ZEMCH 2019 International Conference Proceedings April.2020 | Page 351
1. Introduction
Lighting an architectural space is an essential act enabling users to carry activities. Generally, a
given standardized light level could satisfy this need. But, in terms of suitability, the issue becomes
more complex and may lead to a distress followed by a deep transformation of the architectural space.
This complexity along with the variety of the related parameters have generated substantive interest in
daylighting across various scientific fields, such as psychology, ergonomics, architecture, energy,
economics etc. For instance, the user has become the center of interest of several research studies on
daylighting. These investigations relied on the user’s self‐expression of the perceived daylighting inside
his living spaces [1,2]. In order to investigate such issues, this research work attempts, first, to explore
the relationships between the users and daylighting in the context of the architectural production as a
know‐how professional field. A critical review is undertaken for six among the 20th century’s most
famous modern architects known for their architectural design that strongly valued natural lighting.
The review will focus on the relationships to the user’s perception, choices and behavior. The
architectural productions under review (houses and public buildings) are principally examined
through a literature review. For some of them, in situ observations as well as interviews with the current
buildings’ managers were undertaken.
2. Gropius and Mies van der Rohe: in search of transparency
As precursors of the modernism in architecture, Water Gropius and Mies van der Rohe largely
used daylight and transparency as their main design concept, including their buildings in the United
States. For Gropius, access to light and air reduces the needs of habitable space [3]. He rejected the idea
of the window as a hole in a wall and advocated the curtain wall. The Fagus Factory built between 1911
and 1913 in Alfeld was the first building he designed with 65% glazed wall (Figure 1). The clear design
intent was to allow very large amounts of daylight without glaring effects on the occupants. Presently,
the offices use heavy curtains for glare control concealing the transparency so appreciated by the
architects. However, this is not the sole project that encountered such issues. In fact, the Törten Housing
Project built in Dessau in 1926‐28, displays similar issues due to the poor orientation of the buildings
[5].
On the other hand, Mies van der Rohe used the window wall indistinguishably between offices
and houses. Moreover, Mies designed his buildings as a whole and did not differentiate between the
functions of the various areas according to their requirements in terms of daylighting. Mies was
convinced that the emotion felt by the users of glazed spaces is generated from the multiple and
combined reflections of natural light rather than the light‐shadow contrast used in classical buildings.
Critics do not share the same opinion and criticized his buildings from the daylight and sunlight
perspective. For instance, one of the most prominent architectural historians, Paolo Portoghesi, cited
the uncontrolled and uncontrollable luminosity of the Mies’ famous Lake Shore Drive Apartments in
Chicago (Figure 2) [3].
Dr. Farnsworth’s House is an entirely transparent glass box that causes various thermal and
luminous comfort problems. The occupants’ recourse to curtains during the summer season [5, 7],
sacrificed transparency, so glorified by the Modernist movement. Expressing the idealist formalism of
Mies van der Rohe, the New National Gallery in Berlin experienced issues due to excessive daylighting.
The temporary exposition hall is located at the luminous and totally transparent ground floor. This
wide space endures a visual discomfort caused by the excessive reflection and glare as well as a problem
of color rendition because of unsuccessful combination of natural and artificial lighting [8].
The Relationships between Users and Daylighting Design in the 20th Century
Architectural Practice
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