LIGHT- MESSENGER OF PEACE

PEACE COMPLEX
RAJASTHAN, INDIA
BY

SAAD GADIT

BATCH 2002-2003

DEPARTMENT OF ARCHITECTURE AND PLANNING

NED UNIVERSITY OF ENGINEERING AND TECHNOLOGY
KARACHI

NOVEMBER 2007
 LIGHT- ME
SSENGER OF PEACE

PEACE COMPLEX, RAJASTHAN, INDIA

BY
SAAD GADIT

A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE

REQUIREMENTS FOR THE DEGREE OF BACHELOR OF
ARCHITECTURE

DEPARTMENT OF ARCHITECTURE AND PLANNING

NED UNIVERSITY OF ENGINEERING AND TECHNOLOGY,
KARACHI

Thesis Supervisor : Arch. Ravindar Kumar

Dr. Faisal Arain
Thesis Advisor : Arch. Navaid Hussain
Acknowledgement
First of all, I would like to thank Almighty Allah for giving me strength to
complete this report.

Secondly, I would like to pay thanks to Dr. Noman Ahmad, Chairman DAP-
NED, supervisors Dr. Faisal Arain and Architect Ravindar Kumar, and class
advisor, Architect Fariha Amjad Ubaid for their extensive support throughout.

I would like to express my gratitude to all those who gave me the possibility to
complete this report. I want to thank the Management of Indus Valley School
of Arts and Architecture, Department of Visual studies, Karachi University,
Department of Architecture, Dawood College of Engineering and Technology
and last but not the least, Department of Architecture and Planning, NED
University of Engineering and Technology to use libraries and other related
facilities. I have furthermore to thank Mr. Ainulabedin, Lighting and HVAC
professional who gave me guidelines on how to design daylit buildings
technically. I am bound to the Madam Sameeta and Architect Asiya Polak for
their stimulating support.

I am deeply indebted to my advisor Architect Navaid Hussain whose help,

stimulating suggestions and encouragement helped me in the time of
research for and writing of this thesis.

I am deeply thankful to Mrs. Amisha Nanavati, from Mumbai, India for her
continuous support at all stages.

I want to thank them for all their help, support, interest and valuable hints. My
brother, Rafay as well as cousin Arqam helped me writing and scanning
documents. In the end, I would like to pay thanks to my parents and my daadi
who had always been there with their precious prayers.

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Abstract
Saad Gadit
Bachelors in Architecture
Department of Architecture and Planning
Light- Messenger of Peace

Light has always been recognized as one of the most powerful form givers
available to the architect and great designers had always understood its
importance as the principal medium which puts man in touch with his
environment. When all buildings were designed, keeping in mind just one
source, sun, factor that makes difference between great architecture and just
a mere architecture is how the designer had played with light. Inhabitants,
visitors show if the message conveyed by designer makes succeeded or not.
The blind worship of some specific level of illumination is all directly
responsible for the defeat and compromise of good designs. Designer’s
concept of lighting is all too important rather than mere calculations of light
fixtures and their illumination. Designer’s imagination work in a sense to
convey a clear idea as to what is actually desired not in terms of numbers but
in terms of art. Once one understands that the brain analyzes and perceives
the entire visual field, the magic of numbers and illumination levels get solved
automatically. It can be said that seeing is not a passive response to patterns
of light but it is an active, information seeking process, directed and
interpreted by human brain. It is due to the human perception of human brain
that it always makes difference between what is pleasing and what is
distracting.

Keywords:
Sunlight, Message, Peace, Museum, Lifestyle, Environment, Illumination
levels

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Table of Contents

Acknowledgement ..................................................................................................... ii
Abstract ...................................................................................................................... iii
List of Tables .............................................................................................................. x
List of Figures ............................................................................................................ xi
Executive Summary ................................................................................................. xiv
1. Introduction ......................................................................................................... 1
1.1. Background .................................................................................................. 2
1.2. Significance of Study .................................................................................. 2
1.3. Rationale of Study ....................................................................................... 3
1.4. Research Problem ....................................................................................... 3
1.5. Focus of Study ............................................................................................. 3
1.6. Research Methodology ............................................................................... 4
1.7. Research Objective ..................................................................................... 4
1.8. Thesis Structure .......................................................................................... 5
2. Discovering light ................................................................................................. 6
2.1. Light and space ........................................................................................... 8
2.2. Shadows ..................................................................................................... 10
2.3. Light in Historical Times ........................................................................... 12
2.4. Egyptian Architecture ................................................................................ 13
2.5. Greek Architecture .................................................................................... 14
2.6. Roman Architecture .................................................................................. 15
2.7. Japanese Architecture .............................................................................. 16
2.8. Light in Contemporary Times .................................................................. 16
2.9. Daylight-in architecture ............................................................................. 17
2.10. Designing With Space and Daylight .................................................... 18
2.10.1. Daylight variability ........................................................................... 18
2.10.2. Intensity of light ............................................................................... 18
2.10.3. Size of an Opening ......................................................................... 19
2.10.4. Orientation of an Opening ............................................................. 20
2.10.5. Location of an Opening ................................................................. 21
2.11. Factors affecting the form ..................................................................... 22
2.11.1. Time of the day ............................................................................... 22
2.11.2. Form ................................................................................................. 23
2.11.3. Orientation of form .......................................................................... 23
2.11.4. Building form design guidelines for day lighting ......................... 24
2.12. Orientation of Light ................................................................................ 24
2.12.1. Southern Light ................................................................................. 25
2.12.2. Northern Light ................................................................................. 25
2.12.3. Morning Light .................................................................................. 26
2.12.4. Evening Light .................................................................................. 26
2.12.5. Overhead Light ............................................................................... 26
2.12.6. Building Orientation Design Guidelines for Day Lighting .......... 27
2.12.7. Hot Dry Zone ................................................................................... 27
2.12.8. Cool Zone ........................................................................................ 27

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2.12.9. Warm Humid Zone ......................................................................... 27

2.12.10. Temperate Zone ............................................................................. 28
2.13. Building Configuration ........................................................................... 28
2.14. Color Theory for Architectural Space .................................................. 29
2.14.1. Color, Light and Psychology ......................................................... 31
2.15. Visual Comfort ........................................................................................ 32
2.15.1. Northern Light ................................................................................. 32
2.15.2. Morning Light .................................................................................. 33
2.15.3. Overhead Light ............................................................................... 33
2.15.4. Southern light .................................................................................. 33
2.16. Luminance Brightness of Building Materials ...................................... 33
2.16.1. The Ground as a Light Source ..................................................... 33
2.16.2. Effect of Material on the Quality of Light ..................................... 33
2.17. Glare ........................................................................................................ 35
2.17.1. Types of Glare ................................................................................ 36
2.17.2. Glare Problems ............................................................................... 36
2.17.2.1. Disability Glare ....................................................................................... 36
2.17.2.2. Discomfort Glare ................................................................................... 36
2.17.2.3. Veiling Reflections ................................................................................. 37
2.17.2.4. Reflected Glare ...................................................................................... 37
2.18. Indoor and outdoor light ........................................................................ 37
2.19. Transmitting elements ........................................................................... 39
2.19.1. Intermediate light spaces .............................................................. 39
2.19.2. Interior light spaces ........................................................................ 40
2.19.3. Peripheral and core elements ....................................................... 40
2.19.4. Lighting in peripheral and core zones ......................................... 40
2.19.4.1. Compactness ......................................................................................... 41
2.19.4.2. Porosity ................................................................................................... 41
2.19.4.3. Transparency ......................................................................................... 41
2.19.4.4. Geometric characteristics ..................................................................... 41
2.19.4.5. Size of a building ................................................................................... 42
2.19.4.6. Shape and proportions ......................................................................... 42
2.20. Fusion of Light with Solid Mass ........................................................... 43
2.21. Design Strategies Using Daylight ........................................................ 43
2.21.1. Single side lighting ......................................................................... 44
2.21.2. Bilateral lighting .............................................................................. 44
2.21.3. Multilateral lighting .......................................................................... 44
2.21.4. Clerestories ..................................................................................... 44
2.21.5. Light shelves ................................................................................... 44
2.21.6. Skylights ........................................................................................... 45
2.21.7. Roof monitors .................................................................................. 46
2.21.8. Courtyards ....................................................................................... 46
2.21.9. Lightwells ......................................................................................... 46
2.22. Control elements .................................................................................... 47
2.22.1. Separator surfaces ......................................................................... 47
2.22.2. Flexible screens .............................................................................. 47
2.22.3. Rigid screens .................................................................................. 48

2.22.4. Solar filters ....................................................................................... 48

2.22.5. Solar obstructers ............................................................................ 48
2.23. Summary ................................................................................................. 49
2.24. Design Recommendations ................................................................... 50
3. Museum ............................................................................................................. 52
3.1. Definition of museum: ............................................................................... 53
3.2. Quality Standards for Museum Exhibitions ............................................ 54
3.3. Museum Lighting ....................................................................................... 55
3.4. Categories of Display Objects ................................................................. 55
3.4.1. Extremely Susceptible To Light Damage ....................................... 56
3.4.2. Susceptible To Light Damage .......................................................... 56
3.4.3. Not Susceptible To Light Damage ................................................... 56
3.5. Conservation Considerations .................................................................. 57
3.6. Case lighting .............................................................................................. 59
3.7. Display ........................................................................................................ 60
3.8. The Principle of Contrast .......................................................................... 61
3.9. Display Lighting Techniques .................................................................... 62
3.9.1. Lighting From Above .......................................................................... 64
3.9.2. Lateral Lighting ................................................................................... 64
3.10. Aspects Fulfilled In Natural Light ......................................................... 65
3.10.1. Aesthetics ........................................................................................ 65
3.10.2. Firmness .......................................................................................... 65
3.11. Analysis and Conclusion ....................................................................... 65
4. Case Studies .................................................................................................... 67
4.1. Case Studies in General .......................................................................... 68
4.2. Case Study Criteria for Museums ........................................................... 68
4.3. Mohatta Palace Museum .......................................................................... 69
4.3.1. Exhibitions On Karachi's History ...................................................... 69
4.3.2. Location ............................................................................................... 69
4.3.3. General Information ........................................................................... 69
4.3.3.1. Timings ................................................................................................... 69
4.3.3.2. Entry Charges ........................................................................................ 69
4.3.3.3. Parking .................................................................................................... 69
4.3.3.4. Duration of an Exhibition ...................................................................... 69
4.3.3.5. Exhibition on `Karachi under the Raj' ................................................. 69
4.3.3.6. Organizers .............................................................................................. 69
4.3.3.7. Display Contents ................................................................................... 70
4.3.4. Artifacts Inside Building ..................................................................... 70
4.3.5. Artifacts Outside Building .................................................................. 70
4.3.6. Mode of Presentation ........................................................................ 71
4.3.7. Analysis ............................................................................................... 71
4.4. Maritime Museum Karachi ....................................................................... 72
4.4.1. Introduction ......................................................................................... 72
4.4.2. Location ............................................................................................... 72
4.4.3. Opening Hours ................................................................................... 72
4.4.4. General ................................................................................................ 72
4.4.4.1. History ..................................................................................................... 72

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4.4.4.2. Visitors .................................................................................................... 72

4.4.4.3. Parking .................................................................................................... 72
4.4.4.4. Research Facilities ................................................................................ 72
4.4.4.5. Entrance ................................................................................................. 73
4.4.5. Planning of Museum Building ........................................................... 73
4.4.5.1. First floor ................................................................................................. 73
4.4.5.2. Second floor ........................................................................................... 73
4.4.6. Display Galleries ................................................................................ 73
4.4.7. Outdoor Displays ................................................................................ 74
4.4.8. Circulation ........................................................................................... 74
4.4.9. Facade of the Museum ...................................................................... 74
4.4.10. Mode of Presentation ..................................................................... 76
4.4.11. Analysis: ........................................................................................... 76
4.5. Peace Memorial Park ............................................................................... 77
4.5.1. General Information ........................................................................... 77
4.5.2. Honkawa Elementary School Peace Museum ............................. 78
4.5.3. Monument for the Volunteer Army Corps ....................................... 79
4.5.4. Aioi Bridge ........................................................................................... 79
4.5.5. Peace Clock Tower ............................................................................ 79
4.5.6. Peace Bell ........................................................................................... 80
4.5.7. Atomic Bomb Memorial Mound ........................................................ 80
4.5.8. A-bombed Gravestone ...................................................................... 81
4.5.9. Monument in Memory of the Korean Victims of the A-bomb ....... 81
4.5.10. Peace Fountain ............................................................................... 82
4.5.11. Children's Peace Monument ......................................................... 82
4.5.12. Flame of Peace ............................................................................... 82
4.5.13. Pond of Peace ................................................................................ 83
4.5.14. Cenotaph for the A-bomb Victims ................................................ 83
4.5.15. Statue of Peace "New Leaves" ..................................................... 84
4.5.16. Peace Bridge ................................................................................... 84
4.5.17. Analysis: ........................................................................................... 85
4.6. Peace Sphere Monument ........................................................................ 87
4.6.1. Concept ............................................................................................... 87
4.6.1.1. The Sphere ............................................................................................. 88
4.6.1.2. Hinomaru ................................................................................................ 89
4.6.1.3. The Disks ................................................................................................ 89
4.6.1.4. Materials ................................................................................................. 91
4.6.2. Analysis ............................................................................................... 92
5. Peace and Light ............................................................................................... 93
5.1. Peace .......................................................................................................... 94
5.1.1. Building Blocks of Sustainable Peace Building ............................. 94
5.2. Why a Peace Museum? ........................................................................... 94
5.3. Peace Museums: Helping to Build a Culture of Peace ........................ 95
5.4. The Ultimate Goal of Peace Museums and Related Institutions ........ 96
5.5. Peace Museum at Pakistan India Border .............................................. 97
5.6. Rajasthan: ................................................................................................ 101
5.7. Demography: ............................................................................................ 101

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5.8. Physical Features: ................................................................................... 101

5.9. Architecture .............................................................................................. 102
5.10. Fairs & Festivals .................................................................................. 102
5.10.1. Gangaur festival ............................................................................ 102
5.10.2. Nagaur Fair .................................................................................... 103
5.10.3. Teej ................................................................................................. 103
5.10.4. Shilp Gram Festival ...................................................................... 103
5.10.5. Mewar festival ............................................................................... 103
5.10.6. Urs .................................................................................................. 103
5.10.7. Puskar Mela .................................................................................. 104
5.10.8. Elephant Festival – Jaipur ........................................................... 104
5.10.9. Dance & Music .............................................................................. 104
5.10.10. Costumes ....................................................................................... 105
5.10.11. Art & Crafts .................................................................................... 105
5.10.12. Language ....................................................................................... 106
5.10.13. Cuisines ......................................................................................... 106
6. Site Selection and Analysis .......................................................................... 107
6.1. Site selection Criteria .............................................................................. 108
6.2. Ramsar Village ........................................................................................ 110
7. Nexus between Research and Design ....................................................... 112
8. Design Idea ..................................................................................................... 115
8.1. Design Brief: ............................................................................................. 120
8.2. Design Concept: ...................................................................................... 121
9. Design .............................................................................................................. 123
10. Conclusions and Recommendations ........................................................ 130
10.1. Introduction ........................................................................................... 131
10.2. Major Contributions of Study .............................................................. 131
10.3. Recommendations for Future Research .......................................... 131
Woks Cited .............................................................................................................. 132
Bibliography ............................................................................................................ 134

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List of Tables

Table 1: Reflectance of Various Ground Surface Materials ............................ 35
Table 2: Limiting Illuminances and Annual Exposures for Material Sensitivity
Classifications ................................................................................................. 57
Table 3: Design Brief .................................................................................... 120

List of Figures

Figure 2.1: Light -Space, An Imaginary Space ................................................. 9
Figure 2. 2: Light as an Object, the Source Fascinates and Dazzles When
looked directly. .................................................................................................. 9
Figure 2. 3: Light from a series of objects ......................................................... 9
Figure 2.4: Light from Surfaces ...................................................................... 10
Figure 2.5: Interior of Karnak Temple, Luxor .................................................. 13
Figure 2.6: The Stepped Portico of 'King Minos' Palace at Knossos, Crete ... 14
Figure 2. 7: Light shaft, Pantheon, Rome ....................................................... 15
Figure 2.8: Location of an Opening is Vital in the Determination of Light
Patters ............................................................................................................ 21
Figure 2.9: Optimum Form, its location and orientation in different zones ..... 28
Figure 2.10: Beautiful Venetian architecture in Hania, a oceanside town in
Western Crete, Greece ................................................................................... 30
Figure 2.11: Electromagnetic Spectrum ......................................................... 31
Figure 2.12: Disability Glare ........................................................................... 36
Figure 2. 13: Discomfort Glare ........................................................................ 36
Figure 2.14: Veiling Reflections ...................................................................... 37
Figure 2.15: Reflected Glare ........................................................................... 37
Figure 2.16: Light from Unidentified Sources, Exerts Magical Effect.............. 38
Figure 2.17: Three incidences: Direct Sun, Sky Dome and Albedo................ 38
Figure 2.18: Natural Lighting Elements: conduction elements and transmitting
elements ......................................................................................................... 39
Figure 2.19: Central Zone In Spaces with Large Surface Area ...................... 42
Figure 2.20: Light Transmittance .................................................................... 42
Figure 2.21:Tadao Aando- Vitra Conference Pavilion Weil am Rhein,
Germany - Concrete Detail ............................................................................. 43
Figure 2.22: Typical Skylight ........................................................................... 44
Figure 2.23: Built-up skylights ......................................................................... 45
Figure 2. 24: Roof Monitor Above ................................................................... 46
Figure 2.25: Courtyard .................................................................................... 46
Figure 2.26: Light Shaft .................................................................................. 46
Figure 2.27: Atrium ......................................................................................... 46
Figure 2.28: Cross Section of Sun Tracker ..................................................... 47
Figure 2.29: Daylight Design Strategies ......................................................... 50
Figure 3.1: Quality Standards in a Museum ................................................... 54
Figure 3.2: St Mungo's Museum, Glasgow. Here light from large window areas
was controlled by filtration and the mounting of stained glass exhibits. ......... 58
Figure 3.3: Low Light Gallery, St. Mungo's Museum ...................................... 59
Figure 3.4: Skylight Configuration in Museums and Art Galleries- Sections .. 60
Figure 4.1: Living Example of Hindu Architecture- Muhatta Palace Museum
Karachi ............................................................................................................ 69
Figure 4.2: Sculpures at Backyard- Muhatta Palace Museum ........................ 70
Figure 4.3: Replica of the historic Light house tower at Manora- Maritime
Museum Karachi ............................................................................................. 74
Figure 4.4: Enterance Facade- Maritime Museum Karachi ............................ 74
Figure 4.5: Floor Plans- Maritime Museum Karachi ....................................... 75
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Figure 4.6: Case Lighting- Maritime Museum Museum Karachi ..................... 76

Figure 4.7: Daylit Atrium- Martime Museum Karachi ...................................... 76
Figure 4.8: Museum- Main Building and East Building ................................... 77
Figure 4.9: Site Plan ....................................................................................... 77
Figure 4.10: Honkawa Elementary School ..................................................... 78
Figure 4.11: Monument for the Volunteer Army Corps ................................... 79
Figure 4.12: Aioi Bridge .................................................................................. 79
Figure 4.13: Peace Clock Tower .................................................................... 79
Figure 4.14: Peace Bell .................................................................................. 80
Figure 4.15: Atomic Bomb Memorial Mound .................................................. 80
Figure 4.16: A-bombed Gravestone ............................................................... 81
Figure 4.17: Monument in Memory of the Korean Victims of the A-bomb ...... 81
Figure 4.18: Peace Fountain .......................................................................... 82
Figure 4.19: Children's Peace Monument....................................................... 82
Figure 4.20: Flame of Peace .......................................................................... 82
Figure 4.21: Pond of Peace ............................................................................ 83
Figure 4.22: Cenotaph for the A-bomb Victims ............................................... 83
Figure 4.23: Statue of Peace "New Leaves" ................................................... 84
Figure 4.24: Peace Bridge .............................................................................. 84
Figure 4.25: Museum- Suggested Tour Path .................................................. 85
Figure 4.26: Statue of School Going Boy, Victim of Atomic Explosion ........... 85
Figure 4.27: South-East Elevation .................................................................. 87
Figure 4.28: North-East Elevation ................................................................... 87
Figure 4.29: North-West Elevation .................................................................. 87
Figure 4.30: South-West Elevation ................................................................. 88
Figure 4.31: Floor Plan ................................................................................... 88
Figure 4.32: Exterior Perspective ................................................................... 88
Figure 4.33: Exterior Perspective (morning) ................................................... 89
Figure 4.34: Exterior Perspective (afternoon) ................................................. 89
Figure 4.35: Exterior Perspective, White + Maps Disks Closed ..................... 89
Figure 4.36: Exterior Perspective- Late Afternoon .......................................... 90
Figure 4.37: Exterior Perspective- Night View ................................................ 90
Figure 4.38: Exterior Perspective- Night View ................................................ 90
Figure 4.39: Internal Perspective .................................................................... 91
Figure 4.40: Internal Perspective .................................................................... 91
Figure 4.41: Internal Perspective .................................................................... 92
Figure 5.1: Rajasthan State- India ................................................................ 101
Figure 5.2: Dilwara Temple- Mount Abu, Rajasthan ..................................... 102
Figure 5.3: Jain Temple- Jaisalmar, Rajasthan ............................................ 102
Figure 5.4: Puskar Mela ................................................................................ 104
Figure 5.5: Traditional Costumes- Rajasthan ............................................... 105
Figure 5.6: Food Served in Thali- Contains Variety of Stuff ......................... 106
Figure 6.1: Colors of Ramsar Village ............................................................ 110
Figure 6.2: Site Plan and Analysis ................................................................ 111
Figure 7.1: Thesis Hierarchy ......................................................................... 113
Figure 8.1: Peace Memorial .......................................................................... 116
Figure 8.2: Art Gallery ................................................................................... 117
Figure 8.3: Peace Memorial .......................................................................... 117
Figure 8.4: Restaurant .................................................................................. 118

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Figure 8.5: Congregation Place .................................................................... 118

Figure 8.6: Design Idea Submission for Competition ................................... 119
Figure 9.1: Site Plan ..................................................................................... 124
Figure 9.2: Master Plan ................................................................................ 125
Figure 9.3: Water Management Plan ............................................................ 126
Figure 9.4: Elevations & Sections ................................................................. 127
Figure 9.5: Unit Plans & Sections ................................................................. 128
Figure 9.6: Views .......................................................................................... 129

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Executive Summary

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Light and things belong together and every place has its light. The light -space
is very useful in architectural design. Light from surfaces; the walls ceiling and
floors may be lit by invisible slots. Spatial limits thus become light source with
a noticeable gradation from light to darkness.

Shadow is light's counterpart. “Darkness is absence of light. Shadow is

diminution of light.” Light is the chaser away of darkness. Shade is the
obstruction of light. Primary light is that which falls on objects and causes
light and shadow. Occupant interaction with lighting and lighting control
systems can significantly impact the energy use patterns of spaces. Some
materials serve to produce light, homogeneous surfaces. Bricks absorb light.

Although greater transparency increases light in the peripheral zone, good

lighting depends more on the appropriate distribution of light than on quantity.
Common top lighting strategies include:

- Light shelves (exterior or interior)

- Light reflective surfaces (i.e. Roofs or exterior pavement)
- Integration with artificial lighting
- Ambient compensating artificial lighting sensors, controls, and lamping

The matter of human ease commits natural light to a part in museum lighting.
Both type of lighting is purely utilitarian. Without light, there is no form.

Light and peace is the same thing. Light and peace are about energy.

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1. Introduction

1.1. Background
Thesis started with basic idea and interest in day lighting in the field of
architecture. Worked previously on same in “Introduction to the Islamic
Architecture” as “History of Lamps” including “Rock-Crystal Lamps” as a part
of pre-final architecture in 2006.

Always wondered about the use of light for aesthetic purposes and the query
got its height while studying high museum by Ranzo Piano and Kimbell Art
Museum by Louis I Kahn. After initial studies of light, study was carried out to
define building type as a research area for thesis .these includes libraries,
schools, religious buildings and most interestingly departmental stores .but
the building type thus chosen for research area is a museum.

Basically the idea is to relate light to peace and thus it was formulated to
design peace museum as a platform between India and Pakistan.
Meanwhile a design competition in Rajasthan for a peace complex is
announced, which led to linkage of thesis to the competition.

1.2. Significance of Study

The basic idea behind the study is to convey a message through light, the
message of peace. The thorough study of light lead to define different uses of
light and un-countable ways to control it for different uses. Study of different
building types had assisted to find out as to form how many different purposes
light can be used.

It was seldom seen to have light used as a message except some religious
buildings, the study of light led to discover about the phenomena of light to
convey a message silently.

Significance of a peace museum near Pakistan-India border can never be

denied. The two nations, in the state of war now for about six decades should
show the world that there can be peace, harmony and respect for each other
in the region
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1.3. Rationale of Study

One of the main issues raised in this study is the capacity of light to convey a
message of peace or light as a messenger for peace. Light, specially natural
light, had been explored most of the times as a energy saving entity by many
architects, but much less amount of work had been done previously to explore
other aspects of light too including its message giving or teaching capability.
The study aimed to focus on the message giving capability of light through
research and also the case studies.

1.4. Research Problem

Light has great potential to alter the overall character of space. If used in a
right manner, with light, it is possible to make statements or in other words,
light has a tendency to convey a message. Object of this report is to study
patterns of light and its different characters which include bright, dark and
spaces in shadow.

1.5. Focus of Study

The basic focus is to prove that light has a tendency/potential? To convey the
message of peace. It is to prove that architecture has its own power in peace
building process.

As site is situated in Rajasthan, India basic cultural study has been carried out
as part of this bachelors level thesis. These studies include cuisines, trade,
socioeconomic, transportation, tourists, festivals and most importantly historic
architecture of the state.

At designing stage special consideration is paid towards designing museum

after site-planning.

1.6. Research Methodology

The particular study concerned with the development of rationale for which
extensive research was done to understand how light changes the spatial
character of a place and the ability of light to guide and convey a message.
Thorough internet and book research from different libraries and interviews,
including some hefty discussions with internal and external advisors,
professionals and common people regarding their concepts and ideas about
light was undertaken.

Question then arose about the selection of building type for the application of
above research and study. Again book readings and internet search lead to
study of libraries, schools, office buildings, super stores, art galleries and
museums.

Peace museum was then selected as a research topic. Research then

includes about basic definitions of museums, quality standards and facilities
they provide. Design brief was thus generated through national and
international case studies about the research topic.

Afterward, the site was allotted by competition committee. To understand the

dynamics of the area, a study of the site to a larger framework is necessary
which then leads to research of different scenarios within Ramsar village and
all over Rajasthan.

After basic finding, an analysis was important which determined the direction
for future development and gave in-depth view of area. Design stage started
after above mentioned stages but before going to design there was a critical
stage of seeing and documenting some existing examples(case studies).

1.7. Research Objective

Basic objective of this research is to find out how and why light is important in
architecture. Leading to building type, research on museums and artgalleries
is also carried out. Since the link is to be proven between light and peace,
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therefore, a thorough research regarding peace is also carried out. As for

competition, site is situated in Rajasthan India, so a bit intro about Rajasthani
art, architecture and customs is also the part of the overall report.

1.8. Thesis Structure

Thesis report is basically divided into 9 major sections

1st section deals with the introduction and background information about
thesis as a whole. They constitute of objective as to what is required to be
achieved, scope and research rationale.

2nd section consists of literature review. This consists of extracts and there
analysis regarding light from different sources. This section covers major
aspects of research regarding light. How light can be captured and controlled
is discussed in this section.

Case studies constitute the 3rd section. These case studies include local as
well as international cases regarding museums and peace complex. They
include studies of Muhatta Palace Museum Karachi, Naval Maritime Museum
Karachi, Peace Park Hiroshima Japan and Peace Monument conceptual
design. Analysis thus made is then used to develop design brief in section to
follow.

Design brief thus formulated through case studies will be under 4th section.

Site selection criteria, selection and analysis will be the part of 5th section.
6th & 7th sections constitute theoretical orientation and nexus between
research and design respectively.

Design plates, concepts etc is the part of 8th section.

Conclusion and recommendation for further research as to what can be done

and what are the possible horizons of study are part of 9th section.

2. Discovering light

Light acquires meaning in architecture as part of a sequence of luminous

relationships. Light reveals the building, its intentions, its form, space and
meaning, modulated by the consequences of place. As Christian Norberg-
Schulz contends:

'The study of light is something more than a mere Investigation of illumination.

Light and things belong together and every place has its light. The sky is the
origin of light and the earth its manifestation. Always the same and always
different, light reveals what is.'1

Louis Kahn once said:

"The sunlight did not know what it was before it hit a wall:" 2

Architectural space exists by the illumination of objects and enclosing

surfaces, though echo, tactile qualities and smell help as well.

Architectural design can be considered as the art of placing and controlling

light source in space. The usual instruments, the plan, section and elevation,
do not completely take account of this aspect; even the scale model is
disappointing. At the time a plan is drawn up, light is often one of the least
controlled phenomena and, in consequence, one of the least taught subjects.

Brightness is in fact, very relative; it depends on the distribution of the light, on

the process of visual adaptation, and on the quantity of light reflected by
objects and surfaces. Perception of a space remains relatively constant, even
if the level of illumination increases objectivity tenfold or more.

Perception of the same space will change, on the other hand, when one
changes the brightness or illumination of some of the objects or elements,
which define it, whilst keeping the others at the same level.

1
The Poetics of Light, A+U, December 1987 supplement, p7
2
Lobell, John. Between Silence and Light. Shambhala; New Ed edition , 2000.

A room lit by daylight from its windows is not the same space as when it is lit
artificially at night; skylights which tone down contrasts; or side lighting which
accentuates them, give quite different perceptions of the same geometric
space; a black ceiling will, for example, appear slightly higher than a white
ceiling.

Alberti said:
“...Ivory and silver are white, but placed next to swan's down they seem
pale.... Everything is perceived by comparison .The architect conceives a
sequence of spaces not only as a succession of spatial events, but also in
terms of comparison of different ambiences of light. The effects of back
lighting are often unpleasant. To move from full sunlight into the semi-
darkness of a Romanesque church induces a kind of shock, which
emphasizes the opposition between sacred and profane.”3

Once quoted by Le Corbusier:

“Architecture is the skilful, correct and magnificent play of volumes in light;
shadows and highlights reveal their forms... “4

Thanks to changing light, the petrified immobility of the building suddenly

comes to life. The east, south, north and west-facing rooms, even if they are
geometrically identical, appear quite different according to time of day and
season.5

2.1. Light and space

We shall tackle the question starting with four typical conditions of illumination
- light -space, light as an object, light from a series of objects and light from

3
Unwin, Simon. Analyzing Architecture. London: Routledge, 1997.
4
Resmussen, Steen Elier : Experiencing Architecture, United States, MIT Press Cambridge,(1962)
5
Iftikhar, Muzna. Revival of National Museum-A Museum Based on Daylighting Stretegies.
Architecture thesis. NEDUET. Karachi: NEDUET, 2001.
8



surfaces-whilst at the same time being aware that

numerous combinations are possible (Figure 2.1).
Light -space is an imaginary space, which is created
when a portion of space is well lit while the rest is left in
semi or total darkness. The limits are imaginary but

perfectly perceptible. Figure 2.2: Light -Space,

An Imaginary Space
http://www.outbackphoto.com/portfoliotut
orial/tutorial0001/photos/500_Port08.jpg

The light -space is very useful in architectural

design. It makes it possible to present scenes as
in the theatre, the circus, the museum, a shop
window at night, in the open air, etc. It also

enables the person who is in illuminated area to Figure2. 3: Light as an Object,

the Source Fascinates and
isolate him and concentrate better. Dazzles When looked directly.
http://i.walmart.com/i/p/00/70/17/62/51/00701762510
23_215X215.jpg

Light as an object, the isolated stained glass window, an

object or a person spoilt in a dark space, a candle in a
room, establish a source and space similar to that of
figure and ground (Figure2.4). When looked at directly,
the source fascinates and dazzles, at the same time, on
condition, however, that the size of this source is
relatively small in relation to the spatial envelope.

Figure2. 5: Light from a

In terms of design, it can happen that it is tried to work series of objects
http://universal-
worth a unique, concentrate' source for practical or hologram.com/diffraction%20starfield%2
0%20art%20hologram.jpg

symbolic reasons, at the same time wishing, for one reason or another, to
avoid this alternation of glare and uniform lighting. In this case the source
must be placed well above eye level or even concealed (indirect side lighting).

Light from a series of objects, series of windows, spotlight, candles, tends to

establish balance and a possibility of inversion between the figure character of
luminous objects and the background character of the spatial envelops which
they illuminate(Figure2. 6).

A regular series of windows, or wall light, or even a strip window make an

active contribution to the delineation of spatial limits, A larger or smaller
window on the axis, or a series of light suspended on the centerline of the
room, help to clarify the spatial geometry. A freer arrangement of the light
sources requires understanding of the principles of balance.

Light from surfaces; the walls ceiling and floors

may be lit by invisible slots. Spatial limits thus
become light source with a noticeable gradation
from light to darkness (Figure 2.7).

The corollary of the luminous ceiling is, in

Figure 2.8: Light from Surfaces
daytime, the skylight, which is, in one look
http://www.ischool.utexas.edu/~awilker/Elks/elksimages/
elksclubb7b.jpg

carefully, is practically never for places where people stay or work for a long
time. The large glazed wall, in turn plays down contrast but, by being vertical,
it does not do away with it altogether, its role as a spatial extension very often
takes precedence over its purpose for illumination. According to its size and
orientation, it can create problems but an excess of light and heat.6

2.2. Shadows
Leonardo Da Vinci once quoted:
“Shadow is of the nature of darkness; reflected light (lume) is of the nature of
the light source (luce); one conceals and the other reveals. They are always
associated and inseparable from all objects. But shadow is a more powerful
agent than light, for it can impede and entirely deprive bodies of their light,
while light can never entirely expel shadow from a body, that is, from an
opaque body.” 7

6
Iftikhar, Muzna. Revival of National Museum-A Museum Based on Daylighting Stretegies.
Architecture thesis. NEDUET. Karachi: NEDUET, 2001.
7
Vinci, Leonardo Da. "Six books on Light and Shade." Vinci, Leonardo Da. The Notebooks of
Leonardo Da Vinci. Dover Publications, 1970. 119--122.
10



Shadow is light's counterpart. It is the gradation between lit surfaces and

surfaces in dark which supplies information about the three dimensional forms
of a body. When the contrast is strong, due to light coming from only one
direction, information about the object reduces If the contrast is reduced, or
even balanced by lighting from several balanced by lighting from several
sources, the three dimensionality increases. If the lighting is uniform, coming
from all sides, the object becomes flatter. Each context and objects can be lit
in such a way as to enhance 3-D effect and establish a balance between
contrast and homogeneity, for example, in a sculpture museum, the study of
lighting from several sources is essential; the presence of a principal lateral
source is desirable, secondary lighting will counterbalance it.

“Darkness is absence of light. Shadow is diminution of light. Primitive shadow

is that which is inseparable from a body not in the light. Derived shadow is
that which is disengaged from a body in shadow and pervades the air. A cast
transparent shadow is that which is surrounded by an illuminated surface. A
simple shadow is one which receives no light from the luminous body which
causes it.”8

Junichiro Tanizaki reminds us of the importance of the shadows in this

discussion of Japanese aesthetics from his book In Praise of Shadow:

"...we find beauty not in the things but in the patterns of shadows, the light and
the darkness, that one thing against another creates. A phosphorescent jewel
gives off its glow and color in the dark and loses its beauty in the daylight.
Where it not' for shadows, there would be no beauty."9

8
Vinci, Leonardo Da. "Six books on Light and Shade." Vinci, Leonardo Da. The Notebooks of
Leonardo Da Vinci. Dover Publications, 1970. 123.
9
Ching, Francis D.K. Architecture: Form, Space, and Order. New York: Van Nostrand
Reinhold, 1979.
11



Shadow - Inseparable from a Body and a Cast One

“An inseparable shadow is that which is never absent from the illuminated
body. As, for instance a ball, which so long as it is in the light always has one
side in shadow which never leaves it for any movement or change of position
in the ball. A separate shadow may be and may not be produced by the body
itself. Suppose the ball to be one braccia distant from a wall with a light on the
opposite side of it; this light will throw upon the wall exactly as broad a
shadow as is to be seen on the side of the ball that is turned towards the wall.
That portion of the cast shadow will not be visible when the light is below the
ball and the shadow is thrown up towards the sky and finding no obstruction
on its way is lost. “10

Light is the chaser away of darkness. Shade is the obstruction of light.

Primary light is that which falls on objects and causes light and shadow. And
derived lights are those portions of a body which are illuminated by the
primary light. A primary shadow is that side of a body on which the light
cannot fall.

The general distribution of shadow and light is that sum total of the rays
thrown off by a shaded or illuminated body passing through the air without any
interference and the spot which intercepts and cuts off the distribution of the
dark and light rays.

And the eye can best distinguish the forms of objects when it is placed
between the shaded and the illuminated parts.

2.3. Light in Historical Times

Bringing the sun's rays inside is one of the oldest and most reliable means of
lighting architecture. Abundant sunlight, of course, is often considered a

10
Vinci, Leonardo Da. "Six books on Light and Shade." Vinci, Leonardo Da. The Notebooks
of Leonardo Da Vinci. Dover Publications, 1970. 125.
12



premium feature of houses sought by prospective home owners, while

daylighting is equally raised in work places from factories to office towers.

For ancient man, light performed as a measure of time. Powerful rays of light,
projected onto the land by the vastly distant sun - light that varied in direction,
angle and intensity, depending on the place, the season and the time of day -
gave fundamental form to man's sense of space. This light, drawn through
openings into the interior of his built structures, enabled man, who dwelt
inside, to understand his being, relative to his surroundings.

2.4. Egyptian Architecture

In Egyptian civilization the columns, walls and
relief were brought to life by light. After a
temple was complete, it was subjected to the
ceremony of the opening of the mouth, as if it
were a dead body or a statue. Like the statue
within, the temple had to be brought back to
Figure 2.9: Interior of Karnak Temple,
life, every morning by the light, which had Luxor

http://www.multimedia-publishing.com/t628897a.jpg

then to penetrate the sanctuary to bring the god to life. Thus the light was not
merely the power of illumination; it was the divine emanation of the sun god
(Figure 2.10). This precious force was the object of the entire attention of the
architect who took care that it penetrated to the gods in the best possible way,
ensuring the correct balance between the light of life and the shadow of
mystery. The nature of the god was impenetrable and invisible; he had to
remain surrounded by shadows.

The Egyptians were well aware how to recognize the interior lighting of their
monumental buildings by creating axes of light, directing beams like theatrical
spotlights on to a statue, leaving one room in shadow, and gradually
increasing the darkness to suggest the rising mystery. In the central hall of the
lower temple of Chephren, almost life size statues in black stone, including
the famous one of the pharaoh with the falcon, were set along the wall
between the pillars. Light filtered through narrow windows arranged at the

13



junction of wall and ceiling, was directed onto all the statues spread through
the hall by reflection from the polish alabaster floor; the red granite pillars and
walls remained in shadow. This interplay between light and shade help to
concentrate attention on the statues and brought the stiff lines of the hall to
life in a somewhat theatrical manner.'

2.5. Greek Architecture

Greeks were the first to formulate laws of nature. Every branch of Philosophy,
Biology, Mathematics, architecture, law etc was developed and still forms the
basis of modern thought. Ancient Greeks knew by
observation that when sunbeam strikes the earth at
an angle, a column, its shadow and the sunbeams
form a triangle. The laws of a triangle proved to be a
great leap on understanding mathematics.

When the sunrays strike an object at an angle of 45

the shadow would be equal to the height of the
(Figure 2.12) object. This gave the surveyor a
method of measuring the height of the pillar without Figure 2.11: The Stepped
Portico of 'King Minos'
the trouble of actually climbing it. In Grecian Palace at Knossos, Crete
http://solohq.solopassion.com/Articles/Cresswell
/Img/Arch%20pic%206%20Minos.jpg
architecture strong sunlight served to highlight the

beauty of the structure's exterior proportions rather than to draw attention to
the texture of the materials.

Parthenon, Temple of Athena Nike are brilliant examples of play of solid and
voids, light and shade which give it a sculptural quality out of the rectangular
mass of the temple.

Parthenon is made of chiseled marble columns and beams. Everything is cast

in strong contrast, light or shadow, convex or concave, space or substance.
The play of sunlight also colors the friezes, reliefs and the fluting of the
columns with an impressive effect.

14



2.6. Roman Architecture

It is often said that Roman architecture generally has a more spatial character
than Greek architecture but on the contrary it is not space in conceptual sense
rather truly space made manifest.

The Pantheon is an entirely enclosed interior lighted from above. Coming into
the Pantheon from the tangled network of streets outside, it is experienced as
the perfect expression of peace and harmony. As one enters the rotunda one
is aware of a mild light coming from a source high, three times as high the
ceiling of the priestly. The dome does not seem to limit the space but rather to
expand and raise it. The Pantheon is composed of a semi spherical dome of a
43.2-meter diameter, placed on top of a. Cylinder with the same diameter.

The height of the building is also 43.2 meters, so that

the structure may be said to be composed around a
huge spherical volume. In other words the height of the
wall cylinder is equal to the radius of the dome, the
height of the room equal to its width and breadth. It is
when this structure is illuminated from an oculus nine
meters in diameter at the top of the dome that
architectural space truly becomes manifest. The circular Figure2. 13: Light shaft,
Pantheon, Rome
opening at the summit of the dome forms the only http://www.monolithic.com/thedome/p

antheon/pan08x.jpg

connection with the outside world-not with the noisy, casual world of the
streets but with a still greater hemisphere, the celestial sky above it. When the
sun does not enter in a slanting cylinder of rays, the light is finely diffused
because it comes from such a great height. But it all falls in the same
direction, coming from a single source and producing real shadows. The floor,
beautifully paved in a pattern of squares and circles of marble, receives most
of the light and is reflected to brighten even the darkest spots so that there are
no black shadows anywhere. The wall recesses and tabernacles, with their
Corinthian columns and cornices, receive enough light to bring out the
architectonic forms in full plasticity. A condition such as this of matter and light
cannot be experienced in nature. It is only - in architecture that such a vision
15



is encountered (Figure 2.7). It is this power of architecture that moves

everyone.11

2.7. Japanese Architecture

Japanese Architecture traditionally endeavors, by means of its sensitive
technology, breaks light down to its individual particles. Light quietly diffuses
into the interior, to mingle with darkness, producing a space informed by
monochromatic gradation.

2.8. Light in Contemporary Times

Architect Richard 'Meier, the keynote speaker at the daylong seminar
"Designing with Light" at the American craft museum last June, defined his
use of daylight in the design of recent projects, including the Getty center in
Los Angeles.
"Always in our work, there is a concern for the variety of ways in which light
comes through in a variety of ways… Each situation is different; it's dependent
on the location, site, locale, climate, and the nature of the architectural
program-what it is and what it can be. The effect of lighting predominates our
thinking about the form and use of spaces."

At the Getty Center, Meier's mandate was to design the museum's top-floor
painting galleries so that visitors could look up and see the sky through glass
ceilings. Because conservators concerned with allowing in so much daylight,
Meier's solution was the use of automatic louvers above the glass that move
throughout the day deflecting the sun's direct rays.

"We devised a louver system which is above the skylights, so that in the
morning it is turns on and one direction and keeps direct light from coming in,"
Meier says. "And in the afternoon, it flips and is in the other direction, and
therefore you can always be in the gallery space and look up and see the sky,

11
Resmussen, Steen Elie. Experiencing Architecture. Cambridge: MIT Press Cambridge,
1962.
16



but direct light never comes into the top-lit gallery spaces. As you go through
all of the painting galleries throughout the day, you can always see paintings
in natural light. Artificial light is never needed, and that's unusual in most
museums today. Outside light also comes into the Getty Center lobbies and
light wells separated from light sensitive displays. To develop the system, the
design team built scale models of the skylights and louvers at increasingly
larger sizes until they were large enough to wheel outside and sit within.
Inside the units they could measure the amount of light coming in and observe
its quality.”12

Similar in spirit to Skylight Louvers that enhance a museum environment, a

more widespread application to control daylight in homes, offices, and many
other building types is the use of blinds and shutters at the window. The
production technology behind today's window coverings offers many viable
Daylight -Control Solutions, which take into careful consideration the nature of
light itself.

2.9. Daylight-in architecture

Daylight is constantly changing, contrasting to the other elements of
architecture we consider, can be exactly determined. The architect can fix the
dimensions of solids and cavities, he can designate the orientation of his
buildings, he can specify the materials and the way they are to be treated; he
can describe precisely the quantities and qualities he cannot control. It
changes from morning to evening, from day to day, both in intensity and color.
The designer has to see how is it possible to work with such a capricious
factor? How can it be utilizes artistically? Daylight comes from the sun, bright
and direct; it often comes filtered, diffused, and scattered by clouds and the
ground and other surfaces reflect it.

Direct sun contains the maximum quantity of all wavelengths of radiation,

including infrared, which causes the sensation of heat. Smaller quantities of

12
Richard Meier: The Complete Works. Cambridge: MIT press, 2000.
17



infrared as well as ultraviolet, which can cause material deterioration, come

from the diffused light of the sky and cloud.

2.10. Designing With Space and Daylight

Incorporating the sun's rays into architectural interiors can be energy efficient
and aesthetically pleasing, but controlling the quality of light is crucial to
preserving materials and preventing reflection and glare.

2.10.1. Daylight variability

The amount of daylight available for use is not continuous often. The daily and
seasonal motions of the sun with respect to a particular building surface, for
the latitude at which the building is located, produce a regular and predictable
pattern of gradual variation in the amount of directions of the available light.

Daylight is thought by most to be psychologically desirable and there is much

evidence that is biologically beneficial. The variability of daylight from one
moment to the next produces visual stimulus and provides a psychological
contact with the outdoors which most people find extremely satisfying.13

2.10.2. Intensity of light

The intensity of light the sun offers us is fairly constant, and its direction
predictable. Light varies according to the position and angle of the sun
according to the phases of the moon, on whether the sky is more or less
cloudy, depending on the season and the pollution and when outside we have
to adopt ourselves to the light, seeking sunny areas and shady ones.

However, on the inside we have the chance to control the light, to mould it into
the form which we wish to be, in other words we can take it over.

13
http://www.wbdg.org/design/psychspace_value.php
18



A window is a breach in the enclosing skin of a building, an opening for the

flows- inward and outward- of heat, light and sound. It is often the element of
a room that influences the interior environment most.

Unless there is an obvious reason for excluding daylight, people are

dissatisfied with windowless rooms. Almost any opening to the outside is
better than none. A view into a drab courtyard or onto the back of another
building is far from ideal; people may screen it with translucent curtains and
indoor plants, but rarely will they choose to have a windowless space.

Size, position, sectional characteristics, and relationship to other surfaces

ultimately define the luminous experiences within a space. Windows play
many roles and take on many tasks. They can be spaces in and of
themselves, stages for activities, filters the outside, frames for views, and
much more.

The detailing of windows concerns window depth, sectional characteristics,

and materials. Window depth has a significant impact on the relationship
between inside and outside - the deeper the window the greater the
distinction. The sectional characteristics of the window also play important
roles in determining the quality of light, where it will be distributed, and
whether light will be concentrated, distributed, reflected, filtered, or otherwise
modified. The window can even be detailed to bring light to a particular place
at a particular time.

2.10.3. Size of an Opening

The size of the window determines the character of light in space, the
relationship between inside and outside, whether the room volume or
perimeter will be illuminated, how a surface or an object will be revealed, how
time and seasons will be emphasized.

The size of the window and its influence on daylight must also be considered
from a broader conceptual perspective which might include the connection to

19



the site, desired quality or mood of the light, human comfort, way finding,
articulation of form, and visual relief.

Small windows typically create distinct pools for daylight that punctuate a
space with rhythm of light and shadows. A small window defines a boundary
between the inside and outside which is accentuated by the contrast between
the mass of the wall and the small areas of glazing. As the size of the window
increases there is a corresponding decrease in both the contrast of light and
shadow and the boundary between the inside and outside. In contrast a large
window creates a less discriminating boundary between the inside and
outside- it can welcome the site and the landscape to the interior. Small
windows also define a space of light within shadow. When located in the close
proximity, small windows can create dappled rhythm of light and shadow. If
clustered together they can form larger openings that wash, the room or
surfaces with light. As the window size increases, contrast of the light and
shadow decreases.

2.10.4. Orientation of an Opening

An opening can be oriented to receive direct sunlight during certain portions of
the day. Sunshine flowing through a window brings brightness and warmth. It
creates sharp patterns of light and dark on the surfaces of a room, and crisply
articulates the forms within the space. It can be welcomed with pleasure in a
cold building or can b regarded as a cause of intolerable discomfort in hot
weather. It can be used by a lighting designer; it can be interreflected
specularly, used directly as a beam or used to create a bright diffuse
reflection.

Light is of decisive importance in experiencing architecture. The same room

can be made to give very different spatial impressions by the simple
expedient of changing the size and location of its openings. Moving a window
from the middle of a wall to a corner with utterly transform the entire character
of the room.

20



2.10.5. Location of an Opening

The location of an opening will affect the manner in which light enters a room
and illuminates its form and surfaces. When located wholly within a wall
plane, an opening will appear as a bright spot of light on a darker surface.
This condition can be a source of glare if the opening's brightness contrasts
greatly with the dark surface surrounding it. Conditions of glare, caused by
excessive brightness ratio's between adjacent surfaces or areas in a room,
can be ameliorated by allowing daylight to enter the space from at least two
directions.

When an opening is located

along the edge of a wall, or at
the corner of a room, the
daylight entering through it will
wash the surface of the wall
adjacent and perpendicular to
the plane of the opening. This
illuminated surface will itself
become a source of light and
enhance the light level within
the space. Figure 2.14: Location of an Opening is Vital in the
Determination of Light Patters
Knowles, Ralph L. Rhythm and Ritual: A Motive for Design. 1998. 2 7 2007 <http://www-

rcf.usc.edu/~rknowles/rhythm_ritual/rhy_rit.html>.
The position of a window on a wall or ceiling affects how light will be
distributed and what relationship it will have with the tasks, activities, and
experiences in a space (Figure 2.15). Low windows, for example, provide an
opportunity to take advantage of ground reflected light, which can be
redirected from exterior surfaces and floors to bring light deep within the
space. The lower the window, the greater the opportunity top provides direct
visual connection to the site and landscape. Mid height windows are popular
for combining views, reflected light, and an optimal location for ventilation in
proximity to the occupant. As the window height increases, so does privacy.
High windows shift the visual relationship from the earth to the sky, while also
allowing light to penetrate deep into the space. Care must be taken with high

21



windows because the surface below the window may be cast in shadow,
which can create excessive contrast between the window and the wall.14

Additional factors may also affect the quality within a room. The shape and
expression of an opening will be reflected in the shadow pattern it casts on
the surfaces on the room. The cooler and texture of these surfaces will affect
their reflectivity and, therefore the ambient light level within the space.

2.11. Factors affecting the form

2.11.1. Time of the day
Our ability to read time through light is dependent first on our awareness and
knowledge of the natural cycles of daylight and secondly on weather time is
realized in the built from.

"Any space that is orientated from east to west strengthens our experience of
the seasons. One main wall is nearly always dark, on the other side of the
space, a shadow line moves gradually up the wall then down again. To
experience the complete cycle one year... Any space that is oriented from
north to south sharpens our experience of a day. Both main walls are
lightened, but different hours. Every morning, light from the east will cast a
shadow that moved quickly down the opposite wall and across the floor. Every
afternoon, light from west wall will cast a shadow that .crosses the floor and-
climbs the opposing walls."15

In order to express time through daylight design, we must first ask, 'What
aspects of time are we trying to reveal? What luminous phenomena occur
over time and are how can they be captured? What moods and quality of light
in time corresponds with program activities and users?

14
Ching, Francis D.K. Architecture: Form, Space, and Order. New York: Van Nostrand
Reinhold, 1979.
15
Knowles, Ralph L. Rhythm and Ritual: A Motive for Design. 1998. 2 7 2007 <http://www-
rcf.usc.edu/~rknowles/rhythm_ritual/rhy_rit.html>.
22



The room and window orientation, forms, configurations, and detailing can be
shaped to realize the desired luminous effects over time.

2.11.2. Form
In early design stages, building shape has a primary effect on day lighting is .a
function of the exposure interior spaces to the sly vault.

Single story structures and the top story of multi-story buildings are
particularly situated for day lighting because of the accessibility of virtually all-
interior areas to the sky dome.

2.11.3. Orientation of form

Small buildings (where day lighting is less of a design priority and where
energy performance is dominated by the envelope) must balance and
desirability of southern exposure for passive solar heat gain against
minimizing perimeter area to reduce heat loss. In larger, day lit buildings, heat
loss is less of a concern (because of greater internal loads and the need for
exposure to relatively uniform lighting levels predominant. In general,
southern and northern exposures are the most desirable while east and west
exposures are to be minimized.

Because light (and sun) on the south facade is abundant, relatively uniform
and because excess solar gain in the summer can be controlled with
overhangs, this is the most desirable façade for day lighting access, and its
dimension should be maximized.

Day lighting exposure is less abundant on the north facade, but the near-
constant availability of diffuse sky light and the absence of summer sunlight
make it the second most desirable orientation. The larger net heat loss
through north glazing is still a disadvantage but both to the degree associated
with smaller buildings (with minimum internal gains and large envelope
losses).

23



Both east and west orientation affords only half day exposure to sunlight
making optimum fenestration design more difficult. Both experience large
summer heat gain at unwanted times while providing little winter passive solar
contribution. For these reasons the east and west facade dimensions should
be minimized.

2.11.4. Building form design guidelines for day lighting

To utilize day lighting effectively in multi-storey buildings:

• Use narrow plans to keep work areas within 30 ft of the exterior.

• "Finger" plans can be used where other conditions make a straight plan
undesirable.
• However, if the structure is tall and the space between wings is narrow,
each wing becomes a sky dome obstruction to those adjacent.
• This effect can be utilized by the use of light colored exterior
surfaces.16

2.12. Orientation of Light

The sun is a rich source of light for the illumination of forms and spaces in
architecture. The quality of its light changes with the time of day, and from
season to season. And it transmits the changing colors and moods of the sky
and the weather to the surfaces and forms it illuminates.

The Apparent rotation of the sun with respect to the earth is produced
between the two lines of the tropics. For this reason, although the sun always
rises in the east and sets in the west, for the countries in the Northern
Hemisphere, the sun has a southern trajectory and for those of the Southern
Hemisphere, it has a northern trajectory.

16
Iftikhar, Muzna. Revival of National Museum-A Museum Based on Daylighting Stretegies.
Architecture thesis. NEDUET. Karachi: NEDUET, 2001.
24



Usable daylight is available to apertures oriented in any direction, although

the amount will differ with each orientation. Of principal concern is the location
of the sun relative to a building fenestration. Apertures to the north receive
only sky-contributed illumination and so will require larger areas of glazing
than orientations with exposure to direct sun. Advantages of north apertures
include the resulting soft, diffuse north skylight and lack of need for sun
controls. However, sky glare controls still need to be considered.

2.12.1. Southern Light

Light from the south (in the Northern Hemisphere) always consists of direct
sunlight, with greater inclination and less calorific intensity in winter and the
opposite in summer.

Southern light produces shadows and reflections. It allows one to play with
volumes, to place elements so that they are outlined against the light or even
if a swimming pool is constructed in front of a porch or the windows of a living
room, it is possible to produce reflections which are in continuous movements
on the walls and ceiling.

2.12.2. Northern Light

North oriented spaces do not receive direct light (in the northern hemisphere)
It is a diffused light without shadows or reflections, adequate for working, for
painting or for watching televisions, painter's studios and offices tend to be
oriented in this direction. It is also the most adequate for shop windows. It is
possible to have large windows open to the north, in order to obtain the
maximum possible amount of light without having to fear direct sunlight.

Northern light does not produce reflections nor does it dazzle so that the
transparency between the exterior and the interior is perfect. Northward
orientation allows the incorporation of picture windows.

25



2.12.3. Morning Light

If the openings are sufficiently narrow, or if the light filters through a blind it is
possible to make out the profile of the beams, to observe how their shadows
shift along the walls of the room. The light itself materializes on the specks of
dust hanging, suspended in the air and one can feel the warmth of the ray.

2.12.4. Evening Light

The evening light becomes less intense after a certain hour of the day. White
walls shine with greater intensity and with a slightly yellow tinge, brick walls
take on an intense orange color, all the surfaces in the city are transformed
and the sparkles multiply.

As from this moment and until total darkness is reached the light changes
constantly, like a swell on the sea. With the frequency of, blinking, the city
undergoes infinitesimal metamorphoses. And without our hardly noticing it,
the outlines of objects become more diffuse, some objects overlap others and
it is difficult to make out their edges, all reality draws closer, it becomes
camouflaged within the ever darkening blue and rose.

The spaces which are oriented to the west should be protected from the last
perpendicular sunlight and be capable of catching the changes of light each
evening.

2.12.5. Overhead Light

Openings can be of many types, of different materials and surfaces: from
small, translucent, plastic skylights which can be bought on the market, to
more complex structures of metal and glass that can cover complete rooms.

Skylights not only introduce natural light into the interior, they also appraise
the rooms in a different way. Low overhead illumination on a wall converts it
into an animated element, capable of unfolding different images depending on
the direction and intensity of the light rays. The overhead lighting of a

26



staircase gives this architectonic element a symbolic meaning. One climbs

towards the light.

2.12.6. Building Orientation Design Guidelines for Day Lighting

• To the extent permitted by sitting and other constraints, the multi-storey
building plan should be elongated with the maximum length facades on
the north and south in addition to proportioning facade exposures
properly, this results in a narrow buildings, allowing maximum interior
exposures to daylight.

• In single-story and low-rise buildings, the availability of the roof for

admitting day lighting makes this plan elongation less important.

2.12.7. Hot Dry Zone

In hot dry climate cubical forms are advantageous and slightly elongated
towards the east west axis are most adaptable. Sites with ESE exposure are
preferred.

2.12.8. Cool Zone

In cold climates compact forms, such as 'point houses' of squarish character,
or bilateral (back to back) building plans on the north south are preferable
because of dense cubature. And the orientation in SSE direction is adopted.

2.12.9. Warm Humid Zone

Free elongated buildings in the east west direction are advantageous.
Buildings on the north south axis receive greater penalty.

27



2.12.10. Temperate Zone

Form permits more flexible plans to materialize, an elongated plan is desirable
and on the east west axis is preferable where as site exposure tends to move
further east of south.17

2.13. Building Configuration

Building configuration is also
important in daylighting. Multistory
buildings will be most effective if
they are long and narrow,
allowing maximum vertical glazing
per square foot of floor space.
Daylighting can be achieved to a
depth of about 2.5 times the
height of the windows, or about
15-20 ft from the windows. Figure 2.16: Optimum Form, its location and
orientation in different zones
Buildings wrapped around
Konya, Allan. Design Primer for Hot Climates. London: The Architectural Press Ltd, 1980

courtyards, light wells, and atria can be effectively daylighted if properly
designed (Figure 2.17). Open spaces must be large enough so as not to block
light from the sky from reaching interior spaces. The effectiveness of such
light wells can be improved by using high reflecting, diffuse, exterior finishes
such as white paint, light colored tile, or concrete. Direct sun illuminating
these surfaces, however, may make them very bright when viewed from the
building interior.

In single story buildings the configuration is not so important, since roof

apertures (skylights, clerestories) can be used to illuminate interior spaces,
with or without peripheral windows.

Daylight spacing angles can be used to shape and space building to assure
adequate daylight access to the street and adjacent building.

17
Konya, Allan. Design Primer for Hot Climates. London: The Architectural Press Ltd, 1980.
28



Daylighting in hot climate that have clear skies and a bright sun involve bs
finding ways to use the light while excluding as much solar heat as a possible
from the building or open space. Window area should be limited to 10 to 20
per cent of the wall area. Since the exterior illumination is often 500 times
more than that required inside, windows are often located so that their view of
the shy dome is obstructed and light is filtered and reflected before it reaches
the Windows.

The light from reflecting surfaces such as the ground adjacent or facades,
which are usually light in color to reflect heat away from the building, can
easily exceed the illumination from the, clear sky without the sun. Because the
interior light levels are low even reflected light is a potential source of glare
that often should be filtered at the window plane. Indigenous builders in hot
arid climates use wood screens called "mashrabiiyya" to filter the light.

Under overcast, sky conditions, the bright isn't available and exterior light
levels are usually lower; therefore, exterior obstructions of the sly dome are a
disadvantage rather than a advantage, as they are in a sunny clear skies.
Sometimes if the cloud cover is quite thin, the overcast sky can be very bright
and a potential source of glare. The chart indicates spacing angles
recommended for residential building types. They assumed overcast sky
conditions typical of the latitude listed, daylight factors adequate for residential
tasks, and continuous building rows.18

2.14. Color Theory for Architectural Space

Hans Sedlmayer has written on forms:
“Light shows that it possesses a static component whilst in colors, it reveals
that it also has a dynamic component.”19

18
Iftikhar, Muzna. Revival of National Museum-A Museum Based on Daylighting Stretegies.
Architecture thesis. NEDUET. Karachi: NEDUET, 2001.
19
Ching, Francis D.K. Architecture: Form, Space, and Order. New York: Van Nostrand
Reinhold, 1979.
29



Color may express the character of a building and the spirit it is meant to
convey. While the aspect of one building should be light and gay, indicating
festivity and recreation, another should have an austere and efficient look,
indicating work and concentration. For both types there are colors which seem
absolutely right and others which are entirely unsuitable (Figure 2.18).

By the use of single color, or definite color scheme, it is possible to suggest

the chief function of a building. Within the building colors may be used to
accentuate form, divisions and other architectonic elements. Colors can make
objects appear large or small, distant
or near, lighter or heavier, cool or
warm. A small room can be made to
appear larger by being given a pale
color. Or if it is a cold room, with a
northern or eastern exposure, it can
be given artificial sunlight by being Figure 2.19: Beautiful Venetian architecture in
Hania, a oceanside town in Western Crete,
painted in warm tones. Greece

http://www.leelau.net/chai/images/europe/hania3.jpg

There seems to be a connection between the colorfulness of Venetian
architecture and the special light that prevails in Venice where there are so
many reflections from the southern sky and the water. Shadows never
become black and meaningless; they are lighted up by shimmering, glittering
reflections that give the colors a special richness.
But the late Renaissance brought new architectural ideals to the airy city.
Buildings were no longer to depend on color planes for effects but on relief, on
massiveness and dramatic shadows.

Sky conditions affect understanding of form. On a clear day colors are vivid
and saturated; light and shadow emphasis depth and three-dimensional
qualities. Facades are animated as sunlight reveals material, texture and
detail. On an overcast day, daylight is subdued and soft, with only subtle
distinctions in light and shadows. As a result and details are deemphasized
forms seemed two-dimensional and color appears monochromatic and dull.

30



The moods and qualities of the architecture change, with the sky conditions
building can be transformed from a somber, monolithic and monochromatic
structure under overcast conditions to an exuberant, articulated and
polychromatic structure under clear skies, Our perception of color changes
depending on the sky conditions luminance levels, and time of day A red
surface might shift from scarlet to vermilion to maroon as skies vary from clear
to overcast and illuminance levels increase or decreases.

The different aspects of light are usually perceived as colors. The bluish of a
cloudy day might represent sobriety and depression. The build up of tension
before the drama of an approaching storm- is symbolized in the angry and
threatening qualities of purple lights. The sum breaking through the clouds
afterward has the subtle luminosity of silver, Colors encourage in nature, they
are the sources of inspiration for the architect who composes a variety of
spaces, each with its own mood and purpose Light's ability to give life to
architecture is dependent on its own life, its changeability."20

2.14.1. Color, Light and Psychology

Light gives the basic seven colors of the spectrum to a wide range of hues
and shades. It has from
ancient times been rich
source known to alter
our moods and move
emotions. It has been
correspondent to the
seven faculties of the
soul and to the seven Figure 2.20: Electromagnetic Spectrum
http://links.baruch.sc.edu/scael/personals/pjpb/lecture/spectrum.gif

would have been no differentiation in objects.

heavens. Without color there

20
Ching, Francis D.K. Architecture: Form, Space, and Order. New York: Van Nostrand
Reinhold, 1979.
31



Every matter absorbs and reflects different light, hence giving us a colorful
planet (Figure 2.21).

Humans harnessed light, which is the prime source of their existence. Today
there are artificially produced light for all sorts of purpose. Appropriately lit
interiors have become essential for hygiene needs, proper working habits,
relaxation and aesthetic needs. Different light helps create varied moods and
state of mind. There is an inherited chromatic culture, which identifies each
color with concepts, ideas and emotions. However the feeling associated with
each one of them may vary according to the cultural environment.

2.15. Visual Comfort

Visual comfort is taken to mean the absence of physiological pain, irritation or
distraction. Visual comfort within a space depends on the contrast levels and
luminance variations across the space. Glare is one of the most common
causes of visual discomfort and can result in the occupant having to interact
with the lighting system. Occupant interaction with lighting and lighting control
systems can significantly impact the energy use patterns of spaces. If issues
of glare and visual discomfort are understood during the initial design process,
they could be designed for and hence affect predicted energy requirements.21

2.15.1. Northern Light

A person who always finds himself in north-facing room, both when working
and when at home, who does not often go out for walks will have very little
contact with the sun. This might prove a feeling of sadness and melancholy,
and even bad temper. Yet nevertheless, this same austerity and coldness.
May be just right to transmit an ascetic spiritual feeling.

21
Asim, Rabya. A Proposed Design for the City Museum in Karachi - With Emphasis on Role
of Light in Architecture. Mehran University of Engineering and Technology. Karachi: Ministry
of Education, Government of Pakistan, 2005.
32



2.15.2. Morning Light

If the openings are sufficiently narrow or if the light filters through a blind it is
possible to make out a profile of the beam, to observe hoe there shadows
shift along the walls of the room. The light itself materializes on the speak of
dust hanging, suspended in the air and it can feel the warmth of the rays. The
morning suns rays are low, but in contrast to the last rays of the evening, they
give warmth during the first hours of the day to the space, which grew cold
during the night. Due to the angle of the sunrays, the window carpentry is
converted into fortuitous pergolas.

2.15.3. Overhead Light

In noisy and variegated areas skylight presents itself a new way to comfort the
domestic space. It is the way of finding silence and tranquility in the
environment that lacks them.

2.15.4. Southern light

Southern light consists of direct sunlight and it produces an atmosphere of
well being and healthy.

2.16. Luminance Brightness of Building Materials

2.16.1. The Ground as a Light Source
Light reflected from the ground or from other exterior surfaces is important as
day lighting designs. The light reflected from the ground on sunny elevations
commonly represents 10% to 15% of the total daylight reaching a window
area. It, frequently exceed this proportion it reflected from wet sand soil, light
vegetation and snow cover.

2.16.2. Effect of Material on the Quality of Light

Dialogue with material is the main support of attempts to fix in actuality the
spaces one wishes to create. Each material has to be imbued with the intent
of the whole and then the details are to be selected.

33



Concrete lacks in sculpturesque solidity and weight. It serves to produce light,

homogeneous surfaces. Concrete is a cool, inorganic material with a
concealed background of strength. Not only the nature of the material can be
expressed but also it can be employed to establish the single intent of the
space. When light is drawn into it, cool, tranquil space surrounded by a clearly
finished architectural element is located to become a soft, transparent area
transcending materials. It becomes a living space that is one with the people
inhabiting it. The actual walls cease to exist, and the body of the beholder is
aware only of the surrounding space. Materials interweave in the spaces the
totality of the human being.

When stone is cut and left unpolished rough surfaces blur the light, the
irregularities produce shadows and the joins acquire a greater presence.

Bricks absorb light. Sunlight converts them into warm, throbbing elements.

“The sun is never so beautiful as when it is reflected on a brick wall” 22

Louis I. Kahn

Brick is a beautiful material. It is live material in areas that occupy three

quarters of the world, where it is the only logical material to use.
Cloth covering creates an air current which softens the sun's rays. Slatted
blinds allow the intensity of the light to be controlled.

22
Lobell, John. Between Silence and Light. Shambhala, 2000.
34



Table 1: Reflectance of Various Ground Surface Materials

Reflectance of various ground surface materials is as follows:
MATERIAL
REFLECTANCE
%
Cement 27
Granite 40
Marble (White) 45
Paint on non-textured 75
surface (White)
Paint on textured 55
surface (White)
Earth 07
Gravel 13
Concrete 55
Brick (Dark Red Glazed) 30
Brick, red 25-45
Concrete 30-50
Glass, clear or tinted 7
Reflective 20-40

2.17. Glare
Of principal concern in daylighting is the glare that may result when building
occupants peripherally see bright clouds or sunlight surfaces while trying to
perform visual tasks.

Direct sun in interiors where critical visual tasks are performed is generally
avoided. Thus, apertures that allow vision to the exterior must provide for
shielding or filtering of exterior excessive brightness, or workstations must be
oriented away from the aperture. Partly cloudy skies may contribute major
quantities of daylight but also can be excessively bright and, therefore, should
be shielded from view.

35



2.17.1. Types of Glare

There are two main types of glare. The first occurs when the eye has adapted
to an environment over time and the environment undergoes rapid change.
The other occurs when the eye has adapted to an environment and a source
of light appears that is much brighter than anything else around it.

Glare may also occur as a result of a reflection coming from a very bright
source outside the field of view. The reflection may cause discomfort as well
as the additional annoyance of veiling or masking out the information which is
being sought within that view.

2.17.2. Glare Problems

2.17.2.1. Disability Glare
Glare which results in a direct reduction in
the person’s ability to see objects in the field
of view (Figure 2.23). Brilliant light sources,
like car headlamps at night, or the view of the
sun from a window at the end of a corridor Figure 2.22: Disability Glare
http://www.gelighting.com/india/images/flood.jpg
are examples of this sort of discomfort.

2.17.2.2. Discomfort Glare

Glare in which there is no significant reduction in the
ability to see, although discomfort still persists, due to
the bright sources in the field of view is called
discomfort glare e.g. The view of an excessively

(Figure 2.13) bright sky near the line of sight of the Figure2. 24: Discomfort
Glare
worker. It might be necessary for the occupant to http://www.doctorstuartfriedman.com/eweb/
articles/images/lighting1.gif
shade one’s eyes with a hand to reduce discomfort.

36



2.17.2.3. Veiling Reflections

Veiling reflections are caused when the
reflected image of a source of light is brighter
than the luminance of the task, e.g. the image
of a window or luminaire off the surface of a
computer screen (Figure 2.26). Pencil
handwriting where the graphite acts as a
mirror is more susceptible to veiling
reflections than other types of ink. Figure 2.25: Veiling Reflections

http://irc.nrc-cnrc.gc.ca/images/ie/cope/04-1-ScreenGlare.jpg

2.17.2.4. Reflected Glare
When light from a light source is reflected off
specular surfaces into the eye or field of view, it is
called reflected glare (Figure 2.27). An example
would be the discomfort produced by the sun’s
reflection from a swimming pool. 23

In order to determine, on a scientific basis, the

necessary standards of lighting in a building, it is
necessary to break down the characteristics of Figure 2.28: Reflected Glare
http://respublica.typepad.com/photos/uncategorize
d/capt913f0131dead4ed89e9a5a37b018c8ffapto.jpg
visual comfort, visual acuity and task, and express

this relationship in terms of brightness, contrast ratios and adaptation levels.
These have been the basis of methods of glare evaluation to date.

2.18. Indoor and outdoor light

Architecture is basically a juxtaposition of indoors and outdoors, sheltered
space and exposed environment, confidence and vulnerability, privacy and
society. During the day, natural light reveals the entirety of the exterior, filling
all its corners and crudely showing the skin of buildings, their size, shape and
details. 24

23
Square1 Wiki. 1999. 14 May 2007 <http://squ1.org/wiki/Glare
24
TAREB. Introduction- Lighting. 2003. 3 April 2007
37



When light is used wisely in architecture it enters from outside the visual field
of the observer, through high openings often
located above the entry to the space. This
restoration of an interior light of its own, from
an unidentified source, exerts a rather
magical effect (Figure 2.16). It renounces the
external view in exchange for the
reorganization of the interior space, which
ceases to be secondary. Figure 2.29: Light from Unidentified
Sources, Exerts Magical Effect
http://www.oac.cdlib.org/affiliates/images/csta/kt6v19p65d/webf

ullsize/11496970.jpg

Returning to natural light as

energy passing from the
exterior to the interior of the
building, it should be borne in
mind that the way in which it
enters is conditioned by its

origin (Figure 2.17), which Figure2.30: Three incidences: Direct Sun, Sky Dome and
Albedo
can be threefold:
TAREB. Introduction- Lighting. 2003. 3 April 2007

This whole situation changes radically at night, when the roles of the interior
and the exterior are inverted. At this point two brief comments can be made
on the use of artificial and natural light in architecture.

Direct sunlight strikes with parallel beams of light with a high luminous flux (as
high as 100,000 lux). Indoors it generates clearly defined patches of light that
change as the sun moves across the sky vault. This type of light therefore
creates uncomfortable interior visual conditions caused by excessive contrast,
and easily results in overheating in interiors. Its thermal effect and its unique
distribution of luminance, which imparts a feeling of cheerfulness, are
desirable in winter and in cold climates and undesirable in summer in hot
climates.

38



Sky dome light is associated with an overcast sky (though it is also the case in
clear skies for directions facing away from the sun), and is the most usual
form of natural light in Atlantic and northern climates. Its lighting intensity is 5 -
10% of that of direct sunlight. The amount of light from a cloudy sky depends
on the sun altitude and the cloud density and so can vary considerably. This
condition is often used as a minimum condition, but one must also consider
that, in hotter climates, its entry into the building can cause overheating
problems.25

2.19. Transmitting elements

These are spaces
that are located
beyond a room that
initially receives
natural light from

the exterior. They Figure 2.31: Natural Lighting Elements: conduction elements and
transmitting elements
collect the light
TAREB. Introduction- Lighting. 2003. 3 April 2007

transmitted through the outer room and so on. The shape of such an
outer room is very important, since their capacity to transmit the light
they receive depends to a large extent on the geometric characteristics
of the space (Figure 2.32). The characteristics of the finish on their surfaces
are also important, as this is where the natural light strikes. Different finishes
cause rooms to act differently according to whether they are reflecting,
specular, diffuse, absorbent or whatever.

2.19.1. Intermediate light spaces

These are located in the peripheral zone of the building, between the external
environment and the inhabitable spaces. They can act as regulatory filters
between the internal and external environmental characteristics; they guide

25
TAREB. Introduction- Lighting. 2003. 3 April 2007
39



and distribute the natural light that reaches them from the exterior to the
interior. They are sealed with transparent or translucent materials and can
incorporate control elements to regulate light passing through. The most
typical example are galleries, porches and greenhouses

2.19.2. Interior light spaces

These form part of the interior zone of a building, guiding the natural light that
reaches them to interior inhabitable spaces that are far from the periphery.
Within this group are courtyards, atria and all types of light - ducts and
sunducts.

2.19.3. Peripheral and core elements

These are devices or sets of elements that connect two different light
environments separated by a wall containing the element. They are defined
by their geometric characteristics, namely, their size in relation to that of the
wall in which they are set, their position in that wall (central or lateral, high or
low) and the shape of the opening. Their composition depends on the
elements they incorporate to control and regulate the lighting, visual and
ventilation phenomena.

2.19.4. Lighting in peripheral and core zones

The first point to tackle when considering the use of natural light is its entry
into interiors that would otherwise be dark, due to the fact that they are
separated from the exterior by a façade.

In any building, two separate problems can be distinguished: the lighting of

the peripheral zones, which have contact with the skin of the building and
therefore the possibility of direct access to the light outside; and that of the
interior zones, where the only access to natural light is by means of some
system of transportation.

40



However, before dealing with specific systems applying to the periphery or the
core, we shall consider some general aspects of the project that affect its
interrelation with light.

2.19.4.1. Compactness
One initial point to consider is the compactness of the building, which
establishes the relationship between the outer shell of the building and its
volume, i.e., the degree of concentration of the interior spaces. Logically, less
compact buildings will have greater possibilities of natural lighting, as the core
zone, where the entry of light is more difficult to achieve, is correspondingly
smaller.

2.19.4.2. Porosity
Another aspect to be taken into account is the porosity of the building, which
refers to the existence within its global volume of empty spaces and points of
communication with the exterior, such as courtyards. A high degree of
porosity indicates the possibility of creating an access for light (and also
ventilation) in the core zones of the building.

2.19.4.3. Transparency
A further general aspect to consider is the transparency of the skin of the
building to light, which varies from totally opaque buildings to totally glazed
ones. Although greater transparency increases light in the peripheral zone,
good lighting depends more on the appropriate distribution of light than on
quantity.

2.19.4.4. Geometric characteristics

Other aspects to take into account are the geometric characteristics of the
interior spaces. Premises can thus be analysed according to size, shape,
proportions and possible differences in floor level.

41



2.19.4.5. Size of a building

Though size does not in
principle have any influence on
the distribution of light in its
interior; areas of identical
shape but different size and

with their openings to scale Figure2.33: Central Zone In Spaces with Large Surface
Area
with their size will have the
TAREB. Introduction- Lighting. 2003. 3 April 2007

same interior light distribution (Figure2.34). The only point that should be
borne in mind is that spaces with large surface
Area will have a dark central zone unless they have a higher ceiling.

2.19.4.6. Shape and proportions

In a building they are important for
its natural lighting, depending on
the location of the windows
(Figure 2.36). As a rule, irregular
Figure 2.35: Light Transmittance
TAREB. Introduction- Lighting. 2003. 3 April 2007

or elongated spaces with light Entering

at the end have a rather irregular light
distribution.26

It should be remembered that the lateral entry of light into a space causes a
rapid decrease in light (i.e., illuminance) the further we are from the opening,
due to the fact that the direct vision of the sky (the main source of light) is
soon lost. This results in peripheral zones and premises easily being badly lit,
even if the total amount of light present is sufficient. Light from the zenith on
the other hand, tends to be greater but is harder to achieve.

26
TAREB. Introduction- Lighting. 2003. 3 April 2007
42



2.20. Fusion of Light with Solid Mass

Through the modulating medium of architecture,
ghostly light can be translated into a tangible element
of buildings, a space filling and defining presence.
Among the most enduring ways of handling light, the
oldest and most basic involves a fusion with matter.
Trapping and reflecting light in mass impregnates
forms with a radiant, vital energy. Tadao Ando's stark
concrete walls, for instance, assume the
Figure 2.37:Tadao Aando- Vitra
remarkable potency of mass transformed by Conference Pavilion Weil am Rhein,
Germany - Concrete Detail
nature when animated by changing light http://www.encyclopedia.com/doc/1G1-62385006.html

(Figure 2.38). Methods of sensitizing solid material to light have been
painstakingly cultivated and passed down through generations of builders and
craftsmen. Opaque materials such as polished wood, ceramic tiles, silken
plaster and the glass-sandwiched leaf of gold mosaic were transformed into
glowing, lustrous lattices, catching and mirroring light. For baser materials,
hewn and chiselled textures invested mass with a flickering play of light and
shade. In this way, even the most drab substances could be induced to
undulate and pulsate with life.27

2.21. Design Strategies Using Daylight

Conceptually, daylighting can be distributed to interior space through
openings from the side, from the top, or a combination of the two. Building
type, height, aspect ratio and massing, dominant climatic conditions, site
obstructions, adjacent buildings, and other issues most often drives choice of
strategy. Throughout history side lighting has been a primary way of
introducing daylight into buildings. Besides supplying light, side lighting can
provide view, create orientation, allow connectivity to out-of doors, and allow
ventilation during less harsh times of the year. Daylight openings and external
controls should vary by compass direction since each façade of a building,
based on orientation, receives differing amounts of daylight throughout the

27
http://www.encyclopedia.com/doc/1G1-62385006.html
43



day and across seasons. Location of openings in walls can be low, middle, or
high depending on desired distribution and structural and wall system
restrictions. Common strategies are:

2.21.1. Single side lighting from one direction provides a strong

directional quality of light with rapid deprecation of light quantity away from the
window.

2.21.2. Bilateral lighting occurs when light enters rooms from two
side directions, thus improving uniformity of distribution depending on width of
room, height, and location of glass.

2.21.3. Multilateral lighting enters from several directions and can

reduce contrast and glare, improve uniformity of light on horizontal and
vertical surfaces, and provide more than one primary daylighting zone.

2.21.4. Clerestories are high windows with sill heights greater than
seven feet above the floor and are excellent strategies for task illumination on
horizontal and vertical surfaces. Glass higher on a wall generally provides
deeper penetration into a room.

2.21.5. Light shelves provide shading for middle window positions

and re-direct sunlight from high position
windows. Light shelves, which separate
view glass from daylight glass, are most
effective on a building's southern
exposure and under clear skies. Light
shelves may be external, internal, or a

combination of external and internal. Figure 2.39: Typical Skylight

Kroelinger, Michael D. "Daylight in Buildings." Implications 2005.

Depth of shelves depends on visual needs, orientation, latitude, and window

height.

44



2.21.6. Skylights placed horizontally in flat or sloped roofs can provide

a uniform level of illumination throughout a space when skylights are spaced
on a ratio of 1.5 times ceiling height. Skylights are generally effective for
lighting horizontal tasks and function best for one-story buildings (Figure
2.22). The performance of skylights differs under clear versus overcast skies.
Thermal gain is an issue in otter climates (figure 2.23). 28

Figure 2.40: Built-up skylights

Kroelinger, Michael D. "Daylight in Buildings." Implications 2005.

28
Kroelinger, Michael D. "Daylight in Buildings." Implications 2005.

45



2.21.7. Roof monitors are in raised or elevated

roof planes (Figure2. 42). The higher plane contains the
monitor which illuminates task areas under each
monitor bay. Glazing may be vertical or sloped. North
facing monitors perform differently from south facing

monitors. Monitors should be avoided on east and west Figure2. 41: Roof Monitor
Above
orientations. http://www.learn.londonmet.ac.uk/packages/ta
reb/docs/ecb/ecb_ch4_en.pdf

2.21.8. Courtyards are outdoor areas open to

the sky and are partially or totally enclosed by the
building (Figure 2.44). In partly enclosed courtyards,
the north orientation should be the open segment to
reduce glare and to reduce the need for sun control.

Façade and ground materials should reflect daylight and Figure 2.43: Courtyard
http://www.learn.londonmet.ac.uk/packages/ta

sunlight without increasing glare for building users. reb/docs/ecb/ecb_ch4_en.pdf

2.21.9. Lightwells are openings in the ceiling or

floor of a room that allow daylight penetration to the floor,
or floors, below (figure2.26). Lightwells are generally
utilitarian shafts for daylight and ventilation and are not
occupied space. Performance of lightwells depends on
depth and the aspect ratio of the shaft. It is best to
Figure 2.45: Light Shaft
consider a lightwell as a source of supplementary light. http://www.learn.londonmet.ac.uk/packages
/tareb/docs/ecb/ecb_ch4_en.pdf

2.21.10. Atria are central areas of multi-storied
buildings open to the sky. Atria can be glazed to create
a controlled environment (Figure 2.47). Short and wide
atria perform better than tall and narrow atria.
Performance of atria, like lightwells, is dependent on
aspect ratio.
Figure 2.46: Atrium
http://www.learn.londonmet.ac.uk/packages/tareb
/docs/ecb/ecb_ch4_en.pdf

46



2.21.11. Sun Trackers A movable mirror or refracting system can be

used to align the incoming sunlight with
the axis of the light pipe, minimizing
reflection losses. A light pipe with this
feature is called a “sun tracker.”

Sun trackers have been built

commercially (Figure 2.28). If mass
produced, sun trackers could be relatively
inexpensive. Their main limitation is that
they lose effectiveness if the sky does not
remain clear. The system is designed to Figure2.48: Cross Section of Sun
Tracker
collect light from the sun, which is a point http://www.learn.londonmet.ac.uk/packages/tareb/docs/ecb/ecb_ch4

_en.pdf

source. The light reflecting apparatus gets

in the way of the whole sky when the sun is obscured. Another disadvantage
is the need for occasional maintenance.

2.22. Control elements

2.22.1. Separator surfaces
These are surface elements of transparent or translucent material,
incorporated into a transmitting element that separates two different
environments. They enable radiation, and sometimes the view of the exterior,
to pass through, but block the passage of air

2.22.2. Flexible screens

These are elements that partially or totally prevent the entry of solar radiation
and make the light that shines through them diffuse. Depending how they are
placed, they can allow ventilation and provide visual privacy.

47



2.22.3. Rigid screens

These are opaque elements that redirect and/or block the direct solar
radiation that might otherwise strike a transmitting element. Normally, they are
fixed and non adjustable though there may be exceptions to this.

2.22.4. Solar filters

These are surface elements that cover all, or nearly all, of the outer face of a
transmitting element, protect it from solar radiation and allowing ventilation.
They can be fixed or movable and adjustable if the orientation of the louvers
can be changed. Those most used in architecture are the various types of
blinds and jalousies.

2.22.5. Solar obstructers

These are surface elements composed of opaque materials, and can be
attached to the opening of a transmitting element in order to completely seal
it. They are normally called shutters and can be located either on the exterior
or on the interior of a glass separator surface.29

- Aperture - window size, shape and orientation, and glazing specification

- Light shelves (exterior or interior)
- Light reflective surfaces (i.e. Roofs or exterior pavement)
- Integration with artificial lighting
- Ambient compensating artificial lighting sensors, controls, and lamping
- Cooling system sizing and air distribution.

The optimization of all these variables is an exacting and time consuming

task, and typically requires the construction and testing of a model of the
occupied portion of the building or a typical portion thereof.

29
http://www.learn.londonmet.ac.uk/packages/tareb/docs/ecb/ecb_ch4_en.pdf
48



2.23. Summary
Throughout history, daylight in buildings has impacted human behavior and
human factors and has reduced the stress and discomfort of users (IEA SHC
Task 21, 2000), along with directly influencing the design of buildings
including layout of space. With today’s renewed interest in sustainability,
daylight should be a requisite consideration. New developments in design
strategies are gaining attention (Heshong Mahone Group, 1999b; Köster,
2004) just as the ageless experience of light expressed through paintings,
demonstrated by masters like Vermeer and others, have captured our
imagination through the play of light on space, color, and human interaction.
Daylight is a constantly changing and variable phenomenon requiring the use
of good lighting design process based on sound architectural and interior
design principles. Ultimately, users of built environments can report on the
success of our design efforts.

Designing a building for daylighting is analogous to designing the building as

a light fixture, though instead of letting the lighting out, we are designing for its
subtle admission. In general, we are seeking to diffuse the daylight as it
moves into the building - avoiding direct sunbeam penetrations that will cause
contrast and glare. However, in entry foyers, stairwells, corridors, etc., direct
sunshine, which tracks across the space during the course of the day or is
broken into interesting patterns of shadow, is often incorporated into design.
Bill Lam has coined the term "sunlighting" to describe the full range of a
building's engagement with the sun. Generally speaking, it is considered that
apertures in the walls (side lighting) are differently from apertures in the roof
(top lighting). In expansive single-story structures such as shopping malls and
elementary schools, top lighting is a universal option. In multistory buildings,
lower stories are typically limited to daylighting through the window wall.

49



2.24. Design Recommendations

A number of design strategies should be understood and explored during the
design process. These strategies are briefly described below.

Increase perimeter daylight zones—extend the perimeter footprint to

maximize the usable daylighting area.

Allow daylight penetration high in a space. Windows located high in a wall or

in roof monitors and clerestories will result in deeper light penetration and
reduce the likelihood of excessive brightness.

Reflect daylight within a space to increase room brightness. A light shelf, if

properly designed, has the potential to increase room brightness and
decrease window brightness (Figure
2.49).

Slope ceilings to direct more light into

a space. Sloping the ceiling away
form the fenestration area will help
increase the surface brightness of
Figure 2.50: Daylight Design Strategies
the ceiling further into a space. Ander, Gregg D. WBDG Daylighting. 2007. 2 April 2007
<http://www.wbdg.org/design/daylighting.php>

Avoid direct beam daylight on critical visual tasks. Poor visibility and
discomfort will result if excessive brightness differences occur in the vicinity of
critical visual tasks.

Filter daylight: The harshness of direct light can be filtered with vegetation,
curtains, louvers, or the like, and will help distribute light.

50



Understand that different building orientations will benefit from different

daylighting strategies; for example light shelves which are effective on south
façades are often ineffective on the east or west elevations of buildings.30

30
Ander, Gregg D. WBDG Daylighting. 2007. 2 April 2007
<http://www.wbdg.org/design/daylighting.php>
51



3. Museum

52



3.1. Definition of museum:

The Cambridge Dictionary Online defined museums as
“Places of study, buildings where objects of historical, scientific or artistic
interest are kept, preserved and exhibited”. 31

The AAM Code of Ethics for Museums notes that their common denominator
is making a "unique contribution to the public by collecting, preserving, and
interpreting the things of this world."32

The code also acknowledges the variety of sizes and types of museums:
"Their numbers include both governmental and private museums of
anthropology, art history and natural history, aquariums, arboreta, art centers,
botanical gardens, children's museums, historic sites, nature centers,
planetariums, science and technology centers, and zoos."33

The International Council of Museums (ICOM) defines a museum as:

“A non-profitmaking, permanent institution in the service of society and of its
development, and open to the public, which acquires, conserves, researches,
communicates and exhibits, for purposes of study, education and enjoyment,
material evidence of people and their environment.” 34

Today's 21st Century public is increasingly eager for experiences rather than
static objects. They want drama, immersion, adventure and involvement. A
collection of authentic objects may be a traditional curator’s focus, but with the
exception of art galleries, an increasing number of guests are responding

31
Cambridge University. Cambrige Online Dictionary. 2000. 2 June 2007
32
American Association of Museum. Code of Ethics for Museums. 2000. 2 May 2007
<http://www.aam-us.org/museumresources/ethics/coe.cfm>.
33
American Association of Museum. Code of Ethics for Museums. 2000. 2 May 2007
<http://www.aam-us.org/museumresources/ethics/coe.cfm>.
34
American Association of Museum. What is a Museum? 2000. 5 May 2007
<http://www.aam-us.org/aboutmuseums/whatis.cfm>.
53



enthusiastically to artifacts, if they come with an adventure that tells a

compelling and educational story. 35

3.2. Quality Standards for Museum Exhibitions

An exhibition is successful if it is physically, intellectually, and emotionally
engaging to those who experience it. What follows is an outline of exhibition
features that generally result in
success. A competent exhibit Audience
Awareness
need not demonstrate all of these
features. Ergonomics Content

Quality
The following standards for Standards
museum exhibitions are
Design Collec4ons
organized in six major categories
followed by descriptions of what
Interpreta4on
constitutes effectiveness for each
category and a listing of specific
Figure 51: Quality Standards in a Museum
ways the category might be expressed in an exhibition (Figure 52).

Some specific indicators of exhibition excellence are:

• An aspect of the exhibition is innovative.
• The exhibition offers a new perspective or new insight on a topic.
• The exhibition presents new information.
• The exhibition synthesizes and presents existing knowledge and/or
collection materials in a provocative way.
• The exhibition includes innovative uses of media, materials, and other
design elements.

35
BRC. Museum Design-Experiance Museum. 2003. 4 May 2007
< http://www.brcweb.com/museum-design.htm>
54



• The exhibition is particularly beautiful, exceptionally capable of

engendering a personal, emotional response, and/or profoundly
memorable in a constructive way.
• The exhibition evokes responses from viewers that are evidence of a
transforming experience.36

3.3. Museum Lighting

Since the late 19th century the destructive effect of light on colors and
materials has been studied specifically in relation to works of art and museum
exhibits. The full spectrum of daylight has been seen to be particularly
damaging due to the UV content and the high levels of light normally
experienced. The color quality of daylight is however not satisfactorily
reproducible and this quality is highly desirable in the viewing of art and
artifacts.

Light is destructive, specifically to those materials that give color in the natural
world and have been adopted by man as media to decorate or create.
Most old pictures were originally painted in daylight and intended for day lit
spaces; many exhibits in museums were originally outdoor objects. It is in
relation to daylight that the opposing requirements of display and conservation
become most clearly apparent: for their long-term preservation, many
precious items cannot be continuously shown in a lit environment that is
historically accurate.37

3.4. Categories of Display Objects

In respect of potential light damage museum objects can be considered in
three broad categories:

36
National Association of Museum Exhibition. Standards for Museum Exhibitions and
Indicators of Excellence. 2006. 23 April 2007
37
Asim, Rabya. A Proposed Design for the City Museum in Karachi - With Emphasis on Role
of Light in Architecture. Mehran University of Engineering and Technology. Karachi: Ministry
of Education, Government of Pakistan, 2005.

55



3.4.1. Extremely Susceptible To Light Damage

This category includes works on paper, textiles, and naturally occurring dyes.
Natural history exhibits including fur, feather, insect and plant material etc..
This category of object requires strictly controlled lighting conditions.

3.4.2. Susceptible To Light Damage

This includes oil paintings on canvas, most wood bone and ivory and other
materials painted or colored.

3.4.3. Not Susceptible To Light Damage

Metal most stone, most ceramics and glass, wooden objects that have largely
been used outdoors or have otherwise lost their natural coloring through
design or use etc.

Traditionally maximum light levels are applied to these categories however

this is a rather oversimplified approach when considering the realities of light
damage. The effects are cumulative and the true measure of the effect of light
is that of total exposure over time. In reality the commonly accepted measures
of maximum light level are based on the exposure before which a detectable
change would be observed over a ten-year period.

At a practical level objects that fall in the first category above cannot be
displayed under natural lighting. The levels for these need to be set to the
narrow band before the eye loses the ability to 'fully appreciate colors.
The second category of exhibits can be lit to levels and with sufficient
variation to accommodate changing natural light conditions in a much-
controlled way.

The third category of objects is easily displayed under natural lighting without
substantial risk of damage.

56



Table 2: Limiting Illuminances and Annual Exposures for Material Sensitivity Classifications
Material Examples of Material Limiting Limiting
Classification Illuminance Annual
Exposure

Insensitive Metal, stone, grass, No limit No limit

ceramic
Low sensitivity Canvases, frescoes, 200 lx 600 000 lxh/a
wood, leather
Medium Watercolor, pastels, 50 lx 150 000 lxh/a
sensitivity various papers
High sensitivity Silk, newspaper, 50 lx 15 000 lxh/a
sensitive pigments

3.5. Conservation Considerations

It is essential to develop a lighting conservation strategy based on overall
exposure values rather than maximum light levels. This provides a flexibility
that is essential to allow experience of the variable nature of daylight. As
discussed above exhibits in the first category are generally unsuitable for
lighting by natural light however as they are most susceptible to damage they
equally need the highest level of care.

Despite the low light levels for exhibition of these materials the time of
exposure must still be controlled through programmed switching of lighting so
they are not illuminated out with exhibition hours. Consideration can also be
given to visitor controlled lighting to further reduce general exposure but
allowing optimum viewing conditions.

The second category of objects can be displayed under a varying but narrow
range of light levels and these can and are frequently disallowed under
controlled natural light. In general the amount of control required will normally
require an active rather than passive light control system and this can be
operated by a system which reacts to changing light conditions in a suitably
programmed way.

57



With the third category it is likely that lighting control measures should be
considered for comfort reasons rather than conservation.38

It is clear that strict observation and care

in terms of light specially, entry of daylight,
is needed when designing spaces like art
galleries or museum which have to house
artifacts from past. Deterioration of theses

artifacts due to carelessness of design can Figure 53: St Mungo's Museum, Glasgow.
Here light from large window areas was
never be accepted (Figure 54). controlled by filtration and the mounting
of stained glass exhibits.
Shaw, Kevan. Museum and Art Gallery Lighting. 2003. 15 April 2007
<http://www.kevan-shaw.com/articles/mus-gall/museums/Museum-
Due to the preponderance of glazed Galleries.html>.

surfaces within gallery spaces, glare is also an important factor to consider
when designing lighting. Often the best way to introduce general lighting is by
means of continuous runs of concealed fittings designed to bounce light off
ceilings and walls, alternatively concealed wall washing of vertical surfaces at
quite low light levels provides the suggestion of a lit environment with a
minimum of light and potential glare sources. Providing large diffuse sources
of light can be useful in displaying highly sensitive artwork especially where
close inspection is required. It also provides a solution where sloping glass
cases are used as they frequently cause problems by reflecting the light
sources directly back at the viewer, however diffuse lighting is only a good
idea for two dimensional exhibits, three dimensional objects loose their depth
and texture without any form revealing directional light.
The lower standard level of 50 lux in museums is not acceptable in any field
where any level of visual acuity is required. Providing a maximum of 50 lux
creates a series of problems. The first 'is simply that of the inverse square

38
Shaw, Kevan. Museum and Art Gallery Lighting. 2003. 15 April 2007 <http://www.kevan-
shaw.com/articles/mus-gall/museums/Museum-Galleries.html>.

58



law. As the distance between the` object, and the light source increases the
level of illumination is reduced by the square of the distance.

Absolutely flat lighting is impossible to achieve, at a practical level, for even

wall washers or diffuse, or reflected light will vary substantially over height.
This kind of diffuse lighting is generally poor for revealing any of the texture,
grain or brush work in exhibits. Elements of display lighting in museums now
often include requirements for a more dramatic style of presentation which
sometimes require theatrical lighting, techniques and equipment to provide
particular points of emphasis, or dynamic moving effects to enhance the
presentation of displays. With these techniques lighting can perform an
interpretive or context providing role in displays.39

3.6. Case lighting

Case lighting is also a key component in most museums. With a display case
all the preceding points are condensed into a very small space and it is
therefore important to discuss case
lighting with the exhibition designers
early on in a project to ensure that there
will be enough space for the lighting.
There can be no general rule as to what
is the correct solution, as this will depend
on the nature of the objects to be Figure 55: Low Light Gallery, St. Mungo's
Museum
displayed and their positions within the Shaw, Kevan. Museum and Art Gallery Lighting. 2003. 15 April 2007
<http://www.kevan-shaw.com/articles/mus-gall/museums/Museum-

Galleries.html>.
case (Figure 56).

Low light levels can be accomplished by creating coffers over display cases
with miniatures. Bouncing the light round the coffer and down the wall
provides at once an even coverage at 50 lux without dimming and a uniform

39
Shaw, Kevan. Display and Conservation: The Dilema of lighting in Museums. 2003. 15 April
2007 <http://www.kevan-shaw.com/articles/mus-gall/conservation/Disp-Con.html>.

59



visual environment allowing high visual acuity without glare or problems of the
viewer self shadowing the light source when closely examining the exhibits.

A different approach is usually required for the provision of lighting systems

for temporary exhibition areas. These can range from small art galleries with a
rapid turnover of contemporary art to major exhibition spaces within national
institutions, .however the key criterion is always flexibility. This is flexibility in
light levels, in positions for additional power or additional lighting for touring
exhibitions.

3.7. Display
Sometimes the main aim of a light installation is to enhance the appearance
of things on display-
emphasizing their special
characteristics, making them
points of attraction. Pictures in a
gallery and merchandise in a
shop are obvious examples. But
the scope to brighten specific
elements exists in every
building (Figure 58). Living
rooms, classrooms and offices
reed focuses of lighting,
provided that these classrooms
Figure 57: Skylight Configuration in Museums and Art
and offices need focuses of Galleries- Sections
Shaw, Kevan. Museum and Art Gallery Lighting. 2003. 15 April 2007 <http://www.kevan-
lighting, provided that these have shaw.com/articles/mus-gall/museums/Museum-Galleries.html>.

meaning to the viewer.

60



Basic requirements for exhibition need to include the following:

• There should be no direct sunlight in the exhibition space
Daylight must be filtered to exclude UV.
• Maximum daylight levels to be controlled, however, keep in mind that
level variation should be allowed to reinforce the connection between
the illuminated space and the natural world.
• Artificial light sources to be selected to provide optimum color rendition
• Artificial light sources to be filtered to exclude UV as far as
practicable40

3.8. The Principle of Contrast

An object is distinguished from its background only if there is visual contrast:
the greatest the contrast, the more apparent the object. So if a particular or a
special picture is to be immediately obvious to a visitor entering a gallery, it
must differ significantly from its surroundings in brightness, color, pattern,
movement or a combination of these.

The background can affect the perception of detail with both positive and
negative contrast. If a dark sculpture is presented against a light wall the
sculpture is been in silhouette, and very little of the detail of the object is
visible. If a white sculpture is seen against a light background, then because
the luminances range is more limited. Details of the sculpture can be
appreciated.

Color contrast can be used to increase visibility in a display, just as it can be

used to task design. Hue and saturation differences (such as given by a red
object on a grey background) can be powerful. They can be achieved by
colored lighting but more easily created by surface color differences and this
gives the additional advantage that there can be difference in reflectance to
enhance brightness contrast. However, a stronger colored background can

40
Shaw, Kevan. Display and Conservation: The Dilema of lighting in Museums. 2003. 15 April
2007 <http://www.kevan-shaw.com/articles/mus-gall/conservation/Disp-Con.html>.
61



affect the eye's color adaptation and distort the apparent colors of the
displayed objects. But this effect can be used to advantage: of a background
hues complementary to the hue of the object then the apparent color intensity
of the object is enhanced.

An object that is moving in reflection to its background or that is changing with

time (such as a flashing light) is especially noticeable in the peripheral fields
of vision. Movement can draw attention to an object that is noticeably visible,
especially if it is sudden or is repetitive with frequency of a few occurrences
per second. Such flashing, though, is uncomfortable to prolonged vision; slow
complex movement holds the viewer's concentration once attention has been
caught. Changes in movement patterns can be used to advance a person's
attention from one area of display to another.

The four types of one area described brightness, color, and pattern and
movement reinforce the effects of each other. If all are present the degree of
each can be small and yet achieve a significant visual separation of object
and surround.41

3.9. Display Lighting Techniques

It is the nature of the object that should determine the design of a display.

The various techniques can be used individually or in combination the choice

depends on what characteristics of the displayed objects are to be shown. For
example, tiny beams of light that enhance the sparkle of jewelry or the fresh
appearance of food may fall to reveal the three dimensional form of a matt
surface and lighting that emphasizes surfaces variation in low-relief sculptures
can reduce the visibility of applied paintwork.

41
Iftikhar, Muzna. Revival of National Museum-A Museum Based on Daylighting Stretegies.
Architecture thesis. NEDUET. Karachi: NEDUET, 2001.
62



The matching of lighting to material is especially important in architectural

lighting, for the enhancement of building surfaces. A rough material need
different directionally from smooth and glossy materials take on a different
apperance from matt materials when the size and brightness of source are
changed.

The absolute amount of light required to illuminate objects depends on the

luminance of the surrounding visual fields, because the key variable is the
ratio of objects to background brightness. In dark surrounding a small
heightening of object luminance is easily perceived.

Where good visibility is required over the whole display, luminances must be
within the range associated with the adaptation level determined by the total
visual field. Higher luminance are perfectly acceptable (provided that glare is
not caused), but the designer has to balance the need for visibility of detail
against the need for dramatic visual effect. Discomfort glare, as we have seen
earlier, depends on the size as well as the luminance of the source, so very
tiny high brightness can give sparkle without discomfort.

The positions of view and the activities of the viewers affect the illuminance
required. The lighting needs to be more dramatic, with greater contrast
between objects and surroundings, if

• The display is seen for only a short period, especially if viewers are on
the move;
• The display is seen from a long distance or is only a small part of the
field of view;
• The display must attract attention rather than rely on viewers' prior
intention if it is, for example, an advertising display rather than an
exhibit in a gallery.

The range of viewing positions affects the choice and the locations of
luminaries.

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Spectacular reflections of light source can seriously reduce the visibility of

objects. This is especially a problem with pictures: a frame with glass is
mirror-like, an oil-painted surface is shiny, and paper itself can be glossy. So
hanging vertically, pictures reflect images of lamps or windows behind the
viewer. This makes it difficult to obtain even illuminance on the picture wall.

3.9.1. Lighting From Above

The designers of museums have long favored this type of lighting, some times
called overhead lighting, for it presents certain obvious advantages.

A freer and steadier supply of light, less liable to be affected by the different
aspects of the various rooms in the building and by any lateral obstacles
(other buildings, trees, etc) which might tend, by causing refraction or by
casting shadows, to alter the quantity or quality of the light itself.
• The possibility of regulating the mount of light cast on the .pictures or
other exhibits and of security full and uniform lighting, giving good
visibility with a minimum of reflection or distortion.
• The maximum latitude in planning space inside the building, which can
be divided without requiring courtyards or light shafts.
• The facilitation of. Security measures, owing to fewer openings in the
outside walls.

3.9.2. Lateral Lighting

This is provided either by ordinary windows of various shapes and sizes,
placed at suitable intervals in the walls, or by continuous openings; both
windows and openings may be placed either at a level at upper part can see
out of them or in the upper part of the wall.

Windows at the usual level, whether separate or continuous, have one serious
drawback, in that the wall in which they are placed is rendered useless and
the opposite wall practically useless, because showcases, paintings and other
objects with a smooth reflecting surface, if placed against the wall facing the
64



source of light, will inevitably cause an interplay of reflections which impedes

visibility. These windows will, however, shed full and agreeable light on
exhibits placed against the other walls and in the center of the room at a
correct angle to the source of light.

3.10. Aspects Fulfilled In Natural Light

The benefits of design with daylight are twofold.
• Comfortable and productive interior environments for the occupants.
• Lower energy cost for the building.
It also satisfies the desire of aesthetics and firmness.

3.10.1. Aesthetics
No one denies that sun provides especially delightful illumination. In addition,
daylight gives reassuring orientation as to place, time, and weather. When
applied with consideration to psychological and physiological needs, daylight
produces comfortable, delightful, and productive environment.

3.10.2. Firmness
Sunlight is not a faddish aesthetic following a trendy concept but the intelligent
application of the natural environment to the achievement of the programmatic
Needs.42

3.11. Analysis and Conclusion

Simply all-good lighting must provide for the need of vision, satisfy hygienic
requirements, meet aesthetic standards and achieves a good spatial
impression and do all this economically.

So in some spaces, natural light if necessary, be supplemented or in

exceptional cases replaced by artificial lighting.

42
Lam, William M. C. Sunlighting As Formgiver for Architecture. Amsterdam: Van Nostrand
Reinhold, 1986.

65



In addition, the purpose of room lighting is to make people feel at the ease
and to provide conditions under which object lighting can be carried out
clearly and in their full character. The matter of human ease commits natural
light to a part in museum lighting. The matter of seeing things clearly and in
character commits artificial light to the major part in object lighting at all times.
Both type of lighting is purely utilitarian. Giving the space a certain response
and should not break the expectation of exhibits. Evoke sentiments of
enjoyments, pleasure and recreation. Oriented towards education, inspection
and study of collection, the system must be balanced combination of diffused
and concentrated lighting.

In short, the role of light in architecture is not negligible, especially in case of

museum where play of natural as well as artificial light is quite critical and
interesting. In addition, the development of early museums is based on this
dominant element. It is also implemented in modern museum design and
appreciated well.

66



4. Case Studies

67



4.1. Case Studies in General

As it is common feeling and widely understood that case studies are very help
full in developing design brief Also, become necessary to get an insight of the
already existing facilities.

4.2. Case Study Criteria for Museums

For museums, the case study criteria are both formal as well as informal, that
is those spaces which are not exhibition spaces but display galleries or
centers.

Initially cater the case study that is in Karachi like Maritime Museum, Karachi.

Then cater those temporary exhibitions that shows Karachi's past, present,
future, like the Mohatta Palace Karachi

68



4.3. Mohatta Palace Museum

4.3.1. Exhibitions On Karachi's
History
The impressive 1920s mansion, a protected
historic structure, which lay vacant and
neglected for many years, has finally been
restored and refurbished (Figure 59).

Figure 60: Living Example of Hindu

Architecture- Muhatta Palace
4.3.2. Location Museum Karachi

The museum is located on crossing of Khayabane-e-Iqbal with Hatim Alvi

road.

4.3.3. General Information

4.3.3.1. Timings
11:00 am to 6:00 PM, Tuesday to Friday. 12:00 noon to 8:00 p.m., Saturday &
Sunday.

4.3.3.2. Entry Charges

Rs 10/- each. Free for students.

4.3.3.3. Parking
Parking is provided for visitors and staff members. Visitor's parking is provided
outside the premises.

4.3.3.4. Duration of an Exhibition

Normally the gallery is open for viewing for three month.

4.3.3.5. Exhibition on `Karachi under the Raj'

Exhibition KARACHI UNDER THE RAY opened to the public on the 1" of
December.

4.3.3.6. Organizers
Dawn group of newspaper trustee's of Mohatta palace museum.
69



4.3.3.7. Display Contents

The exhibition is not just about Karachi as the title suggests. There are
exhibits from and about Kalat State, the Hyderabad Mirs. And the Kairpur
State on the ground floor.

4.3.4. Artifacts Inside Building

These items range letters from Lord Mountbatten to Mir Murad Khan Talpur of
Khairpur and from him to the Viceroy. A Karachi newspaper, dated 1935, that
lay beside the letters was equally intriguing, impressive collection of antique
books and manuscript on Karachi, many by and on Sir Charles Naipier, the
father of modem Karachi. These include life and opinions of him, Descriptive
ethnology of bridges, History of administration of Scinde, Sindh revisited and
A journey over land to India.

4.3.5. Artifacts Outside Building

Outside the building, eight pavilions have
been set up on the grounds (Figure 62) of
the Mohatta Palace which house exhibits
that trace the rise of Karachi, the Raj and
Jinnah as well as the fall of Raj and the
birth of Pakistan. The pavilions are titled: Figure 61: Sculpures at Backyard-
Muhatta Palace Museum

Humble Beginnings- The Early Coastal Settlement

The Sole Spokesman -Rare Glimpses of Mr. Mohammed Ali Jinnah
The forgotten Martyrs of Victoria Bagh Statuary under the Raj
Beyond Empire
Stones of Empire-Landmarks of Colonial Karachi
Anchors Weigh
The Empire's Burning and at exit, the Yellow Rolls Royce

70



4.3.6. Mode of Presentation

As a whole, the mode of presentation is quite impressive. Most of the items
are exhibited in showcase and shelves.

For artificial lighting, energy savers are used inside the teak panels. Variation
in artifacts is found, from footwear to furniture. Therefore, the illumination
arrangement is also vary usually spot lights are used for costumes, furniture
and paintings.

Those inside the shelves and lighten by energy savers. The building is
originally a palace, so the arrangement of artifacts is not designed accordance
to any museum arrangement.

4.3.7. Analysis
As it is an adaptive reuse, so the circulation spaces are not standard.
Therefore, in the case of school children the circulation spaces become
congested.
• The galleries are not mentioned at entrance and items of diverse
nature are displayed together like costumes, tableware and furniture.
• The plaque describing each item is also present.
• A corner is dedicated to written materials.
• A museum shop is also present inside the building, which offers
calendar, brochures and books on different topics regarding Karachi.
• Services for handicaps are not very well served as a single ramp for
wheel chairs is in shatters.
• Despite of large number of windows on façade, very small quantity of
natural light is allowed to enter the museum.

71



4.4. Maritime Museum Karachi

4.4.1. Introduction
Maritime museum is Pakistan Navy museum to preserve the Muslim Maritime
history and its development. This museum is among the best museums of the
country with well-organized displays and presentations.

4.4.2. Location
The museum is located on the Habib Ibraheem Rahmatullah road former
Karsaz road.

4.4.3. Opening Hours

The museum opens on 10:00 AM-10:00 PM daily, except Wednesday.

4.4.4. General
4.4.4.1. History
National Maritime Museum was designed by NESPAK with the cost of Rs.166
Million, inaugurated in the year 1997 in accordance with 50th years of
Independence.

4.4.4.2. Visitors
The average number of visitors to the museum is about 250 each day. In peak
days the average number is exceed to 1000 visitors per day.

4.4.4.3. Parking
Charge Parking is available outside the premises for visitors. Staff vehicle can
come and park inside.

4.4.4.4. Research Facilities

Student and scholars interested in any aspect of marine history, its progress,
displayed artifacts, and documents of Navy are given facilities and
encouragement in their research work.

72



4.4.4.5. Entrance
Entrance is from Karsaz road. It opens in an open-air museum where
Various types of Navy ships, submarines and other Navy gunnies are
displayed.

4.4.5. Planning of Museum Building

The building has three floors. The first and second floors are the display areas
and basement for offices and workshops. The building is a perfect octagon
with circulation passage in circular shape.

4.4.5.1. First floor

Entrance is from the center of the building. On the first floor are two small
rooms, on each side, one for security and other for the museum shop, which
is connected to staircase. All displays belong to naval history. In center of the
museum is Demonstration Theater, where demonstrations are given through
computers (Figure 4.5).

4.4.5.2. Second floor

Entrance is from the administration office, which is connected to staircase.
The passage follows the same octagonal shape. The passage follows the
same octagonal shape and the exhibits are photographs, consisting mainly of
naval officers and their history. These are exhibited on wall'. In the center of
the atrium, a huge skeleton of a whale hangs from the ceiling. An auditorium
of 60 seats is present in the center of the floor.

4.4.6. Display Galleries

Among its several galleries, they have Maritime History gallery, Port and
Harbors gallery, Marine Life gallery and Navel gallery.

73



Maritime History Gallery

Its exhibits include Moenjodaro riveting, trade, ancient trade routes, and
Muhammad Bin Qasim's attack on Debal, early Muslim navigational
instruments as well as rare metallic armor dating from 8th century.
Ports and Harbors Gallery
It displays a diorama of Karachi's harbor, surrounding settlements of the
channel and once flourishing mangroves.
Marine Life Gallery
Marine life gallery provides information on coral and marine life through
special displays.
Naval Gallery
Gallery exhibits vintage naval equipment and represents Pakistan navy's
achievement in war through models and photograph.

4.4.7. Outdoor Displays

The most interesting part of the museum are its
outdoor displays which include a replica of the historic
Light house tower at Manora and a Mine sweeper and
midget Submarine anchored in the lake (Figure 63).

4.4.8. Circulation
Circulation of the museum is radial (meaning that one Figure 64: Replica of the
historic Light house tower
person entering the museum moves in a circular path at Manora- Maritime
Museum Karachi
and after that exits from the same way.) In this way
visitor does not get confused and follows
clear path and direction.

4.4.9. Facade of the Museum

The facade is quite impressive as compared
to the other museum of the country (Figure
66). The form of the building is in hexagonal
shape and treated with yellow stones on the
Figure 65: Enterance Facade-
main entrance. Maritime Museum Karachi

74



Figure 67: Floor Plans- Maritime Museum Karachi

75



4.4.10. Mode of Presentation

For individual artifacts spotlights are used, the
fluorescent lights are also used in the
cornices (Figure 4.6). Natural light coming
from atrium fills the second floor gallery, as in
the orientation lobby, which is present below

the auditorium, is Figure 68: Case Lighting- Maritime

Museum Museum Karachi
also full of natural
light. The entrance foyer is also lit with natural light,
due to magnificent entrance door. A beautiful
artificial light is present to lighten the foyer after the
daytime. The open-air artifacts are present in their
natural environment and attract visitors in evening
(Figure 4.7).

Figure 69: Daylit Atrium-

Martime Museum Karachi
The lighting inside the building are designed in
accordance to required standard.

4.4.11. Analysis:
Visiting Maritime Museum leads to following findings:

Circulation is not very well elaborated. There is no sense of direction.

Although, open air displays are displayed in a particular manner but museum
building itself looks quite dull.

Closed display area or indoor areas are too much segregated. They don’t give
an idea of openness one just explored outside. Half of the structure feels like
a black box while the other is quite better in terms of voids and light due to
excellent use of skylight.

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4.5. Peace Memorial Park

Nagasaki, Japan
4.5.1. General Information
The area now known as Peace Memorial Park (Figure 4.8) was previously an
urban district called Nakajima. During the Edo Era (1603-1868), it was a
thriving commercial center where goods coming up the rivers on boats were
unloaded, then sold or sent elsewhere by land. In the Meiji era (1868-1912), it
was the political,
administrative, and
commercial heart of
Hiroshima, home to City
Hall, the Prefectural Office
and Hiroshima's central

distribution facilities. Figure 70: Museum- Main Building and East Building
http://www.pcf.city.hiroshima.jp/index_e2.html
It is estimated that at the

time of the atomic bombing, about 6,500 people lived in the seven cho
(neighborhood units) in the Nakajima district.
On August 6, 1945, the first atomic bomb in
history exploded directly over this area. In
addition to the usual inhabitants, thousands of
volunteer army corps members and mobilized
students were in the area demolishing
buildings for a fire lane. Nearly all of these
lives were snuffed out as the entire district
vanished instantly.

On August 6, 1949, with enactment of the

Hiroshima Peace Memorial City Construction
Law, it was decided that the entire Nakajima
Figure 71: Site Plan
http://www.pcf.city.hiroshima.jp/index_e2.html
District would be devoted to "peace memorial

facilities," and that was the beginning of what is now Peace Memorial Park.

77



The park covers approximately 122,100 square meters. It was designed by

Kenzo Tange and three others, whose proposal was selected through a
design competition that drew 145 proposals.

At the south edge of the park is a line of three buildings (Figure 4.9): the East
Building and the Main Building of the Peace Memorial Museum, and the
International Conference Center Hiroshima.

4.5.2. Honkawa Elementary

School Peace Museum
Since it was the closest school to
the hypocenter (about 410 meters
away), (Figure 4.10) Honkawa
National School received the
greatest damage. The interior of
the building was totally gutted and
destroyed, leaving only the shell.
Figure 72: Honkawa Elementary School
http://www.pcf.city.hiroshima.jp/index_e2.html

In later years the A-bombed school building was repeatedly repaired and
remodeled, but in April 1988, a new school building was constructed and the
old one removed except for one section above ground and another
underground.

The walls around the preserved stairwell from the first floor to the basement
display not only marks of post-war construction, but scars from the atomic
blast.

78



4.5.3. Monument for the

Volunteer Army Corps
This monument was erected by
the bereaved families of the Nukui
area of Kawauchi Village, whose
loss had been a full 180 of their
number (Figure 74). As the dead
corps members had been their
Figure 73: Monument for the Volunteer Army Corps
family's bread-winners, the elderly, http://www.pcf.city.hiroshima.jp/index_e2.html

children, and women they left behind had trouble surviving.

4.5.4. Aioi Bridge

The bridge was the target of the atomic
bomb. The bomb missed slightly,
exploding 300 meters from the bridge in
the air over Shima Hospital (Figure 4.12).

The bridge was reconstructed after the

war but gradually deteriorated and a new
bridge replaced the old in 1983. The old
Figure 75: Aioi Bridge
pillar bearing the marks of the bombing is http://www.pcf.city.hiroshima.jp/index_e2.html
of the girders deformed by the
still preserved at the foot of the bridge. Some
blast are displayed in the Hiroshima Peace Memorial Museum.

4.5.5. Peace Clock Tower

This spherical clock facing three
directions is perched on a twisted
tower made (Figure 76) of three
iron pillars in an equilateral
triangle. (Height: 20 meters)

Figure 77: Peace Clock Tower

http://www.pcf.city.hiroshima.jp/index_e2.html

79



It powerfully chimes "No more Hiroshimas" to the world each day at 8:15, the
moment humanity suffered the first atomic bombing. It was selected in 1996
for the Environment

4.5.6. Peace Bell

The platform evokes the radiation warning
mark, expressing the hope for abolition of
atomic and hydrogen bombs. On the
opposite side is a mirror that reflects the
hearts of those who ring the bell (Figure
4.14).
Figure 78: Peace Bell
http://www.pcf.city.hiroshima.jp/index_e2.html

The pond is adorned by famous lotuses grown from seeds from Professor
Ichiro Oga, who dug them from 2000-year-old ruins in Chiba City.

After the bombing, lotus leaves were placed on people's wounds to reduce the
pain of burns and console their spirits.

4.5.7. Atomic Bomb Memorial Mound

This area near the hypocenter was strewn with
corpses after the bombing. Many corpses,
including those pulled out of the river, were
brought here and cremated (Figure 4.15).

In 1946, individual donations enabled the

construction of a temporary memorial mound, a
temporary vault, and a chapel. Ten years later
in 1955, Hiroshima City took over the project
and rebuilt the decrepit vault. Unclaimed ashes
that had been kept in various other places were Figure 79: Atomic Bomb Memorial
Mound
also brought to the new vault. The vault lies http://www.pcf.city.hiroshima.jp/index_e2.html

80



under the mound and contains the ashes of roughly 70,000 victims. These
were persons whose ashes were unclaimed because the entire family
perished or persons of unknown identity.

4.5.8. A-bombed Gravestone

The powerful A-bomb blast scattered the
stones in the graveyard. This gravestone (270
meters from the hypocenter), left as it appeared
on the day of the bombing, marked the grave of
Kunai Okamoto of the Asano clan, which ruled
the Hiroshima fief during the Edo period.

This gravestone in Peace Memorial Park is the

only monument left standing on the ground as it
was that August sixth (Figure 4.16).

Figure 80: A-bombed Gravestone

4.5.9. Monument in Memory of the http://www.pcf.city.hiroshima.jp/index_e2.html

Korean Victims of the A-bomb
At the end of the war, about three million Koreans
were living in Japan, and it is said that tens of
thousands of them suffered the atomic bombing in
Hiroshima (Figure 4.17).

The monument standing on a turtle-shaped base is

engraved with the epigraph "Souls of the dead ride
to heaven on the backs of turtles." Two dragons are
sculpted into the crown set on top of the obelisk. Figure 81: Monument in
Memory of the Korean Victims
of the A-bomb
http://www.pcf.city.hiroshima.jp/index_e2.html

81



4.5.10. Peace Fountain

The fountain is one meter high and four
meters wide and is made of Oya stone. The
water that pours continuously from the mouth
of the ceramic lion's head on the left conveys
endless compassion for the suffering victims
who craved water in their agony but were
Figure 82: Peace Fountain
unable to get it (Figure 83). http://www.pcf.city.hiroshima.jp/index_e2.html

4.5.11. Children's Peace Monument

With the support of students in more than 3,100 schools around Japan and in
nine other countries, including England, they
were able to build this bronze statue that stands
nine meters high (Figure 4.19).

On the top of the three-legged pedestal stands

the bronze figure of a girl holding up a gold-
colored "folded" crane. On opposite sides of the
pedestal are suspended boy and girl figures
symbolizing a bright future and hope. On the
stone underneath the pedestal is inscribed,
"This is our cry. This is our prayer. For building
peace in this world." Figure 84: Children's Peace
Monument
http://www.pcf.city.hiroshima.jp/index_e2.html

4.5.12. Flame of Peace
Tokyo University Professor Kenzo
Tange designed the base.
The pedestal was designed to
suggest two hands pressed together
at the wrist and bent back so that the
palms point up to the sky. It
expresses condolence for victims Figure 85: Flame of Peace
http://www.pcf.city.hiroshima.jp/index_e2.html

82



unable to satisfy their thirst for water, as well as the desire for nuclear
abolition and enduring world peace (Figure 4.20).

The flame has burned continuously since it was lit on August 1, 1964. It
symbolizes the anti-nuclear resolve to burn the flame "until the day when all
such weapons shall have disappeared from the earth."

4.5.13. Pond of Peace

The pond was designed to encircle the
Cenotaph for the A-bomb Victims so as
to suggest that the monument is floating.
It is 17 meters wide and 70 meters long.
It was originally designed as a 2-meter-
wide moat encircling the monument on

three sides, but when the Flame of

Figure 86: Pond of Peace
Peace was established on August 1, http://www.pcf.city.hiroshima.jp/index_e2.html

1964, the Flame of Peace Construction Committee expanded the pond behind
the monument to a width of 17 meters and a length of 70 meters, its current
dimensions (Figure 4.21).

4.5.14. Cenotaph for the A-bomb Victims

This monument was built with the desire
to reconstruct Hiroshima─the city
destroyed by the world's first atomic
bombing─as a city of peace. It was
designed by Kenzo Tange. It resembles
an ancient arch-shaped house, in part

because of the desire to shelter the Figure 87: Cenotaph for the A-bomb Victims
http://www.pcf.city.hiroshima.jp/index_e2.html
souls of the victims from the elements.

The monument is inscribed with the words, "Let all the souls here rest in
peace, for we shall not repeat the evil." The stone chest in the center holds
the registry of the names of persons who died from the bombing, regardless

83



of nationality. Names are added when persons related to a death make

application (Figure 4.22).

4.5.15. Statue of Peace "New Leaves"

This monument is engraved with the following
words of Dr. Hideki Yukawa: "O god of evil, do not
come this way again. This place is reserved for
those who pray for peace." ("God of evil" means a
god who brings calamity and bad luck.)

The statue of a child standing next to a deer was

made by sculptor Katsuzo Entsuba (Figure 4.23).

Figure 88: Statue of Peace "New

Leaves"
4.5.16. Peace Bridge http://www.pcf.city.hiroshima.jp/index_e2.html

The bridges that provide access to Peace
Memorial Park on Peace Boulevard are Peace
Bridge over the Motoyasu West Peace Bridge
(River and Nishi-heiwa-ohashi) over the
Honkawa River (Figure 4.24).

Peace Bridge is designed to evoke a sunrise

(the future) while West Peace Bridge (River
and Nishi-heiwa-ohashi ) is designed to evoke
a sunset (the past).43

Figure 89: Peace Bridge

http://www.pcf.city.hiroshima.jp/index_e2.html

43
Hiroshima Peace Memorial Museum. Hiroshima Peace Site. 2000. 12 May 2007
<http://www.pcf.city.hiroshima.jp/>.

84



4.5.17. Analysis:
Hiroshima peace museum is not a single structure holding exhibition but it is a
whole area which was basically the hypocenter of nuclear attack on 6 August
1945. Only a main structure, comprising of two main buildings apart from that,
whole of an area is a live exhibition of what had got survived from Atomic
detonation that day. Museum depicts the horrible artifacts and leftovers of
survivirs and those who died.

Peace museum in Hiroshima has a very basic vision that is no more

Hiroshimas. Museum is designed by some very well know architects and
sculptors from Japan.

Figure 90: Museum- Suggested Tour Path

http://www.pcf.city.hiroshima.jp/index_e2.html

The plan of main building clearly shows the

recommended tour path. All artifacts thus
exhibited are in a particular timeline starting
from 8:15 AM (Figure 4.25).

Hiroshima Peace Museum is a very well

designed museum in a way that it is not
implementing any man-made inputs but on the
other hand, it is showing what basically
survived in a way or other. Visitors easily get
influenced by the negative effects of war and

almost every visitor who once visited the Figure 91: Statue of School Going Boy,
Victim of Atomic Explosion
museum get anti-war and anti-nuclear weapon. http://www.pcf.city.hiroshima.jp/index_e2.html

85



When a visitor is about to leave the museum, (Figure 4.26) last thing he
comes across is the message of peace which has a long lasting effect on the
visitors mind. Apart from above mention exhibits, museum houses following
facilities:

• Exhibition Rooms
• Library
• Meeting Rooms
• Peace Memorial Hall
• Conference Rooms
• Audio Guide Corner
• Visitors Lounge
• Video Theater
• Video Corner
• Museum Shop

86



4.6. Peace Sphere Monument

Nagasaki, Japan
"There are no sculptors only, no
painters only, no musicians only, no
architects only ...the plastic, creative
incident fulfills itself in an overall form in
the service of poetry." - Le Corbusier _
(architect) (Figure 4.27)

Figure 92: South-East Elevation

4.6.1. Concept A. Wittlin associates. peace sphere monument. 25 March 2000. 16 June 2007
<http://www.awittlin.com/photo4.htm>.
Located on a pier in the city of the last
atomic bomb on earth, the Peace
Sphere is a monument to the human
longing for peace and the freedom to
be happy. It is the difficult task of the
monument to be the most pure
expression of the human sense of
Figure 93: North-East Elevation
harmony and order (Figure 4.28). As A. Wittlin associates. peace sphere monument. 25 March 2000. 16 June 2007

<http://www.awittlin.com/photo4.htm>.

such, the monument stresses the most essential not only in a material sense,
but above all in the spiritual sense.

Architects words:
“Concrete (the only material to survive
the atomic blast), glass, walls, stone,
wood, and all such materials are here
only to express and to form the
essence. In and of themselves they are
Figure 94: North-West Elevation
A. Wittlin associates. peace sphere monument. 25 March 2000. 16 June 2007
nothing and a necessary weight. It is <http://www.awittlin.com/photo4.htm>.
my duty as the architect to make these things go away in order that the
thought they hold will appear.” (Figure 4.29)

87



4.6.1.1. The Sphere

A sphere is a deliberate form which
symbolizes the absolute and the ideal. It
is used in various cultures to symbolize
the divine whose center is everywhere
and whose circumference is nowhere.
There could be no more suitable shape
than the sphere to represent the
Figure 95: South-West Elevation
principle of peace here. In the English A. Wittlin associates. peace sphere monument. 25 March 2000. 16 June 2007

<http://www.awittlin.com/photo4.htm>.

language, “sphere” is defined as both a circle and round shape and as a ball-
shaped mass. Thus, it is 2-dimensional and 3-dimensional in our
understanding of it (Figure 4.30).

In this project, the principle of a sphere is

architecturally interpreted to be a room
and not a dome. To wit, the sphere is
flattened and becomes 4 circles set into
the walls. Each circular opening coincides
with the 4 cardinal (compass) points of
north, south, east, and west (Figure 4.31).

"Simplicity is so difficult because it

requires absolutely everything."
Figure 96: Floor Plan
T. S. Eliot (poet) A. Wittlin associates. peace sphere monument. 25 March 2000. 16 June
2007 <http://www.awittlin.com/photo4.htm>.
The approach to the design is one not
dissimilar to the Japanese terms "sabi"
and "wabi" which define a spare, solitary
beauty and serenity. The space is having
a restrained and sophisticated sense of
beauty and quiet. It has the spirit of
contemplation of world suffering and Figure 97: Exterior Perspective
A. Wittlin associates. peace sphere monument. 25 March 2000. 16 June 2007
pain. The aim is to invoke a message of <http://www.awittlin.com/photo4.htm>.
universal peace and enlightenment ("satori") through an elemental beauty of

88



dignity and repose (Figure 4.32).

4.6.1.2. Hinomaru
Central to the concept of the design is
the idea of Hinomaru, which means
"the place where the sun rises." The
Japanese heart learns early that it lives
in a land that gracefully meets the
dawning day before the rest of the

world. The dignity of this fact is Figure 98: Exterior Perspective (morning)
A. Wittlin associates. peace sphere monument. 25 March 2000. 16 June 2007
expressed in the nation's (Nippon) flag <http://www.awittlin.com/photo4.htm>.
of a red circle inside a white rectangle. As the place where light first appears
in the world's sky, it is therefore a place of hope (Figure 4.33).

The Hinomaru composition thus provides the window and the wall (enclosure)
format for the building. Seeing that
Nagasaki was an important window for
Japan to the world historically, the
analogy is apt. The duality speaks to the
interplay of solid+void, land+sea,
line+curve, light+shadow,

individual+society, peace+non-peace, Figure 99: Exterior Perspective (afternoon)

A. Wittlin associates. peace sphere monument. 25 March 2000. 16 June 2007
unity+isolation, man+nature (Figure <http://www.awittlin.com/photo4.htm>.

4.34).

4.6.1.3. The Disks

The circular disks are constructed of a
super strong poly-carbonate plastic or
glass with the images of world maps
sand-blasted onto them. The area of
the land (continents) is translucent,
and the water (sea) areas are partially
Figure 100: Exterior Perspective, White +
Maps Disks Closed
A. Wittlin associates. peace sphere monument. 25 March 2000. 16 June 2007
<http://www.awittlin.com/photo4.htm>.

89



transparent (Figure 101).

Maps will show the following obstacles to peace which we have in the world:
War - the absence of peace [man vs. man]
Starvation - the lack of peace in the body/mind/soul of man [man vs.
conscience]
Environmental Disorders - man's attack
on the peace of nature [man vs. nature]

The 2 disks facing the east and the west

slide horizontally, allows for an
Figure 102: Exterior Perspective- Late
overlaying of information (map on Afternoon
A. Wittlin associates. peace sphere monument. 25 March 2000. 16 June
2007 <http://www.awittlin.com/photo4.htm>.
map/image on image) (Figure 4.36).
One disk is be white (a milk-colored
glass). The white disk is symbolic of
peace, purity, and placidity. Imagine 1
disk to be available for children to touch,
draw upon and/or rotate. There is also a

single disk which slides vertically into the Figure 103: Exterior Perspective- Night
View
ground (Figure 104). A. Wittlin associates. peace sphere monument. 25 March 2000. 16 June 2007
<http://www.awittlin.com/photo4.htm>.

The sliding action of the disks is a functional method to control natural light
and air into the space, as in traditional
Japanese houses. The sliding action
can be automated by a computer or
done manually by the keeper of the
building (Figure 4.38). The sensation of
the disks will be one of floating and non-
alignment to the standing visitor who
rotates their body through the space. Figure 105: Exterior Perspective- Night View
A. Wittlin associates. peace sphere monument. 25 March 2000. 16 June 2007
<http://www.awittlin.com/photo4.htm>.
90




Each disk is to be read as the beads of a rosary – concentrating on one yet

compelled on to the next one.

"We understand so quickly that we forget to imagine."

Gaston Bachelard (philosopher)

The visitor will be able to simultaneously relate what s/he sees on the world
map disks with the reality of the world
outside. The contrast of here–there
and of peace–chaos elsewhere (Figure
107). This would include not only with
man, but also with Nature. In this way,
it is possible to see a slice of foliage,
the sky, the sun, and the water in the
harbor through the map disks. The Figure 106: Internal Perspective
A. Wittlin associates. peace sphere monument. 25 March 2000. 16 June 2007
wind will also be felt through the <http://www.awittlin.com/photo4.htm>.

building through the slats for the sliders.
The effects of changes in weather, the
position of the sun and the seasons will
penetrate the building and make it a
living thing (Figure 4.40).

4.6.1.4. Materials
The composition of materials is not unlike Figure 108: Internal Perspective
A. Wittlin associates. peace sphere monument. 25 March 2000. 16 June 2007
the composition of a beautiful song or <http://www.awittlin.com/photo4.htm>.

melody. The parts must flow and express the whole, and create an overall
effect or presence to the viewer/listener. Goethe's famous maxim that
"Architecture is frozen music." holds true. In all architecture, the most
important material an architect works with is light. All form depends on it.
Without light, there is no form. Similarly, there is no music without sound
(Figure 4.41).

"Any knowledge of reality begins and ends with experience... the conclusions
obtained by means of purely rational procedures are, as far as reality is
concerned, completely hollow."
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- Albert Einstein _ (scientist)

The integrity of the material is respected

and followed. The entry has a sliding door-
panel of metal and wood. The walls and
structure of the building are concrete – a
plastic, sculptural material which shows
how it is formed. The 4 walls contain an Figure 109: Internal Perspective
A. Wittlin associates. peace sphere monument. 25 March 2000. 16 June 2007
inner space-cavity in order to allow for a <http://www.awittlin.com/photo4.htm>.
the ceiling. A gap for light is
soft light to filter up from the openings onto
created as the top of the inner walls are 50 cm lower than the outer.

"The purpose of all war is peace."

Saint Augustine (350-430)44

4.6.2. Analysis
Idea behind selection of Sphere Peace Monument is to show or get inspired
by the way as to how a concept or thought can be translated into architecture.
A very nice and noble idea is depicted in this example- teaching message of
peace through design. Use of glass slits for aesthetic and functional uses as
described earlier for ventilation and light, keeping in mind the contemporary
Japanese architecture

44
A. Wittlin associates. peace sphere monument. 25 March 2000. 16 June 2007
<http://www.awittlin.com/photo4.htm>.
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5. Peace and Light

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5.1. Peace
5.1.1. Building Blocks of Sustainable Peace Building
• An effective system of communication, consultation and negotiation at
different levels.
• Political and economic peace enhancing structures (consolidated
democracy and social free market system).
• An objective and subjective security system.
• An integrative moral political climate, characterized by the expectation
of an attractive future resulting from cooperation, a replacement of
exclusive nationalism with multiple loyalties, reconciliation and
dismantlement of senti-mental walls.
• Political, economic and security cooperation at a multilateral level.
• A critical mass of internal and external peace building leadership. 45
_war - the absence of peace [man vs. Man]
_starvation - the lack of peace in the body/mind/soul of man [man vs.
Conscience]
_environmental disorders - man's attack on the peace of nature [man vs.
Nature]46

5.2. Why a Peace Museum?

To choose violence and conflict is easy. Pick up a gun. Drop a bomb. Ignore
the rights of others. To choose peace is more difficult. The arsenal of peace
has no weapons but nonviolence, compassion, faith, and reason.
If peace is to be a viable alternative in a world inundated with violence, the
message of peace must have constant presence. It needs to be available to
those who would choose and work for peace, but who often feel alone or
defeated. It needs to be a message heard over and over by children. It needs
to be incorporated into everyday activities. Its promise needs to resonate in
the streets.

45
http://www.gmu.edu/academic/pcs/LR83PCS.htm
46
http://www.awittlin.com/photo4.htm
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To achieve its lofty goals, peace needs to be grounded. It needs a sign for all
to see, a building that gives honor to the messengers of peace, past, present,
and future. Like art museums around the world, a peace museum can give
room for recognition, experimentation, education, training, and appreciation.
Peace, like art, needs a space to breathe while the world determines whether
or not its message is worthwhile. 47

5.3. Peace Museums: Helping to Build a Culture of Peace

When you first hear of a ‘peace museum,’ you may be slightly mystified or
perhaps even a bit skeptical. It is easy to imagine what goes into a war
museum, but what can you put in a peace museum? And if the peace
movement is to be represented in a museum, does that mean it is being
relegated to the past?

Through exhibitions and educational activities, peace museums aim to help

build a ‘culture of peace’ in the here and now. One of the strengths of peace
museums is that they can reach out to and involve a broad general public,
many of whom might not be involved in the peace movement per se.

The International Network of Museums for Peace is a worldwide network of

Peace Museums that share in the same desire to build a global culture of
peace.48

The concept of Peace Museums is rather new and there are as many
approaches as there are individuals or groups who are responsible for their
establishment. The majority of Peace Museums and related institutions as
assembled in this guide were set up in the tradition of the anti war Museum of

47
Dayton International. Why a Peace Museum? 2000. 12 May 2007
<http://www.daytonpeacemuseum.org/why_museum.htm>.
48
International Network of Museums for Peace. International Network of Museums for Peace.
2003. 12 May 2007
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Ernst Friedrich in the 1920s.49 The basic issue here is that the war is
somewhat is regarded as an end product to n violent issue, taking shape from
some issues between the two sides, but its an end product. It does not go with
the concept of peace as peace is not the end product but it’s a path, it’s an
ongoing continuous process which needs to be watered and take care of with
great care. This difficulty ultimately leads to the issues of defining peace and
peace museum.

5.4. The Ultimate Goal of Peace Museums and Related

Institutions
Peace Museum and related institutions have to become more than just
museums in the common sense, they have to become places where the
Muses can be experienced; where people understand – with the help of
historical facts – that peace cannot be imposed by law and order nor by
institutions, organizations or governments, but is a process in which
everybody is equally involved and has responsibility; that peace cannot be
installed once and then lasts forever. It has to be maintained and worked on, if
necessary with the help of organizations like the United Nations. Basically,
peace is not something outside of us, it starts inside each human being, and
is a reflection of how we create our personal circumstances and life.50
The visitor to a Peace Museum should leave with a smile on his face and the
conviction that his cooperation and contribution are of utmost importance in
the process and that each of them can support the peacemaking process.
If there be righteousness

In the heart, there will be beauty in the character.

If there is beauty in the Character, there will be Harmony in the home.
If there is harmony in the home, there will be Order in the nation.

49
Ruser, Ursula-Marie. Possible concept of peace museums and related institutions. 2003. 20
May 2007 <http://www.peacemuseums.org/conference.php?conference=1>.
50
Ruser, Ursula-Marie. Possible concept of peace museums and related institutions. 2003. 20
May 2007 <http://www.peacemuseums.org/conference.php?conference=1>.

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When there is order in each nation, there will be peace in the world.
(Very old Chinese proverb)

5.5. Peace Museum at Pakistan India Border

Indo-Pak Peace is the need of the time to facilitate the positive growth for
upcoming generations of both the sides giving them space to bloom and
blossom in Nectar of Peace.

War is not something unknown to the people of India and Pakistan. They have
experienced the wars of 1948,1965, and 1971 fought between these two
former British colonies. They are also the victims of protracting conflicts over
the Siachen Glacier and Kashmir and are hostage to their nuclear weapons.
Nonetheless, indoctrinated for years by the academic and research
institutions teaching hate and violence, by a mass media promoting conflict
and disharmony, by politicians, military and other hawkish elements and by
the militarized societies spitting violence, the common people have remained
hostage to war slogans for a long time.

In India and Pakistan, the concept of a peace museum is alien to the masses.
Some may, of course, argue that peace museums have existed, in one form
or the other, in all the societies and in all eras of human interaction. What else
are temples, mosques, churches, gurdwaras and the worship houses of other
religions if not peace museums? In the Indo-Pakistan context, it may also be
asserted that the Ashrams, Gandhi Foundations, Shanti Nikitens, religious
seminaries, public charity houses, folklore, eternal songs of love and harmony
and narratives of peace preserved in the memory houses of generations are
nothing but moving exhibits of peace. However, a number of temples and
mosques and other religious seminaries have been used in India and
Pakistan for hate-preaching, conflict- fuelling and communal and sectarian
killing. Likewise, there are Gandhi museums in India which are less focused
on peace and nonviolence and more on promoting Hindu fundamentalism and
militancy.
A peace museum, simply defined, is an anti-war museum. But since peace is

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more than absence of war, so a peace museum, as it is understood today, is

much more than a mere anti-war museum.

While South Asia contains one-fifth of humanity, and the annual increase in its
population exceeds the total population of fifty smaller UN member states, it is
the poorest region in the world. Nearly 40 per cent of the world’s poor live in
this region. With 46 per cent of the world’s total illiterate population, South
Asia is the most illiterate region of the world.

This is the most malnourished region. According to a UNICEF report, half the
children in South Asia are underweight compared to 30 per cent in Sub-
Sahara Africa, though it has much higher GNP growth rate.

South Asia has the highest human deprivation. About 260 million people lack
access to even elementary health facilities; 337 million lack safe drinking
water; 830 million have no access to basic sanitation facilities; and over 400
million go hungry every day. South Asia is the most militarized region. Two of
the largest armies in the world are in this region and the region spends twice
as much each year on the purchase of high-tech arms as does Saudi Arabia,
Again, it is the only region in the world where military spending (as a
proportion of GNP) has gone up since 1987: it has declined substantially in
other parts of the world after the end of the cold war.

Things, for the common people of India and Pakistan, do not seem to have
changed for the better since these observations were made years. Ago. They
have, in fact, become worse and India and Pakistan, the two dominant
member states of the region, have continued to play havoc with the people
and peace. The subsequent annual reports of the Mahbubal Haq Centre for
Human Development, reports of different UN agencies including UNDP and
UNICEF, World Bank, Amnesty International and Human Rights Watch clearly
indicate that political, ethnic, communal and sectarian violence remain
rampant in India and Pakistan and both the countries remain hostage to war
thinking and war preparation. Worse still, both India and Pakistan have gone

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nuclear. While India had exploded a nuclear device way back in 1974, it did
not acknowledge that its program was for military purposes. But when New
Delhi exploded a series of atomic devices during early May 1998, it made it
clear that its program was to acquire the status of a nuclear-weapon state.
Pakistan also exploded a number of nuclear devices at Chaghi in the province
of Baluchistan in the same month of 1998 and called for its recognition as a
nuclear-weapon state. These nuclear tests were welcomed with great fan fare
in different parts of the two states and the mass media, under the patronage
and directives of the governments in New Delhi and Islamabad whipped up
mass hysteria in a favor of these deadly weapons. With the testing of the
bomb by the two countries, jingoism, militarism and nuclearisation soared up
in India and Pakistan. Bombs in hands, they went for a bloody war at Kargil in
1999 and then massively deployed their armies on the borders soon after the
terrorist attack on Indian Parliament in December 2001. The standoff
continued for more than a year and peace remained precariously dependent
on chance alone. There has been remarkable improvement in Indo-Pakistan
relations since the former Indian Prime Minister Atal Behari Vajpaee extended
a hand of friendship to Pakistan during a public address in Indian-
administered Kashmir on 18 April 2003 and especially since the 12th SAARC
summit held at Islamabad in January 2004. It seems as if the unthinkable has
begun.

The peace museums of India and Pakistan can display the achievements,
sayings and contributions of Buddha and Ashoka and many other leaders of
other religions, cultures and political thoughts. They can also have works
displaying the lives of hundreds of campaigners who fought against British
colonial rule in undivided India and for the rights of the people.

When the colonialists departed and India and Pakistan emerged as

independent, sovereign states, new goals, tasks and challenges engaged the
visionaries, artists, scholars, social reformers and peace activists. This was in
response to the nature of the evolving peace process. Prominent peace
educator and scholar from Columbia University, USA, Betty Reardon,

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observes; “The ways in which peace is achieved and maintained change with
time and circumstance. Peace is not a fixed goal. It is the challengeable,
positive social and political circumstances in which goals can be pursued and
differences resolved without harm to others or the environment”. It has been
said’, she adds, ‘that ‘peace is a process, a way of solving problems’, and that
‘there is no way to peace. Peace is the way’.51

Times changes, and so do the scenarios and the futures. And if it can happen
on meeting point of three battle fields of 20th century: Austria, Germany and
Switzerland in the form of Lindau Peace Museum, then why not Pakistan and
India?

Let’s not remember the wars of yesteryears and the bloodbath, lets flow
against the currents for once and build trust for a better tomorrow so that we
can give some ray of hope to our generations to come.

51
Mehdi, Syed Sikander. "A Peace Museum on the Wagah Border." South Asian Journal 10
(2005): 116-127.

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5.6. Rajasthan:
Rajasthan is known for its
forts, palaces, desert, and wild
lives; but in broad sense it is
the people who make this
state a lively place (Figure
5.1). The vibrancy, love for life,
the colorful costumes they
wear, make the people of
Rajasthan quite different from
the people of other parts India.
Figure 110: Rajasthan State- India
Fairs and festivals are http://en.wikipedia.org/wiki/Rajasthan

celebrated with joy and ecstasy. The state is a cultural centre of India. People
of Rajasthan are fond of dance and music.

5.7. Demography:
Rajasthan has a mainly Hindu population. Hindus account for 88.8% of the
population. Muslims make up 8.5%, Jains 1.4% and Sikhs 1.2% of the
population.

Rajasthan state is also populated by Sindhis, who came to Rajasthan from

Sindh province (now in Pakistan) during the India-Pakistan separation in
194752

5.8. Physical Features:

Climate: Summer Mean Max 43 degree C / Winter Mean Min. 10 degree C
Rainfall: 277 mm
Travelling Season: August to March
Clothing: Summer - Light Tropical / Winter - Woolen
Language: Rajasthani, Hindi, English

52
Rajasthan - Wikipedia, the free encyclopedia. 28 June 2007
<http://en.wikipedia.org/wiki/Rajasthan>.
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5.9. Architecture
Rajasthan is famous for the
majestic forts, intricately carved
temples and decorated havelis.
Jantar Mantar, Dilwara Temples
,Chittorgarh Fort, Lake Palace

Hotel, City Palaces, Jaisalmer Figure 111: Dilwara Temple- Mount Abu, Rajasthan
http://en.wikipedia.org/wiki/Rajasthan
Havelis are true
architectural
heritage. Jaipur, the Pink City, is noted for the ancient houses made of a type
of sand stone dominated by a pink hue. At Ajmer, the white marble Bara-dari
on the Anasagar lake is exquisite (Figure 5.2).

Jain Temples dot Rajasthan

from north to south and east to
west. Dilwara Temples of Mt.
Abu, Ranakpur Temple
dedicated to Lord Adinath near
Udaipur, Jain temples in the fort
complexes of Chittor, Jaisalmer
and Kumbhalgarh, Lodarva Jain
temples, Bhandasar Temple of
Figure 112: Jain Temple- Jaisalmar, Rajasthan
Bikaner are some of the best http://en.wikipedia.org/wiki/Rajasthan

examples (Figure 5.3).53

5.10. Fairs & Festivals

5.10.1. Gangaur festival
This festival is held in honor of goddess Parvati. The festival is held a few
days after Holi in February/March and is celebrated in Jaipur on a grand
scale. Primarily a festival for women, married women pray for their husbands

53
Rajasthan - Wikipedia, the free encyclopedia. 28 June 2007
<http://en.wikipedia.org/wiki/Rajasthan>.
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and unmarried girls pray for getting a good husband.

5.10.2. Nagaur Fair
Nagaur bustles with life during the annual cattle fair, which is one of the
largest in the country. The Nagaur bulls are renowned for their fleet
footedness and attract buyers from all over. Exciting games, tug of war, camel
races and strains of ballads create a joyful atmosphere.

5.10.3. Teej
Teej is a major event in Jaipur. The festival is celebrated during the months of
July/August and dedicated to goddess Parvati. The festival celebrates the
beginning of the monsoon.

5.10.4. Shilp Gram Festival

The Shilp Gram (Craft Bazaar) is situated just 3 km off Udaipur and is a great
place to see the art and craft of all the states of western India. The Directorate
of Tourism organizes a 10-day festival from December 15 every year, which is
a treat for the visitors interested in village crafts.

5.10.5. Mewar festival

The onset of spring brings the Mewar festival on April 7–8. A traditional
welcome to spring, this festival is a visual feast with Rajasthani songs,
dances, processions, devotional music and firework displays. It is celebrated
in the romantic city of Udaipur during the Gangaur Festival.

5.10.6. Urs
The Urs are held at Ajmer, Rajasthan every year at the tomb of the Sufi Saint
Khwaja Moinuddin Chisti, commemorating his symbolic union with God. The
Urs, commemorative celebration is held in the solemn memory of Khwaja
Muin-nddin Chisti, a sprightly respected Sufi saint fondly revered as the
benefactor of the poor, popularly known as Gareeb Nawaz.

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5.10.7. Puskar Mela

This fair is held at Pushkar town, 11 km from
Ajmer in Rajasthan for twelve days annually.
This cultural and trade cum religious fair is
an attractive and lively spectacle with
Rajasthani men and women in their colourful
Figure 113: Puskar Mela
traditional attire, saffron-robed and ash http://rajasthanonline.in/Profile/Culture

smeared Sadhus (holy men) and thousands of bulls, cows, sheep, goats,
horses and camels in richly decorated saddles (Figure 5.4).

5.10.8. Elephant Festival – Jaipur

The Elephant Festival is held every year during Holi, in Jaipur (Rajasthan).
Here, as you would expect from the name of the Festival Elephants are the
centre of attraction. During the festival, Jaipur comes alive with elephants,
dancers, and musicians and draws visitors from all over the world.

5.10.9. Dance & Music

Dance and music are the essential parts of the culture and tradition of
Rajasthan. These cultural events will purify your mind and soul with a sense
of higher consciousness. The performers are dressed with their traditional
colourful attire and offer exotic flavor to the listeners and spectators.

The folk dances like Ghoomar dance of Udaipur and Kalbeliya dance of
Jaisalmer have national recognition. Other traditional dances include Sapera
Dance, Terah-Taali and Kachchi Ghodi. Most of these dances are based on
moving in circles and showing various movements of the body parts which are
meaningful and enjoyable.54

Folk music is a vital part of Rajasthani culture. Songs usually tell the

54
Pan India Corporation. Rajasthan Culture, Cultural Spirit, Know Rajasthan Culture. 2006.
22 June 2007 <http://rajasthanonline.in/Profile/Culture/>.

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legendary battles of Rajputs. Folk songs are commonly ballads which relate
heroic deeds, love stories, and religious or devotional songs known as
bhajans and banis and often accompanied by musical instruments like dholak,
sitar, sarangi etc.

5.10.10. Costumes
The people of Rajasthan are easily distinguished on
the basis of their dresses and costumes. In the
contemporary days also the men and women in the
villages wear traditional clothes and headgear.

The men in Rajasthan wear special headgears called

the pagri or the turban depending upon the climatic
condition of a particular region. The tradition of
wearing bandhni clothes in Rajasthan has been going

on for time immemorial. Tie-dye saris, dupattas and Figure 114: Traditional
Costumes- Rajasthan
turban are very common in this state (Figure 5.5). http://www.apnarajasthan.com/festivals_fair
s/festivalsfairs.html

Rajasthani women look beautiful in ghagra choli's, saris, lehangas and
dupattas. The women who belong to rich families wear special chappals that
are decked with sequins and gold threads. They also decorate themselves in
ornaments of gold and silver.

5.10.11. Art & Crafts

Rajasthan is a state which is distinguished for its rich crafts and valuable
paintings. The fabulous fabrics in lovely prints, precious and semi-precious
stones, embroidered leather work, hand crafted items of wood, ivory, lac,
glass, brass, silver and gold are some of the extraordinary things to be seen
in various parts of the state. The carpets, leather wares and pottery are so
beautifully designed that one can differentiate it as a heritage of Rajasthan.55

55
Apna Rajasthan Group. APNA RAJASTHAN - Rajasthan Festivals - Rajasthan Fairs and
Festivals - Festival Tour in Rajasthan - Hotel Rajasthan - Heritage Hotel Rajasthan - Hotel
105



5.10.12. Language
The language and literature of Rajasthan is classified on the basis of five
principal dialects. These are Marwari, Dhundhari, Mewari, Mewati and
Hadauti. The state has suffered a great set back during British Raj. But the
contemporary situation has changed with the birth of hundreds of Rajasthani
poets and writers famous in national as well as international level. The folk
literature of Rajasthan is based on songs, tales, sayings, riddles and folk-
plays popularly known as khyals.

5.10.13. Cuisines
Each and every region of the country has its
own traditional dishes and cuisines. Rajasthan
offers a variety of food items to the tourists.
The popular dishes of the state include Khata,

Gatte Ki Sabzi and Pakodi. Bajra and corn are Figure 115: Food Served in Thali-
Contains Variety of Stuff
used to prepare Rabdi, Khichdi and Rotis. http://www.apnarajasthan.com/festivals_fairs/festivalsfairs.htm
l
Various chutneys are also prepared from spices like turmeric, coriander, mint

and garlic. The best-known Rajasthani food is the combination of dalbati and
churma (Figure 5.6).

Different places of Rajasthan have their own renounce for a particular item.
The sweet Ladoos from Jodhpur, Malpuas from Pushkar, Jalebies from most
big cities, Rasogullas from Bikaner, Dil Jani from Udaipur, Mishri Mawa and
Ghevar from Jaipur, Sohan Haiwa from Ajmer and Mawa from Alwar are the
famous food items which give attractive flavor to the visitors.56

Palace Rajasthan - Hotels India Rajasthan - Luxury hotels in Rajasthan - Camel Festival in
Rajasthan. 2005. 27 June 2007
<http://www.apnarajasthan.com/festivals_fairs/festivalsfairs.html>.

56
Apna Rajasthan Group. APNA RAJASTHAN - Rajasthan Luxury hotels in Rajasthan -
Camel Festival in Rajasthan. 2005. 27 June 2007
<http://www.apnarajasthan.com/festivals_fairs/festivalsfairs.html>.
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6. Site Selection and Analysis

107



6.1. Site selection Criteria

Complexes like these are effective centers of nation-building activity. The
emphasis on the routine functions of the museum vim collection of objects,
their preservation and research has in the recent years shifted, to educational
purposes. Indeed this outstanding development world has been the chief spur
to the re planning of all forms of museum work. An important part of this
educational function is inspirational. Its this function which according to
Markham gives rise to a museum of ideas in contrast to a museum of object.

Modern, museum is an institution which not only collects preserves and

exhibits objects but as a living organism activity participates in the activities of
the community.

Whenever it is proposed to build a museum or in this case, a whole complex,

there is usually one preliminary matter to be settled: the choice of a site.

A museum should always be readily accessible from all parts of the town by
public transport and, if, must be within walking distance as well, and must be
within easy reach" of. school, colleges, university and libraries.

Museums tend nowadays to be regarded more and more as "cultural centers".

It must therefore be remembered that as such they are visited not only by
students but also by people with different backgrounds who, if a museum near
enough and easy to reach, may come to it, even with little time to spare, in
search of instructive recreation.

Though there is still a prejudice against the building of museum in parks or

gardens -on the plea that this makes them more difficult to reach and disturbs
the tranquility of such places-these are becoming very popular as the sites of
new museums. They offer consideration advantages-a wider choice of
detached positions, thus reducing-the risk of fire, a relative degree of
protection from dust, and contents of which are always harmful to works of art.

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A belt of tree surrounding the museum building serves as an effective filter for
dust and for the chemical discharges that pollute the air of a modern industrial
town; it also helps to stabilize the humidity of the atmosphere, to which
paintings and period furniture are often sensitive,. It is said that large trees, if
unduly close to the building, cut off or deflect the light and thus diminish or
alter its effect on color.

The beauty of a museum is considerably enhanced if it is surrounded by a

garden which, if the local estimate is propitious, can be used to advantage for
the display of certain types of exhibit, such as ancient or modern sculpture,
archaeological or architectural fragments, etc.

A museum building should be imposing in appearance, solemn and

monumental. The worst of it is that this effect is often sought through the
adoption of an archaic style of architecture.

Daylight is still the best means of lighting a museum, despite the variations
and difficulties, which characterize it at different seasons, and in different
places. Daylight may come from above or from the side.

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6.2. Ramsar Village

People of Ramsar village are Peace Loving, friendly and progressive(Figure
6.1)

Ramsar Village has a historical significance as there is this temple which

remained untouched during the bombarding and war of 1965.

Demographically Ramsar as mentioned above is a village on the borders,

near to Zero Point and there is a link to Pakistan, which can then in future be
used to develop the trade and cultural relations across the border.

Figure 116: Colors of Ramsar Village

http://www.apnarajasthan.com/festivals_fairs/festivalsfairs.html

110



Figure 117: Site Plan and Analysis

111



7. Nexus between Research and Design

112



Peace, like light, is not an absence but a presence. Peace is the presence of
awareness. Or, more accurately, peace is the awareness of Presence. Peace
is the awareness of the sacred by whatever name… God, beauty, wholeness,
Life, or whatever symbol you prefer. Violence is the painful state of being in
ignorance of the divine. In the awareness of Presence, violence is not
overcome or defeated, it simply does not exist.

peace and light can be linked with our visual perception. Peace is thought as
something with minimal and light enables see things. With different light
intensity, position, and distribution in a space, light provides different mood.
For example, with low light intensity, or silhouette lighting effect, only outline
of such object in space for less perceived information is seen. This can
provide calm and peaceful mood.

Dark cannot be termed physical as it is nothing but the absence of light, light
has different shades while dark has no such properties

Light acts as a path, same do the peace because peace is not the goal in any
sense but it is a way
towards a goal.

Light and peace is the

Peace
same thing. Some Peace Museum
people think that peace Complex
Peace
is the absence of war,
but it is actually so very Light
much more. Moments

when one feels so calm Figure 118: Thesis Hierarchy

inside and life flows and everything feels right in the World, that is light. That
is peace (Figure 7.1).

Light and peace are about energy. Everything is actually about energy. Light
and peace are high frequency energy when you feel inner calm, the
113



interconnectedness with the creator. This is Light and peace.

Understanding light characteristics, one notice that light, too, is an
amalgamation of seven different colors without even any one of them, light
can never exist in its form. Same goes for peace, all parties should have their
rights and all should be considered equal in all respects. Inequality or upper
hand of one party will lead to violence or in other terms, darkness.

If we want peace, we must not seek to end violence. We must create peace.
We must create awareness of Presence. We must cultivate that which
celebrates the sacred in all of Life. If we want peace, we must shine like a
beacon in the darkness so that others may see the holy in all they behold.

“Do not curse the darkness; light a candle.” - Chinese Proverb 57

57
Chris. Ongoing Process-Peace & Violence. 2005. 3 May 2007
<http://ongoingprocess.net/writings/peace-violence/>.
114



8. Design Idea

115



Peace is not just the absence of war but it includes elimination of terrorism,
injustice, poverty, social inequality and other public issues. Although there
maybe religious and political differences between both countries, that should
not influence or come in between our developmenthappinessgoals in bringing
peace and happiness between India, Pakistan and it’s people.
There are common enemies
We have common foes
As we start to think about
It’s not too hard to know
Real enemies are the poverty,
Disease, and hunger we face
From Kashmir, Pakistan, and India
To Nepal and Bangladesh
In the darkness of the night
I see a ray of light
This light is full of hope
And it continues to be bright
This light has a promise
Of a brighter community
We must forget our differences
And seize this opportunity
Gulzar Ahmed
• The idea behind proposed design of peace museum is to let visitors go
through it and absorb different aspects of peace, thus linking light to
peace, the basic concept behind design…
• Proposed peace museum or in larger context, a peace complex is like
a journey through time, where the use of different patterns and levels of
light will depict various pre and post partition time.

• A memorial (Figure 120) should be erected which has the names of

those who are missing in the wars and battles between the two
countries. Conceptually the two
arms of memorial be designed in a

116

Figure 119: Peace Memorial



way to each pointing towards Islamabad and New Delhi.

•
•
• Architecture is not only about aesthetics, particularly regarding context
of developing countries, it is far more necessary to let people get
benefits from built environment around them. Looking on the prevailing
issue of water shortage in the neighborhood, possible solution of this
issue should be the integral part of design

• In museum, basic idea is not about to

enclose artifacts in glass cabinets but let
the visitors sense the basic idea of peace
behind them. Light, water and sound can
play their part here (Figure 122). Figure 121: Art Gallery

• Ground level, cluster type building configuration in which all parts are
interconnected through a concept, that is its relevance with message of
peace and the concept of light. The use of local and more vernacular
materials should be used in order to benefit local industry..

• Graffiti walls should be erected at

exits as guest books, while the two
sides of wall representing the two
countries (Figure 8.3), which shows
that although the two countries
never be one but they are
Figure 123: Peace Memorial
necessary for each other.

• A gathering place for visitors where they can sit and relax, there can be
a trade centre or an exhibition area for the people from both sides of
border to buy and sell their goods so in terms the local trade can be
enhanced.a for

117



• Giving this gathering place, status of park where there can be many
different activities take place including open and covered performance
area where artists and performers can perform regularly and
particularly on special events.
• A restaurant or a cafeteria where
delicious cuisines from both sides of
borders can be served (Figure 124).

• Auditorium to organize different

meetings and seminars to appeal for
Figure 125: Restaurant
peace and harmony in the region.

• It should end in a way to have large

congregation place to make prayers for peace
in region where visitors can stand in silence or
whatever they do like to do in regard for
peace. One idea is of a water pond on which
visitors can float burning candles (Figure 8.5).

• Large storage space, easily accessible for

administration to arrange any new theme at
any particular occasion. Figure 126: Congregation
Place

• Instead of focusing on differences between India and Pakistan, lets

concentrate our energies on what we have in common, because what
we have in common in the bond that will hold us and bring us together.

• Envisioning a multi-faith worship area can help further reinforcing the

idea of peace and harmony in the region. It should be a space where
people from any religion can come and offer their prayer. This is a place
for prayer and meditation.

118



Figure 127: Design Idea Submission for Competition

119



8.1. Design Brief:

Design brief thus formulated after studies lies as under
Table 3: Design Brief
PUBLIC AREAS NON PUBLIC AREAS SUPER SECURE

Collection Collection Collection Storage

Class rooms Workshop Network room
Exhibition spaces Crating/uncrating Security equipment
Art galleries Storage room
Freight elevators
Non Collection Collection loading deck
Checkroom Receiving
Theatre
Food services Non Collection
Information Offices/admin
Retail shops Security
Memorial Wall
Greetings Wall
Congregation Park
Auditorium
Open And Close Air
Performance Areas
Common place for
Meditation
Remedy of Water
Shortage Issue Using
Water Harvesting

58

58
For space allotment refer to Appendix
120



8.2. Design Concept:

Peace Museum as a travel towards Light… which takes you form dark, black
shadows of war to wide bright light of Peace, freedom in true sense.
Something like Near Death Experience, a travel thru dark tunnel to a bright
light and green garden full of blooming flowers and birds.

Scene 1:
Museum can have cave representing history of era before division. A tunnel is
dimly lit or absolutely dark representing the dark era of war and Partition.
Some black and white paintings from history showing the bloodbath.

The further terrorism can be reflected by red lights and bleeding pictures of
terror. Make use of sounds of war and destruction.

Scene 2:
Keep this not too long not too short type… creating a lasting impact by
resonating the sound and playing with dark lights.. Showing how families were
divided, children killed, innocent murdered all for what? People should feel
those as if they have entered into time machine and gone to history and are
actually visualizing these things. Finally when people as people are moving
out of tunnel, they should be having a question in their mind ‘All this for
What’ …

Scene 3:
This I feel can be a transition phase… Play with Dim Light representing
Transition. This can be shown in blue and green shades. Moving towards
yellow shades…

Auditorium here, where there an appeal for Peace can be made, create an
impression for need for Peace for mutual growth. Keep this space wide. Keep
artificial waterfalls and natural green reservoirs. Let this waterfall make
soothing sound.

121



A place where group of people can sit, mandatory process that they enter this
area they need to sit here. The environment should be dimly lit. Background
sound of Water fall should be edible and no other sound. There should be
voice appealing people to close their eyes and maintain silence and feel the
pain they just saw, then slowly progress the people towards the need of
peace, appealing them to pray for Peace on a mass scale. Give the picture of
coming Peaceful, the progress and freedom in true sense where humanity
would be worshipped.

Keep silence to pay homage to all the souls who have suffered. Let the light
still be constant. Finally after the homage is payed, change the light to yellow
and make people exit this auditorium

Scene 4:
Vision of Future
Bright Sunlight, glass and mirrors to reflect the light here. The entire area is
open space reflecting freedom of movement. Maintain abundant flora and
fauna symbolizing prosperity and growth. You can have local artists
performing somewhere in this area with a concept of brotherhood as essence.
Let them be dressed in both Indian and Pakistani culture. Display artifacts and
handicrafts from both sides.

Light here should be lively and bright, use Bright colors like Yellow, orange to
reflect the bloom. Some eating outlet which serves the delicacies of both the
countries. Amalgamation of two countires… Lots of sayings and messages
displayed symbols of Peace, Statues and paintings symbolizing prosperity
can be used.

A centre surrounded by flora and Green Park, this centre a statue of a man
with his hands raised to the sky. Just above this allow lot of sunshine…This is
the final destination of man.

This can be final impact of museum…

122



9. Design

123



Figure 128: Site Plan

124



Figure 129: Master Plan

125



Figure 130: Water Management Plan

126



Figure 131: Elevations & Sections

127



Figure 132: Unit Plans & Sections

128



Figure 133: Views

129



10. Conclusions and Recommendations

130



10.1. Introduction
Light is the part and parcel of architecture. Architecture never gets completed
without considering the impact of light. No building can get successful without
orientation regarding light. All great architects and designers had always use
light as the basis for their design as a concept. Some architects used light for
more creative purposes like as a message giving entity- A silent Messenger.

10.2. Major Contributions of Study

This research will open new horizons and give a new line of thought for
designers and architects who are eager to make light, part of their design with
focus on aesthetic purposes rather than rigid illumination numbers. Basic
objective of this study is to show the massaging characteristic of light and
applying the concept to design lately. This report serves to prove a link
between light and peace through several views and readings about the topic.

10.3. Recommendations for Future Research

Research regarding light is unlimited and it is impossible to cover all aspects
in a single thesis. There are lots of untouched avenues regarding light that are
yet to be looked at. The best area to look at is the amalgamation of light for
both aesthetic as well as functional uses.

131



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