold rooms with warmer tones.
All in all, as Rasmussen also agrees, there exists no perfect scheme when it comes to better utilizing light or color in architecture. However there are certain rules, be them scientific or psychological, which may help in better deciding on the building design regarding daylight and color.
They are both a powerful means of expression for an architect who has something to say.
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