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THE NATURAL LIGHT AS AN IMPORTANT ELEMENT IN THE INTERIOR SPACES

FORMING "Towards the interior architecture reframing with the usage of light
and shadow"

Conference Paper · June 2019

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 THE NATURAL LIGHT AS AN IMPORTANT ELEMENT IN THE
INTERIOR SPACES FORMING
“Towards the interior architecture reframing with the usage of light and shadow”

SABER, Ahmed Mahmoud

(1)
Architectural Department, College of Fine Arts, Helwan University, Cairo, Egypt.
Architectural Department, College of Engineeiring, Jazan University, Jazan, KSA
E-mail: arch_saber@yahoo.com

Abstract: The importance of this study is to research methods and aesthetical applications of
natural light and shade to be implemented by the architect through designs to achieve his uniqueness.
And to impose on the receiver attentions a fragment of the architectural expressions of the interior
spaces, this indicates the necessity to search this phenomenon in its various aspects from Stylistic,
technical and analytical, where one of the most important signs of any unique architectural project is
the effective use of daylight by reshaping the elements of light and shadow and what it does represent
from dynamic creative images reflected within the interior architecture scene , and it is clear that the
purpose of the research is to redefine the meaning of image or interior scene and how it can be
reshaped by the formation and aesthetic possibilities of light and shadow and its psychological impact
on the users of the architectural space, through constructing a theoretical framework that showcase
the Techniques and methods of implementing natural light and shadow in buildings, especially the
interior spaces, and then obtain the modern strategies that devolved the implementation of natural
light in contemporary architecture, and the research conclude that the attention to natural light,
shadow and the creation of shadow compositions will enhance the architectural spaces creatively with
the symbolic and philosophical impact that engage and Excite the user, and this will affect the design
phases and the shaping of architectural spaces and the research also conclude this methods and
design tools through an Inductive scientific approach to understand and define this phenomena.

Keywords: Natural lighting, sunlight, solar shading, screen shading, Interior architecture space.

1. Introduction Did we touch one day the impact of light in the beauty of the architecture?
And were we impressed by what differentiates a building more than shadows formed? Whether the
stain of incandescent lighting or the cold darkness? [24] to answer those questions, we must
recognize the architecture from the perspective of shadow and light, an architect in his quest to form
the internal spaces and interfaces have only used natural light on the needs of the inner space of
lighting i.e. giving attention to the functional and environmental aspect but some of the architects dealt
with it as something sacred carrying within it the power of inspiring sends mixed feelings in souls sent
by the designer through his authentic form of light and shadow as the architectural characteristics of
the text, changing the natural light and shadows formed during the day lead to a wide variety of
features and the form of internal spaces,[17] and the effective use of day light and formed shadows is
one of the distinctive marks that result from an architectural awareness of the importance of this
component, which will affect positively or negatively the user of the space.
1.1 The research importance: The research in the formulae and methods of employing natural light
and shadows in the buildings by the architect of great importance of which achieving uniqueness to
impose on the recipient some elements of the expression series of space interior faceplate, which
points out the importance of discussing this phenomenon from its different aspects; stylistic,
constructive and technical, and the potentials of the natural light exceed the functional side to tell a
story and to give a meaning and form a metaphor through the blending of shadows in a unified
structure to show the meaning and the symbolic background frames.
1.2 The research problem: The types and methods of investing the natural light and shadows in
architecture formed a general problem of research, so the study raises the following question:
 Do you invest natural lighting and shadows in architecture in the ideal shape aesthetically?
1.3 The research objectives: The research aims to emphasize the potential of aesthetics of natural
light and shadows and their psychological influence, through the building of a conceptual framework
that clarifies the methods of investing in the contemporary architecture.
1.4 The research hypotheses: The effective use of the daylight through the reformulation of the
elements of light and shadow and the reflection of the creative images in the internal scene, achieving
a lot of the architectural values and humanity lost inside the space and the positively on the recipient.
1.5 The research approach: The search adopted the approach of extrapolation framing in a scientific
methods of formulation of the investment of natural light, reaching a range of features which indicated
the nature of the innovation in the methods of investing it.

2. The theoretical background and historical importance of natural lighting:

2.1 The importance of natural light in human life: Studies and scientific researches have
confirmed the importance of natural lighting to human life in the biological and physiological impact on
his health, behavior and mood and that man needs constant change in the lighting of the visuals:
 Between 1954 and 1961 medical students' have proved that substation of man to visuals without
any change has a negative impact on the rates of excreting hormones, the activity of the nerve
centers and the respiratory system, as well as the ability to sensation.[14]
 The physiological impacts of natural lighting increases the production of white blood cells, as well
as resisting the growth of bacteria and fungi.
 it gives a feeling of comfort and stimulate activity and effectiveness in the work. [20]
2.2 The importance of natural light in architecture: Natural light and shadow and using them in
architecture has extended across different civilizations, according to the philosophy of silence and light
for Louis Kahan, the inner space is not a space without natural light. 12]
2.2.1 The importance of natural light in different civilizations: Understanding the impact of the
disparity between the shadow and light hasn't been new to the architecture, the Pharaonic civilization
has adopted to harmonize in the formation of light and shadow to give itself greatness and awe of the
temples through include gradual amount of lighting of space according to its functional and spiritual
importance, through small and deep vents above the walls tending more to the inside to allow the
deployment of the lighting without the glow, then it decreases greatly in the most holy place, where it
pick up the dimly light through small vents and roof-mounted curtain falling from the sky as a light
column reflecting the place a kind of beauty and greatness, but their understanding of the light has
extended to the history, the most holy place of the temple of Abu Simbel is overwhelmed by the dark,
except for two days a year, on the birthday of King Ramses II and on his coronation, was certainly not
a coincidence for it was the result of their studies of the sun movement [8] Fig.1.

Fig.1. The amount of lighting in the interior space changes in ancient Egyptian architecture according to its
functional and spiritual importance. Source: websites.
It is not much different for the Romans ,the Pantheon wall Blake includes ideal benefit of light, the
coverage of the temple is dome consisting of five horizontal loops intersecting with 28 vertical
supports, but the blank deep internal spaces that allows light to enter to form a feature of internal
restructuring of the internal configuration depends on the power of shade and light, [15] Fig.2, and in
the Basilica of Maxentius, the Roman used light to grab the attention of people by focusing light in part
they want to focus on it, Fig.3, and in Fetal Saint the central dome was used to illuminate the nave of
the church as Lighting in corridors, Fig.4 but in Spain when built cathedrals, without taking into
account the lighting conditions, the result was severe lighting accompanied by high temperatures, so
they shut down most of the windows, as happened in America, citing Europe but they found that the
lighting inside is not the beauty that they saw in Europe where overshadowed by darkness and
depression, and after a period of time, artists resorted to coloured glass and made use of radiation
characteristic of some of the colored luster, and in Renaissance age, Palladiao adopted lighting
resulting from the reflections of the surrounding environment than on direct light, the porticos and juts
had incorporated to protect its buildings of direct sunlight,[8] Toma Narciso devised in the past a way
to transfer the light from a vertical level to a horizontal level through vents such as air vents such as in
the Gothic Cathedral of Toledo.[15] Fig.5.
As the Arab Islamic architecture and also a large share of the aesthetic formation of light and shadow
carefully were designed precisely and controlling the sources of light. Shade and light, in Arab
architecture, have a unique personality and various formulations that introduced the developments
that fit their environment and culture originated from religious beliefs, [14] where The Holy Quran
talked about " shadow and light " in different positions and indications to alert that shade is one of the
stronger the blessings which Allah on His servants, especially in warm areas, besides talking about a
style of shadow movements mentioning the types of shadows: The useful shadow [Mercy], and the
harmful shadow [torture]. One of the Qur'anic verses have indicated that "the shady shadow " is one of
the pleasures prepared by Allah to the people of Paradise, counterproductive as the Almighty says: "
Those who believe and work righteous deeds, we shall make them enter paradises beneath which
rivers flow, to dwell therein for ever; there for them are pure companions mates. " [Women: 57] the
accumulated shadow over each other, who was exploited by architects in both protection from the
heat of the sun or the aesthetic formation, [25] where the painted windows and Oriels painted a
superb artistic painting that changes with the movement of the sun as a result of the reflection forms
adorning internal space. [14] Fig.6:8

Fig. 2: Pantheon temple. Fig. 3: Maxentius basilica.Fig. 4: Fig. 6,7,8: Sunshades, Lunar windows, Arches and oriels
church of San Vital.Fig. 5: Toledo cathedral shaded in Arab architecture, Cairo, Egypt So. Websites.
th th
2.2.2 Light and 20 century architecture: With the beginning of the 20 century, architecture
tended to the theory of overlapping the outside with the inside and Frank Lloyd Wright initiated it by
making the terraces , cables and open some rooms with each other and he was followed by Walter
Gropius ,who designed the Bauhaus School and Fagous factories where the glass took the function of
walls, but his using of natural lighting in the museum of Bauhaus during the sprocket Bishops which
granted the internal space a distinctive feature in the dialectic between the display tool and the subject
of the offer, Wright saw light as it is accompanied by heat some of the vents of his buildings shaded
patios and balconies with the use of indirect lighting to give a kind of calm inside the spaces as in the
Guggenheim Museum in New York, by lighting the main space by the upper dome while the exhibits
areas were illuminated by directed industrial lighting and in Johnson company they illuminated the
main hall from the top to make the columns of the carrier in the ceiling take mushroom and reduce the
glare of the sky to drop the soft lighting and quiet emptiness offices.[29] Wright has explained the
cause of his positioning of broad terraces that this increases the interior lighting, where the reflected
light from the abdominal shade to the inside. In fact it has been proved with scientific analysis that
Wright was right in some of what he had said and wrong in some, for the window without an umbrella
gives severe light near it and less light at the end of the room, and on putting the umbrella on the
window, the illumination nearby decreases and the umbrella reflects some light toward the end of the
room, thereby improving the distribution of light relatively.[8]

Le Corbusier has considered that the design of light and space is a process needed by man like bread
and a sleeping place [11] and he was studying the influence of the sun on his designs and their impact
on human rights, therefore, his buildings came stranger that those in his era, and he devised
horizontal ribbon window which he gives eight times lighting; lighting that he gives to a rectangular
window with has the same size but researches proved otherwise, [9] and in 1950 the reformist Church
“Corbusier” charged the Church of Ronchamp to erase the stereotypical image of the many old
churches, The purity of the place was one of the most important elements of his design, instead, we
find that he wanted a relaxed space meditation, flagrant walls were strong white that enhances the
atmospheres of meditation the entering of light to add progressive impact to these walls, [29] and the
most interesting aspects is the windows form on the walls, a small deep holes and colorful, the cavity
slash flowing light creates a remarkable scene inside the church, as we find on the wall behind the
altar lighting effects create the dotted "pattern," to look like the sky twinkled with the Stars, integrating
with the opening above the Cross emitting " flood " of light to create a strong religious and expressive
the image. [28] The most interesting part is curved roof that seems to float above the building, to allow
little light illuminating the church, on the contrary, Le Corbusier , Mies van der Rohe did not care about
the form of the building as far as his interest in the ability of light to show the place and clarify its
elements distributed by a rigorous system, where the light was seen as the global source that has no
relation to a place or a particular style. [29]
As for Louis Kahan, he saw the light, that it gives the building a distinctive character and the building
should be open to receive him, giving a different internal atmosphere depending on the direction of
light and thus the slot that receives the light of the specific direction must be different from the design
of another direction. There must be for each space special lighting for if a person went for that space
in certain hours of the day, his memory will show him what he will be offset by the effects there, it has
been said that the withholding of origin of the Light is wasting an opportunity to benefit from the
advantages of natural lighting, [24] He said that any artificially lit room does not deserve to be called a
room because we live always as if we live in the darkness of the night, there must be a hole
somewhere to give an idea of the amount of darkness,[24] thus, we have seen how architecture have
been affected during the early stages of development of natural light whicsh played a major role in the
design and the psychological sense of residents, and how the evolution of technology and its impact
on the solution of the problems faced by the engineers to illuminate the places without compromising
the safety of the building, different design slots from country to country depending on the amount of
light and heat, and how the social factors and ideological and cultural impact on the quality and
quantity of the lighting and their impact on human happiness and psychological health. Fig.9
The 20th century architects' orientations to the importance of natural light with
architectural spaces
F.L. Wright

Frank Lloyd Wright used

indirect soft lighting to give
a kind of calm inside the
spaces, so that most of the
openings of the buildings
were shaded.

Guggenheim Museum, 1959 Guggenheim Museum, 1959 Johnson wax company, 1939
Lighting in Internal space. Lighting in Internal space. Lighting in Internal space.

Full openness to natural

W. Gropius

light and the replacement of

traditional solid walls of
glass walls that receive the
largest amount of light,
giving a sense of proximity
to nature

Fagus shoe factory,1911 The museum of Bauhaus, 1919 The museum of Bauhaus, 1919
Glass walls in External form Lighting in Internal space.. External form.
He considered that the
Le Corbusier

design of light and space is

a process needed by
humans, such as bread,
where he invented the bar
window, but his view of the
light at the Church of
Runchamp was different
Church of Runchamp, 1950 Church of Runchamp, 1950 Church of Runchamp, 1950
External form. Lighting in Internal space. Deep and colorful vents.
M. V. Der Rohe

He had been on the

Bauhaus approach to the
full opening of natural light
and the replacement of
traditional solid walls to
glass walls that received the
largest amount of light

Crown Hall, Illinois Institute of Award European Union Prize for Seagram Building, NYC, 1954-
Technology, Chicago, 1956 Contemporary Architecture 58
Lake Shore Drive Apts,1948-50
Louis Kahan

He sees that the light gives

the building a distinctive
character and power.
Even a room which must be
dark needs at least a crack
of light to know how dark it
is.

Rockstar Church, Student dormitory building in National Assembly in Dhaka,

Pwer of light Bryn Mawr. Bangladesh

Fig. 9: The 20th century architects' orientations to the importance of natural light with architectural spaces
Source: Researcher using websites.
2.2.3 Contemporary architecture and light: The buildings are still blocks where there success lies
in making it a success in the context of the movement, this context can be achieved only in the
elaboration of the sun daily trip across the interfaces of the building, depending upon the form of the
shadow in the form of surface burden him and the body which obscure the light rays and their direction
and position for it.[17] in contemporary architecture, we find that some architects paid more attention
to using natural light widely for their importance in achieving a balance between the inside and the
outside, the harmony between man and nature where they considered that the design of a good
dynamic lighting gives the beauty of the space used to invoke certain emotional situation, responding
especially to events over time, making it vital to give and raise inside the space for it is important like
air for life,[20] the use of natural light and reflected shadows has been developed greatly in
contemporary architecture and has taken various forms with an effective role in the reshaping of those
spaces and added photos and impressions of different mentality changing and forming over time. Its
yields on the recipient is different depending on the philosophy and style of is designed within the
space and what is the sense and purpose to be conveyed. [25] Fig. 10, the following review shows in
detail the philosophy and methods of investing of natural light internal spaces.

Fig. 10: Some projects for architects of contemporary architecture have created in their use of the elements of light and shade
in their buildings and made them exquisite art palette. Source: Web sites.

3. The philosophy of choosing the methods of investing natural light:

The style here is intended to find a way of expressing that bears are distinguished features and
unilateral meanings which the architect of the conveyance of the receiver through his project, the
technique is the choice and the decision to be adopted and used by several alternatives and ideas
crystallized as a result of his experience and his skills which he gained during work, in addition to the
extent of his creative potentials and fluencies , and the decision of choice of method in the investment
of the daylight is shaped through the following elements;

3.1 The structure of the expression style: It is a group of the structures and the characteristics
which distinguish the light slot, such as kind, oscillations on, formed, the distributed system, and colors
it, where the nature and form of the reflected light in the space, whether single or in the framework of
the general configuration and reflected in the visual image of the shadow within those spaces.
3.1.1 The light slot type: The slots of natural light, take several forms and different modes that can
be either a ceiling or side or deep, clear virtual user or hidden. [16]
 The Roof slot: It allows the light of day to pass through the Skylight or through the Atrium and it
takes different forms of horizontal, vertical, diagonal, or cylindrical vaulted pointed to allow light
from one direction or more, it takes engineering forms or organic form and more often it gives a
dramatic impact where transparent or opaque; colored or white or celestial directly. [17]
 The side slot: It is either vertical, extending to the height of the wall or adjacent horizontal or
covering up the whole wall providing a large amount of lighting and communication abroad, [16] or
striping under the roof directly to give remote lighting not seen relatively and illuminating the roofs
and grant a feeling of peacefulness so it was used by the architects of the religious buildings. [2]
 The deep hole: It is small deep holes directing light into the space of the paths that are carefully
designed to indicate the importance of the place of the incident light.[16]
 The Hidden slots: Known as concealed and often used religious buildings where they give a soft
impact of lighting and they are used to refer to important places and symbolism in them. [4]
3.1.2 The size of the Light Slot: which determines the oscillations on designed for his idea of the
form and size of the spokes were observed again needed by the internal space functionally,
environmentally and creative vision reflected in these slots, on the interface or internal space. [5]
3.1.3 Form of Light Slot: It means the nature of the body and the form taken by the slots , either
the Engineering or the membership or vital, [26] where the subject of the vision and the design of
goals set by the architect to express its of the meanings and specific expressive values of.[17]
3.1.4 The Distribution System Light Slots: One of the most important design decisions that
control in the form of creative panel, which includes four main formulas;
 Spot Lighting: To creating a various atmospheres through the focus light on a specific part
 Accent lighting: Contributes to finding points of focus and rhythmic patterns of shadow and light
within the space through repetition in situ, lighting slots to find examples of religious buildings.
 General lighting: It is spread regularly and contributing to reducing the contradictions of light.[6]
 Different iterative lighting: In shape or size or distribution in places and different positions, and
in the design of the Le Corbusier natural light church of Ronchamp slots. [19]
3.1.5 The daylight and its relationship to the surface temperature and color and light: .
 The colors that form light slots : Colour play with natural light plays an important role in the form
of internal space and the resulting dynamic, expressive series simulate and test the feelings of the
recipient as well as the visual fun and excitement, the sensory blend of natural light as a source of
wheelchair and colored slots, which the movement of the light rays of the sun loaded in shades of
colors used holes resulting paintings and colorful mobile throughout the day enrich and raise the
efficiency of the internal restructuring,[17] where the sunlight is the best source to see colors
without a change in the nature of color and the true criterion to show and color discrimination
without change in its own characteristics.Fig. 11
 The interior surfaces and natural light: The interior surfaces of the impact of the raw materials
and colors used are of great importance when the reflection of natural light, where we must take
into account the impact on each other, however the color for direct light, while the resulting shadow
weaken, also taking into account the effect of the reflective properties of surfaces with the nature of
color and raw materials, higher white surfaces reflect light while the least, black and other colors
ranging reflection force between them. Also, raw materials as marble and ceramics, for example, a
reflection of the large force while wood and stones are a reflection of the weak reflection force. [14]
 The temperature and light color: The color of the light of the sun changes during the day from
warm to cold and it was expressed on the use of the color temperature to determine the type and
degree of color and at sunrise 2800 Kelvin where the yellow light while at sunset 6000 Kelvin and
color white slash Huskies that may vary depending on the place or time of the year. [4]

3.2 The philosophy of the expression of the Method: The philosophy of the expression includes
four important elements representing the main reference of the architect by the way of designing light,
3.2.1 The expression of ideological values: It was associated with ideological values of light
including what is sacred, which is an important symbol since years ago in reference to the creator,
almighty, Kahan has referred to this value through considering that light donates internal space a life
with warmth and adds values and meanings to the place.[3] and something sacred that gives life to
the things that extends to it.[19] And through this understanding, daylight was one of the main aspects
in the design of sacred spaces, for in the Egyptian temples, the farther inward we go , spaces increase
darker before they reach the place of worship, which illuminates in specific days, and in a manner
similar to the Romans left a number of holes in the domes and send rays of light to dark inside, where
it was believed that the light comes from God directly, either in the Islamic world it has recruited the
light in the mosques to offer a fantastic offer of symbolic repercussions, where some designers
focused on investing natural light to determine score ritual within a space of worship activities
contributing to the recipients of a specific party or to create a quiet place for prayers, [21]
and from the modern mosques that heresy thought of the light " Mosque of light ray" designed by
ZEST architecture, It was introduced within a religious competition in Dubai, which was based on the
idea of equality in the distribution of light through the chapter, the heavenly light block emptiness
allowed prayer yard as well as the small openings light infiltrate the stars in the sky depending on
simplicity in design,[10] Fig. 12, and in Sangklar mosque designed by the architect Iclal Kozen, away
far from the scenes of the decorations in the mosques of Istanbul, by employing highlighting the
essence of Islam, the calm through the simplicity of its design, using the day light and the promise of
the symbolic meanings and values through the roof and the surroundings of the Qibla wall walls,
especially through the dimly lit indirectly prayer yard allow can both humble, Fig. 13, and recent
examples of Christian houses of worship the church of light for the architect “Tadao Ando” in Osaka,
Japan, that embraces the church's philosophical framework that combines nature and architecture of
light and creates new spatial perceptions of architecture include" the space, light, dark, calm "where it
gives a nice Pure Space-undecorated, and light junction with steel raises the attention and awareness
of visitors within the concrete shell increase the darkness of the church in order to create a more
modest contemplative worship as evidence of simple architecture, where rote memorization an do in
the Church of the religious beliefs of the cross of the eastern facade to allow the light to pour in a
space of the Church throughout the day, giving the impact reflected on the walls of the Interior passes
through transferring the size of the shade to a light box as a symbol of religious church. [22] Fig. 14

Fig. 11: Colors with light and have increased the beauty of Fig. 12: Mosque of light ray - Fig. 13: Sangklar mosque. Fig.
architectural spaces in their buildings. Source: websites. 14: The light church “Tadao Ando” Source: websites.
3.2.2 Expression of intellectual values and knowledge: On the other hand, intellectual values and
knowledge to light were associated with the movement of man in life , where the horizontal slot of light
symbolizes effectiveness of man whereas the vertical slot symbolizes rising and upgrade. [15] The
light also was associated with another concept which is to disclose knowledge, Malnar & Vodvarka
gives an example, the building of Bibliotheeque for the designer H. Labrouste where light is equivalent
to knowledge,[12] The intellectual and ideological values and knowledge base that carried light
referring to the symbolic importance he carried in general and the work of architecture in particular.

3.2.3 Expression of the values of IMPRESSIONISM: light can give various indications and
impressions within the architectural space like happiness, sadness, Mystery and Joy... etc. Where
ancient Egyptian Manuscripts indicated that people feel happy with the sunrise they feel happy for its
beauty. [19] This is what was indicated by the Ander to the possibility of using natural lighting to create
fun and lovely atmosphere of people inside the blanks of the building.[22] The architect, Hassan Fathy
also pointed out that roof slots racks through which natural light generate a sense of contact with the
sky,[7] as well as highly configurations that give the impression of drama and mystery when it is in the
form of optical packets, which makes the natural light properties can influence the user and leave the
impressions inside commensurate with the actors that is contained in the place.

3.2.4 Expression of the values of EXPRESSIONISM: The possibilities of light exceeds beyond the
career side to tell a story and give meaning through the blending shadows ,[12] and the language
does this for the subject matter and construction,[4] Where the lighting configuration of the structure
of the unified access to show means focusing attention on what is important and leave the important
details in the shadow, for the designs of the Finnish Leiviska of the churches express different stories
through manipulating with light across the hidden roof vents behind the altar interrupted by elements
of the construction work on the purification of the light falling on the form of a snow-covered forest,
taxpayers including from families who were victims and blend in with the white walls, and light
movement between the morning and evening gives the user a spiritual atmosphere on the spot.[18]
However light constitutes a means granted by the designer to express the meaning of nature or scene,
or a particular story through the installation and the mixture of shadow and light the internal scene.

3.3 References to the expression of style: Personal memory is often associated with our lives in
general and in the work of architecture in private for different cultural and civilization authorities and
some other times religious and ideological which is under the influence of the attraction between the
last year, which represents the memory and present that represents the evolution of the situation,
creating together creativity sensed by the receiver easily and without complexity, and divided into two
sections; architectural and so forth.
3.3.1 The architectural references: The designer uses them in forming his style to employ natural
light to communicate with previous architectural References as ornate holes or architectural patterns
and engineering shapes.
 The first type: we find it in the way of the using of natural light in the building of Ismaili Center in
Kensington, London, where we find little of window holes in the Great Hall of Prayer of phenotypic
characteristics similar to the ornate wooden beams providing a religious atmosphere,[48] the
same method used by Nouvel in the Arab World Institute in Paris.
 The second type: It is associated with the initial patterns, where Ander refers to the origin of the
Courtyard used in modern buildings found in Greek and Roman houses, and is the central
mosque in the city of Cologne for the Designer Paul Bohrn in 2006 using the pattern of Ottoman
Mosques with the central dome where it formed many mural layers in the center and glazing the
distance between layers to allow light to enter into the prayer yard.
 The third type: It the latter type of these references is associated with certain engineering shapes
such as Ando's using slot in the Church of the light in the form of a cross behind the altar
constituting a cross of light. [2]
3.3.2 The Non-architectural references: It included non-architectural and cultural civilizational and
natural references.[27] where five conic natural lighting slots in Sherefuddin's White Mosque for the
designer Zalatko Ugljen in 1980 in Bosnia and Herzegovina have referred to the five times of prayer
and they also refers to the five pillars of Islam in a trackback culture and civilization, as well as the
forms of these slots are linked to natural references referring to the mountains near the mosque. [21]
From the foregoing, it is crystal clear that the various using of light had dealt with many of the
purposes as an expression of a certain philosophy imposed by different methods designed to
persuade the recipient and raising their feelings and emotions including the inside architecture through
controlling his behavior and focusing his attention and directing his movement to a specific goal.
The following table, illustrates the formulae and methods of employing natural light and shadows for a
contemporary project, and a method evaluate it:
 The effect

Average
Strong

Weak
The philosophy of choosing the Project Description Project Photos
methods of investing natural light

Roof slots A simple mosque in its

design, but won the
Side slots Aghakhan Award in
Slot type 2016, which is awarded
Deep hole to innovative projects
Hidden slots for new standards
serving architecture
The structure of the expression style

Functional and society, the project

was an innovation for
Slot size Environmentally natural lighting and
ventilation standards,
Aesthetically
opened in 2012, for
Geometrically the architect of
Bangladesh Marina
Slot form Organic Tabassum, This project
won the award in 2016
Vitality
for the intelligent get to
Spot Lighting the natural lighting of
the mosque, where the
Slots Affirmative project site represented
distributio a problem due to its
n General Lighting adhesion to the
Different iterative residential block, from
here, the challenge
Surface texture was to obtain light and
natural ventilation, by
Surface luster combining the cylinder
Surface and cube in a unified
nature Surface color
configuration, resulting
Light Color in four courtyards
through which light and
Light, temperature air pass to the building.

Sacred
The philosophy of the expression of the Method

Ideological The ceiling is designed

values Belief so that circular holes
can be distributed to
Symbol give a dotted light
Effectiveness inside the prayer yard.
The Qibla Mihrab is a
Intellectual Simplicity spectrum of light falling
values from the exposed
and Complexity space between the
knowledge prayer square and the
Technology
cylinder.
Upgrade The design also
includes walls with
Joy- happiness holes that act as filters
Impression to light and ventilation
ism Mystery to the prayer hall.
values The building was
Quiet
designed to be of a
Sadness local character and
material reflecting the
Expression Tell a story simplicity of Islamic
ism
architecture
values Give meaning

Ornate holes
Architectur This project, through
References

al Engineering shapes architectural value and

references the space effectiveness
Architectural patterns of lighting was a haven
Non- of tranquility and
Cultural
architectur comfort of worshipers
al Civilizational

Table. 2: Illustrates the formulae and methods of employing natural light and shadows for a contemporary project,
and a method evaluate it. Source: Researcher.
4.Patterns of natural lighting: Architectural patterns vary in securing the required amounts of
lighting, but there is a group of architects used light to add the artistic touch of interior space through
the use of different patterns of shadow and light in their designs.
4.1 Patterns of spreading of light within the blanks architecture: Designer William M.C. Lam
assures that taking advantage of sunlight is not only to achieve the efficiency of using energy, as the
architects reached many ways which enabled them to using it within their designs,[17] and started to
pose a number of questions regarding whether the study of architectural patterns is dependent on the
daylight will be a key objective in the process of architectural design in the future.[2] It is through the
control and following the daylight , we are faced with three possibilities for the format and the
proliferation of light as follows;
 Direct sunlight: resulting from the proliferation of light blue sky.
 Semi-direct sunlight: produced by the proliferation of light partial cloudy sky
 Indirect sunlight: resulting from the proliferation of light cloudy sky.[1]
Those cases leave a different impression to the place reluctant as the direct sunlight appears
prominent blocks and sharp shadows where the change of these shadows through the daylight hours
leaves great impact, therefore the environments in which we live appear to be variious of as a result of
the duality of shadow and light, thereby influencing the blue sky on our activities, either when the sky
is full of clouds, the amount of radiation decreases and as a result the blocs lose their clarity due to
lack of shades, making the space opaque and calm and even idle and these atmospheres will make
minds become loose because they are non-stimulating to dynamically varied surroundings.

4.1.1 The first case - High Contrast from direct sunlight: It appears in the highly-lit spaces as it is
in the central library of Cital designed by OMA School and Zollverein school designed by SANAA
where the structures of distinguished interfaces that contributes to creating heavy shadows moving
constantly during the day, and also contribute to the large glass elements in the interfaces to access
high levels of ambient lighting and the convergence of the lighting level in the outside. When smaller
interface slots, such as the covering interface forms similar effects, but with shades and lighter lighting
[13] and the Louvre museum in Abu Dhabi, have benefited from Ateliers Jean Novael's design of a
great example of the curtain interfaces which use the principle of oriels inspired by the Arabic style.
4.1.2 The second case - the variance Average: Direct daylight is partially used or in selected
locations combined with others and the directly lit blanks in this way avoids the extreme variation over
time [17] and avoid boredom, this is what Mies van der Rohe in his design of Farnsworth House in
which he used glass sheets to allow to allow the introduction of a large amount of light with a minimum
of obstacles so that lighting changes during the day can look clear without sharp shadows. [13]
4.1.3 The third stage - low contrast: This stage includes the indirect lighting where the contrast the
changes that occur are canceled over time, [1] and the church of St. Annattos designed by Steven
Holl is an important example, where the light creates a sacred space through the use of numerous
glass pipes for the scattering of light, and another solution appeared to deal with the indirect light in
the buildings where the entire ceiling is composed of networks of glued facing direct sunlight, such as
the High Museum in Atlanta which was designed by the architect Renzo Piano.

4.2 Contemporary patterns: natural lighting inside the architectural spaces: Within the research
conducted by Siobhan Rockcastle and Marilyne Andersen the leading university of EPFL in
Lausanne, Switzerland, the researchers analyzed a number of architectural models taking into
account the spatial and temporal variation to the day light, the study has led to the typical rating
including different decorative patterns ranging from spatial variation and temporal diversity of direct
and low light, and it has been done through the study of the value of their lighting patterns, identifying
the severe impact of dynamic contrast and governing the movement of the sun during the day, in the
element of lighting as one of the elements of the spatial quality that go beyond a mere energy
standards,[13] It is this approach that can develop to the rating reflecting the quality of the day light. In
the design projects , where the study gave an overview of the 10 different patterns of lighting that
allows the difference of for advanced design and evaluation as well as additional simulation through
simplified spatial statues but architectural patterns included under the relation of the building and the
place of the light slot inside the building which is difficult to describe in 10 only patterns, differences
and postures and special formations many slots, but it gives a simplified view of this relationship, in
addition to that, there are other relevant considerations with an effective impact on the form and type
of lighting inside the architectural space not which was not recognized by study as superior color effect
the surfaces and the degree of reflection or transparency or absorbed light, in terms of the type and
the raw material and the form of the surface, but these considerations open a wide scope and new
doors to study programs of stimulation to study the changes resulting from the impact of natural light
and the movement of the sun inside the space of architecture, which makes talking about the dynamic
configuration of light and shadow in the space more important than the rate of optical values and
intensity in the design of the space and its impact on the impression created by these users and what
the effects of impressions and sensory interactions they have, and Here is a following Fig. 15 that
shows some of the design patterns of natural lighting inside the architectural spaces through which we
can develop frameworks which is relatively clear to the nature of the form of such patterns.

1.Direct & 2.Direct & 3.Direct & 4.Partially 5. Direct 6.Selectiv 7.Direct/in 8.Spatial 9. Indirect 11.Indirec
Exaggerat Dramatic Screened Direct Through ely Direct direct Indirect Through t& Diffuse
ed Through Through Through Walls Through Through Through Roof Or Through
Through Walls roof or Walls Roof Or Roof Or Roof Or Walls Roof Or
Roof walls Walls Walls Walls Walls

Tabanliog Kim In Marcus Perkins+ Corbusier D.Libeski Corbusier T. Ando : J.Felipe P. Mende:
lu- Cheurl Barnett Will Villa nd, Royal Notre Contempo Gallery of Arquitetos,
Asmacati- Urban Hive Times Princess- Savoye, Ontario Dame du rary Art Cremation Gordon
Shopping- Tower, Eureka Nora - France Museum. haut, Museum Unit, Arquitecto
Center- Korea Pavilion university Toronto France in Japan, Temple s, Lisboa.

Fig.15. Contemporary patterns: natural lighting inside the architectural spaces. Source: Researcher using web sites.

From the foregoing, it is crystal clear that the various use of daylight between the functional purposes
and control the behavior of the recipient through the focusing his attention on a specific side or
directing his movement to the intended target, and the expression of the spiritual atmospheres, silence
and stimulation or investment to divide the internal spaces, and manipulation of the location and the
size and form of the natural light slots which formed as a whole different methods of designers who
sought to invest the their uniqueness and their expression of a certain philosophy to convince the
recipient and arousing his images and feelings of internal spaces, Natural lighting also used to access
the internal configuration of the architecture of a unified building to show its meaning and focus
attention on what is important and leave the important details in the shadow, while others cared about
are determined in a manner using natural light to achieve spiritual atmospheres, or to simulate a story
or convey the meaning of how appropriate, or to divide the internal vacuum to successive layers
through the manipulation of various structures of the holes in which natural light passes into the
building, where the lighting is considered one of the elements forming the scene, as well as
configuration elements to assist in the strengthening of the definition of the limits of place through
lighting the walls and ceilings, and the possibility of selecting the type of Intensity Lighting offers fun
visual integration of the location, and all the change in the form or the location of the slots either walls
or ceilings lead to a change in properties and form The internal space and on the sender.

Summary and conclusion:

 Some of the Architects realized that natural light carries within it the power of inspiring that sends
mixed feelings in souls sent by the designer through his design of form of light and shadow, the
rate of change during the day gives a wide variety of features and the form of internal spaces and
therefore influence the senses of the recipient, and is the effective use of the day light is one of the
distinctive marks that result from the architectural awareness of the importance of this component,
which will affect positively or negatively on the user of the space.
 The sunlight helps to create a distinct and effective architectural environments and, not only the
efficiency of energy use, as the architects reached many ways which enabled them to use it within
their designs and started to pose a number of questions regarding whether the study of
architectural patterns is dependent on the daylight will be a key objective in the process of
architectural design in the future.
 The interior space consisting of several traps should be carefully chosen and integrated with each
other so as not to appear in the form of contradictory, however, the color ,the raw material ,the
interior trim , shape and size of the slots must be carefully examined and linked to each other and
the physical and psychological feedback on the space users, so as to be those workers are the
main reference in the form of composition and internal space.
 That concern in the design of shady combinations consisting of natural lighting will make the
architectural spaces a creative movement with impact on the users of those spaces which the
 designer grant to express the meanings and values of the philosophical and symbolic of the
fantasies and the emotions of the recipient, which will affect the future to stream to the formulation
of the elements of the shadow and light in architectural design and prepared and effective factor in
the formation of the internal spaces.
 The group of features which indicated the nature of the innovation in the methods of using of
natural light in the interior architecture, in which he referred to the question that could be Latin-
Brazilian a scientific methods of drafting such phenomenon, which will help a lot of architects in
changing the way of thinking in the formation of the internal space through the determination of the
form of light and shadow as the architectural characteristics of the text and the importance of the
psychological and aesthetic that can be afforded by the space procedure.

Recommendations:
 The study of architectural patterns is dependent on the day light represents an essential goal,
including the architectural design in the future. So the study recommends opening new aspects of
the programs of imitation to study the changes resulting form the impact of natural light and the
movements of the sun inside the architectural space in the stages of the different architectural
education so that talking about the dynamic formation of light and shade in the space can be of
great importance more than the average of optical values and its strength in designing the space
and its impact on the users and what it created from impressions and their sensory reactions.
 Architects and architecture designers should believe in the importance of natural lighting and its
great potentials in reforming the interior architecture by using the two elements of shade and light
and they also should know a lot about the techniques and patterns of using natural light in their
designs to express their designing vision and goals for what they want to deliver from feelings and
emotions for the recipient and how to configure the interior scene in line with the nature of the
activity in the building.

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7. Fathy,Hassan, “Architecture of The Poor”, The Univ. Of Chicago Press, 1973, pp. 55-56.
8. Fawzi Wajih "Natural Lighting and Acoustics in Buildings, Guide to Architecture and Energy, Energy Planning
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10. http://www.zestarchitecture.com/projects/mosque.
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Development of Arab Communities, 2017.
12. Malnar, Joy Minico and Vodvarka, Frank, "The Interior Dimension: A theoretical approach to Enclosed
space", Van Nostr and Reinhold, New York, 1992, pp. 250-251.
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simulation-Based Approach to Quantifying Visual Effects in Architecture” Springer Brief In Computer Science,
2014, London, UK.
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Engineering Ain Shams University - Cairo - Egypt – 1989.
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