In the Baker and Steemers reading they discuss lights role in revealing and concealing one’s perception of the building space both from the exterior and the interior. I think that the terms “revealing” and “concealing” describe light and define light conditions better than any other conventions. I think that it would be beneficial if we never used the word “light” or “lighted”, instead replacing them with “this is revealed” or “that is concealed”.
To a certain degree, I designed the facade of my building from the perspective of revealing and concealing. From this exterior perspective approaching from the south east there are clear distinctions between revealed and concealed spaces:
Due to the fact that our programs was for an artist in residence museum I wanted the artist’s apartments to be revealed and therefore, very prominent in one’s exterior perception of the building. Below the artists apartments is a theater concealed by folded metal planes. On the eastern facade facing the Highline are individual viewing spaces suspended over the entrance hall and enclosed by a glass box. This space is meant to be a space of revealing the artist’s studio work and the museum visitors occupying a parallel space to the Highline.
This is a perspective of my lobby entrance:
My goal in this space to create an interior transition from a concealed condition to a highly revealing condition, from the entrance to the hall, that draws the eye upward revealing the in-habitation of the individual viewing spaces suspended over the hall. Although I have a substantially greater amount of daylight penetrating into this interior space, I wanted to a achieve a similar effect discussed in the reading about the Pantheon.
“However, it is not only the luminous quality of the interior that makes the Pantheon a particularly beautiful example of daylight design. It is the way that the approach and entry into the dome are modulated that sets the scene and leaves a deep impressions, as Rasmussen describes:
Coming to the Pantheon from the tangled network of streets outside, we experience it as the perfect expression of peace and harmony. The ordinary scale of the houses just passed makes the peristyle, in comparison, seem overwhelmingly high with its gigantic columns disappearing into the twilight under the roof. As you enter the rotunda you are immediately aware of the mild light coming from a source high above you, three times as high as the ceiling in the peristyle. The dome does not seem to limit the space but rather to expand and raise it….”