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Advanced Research in Scientific Areas 2012

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The relationship between architectural detail and light

in contemporary architecture
Malgorzata Roginska-Niesluchowska
Department of Visual Arts, Faculty of Architecture
Gdansk University of Technology (GUT)
Gdansk, Poland
maron@pg.gda.pl
Abstract The paper deals with the influence of modern artificial
and natural lighting technology on contemporary architecture,
especially in relation to architectural detail. Advanced complex
lighting systems have an increasing importance in contemporary
design solutions. Light itself, and the effect of its actions, and
characteristic parts of the sophisticated lighting systems, play an
essential role as independent architectural elements, of different
architectural scale. They impact the viewers visual perception of
the building as well as the buildings proper functioning.
Keywords - architecture,
illumination of architecture

architectural

detail,

lighting,

I.
INTRODUCTION
Architectural detail is an integral part of architecture. It can
also be perceived as a discrete element, which concerns a
different - more detailed scale, than the architectural object as a
whole. In the past detail was often identified with ornament,
and it varied under the influence of transformations that
followed in the architecture language - in accordance with the
changes of styles, and trends in art. From the moment, when
the presence and the role of ornamentation in architecture were
questioned, architectural detail has been expressed by the
architectural structure, the quality of materials surface
finishing, and technical solutions.
II. ARCHITECTURE AND NEW TECHNOLOGY
Progress in modern technologies has a significant impact on
the artistic trends and directions of development of modern
architecture. Owing to the support of information technology in
the design processes and the use of the advanced building
technologies, the artifacts of contemporary architecture can
defy the laws of gravity and give the impression of
deconstruction, transparency and dematerialization. Carefully
selected materials and finishing details, can hide and divert
attention from the structural elements, or true volume of the
building (eg the shimmering titanium coating of Frank Gehrys
buildings or the multi-layer transparent glass facades of Jean
Nouvels buildings). Due to the use of advanced information
technology in the construction industry and the direct
combination of the design process with production, designers
can move away from orthogonality to organic forms, similar in
characteristic to the natural environment. Designers also have
the ability to control and monitor the design process in order to

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subordinate it to specific purposes - visual, economic and

functional. The combination of CAD and CAM technologies
creates unprecedented opportunities to experiment with
architectural form and structure as well as the precise
elaboration of unique forms of architectural details. Examples
include the hexagonal structure of the curved roof, made of
laminated wood in the Centre Pompidou in Metz by Shigeru
Ban - Japanese Architects studio, and the similar spruce
structures of the roof covering, composed of vaults and
supports in the main part of the golf club "Nine Bridges
Country Club Clubhouse" in South Korea - by the same design
studio in collaboration with the architect Kyeong-Sik Yoo,
2010).
III.

INFLUENCE OF LIGHT ON THE PERCEPTION OF

ARCHITECTURE
Detail is an integral part of architectural work, as the
creation of space, which is evaluated based on "the values of
different relationships between matter and light, between the
whole and the frame (...)" [1]. Light plays a crucial role in
perception of architecture. The impact of the changes in
directions of sun rays and sky conditions on the reception of
architectural forms and details have been carefully studied and
described in the literature. In his work entitled "Sun in
Architecture" M. Twarowski gives guidance on the proper
selection of architectural detail, depending on the prevailing
lighting direction, to obtain a favourable visual effects. The
development of lighting technology and its use for urban
illumination have created unlimited possibilities for creative
metamorphosis and reinterpretation of the image of
architecture (architectural artifacts)
after sunset. By
introducing artificialy differentiated directions and intensity of
lighting devices, it is possible to get the effect of unrealistic
and surprising shapes of shadows on the facades, which change
the quality of architecture and the interpretation of existing
forms. By modifying illumination, it is possible to change the
look and atmosphere of the individual buildings or urban
quarter - analogous to changes of theatre stage design. The
professional lighting designer has been established as a creator
of the city light shows.

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IV.

FACADES MADE OF LIGHTS

A. LED Technology
The use of electroluminescent semiconductor diodes in
lighting technology, has introduced new possibilities to exploit
light in architecture. LED (light-emitting diode) technology has
favourable characteristics in terms of artistic, environmental
and economic aspects, namely: energy-saving, high luminous
efficiency, long life, possibility of eliminating adverse emission
of infrared and ultraviolet spectrum, the ease to obtain any
colour of light (RGB, RGBA, RGW systems), high colour
rendering index, easiness of digital adjustment and control, and
potential for recycling. It has been wildly used in architectural
design for several years now. Initially, LED lighting
technology has been exploited in commercial billboards and
megaboards, which were trailed to the facades of buildings.
Architects have aspired to transform the advertising role of
media facade to the function of artistic creation (visual sign,
"multimedia extension of the building"), so that the media
facade has become an integral part of the architecture (not a
later added decoration). Therefore, it has become necessary for
designers to take into consideration the technical aspects of the
media facade when creating an architectural concept [3].
B. Ag4 Mediatecture Company
Ag4 Mediatecture Company, founded in 1991 both by
architects and media designers, has pioneered this type of
collaboration. The art of media facade design has been called
mediatecture by them. Their construction of media facades
consists of LEDs embedded in special metal mesh. This curtain
of light suspended outside the building does not disturb access
of natural light and provides both - a view into the interior, as
well as from the inside out. In the projected image, one pixel is
composed of three to five LEDs in an RGB combination (three
primary colors: red, green, and blue) so almost all the colors
of the light spectrum can be obtaind. The quality of the
projected image depends on the resolution, ie. the number and
density of LEDs - vertical and horizontal grid spacing and
distances between blocks of LEDs. Digital control allows for
changeability of images in specified sequences. The first fully
transparent media facade, was completed by Ag4 and Lumino
Lichttechnik for Bonn T-Mobile Headquarters in 2001.
Animated light effects on a facade can also be displayed during
the day, through the use of the LED modules with high
brightness and fast response time. [4]
C. Media Facades
Tipicly colorful exterior illumination emphasizes the
characteristic architectural shape. It can also be used to display
dynamic images on a giant screen facade. Those images
become a characteristic attribute of the architectural object and
the form of its self-presentation. The Yas Marina Hotel in
Dubai (Asymptote Group, 2007-2009) is an example of
cooperation between the architecture and illumination. The
LED luminaires are placed in the nodes of the metal structure
of a dynamic roof shell. Changes of displayed colours,
sequences of lights and video projection are managed by the
digital control system. The illuminations of dominant buildings
in the city are particularly impressive (such as Jean Nouvel's

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Torre Agbar in Barcelona, 2003-2005). Greenpix Zero Energy

Media Wall (Giostry Simone, 2008) is a gigantic media wall,
which belongs to the entertainment centre Xicui in Beijing. A
huge LED screen is powered by photovoltaic cells, inserted
into the laminated glass facade. The energy self-sufficient
facade system gains solar energy during the day and uses it at
night for a spectacular light show prepared by the artists. [5]
The use of LED lighting does not have to involve the whole
facade. Lighting effects may also occur in direct contact with
the customer. There are different types of control software.
Auto active programs are mainly used for information,
promotion and advertisement - they combine elements of
digital photography, video projection, graphics and text.
Lighting control software can react to external stimulation.
With the help of cameras and other sensors it can detect
impulses coming from the outside, such as light, sound or
movement. Then they are parameterized and processed into the
sequence of the projected images. Individual participation in
the creation of the projection by the mutual interaction is
possible with the application of actively controlled systems.
The opportunity to demonstrate individual creativity and
participation in the performance is very attractive for urban
users of space - both for the active participant and passive
observer. It reinforces the perception of space and
identification of the transmission media. Media technologies
can completely transform the urban space by introducing
dynamic media in place of the stability and invariability of
architectural environments. [6]
V.

DAYLIGHT SYSTEMS DETAIL

A. Brise soleil and louvre systems

The orthodox trends in architecture, such as the modernist
avant-garde movement, or minimalism, which have given up
the diversity of forms and redundant ornaments, have accepted
the necessity of architectural detail for its utility. These include
elements of the daylight system. Le Corbusier popularized
brise the soleil as the simple concrete walls elements on the
facades of his houses designed for sunny climates. Shading
devices are required for systems of glazed curtain wall, in order
to prevent overheating of the inside in summer and to make use
of greenhouse effect on cold days. All kinds of louvres, made
of various materials such as aluminum, wood, plastic, glass or
fabric, placed both inside and outside the building, vertically or
horizontally, are the most popular shading systems. These
systems have introduced a certain architectural style, which
changes with technological progress. One of the most
spectacular brise the soleil are mechanically actuated, external
kinetic wings, constructed from the vanes, designed for the
Milwaukee Art Museum by Santiago Calatrava. Another
example is the movable decorative shutters designed for the
Institut du Monde Arabe in Paris by Jean Nouvel. Acting like
camera shutters, they control the flow of light into the interior
of the building and create the visual effect of "Oriental Light",
coming through the mosaic windows.
B. Fiber Optic
The British pavilion at EXPO 2010 in Shanghai, designed
by Heatherwick Studio is an example of innovative natural

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lighting design in architecture. Its interior, with dimensions

25x25x20 m, is illuminated only by daylight, which enters
through 60 588 acrylic rods, 7.5 m long, fulfilling the role of
optical fibers. Inside the rods 217 300 seeds of various plants
are sunk. Thanks to the parametric design method, various
systems of rods embedded in a wooden support structure,
giving specific effects of deflection, were considered in the
initial phase of the project, giving a choice of desired visual
effect. This allowed for optimalization of the geometry and
the distribution of the material in the space. Pavilion amazes by
the originality of the idea and the uniqueness and coherence of
the its form, structure and detail. [7]
VI.

SUMMARY AND CONCLUSIONS

Light is essential for the human perception of architectural

forms and space. Together with the selection of architectural
details it influences the reception of the whole built artifact.
Architects manipulate light, by means of materials with
suitable properties, and by changing its direction and intensity.
This manipulation of light alters the perception of architectural
form and its detail, the image expression of the entire object,
or even the mood of the part of the city. Thanks to advanced
lighting technologies, artificial light can operate as an
independent element of architecture, with regard to various

scales of objects. It can enhance and complement architecture

or compete with architectural forms through its dynamic
proprietary. Architectural detail has lost its stylistic identity and
independence in relation to the architectural solid, but it
reflects technical progress and the growth of technological
capabilities. To achieve stylistic consistency of innovative
architectural designs, architects need corresponding forms of
details. For this purpose, they use modern technical and visual
tools. Advanced complex lighting systems have an increasing
importance in contemporary design solutions. Light itself, and
the effect of its actions, and characteristic parts of the
sophisticated lighting systems, play an essential role as
independent architectural elements, in architectural object scale
as well as in detail scale. They have a large impact on the
viewers visual perception of the building as well as the
buildings proper functioning.
Contemporary architecture design requires extensive
cooperation with specialists from a number of highly
developed areas of technology computer science, automation,
lighting and media. Thanks to new technologies, architecture
has gained a new means of dynamic expression and
interactivity. The users can actively participate in the creation
of public space.

Figure 1 1. Parc de Recerca Biomdica de Barcelona (PRBB), James Grellier, external system of wooden louvers
(photo by author) 2. Forum Building, Barcelona, Herzog & de Meuron a combination of materials of different properties
(photo by author) 3.Modern tenement in center of Barcelona bise de soleil (photo by author) 4.T-MOBILE Headquarters, Bonn , ag4 group mediatecture

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(photo: www.ag4.de) 5. UK Pavilion Shanghai Expo 2010 detail (photo: www.designboom.com) 6. Atelier Relais, Torc (France) mediatecture Illumesh
(photo www.ag4.de)

REFERENCES
[1]
[2]
[3]

R. Berekowski, Detal i deprawacja, in Przestrze i FORMA, vol

10/2008, pp. 145-146.
M. Twarowski, Soce w architekturze, Arkady, Warsaw 1960, p.105
M. Hank Haeusler, Media Facades History, Technology, Content,
Avedition, 2009, pp. 12-37.

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[4]
[5]
[6]
[7]

www.ag4.de
www.mediaarchitecture.org, http://www.sgp-a.com
J. Tarajko-Kowalska, Fasady Medialne. Dynamiczna gra barwy i
wiata, in Przestrze i FORMA, vol 10/2008, pp. 169-174
http://www.heatherwick.com/uk-pavilion/

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