Richard Kelly–Lighting As an Integral Part of Architecture

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Richard Kelly–Lighting As an Integral Part of Architecture Lighting as an Integral Part of Architecture Author(s): Richard Kelly Source: College Art Journal, Vol. 12, No. 1, (Autumn, 1952), pp. 24-30 Published by: College Art Association Stable URL: http://www.jstor.org/stable/773361 Accessed: 30/07/2008 11:20 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org 24 COLLEGE ART JOURNAL from his society, well explained by the above weather and creativecharacter- istics, so different from the inapplicablebut neverthelessinsistent standards taken from the past and used for the present, apparentlyreached its peak in 1900. The gap now should be lessening, and probablyis. In the United States'l the art has been neither as extreme nor as rejected as in Europe. It is time that our countryshould come of age culturally.With our origin as a nation in the colddry1780, and our majorinheritance from the colddryperiod of 1830 to 1870, it is probablethat our own great Americanart, possiblyeven to be recognized,will occurcomparatively soon. Actually,between the coldwet confusion of today, and the colddry peak of 1965, there will probablybe a temporaryphase of warmwethope. LIGHTING AS AN INTEGRAL PART OF ARCHITECTURE* RichardKelly A FEELINGfor light and lighting startswith visual imagination,just as a painter'stalent does. Think of the creationof a watercolorrendering-First, major highlights are imagined-then, graded washes of different luminosity are added and-then, the detail of minor lightplay makes the idea clear and entertainsthe eye. In front of the mind's eye are three elementsin the perceptionsof visual design-three elementalkinds of light effect which can be relatedto the art of painting for easier visualization: (1) Focal glow or highlight. (2) Ambient luminescenceor graded washes. (3) Play of brilliantsor sharp detail. These threeelements are also the orderof imaginativeplanning. 10Againthe honest historiancan only comparethe recentEuropeanization of our art with the French Impressionismof Twachtman.Foreign to our soil it was at first greatlyadmired as "modern,"but the manymuseums which squanderedtheir moneyon his art are now generallytaking his picturesoff their walls. Inness was the American representativeof this style, althoughhe correctlyinsisted that he was not an Impression- ist; Twachtmanwas only an imitator.Who is the AmericanPicasso, not following in his footstepsbut parallelinghis development? * Condensedfrom a lecturedelivered at a joint meetingof The AmericanInstitute of Architects,the Societyof IndustrialDesigners, and the Societyof IlluminatingEngi- neers, in Cleveland,April 23, 1952. LIGHTING IN ARCHITECTURE 25 Focal glow is the campfireof all time. It is also the celebratedlimelight of aphorisms because the early English music halls used antiquatedprojectors which burned a gas resulting from wetting a kind of lime (now commonly known as "carbide").Focal glow is the follow spot on the modernstage. It is the pool of light at your favorite readingchair. It is the shaft of sunshinethat warms the end of the valley. It is candlelighton the face, and a flashlighton a stair. Focal glow drawsattention, pulls togetherdiverse parts, sells merchandise, separatesthe importantfrom the unimportant,helps people see. Focal glow sometimesbecomes multiple foci desirablyproducing a significantcomposition of attention.As the numberof foci increaseto more and more complex com- positions, a pattern results which can resemble the second basic element of light- Ambient luminescenceis the uninterruptedlight of a snowy morning in the open country.It is foglight at sea in a small boat, it is twilight haze on a wide river where shore and water and sky are indistinguishable.It is the before-the-showlighted dome and amphitheatreof the Hayden Planetarium, the full cycloramaof the open theatre.It is any art gallery with strip-lighted walls, translucentceiling, and white floor. It is also all we know of "indirect" lighting. Ambient luminescenceproduces shadowless illumination. It minimizes form and bulk. It minimizesthe importanceof all things and people. It suggests the freedom of space and can suggest infinity. It is usually reassuring.It quiets the nervesand is restful. Play of brilliants is Times Squareat night. It is the eighteenth century ballroom of crystal chandeliersand many candle flames. It is sunlight on a fountain,or a rippling brook. It is a cache of diamondsin an opened cave. It is the rose window of Chartres.Night automobilesat a busy cloverleaf,a night city from the air. It is the trees outside your window interlacedwith the beams of spotlights.It is a sparklingcabinet of fine glassware. Play of brilliantsexcites the optic nerves, and in turn stimulatesthe body and spirit, quickens the appetite, awakens curiosity, sharpens the wit. It is distractingor entertaining. Visual beauty is perceived by an interplay of all three kinds of light, though one is usually dominant. It is, therefore, of first importanceto plan lighting, whetheryou are creatinga new structureto interpretan idea of house and home, whether you are altering an old structureto meet new needs, or whetheryou are making-dowith existing conditionsas an interimin someone's longer termprogram. By the judiciousand artful controlof these three distinct 26 COLLEGE ART JOURNAL elementsin lighting, you can make the imaginedwatercolor rendering become the real thing, beauty of architectureand decoration.These three kinds of light, (1) Focal glow, (2) Ambient luminescence, (3) Play of brilliants, respectively(1) make it easierto see (2) make surroundingssafe and reassur- ing and (3) stimulatethe spirit. The trainedeyes of the impressionistpainters have helped our eyes to see the real appearanceof materialas revealedby manycontrasting kinds of light. Note Monet's series of eight or nine paintings of ChartresCathedral describ- ing a full range of appearancefrom strong sunlight to twilight. Psychologistshave substantiatedthe theories of modern metaphysicians such as George Berkeley,through Whitehead and Santayana,to Einstein.They say our real knowledgeof the concreteworld and all materialsis basedon sense perception, not on abstractlearning. Yale's motto "Lux et Veritas" old at adoption, now has new light and real truth. There is a new dependencybe- tween light and truthbehind contemporary perception. Psychologicalexperiments have been even more detailed. The American Foundation for the Blind, working for people who do not take light for granted,in the annualreport for 1948 says that 87% of all humanperceptions come throughour eyes. Architecturaldesign and decorationis createdto serve mankindby betteringthe sensualperceptions of life. Thus the purposefuland accidentalaction of light in creatingvisual perceptiondetermines seven-eighths of the total impactof architecturaland decoratingwork. Le Corbusier'sdefinition is "L'Architectureest le Jeux, savant,correct, et magnifiquedes formes sur la lumiere." ("Architectureis the play, knowing, correct,and magnificentof form in light)." These new thoughtsmight seem fascinatingintellectual by-play, except for veryimportant coincidental phenomena. The last two decadeshave developed by invention and productionmore new sourcesof artificiallight, its control equipment,and more knowledge of daylight and its control equipmentthan were developed in the precedingtwo millennia (our known technicalhistory). Nine out of ten of the artificiallight sources, fixtures, and equipment specified and used today did not exist twenty-fiveyears ago. For example: (a) The sealed beam lamp, the mushroomshaped bulb of mushroomgrowth. (b) The maligned but useful fluorescenttube that is changing its colors and becomingfriendly. (c) The "slimline"fluorescent of longer,convenient lengths that can be installed at a choiceof intensities. (d) The cold cathodefluorescent that can be shaped to almost any delineation. (e) The new mercuryvapor lamps of high efficiencyand spectrum,helpful and LIGHTING IN ARCHITECTURE 27 flattering to green plant-life, especially outside glass houses and even picture windows when we want to seem to bring the outdoors indoors. (f) The beginning of a two dimensional panel light source now available for small areas in limited intensities and colors will lead to more important uses. (g) The production of accurate molded lenses suitable for permanent installation at reasonable initial and maintained cost. (h) The substitution of efficient metal reflectors for glass. (i) Wonderful new candles, more light per ounce, less drip, long
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