Frontiers of Architectural Research (2018) 7, 25–36

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Frontiers of Architectural Research

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RESEARCH ARTICLE

Qualitative and quantitative analysis of

natural light in the dome of San Lorenzo,
Turin
Sadegh Panahiazara,n, Morteza Matkanb

a
UCD School of Art History and Cultural Policy, University College Dublin, Dublin 4, Ireland
b
UCD School of Architecture, University College Dublin, Dublin 4, Ireland

Received 10 December 2016; received in revised form 31 October 2017; accepted 30 November 2017

KEYWORDS Abstract
Guarino Guarini; The Church of San Lorenzo in Turin, which was designed by the Theatine architect Guarino
San Lorenzo; Guarini in the 17th century, is among the most famous Christian Baroque architectural
Baroque; masterpieces. Guarini was given freedom to plan and design this church, which can be
Dome; considered his most innovative and influential work. The most significant feature of this
Sacred light;
building is its dome, which is magnificent and slightly different from what is expected from a
HDRI
Baroque church. The dome of San Lorenzo has been the subject of considerable research due to
its perforated surface that allows daylight to penetrate into the interior space. However, this
dome has been mostly described through mere observation in a poetic and mystical manner.
Although a subjective analysis is vital in understanding this architectural piece, a systematic
and objective analysis that includes numerical data is required to understand fully the
illumination by natural light present in this work of architecture.
This paper presents a method based on high-dynamic-range-imaging luminance analysis that
employs a quantitative luminous measurement technique to analyze the daylight behavior in
San Lorenzo. The first section of this paper investigates the subjective experience in the dome
hall, and the last two sections objectively show the dome functions and the manner through
which the design of Guarini creates various light values in different parts of the dome. Such a
design is responsible for the unique experience in the dome hall.
& 2017 Higher Education Press Limited Company. Production and hosting by Elsevier B.V. on
behalf of KeAi. This is an open access article under the CC BY-NC-ND license
(http://creativecommons.org/licenses/by-nc-nd/4.0/).

n
Corresponding author.
E-mail address: sadegh.panahi@ucdconnect.ie (S. Panahiazar).
Peer review under responsibility of Southeast University.

https://doi.org/10.1016/j.foar.2017.11.005
2095-2635/& 2017 Higher Education Press Limited Company. Production and hosting by Elsevier B.V. on behalf of KeAi. This is an open access
article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/).
26
1. Introduction
A review of literature on the architectural projects of
Guarino Guarini, especially the Church of San Lorenzo,
demonstrates that extraordinary quality of natural light is
the main element in Guarini's architectural work. The
Church of San Lorenzo was established in the former
Piedmontese capital of Turin between 1668 and 1687.
Despite its magnificent architectural detailing, amazing
geometrical stylization, and splendid use of color and
sculptural decoration, light is perceived as the fundamental
aesthetical element of this church. Although the impor-
tance of its light has been repeatedly mentioned in litera-
ture, the dome of San Lorenzo is still mostly described in a
poetic and mystical manner. Meek (1990) described “…the
consequent diffusion of high-level light that converts his
dome from one with single continuous mural boundary into
an aerial cage, opening onto an outer zone…” Robison
(1991) recounted how Guarini “manipulated light and
geometry to create interiors with a seemingly limitless
extension of space,” and “…light and hidden structures
permit elevated forms to appear to float above the interior,
creating a dancing motion.” Others have mentioned that “a
Guarini dome, such as the one in his Church of San Lorenzo
in Turin, becomes a luminous cage of slender intersecting
ribs over which floats the light-filled space of the lantern
visible through the complex rib network” (Trachtenberg and
Hyman, 2003).
Scientific achievements in recent decades can lead to
systematic and objective analyses of the lighting character-
istics of this splendid work of architecture. For example,
numerical data can be used to compare light levels in
different parts of the dome. Such a comparison allows for
the analysis of the majestic effect in the dome hall
mentioned in many existing studies on San Lorenzo.
2. Methodology
This paper presents a method that can overcome the
limitations of purely visual analysis. The first section
provides general information on the building and existing
literature. This provision helps readers analyze the design
philosophy that led to the creation of the edifice and learn
about the perception and understanding of scholars regard-
ing the natural light in San Lorenzo. In the second part, the
building is analyzed architecturally to help readers under-
stand the functionality of the design. An architectural
analysis using sections, elevations, and plans is provided
to demonstrate the tricks and architectural details that
influenced the creation of the environment described in the
first section. The last part presents high-dynamic-range
imaging (HDRI) luminance measurement, which provides
numeric data on light behavior by using a quantitative
luminous measurement technique.
HDRI was utilized to measure the volume of natural light
under the dome in this study. Few other methods, such as 3D
modeling or using a luminance measurement device, can be
used for the same purpose. An advantage of HDRI luminance
mapping is that it can be easily used for buildings, including
historical ones, for which 3D modeling is nearly impossible
due to complicated building details and forms and the aging
S. Panahiazar, M. Matkan
effect on the materials that reflect natural light. HDRI
luminance mapping can also measure what is actually
present, including complex light reflections on the complex,
aged, and weathered surfaces of tiles, stones, and bricks.
HDRI can measure luminance in any specific view. Further-
more, HDRI luminance mapping only requires a single-lens-
reflex (SLR) camera and a computer to analyze data,
whereas luminance measurement devices are expensive
and unusable for other purposes.
The HDRI mapping technique is a valuable tool to
scientifically analyze the luminance effect of the dome of
San Lorenzo as a whole, quantify natural light in different
areas of the dome, observe the luminance characteristics of
each individual opening by using exact values, and ulti-
mately understand the qualitative and quantitative pre-
sence of natural light in the interior space.
HDRI luminance measurement helps ensure that the
understanding obtained from the first two sections is based
on correct numeric data. The first two components make
data analyses by HDRI valuable.
3. San Lorenzo and Guarini Guarino
The Royal Church of San Lorenzo, which was designed by
Guarino Guarini and built between 1668 and 1687, stands in
the corner of Piazza Castello in Turin (Fig. 1).
Guarino Guarini was a 17th century Italian architect and a
mathematician, astronomer, philosopher, and Theatine
priest who strongly valued light in all his work. Light is
the foundation of Guarini's work. His book on Euclid
(Guarini, 1671) reveals that Guarini's mathematics and
geometry pertained to light. For him, light is the ultimate
material that reveals all forms. The relationship between
mathematics and light is bilateral in the work of Guarini.
Guarini claimed that mathematics is light and is the source
of light at the same time. In his philosophy, light and
mathematics merge to become one, and architecture is
created through this fusion. San Lorenzo can be considered
the physical crystallization of this philosophy. Despite his
vast knowledge in geometry and mathematics, Guarini was
a man of God, a priest who was well-educated in philosophy
Fig. 1 Location of San Lorenzo in Piazza Castello (Image from
Google maps).
Qualitative and quantitative analysis of natural light in the dome of San Lorenzo, Turin 27

Fig. 2 Intermediate space between the exterior and the main hall in San Lorenzo.

and theology. To him, light pertains to holiness and is the

Materia Prima that was created on the first day. Guarini
benefited from the physical and symbolic characteristics of
light in San Lorenzo.
Entering from Piazza Castello, worshippers initially arrive
in an intermediate space, the narthex, which is relatively
darker than the space outside (Fig. 2). The sudden reduc-
tion in luminance causes the pupils of visitors to widen, thus
enabling them to observe many details. This effect adds
majesty to the dome hall's appearance.
Visitors are introduced to the main space through the
second door. This space is relatively dark, and the highly
decorated lower interior walls of the church create an
upward forced visual pressure toward the high regions of
the space capped by the fascinating dome.
The dome, unlike the rest of the hall, is flooded in light
and automatically attracts the attention of visitors because
of the contrast with its surroundings (Fig. 3). Decoration
played an important role in Guarini's era. Hence, his church
is full of ornamentation. However, he stripped away every-
thing when designing the dome and only allowed light to
decorate it. Referring to this transition, Meek (1990)
pointed out that unlike the lower part where the main
structure is covered, the openwork dome and the lantern it
supports are sufficiently amazing and require no cover-up. A
striking contrast exists between the pressures and deceit of
the lowest zone and the stripped clarity and truth of the Fig. 3 Looking at the dome while entering the dome hall.
celestial regions, which may have theological or rhetorical
implications.
individual qualities. When looking up, every second opening
Klaiber (1993) maintained that many of “Guarini's design
seems to bring less light than the previous one and thus
choices are the result of his desire to flood the church with
creates contrast in a synchronous manner, which fits well
light from above.” Guarini created a dark interior surround-
with the astonishing geometrical ribs. On the crown of the
ing the dome by creating contrast and adding to the bright
dome, which is usually the darkest part of any dome,
appearance of the dome. To bring in the light, Guarini
Guarini used his geometrical knowledge to create an
pierced the dome with many openings. According to Meek
octagonal oculus covered by a lantern with two sets of
(1990), “as the parabolic ribs ascend, they thus create an
eight openings. Consequently, this crown is one of the
openwork dome through which light progressively pene-
brightest parts of the entire structure. The lantern geome-
trates.” He also mentioned that “these open sections of the
try merges with the rest of the dome. This merging is due to
dome serve to flood the church with light and extends the
the similar ribbing technique applied in the dome and the
viewer's line of sight still higher towards the lantern at the
lantern. Guarini (1737) in his book “Architettura Civile”
top” (Meek, 1990). However, the openings were designed to
stated that:
create contrast within the dome because the value and form
of light are not similar in all sets of openings; this adds to
the beauty of the dome. “Vaults always appear lower than they are, and espe-
The magnificence of Guarini's work lies in how he used cially domes of half spheres, which from one-third up
the space between the ribs to create openings with appear flat, capturing a less bright light than their
28 S. Panahiazar, M. Matkan

springing, and hiding their curve, which in that location 4. Architectural analysis
is small.”
Obviously, natural light possesses a quantitative value apart
from qualitative significance. Hence, qualitative description
This statement explains Guarini's use of the cupola,
accompanied by a quantitative analysis is required for a
through which he tried to bring in light to where the dome
comprehensive analysis of Guarini's use of natural light in
is lacking brightness. For many, the cupola is surprisingly the
San Lorenzo. To explore in detail the luminance environ-
brightest part of the dome (Fig. 3).
ment in San Lorenzo, the research began by investigating
The dome with its slim ribs, large openings, and central
the perforated dome to understand how light is brought in
cupola appears incapable of standing for nearly 500 years.
to the domed space and the role of the many openings
This condition is the opposite of the satisfactory structural
before proceeding to the quantitative analysis of the
characteristic of most classical architectures.
luminous interior via HDRI analysis.
Interestingly, the exterior appearance of San Lorenzo
The dome (drum, dome, and lantern) of San Lorenzo is
does not provide any clue to what is inside. The design
perforated at seven different levels, and these openings
complexity of the openings makes it difficult to easily
vary in terms of height, shape, and the amount of light they
understand the characteristics of the openings and the
let in (Figs. 4–6).
method used by the architect to change the quantity of
Each level includes eight similar openings ringing the
light in each row of openings. Robison (1991) noted that
dome. Each of these tiers of perforations creates different
“the emphasis on light is evident on the exterior, with its
qualities of light due to their distinctive shapes. The effect
many windows reaching out aggressively to pull light in
depends on their surface area or form and mostly on the
through the perforated dome.”
path in which direct sunlight enters the interior space. The
San Lorenzo is a building that expresses itself well to
form, depth, and angle of each opening determine the
visitors and worshippers. Nearly everyone who walks into its
amount and form of light entering the interior space. By
dome hall acquires the same spatial experience. Daylight
designing the dome in such a way, the architect scrupulously
creates a majestic environment in the dome hall. The
changed the behavior of light to create the maximum
following section presents an objective analysis of the
effect. For clarity, each tier of the openings is graphically
architecture and a quantitative luminance analysis, both
of which can aid in analyzing the reason behind such a
sensational experience.

Fig. 4 Location of the six openings on the dome and the one Fig. 5 Location of the six openings on the dome and the one
below the drum. below the drum.
Qualitative and quantitative analysis of natural light in the dome of San Lorenzo, Turin 29

Fig. 6 Openings on the dome.

Fig. 7 Location of the six dome openings on the exterior (left) and entrance façade looking from Piazza Castelo (right).

shown in this paper to highlight their individual form and
position in relation to the dome and to present their
separate effect on the behavior of light. As illustrated in
Figs. 4–6, each color represents a specific type of opening.
The exact location of each opening is also shown, along with
their section area and shape.
Although the exterior design might not appear relevant to
the interior, the chief intention of Guarini in designing the
exterior form was to bring different volumes and qualities of
natural light into the domed area. The exterior design has
only one purpose, namely, to craft the effects and filtering
that Guarini needed to create the interior environment
(Fig. 7).
5. HDRI luminance analysis
The next step was the measurement of the quantity of light
in the interior. The quantitative measurements were subse-
quently compared with the qualitative description in the
previous section to determine whether they lead to the
same conclusion. The quantity of natural light in different
parts of the dome was measured to observe the different
luminance characteristics of each opening individually by
using an exact value. Furthermore, the openings on the
dome were individually studied to understand their roles in
the creation of the qualitative outcome mentioned by many
observers.
Traditionally, measurements of the photometric and
luminance properties of a specific scene required the
tedious technique of point-by-point measurement (Inanici,
2006; Wienold and Christoffersen, 2006). These measure-
ments consumed considerable time, entailed the possibility
of errors, and were often impossible to conduct. Moreover,
any measurements over time were likely to vary due to the
dynamic nature of daylight. This task required a device that
could capture luminance within a large field of view at a
high resolution.
Photograph-based photometry is suitable for this type of
data collection. HDR photography is a valuable tool that can
capture luminance values (Inanici, 2006). In HDRI, a scene is
captured multiple times with different exposure values by
30
utilizing a digital camera. Each image contains properly
exposed pixels in addition to over- and under-exposed ones.
The idea behind this process is that “each pixel is properly
exposed in one or more images in the sequence” (Reinhard
et al., 2010). Extremely under- and over-exposed pixels can
be discarded through an HDR construction software. The
outcome of merging multiple exposures into a single image
file is a 32-bit image containing an exponent value acting as
an extra 8-bit channel that stores luminance information.
The HDR luminance mapping technique used in this study
was based on the guidelines provided by Inanici (2006) and
Jacobs (2007). Multiple low-dynamic-range photographs
were captured with a Nikon digital SLR camera. The images
were obtained on the 6th of April 2014, from 12:00 to 13:00
because the Sunday mass in San Lorenzo takes place in this
period (Table 1). The position and angle of the sun influence
the daylight characteristics of any architectural space
(Figs. 8 and 9). The conclusions drawn from this study were
based on data collected on one day of the year and a single
sky condition (clear sky). Nevertheless, this study aimed to
Table 1 Solar data for April 6 in Turin, Italy.
Time of photography Solar Azimuth Altitude
12:00 (11:28) 167.61 49.81
12:30 (11:58) 179.31 50.41
13:00 (12:28) 169.11 50.01
Fig. 8 Azimuth at 12:00, 12:30, and 13:00 on April 6 in Turin, Italy.
Fig. 9
S. Panahiazar, M. Matkan
develop a framework that can scientifically analyze the
daylight characteristics of an architectural space based on
absolute values rather than mere observation.
The solar data for this specific day are shown in Table 1.
HDR images were constructed using the software Photo-
sphere (Ward, 2007). Subsequently, HDRI luminance maps,
the actual maps used in this method, were created with the
same program. HDR luminance maps represent luminance
levels calculated on HDR images and can provide valuable
information on the quality of light and luminance distribu-
tion of the scene. The luminance maps were subsequently
converted to false color images, where each color repre-
sented a luminous value.
Different images can be subjected to HDRI analysis. In
this study, an image captured right beneath the dome was
selected. This view shows the ultimate beauty of the dome.
In this particular view, the openings on the lantern are not
visible; hence, we considered the lantern as an element in
the HDRI calculations. Moreover, the openings on the drum
were not considered in this calculation because they are not
visible in this view due to the heavy corning on the drum.
However, all the openings on the drum and lantern influence
the illumination of the dome and HDRI numeric data. Here,
only openings 2, 3, 4, and 5 (Fig. 10) were subjected to the
calculation plus the lantern as a whole.
Fig. 11 shows the HDR luminance map of San Lorenzo. The
luminance value in these measurements ranged from
1.2 cd/m2 to 130 cd/m2. In the table next to the images,
purple represents the darkest points with the lowest
luminance of 1.2 cd/m2, and yellow represents the brightest
Altitude.
Qualitative and quantitative analysis of natural light in the dome of San Lorenzo, Turin
point with the limit of 130 cd/m2. The brightest luminance
value is limited to 130 cd/m2 because of the high contrast
between the dome and the rest of the main hall. To show
the small luminance differences in the dome area, the
highest range was limited to a low number with a unit of cd/
m2. The high level of contrast in light between the dome
and the rest of the interior immediately catches attention
upon looking at the luminance map. Although this contrast
might be visible to the naked eye to some extent, it is
clearly displayed in the luminance map image. The role of
each opening and window and their illumination in compar-
ison to other spaces are clearly visible in the luminance
Fig. 10 Four sets of openings on the dome.
Fig. 11 Sample luminance map of San Lorenzo.
Fig. 12 Sample image mask to isolate unwanted pixels for luminance analysis.
31
maps. The brightest and darkest parts of the space beneath
the dome are highlighted.
HDR luminance maps represent the luminance values of
an entire scene, but we needed the luminance of certain
areas within this scene. The program Hdrscope
(Kumaragurubaran and Inanici, 2013) was used to obtain
the average luminance value (ALV), and an interactive
image analysis of each HDR image was performed
(Viswanathan, 2012). To calculate the ALV of specific areas
within the interior of San Lorenzo, different image filters
were applied to the HDR image. These filters isolated the
unwanted pixels. Fig. 12 graphically explains the process.
Upon entering the main hall, every single element and
architectural detail appear to lead the visitors’ attention
toward the dome and the oculus. The dome appears to be
flooded by light and has a great contrast with the rest of the
hall, thus eliciting inevitable absolute attention in itself. All
these conditions were carefully examined using reliable
data, such as ALV in cd/m2.
Table 2 presents the quantitative daylight analysis of the
dome and pendentives. For a comprehensive analysis,
different image filters were applied to the HDR image of
the dome. The HDR image of the dome was cropped in such
a manner that the area of the dome is equal to its
surrounding area to obtain an impartial comparative analy-
sis in ALV.
According to this calculation, the ALV of the dome is three
times larger than that of the same area around the dome,
indicating that a visual focal point is indeed created toward
the dome. These data are in line with the previously
described conditions in the first section of this paper.
Another important point mentioned by many scholars,
including Meek (1990) and Robison (1991), is the role of the
oculus. The crown of a dome is generally the darkest part
32 S. Panahiazar, M. Matkan

Table 2 Daylight analysis.

Table 3 Daylight analysis of the dome and oculus.

where vaults constantly appear lower than they are,

especially for domes with half spheres that from one-third ALV (cd/m2) in dome with/without oculus
up appear flat because they capture less bright light than 35
they spring. This issue was spotted well by Guarini himself, 30
and he displayed his solution in San Lorenzo. The ribs that 25
formed the dome created a base for an octagonal oculus 20
that is roofed by a perforated lantern. The two sets of eight 15
openings on the lantern aggressively pull the exterior light 10
into the cupolino and create a bright focal point in what 5
should have been the darkest spot. To understand the 0
Dome Hall Surrounding Dome without Oculus
luminance behavior of Guarini's solution, an image frame area oculus
was applied; all parts were included, except for the pixels Avrage Luminance Value (cd/m2)
of the oculus (Table 3). In this manner, ALV within the oculus
can be calculated. Fig. 13 Difference in ALV in the dome with/without the oculus.
Qualitative and quantitative analysis of natural light in the dome of San Lorenzo, Turin
Table 3 illustrates that the ALV of the oculus is approxi-
mately one and a half times larger than that of the dome
without the oculus. Hence, the one-third top part of San
Lorenzo does not appear darker and is actually one of the
brightest parts of the entire edifice; thus, it is a visual focal
point in the dome hall.
Fig. 13 illustrates the difference in ALV among the dome
hall, the area around the dome, the dome without the
oculus, and the oculus.
Fig. 14 Visual pressure caused by an increase in ALV as one
approaches the apex.
Fig. 15 Flat and perspective section of four openings.
33
Tables 2 and 3 numerically display the reason behind the
visual pressure that starts when one steps into the dome
hall and ends at the apex of the San Lorenzo dome. Fig. 4
graphically displays the visual pressure caused by the
increase in ALV.
Despite the increasing visual pressure toward the apex,
the openings pierced at regular intervals between the ribs
fascinate all visitors and have been the subject of discussion
in all studies on San Lorenzo. The structure of the ribs and
the geometry of the dome can be found in many examples
of Islamic architecture. However, the San Lorenzo dome is
special because its openings are perforated in the space
between the ribs. These openings create a dazzling scenery
under the dome and cause the dome to appear as if it is
floating in a pool of light. Similarly, the contrast of light
within these openings is an important subject that needs to
be tested to determine if it is true or merely an illusion.
Hence, measuring the ALV of each opening is vital in
analyzing the daylight characteristics of the entire dome
(Fig. 14).
The dome of San Lorenzo is perforated by seven sets of
openings (Figs. 4–6). In this study, only the openings on the
dome (on rows 2, 3, 4, and 5) were calculated individually
(Fig. 10).
The difference in luminance emitted from different rows
of openings on the dome was mentioned in the previous
34
Table 4 Luminance analysis of the openings.
sections. A reason for this difference is the shape of the
openings, but the more influential element is the path of
the openings. Fig. 15 shows the section and perspective
view of the four openings. This figure illustrates the
difference in the form and length of the openings that
influences the amount of light penetrating through them.
The same procedure was conducted to obtain the ALV of
each opening on the dome. An image mask was applied to
the HDR image to exclude additional pixels that belonged to
the entire lens frame. To compare the ALV of each group of
openings, the image mask needed to be equal in size for all
openings. For this purpose, the image mask consisted of
eight identical squares that fit over each group of openings.
Table 4 illustrates the luminance calculations of ALV in all
eight square filters in each row. Analyzing the data in
Table 4 aids in understanding relatively subjective and
poetic experiences. The first issue is the aureole concept
that visitors experience. As shown in the table, the ALV of
openings on row two is 111.9 cd/m2. As previously men-
tioned, the ALV of the entire image is 6.3 cd/m2, and the
ALV of the dome is 20.4 cd/m2. The ALV in row two is five
times more than the ALV of the dome.
The second issue is the abnormal distribution of natural
light in the dome that creates a unique experience for many
visitors. The luminance map of row two indicates that this
set with an ALV of 111.9 cd/m2 is the brightest among the all
the sets. The next set in row three has pentagonal-shaped
openings with an ALV of 22.7 cd/m2, followed by the third
set of openings in row four with an ALV of 37.1 cd/m2. The
triangular-shaped openings in row five with an ALV of 7.2 cd/
m2 have the lowest ALV. This variation in ALV among the
different rows of openings in the dome is clearly demon-
strated in Fig. 16.
S. Panahiazar, M. Matkan
Average Luminance Value (cd/m2) in different rows of
openings and lantern
140
120
100
80
60
40
20
0
Row 2 Row 3 Row 4 Row 5 Lantern
Fig. 16 ALVs of different sets of openings and the lantern.
The ALV in each row demonstrates that every second
opening is darker than the previous opening. The last
opening before the lantern is the darkest opening on the
dome and makes the lantern appear brighter than it actually
is. All of these changes in ALV within the dome are
intentional. Guarini designed a dome with different quan-
tities and qualities of light originating from a single source
of light, and this remarkable idea is worthy of appreciation.
Fig. 17 graphically shows the changes in ALV from open-
ings in row two up to the lantern. The astonishing contrast
between each row and the way ALV decreases and increases
as one approaches the lantern, instead of a gradual
decrease, creates a dazzling and hypnotizing scenery under
the San Lorenzo dome.
The ALVs of the eight openings within the same row
cannot be uniform due to the position and angle of the sun.
However, several openings in the same row exhibit a large
ALV difference when compared with the rest of the rows.
Qualitative and quantitative analysis of natural light in the dome of San Lorenzo, Turin 35

Fig. 17 Changes in ALV from the drum toward the lantern.

Table 5 Brightest and darkest openings in each set.

The degree of this irregularity should be investigated. Average/Brightest/Darkest

Hence, the brightest and darkest parts of the four opening 140
sets were determined by using Hdrscope software. 120
Table 5 illustrates the brightest and darkest openings in
100
each row. The difference between the ALVs of the brightest
and darkest openings in each row varies. Table 5 shows 80

where the darkest and brightest openings are in each set 60

and depicts the row that has the largest difference in ALV
40
among its openings and the largest amount of irregularity in
20
natural light penetration.
Fig. 18 graphically demonstrates the difference between 0
Row 2 Row 3 Row 4 Row 5
the ALV of an entire row and the ALV of the brightest and
darkest openings in the same row. This procedure is
conducted for all four rows, which can be compared with Fig. 18 ALV of each row compared with brightest and darkest
one another. openings in each row.
36
Comparison of the data in Table 5 and Fig. 18 with those
of the sections of the openings (Fig. 15) indicated that the
form of the openings exerts a direct effect on the irregu-
larity of ALV within the same row. The openings with a large
depth or a complicated path are influenced more by the
movement of the sun compared with the openings that have
a small depth and a simple shape. Although Guarini suc-
ceeded in controlling the ALV of each row as a whole to
create the unique visual effect he desired, these data imply
that the more Guarini tried to control the natural light
infiltrating through the openings, the more the irregularity
of luminance was.
6. Conclusion
Many scholars have studied San Lorenzo. In particular, Meek
(1990) and Robison (1991) were meticulous in their com-
prehensive investigation of the building, the architect, and
his background. However, previous analyses were mostly
subjective with regard to light. Despite the comprehensive
analyses and in-depth descriptions of the behavior of light,
a highly scientific analysis is still required. Such an analysis
involves creating numeric data and diagrams.
The method utilized in this study achieved many objec-
tive results that can aid researchers and architects in
forming a solid perception of the building environment
and light behavior. Although HDRI and luminance measure-
ment are its key components, the method also benefits from
other components. All components of this method should
work collectively and serve as a solid system to understand
light behavior.
This method scientifically proved several of the assump-
tions of previous researchers and revealed many aspects of
natural light penetration in San Lorenzo that are invisible to
the unequipped eye. The colors used in the luminance
measurement tables showed the range and quantity of light
presence in every part of the dome and allowed the
researcher to compare the ALVs in different parts of the
dome. This method also explained the presence of light in
the dome as a whole and through every single opening. It
revealed the genius of the architect by determining the
reason for the complex design of each part of San Lorenzo.
S. Panahiazar, M. Matkan
This method provides researchers the ability to compare
light behavior not only in one structure but in different
buildings in their current form. Subsequent investigations
may compare the dome of San Lorenzo with other work by
Guarini, those of his contemporaries (e.g., Borromini), and
those of French Gothic and Spanish Islamic sources from
which he also drew ideas from. Architects have much to gain
from this method because it helps them learn from old
masterpieces.
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