VISUALISING INTERIOR SPACE THROUGH LIGHT

VISUALISING INTERIOR SPACE THROUGH LIGHT

ABSTRACT

The main objective of this study is to show the relationship oflight in the interior space with mass and void and structure. Spaceand voids are the basic elements used in architectural designprocess. In this paper, the concept of void is addressed in relationto the architectural form. Voids in architectural form areclassified into two main headings by examining a great number ofexamples in terms of the effects created on the form: cognitive andfunctional. Voids are related to perception and are used to createvarious visual effects. With the selected examples, here we showedthat the mass and void are linked with light and structure.

INTRODUCTION

Space and light have been present as the two inseparable conceptssince the beginning of architectural activities. Since the dayaesthetic and beauty concerns existed, there have been aestheticstatements on light and this process still goes on. It would beinsufficient to mention only the discussions about the physicaldimension while dealing with the space and form concepts. It isbecause both form and space include semantic expressions, as well.Since ancient times, considering the use of basic space inarchitecture, it can be said that the pure geometry of form has beendeformed day by day, additions and deductions have increased, andthe void effect created in interior and exterior space is handlednot only with functional, but also formal concerns. The basic spacedominating the architecture in the course of history are reshapedbased on the changes in the design perspective and are transformedunder the effect of these changing design perspectives. When weexamine the historical development of architecture, we clearly seethat the architectural space and therefore form have undergonephysical and semantic change.

The concepts regarding space and form are moved from one to theother in the course of history. Also, this change that space andform have undergone together should be considered based on thechange and development in theory, discourse, technology, material,time etc.

Pyramids of Giza/Egypt2

Parthenon/Greek3 Colosseum/Rome4 Pantheon/Rome5

MASS AND VOID AS CONCEPT

Space and form have both abstract and concrete meanings. With thisaspect, void in the space and form has been the subject of variousstudies in different dimensions. However, in most of these studies,the interpretations and discussions are generally on the formitself. Voids created in the form can be classified in various waysphysically. Types of void are divided into two groups: cognitive andfunctional. Cognitive voids are related to the perception. Cognitivevoid classification is made based on either the effect thatarchitect desires to create or the effect created on user by thevoid. These voids are classified as conceptual, perceptual/visual,and sculptural/ monumental. For example; Holl’s design solution wasthat the Simmons Hall Building would metaphorically work as asponge. Void type of this building is classified as conceptual void.Functional voids are related to the usage of the space. These voidsare designed for functional activities. Functional voids areclassified as entrance, corner, balcony/terrace,gallery/atrium/courtyard, surface, and transition/circulation. Forexample; most of the buildings of Mario Botta are designed anentrance void on the building form.

Reactive void is a research and design project which capitalizes onnew technologies to in uence the public perception of the builtflenvironment through the activation of interior spaces

CASE STUDY 1

SIMMONS HALL /STEVEN HALLHoll’s design solution was that the building metaphorically work asa sponge. It is a porous structure that soak up light through aseries of large openings that cut into the building so that lightfilter through in section.Mass with voids helps in play of light in interiors.

These breaks in section would then become main interactive spacesfor the students, providing views onto different levels. Hollreferred to these breaks as the building’s “lungs” as they would

OBSERVATION

Interactive spaces for the students, providing views onto differentlevels does not have glare. Diffused light is provided.

Grid is provided on the exterior façade which helps in gettingsymmetric and diffused light in interiors. Multiple layers of thinmass helps in getting diffused and interesting pattern of light onfloor.

An 18" wall depth shades out the summer sun while allowing the lowangled winter sun to help heat the building. At night, light fromthese windows is rhythmic and magical.

Structure of the building is such that it creates mass and voidwhich creates an illusion of vertical depth inside the building andchanges the dynamics of its use.

Voids on the upper surface is such that it define some distance thathelps in getting diffused light.

Holl’s design solution was that the building metaphorically work asa sponge. It is a porous structure that soak up light through aseries of large openings that cut into the building so that lightfilter through in section.Mass with voids helps in play of light in interiors.

These breaks in section would then become main interactive spacesfor the students, providing views onto different levels. Hollreferred to these breaks as the building’s “lungs” as they would

In such buildings, the form is shaped according to the void. Theobjectives include bringing the void in the foreground, rather thanthe building or the form, and making it perceived. The location ofthe building is one of the primary and important reasons to createsuch voids.

These voids bring different perspectives to the city and the citydwellers from various directions of the building. They aim atopening a door or window to the environment surrounding them,strengthening and guiding the visual perception. In order to fulfilthese objectives, depending on the situation and size of the void,permeability is tried to be created.

CASE STUDY 2

THE MILWAUKEE ART MUSEUM

The Milwaukee Art Museum, which overlooks Lake Michigan, waspartially housed in a building designed in 1957 by Eero Saarinen asa war memorial. The City of Milwaukee was looking for a “strongarchitectural statement in an exciting yet functional building” thatwould “set an architectural standard for the next millennium”Architect Santiago Calatrava’s response was to design a “glowing‘lantern’ on the downtown lakefront, radiating light in alldirections. “The design features a large pavilion containing aglass-enclosed reception hall with a transparent, boat-like prowfacing the lake, as well as a huge, operable wing-like Brise-Soleilsunscreen.

As a design project, Reactive VOID establishes a clear responsive link between humans and their environment. By lling the exhibition fispace with a eld of operable ns, which react to the presence of fi fihuman inhabitants, the space becomes animated with a sense of personality. The human body becomes aware of its behaviour in relation to its surroundings, creating a dialogue between body and space that is in sharp contrast to our default understanding of space as static and impersonal context.

Calatrava’s design of gently unfolding “wings” has resonated withthe public as an architecture which is seemingly alive andcaptivating. Although few care to track exactly what factorsmotivate the wings – or perhaps because no one can precisely predict

when it will be open or closed – it holds a sense of mystery in thepublic’s eye. However, its public rationalization as a functionalbrise-soleil places it in the same realm as the ballpark whereenvironmental factors are held up as necessitating advancedtechnological solutions.

OBSERVATION

Mass on upper surface with voids form of lines which helps ingetting negative impact on the walls when natural light falls on it.

Voids on the walls are having columns in zig sag manner which helpsin getting negative impact on floor.

Structure is such that the building has negative impact of patternformed by structure this is due to the voids created are reactivevoids.

Structure of the building is such that it creates mass and voidwhich creates an illusion of vertical depth inside the building andchanges the dynamics of its use.

The roof of the Miller Park baseball stadium opens and closes inresponse to climate as appropriate for the sporting event,generating a different responsiveness than Calatrava’s project.

ANALYSIS

IN SIMMONS HALL the light which we are getting is diffused light dueto distance between the source of light and the functional space.Distance here seems to be inversely proportional to the light.

Multiple layers of thin mass helps in getting diffused light withsome pattern which may be an illusion of vertical depth inside thebuilding.

Voids with some kind of pattern in it creates an illusion ofvertical depth inside the building which changes the dynamics of itsuse.

CONCLUSION

This study that examines the void concept in relation to light hasmade a classification and tried to explain interior space inrelation with mass and void concepts. While studying the buildingexamples, distance, diffused light, and illusion due to voidconcepts are seen to be used to explain the space in void. Whatdistinguishes between these void types is considered to be relatedto not only conceptual, but also physical properties.

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