Exploring Light and Shadow's Impact on Sensory Perception

Exploring Sensorial and Emotions Through
Light and Shadow in Architecture

| ARK 755 Architectural Research
EXPLORING SENSORIAL AND EMOTIONS THROUGH

LIGHT AND SHADOW IN ARCHITECTURE
This report has been submitted to the Centre of Studies for Architecture, Faculty of
Architecture, Planning and Surveying, Universiti Teknologi MARA, to fulfil the
requirement of ARK755 ARCHITECTURAL RESEARCH course.
Prepared by:
Name : AMIRUL HAKEEM BIN MA’AZ
UiTM No. : 2017741449
Programme : MASTER OF ARCHITECTURE
Year/Semester : YEAR 1 / SEMESTER 2
Session : 2018 – Session 2 2018
September 2018- January 2019
Faculty : Faculty of Architecture, Planning and Surveying
1
AUTHOR’S DECLARATION
I declare that the work in this Dissertation was carried out in accordance with the
regulations of Universiti Teknologi MARA. It is original and is the result of my own work,
unless otherwise indicated or acknowledgement as referenced work. This Dissertation has
not been submitted to any other academic institution or non-institution for any degree or
qualification.
I, hereby, acknowledge that I have been supplied with the Academic Rules and Regulations
for Post Graduate, Universiti Teknologi Mara, regulating the conduct of my study and
research.
Name of Student : Amirul Hakeem Bin Ma’az
Student I.D. No : 2017741449
Supervisor : Assoc. Prof. Dr. Ar. Norhati Binti Ibrahim
Coordinator : -
Programme : Master of Architecture
Faculty : Architecture, Planning & Surveying
Title : Exploring Sensorial and Emotions through Light and

Shadow in Architecture
Signature of Student : ..................................................................
Date :
2
ACKNOWLEDGEMENT
I am earnestly grateful for given the chance to complete this task in a good health
and blessings. It was a great opportunity to be guided, supported and encouraged by a
dedicated lecturer, Assoc. Prof. Dr. Ar. Norhati Ibrahim. Her enthusiasm and deep
attentiveness in helping her students in completing this task is very pleasant. I owe her an
extensive gratitude.
I would also like to acknowledge the family of mine for their constant support along
the way I am working on this task. Endless inspiring advices from them keeps me spirited.
And I am vastly grateful to be around with fellow committed and helpful studio
mates who always provide me with necessary and crucial information and also sharing
their thoughts throughout the semester.
Amirul Hakeem Bin Ma’az, July 2018
3
ABSTRACT
Exploration of spaces has become one of the known diagrammatic thinking

methods on defining the space itself. However, the little details such as the surface pattern,
texture, lighting and personal experiences that occurred in a space is the one that define
the space as an emotional space. This paper is concerned with the question of how a space
affects the behaviour of an individual. The purpose of this study is to investigate the
fundamental of light and shadow in a space and its correlation with people’s sensorial
appraisal. This study builds on and contributes to achieve an interactive spatial
configuration where light and shadow as the key player in encouraging the sense and
emotions of an individual as they experience a space. I address this issue by demonstrating
several case studies as prove points to exhibit that by engaging light and shadow into a
designed space could affect a person’s emotion and presumption of the space itself.
Key words: light and shadow, sensory, emotion, spatial configuration
4
TABLE OF CONTENT
ACKNOWLEDGEMENT .................................................................................... 3
ABSTRACT ........................................................................................................... 4
CHAPTER 1: INTRODUCTION ........................................................................ 7
1.1 Background ............................................................................................... 7
1.2 Problem Statement .................................................................................... 9
1.3 Aim and Objectives of Research ............................................................. 10
CHAPTER 2: LITERATURE REVIEW ........................................................... 11
2.1 Preface ..................................................................................................... 11
2.2 Emotions.................................................................................................. 11
2.2.1 Relationship between emotions and human sensory ........................ 12
2.3 Type of human sensory appraisal in light and shadow ........................... 13
2.4 Light and Shadow.................................................................................... 14
2.5 Solid and Void......................................................................................... 15
2.6 Light as Matter ........................................................................................ 18
2.7 Particlization............................................................................................ 20
CHAPTER 3: RESEARCH METHOD.............................................................. 23
3.1 Preface ..................................................................................................... 23
3.2 Observations ............................................................................................ 23
3.3 Case Study ............................................................................................... 23
REFERENCES: .................................................................................................... 24
5
LIST OF FIGURES
Fig. 1. Steven Holl’s Ignatius Chapel. Photo: pinterest.com.
Fig. 2. Louis Kahn’s Kimbell Museum. Photo: photorator.com.
Fig. 3. Tadao Ando’s Chruch of Light. Photo: archdaily.com.
Fig. 4. Peter Zumthor’s Klaus Chapel. Photo: archdaily.com.
Fig. 5. Tadao Ando’s Stone Museum. Photo: pinterest.com.
Fig. 6. Kengo Kuma’s Bamboo House. Photo: archeyes.com.
6
CHAPTER 1: INTRODUCTION
1.1 Background
“Shadows can be used to reconstruct the world. And indeed we always use them to indulge
the shape of our environment”
- Roberto Casati –
The presence of light and shadow is fundamental. The light is from when the sun
we receive strikes the surface of the earth, and the shadow itself, is a dark figure casted on
the ground from when a light source is intercepted by an opaque object. Natural light
accompanied by shadow gives an impact to all structures whether it is built or natural. In
Architecture, light and shadow plays an important role in a particular building. The
influence of light and shadow in a particular space could give an impact towards a person’s
sensory appraisal and their emotions.
Our sensory plays an important role in the perception of a space. It stimulates the
senses towards our surrounding. The senses and feelings generated in a particular space are
very important in enabling a person to experience the space. It gives us an awareness on
the quality, scale and the materiality of the space.
To experience Architecture, we have to approach, enter and walk around the space.
It would take a maximum-tangibility to feel a space. As a result, we engage with all of our
senses. Architecture is experienced deeply only when our senses are engaged during the
phase of experiencing and moving around the space.
7
According to Ricardo Legorreta (1997), it is cited that “Light belongs to the heart
and spirit of human. Light attracts people, shows the way and when we see it in the distance
we follow it”
Architecture should be enlivening our senses rather than toning it down. The most
exciting experience created by Architecture is tranquillity where architecture presents a
dramatically constructed silenced into space, light and matter.
We are able to develop memories of an inside world that include a panorama of

experiences in which we capture from the surrounding environment and etched into the
‘feelings’ of our identity over a lifetime of personal encounters with the world (Bloomer,
1977). People believe in the ways of how building are experienced and how it effects on a
person, like how a person could be affected by the presence of character in a particular
space.
The interest of this study is to focus on the correlation of light and shadow design
in a space and the emotions affected. Consideration on aesthetics, techniques and
experience study will be done in parallel with the study of several Architect’s project.
8
1.2 Problem Statement
In the present modern era, buildings are designed mainly to emphasize on the
appearance as a priority. Thus, occupants in the building are not able to interact or to
communicate with the space as there is no relation of the interior space with the exterior.
This is included in Ulrike Brandi and Christoph Geissmar-Brandi (2002) on The

Secret of the Shadow, cited that “We have seen that 20th century architects do not
necessarily tie the influence of light and shadow into their designs. A great deal of
concentration is required to consciously perceive shadows and to study them. However,
most architects mow do not want to exert this extra effort. They eliminate shadow and
uniformly illuminate space”.
Through senses, we perceive depth and dimensionality in a way is impossible

through uniform illumination throughout a space. With the tectonic of light and shadow, it
interconnects our emotions by stimulating all the senses hence deepening our spatial
experience in a space.
Unfortunately, the lack of appreciation on light and shadow design in a building

leads to the disconnection between emotions with light and shadow. Architecture
nowadays only implies visual experience with very little of our other senses, if any. Our
other senses have been intercepted by artificial over-simulation. Equipment such as
flashing lights, piped in music, uniform illumination and artificial ventilation has restricted
our connection with the nature.
In Malaysia’s context, light, shadow and emotions has become a big question mark
or it might be also a subject that people usually neglect. The initial purpose of this study is
visioned to examine the interconnection of light and shadow with emotions and ways to
implement it.
9
1.3 Aim and Objectives of Research
This research aims to investigate the fundamental of light and shadow in a space and its
correlation with people’s sensorial appraisal.
The study is conducted to achieve two major objectives. The first objective is to
analyse the relationship between spatial character and people’s sensorial appraisal. The
second objective is to examine the spatial configuration through various case studies.
10
CHAPTER 2: LITERATURE REVIEW
2.1 Preface
Change is the law of nature. This could be seen through the mass application of
technological advancements in building design. Equipment such as artificial lighting or
ventilation are dominant. It results in the declining of the application of natural light and
shadow throughout the design where emotions and sense of appraisal are deceased in space.
If we adapt to the ever-changing world, the interconnection of light and shadow with
emotions and sensory values could benefit us in a broader way with the presence of
technological advancement. This section will discuss on emotions and sensory appraisal
and how it interconnects with light and shadow in architecture. An explanation on the topic
and comparison throughout multiple case studies will be provided.
2.2 Emotions
According to Oxford Dictionary, the word ‘emotion’ means a strong feeling derived from
one’s circumstances, mood or relationships with others. It is originated in the middle 16th
century from French émotion based on Latin emovere. Another definition of ‘emotion’ is
an affective state of consciousness in which joy, sorrow, fear, hate or the like, is
experienced as distinguished from cognitive and volitional states of consciousness
(Dictionary, 2015). In reference to the first definition, emotion means a strong feeling
derived from one’s relationship with the space they occupy. In architecture, people migrate
from one point to another, both intellectually and physically. It takes them on an emotional
narrative which affects where they go, how they behave and what they remember. Emotion
is a critical link that impacts the people’s perception (Lehman, 2018)
11
2.2.1 Relationship between emotions and human sensory
Emotions and human sensory are two different things that are relatively connected
by its natural behaviour. They compliment each other throughout the design. There are five
main senses that human possess which is visual, sound, touch, smell and taste. Among of
the five senses, visual sense is dominant over the other senses. Other types of senses are
often being overlooked and rarely used in the context of architecture space. It affects the
emotions of people.
Meaningful buildings always have the ability to guide our awareness back to the
world and to our senses of self (Pallasmaa, 1995). The body of the spaces interconnects
with the human sensory.
Our body plays an important role in understanding the spatial configuration of a

building. It is in-dialogue with the environment and interpret each other constantly. A
person is able to store pictures of memory of a space that he/she was in. The ability to store
the memories are realized through the interaction between our body, imagination and the
environment that we are in, as soon as the eye sends message to the body and other senses,
architectural experience or shall we say emotions, are created. Maximum experience of a
space could be achieved when the space could be access by multiple sensory. It will
strengthen the existential memory.
As cited by Juhani Pallasmaa (1996), “Architecture is essentially an extension of

nature into the man-made real, providing the ground for perception and the horizon to
experience and understand the world. It is not an isolated and self-sufficient artefact. It
directs our attention and existential experience to wider horizons”
12
2.3 Type of human sensory appraisal in light and shadow
We constantly connects our senses with the environment in our everyday life. As
cited by Juhani Pallasmaa (2005), “I confront the city with my body; my legs measure the
length of the arcade and the width of the square; my gaze unconsciously projects my body
onto the façade of the cathedral, where it roams over the mouldings and the contours,
sensing the size of recesses and projections […] I dwell in the city and the city dwells in
me”.
According to Maclachlan (1989), there are 5 main senses which are the sense of
sight, hearing, touch, taste and the sense of smell. Other senses such as senses of
temperature and pain can be added into the list. These types of senses mediates our
perception of a space.
To further into detail of the study, sense of sight and sense of touch are examined
as they both correlates with light and shadow. Our sight corresponds to the spaces that are
being lit by the light and also to the shadow casted. The presence of light and shadow gives
a character of a space and influence our mood and wellbeing. The ability of light and
shadow in telling us about the form, materiality, texture and rhythm affects our sight
forcing them to send message to our body. The techtonicality through light and shadow
attract our sight.
Our skin possess the capability to correspond to light and shadow. It is capable to
read the temperature, density, and weight. Tactile sense is one of the senses that connects
our body with the environment. Tactile is not just about physical touching of a particular
object but about the tangibility of volume and temperature of a space. We could relate this
to light and shadow where the propagation of color and temperature of light can be felt on
the surface of the skin.
13
2.4 Light and Shadow
Architecture are being infused by light and shadow with a dimensionality that does
not present in uniform, or almost uniform, illumination. We gain a deeper spatial
consciousness through sensory connection on many levels. It gives us the ability to
perceive depth and dimensionality.
Some architects such as Tadao Ando and Louis Kahn understands and appreciate
light and shadow. They believe it can make an architecture meaningful. With light and
shadow, they highlight textures, contrasting materials, designated gathering or sacred
spaces and highlight movement. Other role of light and shadow is to capture the experience
of a space.
In contrast to light, the ambiguity of shadow deepens our spatial experience by

stimulating all of our senses. Sometimes architects explores on alternating light and shadow
or a ‘tapestry of light and shadow’ to provide a rich variety of existential experience.
In built environment, light and shadow is very important to our perception of the
space. It could impact us physically, emotionally and spiritually. With the implementation
of light and shadow in a space, architecture becomes extraordinary.
14
2.5 Solid and Void
Unexpected ambiance and spatial character can be realized through the

poetics of construction and the control of material manifestation called techtonics.
Techtonics come into the picture when the art of construction innovation and
detailing beyond craft happens in a particular space. Techtonics implementation can
evoke one’s sensory engagement.
This subject could be seen in various famous architect’s projects such as Le

Corbusier, Mies Van der Rohe of the modernist scene and Tadao Ando, Peter
Zumthor and Steven Holl in the contemporary scene. Their philosophy in controlling
light and mass presented the conscious of techtonic which gives impact towards the
spatial awareness.
“The material, detail and structure of a building is an absolute condition.

Architecture’s potential is to deliver authentic meanings in what we see, touch and
smell; the techtonic is ultimately central to what we feel”
-Steven Holl-
In implementing techtonics, architects decide whether to display the solid

gravity of a material or to portray the transparent ethereal quality by dematerializing
material.
15
Figure 1. Steven Holl’s Ignatius Chapel
In figure 1, the architectural manipulation of light and shadow relates

spiritually with the human body. The techtonics of material at the roof part portray
an artisanal touch of light and shadow tapestry. There are seven skylights and
windows of colored glass that Steven Holl refers to as the seven ‘vessels’. Through
a play of screened colored glass, light and shadow are casted in a multitude of ways.
One will feel an existential experience like walking through a living organism with
the feeling of nature and borderless.
16
Figure 2. Louis Kahn’s Kimbell Museum
In figure 2, the museum plays its role in dictating the needs for good
quality of lighting. Kahn did examined in detail on configuring the solid and void
because without detail examination, the gallery would be exposed to the effects of
light. The curve vault in the figure above ensures a beautiful distribution of
diffused light from the hidden slot across the middle of the ceiling. The hidden
skylight shows that Kahn are concern about the spatial awareness and created a
new typology for museum lighting.
17
2.6 Light as Matter
Light and material coexist in offsetting each other’s quality to enhance

spatial awareness. Material applied in a building could react with the light hence
affecting the building occupants. Fusion of light on the material enables people to
capture the spatial atmosphere. Many types of tectonic approach are implemented in
guiding light movement and translating the movement into spatial character.
Examples of tectonics are fusing light and matter through monolithic solidity of
hyper material and fusion with fragmented material manifestation.
Figure 3. Tadao Ando’s Chruch of Light
18
In figure 3, Tadao Ando highlights the monolithic and solid expression of

the concrete material and creates the spatial atmosphere. Ando maximize the
potential of the material’s property by rendering the concrete surface to a perfect
smooth surface. With the strategic placement of the cruciform slits, he designed the
openings to supply the light onto the concrete surface’ tautness.
As cited by Plummer (2009), “At times walls manifest a power that borders
on the violent. They have the power to divide space, transfigure place, and create
new domains. Walls are the most basic elements of architecture, but they can also
be the most enriching”.
Figure 4. Peter Zumthor’s Klaus Chapel

19
In figure 4, Peter Zumthor configured the spatial atmosphere by utilizing the

mouldable texture of concrete. This has been done to change the reflectivity of the
concrete’s appearance. Timber tree trunks was burnt and poured with concrete so that it
would become a mould that forms a corrugated texture. Light which are filtered from the
sky left atop supplies beam of light. It form zigzag patterns as it seeps through the
corrugated texture creating perfect ambiance for meditation purposes.
2.7 Particlization
“Without particlization materials we cannot appreciate the as materials, nor feel

their vibrancy.”
-Kengo Kuma-
The act of breaking down the solid to induce light is called particlization. Kengo
Kuma is one of the architects that practices particlization, fusing light with matter. He uses
materials by fragmenting them into simple and elementary portions. The congregation of
these elementary portions brings a new identity to the original character of the material.
Particlization have also been practiced in areas of extreme sun where controlled
seepage of light not only creates patterned screenings but also atmosphere. The desire to
achieve translucency stems out a design philosophy and the conviction to interconnect a
link between inside and outside. It creates a sensorial engagement of the occupants by
perceiving the narration of the space. Through the implementation of particlization, the
opacity of a solid material can be broken out to a more mesh like luminosity.
20
Figure 5. Tadao Ando’s Stone Museum
In figure 5, the Stone museum gives a perfect example of particlization.

The monolithic solid are broken down to make it more penetrable by the light. It
creates a screen-like wall that enable a dialogue between the occupants and the
light. The pattern of light which lays onto the interior surface creates a new way of
appreciating light and shadow.
21
Figure 6. Kengo Kuma’s Bamboo House
In figure 6, Bamboo House by Kengo Kuma is another example of perfect

particlization. Kuma intended to break the interrupted link between the interior and
the exterior environment. The bamboo was exploited and juxtaposed so that the
bamboos renders the penetrating light to the interior surface crating an upshot
atmosphere. He emphasizes on the notion of breaking boundaries between interior
and exterior. Kuma had also made the vertical planes inside the house disappear
into one another to achieve minimum solidity of the building planes.
22
CHAPTER 3: RESEARCH METHOD
3.1 Preface
This chapter is focusing on the method in finding data for the research. The
instruments used for the methodology are observations and questionnaires. The methods
applied are about reviewing and analysing existing building that are affecting the people at
context of the space. Comparison between the spaces was made to see clearer vision on
what kind of character and essences is being developed and influence the most to the user
by the architecture itself. The data gathered are then translated into a compact information
through the descriptive analysis from the space indicator table and spatial or pattern
analysis.
3.2 Observations
The observations will be one by visiting Surau Nusa Idaman, Johor Bahru by Razin
Architects, Tropical Box House, Kuala Lumpur by WHBC Architects and PAM Center,
Bangsar by HMA & Associates. These buildings are selected for the intensity of light and
shadow implementation throughout the design.
3.3 Case Study
There will be a series of questionnaire that would be given to the building occupants
to evaluate their sensory and emotions at the respective buildings. The questions are
constructed based on the literature review that have been done through this paper.
23
REFERENCES:
Pallasmaa, J. (2012). The eyes of the skin: architecture and the senses: John Wiley & Sons.
Pallasmaa, J. (2014). Space, place and atmosphere. Emotion and peripherical perception in
architectural experience. Lebenswelt. Aesthetics and philosophy of experience.
Pallasmaa, J. (1996). Polemics: Architecture and the Senses (Great Britain: Academy
GroupLtd).
Pallasmaa, J, and MacKeith, P. (2005). Encounters: Architectural Essays. Helsinki:

Rakennusteito.
Kent C. Bloomer, C. W. M. (1977). Body, Memory and Architecture, Yale University

Press.
Corbusier, L. (1931). Towards a new architecture: Courier Corporation.
Shirazi, Mohammad Reza (2010). Phenomenology of Space, Phenomenology of

Architecture. Tehran
Zoura, D. (2011) “Architecture and The Senses” from

http://www.vmarch.net/blog/2015/8/20/architecture-the-senses-1
Augustesen, D. (2014) “Architecture for The Senses” from

http://thedaylightsite.com/architecture-for-the-senses/
24

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Exploring Sensorial and Emotions Through

Light and Shadow in Architecture

EXPLORING SENSORIAL AND EMOTIONS THROUGH

Architecture, Planning and Surveying, Universiti Teknologi MARA, to fulfil the

requirement of ARK755 ARCHITECTURAL RESEARCH course.

Name : AMIRUL HAKEEM BIN MA’AZ

UiTM No. : 2017741449

Programme : MASTER OF ARCHITECTURE

Year/Semester : YEAR 1 / SEMESTER 2

Session : 2018 – Session 2 2018

September 2018- January 2019

Faculty : Faculty of Architecture, Planning and Surveying

Name of Student : Amirul Hakeem Bin Ma’az

Student I.D. No : 2017741449

Supervisor : Assoc. Prof. Dr. Ar. Norhati Binti Ibrahim

Programme : Master of Architecture

Faculty : Architecture, Planning & Surveying

Title : Exploring Sensorial and Emotions through Light and

Signature of Student : ..................................................................

Amirul Hakeem Bin Ma’az, July 2018

Exploration of spaces has become one of the known diagrammatic thinking

Key words: light and shadow, sensory, emotion, spatial configuration

CHAPTER 1: INTRODUCTION ........................................................................ 7

1.1 Background ............................................................................................... 7

1.2 Problem Statement .................................................................................... 9

1.3 Aim and Objectives of Research ............................................................. 10

CHAPTER 2: LITERATURE REVIEW ........................................................... 11

2.1 Preface ..................................................................................................... 11

2.2.1 Relationship between emotions and human sensory ........................ 12

2.3 Type of human sensory appraisal in light and shadow ........................... 13

2.4 Light and Shadow.................................................................................... 14

2.5 Solid and Void......................................................................................... 15

2.6 Light as Matter ........................................................................................ 18

CHAPTER 3: RESEARCH METHOD.............................................................. 23

3.1 Preface ..................................................................................................... 23

3.2 Observations ............................................................................................ 23

3.3 Case Study ............................................................................................... 23

Fig. 1. Steven Holl’s Ignatius Chapel. Photo: pinterest.com.

Fig. 2. Louis Kahn’s Kimbell Museum. Photo: photorator.com.

Fig. 3. Tadao Ando’s Chruch of Light. Photo: archdaily.com.

Fig. 4. Peter Zumthor’s Klaus Chapel. Photo: archdaily.com.

Fig. 5. Tadao Ando’s Stone Museum. Photo: pinterest.com.

Fig. 6. Kengo Kuma’s Bamboo House. Photo: archeyes.com.

We are able to develop memories of an inside world that include a panorama of

1.2 Problem Statement

This is included in Ulrike Brandi and Christoph Geissmar-Brandi (2002) on The

Through senses, we perceive depth and dimensionality in a way is impossible

Unfortunately, the lack of appreciation on light and shadow design in a building

1.3 Aim and Objectives of Research

CHAPTER 2: LITERATURE REVIEW

2.2.1 Relationship between emotions and human sensory

Our body plays an important role in understanding the spatial configuration of a

As cited by Juhani Pallasmaa (1996), “Architecture is essentially an extension of

2.3 Type of human sensory appraisal in light and shadow

2.4 Light and Shadow

In contrast to light, the ambiguity of shadow deepens our spatial experience by

2.5 Solid and Void

Unexpected ambiance and spatial character can be realized through the

This subject could be seen in various famous architect’s projects such as Le

“The material, detail and structure of a building is an absolute condition.

In implementing techtonics, architects decide whether to display the solid

Figure 1. Steven Holl’s Ignatius Chapel

In figure 1, the architectural manipulation of light and shadow relates