By Siobhan Rockcastle
Daylight is a dynamic resource of illumination in architectural area, growing various and ephemeral configurations of sunshine and shadow in the outfitted surroundings. Perceptual features of sunlight, corresponding to distinction and temporal variability, are necessary to our realizing of either fabric and visible results in structure. even though spatial distinction and light-weight variability are basic to the visible adventure of structure, architects nonetheless count totally on instinct to judge their designs simply because there are few metrics that handle those elements. via an research of up to date structure, this paintings develops a brand new typological language that categorizes architectural house by way of distinction and temporal version. This examine proposes a brand new kin of metrics that quantify the significance of contrast-based visible results and time-based version inside daylit house by utilizing time-segmented sunlight renderings to supply a extra holistic research of sunlight performance.
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Extra resources for Annual Dynamics of Daylight Variability and Contrast: A Simulation-Based Approach to Quantifying Visual Effects in Architecture
The final set of categories in this matrix, labeled ‘Indirect,’ ‘Indirect and Dispersed,’ and ‘Indirect and Diffuse,’ represents the far-right or low-contrast end of the spectrum. All three columns are defined by indirect lighting strategies, from the Whatcom Museum by Olson Kundig to the Chicago Art Institute by Renzo Piano. The difference among these three columns is characterized by whether the space is side-lit or top-lit and by the degree of resulting surface articulation through mullions and other structures.
In order to define a set of qualitative and subjective principles, such as contrast, we must anticipate a certain level of resistance and a healthy degree of debate. This spirit of collaboration enables us to transcend the boundaries between architecture and technology to establish a new set of metrics that are dedicated to the values of both disciplines. The most difficult spaces to define in this second matrix are located within the third column, which is titled Indirect and Selectively Direct.
It is most useful in examples in which the orientation of light-emitting surfaces creates dramatic seasonal variations, such as those spaces represented by categories one through eight in the typological matrix (Fig. 1). The numerical scale for spatial contrast has been determined by the results from a series of ten case studies, introduced in Chap. 5. Based on the distribution of values, two thresholds divide the data into three parts, each representing a third of the population (Fig. 6). 8 are considered high.