Rebuilding Architectural Volumes through Lighting in Archaeological Settings

Welcome to EQUATION Lighting Design article series, where our team members dive into a specific topic they want to explore and analyze.

Today's article is curated by Paola Petkova , who talks about rebuilding architectural volumes through lighting in archaeological settings.

Light plays a fundamental role in our perception of the world around us. What we perceive as shapes, colours, and textures results from how light interacts with surfaces. But light is not always a passive medium through which we see reality as it is; it's an active force that can create illusions. It can shape, redefine, and enhance the perception of architectural spaces, breathing new life into structures and creating immersive environments.

I have focused my post-graduate thesis on the concept of rebuilding architectural volumes through lighting in archaeological settings where physical reconstruction is restricted to preserve the site's integrity. Instead, I propose a method that uses lighting to reconstruct architectural volumes, evoking spatial forms and historical structures without compromising the delicate nature of the archaeological site.

This approach draws inspiration from the work of James Turrell, a renowned artist utilizing light to manipulate spatial presence based on his background in perceptual psychology. Turrell's philosophy, encapsulated in his statement, "It’s not about light—it is light," emphasizes the transformative nature of light, creating illusions and making viewers reevaluate their understanding of reality.

The specific case study for my research is Billingsgate Roman House and Baths. Although it is one of London's few surviving Roman archaeological sites, the museum needs to gain popularity.

The primary objective of my research was to increase the interest and awareness of this historical site among the general public. I proposed developing a new immersive approach to experiencing archaeology, utilizing creative lighting methods to engage visitors and provide them with a deeper connection to the historical and cultural significance of the Billingsgate Roman House and Baths.

While archaeologists can mentally reconstruct buildings from fragmented low walls, found in many archaeological sites, the average museum visitor requires additional information to bridge the gap between what is visible today and what once upon a time was. In the realm of archaeology, the conventional approach often involves visitors listening to explanations or observing artifacts behind glass. However, the Billingsgate Roman House and Baths invite them to step into the evocative play of light and shadow that brings ancient spaces to life.

To rebuild the volumes, I have used directional lighting combined with haze to sculpt the building volumes. As light passes through the haze, it becomes visible as illuminated beams outlining the otherwise invisible air particles. This effect not only defines the spatial boundaries but also adds a tangible, sculptural quality to the surrounding air, creating a sense of depth and three-dimensionality.

Rebuilding architectural volumes through light and haze serves as a dynamic tool to ignite the visitor's imagination, allowing them to mentally reconstruct the original structure and picture the grandeur of the Billingsgate Roman House and Baths as they were in ancient times. It turns the archaeological site from scattered remnants into a vivid three-dimensional scene, where history is actively reconstructed in the observer's mind.

Exploring the unique context of the Billingsgate Roman Bathhouse, we encounter the three classical areas inherent to a traditional Roman bathhouse designed to provide a holistic bathing experience. With its warm ambiance, the tepidarium served as an entrance and relaxation space. Moving on, the caldarium, the hottest room, facilitated a steamy and invigorating environment, while the frigidarium, with its cooler temperatures, offered a refreshing conclusion to the bathing ritual.

In conclusion, I've employed color-coded lighting to convey the distinctive atmospheres of these spaces.? This immersive approach enables individuals to feel the warmth of the tepidarium, sense the steam in the caldarium, and experience the coolness of the frigidarium. It goes beyond information delivery, fostering a deep connection by allowing visitors to physically and emotionally engage with the historical narrative, thereby creating a lasting and impactful learning experience.

We welcome you all to be part of our blogs by adding your thoughts in the comments section below!?You can check the first issue of the article series, "Light Art with Intent" by Alejandro Lizarralde , or the second issue, "Concert Stage Lighting - when light captivates the mind, body, and soul" by Dhara Mansata !