#case study: fenestration

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Fenestration - Week 2

Experiential and Environmental Impacts

Openings (or lack thereof) in the building envelope have the potential to make or break a design. One of the biggest mistakes you can make is to wait to design the openings at the end of the project. While openings should be informed by the building’s form, there are also a number of experiential and environmental factors that should ideally be in some stage of consideration even at the beginning of the project.

Experiential Factors

(Natural) Light As an artist, one of the most important factors of whether I like a space or not is the level of natural light. I find natural light to be less harsh on my eyes than artificial, so I always try to find work spaces that are near windows. One of my favorite examples of a well-naturally-lit space is Renzo Piano’s UNESCO Workshop in Genoa, Italy. Almost the entire roof consists of skylights, but the space doesn’t feel overly-bright. It feels like a calm yet energetic space to work in. For me, this would be the epitome of a productive space.

On the flip side, there are spaces that require a more controlled use of natural light. Libraries, for instance, may have spaces with natural light pouring in, but can’t have direct natural light on the books. The same is true for museums - direct sunlight = fading and UV damage, which is the last thing you want in spaces dedicated to preserving art and artifacts. In these cases, there are two common approaches: either natural light is forgone in favor of artificial lighting, or openings are used to control and introduce light in a way that won’t damage occupying objects, often by diffusing or redirecting rays so they don’t hit objects directly.

(Want to read more on openings and lighting? Watch for a link to another post in the coming weeks)

Ventilation and Fresh Air Another important factor to consider is whether or not to use operable openings - that is, openings that actually open and close, as opposed to stationary, fixed-in-place openings. Again, this will depend on use of space - are you designing a meeting room, or an art gallery? The latter will most likely require both temperature and humidity control, so if openings are present, you would want to go with the non-operable option. In any space that doesn’t have specific temperature or humidity needs, the choice of operable or non-operable is a little more open. There are benefits and drawbacks to either option.

Operable windows are going to let in more air, even if they’re not open. In colder climates, this can a big drawback. Those in the northern US know that even the tiniest crack in a window’s seal can bring a room’s temperature down by five to ten degrees (Fahrenheit) easily in the winter. However, they can be extremely beneficial in the more temperate months - when it’s too cool to turn on the AC, but too warm for heat, and the whole house becomes stuffy if nothing’s running. 

Fresh air is also generally better for you than air that’s been pumped through a mechanical system, where the same air and everything in it, from germs to dust, is being recirculated through the space multiple times. It’s also been shown to be tied to improved health and productivity in workplaces. Unless you’re in an area with heavy pollution, opening a window can do wonders for freshening up a space.

Non-operable windows are generally more preferable aesthetic-wise. In areas where bugs are an issue (read: everywhere), screens are often used to keep those bugs out. Aesthetically speaking, a mesh screen blocking views and interrupting the seamless look of that beautiful tall office or apartment building aren’t viewed favorably. Sure, you could forgo the screen, but do you really want to deal with wasps flying in through your bedroom/classroom/office window?

Environmental Factors

The environmental aspect is going to come down to whether or not you want to employ passive design strategies - that is, design strategies that work with nature to regulate the interior environment of a building. These sorts of systems require less man-made energy than active systems like HVAC, and leave a smaller carbon footprint. In passive design, openings are used as primary sources of light, ventilation, and temperature regulation. 

Well designed windows and shading devices can bring in necessary warmth in the winter, and keep it out in the summer. Combined with other design elements, one or two properly placed windows can easily regulate the temperature in a small single-family home. Similarly, a combination of openings, shades, and light shelves can comfortably light a space without being overbearingly bright.

Placement and size of openings also determines how air will flow throughout the space - if your only two openings are on the same wall air flow will be limited, but placed on opposite or adjacent walls they can create cross flow to keep entire spaces cool and well-ventilated. 

While importance of one factor or another might change from project to project, the level of consideration shouldn’t. The decision to exclude openings from a space should be just as well researched and thought out as the decision to include a 30′ wide operable skylight. Consider the use and users of your spaces and get an idea of the need for openings early on, and keep those considerations at the forefront of your mind as you design.

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Case Studies: Fenestration/Openings Week 1

Fenestration refers to the openings in a building’s elevation, primarily doors and windows. This month's study will also include openings within the roof plan.

  Photo courtesy of Graham Architectural Products/Bryan Becker Photography

Some of the characteristics I’ll be looking at this month include aesthetics, interactivity, and overall effect on the design as a whole. I’m especially interested in how fenestration can begin to bridge the gap between indoors and outdoors, and how it can make a space feel more or less private. I’ll also be looking at works from Antoni Gaudi and Zaha Hadid, and how their irregular fenestration affects their spaces as opposed to more common, rectilinear fenestration.

           Casa Batlló by Antoni Gaudi | Photo by  Marco (Plasm.it on Flickr)

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Fenestration Week 4

Aesthetics of the Exterior

Another important aspect of fenestration is the effect on the exterior elevations. Placement of openings can mean the difference between a well-organized façade and one that has no true sense of design. Here are a couple of considering factors:

Spatial Use

-Size

Generally speaking, larger windows belong to more important, more public spaces. Larger windows tend to feel more inviting from both inside and out, making them one of the best choices for gathering spaces such as atriums, lobbies, and cafes. In residential design, they’re most common in living spaces, but may also be used in bed rooms – either way, they’re most likely paired with a blind or curtain to keep out prying eyes during certain times of the day.

Smaller windows are more common in private or less important spaces. Bathrooms are the most obvious use, but in between spaces, like hallways, make good use of them as well. In the most private applications – like bathrooms – frosted glass may be used to make the space even more private from the outside.

-Shape

Shape and direction are also good indicators of use. The example I always think of from history is fortresses vs prisons. Say you have one of each, side by side, and they both have the same size and shape of windows – 1’x4’ and rectangular. If there were no other differences between the two buildings, you could still tell the two apart by which way the windows run. The fortress would have vertical windows since they make the most sense under attack. One could quickly move, aim, and fire before ducking back to the side of the window to avoid being hit in return. It’s harder to shoot into a tall skinny window than it is for a wide skinny window. The prison wouldn’t have such concerns and would be much more likely to employ horizontal windows. It’s a matter of keeping things out vs keeping things in.

-Spacing

You may choose to use the same exact opening type throughout the whole design, but by clustering those openings together, you can show where different spaces are. A line of six identical windows can denote three different spaces or rooms if clustered in pairs with larger spaces between each pair. Of course, if you want to give the illusion of one continuous space, keep equal spacing between each opening.

Design

-Rhythm

Repetition is one of the easiest ways to establish rhythm in a design, and that extends to openings too. Using a series of openings methodically can add an extra layer or fluidity – or lack thereof if that’s what you’re going for – to your design. This doesn’t have to mean that each opening is identical, but just that it makes sense in relation to all the rest.

-Verticality and Horizontality

The shape and direction of your openings does more than just indicate use as mentioned earlier. It also has a strong effect on how your design feels. Lots of horizontal elements may make a building feel wider, whereas vertical elements may make it feel taller. Windows that wrap around corners without a break may also increase the horizontality of your design.

-Style

A lot of times, it seems like we can get stuck on using stock windows, primarily speaking to their shapes. It’s important to remember that openings in a building should be just as designed as the rest. Does this mean that you’ll never use stock windows? Absolutely not. These windows are common because they work. However, one you should never forget that designing your own windows is an option, and can greatly change the feel of your work.

Antoni Gaudi is honestly the kind of unique windows. His best example of this is his Casa Batlló. While there is still use of what we’d consider stock windows, the majority of the windows are hand designed and crafted, from the frame shape itself to the shading, mosaic-like portions of glass, and work to give the whole design a much more whimsical feel. If rectilinear, traditional windows had been used, this design would not be as iconic as it is today.

The other big architect that comes to mind when thinking of non-traditional openings is Zaha Hadid. Her use of curves and organic forms pretty much requires that almost none of the openings in her designs are rectilinear. 

There are some designs of hers that break this mold, but they still aren’t using rectilinear windows in a traditional sense – they’re always skewed or transformed in one way or another, such as in her Phæno Science Center.

Both of these architects also challenge how we insert openings into design. The traditional tendency is to, in essence, create a punch-out in a wall and insert glass. Gaudi instead seems to almost carve his openings out of the walls, while Zaha’s use of planes create natural openings in the building. With either method, the openings are much more integrated into the design.

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Fenestration Week 3

Natural Lighting

I’m going to start this post with a few links. 

This is one from the State of Michigan. This is one from happho.com. I’m drawing from these quite a bit for this post, so I wanted to have them available. There’s still a decent amount I didn’t touch on from these sources that weren’t exactly tying to this week’s theme, so I highly suggest taking a look through them. There’s lots of great diagrams in the first one.

Okay, actual post below the cut

One of the most important factors to consider with openings is natural lighting.How you bring in light from outside greatly impacts the ambiance and function of a space. There are three main types of natural lighting - or daylighting -  I’ve noticed in my studies so far: direct, diffused/indirect, and patterned light.

Direct

Direct lighting is by far the most common. This method of daylighting generally makes use of medium to large windows, or a series of windows, to bring light in. This method is highly preferable in spaces where daylighting is meant to be the primary source of task lighting during the day, often used in residential, office, and educational design.

There’s one main pitfall of direct lighting: glare. We’ve all experienced it - you’re watching tv, and at either sunrise or sunset you have to close the blinds and draw the curtains shut because the sun is either hitting the screen directly, or there’s so much light coming in that it’s washing out the view. Bad fenestration designs - those with too-large openings and improper/no use of shading devices - often lead to glare, forcing users of the space to either block out the window or face being blinded during certain times of day.

My absolute favorite use of direct lighting is in the LT Josai House by Naruse Inokuma Architects. The design uses a multitude of beautiful, large windows that bring in tons of natural light without it being overbearing. 

Another common and popular method of direct lighting is the use of skylights. This design by José António Barbosa and Pedro Lopes Guimarães makes use of a series of skylights to light a lofted space.

Diffused/Indirect

Diffused lighting is almost as common direct lighting. This method commonly uses a combination of openings and devices such as light shelves, to direct light up where it bounced off the ceiling in a less harsh manner. This method is generally seen in places where direct light can be harmful to the objects inside, such as in museums and libraries. One of my favorite (and one of the best known) examples of this is the Kimbell Art Museum by Louis Kahn. A continuous skylight runs the whole length of each barrel-vaulted hall, and light shelves redirect that light back up onto the interior of the vault. This provides all the necessary daylighting, without direct lighting hitting the artwork and causing it to fade.

Other methods of diffused lighting include the use of frosted/translucent glass, light wells, use of multiple smaller openings, use of glass blocks in place of traditional windows, and using a corridor/smaller space to diffuse light before it reaches its intended space.

Patterned

This method is both the least common, and the hardest to find good examples of, but when done right can be incredibly beautiful. Patterned lighting is not used as task lighting, but rather to bring a level of ambiance to a space. This is often done with some kind of screening effect, but can also be done through the shape, size, arrangement, and color of your openings. The goal is not just to light the space, but to create another layer to the design that more usual openings would not.

This pavilion by Ellsworth Kelly makes use of different arrangements and shapes of colored windows to create a playful light display that will change depending on time of day and/or year. This project also shows how patterned lighting can be symbolic. The pavilion was designed by an artist who worked heavily with color grids and the color wheel, represented by all three sets of windows in one way or another.

The City View Garage by Leong Leong is a good example of the screening technique. Using a screen with different shapes and sizes of cutouts, they create a dynamic display of light and shadows that transforms a traditionally bland use of space into a work of art that will shift and change throughout the day.

In most cases, openings in a building should be designed rather than consulting factory pre-made designs. Any of these methods, if designed well, can add a bright, finishing touch to your design. Of course, if you want to be a showoff like Le Corbusier, you could always use all three.