A sustainable design approach
based on experimentation and contemporary
architecture of Venice region
This intensive educational experience is set against a backdrop of the Italian Veneto, where participants are involved in daylight matter and its design, simulation and integration.
The course introduces the culture of daylight both as an expressive device, and as a technical tool for a sustainable design approach. Artificial light is presented not as an independent topic, but both in its integration with daylight and its increasing capacity as a key component for a positive impact on human well-being. Alongside these studies, the course encompasses a full programme of lectures, seminars and conferences, delivered by a varied body of experts and professionals.
The deadline for applications for this year’s Daylight Thinking Summer Course will be the 19th May 2013
If you are interested in applying for the course, please click here to be redirected to the application forms provided by the University of Florida, or if you have any further queries, do not hesitate to contact us via email.
The course will offer two specialized conferences with keynote speakers: the appointments will take place in the VIA courtyard and they will be open to the public to share the Daylight experience.
11th july 2013
ALEXANDER RIECK, Laboratory for Visionary Architecture
He started his research career in the virtual reality environment. He is a renowned expert on innovations in the fields of future construction, and an author of many publications about working environments and building processes of the future.
Cultural Secretary for the International Centre for Architectural Studies ‘Andrea Palladio’; she will give us a point of view about works of Carlo Scarpa and Umberto Riva and their relation with daylight.
The tours, organized around the Veneto region, are a special occasion to experience daylight in contemporary and ancient architecture. Here below the visit to Francesco Venezia Center for engeneering research for the Architecture University in Venice,built in the 1998. The center is constituted by a big solid opaque cube made up in reinforced concret, an imponent outer shell inclusing an open central hall. The building design leads the natural light to the inside space by a big hided slot on the bottom and a wide opening on the roof, achieving a strongly controlled modulation of lighting.
The famed Venetian architect Carlo Scarpa was a virtuous of light, a master of detail, and a connoisseur of materials. The appointment with his architecture can not be missed if we are looking for a real connection between daylight and architecture. Here some pictures we took during the tours last year: the poetic Tomba Brion, masterpiece in details; the Canova Gypsotheque, where light plays a fundamental role in definition of the relation between space and the white plaster sculpures made by the neoclassical artist Antonio Canova.
Experimenting light’s dynamics using scale models, artificial and natural sunlight, colors and differents materials, all in order to reproduce the interaction between space and light.
Workshops are combinated with lectures and discussions as well as experimentations with several technologies.
The summer course held by the University of Florida in Vicenza/I proved exactly the opposite. A group pf international students and practising designers headed by Giovanni Traverso spent 14 days together visiting and experiencing daylight projects and exploring their own ideas on the subject in a practical workshop. The latter resulted in a series of exciting and inspiring new designs.
Antony di Mase, architect from Melbourne , Australia (www.dimasearchitects.com.au)
is one of the 15 daylight course attendees at Daylight thinking course 2012.
After the 2 intensive weeks of the course he sent back his 51 key points about daylight.
In the picture Antony during the course visit to the Asiago Observatory to enjoy the darkness and understand the lighting pollution effects .
SOME KEY POINTS ABOUT DAYLIGHT
Light is the medium by which we see the world.
Our body is regulated by the movement of the sun – otherwise known as the Circadian Rythym.
Light gives legibility to Architecture.
Daylight is the instrument by which we read architecture.
Human eye has a sharp sense of vision for 2 degrees.
We see colour in a 10 degree band.
We see movement in a 180 band.
We see with the MIND not the human eye.
Our biological system responds to light levels.
We are losing the idea of day and Light in society 24 hour city.
The sun moves about 15 degrees every hour.
Stationery Light means the world has stopped.
Humans adapt to light levels.
DAYLIGHT ANALYSIS: computer simulation, Laboratory, Open Sky using models
Daylight is independent of scale.
ANALYSIS checks light levels, distribution, sun movement, visual comfort, ultra violet and infra red etc.
LIGHT SOURCES sun, sky and clouds.
Morning light is violet – energising which is meant to react to a recently discovered receptor in eye which is connected to our Circadian rythyms.
Animals see the world very differently.
WE see with our minds.
Skylight is blue.
Shadows are blue.
IF we use daylight better we reduce heating and cooling costs as well as reduce lighting costs. PLUS if we retain visual transmission we create spaces that produce greater human comfort. SUSTAINABILITY needs better daylight control – to exclude or include heat and push the light deeper into the space to reduce lighting. MUST reduce glare.
Daylight is about 100,000LUX and we need about 3% for lighting purposes BUT we need to push the light deeper into the space and reduce glare.
DAYLIGHTING is a more effective than thermal insulation as it creates greater human comfort to the occupants. Access to daylight is critical to humans.
Integrate artificial lighting to daylighting system.
The idea is to extend the daylight deeper into the space so that less artificial light is needed.
We need dark environments to see the stars. Light pollution is a real problem.
Photographs are a mirror of our memories.
Colours create different emotions.
3-D animation s studying lighting to recreate the world we live in – they have developed the idea of an IMAGE based LIGHT SOURCE which means the environment is ithe actual light source – not any individual source of light. Thus we have a more complex reading of light on objects.
Lighting is 40% of office building energy use.
We need to bring visible spectrum of light into our buildings, reflect heat to the sky to reduce heating our ground planes and improve visual transparencies so that people can see the environment and views.
USE the ceiling as a light source.
ARTIFICIAL light contains a small percentage of the suns colour spectrum.
We are attracted to different environments during different times of the day.
We sleep at night and we are active in the day. At 2pm we tire and the sun’s energy can re-energise our bodies.
SHIFT WORK IS DANGEROUS!
We have about 2-2.5 thousand daylight hours in a year. It is an abundant and freely available resource. And like electricity, water and gas and is it is available to use in buildings. Better daylight design in architecture has an important role to play in making our buildings more sustainable. Indeed a number of presenters claimed it is the best way to make our buildings more sustainable and more efficient. Daylight design can reduce heating, cooling and lighting costs and as such create greater efficiency in the use of non-renewable resources.
Importantly better day lighting design can mean improved human comfort in our buildings by connecting people to the environment through visual transparency and connection to seasonal changes and movement of the sun. The human body and mind can be better connected to the Circadian rhythm that is important to our well being. The beauty, the colours and subtlety of changing light in architecture can give legibility, meaning and inspiration to the architectural form we occupy.
Unlike the thermal insulation – I think what is special about daylight design is that it is a way to open a building up towards its environment to achieve a sustainable approach to architecture and design. And what is great is that human comfort is not compromised by what can be in effect a closing down of the building fabric through insulation and coated glass. – Instead the building is open and connected to the environment which in turn creates a human response that is more natural and responsive to human bio-rhythms.
The key is to understand the art and science of day light design in architecture and to give real thought to the way in which the sun moves and changes. We are dealing with a moving and variable light source that produces both visible light and harmful UV light and high levels of heat IR. Day light design is a way t consider these elements and design buildings that harness the visible light and excludes its harmful effects. It requires undertaking a day light analysis before starting any design process which attempts to understand the the movement of the sun, intensity of the sun and the effect of both the sky and adjacent buildings and landscape features on any given site and existing building. Through computer modeling, physical modeling and laboratory testing the effects of day light can be measured and better understood and integrateted into an overall design solution. One of the great things about day light is that it is scaleable – that is the effects of day light on a model are the same at full scale. There are many architects from whom we can learn. including Scarpa Le Corbusier and many many others. LIGHTING design is heavily focussed on creating greater and greater efficiency in light sources – especially through LED technology – This in itself is a good thing but a watt is still a watt. Through daylight design we can reduce lighting loads and connect people to their environment and as such it should become an important component in the design of our buildings. It is also important to note that the colour rendering and lack of variability in lighting means that our bodies do not respond as well to artificial lighting – no matter how complex the lighting system and solution is. The idea behind lighting solutions should be as it was – it is there to supplement and compliment daylight design. Colours and lighting direction should give consideration to the way in which our bodies respond to light.
Lighting is geared towards greater luminaire efficiency and greater complexity and responsiveness in the control system. In my view artificial lighting bleaches out the subtly and variability of daylight. The llack of control we have over daylight is an issue – at any given moment we cannot predict the intensity of the sun and its variability during the day and across the year means that we rely more on artificial light rather than day light.
In effect today we can design any shape building knowing that lights will remove darkness – we need to remember this is a relatively new phenomenon in architecture.
At night light pollution means we do not see the night sky. Having dark nights lit by stars and the moon is just as important to the human cycle as is good day lighting in buildings. The 24 hour city is a reality and light pollution from the city acts as a luminous net that extends for many for many kilometres beyond the city. It means we do not see stars as well as we could. Staring at the stars at night enabled us to understand our place in the planetary system and universe and is often connected to our sense of spirituality. I think it is important for children to see stars at night and it should be the focus of lighting designers world wide.
Lighting is also having an adverse impact of animals as they see the world differently to humans – glass facades account for a large number of birds dying and sea turtles from not reaching the sea.
Interestingly the advances in 3-D animation has led to better understanding of light and its effects. In effect high resolution photos are used as a light source on characters. Lighting of an object is not resolved by the effects of the light sources but from the environment itself which gives the final images its complexity and realism.
Film also investigates colour – “If its purple – someone is going to die” The film TRAFFIC explores 3 stories about the drug trade from 3 different perspectives. Yellow, blue and white are used to distinguish each story. The film Black Swan uses red to invoke passion and madness and black and white is used to portray good and evil.
Architect Phillippe Rahm focuses on the effects of light and the human body through architecture in ways that questions and provokes. Transpose colours from a painting into real life. Dogs see the world differently to humans. Street lights was the beginning of modernity. Spaces that affect our MELOTININ levels.
The conferences will take place in the Vicenza Institute of Architecture courtyard and they will be open to the public to share the Daylight experience.
The first appointment will be with arch. Ilaria Abbondandolo, Cultural Secretary for the International Centre for Architectural Studies ‘Andrea Palladio’; she will give us a point of view about Carlo Scarpa works and his use of daylight.
Other conference is by Dr. Koester, is a specialist in daylighting and integrated artificial lighting. He will talk about his projects, focus on collaboratinons with Barbara Bonadies, bioclimatic architect at Studiobiòs Associati, Firenze.
We are plesed to have a talk by Philippe Rahm, the principal of Philippe Rahm architectes, based in Paris, France. Rethinking radically architecture, forced by climate changes, will be the conference matter.