Perhaps the most obvious and certainly the most important aspect of daylighting is its capacity for change, leading to the infinite variety in appearance of the daylit interior. Change is at the heart of daylighting, the human body has a capacity for adaptation, particularly in vision, and the need to exercise this response.

Perception reacts to a degree of change; it is the natural order of things that the appearance of interior spaces alter with time; and if we have confidence in their continuing reality, it is because change in their lit appearance allows us to continue an exploration of the spaces we inhabit; an entirely different measure of experience to the static qualities of spaces lit entirely by artificial sources of light during the day; or where there is no access to the daylight outside. There is a natural process of renewal in the photochemical processes of the eye as it adapts to accommodate changes in daylight

First there is the natural change from day to night, from first light until dark and the need for artificial sources to take over when daylight fades. Then there are the changes associated with changes of the weather; from bright sunny days to dark and cloudy or rainy days, there is little doubt that the human spirit soars when rising in the morning on a bright day, an experience which is less likely to happen when it is dark and gloomy outside.

Closely associated with changes in the weather are those of the changes of season, from the winter snows to summer sunlight; each season will have its own character, which as human beings we accommodate to in our own way; but what is important is that the world outside, as experienced through the window, provides necessary information of the variety of the exterior world; whilst leading to subtle changes in the appearance of the interior.

Statue at the Tate Modern in the Turbine Hall, daylit

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