Daylight is constantly changing. The architect can fix and build or constract many things. Daylight alone he can not controle. It changes from morning to evening, from day to day, both in intensity and color. Light is of decisive importance in experiencing architecture. 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. The bright open hall, the room with skylight and, most typical of all, the room with light entering from the side. Philip C. Johnson built for himself in New Canaan, Connecticut. It consists of one large cell, a rectangular room about twice as long as it is broad, with glass walls on all four sides and a solid roof. To most people a good light means only much light. If we do not see a thing well enough we simply demand more light. And very often we find that it does not help because quantity of light is not nearly as important as its quality.
Looking at a projecting corner formed by the meeting of two white planes. If the two planes are evenly illuminated from sources that can be controled, the light can be so regulated that the two sides will look equally light. When this happenes the edge of the corner can no longer be observed by the eye; you can see where the two planes intersect other planes. But you will have lost an essential means of seeing that there is a corner. The important thing is the way the light falls. In many churches, particularly modern ones, the architect has sought to create a gradual increase in light towards the altar. In the Faaborg Art museum in Denmark a very rich effect has been produced by doing just the opposite. A climax is created by letting a small dimly lighted room follow a brilliantly lighted one.
Old Dutch houses are unique of their kind. The typical old dutch house was a deep, tall, narrow gabled building. All light had to come from the windows in front and rear. A four framed window with a shutter to each frame that could be opened or closed independently so that the light could be regulated at will. It is neccessary to have good lighting to enjoy textural effects. Skylighting is not so good because the light from it is much too difused to produce the shadows neccessary to see form and texture clearly and easily. Neither is side light alone satisfactory for, though much better, it does not penetrate deeply enough. Frank Loyd Wright; in his houses built on the so-called open play you find walls and partitions which do not go at the way to tje ceiling but leave space for openings at the top. It admits extra light. Wright's interiors are often rather dark, for despite large windows, overhanging eaves and surrounding trees take much of the direct light. An especially the materials he uses add to the darkness. On enterning the church the first thing that strikes you is that it is very dark. Gradually you become aware of the walls and you begin to realize that plane surfaces and regularity are no more to be found inside the building than one the exterior. Le Corbusier has made a new contribution to architecture and has shown in a striking way what a wonderful means of expression the artist possesses in daylight and its distribution.
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