«Междисциплинарный диалог науки и общества
в эпоху экологических перемен»
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NATURAL LIGHT AS A MEDIUM FOR EMOTIONAL EXPRESSION IN
ARCHITECTURAL DESIGN
Uktamova Shakhruza
Student, Architecture Program,
Tashkent University of Architecture and Civil Engineering
Tashkent, Uzbekistan
Mirdavidova Saodat
Associate Professor, Department of Restoration,
Tashkent University of Architecture and Civil Engineering
Tashkent, Uzbekistan
Abstract
. Natural light shapes spatial perception and emotional response in
architecture. Light and shadow enhance both form and atmosphere of architectural
space. Case studies reveal light as a compositional and symbolic design tool.
Regional analysis shows the underutilization of sunlight in Uzbek architecture.
Daylight can improve design quality and reduce energy dependence.
Keywords:
natural lighting, architectural perception, emotional design,
daylight integration, spatial atmosphere, Tadao Ando, Louis Kahn.
Annotatsiya.
Tabiiy yorug‘lik me’morchilikda fazoviy idrok va hissiy
munosabatni shakllantirishda muh
im rol o‘ynaydi. Yorug‘lik va soya me’moriy
makonning ham shakli, ham muhitini boyitadi. Holatli tadqiqotlar yorug‘likni
kompozitsion va ramziy dizayn vositasi sifatida namoyon etadi. Mintaqaviy tahlil
shuni ko‘rsatadiki, O‘zbekiston me’morchiligida quyosh
nuridan yetarlicha
foydalanilmayapti. Kunduzi yoritish dizayn sifatini oshirishi va energiyaga
bog‘liqlikni kamaytirishi mumkin.
Kalit so‘zlar:
tabiiy yoritish, me’moriy idrok, emotsional dizayn, kunduzi
yoritishni integratsiyalash, fazoviy muhit, Tadao Ando, Luis Kan
Аннотация.
Естественный свет формирует пространственное
восприятие и эмоциональный отклик в архитектуре. Свет и тень
подчеркивают как форму, так и атмосферу архитектурного пространства.
Анализ конкретных примеров показывает, что свет является
композиционным и символическим инструментом проектирования.
Региональное исследование выявляет недостаточное использование
солнечного света в узбекской архитектуре. Дневной свет может повысить
качество проектирования и снизить энергозависимость.
«Междисциплинарный диалог науки и общества
в эпоху экологических перемен»
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Ключевые
слова:
естественное
освещение,
архитектурное
восприятие, эмоциональный дизайн, интеграция дневного света,
пространственная атмосфера, Тадао Андо, Луис Кан
.
Introduction
The thoughtful use of light in architecture emphasizes form, creates
spaciousness, guides movement, and shapes expressive, dynamic environments
through the interplay of light and shadow. Beyond aesthetics, light enhances well-
being by improving mood, productivity, and circadian rhythms, while efficient
lighting design supports sustainability by reducing reliance on artificial sources.
In places like Uzbekistan, light serves both decorative and functional roles,
blending tradition with modernity through features like carved screens and light
patterns that regulate heat and illumination. Light becomes a powerful design
tool, conveying atmosphere and meaning, from symbolizing the divine in sacred
spaces to revealing form and texture in modern interiors, making architecture an
interactive part of the human experience.
Main Body
Architectural techniques such as optimizing window placement, skylights,
and reflective surfaces can maximize the transmission of daylight while
minimizing issues such as glare and overheating. Future research in construction
should integrate studies on the holistic impact of daylight to create design
parameters aligned with the div's natural rhythms, ultimately promoting a
healthier and more sustainable environment [1].
One example of how architecture can use natural light as a component of a
building’s emotional perception is Tadao Ando’s Church of the Light (1989) in
Ibaraki, Osaka. The simple form and striking cruciform openings of this concrete
chapel transform sunlight into a central architectural focus [2].
Figure 1. Church of the Light, Tadao Ando
«Междисциплинарный диалог науки и общества
в эпоху экологических перемен»
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Natural light penetrates through the cross-shaped cut in the concrete altar
wall, forming a moving cross of light that governs the dark space and draws the
viewer’s attention, creating a spiritual atmosphere. The visitor’s path represe
nts
a transition from darkness to light. A 15° inclined concrete wall guides toward the
entrance through a tall slit in the side wall, separating the mundane from the
sacred. The interior is intentionally dark, with minimal windows. As sunlight
passes through the cross, sacred shapes are projected onto the floor and walls
throughout the day, turning static architecture into a living, evolving canvas. This
light-and-shadow dynamic emphasizes austerity and concentrates attention on
the altar (Fig. 1) [3].
Another outstanding example of how architecture can use natural light for
emotional impact is the Kimbell Art Museum, which consists of a series of parallel
cycloidal concrete vaults forming its roof. Louis Kahn designed the museum as a
“family of rooms” w
ith a simple, repetitive plan based on classical proportions. Six
vaulted gallery rows are arranged in three sections, creating a spatial rhythm that
is easy for visitors to navigate. This clear spatial order and monumental form
reflect what Kahn called “Roman grandeur,” seen in the vaults, arches, and
porticoes inspired by classical architecture [4].
Figure 2. Kimbell Art Museum, Louis Kahn
Kahn envisioned the galleries as bathed in natural light, which he
considered “the only acceptable light for works of art.” Daylight enters through
narrow linear skylights
–
“slots to the sky”
–
running along the top of each vault.
Below each skylight is a curved perforated aluminum reflector that diffuses
sunlight along the curvature of the vault and down onto the travertine walls. This
system gives the concrete a
“silvery glow” and creates soft, slightly shifting light
that is ideal for viewing art. As the sun moves, the character of the light constantly
changes. Kahn remarked that the museum “has as many moods as there are
moments in time,” and no two days are al
ike (Fig. 2) [4].
«Междисциплинарный диалог науки и общества
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Movement through the museum is subtly guided by light: visitors
instinctively follow the softly lit vaults or are drawn to the glow of an interior
courtyard at the end of a gallery. According to Kahn, the structure and lighting of
each ro
om work in harmony so that one can “read the line of illuminated spaces”
ahead [5]. Thus, light and space are inseparable
–
daylight animates architecture,
and clear spatial organization enhances its presence, fully realizing Kahn’s ideal
of a museum where “light is the theme.”
Another building where light is integral to its architectural ensemble and
emotional impact is the National Assembly Building of Bangladesh
–
a
monumenta
l complex housing the country’s parliament. Designed by Louis Kahn
in the 1960s and completed after his death in 1983, it is considered one of his
greatest masterpieces due to its monumental scale and deep, symbolic use of light
(Fig. 3).
Figure 3. National Assembly Building, Louis Kahn
A key design principle was the use of massive walls pierced with geometric
openings
–
circles, triangles, and arches. These graphic forms define the facade
and function as light filters [6]. From the beginning, Kahn viewed the project as a
sculptural exploration of natural light, assigning it both a practical and
philosophical role. He described the building as a system of “light
-bearing
volumes,” where walls serve not merely as partitions but as channels of light. This
idea m
aterialized in the building’s iconic openings. The exterior walls are
punctuated with large circular, triangular, and arched apertures, glazed or
screened, functioning as giant light receivers. They admit sunlight deep into the
structure, casting dramatic light-and-shadow patterns. As one moves through the
interlinked halls and corridors
–
what Kahn called “internal streets”
–
the
sensation of flowing light alternates with zones of deep shade [8].
The National Assembly Building is one of the most expressive examples of
architecture where light is an essential structural component. It modulates space,
«Междисциплинарный диалог науки и общества
в эпоху экологических перемен»
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creates a spiritual atmosphere, and transforms the concrete monument into a
living organism interacting with time and nature. Critics have said that “being in
the b
uilding is a cleansing by light”: “It is not just abstract
–
it is tangible. Light
here is a sensory experience” [7].
Though still limited, there are examples of using the aesthetic and
functional potential of daylight in Uzbekistan’s architectural practice.
One such
case is the Central Exhibition Hall of the Academy of Arts of Uzbekistan. Despite
the abundance of sunlight in the region, modern buildings rarely employ natural
lighting to enhance design and perception. However, some demonstrate
successful integration of daylight into architectural solutions.
A notable example is the Central Exhibition Hall of the Academy of Arts of
Uzbekistan, located in central Tashkent. Opened in 1974, it is one of the largest
exhibition venues in Central Asia, with an area of 2500 square meters. Designed
by architects Rafael Khayrutdinov and Farhad Tursunov and constructed
between 1972 and 1974, the building combines traditional elements and modern
approaches. The facade is adorned with national motifs and turquoise tiles
reminiscent of traditional Uzbek ornamentation.
Figure 4. Central Exhibition Hall of the Academy of Arts of
Uzbekistan, Rafael Khayrutdinov and Farhad Tursunov
The interior lighting is designed to maximize natural daylight. Ceiling
windows distribute light evenly throughout the space, creating comfortable
conditions for viewing exhibitions and highlighting the artistic features of the
works on display. Simmering light creates soft ambience, similar to Kahn’s
approach. This approach not only reduces the need for artificial lighting during
the day but also creates a natural and pleasant atmosphere for visitors (Fig. 4).
Conclusion
Despite this successful example, many modern buildings in Uzbekistan fail
to utilize the potential of natural daylight. This may be due to a preference for
«Междисциплинарный диалог науки и общества
в эпоху экологических перемен»
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standardized construction methods, insufficient attention to local climate
conditions, or a desire to implement projects quickly without considering the
architectural specifics of the region. Why do contemporary architects in
Uzbekistan not fully embrace the benefits of abundant sunlight to enhance
building design, comfort, and the thoughtful use of electricity?
References:
1.
Wirz-
Justice, A., Skene, D. J., & Münch, M. (2021). The relevance of
daylight
for
humans.
Biochemical
Pharmacology,
191.
https://doi.org/10.1016/j.bcp.2021.114304
2.
Kroll, A. (2011, January 6). AD Classics: Church of the Light / Tadao Ando
Architect & Associates. ArchDaily. https://www.archdaily.com
3.
Schielke, T. (2024, March 28). When Sunlight Meets Tadao Ando's
Concrete. ArchDaily. https://www.archdaily.com
4.
Kimbell Art Museum. (2022, October 17). The Louis I. Kahn Building |
Kimbell Art Museum | 50th Anniversary. https://kimbellart.org
5.
Binwani, R. (n.d.). Kimbell Art Museum by Louis Kahn: Light is the theme.
Rethinking The Future. https://www.re-thinkingthefuture.com
6.
Souza, E. (2020, February 3). AD Classics: National Assembly Building of
Bangladesh / Louis Kahn. ArchDaily. https://www.archdaily.com
7.
Lesser, W. (2018). You Say to Brick: The Life of Louis Kahn. Farrar, Straus
and Giroux.
8.
ArchEyes Team. (2024, December 16). Bangladesh’s National Parliament
House by Louis Kahn. ArchEyes. https://archeyes.com
