ZEMCH 2019 International Conference Proceedings April.2020 | Page 356
Figure 10. The venetian stores used to protect the
windows of the south‐oriented managerʹs office
in the Villa Savoye [33] .
Figure 11. The internal ʹbrise‐soleilʹ used
inside the exposition‐reception room in
the Villa Laroche [33] .
Among the of Le Corbusierʹs latest works, the Chapelle de Ronchamp is incontestably the
masterpiece where he used the natural light to express beatitude and meditation and all religious
feelings he had experienced when he designed it [7]. The luminous environments are very contrasting
inside the Chapelle and constitute another original character among those attesting the new design line
of Le Corbusier expressed in this religious building. Although the intended sensations emerge when
inside, this interior is nonetheless characterized by specialists like Fontoynont [4] as relatively dark.
The transition from exterior to interior did not occur without requiring a time for the eyes to adapt [4].
However, it must be mentioned that Le Corbusier has sometimes taken the climatic context into account
in his daylighting design. As an example, his buildings in Chandigarh express this approach [35] even
if the adopted strategies’ efficiency was somewhat negatively assessed, by the critics, in relation to the
hot and humid region characteristics [36] as well as revealed by in situ observation [37].
6. Conclusion
In this study, a critical review has been undertaken for the case of buildings known for their
daylighting design in order to investigate the relationships between the users and daylighting design.
The outcomes bring to light that the users did not perceive daylight as it was previously and
instinctively expected by its prominent Modernist architects. Besides, this study reveals that the visual
and artistic aspects could not replace the visual comfort related requirements such as allowing solar
and glare control as well as avoiding overheating and inner gloomy spaces. Oppositely, it has been
shown that when the first sensation and/or impression effect is outdated, dissatisfaction could occur
and generate several transformations disfiguring the striking effects previously designed by the
architects.
Author Contributions: “conceptualization, Azeddine BELAKEHAL and Kheira TABET AOUL; methodology,
Azeddine BELAKEHAL, Kheira TABET AOUL and Abdallah FARHI; investigation, Azeddine BELAKEHAL,
Kheira TABET AOUL and Amar BENNADJI.; resources, Azeddine BELAKEHAL, Kheira TABET AOUL and Amar
BENNADJI; writing—original draft preparation, Azeddine BELAKEHAL and Amar BENNADJI; writing—review
and editing, Azeddine BELAKEHAL and Kheira TABET AOUL; funding acquisition, Azeddine BELAKEHAL and
Abdallah FARHI”.
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ZEMCH 2019 International Conference l Seoul, Korea