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Abstract
The design of sacred settings can attempt to enrich the inner spiritual experience of the Lord being the Light. It provides natural
light to connect to the divine and articial light to highlight the rituals associated with this connection. The paper attempts to
compare these light effects in a sacred setting; and to utilize popular commercial graphic software in the analyses of these effects.
Specically, AutoCAD and Forum Z are utilized to investigate these differences in viewing the dome's fresco in the historic Church
of St. Themonianos in Lysi, Cyprus and in the Byzantic Fresco Chapel in Houston, Texas. The study includes three parts: recreation
of a digitized model of the historic church in Cyprus; analyses of light effects in both churches; and a comparison of light effects
along accepted lighting guidelines. The conclusion of this examination is that both sources of light complement each other in their
effects in sacred settings.
1. Introduction
One of the most dramatic effects of light as a visual visual effect of the holy light.
experience is in the sacred setting. Under the nightmare Based on these two premises, the objectives of this study
of darkness, man needs to be given a glimpse of the re/ are to compare the effects of natural and articial light in a
light descending from above showing the presence of sacred setting; and to utilize popular commercial graphic
God (Arnold, 1975). "They shine through the darkness, a software in the analyses of these effects. Specically,
light for the upright; they are glorious, merciful and just." AutoCAD and Forum Z are utilized to investigate
(Psalm 112:4). Numerous studies such as Hayes (1983), these differences in the Church of St. Themonianos
Gelfenbien (1986), and Plummer (1987) demonstrate in Lysi, Cyprus and the Byzantic Fresco Chapel in
that light provides premonitions and points of departure Houston, Texas. These two sacred buildings, which were
for spiritual and mystical transcendence, creating a constructed more than 800 years apart, serve the same
bridge from the profane (the earthly world) to the sacred faith, are similar in size and scale, and have the same
(a state of pure light). Thus, a premise can be drawn that religious icons in the interior: two Byzantine frescos,
the holy light dramatizes the spiritual state and affects Christ Pantokrator and Angels (the dome fresco), and
the mood of the user in the sacred space. Virgin and Archangels (the apse fresco). These two
For centuries the source for a holy light was the sun, frescos were originally housed in the historic Church in
moon and stars. Louis Kahn described natural light as Cyprus. In the 1970s, thieves removed them in pieces.
the only light, because it puts us in touch with the eternal. They were rediscovered and restored in the 1980s by the
Yet, over the past hundred years, articial lighting was Menil Family of Houston, Texas, to be installed in the
developed to replace natural light, and visual design new Byzantine Chapel in Houston. This study focuses
became de facto lighting design as well (Lam 1977; on the effects of lighting on the domes fresco (Figure
Lou 1996; Lechner 2000). The study's second premise 1). Natural light illuminated the frescos in the Church in
follows this discussion and posits that there is a difference Cyprus; while in Houston, the major source of light is
between articial light and natural light in creating the articial lighting.
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VISUALIZACIN EN ARQUITECTURA Y PATRIMONIO
there. Form Z allows the designer to place a digitized The view of the original domes fresco in the Church
model almost anywhere and to set up the sun in the in Cyprus was inuenced by season changes and time
right location. The programs data for Cyprus includes of day. Due to the small openings and the location of
the solar information for Nicosia (Cyprus capital). the fresco, part of the image was always in shadow
Since Nicosia is relatively close to Lysi, it served as a and there was in fact no full vision of the whole fresco.
surrogate city for this study. A simulation and rendering Yet, these effects aid to alter the psyche, and create the
of the natural light effect on the dome were run for the direct connection between earth and heaven. This in turn
winter and summer solstice and the fall/spring equinox symbolizes the "holy" light since the sky provides the
at different times of the day to try and get the most and connection to divine light (Eliade 1968).
least amounts of light that the building may experience The Chapel in Houston uses electrical light to be diffused
(7:00 am, 1:00 pm, 7:00 pm). The results of the lighting through the glass that holds the fresco. This illumination
simulation illustrate that the best quality of light to view provides a constant even light that helps to view the
the dome fresco with is found during the winter solstice whole fresco at any time of the year in its full majestic
in the evening. The worst quality of light appears to be image. The perimeter effect of the natural light frames the
during the spring/fall equinox in the middle of the day. vision onto the focal point, the fresco. The chapel's dark
Once the building was digitally constructed, the fresco background enhances the "holy" light by contrasting and
applied, and the light simulation pictures rendered, the dramatizing the effect of light, which elevates the spirit
pictures were compared to a documented photograph of toward God.
the underside of the churchs dome to verify the accurate Lighting design guidelines such as the IES Lighting
level of the shadows/lighting as representation of what Handbook (1987), and Lechner (2000) focus on four
the real church experiences. Through a comparative major functional and spiritual guidelines for Houses
analysis of each rendering to this photograph, it appears of Worship: Task lighting (function); Accent lighting
that the renderings are an accurate representation for this (spiritual); Architectural lighting (function and spiritual);
2
study . and Celebration light (spiritual). These guidelines include
The Chapel in Houston uses articial light as its major recommendations for both quantitative illumination
source to illuminate the frescoes and to provide a sense in Lux and/or footcandles, and for appropriate quality
of layering and dematerialization. The interior structure components of lighting, such as brightness, glare,
of glass panels, which holds the frescoes, glows with a reection, and diffused or direct light.
stunning intensity through this light (Slessor 1998). The The analysis of the Church in Cyprus along these criteria
black walls, columns, ceiling and the charcoal-grey slate determines that the rst three are partially fullled,
oor provide additional contrast to the lit focal point of while the fourth one is not applicable for evaluation.
the Chapel. Natural light is used to augment the articial The interior of the church is dark most of the time and
light. It falls into the space between the outer concrete its ambient illumination is based on the 'mystery' of
walls and the black interior plates, which are set 60cm time creating constantly changing effects of shade and
back from the external walls. The lowest quarter of the shadows. One can therefore interpret that the frescoes
black walls is removed, allowing light from the above were not the focal point of the church but rather served
narrow skylight to gently wash down the concrete and as decoration icons. Since there is no documentation
infuse the chapel with a subtle radiance that highlights regarding the actual use of the church by its worshippers,
the perimeter of the chapel. This acts as a framing the criterion of celebration light cannot be evaluated.
element and enhances the sacred space for viewing the The analyses of the Chapel in Houston along these
frescoes. accepted criteria reveal that the stable architectural light
The comparison of light effect in both churches in the interior of the chapel fully fullls these guidelines.
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VISUALIZACIN EN ARQUITECTURA Y PATRIMONIO
The task light is clearly dened focusing on the part of the spiritual experience.
frescoes; the accent spiritual lighting is always present Still, the scriptures tell us that the spiritual experience
in the same way; the architectural lighting enhances the is not inuenced by the exterior elements of light, but is
sense of mystery and numinous by which the frescoes rather based on faith that the Lord is the Light (Revelation
could be seen afresh. The celebration lighting was not 22:5; Isaiah 60:19). The design of sacred settings can
evaluated for consistency with the examination of the attempt to enrich this inner spiritual experience by
historic church. Still, the main recommendation for providing natural light to connect to the divine and
contemporary houses of worship -- to use daylight as the articial light to highlight the rituals associated with
major light source and then to augment it with electric this connection. Therefore, it can be concluded that both
lighting -- is not fullled since the Chapel uses electric sources of light complement each other in their effects in
light as its major source and supports it with natural light sacred settings.
as a secondary source. The paper fullled its second objective to demonstrate
the utility of digital methodology to analyze the effect of
4. Discussion and Conclusion light in sacred buildings. AutoCAD and Forum Z were
Because the two buildings were constructed 800 years used to reconstruct a quite accurate 3-D model of a historic
apart, criteria and standards should be limited to those church. In addition, these commercial applications were
that can only be applied to both buildings. It should also utilized to simulate and render the effects of natural light
be limited to those issues that affect the dome fresco. on the dome's fresco and test the sacred phenomenon of
Therefore, the discussion focuses only on the criterion the holy light.
of architectural lighting.
References
The analysis of the Church in Cyprus along the
recommended ambient lighting indicates that not enough Arnold, E., 1975. Light and re and the holy spirit. New York:
natural light penetrates the building to view the fresco, The Woodcrest Service Committee, Inc,
and it is always viewed in partial shadow. The "holy"
Carr, A. W., and L. Morrocco. 1991. A Byzantine masterpiece
light in this church is created by the transcendence recovered, the thirteenth-century murals of Lysi, Cyprus.
in time and the direct relationship to the sky, and not Houston: Menil Collection.
necessarily by the importance given to the fresco. The
Eliade, M. 1968. The sacred and profane: the nature of religion.
analysis of the Chapel in Houston along this criterion Harvest/HBJ Book.
illustrates that electric light can provide a complete and
Gelfenbien, G.P, 1987. Spheres of light: light as the common
steady viewing experience of the fresco. The glass panels
element of the Byzantine East and the Gothic West. Ann
evoke the numinous, instilling the ancient frescoes with Arbor, Michigan: University Microlms International
renewed spiritual signicance and power (Slessor 1998). Company.
The manipulation of the architectural components that
Giovannini, J. 1997. Modern reliquary, an authentic setting for
inuence the senses of light and darkness creates the two Byzantine frescoes. Architecture April:68-75.
"holy" light while focusing on the fresco.
Hayes, B. 1983. Tradition becomes innovation: modern
In conclusion, the rst objective of the study to compare
religious architecture in America. New York: Pilgrim Press
the natural and electric lighting in a sacred setting shows
that natural light enhances the general spiritual effect Illuminating Engineering Society (IES). 1987. Houses for
Worship. Lighting Handbook Application Volume 7:3-7
using the relation to time and nature; electrical lighting
provides a controlled environment that can create a Khemlani, L. 2002a. Modeling in Form Z. AEC Tech News
drama of light and darkness around a sacred icon. This September # 82
illumination enhances the viewing of a focal point as Khemlani, L. 2002b. Comparison of lighting capabilities AEC
Endnotes
1 Form Z was reported to be more accurate than other programs
in its ability to model with a higher degree of dimensional
correctness (Khemlani 2002a).
2 The validity of such rendering is further supported by
Khemlani (2002b) report that Form Zs natural day lighting
simulation is adequate to produce a realistic daytime
rendering.
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