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The Luminous Environment in Residential Designs by Bruce Goff
Author(s) -
Anderson Georgina M.,
Shroyer JoAnn L.,
McKown Cora F.,
Gustafson A. William,
Robinson Willard E.,
Gentry Stephen R.
Publication year - 1988
Publication title -
journal of interior design
Language(s) - English
Resource type - Journals
SCImago Journal Rank - 0.229
H-Index - 13
eISSN - 1939-1668
pISSN - 1071-7641
DOI - 10.1111/j.1939-1668.1988.tb00123.x
Subject(s) - documentation , daylight , luminous efficacy , emotive , architectural engineering , interior design , psychology , visual arts , mood , aesthetics , sociology , computer science , art , engineering , social psychology , physics , optics , chemistry , organic chemistry , layer (electronics) , anthropology , programming language
The purpose of the study was to identify and evaluate the luminous elements and conditions in selected residential interior spaces designed by Bruce Goff, architect. Additionally, the study determined levels of client participation in the design process and satisfaction with the luminous environment. For a holistic examination of the luminous environments, the case study method was employed. The approach incorporated multiple sources of evidence, including archival materials, personal interviews, mailed questionnaires, lighting assessments, and photo‐documentation. The findings suggested that the design of the luminous environment was derived largely from the individual architectural and design characteristics of a project. Goff's abilities to capitalize on the variability of daylight and the emotive qualities of light were among his principal strengths. Also the findings revealed that, consistent with his advocacy of client involvement, Goff worked closely with clients during the design process. High levels of user satisfaction with luminous conditions may be related in part to active participation in the design. “His work contains humor and wit, and engages the instincts no less than the mind; it has certainly moved far from Corbu's ‘magnificent play of (white) solids… under light’. He is uninhibited in his use of color, which he uses to create mood in accordance with his client's wishes, and he is a master of light [author's]. He uses reflected and water‐dappled light to animate the daytime experience and glimmering firelight and sparkle to accentuate his spaces at night.” (Sergeant, 1978, p. 4)