DAYLIGHT ANALYSIS

CARLA FITRIYANI MAUDUDY 1306367675

DWIFANNY ZUHRA LUBIS 1306367706
ISNA NAZILADINKA 1306367605
MIRNA HERADYANI 1306447625
MONASTERY OF SAINTE-MARIE DE
LA TOURETTE
Architect: Le Corbusier
Location: Rue de Lyon, 6920 L Arbresie, France
Project: 1960
LOCATION ON SITE

THE BUILDING IS
SEPARATED FROM THE
HILLSIDE IN AN EFFORT TO
DOMINATE THE
SURROUNDING NATURE TO
REINFORCE HIS DIALECTIC
OF DUALITIES .
PLAN
PLAN
LIGHT & DIVINITY

IN CHRISTIANITY THE BIBLE

SPEAKS OF GOD WHO IS
LIGHT OR CHRIST AS THE
LIGHT OF THE WORLD.
COUVENT SAINTE-MARIE DE
LA TOURETTE

A SILENT DWELLING FOR ONE
HUNDRED BODIES AND ONE
HUNDRED HEARTS
FORM

ARCHITECTURE IS THE MASTERLY, CORRECT

AND MAGNIFICENT PLAY OF MASSES BROUGHT
TOGETHER IN LIGHT. OUR EYES ARE MADE TO
SEE FORMS IN LIGHT; LIGHT AND SHADE
REVEAL THESE FORMS; CUBES, CONES,
SPHERES, CYLINDERS OR PYRAMIDS ARE THE
GREAT PRIMARY FORMS WHICH LIGHT REVEALS
TO ADVANTAGE; THE IMAGE OF THESE IS
DISTINCT AND TANGIBLE WITHIN US AND
WITHOUT AMBIGUITY. IT IS FOR THAT REASON
THAT THESE ARE BEAUTIFUL FORMS, THE MOST
BEAUTIFUL FORMS. (LE CORBUSIER, 29)
FORM

LE CORBUSIERS EXPERT EXPERIMENTATION WITH LIGHT AND PROPORTION

THAT ALLOW THE MONKS TO EXPERIENCE LA TOURETTE FOR ITS FUNCTION
IN A LUCID MANNER RATHER THAN THROUGH THE DISTRACTION OF WHAT
COULD BE TERMED IMPURE FORMS
FORM

THE INTENTION OF ARCHITECT

WAS TO GIVE THE MONKS
WHAT MEN TODAY NEED MOST:
SILENCE AND PEACE THIS
MONASTERY DOESNT SHOW
OFF; IT IS ON THE INSIDE THAT
IT LIVES.
FORM

THESE DUALITIES COMBINED

WITH LE CORBUSIERS
INCREDIBLE UNDERSTANDING
OF THE MONKS DAILY LIFE
GENERATED A SERIES OF FORMS
IN AN ALMOST HARSH
CONTRAST TO ONE ANOTHER
THAT EXPRESSED HIS NOTION
OF PURE AND BEAUTIFUL
GEOMETRIES.
BODY

LA TOURETTE WAS RAISED

FROM THE GROUND IN AN
EFFORT TO REMOVE THE
INHABITANTS FROM THE
GROUND WHERE HE BELIEVED
DISEASE WAS BRED.
BODY

EVERY ROOM LOOKS OUT INTO

NATURE AND SO EACH ROOM
RECEIVES SUN LIGHT, AIR AND A
VIEW
SPACE
FALL

September 201
September 201
WINTER

DECEMBER 201
DECEMBER 201
SPRING

MARCH 2015
MARCH 2015
SUMMER

JUNE 2015
JUNE 2015
SPACE

THE LUMINOUS ENVIRONMENT BASED ON

INDIVIDUAL REALM, COMMUNAL REALM AND
SACRED REALM.
SPACE

THE CONTRAST THE DIALECTIC

BETWEEN INSIDE AND
OUTSIDE , SACRED AND
PROFANE, THE OUTER WORLD
AND THE INNER WORLD IS
PRONOUNCED.
SPACE

THE LIGHT SPILLS INTO THE CHURCH, CREATING A LOWER,

LATERAL LIGHTING WHILE LEAVING THE UPPER PART OF THE
CHURCH IN SHADOWY LIGHT.
SPACE

THE SIDE CHAPEL SYMBOLIZES THE RISE FROM EARTH TO

HEAVEN, THE PATHS THE MONKS TOOK EVERYDAY. IT ALSO
SYMBOLIZES CHRIST IN THE SACRAMENT DESCENDING ONTO
THE ALTAR, AND HOPE RISING AFRESH.
SPACE

LE CORBUSIER MANIPULATES
LIGHT AND SPACE IN A UNIQUE
WAY THAT CREATE INCREDIBLY
POWERFULL SPACES
SPACE

THE CORRIDORS ARE

DISTINGUISHED WITH
DIFFERENT WINDOW
ARRANGEMENTS.
SPACE

PANES OF GLASS FORMING AN UNDULATORY GLASS

SURFACE . THESE OPENINGS ALLOW FOR MAXIMUM LIGHT
TO PENETRATE, FOR AIR TO CIRCULATE THROUGH TO THE
INNER COURTYARD, AS WELL AS PROVIDE A VIEW OUT TO
THE WOODS.
SPACE

LIGHT REVEALED THE

EXISTENCE OF COLOR.
SPACE

THE HIGHLIGHT OF THE LIGHT CHOREOGRAPHY IN LA

TOURETTES CHURCH BEGINS WITH THE SUNSET. THIS
EFFECT CHANGES WITH THE SEASONS.
SPACE
SPACE

THE BRIGHTLY PAINTED SLOPED SILLS OF THE WINDOWS

OBSCURE THE ACTUAL OPENING, HOLD THE LIGHT WITHIN IT
AND RE-RADIATE THE COLORED LIGHT OVER THE STALLS TO
PROVIDE ILLUMINATION FOR THE DOMINICAN BROTHER TO
READ WITHOUT DAZZLING THE OPPOSITE STALLS.
SPACE

THE SLIT CREATES A GLOW OF

LIGHT IN THR DARKNESS HIGH
UP IN THE NAVE. IT SIGNALS
THE UPPER LIMITS OF THE WALL
AND THE PRESENCE OF THE
CEILING.
CHURCH OF SAINT PIERRE AT
FIRMINY
Architect: Le Corbusier
Location: Firminy, France
Project: 1963
LOCATION ON SITE

WAS INITIATED AS A PART

OF A GROUP OF FOUR
Its humble, small within PROJECTS INCLUDING AN
a French industrial town APARTMENT BUILDING,
CULTURAL CENTER (MAISON
DE LA CULTURE), AND A
SPORTS STADIUM.
PLAN
CHURCH OF SAINT PIERRE AT
FIRMINY

Le Corbusier was emphasizing

the metaphor of earth and sky
in Firming, as in many of his
Random pinhole in raw concrete earlier works.
walls wash starlight including -Kenneth Frampton
representation Orions belt into the
chapel which draw the vastness of
the universe and astronomy in a
Christian setting.
 FORM
mehow both intimate and infinite
When a work reaches a maximum
of intensity, when it has the best
proportions and has been made
with the best quality of
executionWhen this happens
these places start to radiate. They
radiate in a physical way and
determine what I call ineffable
space, that is to say, a space that
does not depend on dimensions
-Leperfection.
but on the quality of its Corbusier
It belongs to the domain of the
ineffable, of that which cannot be
said.
BODY

ALL DIMENSIONS IN THE CHAPEL

DERIVE FROM LE CORBUSIERS
MODULOR SYSTEM, CLEARLY
EXPRESSED ON THE DRAWINGS
THAT JOSE OUBRERIE (LE
CORBUSIERS ASSISTANT FOR
THIS PROJECT) DEVELOPED.
FORM

Two original maquettes he made while running the project at

Le Corbusiers Rue de Svres studio the string model and
paper model showed that Le Corbusier sought to achieve a
metaphysical or platonic form conception of the building as an
uninterrupted curvilinear surface.
FORM
a square base
that projects
upwards to a
circle depicts the
metamorphosis
and transition
from earthly to
spiritual realm,
and the
cosmological
basis is revealed
in the
constellation
windows and
angle of the roof
towards the sun.
SPACE

The structural elements range from tiny stellar

openings to large tubes, but even small
interventions are used to generate remarkable
light patterns that reflect cosmic power
SPACE

. In Saint- Pierre the plan

methodically traces a spiral
circulation mechanism,
while the envelope is
independent of the
promenade, resonating with
the contemporary practice
that renders the building
envelope autonomous.
BODY
Natural light floods in
through light boxes
and through a series
of organized openings
that are a direct
reference to the
constellation Orion.
The light boxes are
designed in a way that
will bring light to the
alter on specific
religious holidays, like
Good Friday and
Easter Sunday.
FALL

September 201
September 201
WINTER

DECEMBER 201
DECEMBER 201
SPRING

MARCH 2015
MARCH 2015
SUMMER

JUNE 2015
JUNE 2015
SPACE

the space must be vast so that the heart
may feel at ease, and high so that prayers
may breathe in it.

-Le Corbusier

Light has been linked with divinity and

holiness in many different religions. In
Christianity the Bible speaks of God who
is light or Christ as the light of the
world. Even if the divine light and
visible light are not the same, visible
light appears as the most similar to the
heavenly and thereby links both
spheres.
SPACE

Stepping into the church your

eyes slowly adjust to the near-
darkness but slowly the LIGHT
REVEALED THE EXISTENCE OF
COLOR on each side of the
structure.
SPACE

As the sun moves throughout the day, the "stained glass"

reflections shift along the floor, a square of blue travel from one
pew to the next, illuminating people's faces as they wandered the
stairs
SPACE
With the approach of the
sunset, a golden light shoots
into the church and hits the
altar wall. A rectilinear light
cannon projects the intense
warm sunlight onto the
interior wall while a cool sky
blue falls softly through the
stellar windows.

The cosmic scenes of

day and night appear
mysteriously together.
SPACE
The small stellar windows on the
east faade generate dots of light on
the floor which turn into waves of
light. Dynamic layers of light
transcend the static building
volumes - a cosmic cycle that
changes with the course of the day,
year and with a clear or overcast sky
SPACE

Above, the ceiling glows

with "light cones,"
apertures in the concrete
also painted with different
colors. These are placed
purposely to illuminate
the altar on specific holy
days. On a cold day, The
light from the red and
yellow skylights felt like
standing under a heat
lamp.
SPACE

Around noon the waves of light

disappear and sunlight from
two angled tubes in the roof
strikes down into the darkness
with sharply defined beams.
On overcast days, two soft
luminous veils emerge on the
walls.
 COMPARISON

CONTRAST BETWEEN INSIDE AND OUTSIDE

sunset sunset

dramatic atmosphere
A rectilinear light cannon
increases until the moment
projects the intense warm
when the golden light hits
sunlight onto the interior wall
the slight upward tilted roof
while a cool sky blue falls softly
plane and grazes over the
through the stellar windows.
tactile ceiling of
COMPARISON

COLOR

These are placed

purposely to
illuminate the altar on
specific holy days
 COMPARISON

ineffable space

THE LIGHT SPILLS INTO the space must be vast so that the heart
THE CHURCH, may feel at ease, and high so that prayers
CREATING A LOWER, may breathe in it.
LATERAL LIGHTING
WHILE LEAVING THE
UPPER PART OF THE
CHURCH IN SHADOWY
LIGHT.
SOURCE
CORBUSIER, L (2007). TOWARD A NEW ARCHITECTURE. LOS
ANGELES: THE GETTY RESEARCH INSTITUTE.
LANG, WILLIAM. FORM ANALYSIS
LAU, BENSON. THE POETICS OF SACRED LIGHT A
COMPARATIVE STUDY OF THE LUMINOUS ENVIRONMENT IN
THE RONCHAMP CHAPEL AND THE CHURCH IN THE
MONASTERY OF LA TOURETTE
JENISTA, DAVID. CASE STUDY: COUVENT SAINTE-MARIE DE
LA TOURETTE
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