Daylighting of Catholic Churches in Nairobi

Daylighting in Catholic Churches
University of Nairobi
College of Architecture and Engineering
School of the Built Environment
Department of Architecture and Building Science
BAR 613: Research Thesis (2016/2017)
DAYLIGHTING IN CATHOLIC CHURCHES

A Study of Nairobi
Muhuri Siegmund Kamau

B02/40174/2011
Tutor: Arch. Njoroge Muhia
DECLARATION
This thesis is my original work and has not been presented in any other university or institution for the purpose of awarding a degree to the
best of my knowledge.
AUTHOR: DATE:
Muhuri Siegmund Kamau
This thesis is submitted in part fulfillment of the examination requirements for the award of Bachelor of Architecture degree (B. Arch),
Department of Architecture and Building Science, University of Nairobi.
TUTOR: DATE:
Arch. Njoroge Muhia
YEAR COORDINATOR: DATE:

Arch. Erastus Abonyo
CHAIRMAN: DATE:
Arch. Musau Kimeu
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ACKNOWLEDGMENTS
First and foremost, I would like to thank God for my life and the strength to carry this work through to the end.
To my tutor, Arch. Njoroge Muhia, for your unwavering support, positive outlook and encouragement on all things. I shall be grateful
forever. Your continuous belief in me, inspired me to reach for my utmost best. To the year master, Arch. Erastus Abonyo and the Chairman
of the Department of Architecture (University of Nairobi), Arch. Musau Kimeu. I thank you for your continued support and guidance.
To all the lecturers in the Department of Architecture, thank you for your constant input.
To my classmates, especially Mulwa, Mari, Maleche and Dolphine, thank you for a healthy competitive spirit and for your support. Special
thanks to Grace for constantly pushing me and for the positive criticism. I appreciate you all.
Finally, to my parents and family for your unwavering support, love and words of encouragement throughout the years, thank you.
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TABLE OF CONTENTS
DECLARATION ...................................................................................................................................................................................................................................... I
ACKNOWLEDGMENTS ......................................................................................................................................................................................................................... II
TABLE OF CONTENTS .......................................................................................................................................................................................................................... III
LIST OF FIGURES .................................................................................................................................................................................................................................. V
ABSTRACT ......................................................................................................................................................................................................................................... VII
CHAPTER 1: INTRODUCTION ............................................................................................................................................................................................................ 1

1.0 INTRODUCTION .......................................................................................................................................................................................................................................... 2
1.1 BACKGROUND STUDY .................................................................................................................................................................................................................................. 3
1.2 PROBLEM STATEMENT ................................................................................................................................................................................................................................. 4
1.3 RESEARCH OBJECTIVES ................................................................................................................................................................................................................................ 5
1.4 RESEARCH QUESTIONS................................................................................................................................................................................................................................. 5
1.5 JUSTIFICATION OF STUDY.............................................................................................................................................................................................................................. 5
1.6 SIGNIFICANCE OF STUDY .............................................................................................................................................................................................................................. 6
1.7 SCOPE AND LIMITATIONS ............................................................................................................................................................................................................................. 6
1.8 ORGANIZATION OF STUDY ............................................................................................................................................................................................................................ 7
CHAPTER 2: LITERATURE REVIEW ..................................................................................................................................................................................................... 8

2.1 INTRODUCTION .......................................................................................................................................................................................................................................... 9
2.2 HISTORY AND EVOLUTION OF DAYLIGHTING ................................................................................................................................................................................................... 10
2.3 CATHOLIC CHURCH ARCHITECTURE .............................................................................................................................................................................................................. 18
2.4 THE CHARACTERISTICS OF DAYLIGHT ............................................................................................................................................................................................................ 20
2.5 PSYCHOLOGY OF LIGHT .............................................................................................................................................................................................................................. 25
2.6 DAYLIGHTING DESIGN STRATEGIES ............................................................................................................................................................................................................... 27
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2.7 MASTERS OF DAYLIGHT IN ARCHITECTURE ..................................................................................................................................................................................................... 30
CHAPTER 3: RESEARCH METHODOLOGY ......................................................................................................................................................................................... 33

3.1 INTRODUCTION ........................................................................................................................................................................................................................................ 34
3.2 RESEARCH PURPOSE .................................................................................................................................................................................................................................. 34
3.3 RESEARCH STRATEGY................................................................................................................................................................................................................................. 34
3.4 SAMPLING DESIGN .................................................................................................................................................................................................................................... 35
3.5 DATA COLLECTION METHODS ..................................................................................................................................................................................................................... 35
3.6 DATA ANALYSIS AND PRESENTATION ............................................................................................................................................................................................................ 36
3.7 RESEARCH VARIABLES ................................................................................................................................................................................................................................ 36
CHAPTER 4: RESEARCH FINDINGS................................................................................................................................................................................................... 37

4.1 INTRODUCTION ........................................................................................................................................................................................................................................ 38
4.2 CASE STUDY 1: CATHEDRAL BASILICA OF THE HOLY FAMILY ........................................................................................................................................................................... 39
4.3 CASE STUDY 2: SHRINE OF MARY HELP OF CHRISTIANS ................................................................................................................................................................................. 42
CHAPTER 5: CONCLUSIONS AND RECOMMENDATIONS .................................................................................................................................................................. 45

5.1 INTRODUCTION ........................................................................................................................................................................................................................................ 46
5.2 SUMMARY OF FINDINGS AND CONCLUSIONS .................................................................................................................................................................................................. 46
5.3 RECOMMENDATIONS................................................................................................................................................................................................................................. 48
REFERENCES..................................................................................................................................................................................................................................... VIII
APPENDICES ....................................................................................................................................................................................................................................... X
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LIST OF FIGURES
Figure 2.1: Cathedral of Christ the Light in Oakland ............................................................................................................................................................................................ 9
Figure 2.2: Church of the Transfiguration by Dos Architects ............................................................................................................................................................................... 9
Figure 2.3: Karnak temple - Ancient day lighting strategy ................................................................................................................................................................................ 10
Figure 2.4: Ave Maria Catholic Church, Florida, USA showing daylight transformation ................................................................................................................................... 10
Figure 2.5: Great Temple of Ammon showing daylighting strategies................................................................................................................................................................ 11
Figure 2.6: The Oculus at the Pantheon in Rome ............................................................................................................................................................................................... 12
Figure 2.7: Section of the old Church of St. Peter at Rome ................................................................................................................................................................................ 13
Figure 2.8: The Byzantine Church of Panagia Kosmosoteira, north Greece ....................................................................................................................................................... 13
Figure 2.9: St. John Neumann Catholic Church .................................................................................................................................................................................................. 14
Figure 2.10: The Gothic east end of Cologne Cathedral ..................................................................................................................................................................................... 14
Figure 2.11: Inside Michelangelo's main dome of St. Peter's Basilica................................................................................................................................................................ 15
Figure 2.12: Indescribably beautiful interior of the St. Peter's Basilica ............................................................................................................................................................. 15
Figure 2.13: Ronchamp Chapel Exterior ............................................................................................................................................................................................................. 16
Figure 2.14: Ronchamp Chapel Interior ............................................................................................................................................................................................................. 16
Figure 2.15: Tadao Ando's Church of Light Interior ........................................................................................................................................................................................... 17
Figure 2.16: Categories of Daylight.................................................................................................................................................................................................................... 20
Figure 2.17: Sources of Daylight ........................................................................................................................................................................................................................ 20
Figure 2.18: Externally Reflected Component .................................................................................................................................................................................................... 21
Figure 2.19: Internally Reflected Component .................................................................................................................................................................................................... 21
Figure 2.20: Jubilee Church by Richard Meier & Partners .................................................................................................................................................................................. 25
Figure 2.21: Kuokkala Church in Finland ............................................................................................................................................................................................................ 26
Figure 2.22: Light Tower at Ronchamp .............................................................................................................................................................................................................. 31
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Figure 4.1: Sketch displaying the building orientation parameter ..................................................................................................................................................................... 38

Figure 4.2: Stained glass at Canterbury Cathedral full of lively narratives ........................................................................................................................................................ 38
Figure 4.3: Aerial View of the Cathedral Basilica ............................................................................................................................................................................................... 39
Figure 4.4: Photo of the interior of the Cathedral .............................................................................................................................................................................................. 39
Figure 4.5: Google Map showing Cathedral orientation.................................................................................................................................................................................... 40
Figure 4.6: Stained glass windows of the Holy Family Basilica .......................................................................................................................................................................... 40
Figure 4.7: A photo of the cathedral showing the interior surfaces................................................................................................................................................................... 41
Figure 4.8: The stained glass window as the altar background ......................................................................................................................................................................... 41
Figure 4.9: Exterior photo of the church ............................................................................................................................................................................................................ 42
Figure 4.10: Floor plan drawing of the church ................................................................................................................................................................................................... 42
Figure 4.11: An aerial view of the church .......................................................................................................................................................................................................... 43
Figure 4.12: Interior of the church ..................................................................................................................................................................................................................... 43
Figure 4.13: An aerial view of the church .......................................................................................................................................................................................................... 43
Figure 4.14: Interior of the church ..................................................................................................................................................................................................................... 43
Figure 4.15: Interior finishes and furniture of the church .................................................................................................................................................................................. 44
Figure 4.16: Interior Surfaces of the church (Walls & Roof) ............................................................................................................................................................................... 44
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ABSTRACT
Light and shadow are used in architecture to create solids and emptiness. Since the beginning of architectural history light and space have
interacted. This interaction is a reflection of the dynamics of design shaped by geographical conditions, social structure, beliefs, religion,
economics and politics. Light is also used to create psychological and physiological effects in architecture. Daylight symbolized the God in
almost every culture. This phenomenon shaped the interior illumination of the religious buildings.
In religious spaces, the design of space and lighting changes according to worship and liturgy. The desired lighting design varies according to
religions and sects. The quantity and quality of illumination along with the combination of lighting, color and shadow affects the quality of
the sacred space and the overall spiritual and mystical balance. This study deals with daylight of religious spaces that reveals the interaction
between beliefs, political, social and aesthetic values and the technological possibilities. The study explains how the daylight provides
identity to the religious spaces.
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CHAPTER 1: INTRODUCTION
1.0 Introduction
Genesis 1:1-5 (NIV) - In the beginning God created the heavens and the earth. Now the earth was formless and empty, darkness was over
the surface of the deep, and the Spirit of God was hovering over the waters. And God said, Let there be light, and there was light. God saw
that the light was good, and he separated the light from the darkness. God called the light day, and the darkness he called night. And
there was evening, and there was morningthe first day.
Light gives character to architecture. Its absence denies humans the ability to experience and comprehend form, color and texture. It is able
to transform spaces, evoke emotions and sensations and also accentuate and highlight elements of space to capture the viewers attention.
In sacred buildings, light is not only used for the necessary visual comfort, but most importantly, to evoke mystical and spiritual feelings. It is
used to create divine spaces and is identified with the creator, and the spaces emphasize the glory of God. In sacred spaces, the space and
lighting design changes according to liturgy. Each space requires different lighting for different functions and moods.
The quantity and quality of light combined with the colors and shadows affects the quality of the space and the spiritual and mystical
feeling. Therefore, the hypothesis of this study is that, in sacred buildings, the perceptual quality and dimension of light is of more
importance than visual comfort and clarity and that various elements and aspects of space may emphasize this dimension.
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1.1 Background Study

The history of church architecture is quite rich and religious buildings have evolved in design, both form, layout and use. New churches
continue to be built with various forms, some simple and minimalistic, and others complex and detailed.
As for the Catholic Church, the evolution is quite evident especially after the Second Vatican Council. New forms and layouts to encourage
active participation have emerged. It is also evident that new churches are being designed with an objective to fit into the local context.
For example, in Kenya, churches like Don Bosco Shrine in Upper Hill, Nairobi, were designed to fit into the African context. More Catholic
churches are also being built in order to accommodate the growing Catholic population.
Design of churches requires sensitivity to both the context and the emotions evoked by the building, that is, contemplation, meditation and
worship of God. Light is a very crucial element that contributes to this psychological effect, therefore, it must be used and manipulated
innovatively to achieve a sacred environment.
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1.2 Problem Statement

"...Light is the origin of all being...Light grants autonomy to things and, at the same time, prescribes their relationships...Light: the creator of
relationships that constitute the world; yet although the origin of all being, it is by no means an immobile source. Light is, rather, tremulous
motion - out of its ceaseless transformation, light continually reinvents the world... (Dalco 1996)
Various architects propose to either use representational symbolism, traditional/ regional form or hierarchy of spaces as design elements.
Others propose the manipulation and play of natural light and the abstract ideas of design. Both techniques aim at creating meaningful
religious spaces. Despite this, the latter are frustrated by the formers clinging to traditional ways of thinking, that is, conservative
ideologies. Catholics believe in the binding of body and soul together, therefore representational symbolism expressing personal stories of
real lives are very essential to the creation of religious space. Thus, the above mentioned techniques should be merged.
Light, being a very important element in sacred architecture, can be manipulated to add dynamism and create a divine environment for
worship. Various catholic churches that are being built recently seemingly focus on lighting for visual comfort or as an afterthought,
neglecting the psychological aspect.
Through this study, the author intends to show how natural light can be used and manipulated in religious spaces (with focus on Catholic
churches) to create a special religious and divine atmosphere which is so frequently desired but rarely achieved in modern church buildings.
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1.3 Research Objectives

1. To understand the history and evolution of daylighting in the design of Catholic Churches.
2. To investigate daylighting strategies that have been employed in Catholic Church architecture.
3. To identify ways in which innovative and modern daylighting strategies can be incorporated into Catholic Church design.
1.4 Research Questions

1. What is the history of daylighting and how has it evolved over time in the design of Catholic Churches?
2. What daylighting strategies have been employed in Catholic Church architecture?
3. In what ways can innovative and modern daylighting strategies be incorporated into Catholic Church design?
1.5 Justification of Study

Churches serve as places of worship and they ought to be meaningful and valuable in terms of the liturgy. At the same time, they are
supposed to create an environment suitable for worship, that is, the proper mood for contemplation and prayer.
Lighting in architecture plays a very major role in influencing the users moods and evoking various emotions. Previous research on
daylighting has focused majorly on other building types without necessarily addressing the psychological aspect.
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This calls for an understanding of the various ways to achieve day lighting in Catholic churches, not just for functional purposes, but also
attempt to connect humans to the divine nature of God.
This will be checked against successful church designs that have achieved the creation of a contemplative worship space.
1.6 Significance of Study

There is need to explore and highlight the importance of natural lighting within religious spaces. The author will highlight daylighting
strategies that can be used in the design of Catholic churches.
The findings from this research will help designers to better design Catholic Church spaces using day light, therefore creating a meaningful
religious space which evoke contemplation and divinity.
1.7 Scope and Limitations

This study will focus on daylighting analysis in sacred spaces, specifically Catholic churches in Nairobi. It will be limited within Nairobi city
because amongst the 4 Archdiocese in Kenya (Nairobi, Kisumu, Mombasa and Nyeri), Nairobi has the largest population of Catholics.
It is also the Archdiocese with the highest number of parishes, which therefore provides a bigger selection range for cases to study and
analyze. The analysis will be limited only to the main sanctuary spaces in the churches.
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1.8 Organization of Study

Chapter 1 describes the problem statement, research questions and objectives, significance and justification, and limitations of the study. It
also explains the existing state of catholic churches and recent design trends.
Chapter 2 focuses on the existing knowledge regarding daylighting of sacred spaces. This chapter aims at exploring and understanding
daylighting strategies which will be eventually used to generate variables. These variables will guide the author to analyze the selected case
studies.
Chapter 3 describes the methods selected to conduct this research. It will evaluate the research objectives and discuss the strategies that
helped the author analyze daylighting in Catholic churches. The study requires analysis within a case study context.
Chapter 4 is a fieldwork investigation of the case studies selected according to the criteria discussed in Chapter 2. The findings will be
analyzed and compared in order to make conclusions and recommendations.
Chapter 5 summarizes and concludes the research. It will give conclusions and design recommendations regarding daylighting in Catholic
churches based on the findings in fieldwork analysis.
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CHAPTER 2: LITERATURE REVIEW

2.1 Introduction
Natural light is a major element in architecture. The thought of architecture is not
separable from the word light because it enables us to discern spaces, and their
connection to objects, also, the meaning, interpretations and suggested emotions.
That being said, light is used to create psychological and physiological effects in
architecture. Therefore, this study aims to explore daylighting in religious architecture,
Figure 2.1: Cathedral of Christ the Light in Oakland
[Source: http://inhabitat.com]
specifically the Catholic Church. Light and symbolism are the essence of religious
architecture.
The author seeks to explore findings of various authors regarding daylighting in

churches and other religious spaces. The study sets out to understand the psychological
effect of daylight in sacred spaces.
Lastly, the author discusses the different daylighting strategies used throughout the
Catholic Church history and analyze the quality of lighting with the following parameters
in mind: The size, shape, position and orientation of openings, the types and color of
glazing, and the characteristics of the interior surfaces of the building.
Figure 2.2: Church of the Transfiguration by Dos

Architects
[Source: https://www.dezeen.com]
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2.2 History and Evolution of Daylighting

The history of architecture is synonymous with the history of the window and of
daylighting from the initial crude openings, letting in light and air, heat and cold, the
window was the vehicle for the introduction of daylight, and ultimately to the wondrous
interiors of the medieval cathedral, the Baroque churches or the many private buildings
of the eighteenth century. (Philips; 2004)
Figure 2.3: Karnak temple - Ancient day lighting strategy

Daylight informed the lives of the inhabitants from the earliest caves and as dwellings
[Source: https: //www. toursbymonica.com]
became more refined and complex, windows or openings were used to let in light. Light
has always had a symbolic role since the first cultures, and this was directly related to
the cosmological, sacred and religious beliefs. This role is apparent in the religious
buildings leading the way in the creation of worshipping and aesthetic forms of a
religion. Yet light is an influential factor, not only in the spiritual relation between the
believers and the religion, but also in the spatial relation between the believers and the
building. Spatial structures construct the religious environment while light re-constructs
the religious experience.
In ancient times, before artificial lighting was invented, buildings only depended on
Figure 2.4: Ave Maria Catholic Church, Florida, USA daylight as the primary source of light. This was without the use of extra energy. In
showing daylight transformation
[Source: https: //http://www.dailymail.co.uk]
order to improve and enhance the light quality in buildings and structures, people used
various lighting techniques. Light has always been used to trigger and create
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metaphysical architecture, of the divine, and of heaven. Daylighting has also changed
over time due to technology thus improving the quality of daylight transmitted into
buildings. An elaborate history of daylighting in religious architecture has been
discussed below:
2000 years ago Christianity was illegal and there were no religious buildings. Roman
soldiers were rigorous towards Christianity therefore Christians had to survive while
hiding inside caves. These hidden spaces were called catacombs. The Roman Empire
Constantine the First, then legalized Christianity after the year 313 and Christians began
building church buildings. But the early Christians in Anatolia, Turkey, were being
attacked by Persian soldiers, therefore they built churches by carving the hills in
Cappadocia. On these, they created small holes to serve as windows. This marked the
beginning of clerestory windows.
Figure 2.5: Great Temple of Ammon showing daylighting

ANCIENT EGYPT
strategies
[Source: http://www.ask-aladdin.com] The temples in this period were designed with minimal wall and roof openings to
prevent direct sunlight and glare. The size of openings was limited by the spanning
ability of stone. To enhance daylight penetration in deep plans, clerestory windows
were used. In addition, the walls were reflective thus diffused and softened the light
admitted into the building. Openings in form of roof slits was another strategy used. An
example of this is the Great Temple of Ammon
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ANCIENT GREECE (700 BC 146 BC)
Greek buildings were built for sight rather than occupation because most of the
activities were outdoor based. Openings were used to illuminate statues and accentuate
the ornamentation in the buildings. The temples were oriented facing east to further
enable illumination of the statues through large roof openings and doorways.
ANCIENT ROME (146 BC 365 AD)
The earliest churches were built in the form of a basilica, a Roman court building, and
they had aisles on the side which were separated from the main space by a colonnade,
that is, the nave.
Major technological advancements were achieved, that is, the ceiling was shaped like a
cruciform and had barrel vaults. These barrel vaults and domes on load bearing walls
enabled larger openings as compared to Ancient Greek architecture.
For visual comfort and perception, the altar and the choir stands were illuminated
Figure 2.6: The Oculus at the Pantheon in Rome
[Source: http://www.danheller.com] sufficiently and the worshippers needed enough lighting to enable them to read without
glare. Therefore, the windows in the congregation section were designed to diffuse the
daylight coming into the space. The form and daylighting in these buildings was to
create the mysterious and mystic atmosphere by using certain window arrangements
and positioning, and also the building orientation. A good example is the Pantheon, in
Rome.
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EARLY CHRISTIAN (AD 313 AD 800)
During this period, there was extensive use of timber trusses instead of the vaulting
technique used by the Romans. This enabled construction of sloping roofs, thus
reducing the wall space available for clerestory openings. Smaller clerestories meant
less interior illumination, but at the same time, this enhanced the mystical nature of the
spaces. The altar was also surrounded by windows placed at a high level to emphasize
the space.
Figure 2.7: Section of the old Church of St. Peter at Rome BYZANTINE (AD 330 AD 1453)
[Source: https://www.khanacademy.org]
Light, in churches of Byzantine origin, was used to give emphasis to Christian stories and
the most important moments, both diurnal and annual (Deitz, 2003:37). Construction of
domes supported by a rectangular base was made possible by technological
advancements. Many stained glass windows placed at the base of the dome made it
look like it is floating. For example, Hagia Sophia, located in Istanbul, was built in the 9th
Century and it majorly uses daylight as an architectural element. The base of the
churchs dome has forty windows making the dome feel as if it is floating (Karen,
1995:4). According to Bolak, the windows of the dome resemble a necklace of light.
Figure 2.8: The Byzantine Church of Panagia

The apse of Hagia Sophia faces the South East such that on Christmas morning, sunlight
Kosmosoteira, north Greece is present during the liturgical celebrations (Bolak, 1967:4). Hagia Sophias bicornis luna
[Source: http://www.danheller.com]
(menoeides) is a small dome that rises over the main dome (spharairoeides tholos) such
13
that the moonlight and sunlight create illusions of light on the walls that look like
crescents (Dzgner, 2006:93). Over the apse, on the semi-dome, beams of daylight
focus on an icon. This is achieved by the arrangement of windows and tilted window
sills.
ROMANESQUE (AD 800 AD 1100)
Round masonry vaults replaced the wooden trusses of the early Christian period. The
Figure 2.9: St. John Neumann Catholic Church design was in form of a cross plan basilica with a dome at the intersection. Small
[Source: http://sjnknox.org]
windows with clear glazing were mostly used. This period was when the emergence of
Rose windows occurred.
GOTHIC (AD 1100 AD 1600)
When Gothic churches appeared after the late medieval period, their interiors were
dark. As a rule in Gothic Cathedrals, the maximum amount of light was where the
maximum religious content of the building was placed (Dora, 1985). Stained glass was
used widely during this era for the church windows. The color of stained glass has
greatly contributed to the creation of a mystic ambiance using daylight.
Flying buttresses were also innovated therefore walls ceased to be used for load
bearing. This enabled large and vast stained glass openings. The ceiling was dimly lit,
Figure 2.10: The Gothic east end of Cologne Cathedral creating a solemn mood and the stained glass windows permitted colored light into
[Source: Wikipedia]
churches.
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RENAISSANCE (AD 1400 AD 1830)
Brunelleschi, and other renaissance architects revealed their architectural forms using
light. Michelangelo, at St. Peters Cathedral, was able to achieve very direct and clear
lighting effects. In this period was the revival of ancient Greek and Rome architecture.
There was use of visual harmony, proportion and incorporation of classical elements.
Subtle openings were used to emphasize the exterior building form and make interiors
dramatic. Openings were square headed and semicircular, and they were also large.
Figure 2.11: Inside Michelangelo's main dome of St.
Peter's Basilica
Thick walls resulted in deeply recessed openings which created an opportunity for light
[Source: http://mstecker.com] play and manipulation not achieved before. Domes were also part of the design and
were supported on drums with large windows.
BAROQUE (AD 1575 AD 1770)
In the Baroque architecture era, light was manipulated for emotional effect (Dora,
1985). The best example where light was used symbolically is found in the Baroque
period of 16th and 17th centuries where worship and societal aspirations were the key
factors that motivated lighting. The imagery and symbolism of light and shadow
expressed the mysteries of religion and they inspired devotion and worship of God.
Figure 2.12: Indescribably beautiful interior of the St. Baroque architecture and art are characterized by movement, emotion, irrationality,
Peter's Basilica
spirituality, atmosphere, and all were based on the dynamism and rules of the nature
[Source: https://travelgardeneat.com]
(Brogan, 1997:6).
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INDUSTRIAL REVOLUTION
In the 19th century the Industrial Revolution introduced new materials and building
techniques. These brought in lighter structures and the window spans became longer.
Skeletal structures enabled architects to let more sunlight into the buildings. Daylighting
principles were based on the climate, window size and position and location of activity.
Large openings increased illumination levels thus increasing the possibility of glare and
solar heat gain.
Figure 2.13: Ronchamp Chapel Exterior
[Source: https://archdaily.com] MODERN MOVEMENT
In the 20th century, the Modern Movement brought aspirations to represent the
religious beliefs of society in the architecture. Modern Architecture, brought with it a
shift from poetic, symbolic use of light to a more literal treatment of light and
architecture. There was also exploration of new built forms. Notable architects used
principles of orientation and daylight illumination, at the same time, using new
technology. Some of these architects include, Le Corbusier, Alvar Aalto, Louis Kahn,
Tadao Ando and Frank Lloyd Wright.
A more spiritual use of light in architecture can be seen in the later work of Le
Corbusier. In his second period, Le Corbusier became increasingly interested in
Figure 2.14: Ronchamp Chapel Interior
representing the spiritual motivations which lie at the root of all human experience
[Source: https://archdaily.com]
(Baltanas, 2005:139). He looked at natural forms capable of divine and mystical
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character. In 1910 he visited Turkey. He examined Hagia Sophia, several mosques and
Cappadocia churches. He was inspired from these buildings lighting effects like thick
walls and pyramidal window sills while designing the Ronchamp Chapel. He was also
influenced by the stained glass of the Gothic Cathedrals. In his chapel at Ronchamp,
light was used not only as an integral part of the structure or as historical allusion but as
an uplifting and worshipful environment. This feature can be witnessed in the individual
chapels filled with colored light (Brogan, 1997:6). According to him, Architecture is
the magnificent, masterly and correct play of volumes under light once he
manifested his work motto, I compose with light... (Baltanas, 2005:139).
Metaphorical and mystical treatment of light can also be seen clearly in the works of
architect Tadao Ando. In the Church of Light, Ando designed a dramatic altar wall
representing Christian symbols. He has merged the symbolic meanings of both the
cruciform shape and daylight. Those examples show that daylight is still used for
spiritual influences more than functional needs in the Modern Period. In these spaces
Figure 2.15: Tadao Ando's Church of Light Interior the harmony of daylighting depends on the ambiance to be attained. Consequently the
[Source: https://archdaily.com]
spatial organization of the church is directly related to the lighting design.
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2.3 Catholic Church Architecture
2.3.1 The Second Vatican Council
The Second Vatican Council addressed the relationship between the Catholic Church and the modern world. It was opened under Pope John
XXIII on 11th October 1962 and closed under Pope Paul VI on 8th December 1965.
The Council made reform on practices regarding the liturgy, embraced fresh and new ideas concerning the role of the community in the
church, and allowed existing church buildings to be altered while encouraging new designs for churches of the future. Although churches
such as St. Laurentius Church, Munich, designed by Emil Steffann in 1955 had foreseen the liturgical reforms in terms of the Mass order and
had a centralized organization, it was not until 1965 that the Sacred Liturgy Constitution was implemented. The major importance of this
was the shift from the clergy perspective to the peoples perspective, that is, from a church of the cleric to a church of the people.
Several changes that were made included:
1. The placing of the altar away from the wall of the apse and emphasizing it using a low podium.
2. The pulpit was replaced by the ambo and was placed to the right or left of the altar.
3. Seats for the priest, deacon and altar boys were fixed beside or behind the altar.
4. The tabernacle (for keeping the consecrated Hosts safe) was to be positioned beside or behind the altar.
The difference between Catholic Church and Protestant church architecture is very small. The main elements, that is, the altar, baptistery
and ambo are considered as one in both denominations. The space allocated for liturgical processes and the Eucharist should have an
amount of flexibility.
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On one hand, each denomination uses the eccentric orientation and on the other, the concentric congregation shape. The differentiation
between the radial and axial arrangements remains as an important criteria. At the same time, as explained by Otto Barting, these
arrangements can be unified (those experiences as one whole) or partitioned (whereby certain parts of the spaces are more emphasized
than the whole).
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2.4 The Characteristics of Daylight
2.4.1 The Sources of Daylight
Sunlight, as the main source of daylight, scatters through the atmosphere, turning the
entire sky into a daylight source. Therefore, the sun and the sky are the main sources of
daylight. Daylight levels, inside a building, are however greatly affected by reflected
daylight from the sun and sky. This can either be reflected off exterior or interior
surfaces, resulting in three main daylight components in interior spaces, that is:
Figure 2.16: Categories of Daylight
[Source: Google]
2.4.1.1The Direct Component (Sunlight and Skylight)
This refers to the daylight from both the sun and the sky. It varies significantly by
location, time, and weather conditions. Under clear sky conditions the sun has high
intensity. Direct sunlight also produces glare and thermal discomfort. In some cases, it is
desirable in transition spaces such as lobbies and corridors, creating drama through
hard shadows and interest due to the dynamic nature of sunlight throughout the day. It
can be diffused and evenly distributed by use of lenses, prismatic and translucent
Figure 2.17: Sources of Daylight
materials and reflection off matte finished surfaces.
[Source: Google]
In comparison, the sky is a diffuse light source, which means the shadows created are
soft. The intensity of light and luminance levels is determined by sky conditions (cloud
20
cover) and sun position. Partly cloudy skies, with clouds passing under the sun, results in
dramatic changes in the light distribution and overall daylight levels. An overcast sky
usually has the most stable and even light distribution, but can still vary considerably
with varying density of clouds.
2.4.1.2The Externally Reflected Component

Figure 2.18: Externally Reflected Component
[Source: Google]
This is light reflected off exterior surfaces. This component can be significant, especially
when direct sunlight is reflected off surfaces with high reflectance, such as reflective
glass of neighboring buildings or a nearby water body, and can be almost as intense and
uncomfortable as direct sunlight.
2.4.1.3The Internally Reflected Component
This refers to reflections of both the direct and externally reflected components off
interior surfaces. This plays a very major role in the daylight performance of spaces and
should be carefully considered in interior designs. It is enabled and enhanced by the
Figure 2.19: Internally Reflected Component geometry and reflectance properties of the interior surfaces, including partitions and
[Source: Google]
furniture.
21
2.4.2 The Qualities of Daylight
There is insufficient knowledge on how human experience of light qualities relates to measurable elements as the very concept of light
quality lacks clear definition because human experiences are widely subjective. Lighting quality varies with the personal experience of
individuals and must be seen as an instrument of informing and teaching, rather than as evidence based fact. Various experts, among
them Veitch & Newsham (1996) have made several attempts to establish guiding concepts for lighting quality based on performance, well-
being and visual comfort
Architects generally propose that daylight improves spatial qualities of built forms. This is partly derived from the spatial experience offered
by windows as portals to the external environment, yet also from the qualities of daylight itself. As pertains to the experience of daylight
within the built form, the following questions prove monumental:
1. How does the shape and position of windows affect the human experience within a room?
2. How does the amount of daylight affect the users perception of size and proportion in the room?
3. How are the room and its colour finishes experienced in daylight from the four compass directions?
4. How is space and its defining colours experienced in daylight that is filtered through glazing?
5. How are the colours in a room perceived under daylight and under artificial sources of light?
Daylight has various unique qualities that have always, since the beginning of time, unveiled themselves in buildings. These qualities are
intangible and contribute majorly to the psychological aspect of a building.
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2.4.2.1 Change and variety
Daylight is a source that is in constant change and varies according to the time of day, seasons of the year and the weather conditions, that
is, sunny or cloudy. This quality provides a very dynamic and appealing appearance to the building interiors. Weather changes are observed
as they modify the appearance of a space, thus helping the users interact and be aware of the external environment. It provides information
regarding the variety of the exterior world.
Louis Kahn expressed appreciation of this daylight quality when he stated, I cant define a space really as a space, unless I have natural
lightnatural light gives mood to space by nuances of light in the time of day and the season of the year, as it enters and modifies the
space.
2.4.2.2 Modelling
Daylight has direction. This is because the sun moves from morning to evening and from season to season. The brightness also varies at
different times of the day. This quality of light provides clarity to spaces. Our ability to perceive time and space is increased by the changing
modelling that daylight provides. It also gives the building user awareness of where he or she is in relation to the exterior.
The most common daylight modelling is achieved with light from a single direction thus the form changes with time as the day progresses.
Daylight gives meaning and helps us understand space and the objects in the space. Modelling determines the mood evoked in users and
also the perception of space and objects as natural. Modelling emphasizes surfaces and forms by use of shadow patters that result from the
direction of daylight. This is related to the orientation of the building, the characteristics of the windows or means of daylight entry. The
appearance of the interior architecture is determined by the physical surfaces, edges and textures when acted upon by the light falling on
them. Interior spaces are judged to be pleasant, bright or gloomy as a result of modelling effects (Philips, 2000).
23
2.4.2.3 Orientation
This is determined by how the building is set on site and its relationship to the sun path. This allows architects to achieve optimum natural
lighting depending on the function of the building. At the same time, it assists the user to understand his whereabouts within a building,
enables them to know the time of day and the kind of weather outside. It will not always be possible to provide the optimum orientation for
a building on its site, or its best relationship with the sun path, for example where a building is set into a rigid street pattern or where there
is overshadowing from a neighboring building, but the question of orientation should always be a consideration (Philips, 2000)
2.4.2.4 Color
The color of daylight varies from morning to evening, according to changes in the sky and also weather patterns. Despite this, it is regarded
as the reference from which color is judgedit is regarded as true color. Daylight is the color reference, since all other forms of light
change the perceived color to a greater or lesser degree. Daylight is thought to be the true color despite the fact that it varies in hue from
morning to evening and is enhanced by sunlight. This is of particular importance in buildings where we have learned to adapt to the natural
change which occurs and a white surface still appears white in evening light (Philips, 2000).
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2.5 Psychology of Light

In order to develop more extensive architectural lighting concepts, designers have to
consider the third factor beside architecture and light: Perceptual psychology. In
Handbook of Lighting Designed it is mentioned:
"In contrast to physiological research, it was simply a question of the quantitative

limiting values for the perception of abstract "visual tasks". Man as a perceiving being
was the focus of the research, the question of how reality perceived is reconstructed in
the process of seeing. These investigations soon led to evidence that perception was
not purely a process of reproducing images, not a photographing of our environment.
Innumerable optical phenomena proved that perception involves a complex
interpretation of surrounding stimuli that eye and brain constructed rather than
reproduced an image of the world around us." (Ganslandt and Hoffinann, 1992)
In light of these theoretical developments, light was no longer just a physical quantity
that provided sufficient illumination but an important factor in human perception.
Lighting is there to make things and spaces around us visible and determine the priority
Figure 2.20: Jubilee Church by Richard Meier & Partners and the way objects in our visual environment are seen, to see the life in space.
[Source: http://www.richardmeier.com]
Because we are dependent on light for perception, it is natural that we should be

psychologically affected by it. Throughout our history we have attached metaphysical,
even divine, qualities to light. Light plays a central role in our everyday lives and
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consciousness through the physiological processes that connect our health to it. We
wonder at the beauty of a sunrise or sunset with its ever-changing colors. Sunlight gives
us a sense of time and a connection with the outside world, a connection often needed
by our inner biological clock. (Boubekri, 2008).
Architects use light as a metaphor, as an element to alter moods and for symbolism, i.e.
carrier of a meaning in and of itself. Architectural works of past and present master
architects express this central role of light. Their work is praised for the interplay and
harmony of form, structure and light. For example, The Notre Dame du Haut Chapel at
Ronchamp, designed by Le Corbusier, combines form and natural light to give the
essence of the building, thus making light the heart of the design concept. The windows
are irregularly sized and shaped and the three light towers admit light into the building
from the top therefore, light enters from various directions and bounces off textured
surfaces and through colored glass. This gives the poetic and spiritual qualities that have
made this building iconic in modern architecture.
The Chapel of Light in Osaka, Japan is another example. It was designed by Tadao Ando,
Figure 2.21: Kuokkala Church in Finland
[Source: http://www.archdaily.com] a Japanese architect. In this chapel, light enters through a cruciform behind the altar
which has been cut in the concrete wall. This from ceiling to floor, vertically. The light
that passes through the cruciform contrasts the dark concrete wall. This easily makes
the cruciform the centerpiece and focus of the chapel, at the same time creating a
spiritual experience for the users.
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2.6 Daylighting Design Strategies

Daylight in a building creates interest and variety. While there is the advantage of energy saving and heat gain reduction during summer, the
environmental quality is also important. The openings have to be designed to ensure maximum exploitation of incoming light. Different
opening positions and light intensity must be considered (Meffert, 1980). The quantity and quality of daylight illumination inside a space is
mainly dependent on the following factors:
2.6.1 Orientation of the building
This is an important factor in determining of daylight admittance into a building. The sun path should be analyzed to enable the architect use
and control daylight. Best use of daylight should be taken into consideration to ensure admittance of sufficient daylight into the building.
Sun path analysis should be done to understand how to control and use sunlight.
The orientation of the building is influenced by the climate of the region. Therefore positioning of windows should be done depending on
where shading would be required at different times of the day to address the problem of solar heat gain.
2.6.2 Size, Shape and Position of Openings
These factors determine the brightness and contrast in the building and include the type of wall system used, transmission characteristics of
the material in the opening and control of sunlight.
The position of openings has been categorized into two major types:
27
1. Side lighting This refers to openings that are positioned on the building walls. Different shading methods could be by use of
overhangs, shading elements or a light shelf.
2. Top lighting This refers to openings positioned at a high level, either on the ceiling or high on the wall. This is more effective than
side lighting as it minimizes direct sun and can light the whole space evenly. For example, skylights, roof monitors and clerestory
windows.
These two types of openings may at most times dictate the overall building form and geometry. For example, roof monitors affect building
appearance from outside as many factories currently are. The positioning of openings also influences lighting distribution, that is,
symmetrical (which evokes calmness and a contemplative atmosphere) or asymmetrical light distribution.
2.6.3 Glazing System
The glazing system used may be analyzed in terms of the type of material used, and the color. An example is the use of stained glass in
Catholic churches. Multi-colored stain glass creates a certain mood and also paints the building interior creatively. It is made more
interesting by the fact that daylight is dynamic and changes throughout the day.
The material used for glazing may affect the solar heat gain in the building and also the reflectance. This may include prismatic glazing and
reflective glass. Emerging technology offers glazing materials that are highly advanced, for example, photo chromatic glass which changes
color depending on the light, or selective transmission glass which allows in light while preventing heat gain.
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2.6.4 Character of Interior Surfaces
This is concern the colors and type of materials used in the interior of the building and also the furniture. The materials used determine the
reflectance of the walls, ceiling and floor. The color of furniture used also affects the quality of daylight in the space. However, use of clear
glass in harmony with architectural elements inside the space offers the most effective solution for daylighting.
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2.7 Masters of Daylight in Architecture

"We were born of light. The seasons are felt through light. We only know the world as It Is evoked by light, and from this comes the thought
that material is spent light. To me natural light is the only light, because it has mood - It provides a ground of common agreement for man -
It puts us In touch with the eternal. Natural light is the only light that makes architecture architecture. -Louis l. Kahn
Following the evolution of daylighting in architecture, various architects pursued the integration of daylight design in their projects. Due to
their successful strategies, they have been labelled Masters of the Daylight in Architecture. The most known architects that have mastered
daylight manipulation are Le Corbusier, Alvar Aalto and Louis Khan. They also strongly believed in the importance of bringing the natural
light into divine spaces.
2.7.1 Le Corbusier
Le Corbusier is known as the master of form and daylight. In his projects, he uses light for symbolism and to display the poetics of space. He
even manipulates light to create mystery thus enhancing the space, the volume of the space and a powerful architectural meaning.
The chapel of Notre Dame du Haut in Ronchamp completed in 1954 would be a perfect example to support this. In this project, he has
carefully integrated form and daylight in the sanctuary. He uses curves to enclose the spaces and designs light towers that define these
shapes.
To create mystery, he allows daylight into the space from different angles. The direct light creates contrast that differentiates the forms and
spaces in the sanctuary. At the altar, Le Corbusier created small openings on the wall to allow in direct light. The Southern wall of the church
has deep rectangular openings that channel in light in different directions. This light let in by the openings on this wall is also multicolored.
30
The towers let in diffused daylight and the roof is slightly raised to allow a strip of light
into the chapel. This makes the roof seem like its floating and created a mysterious
mood. The quality of light in the church is ever changing and dynamic making it a space
where one has different experiences during different times of the day.
Le Corbusier said this about the Notre Dame du Haut Chapel:
"The shell of a crab picked up on the Long Island near New York in 1946 is lying on my
drawing board. It will become the roof of the chapel: two membranes of concrete six
centimeters thick and 2.26 meters apart. The shell will lie on walls of the salvaged
stones. The key is light, and light illuminates shapes and shapes have emotional power.
By the play of proportions, by the play of relationships unexpected, amazing... But also
by the intellectual play of purpose: their authentic origin, their capacity to endure,
structure, astuteness, boldness, even temerity, the play of those vital abstractions, which
are the essential qualities - the components of architecture."
2.7.2 Louis Khan

Figure 2.22: Light Tower at Ronchamp
[Source: http://www.archdaily.com] In the design of the First Unitarian Church (1957-1964) located in New York, Kahn was
able to display his belief that the building structure is the primary provider of light. The
main church space has clerestory openings at the corners which let in partially diffused
31
daylight. They are the only daylight source in the building. There are offices, a library and classrooms around the main church space. These
secondary spaces allow in diffused daylight from the exterior walls.
2.7.3 Alvar Aalto
Alvar Aalto is one of the most renowned architects. He was born in Finland. He mastered the art of maximizing the use of daylight. Due to
the climate of Scandinavia, he had to understand and explore various, if not all daylighting techniques and methods. He was able to
differentiate the lighting required in different seasons of the year. Aalto designed spaces that had proper and careful distribution of light
while also creating beautiful interior spaces. He used a variety of elements to achieve this, that is, clerestory windows, vaults, skylights,
lighting scoops and glazed openings with screening. These were used to enhance user movement within the building and also to accentuate
the spaces. Aalto mostly used clerestories and skylights to bring in natural light. His skill was important in that:
He was able to respond to the local climate, i.e. short summers and long winters.
He manipulated form to bring natural light into the building.
He used skylights to enhance and model the surface of the ceiling.
He was able to manipulate light to harmonize the outside and inside.
Aaltos daylighting methods are unique in the 20th Century architecture context.
32
CHAPTER 3: RESEARCH METHODOLOGY

3.1 Introduction
This chapter seeks to outline the various methods used to achieve the objectives in Chapter One of this study. It will give a detailed
explanation on the application of the research methodology and data collection techniques. To investigate the problem of the study, case
studies were used to analyze daylighting of catholic churches with reference to the parameters studied in Chapter Two of this research.
3.2 Research Purpose

This is an exploratory research, in which an analysis of daylighting in Catholic Churches will be carried out. An emphasis will be placed on the
lighting design strategies used and the psychology of light explored in Chapter Two. It also aims at establishing ways in which innovative and
modern daylighting strategies can be incorporated into Catholic Church design.
3.3 Research Strategy

The most suitable strategy for this research is the case study method. Existing Catholic Church environments will be studied in order to
understand the daylighting strategies used. It will also help answer the research questions posed in Chapter One of this thesis. An analysis
will then be done from the selected cases studies by testing the fieldwork information collected against the literature reviewed in Chapter
Two. The author has carried out his analysis on 2 selected case studies in Nairobi, Kenya. These case studies are:
1. Cathedral Basilica of the Holy Family, Nairobi CBD

2. Shrine of Mary Help of Christians, Upper Hill, Nairobi
34
3.4 Sampling Design

The author has sampled his 2 case studies from Nairobi using the criteria that they are close to the CBD and are very frequently used by a
huge portion of the population. They also represent two different architectural styles that are associated with Catholic Church architecture
in Kenya.
As the concept under study is relatively new to Kenya, an international case study has also been analyzed to serve as a best practice example
of the subject of study. The international case study has been selected with the reason being that it is internationally recognized as a
successful project that has utilized daylight to create a spiritual and mystic atmosphere for worship.
3.5 Data Collection Methods
3.5.1 Observation
The primary data collection method will include observations made during the fieldwork through use of sketches, drawings, illustrations and
photographs. The biggest advantage of direct observation is that it is unobtrusive and does not require direct interaction with participants.
Photographs will be used to capture and show the strategies used for daylighting as well as the character of light and atmosphere created.
They will also show the building exterior and form and their immediate environment in order to show the context and neighborhood.
Drawings and sketches will assist to focus on the details of the buildings that contribute to the worship environment.
35
3.6 Data Analysis and Presentation
3.6.1 Sketches
Sketches were made to represent drawings of the study subject, to present the findings and to analyze the area of study.
3.6.2 Photographs
Photography was the most widely used mode of communication and presentation. It captured and documented the various parameters of
the study.
3.6.3 Tables
These were used in the field presentation of the analysis results and comparisons.
3.7 Research Variables

Based on the literature review, the research variables in this study are as follows:
1. Orientation of the building.

2. Size, shape and position of the openings.
3. Glazing system.
4. Character of interior surfaces.
36
CHAPTER 4: RESEARCH FINDINGS

4.1 Introduction
The key aim of this research is to explore and analyze daylighting in Catholic churches in
terms of the strategies employed. Emphasis has been placed on the psychological
aspect, that is, the visual perception of the light and its influence on the mood of the
users of the space.
Figure 4.1: Sketch displaying the building orientation
parameter Therefore, focus has been directed to parameters identified in Chapter 2, which are;
[Source: Retrieved from
www.sustainabilityworkshop.autodesk.com]
Orientation of the building
Size, shape and position of openings
Glazing system
Character of interior surfaces
Figure 4.2: Stained glass at Canterbury Cathedral full of

lively narratives
[Source: Retrieved from www.wikiwand.com]
38
4.2 CASE STUDY 1: Cathedral Basilica of the Holy Family
4.2.1 Background Information
Location: Parliament Road, Nairobi, Kenya
Architect: Mrs. Dorothy Hughes (Hughes & Polkinghorne Architects)
Project Year: 1960
Contractor: Mowlem Construction International, UK.
Capacity: 3,000 - 4,000 people
The original congregation of this church was construction workers for the Nairobi
Figure 4.3: Aerial View of the Cathedral Basilica
[Source: Rusliko] railway. In 1904, the church (Nairobis first stone building) was built. The building was
replaced in 1960 by the current one with a seating capacity of 3000-4000 people. The
cathedral serves as the main basilica of the Archdiocese of Nairobi. It was built as a
dedication to the Holy Family.
The church is of the modernist architectural style with stained glass framed by stainless
steel. The details of the interior of the church are of Carrara marble. It is 98 feet (30
metres high). It consists of a main altar, a large sanctuary and two side altars. There are
also eight small chapels flanking it the main sanctuary on both sides, two halls, and
Figure 4.4: Photo of the interior of the Cathedral icons of the Holy Family of Nazareth, St. Joseph, and the Blessed Virgin Mary.
[Source: David Kihiko]
39
The cathedrals long axis is oriented along the East- West axis. This obeys traditional
Catholic Church architectural principles of placing the altar facing the east. It also
ensures that the building receives adequate daylight without undergoing solar heat gain
during sunrise and sunset as most windows are located on the north and southe
facades.
Figure 4.5: Google Map showing Cathedral orientation
[Source: Google Maps]
The main source of daylight is from side openings which are grouped as vertical strips of
clear glazing. They are arranged in a repetitive manner from the top of the building (the
roof) to the height of the side chapels. On each of the main facades, that is, East, West,
North and South, abstract colored stained glass is used from floor to ceiling and
occupies the full width of the wall. The stained glass is bordered on the sides by clear
glass.
The strategy used by the architect for lighting creates a symmetrical pattern of light
which evokes calmness and a contemplative atmosphere.
Figure 4.6: Stained glass windows of the Holy Family

Basilica
[Source: Author]
40
Normal non-colored and transparent glazing is used as the main source of light while
the stained glass is of various colors, arranged in a gradient pattern. This creates varying
color temperatures, especially in the early morning and late evening where the colors
are cast on the side walls. The colored stained glass has been used to draw attention to
the most important parts of the cathedral, with the altar being the main centerpiece.
Figure 4.7: A photo of the cathedral showing the interior The colors are cast on the side walls during early mornings and late evenings.
surfaces
[Source: Author]
Ceiling Finishes: White paint finish that helps reflect light into the space.
Wall Finishes: The walls are finished with white wash paint, but the lower part is
colored beige to scale down the building.
Floor Finishes: Brown tiled polished terrazzo has been used on the floor, except for the
altar, where marble has been used.
Furniture: The benches have been made out of dark brown hard wood.
Figure 4.8: The stained glass window as the altar

background
[Source: Author]
41
4.3 CASE STUDY 2: Shrine of Mary Help of Christians
4.3.1 Background Information
Location: Upper Hill, Nairobi, Kenya
Architect: Space and Systems Architects
Figure 4.9: Exterior photo of the church Project Year: 1993

[Source: http://www.donboscochurch.org]
Capacity: 2,000 people
The church is circular in plan, which is different from traditional Catholic Church
architecture which was orthogonal in layout. It is a modern style building but at the
same time relevant to the African context in terms of form and the concept used by the
architect.
It consists of a shrine, crypt (below the main sanctuary), Sunday school space, public
amenities and offices for the priest and other members of the clergy, a youth hall and
two provincial priest houses.
The building has been raised 1200mm at the front entrance and the sanctuary has been
stepped to respect the slope and topography of the site. It uses daylight as the main
source of light. The seats have been laid out in a curvilinear format to allow views to the
Figure 4.10: Floor plan drawing of the church
[Source: The Architect, Issue #1] altar.
42
The building is symmetrical and the openings open up to all sides of the church. It does
not conform to the traditional Catholic Church layout although the architect attempted
to abstract the cross plan layout. The openings around the building admit even and
symmetrical lighting into the sanctuary.
There is use of both side lighting and top lighting. On the walls are stained glass
windows which have been accompanied by roof lights created between the staggered
conical roofs allowing diffused natural light into the church.
Figure 4.11: An aerial view of the church
[Source: Author] The strategy used allows light to change depending on time of day, seasons and months
of the year therefore creating a unique spiritual experience.
There is use of multicolored abstract stained glass for side lighting through the walls.
Between the staggered roofs is clear glass which replaced stained glass previously
installed in the year 2002. The stained glass that had been installed was weak and they
Figure 4.12: Interior of the church also could not find the same shade of color as was the stained glass for the existing
[Source: http://www.archidatum.com]
glass.
43
Ceiling Finishes: The ceiling and roof soffit has been lined with white acoustic tiles.
Wall Finishes: The walls have been built using random cut Nairobi stone and inside,
have been cladded by wooden tongue and groove strip panels. Above that is cream
plaster finish.
Floor Finishes: Use of unpolished ceramic tiles on the main sanctuary space. On the
Figure 4.15: Interior finishes and furniture of the church altar, cream terrazzo and beige tiles have been used.
Furniture: Dark wooden benches have been installed in the church.
Figure 4.16: Interior Surfaces of the church (Walls & Roof)

44
CHAPTER 5: CONCLUSIONS AND RECOMMENDATIONS

5.1 Introduction
This study was undertaken with the intention of investigating the daylighting strategies of Catholic churches, based on local design trends
and current architectural interpretations of the lighting requirements of spaces of prayer and worship. In order to understand how the
daylighting needs of the clergy and congregation in a Catholic church can be met through design, the author carried out analysis of relevant
literature in chapter 2, where the investigations of Derek Phillips into the natural lighting interventions in buildings proved to be very
insightful. This is supported by his numerous assertions that design should always provide the means with which spaces are naturally lit in
order to improve user experience and enable genuine appreciation of space.
5.2 Summary of Findings and Conclusions

The literature review gave background information on the daylighting of Catholic Churches and how it has evolved over time. It shed light on
the daylighting design strategies applied to achieve spaces suitable for contemplation and worship. Arising from Chapter Two, the
parameters below were identified as the most important in achieving suitable daylighting in Catholic Churches:
As established within the literature review, the orientation of the building can be used to the advantage of the building design, that is,
maximize the daylight received. This is achieved by aligning the longer faade along the east-west axis.
On the first case study, that is, the Cathedral Basilica of the Holy Family, the architect seems to have been sensitive to this design strategy in
order to increase daylight available for manipulation.
46
The second case study was found to lack a distinct axis in relation to the sun path or traditional Catholic Church design practices. However,
lighting within the church is still adequate and made interesting by use of stained glass and roof lights.
5.2.2 Size, shape and position of the openings
The literature review established that small openings are used to create the mystic light that religion targets towards in the design of
churches. Also, the position of the openings is crucial to the psychology of light created within the space, in that symmetrical light creates an
environment for contemplation and worship.
At the Holy Family Basilica, the size and position of openings seems to have been designed just to provide sufficient lighting.
At the Shrine of Mary Help of Christians, the attempt by the architect to create interesting lighting is evident. This is because of the use of
roof lights in between the staggered conical roofs. This enables very dynamic lighting throughout the day with different shadow patterns
being created.
5.2.3 Glazing system
From the literature review, glazing can be used to mitigate the effects of direct sunlight. It can also be used to introduce color into interior
building spaces.
In both case studies, there is use of abstract multi-colored glazing which creates interest especially during early mornings and late evenings
where colored light is cast on the bright church walls.
47
5.2.4 Character of interior surfaces.
As indicated in the literature review, the internally reflected component of daylight is important in creating an atmosphere for worship and
dynamic lighting.
Both case studies make use of bright colored walls and ceiling, which reflect and create diffused lighting in the spaces. The furniture in both
is wooden, therefore reducing glare at eye level. Also, use of toned floor finishes reduces the amount of light reflected around the space,
making the users very comfortable and feel the divine presence of God.
5.3 Recommendations
From the findings obtained from the study on Daylighting in Catholic Churches, it is clear that there is need for local involvement in the design
and natural lighting strategies of places of worship. This should all be based on a clear understanding of the needs of the Catholic congregation
and its leadership. As a result of this, the identified factors guiding the incorporation of natural lighting into church design should be seriously
considered in future developments.
The author draws a few recommendations that can guide the design of churches in order to provide a wholesome experience for all users.
These are discussed as below:
1. Orientation of the building: In order to create dynamic spaces for worship, the author recommends that careful building placement,
orientation and layout be done by architects in order to create an opportunity to manipulate daylight to their advantage. This will also
assist in reducing the unpleasant effects of direct day light.
48
2. Size, shape and position of openings: The author recommends that different sizes and shapes be used in the design of Catholic Churches
to create dynamic lighting. The position of openings ought to be seriously taken into consideration as there are lot of possibilities,
depending on the strategy used and the feel of the space that is intended.
3. Glazing system: For the glazing system used, the author recommends that more experimentation be done using different types of
glazing, including emerging technologies, such as prismatic glazing.
4. Character of interior surfaces: The author recommends that different finishes be used in the interior design of Catholic Churches in
order to achieve different effects. For example, bouncing daylight off a red wall would give the room a warm tone or have a religious or
personal significance that one may be attached to. The furniture ought to be thought through so that it either does not interfere with
the lighting effect intended or that it adds onto the wholesome experience of the churchs interior.
5.3.1 Collaboration and Public Awareness
There is need for public awareness with regard to the design requirements of churches in order to achieve a state of natural lighting and
reduce high dependence on electricity, even during the day. This is an opportunity to extend the conversation on sustainable design to the
user of space, which can be promoted through:
Development of curricula in Architecture schools that promote interrogation of church architecture and its way forward within the Kenyan
context
Collaboration between the leadership of the Catholic Church and architects, among other industry players, in order to ensure user needs are
identified as they evolve and satisfied through suitable and sustainable design.
49
5.3.2 Future Research
This study focused on the parameters that highlight the design strategies for adequate daylighting in churches, in order to meet the needs of
the clergy, congregation and visitors. As a result, the author recommends future investigation into the design language of spaces of prayer
used by people of other faiths, in order to increase knowledge into religious architecture.
50
REFERENCES
Phillips, D. (2004): Daylighting: Natural Light in Architecture. Architectural Press, London.
Phillips, D. (2000): Lighting Modern Buildings. Architectural Press, London.
Boubekri, M. (2008): Daylighting, Architecture and Health. Architectural Press, London.
Ousterhout, R. (2012): Architecture of the Sacred. Cambridge University Press, London.
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Bermudez, J. (2015): Transcending Architecture: Contemporary Views on Sacred Space. The Catholic University of America Press, USA.
Mundia Jeff Muriuki. (UoN 2014/2015): Natural Lighting Performance in Adaptive Reuse Art Galleries.
Wainaina James Mwangi. (UoN 2013/2013): Evolution of Built Form of Roman Catholic Churches.
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The Architect Magazine: (January March 2013), Issue No. 1
ix
APPENDICES
APPENDIX 1
UNIVERSITY OF NAIROBI (School of the Built Environment - Department of Architecture)
FIELDWORK OBSERVATION CHECKLIST Daylighting in Catholic Churches
PARAMETER CONSTITUENT FACTORS COMMENTS
BUILDING ORIENTATION Building Axis and Layout
NATURE OF OPENINGS Size
Shape
Position
GLAZING SYSTEM Type of Glazing (Material and Technology)
Color of Glazing
CHARACTER OF INTERIOR SURFACES Materials and Finishes
xi

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Daylighting in Catholic Churches

DAYLIGHTING IN CATHOLIC CHURCHES

Muhuri Siegmund Kamau

YEAR COORDINATOR: DATE:

TABLE OF CONTENTS .......................................................................................................................................................................................................................... III

LIST OF FIGURES .................................................................................................................................................................................................................................. V

ABSTRACT ......................................................................................................................................................................................................................................... VII

CHAPTER 1: INTRODUCTION ............................................................................................................................................................................................................ 1

CHAPTER 2: LITERATURE REVIEW ..................................................................................................................................................................................................... 8

2.7 MASTERS OF DAYLIGHT IN ARCHITECTURE ..................................................................................................................................................................................................... 30

CHAPTER 3: RESEARCH METHODOLOGY ......................................................................................................................................................................................... 33

CHAPTER 4: RESEARCH FINDINGS................................................................................................................................................................................................... 37

CHAPTER 5: CONCLUSIONS AND RECOMMENDATIONS .................................................................................................................................................................. 45

Figure 4.1: Sketch displaying the building orientation parameter ..................................................................................................................................................................... 38

1.1 Background Study

1.2 Problem Statement

1.3 Research Objectives

1.4 Research Questions

1.5 Justification of Study

1.6 Significance of Study

1.7 Scope and Limitations

1.8 Organization of Study

CHAPTER 2: LITERATURE REVIEW

The author seeks to explore findings of various authors regarding daylighting in

Figure 2.2: Church of the Transfiguration by Dos

2.2 History and Evolution of Daylighting

Figure 2.3: Karnak temple - Ancient day lighting strategy

Figure 2.5: Great Temple of Ammon showing daylighting

ANCIENT GREECE (700 BC 146 BC)

ANCIENT ROME (146 BC 365 AD)

EARLY CHRISTIAN (AD 313 AD 800)

Figure 2.8: The Byzantine Church of Panagia

ROMANESQUE (AD 800 AD 1100)

GOTHIC (AD 1100 AD 1600)

RENAISSANCE (AD 1400 AD 1830)

BAROQUE (AD 1575 AD 1770)

2.3 Catholic Church Architecture

2.3.1 The Second Vatican Council

Several changes that were made included:

2.4 The Characteristics of Daylight

2.4.1 The Sources of Daylight

2.4.1.1The Direct Component (Sunlight and Skylight)

2.4.1.2The Externally Reflected Component

2.4.1.3The Internally Reflected Component

2.4.2 The Qualities of Daylight

2.4.2.1 Change and variety

2.5 Psychology of Light

"In contrast to physiological research, it was simply a question of the quantitative

Because we are dependent on light for perception, it is natural that we should be

2.6 Daylighting Design Strategies

2.6.1 Orientation of the building

2.6.2 Size, Shape and Position of Openings

2.6.3 Glazing System

2.6.4 Character of Interior Surfaces

2.7 Masters of Daylight in Architecture

Le Corbusier said this about the Notre Dame du Haut Chapel:

2.7.2 Louis Khan

2.7.3 Alvar Aalto

CHAPTER 3: RESEARCH METHODOLOGY

3.2 Research Purpose

3.3 Research Strategy

1. Cathedral Basilica of the Holy Family, Nairobi CBD

3.4 Sampling Design

3.5 Data Collection Methods