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THE INTERIOR DESIGN REFERENCE + SPECIFICATION BOOK
Text
Chapter 13: Natural Light
Too often in interior practice, the quality of natural light is generally considered, but
not fully integrated into the design concept. Yet to control, channel, and lter natu-
ral light as it enters a space can be one of the most effective of design strategies.
Light can be a powerful component of an environment, given our innate tendency
to react to qualities of light in emotional and intuitive ways: Designers know that
orchestrating a sequence of spaces to end in a sun-lled room is sure to brighten
the mood of the occupants. Moreover, in practical terms, studies have shown that
natural lighting promotes productivity in the workplace and in academic environ-
ments. Beyond the poetic and functional benets of working with natural light, a
successful outcome requires its careful manipulation to avoid uncomfortable levels
of brightness, glare, and heat gain.
ENVIRONMENTAL CONDITIONS
To design effectively with natural light, the designer needs to understand the solar orientation
of each room and the conguration and characteristics of the exterior environment adjacent to
each space. For example, a room whose windows face south may benet from a well-placed
tree that lters sunlight—especially a deciduous tree whose ltering properties change with
the season. At the same time, a north-facing room may benet from a wall or landscape
element that receives strong light from the south that then enters the interior as beautiful
bounced light.
SOLAR ORIENTATION AND FUNCTION
Anticipated activities in a space will determine how natural light should be controlled. South-
facing rooms have the best orientation for most functions since they admit the most consis-
tent sunlight throughout the day. By contrast, a room with north-facing windows allows only
diffused light to enter, making it an ideal location for an artist’s studio. For the same reason,
a north-facing room is also best for computers since it minimizes the potential for glare on the
monitor screens. If a computer room needs to face south, the designer will have to consider
window treatments as a central part of the design concept.
Window openings that face west receive late afternoon sun at a very low angle, an ideal condi-
tion for a dining room and/or living room, but window treatments will be required to cut down
on the glare caused by direct sunlight deeply penetrating the space. East-facing windows allow
early morning sun to enter, which is ideal for a breakfast nook or the coffee station in an of-
ce environment. The orientation of openings in a bedroom should inuence the selection of
window treatments, especially for windows that look east.
Seasonal Light
The altitude of the sun’s path is constantly changing and is at its lowest angle in winter and
its highest in summer. When the sun is low in the sky in winter, it allows more daylight and
heat to penetrate a space, while the opposite is true in summer. Ideally, a designer should
observe the changing daylight conditions of a space over the course of a year, paying close
attention to the amount of light and shade in the morning, at noon, and in the afternoon, as
the sun changes position in the sky from winter to summer. In lieu of direct observation, the
effect of natural light based on the sun’s movement can be predicted for any location and time
of year.
North:
West:
East:
South:
The angle of the sun is always
changing. Its highest angle is
reached on 21 June and its low-
est angle on 21 December.
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Text
Too often in interior practice, the quality of natural light is generally considered, but
not fully integrated into the design concept. Yet to control, channel, and lter natu-
ral light as it enters a space can be one of the most effective of design strategies.
the mood of the occupants. Moreover, in practical terms, studies have shown that
successful outcome requires its careful manipulation to avoid uncomfortable levels
solar orientation
of each room and the conguration and characteristics of the exterior environment adjacent to
diffused light to enter, making it an ideal location for an artist’s studio. For the same reason,
a north-facing room is also best for computers since it minimizes the potential for glare on the
Window openings that face west receive late afternoon sun at a very low angle, an ideal condi
-
on the glare caused by direct sunlight deeply penetrating the space. East-facing windows allow
Seasonal Light
The altitude of the sun’s path is constantly changing and is at its lowest angle in winter and
its highest in summer. When the sun is low in the sky in winter, it allows more daylight and
heat to penetrate a space, while the opposite is true in summer. Ideally, a designer should
observe the changing daylight conditions of a space over the course of a year, paying close
attention to the amount of light and shade in the morning, at noon, and in the afternoon, as
the sun changes position in the sky from winter to summer. In lieu of direct observation, the
effect of natural light based on the sun’s movement can be predicted for any location and time
of year.
North: diffuse light
West: late afternoon sun
East:
early morning sun
South: most consistent light
AM
PM
N
S
E
W
The angle of the sun is always
changing. Its highest angle is
reached on 21 June and its low-
est angle on 21 December.
21 June
21 December
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THE INTERIOR DESIGN REFERENCE + SPECIFICATION BOOK
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CONFIGURING OPENINGS
The dimension and conguration of openings in the walls and ceiling will also determine the
character of natural light in a space. Windows are the most conventional way to channel
sunlight into a space. Their size and conguration can be shaped to create a desired effect.
In addition to the light passing directly through the glass, bounced light from window sills
and jambs contribute to the overall level and quality of light in a room. The contrast between
window apertures and their surrounding surfaces must be carefully considered. For instance,
a south-facing room with a few punched windows in a large expanse of wall will produce an
unacceptable contrast; the same space with a large expanse of glass, on the other hand, will
have more evenly distributed light.
Skylights are another way to channel natural light into a space. It is important to congure the
ceiling plane and softs to control the amount of direct sunlight that can penetrate a room,
since it can lead to unwanted heat gain and can fade rugs, upholstery, and artwork. The best
top-lit spaces are those that rely on light bouncing from softs and ceiling coves rather than
those that allow a direct view of the sky.
CONTROLLING LIGHT
Natural light can be controlled in three ways: through
curtains, and shades; by the
opening
light-ltering system. Coatings for glass can also be specied that lter light entering a space
and reduce ultraviolet rays in particular. The location and the design of the window aperture
can dramatically affect light quality. Windows that meet the ceiling plane or the wall of the
room will allow natural light to illuminate an entire surface, enhancing light levels and reducing
contrast. The depth of the wall can also be manipulated by creating deep jambs and sills; an
outside wall, for example, can be lined with bookcases. Often, the jambs of windows in this
conguration are canted toward the interior, to maximize the amount of light that reects deep
into the room.
Window treatments are not the only
solutions for controlling light. When
views cannot be compromised with
a window treatment, various glass
types may be used to filter harmful
ultraviolet rays.
SYNTHESIZING DESIGN ELEMENTS
Designing with natural light requires a careful synthesis with other design elements. Rooms
that are prone to contrasts of light levels due to orientation and existing window apertures, for
example, will need to be carefully balanced with articial light. Color palettes should also be
coordinated with the quality of natural light in a room. For rooms that benet from direct and
changing natural light, a more neutral palette may be more appropriate. Rooms that receive
only northern or diffuse light may warrant more color. Vernacular architecture indicates such
an approach: traditional Scandinavian architecture is richly colored, while the traditional
houses of Greece and Spain are painted white.
Natural light bounces around
the curvature of the cove to
create a luminous effect,
accentuated by the metallic
gold trim.
Neues Museum, Berlin.
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Natural Light
Text
window apertures and their surrounding surfaces must be carefully considered. For instance,
unacceptable contrast; the same space with a large expanse of glass, on the other hand, will
Skylights are another way to channel natural light into a space. It is important to congure the
since it can lead to unwanted heat gain and can fade rugs, upholstery, and artwork. The best
CONTROLLING LIGHT
Natural light can be controlled in three ways: through additive treatments such as blinds,
curtains, and shades; by the specification of the glass; and through the configuration of the
opening
itself. New glass technologies such as fritting allow the glazing itself to function as a
light-ltering system. Coatings for glass can also be specied that lter light entering a space
and reduce ultraviolet rays in particular. The location and the design of the window aperture
can dramatically affect light quality. Windows that meet the ceiling plane or the wall of the
room will allow natural light to illuminate an entire surface, enhancing light levels and reducing
contrast. The depth of the wall can also be manipulated by creating deep jambs and sills; an
outside wall, for example, can be lined with bookcases. Often, the jambs of windows in this
conguration are canted toward the interior, to maximize the amount of light that reects deep
into the room.
Window treatments are not the only
solutions for controlling light. When
views cannot be compromised with
a window treatment, various glass
types may be used to filter harmful
ultraviolet rays.
SYNTHESIZING DESIGN ELEMENTS
Designing with natural light requires a careful synthesis with other design elements. Rooms
that are prone to contrasts of light levels due to orientation and existing window apertures, for
example, will need to be carefully balanced with articial light. Color palettes should also be
coordinated with the quality of natural light in a room. For rooms that benet from direct and
changing natural light, a more neutral palette may be more appropriate. Rooms that receive
only northern or diffuse light may warrant more color. Vernacular architecture indicates such
an approach: traditional Scandinavian architecture is richly colored, while the traditional
houses of Greece and Spain are painted white.
Natural light bounces around
the curvature of the cove to
accentuated by the metallic
Shelton Mindel Associates, Mindel Loft. Photo by Michael Moran.
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