analysis of daylight in the mit chapel, cambridge - DSpace@MIT

Nicole Vlado
ANALYSIS OF DAYLIGHT IN THE MIT CHAPEL, CAMBRIDGE
Non-Denominational Space of Worship
Kresge Oval, MIT Campus, Cambridge MA
Architect: Eero Saarinen | Built: 1955
As proposed in the architect’s
plans for the chapel, the building
consists of a rectangular plan for
offices, an entrance corridor and
the main worship space: a tall brick
cylinder surrounded by a pool of
water. The exterior landscaping
includes a circular arrangement
of trees surrounding the worship
space.
The intention of the building is to
create a spiritual experience that
removes the visitor from the urban
surrounds of the university campus
as well as the business and noise
of Massachusetts Avenue.
The building has no traditional
windows or openings. The unique
quality of the interior of the worship
space is achieved through the
control of the use of natural light,
as well as the predominance of the
darkness achieved in the space.
Light from the exterior is filtered
through the space through the
design of three elements:
a large circular skylight designed
with a filtering device to create
diffuse lighting over the altar
space
a metallic sculpture placed
below the skylight to create scattering
and reflection of the light
entering from above the altar
lighting along the walls of the
worship space reflecting inwards
from the surrounding moat
The relationship between light and
dark is provided through the choreographic
design of movement into
the worship space from a space of
lightness into a space of darkness.
The entrance foyer is constructed
of panes of cast glass of varying
size, color, and transparency.

The irregularities of the cast glass
facade, provides and irregular lighting
pattern within this space. It also
restricts the visibility of the exterior
space, transitioning the experience
of the visitor away from the exterior
towards the highly interior space of
worship.
Artificial lighting in the worship space
acts to complement the effects of daylighting.
While the alter space is generally
naturally lit during daytime hours,
other spaces in the chapel require additional
lighting for the performance of
tasks such as reading.
The artificial lights are designed to
mimic the effect of use of natural light.
Spotlights are recessed into the ceiling,
randomly placed. The ceiling is
painted black to further enhance the
height of the space. Additionally, the
darkness of the ceiling serves to provide
high contrast between the interior
space and the diffuse light entering it.
This allows light which itself is not very
bright to have a powerful presence.
Considering the tall ceiling height
of the worship space, these lights
provide a similar gentle and irregular
lighting condition as that provided by
the spotlight and reflections from the
pool.
The lighting in the worship space is
intended for the illumination of the
surfaces, namely the chamfered brick
walls of the worship space. The texture
of the surface of the walls, combined
with the movement of the natural light
throughout the day provides for a dynamic
experience of movement within
the space.
The walls are most successfully lit
using natural light from the exterior
through the design of the detail
between the moat and the building
facade. In this detail, the water in the
moat replaces mirrors found in advanced
lighting systems, such as light
shelves, allowing daylight to bounce
into the interior from below. The effect
is mysterious -- a shimmer of diffuse
light moving along a textured surface.
This detail is designed such that this
effect can be viewed at eye-level of a
seated visitor.

Unfortunately, this lighting system is
very difficult to maintain. Often the
moat is emptied of the water needed
to provide reflections into the worship
space. This is often the case in the
winter (which is a large portion of the
year in this climate).
The daylighting provided by the
skylight is more consistent, as the
skylight provides a large opening
along a flat surface. Some lighting is
achieved during overcast conditions.
The chapel is kept dim during the day,
thus, the skylight combined with the
reflective sculpture provide adequate
light for visitors to use the space for
worship.
The skylight over the altar space
composes approximately 1/10th of
the surface of the roof/floor plan of the
worship space. Light is filtered through
a honeycomb screen before entering
the space, thus reducing the amount
of daylight entering the space. While
the amount of light entering the space
is not a large amount, in contrast to the
dark color of the materials within the
interior, the apparent light produces
enough contrast to provide visibility.
It is clear from the effects produced
by the space, and the writings about
the MIT Chapel, that Saarinen used
daylighting to produce particular
qualities within the worship space.
In this example, daylighting is used
to provide an ambience rather than
produce a natural lighting solution.
The position of the skylight is intended
to create a dramatic effect at the altar,
while additionally providing ample
light for reading, as well as adequate
contrast for viewing someone at the
alter with greater acuity than persons
located away from the dominant light
source. Elements such as the metallic
sculpture and the reflections from
the moat provide additional effects
that are primarily aesthetic in their
design. The texture of the bricks, and
the undulation of the walls in plan, not
only enhance the lighting within the
space, but they were intended by the
architect to produce special acoustic
effects as well.