Documente Academic
Documente Profesional
Documente Cultură
Ivana Luki
Summary
The subject of the paper is exploration of possibilities for improvement of aesthetic quality of
urban open spaces through creative and appropriate using of daylight, that is, sunlight.
Considering the inability to influence on the existence of this light, this paper explores the
best ways of its utilization and creation of aesthetically pleasing and stimulating urban
spaces, which offer much more to their users than fulfilment of basic human needs. Models
of application of clever distribution of daylight and shadow could be found in fields of painting
and sculpture, interior design, nature, as well as in existing public spaces. General
recommendations for high-quality shaping in aesthetic sense and organization of urban
spaces could be drown from analysis of successful examples. These recommendations are
filtered through modern urban transformations and aesthetic principles of shaping which
result from them, for example, fluidity, interactivity, changeability, presence of multimedia,
dynamics, multi-sensoriness, heterogeneousness, principles of importance of every
component of the system and connection between them, availability, transparency With
help of systematic directives, the effects of daylight and shadow in urban spaces could be
planned and controlled.
Key words: daylight, aesthetic quality, modern aesthetic principles, urban open spaces
1. Introduction
Modern urban environment is in the process of transformation which is primarily caused by
globalization and sudden growth and development of cities which is imperative of it. Existing
urban spaces of city are being transformed into dynamic models of the 21st century
urbanism. Cities are fighting for their recognition and better position on global scene. Current
urban concepts are directed towards improvement of identity of the city. Creative forces of
global society find driving force in number of modern human needs. At the beginning of third
millennium, one of them is of aesthetic nature, that is, emphasizing of visual and aesthetic is
considerably present.
Aesthetic dimension is part of every urban space; it offers favourable conditions for
development of people and their experiencing of bloom. Considering that, fields of urban
design and urban aesthetic represent the main entry of this paper. Aesthetic and visual
approaches to urban design basically aim at improvement of aesthetic quality of urban
environment. To the contrary to the artificial light, its various kinds and possibilities of
manipulation, sunlight represents state of nature, and, inherently, larger challenge to the
professionals to use it to achieve attractive effects in public spaces.
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it offers (Pauline von Bonsdorff, 2007). It is important to maintain balance between various
components of urban environment.
Ecological principles of aesthetics of human environment are based on analogy with
natural ecosystems. The first, and main, idea is that all objects must be emphasised, not,
only magnificent and exceptionally designed ones. It is necessary to attribute importance to
every component, which should represent integral part of natural human environment.
Ecological principle emphasizes also connection between components, so it could be defined
as a principle of importance of every component of the system and connection
between them (Carlson, 2007).
Availability (physical, socio-cultural...), permeability are main principles of modern
cities and cities of future, i. e., all their parts, old and new, public and private.
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not create solid mass, but non-homogeneous and loose structure, consisted of large number
of elements.
1E. To the contrary to the example above, sculptural compositions of Duan Damonja
possess classical plastic sensibility. His sculptures are often created repeating the same
element or by variation of similar slice, pillar, parallelepiped and composing them into
basal mass, which is dynamic, full of concave and convex parts (Damonja, 1976). Using
sliced structures, created by repeating same or similar elements (same or different sizes),
enables penetration of light inside the composition, pointing out its interior structure, not only
silhouette, and in that way achieving sharp contrast between light and shadow, which
emphasizes better the shape of composition.
3.2. Models of application in nature
2A. With penetration of daylight through clouds with different density and shapes, the same
effects of directed reflecting artificial lighting could be noticed, the best when the weather is
grim. Effect of directed lighting could be used in exterior space in the case we want to
emphasize the contour of some object or to achieve certain level of mystical. It could be
achieved with placing non-transparent walls, with one or more small cuts, towards source of
light (the Sun). Through openings the light will pass into shaded space, so that directed light
is visible. That shaded space, where the object, which has to be emphasized with directed
light, is, could also be realised by non-transparent partitions or it might be closed structure,
for the most part, placed in space.
2B. To be sure that urban open spaces offer well aesthetic, visual impression, in every
weather condition, we must be well informed about effects of fog, snow and other
weather conditions.
2C. The influence of light and shadow on trees, which are often present in urban open
spaces, is very interesting. In order to achieve desired colour of green (trees and bushes
with leaves) we must know what tone effects sun and air give to leaves. If, by concept of
project, trees are very important, we can use its circular shadows, which are placed on the
ground in particular grid.
2D. Grassy areas have very small, almost invisible shadow, especially in the places where
grass is low. Shadows can not be created because large hemisphere encircles small blades
of grass. That is the reason why these areas are used as excellent neutral foundation for
various elements of exterior space, especially if we want to emphasize their shadows or if
they are meant to create special message.
2E. Reflection of sun on the water is more impressive if the surface of water is covered
with various plants (water lilies,), or surfaces, from which the light will reflect with lower
intensity or which will react differently on light, so that the contrast is created between radiant
and opaque surfaces. In that way completely different and more interesting then standard
impression is created.
2F. When the amount of light reduces in the period of sunset, we can see only
silhouettes of the shapes in front of us. That is why we must consider the shape of
skylines of observed city spaces, which is visible and especially emphasized in early
evening. That sight, observed from distance, to a great extent influences on perception and
estimation, memorability and aesthetic experience of a city.
3.3. Models of application in field of interior design
3A. Walls made of various transparent or translucent materials (plexiglass, various
types of glass, paper and textile) have double function in some way they are connecting
the space, still dividing it. In city exterior space this type of partition (wall) could be placed
single or criss-crossed with other partitions alike, with openings for users to pass through
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them or holes for clear light to pass on the other side of space; they can be movable and
used when needed or part of faade of the objects which encircle certain space and partly
indicate which content is behind them, then, there are panels for directing users towards
certain aim, which dont burden the space because of their transparency.
3B. Stained glass, once used only for windows of Gothic Cathedrals, today it can be used
much broadly, even in the urban open spaces, as partitions mentioned above. Since
elements made of stained glass already posses certain amount of complexness because
they are composed of three colours minimum, it is the best to use them in simple spaces
where they can stand out. Tone scale of space on which is acting must be simple so that
coloured elements with its mlange of colours (coloured with light and shadow) could create
good impression.
3C. Various house objects, usually with net structure and made of attractive materials,
could inspire for shape, structure and materialization of objects (sculpture) which could be
placed in city exterior space and contribute to interesting distribution of light and shadow on
horizontal areas, vertical areas of facades or freely placed walls in space. They could be
aesthetically improved if we consider of what materials they are made of.
3D. Curtains made of vertical, usually canvas strips, roller blinds (Venetian blinds) made of
horizontal strips, vertical folds of common textile curtains, chromed vertical elements on
walls, - all cast shadows in the space, which are sliced horizontally or vertically depending
on the effect needed to be achieved (if we want space to look wider or longer, lower or higher
it depends on whether shadows are cast on horizontal or vertical surfaces). Inspired by
that, various panels, eaves, elements for sitting with a structure of horizontal, vertical
and diagonal elements could be used for shaping or correcting (widening, enlongement)
of city exterior spaces. Shadows of elements mentioned above could overlap and create
grids (rectangular, square) made of shadows on projected surface.
3E. If a floor or ceiling of an interior has smooth and shining surface (marble plates,
water, polished surface), which could be used in urban open space, too, mirror effect is
obtained (projection of one surface on another). Materials with polished, glowing surface
attribute to overall impression of elegance, radiance, festiveness and luxury in space where
they are applied. They are usually used when a certain space need to visually look enlarged,
or to point out some element in it multiplying it (already mentioned effect of Chinese
shadow).
3.4. Models of application in existing public spaces
4A. Movable stick-like structures could be exploited in city exterior space (they could be
curved, brought down and pulled up, not changing the position of their base; preferably 1.5-2
meter high, made of elastic material which enables moving with the smallest breeze) to
create dynamic distribution of light and shadow in sunlight. Beside that, they create
interesting dance on the ground if they are made of glowing material, shining when moving.
4B. Excellent effects could be achieved with play of masses in space, which, with support
of light and shadow, establish total fullness of space and its dynamism, maintaining
hierarchy. Distribution of masses and its influence on relation between light and shadow in
space could be noticed observing from higher space levels city, parts of cities, to lower -
groups of objects, single objects or even sculptural compositions or other elements which
complement city space.
4C. Shaded spaces like enclaves, halls in ground floor of objects with colonnades,
passages offer pleasant atmosphere for people gatherings and other activities (shopping,
relaxing) especially in the hot summer days (Kullen, 1990). These spaces posses certain
level of mystical, because of the shadow inside them, which makes contrast to intensive light
from outside.
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4D. Projecting shadows of branchy trees, or some other elements, onto the simple,
light coloured faades, to increase their distinction and complexity. Shadow on faades is
always changing. If the faade of the object is smooth, made of shining material, whole
environment reflects on it.
4E. For the last few years ''increasing medialization of the communication processes in the
public spaces'' is noticeable (Weiner, 2010). As pendant to contribution of media
architecture' and artificial lightning at nights, a role of daylight and print (or some other)
media in daylight could be used in order to reconnect people with the space, to create new
possibilities of use and to create new atmospheres (Weiner, 2010). Example of public art
project 'The City as a Collection of Poetry could inspire for imaginative exploitation of print
on plexiglass just because of daylight (Hatt-Olsen). City was transformed into a collection of
poetry, with a poetry roads created with stickers on the ground and poems printed on
transparent plexiglass on pillars, walls, hanging down from trees and placed in large pots
filled with soil like small poetry trees at every square in the area. People would, together with
the printed words, see spaces in the making, reflected, on the other side, in front of them and
shadows of the words. Perception of words and spaces would change through people
movements, through the wind moving plexiglass plates hanging down from trees and the sun
moving the shadows of words during the day. Project, with its interactivity, attracting attention
and the involvement of people influenced on people who were living - as poems and writers
themselves - in a collection of poetry, a poeticized urban space.
4F. Using light and shadow, we could recognize easier all parallel surfaces placed in
same angle as one totality, because same amount of light falls on them.
4G. Eaves made of various materials create diverse effects, which occur as a result of
relation between light and shadow (larger, smaller shadows; rather stabilized amount of light
and shadow; geometric or free distribution of light and shadow on the ground or faade).
4H. Different textures of materials which are used in city exterior spaces differently receive
light and create different distribution of light and shadow. The more diversified its surface is,
filled with convex and concave elements, more diverse is mixture of light and shadow.
4J. If we need to, observing from some shaded space, emphasize object or part of the
space which is enlighten with daylight, we can do that positioning it well in the reference
of the opening in space in shadow, marking it with opening on shaded part, like placing it
into dark frame.
4K. Stairway in exterior space reveals dynamic relation between light and shadow in
parterre as well as on facades, if they lead up to the faade. Treads of stairways are almost
always lighted (except if some shadow is cast on them), and risers only if they face the sun.
Alternating arrangement of lighted and shaded parts emphasizes stratification of staircase
and that relation airs order and regularity. Zigzag line of stairways is more pointed out if cast
shadow passes through them.
4L. Levelling of parterre areas, in combination with stairway or ramps, with or without
special content creates interesting exterior space. In this case, light and shadow enables
better impression of space and orienting in it, grouping of content, better plasticness. They
lead us through space.
4M. Rhythm of faades enables vertical or horizontal changing of light and shadow, certain
order and sensible stability. Even when exterior urban space by itself is not likable, dynamic
facades could considerably improve visual impression. If the faade is flat then playfulness
could be achieved with cast shadows of eaves, bacons, shallow plastics on faade
4N. City exterior spaces must be shaped and materialized in the way that they are equally
attractive in daylight and under artificial light.
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Authors address
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