MAKE NEW HISTORY: A CONTEMPORARY VIEW OF RICHARD … · 3 Play of Brilliants (Sharp Detail)...

MAKE NEW HISTORY: A CONTEMPORARY VIEW OF RICHARD KELLY

Derek Porter IALD, MIES.

Principal, Derek Porter Studio.

Associate Professor, Lighting Design

Parsons School of Design

RICHARD KELLY – PERSONAL HISTORY

Born and raised in Ohio, USA

Studied English, Theater and Architecture at Columbia

College in New York City

Dropped out of College during Great Depression.

Initiated work in lighting design.

Finished Bachelor Degree at Yale in Architecture

Died in New York City

IESNY establishes Richard Kelly Grant Award

1910

1928

1931

1944

1977

1980

HISTORICAL CONTEXT

Advancement of electric lighting in the USA

Great Depression

Introduction of fluorescent technology at Worlds Fair

USA engagement in World War II

Post war prosperity

Interest in Modernism

large windows

focus on building facades and transparency

Increased interest in domestic lighting

Expanded application of fluorescent lighting

1920’s

1931

1939

1942-45

1950’s

RICHARD KELLY SELECTED PROFESSIONAL CONTRIBUTIONS

Glass House, Philip Johnson

Lake Shore Drive apt house, Mies van der Rohe

Essay: Lighting as an Integral Part of Architecture,

College Art Journal

Yale University Art Gallery, Louis Kahn

Seagram’s Building, Mies van der Rohe

Four Seasons Restaurant, Philip Johnson

Lincoln Center, Max Abramovitz

Kimbell Museum of Fine Art, Loius Kahn

Yale Center for British Art, Louis Kahn

1948-49

1950

1952

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1955

1957

1959

1963-65

1972

1974





College Art Journal







1948-49

1950

1952

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1955

1957

1959

1963-65

1972

1974





College Art Journal







1948-49

1950

1952

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1955

1957

1959

1963-65

1972

1974





College Art Journal







1948-49

1950

1952

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1955

1957

1959

1963-65

1972

1974





College Art Journal







1948-49

1950

1952

lllllllll

1955

1957

1959

1963-65

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1974





College Art Journal







1948-49

1950

1952

lllllllll

1955

1957

1959

1963-65

1972

1974





College Art Journal







1948-49

1950

1952

lllllllll

1955

1957

1959

1963-65

1972

1974





College Art Journal







1948-49

1950

1952

lllllllll

1955

1957

1959

1963-65

1972

1974





College Art Journal







1948-49

1950

1952

lllllllll

1955

1957

1959

1963-65

1972

1974

CONTRIBUTIONS TO TECHNOLOGY AND LUMINAIRE DESIGN

Designs for early portable lamp designs

Close collaborative relationship with Edison Price on

many projects and product innovations

Product Innovation: lighting track, Elipsol and Parlite

(designed and manufactured to Kelly’s specifications by

Edison Price)

Innovations through project applications – daylighting

reflector systems and custom electric lighting products

(Kimbell Museum reflector system).

1938–

1942

1950’s –

1970’s







Edison Price)




1938–

1940’s

1950’s –

1970’s







Edison Price)




1938–

1940’s

1950’s –

1970’s







Edison Price)




1938–

1940’s

1950’s –

1970’s

RESEARCH AND THEORY

“Nature is the basis of all light as we know it. It is my

reference as a lighting consultant, and I believe it to be

the layman’s unconscious reference in all his reactions

to light. From natural light, I believe, the designer’s

lighting approaches should be generated.”

“Psychologists have substantiated the theories of

modern metaphysicians….(who) say our real

knowledge of the concrete world and all materials is

based on sense perception, not on abstract learning.”

Richard Kelly

THREE ELEMENTAL KINDS OF LIGHT EFFECT

1 Focal Glow (Highlight)

2 Ambient Luminescence (Graded Washes)

3 Play of Brilliants (Sharp Detail)

“Visual beauty is perceived by an interplay of all three kinds of light, though one is usually dominant….By the judicious and artful control of these three distinct elements in lighting, you can make

the imagined….become the real thing.

Richard Kelly

Lighting as an Integral Part of Architecture

Author: Richard Kelly

Source: College Art Journal, Vol. 12, No. 1 (Autrumn, 1952), pp. 24-30

Published by: College Art Journal

Stable URL: http://www.jstor.org/stable/773361

Accessed: 30/07/2008 11:20

http://www.jstor.org/stable/773361





“Visual beauty is perceived by an interplay of all three kinds of light, though one is usually dominant….By the judicious and artful control of these three distinct elements in lighting, you can make

the imagined….become the real thing.

Richard Kelly



“…is the campfire of all time. Focal glow draws

attention, pulls together diverse parts….separates the

important from the unimportant, helps people see.

….producing a significant composition of attention.”






























“…the uninterrupted light of a snowy morning in the

open country. It is foglight at sea in a small boat, it is

the twilight haze on a wide river where shore and water

and sky are indistinguishable. It is all we know of

“indirect” lighting. (It) produces shadowless illumination.

It minimizes the importance of all things and people. It

quiets the nerves and is restful.”


















































“….excites the optic nerves, and in turn stimulates the

body and spirit, quicken the appetite, awakens

curiosity, sharpens the wit. It is distracting or

entertaining.”








entertaining.”








entertaining.”








entertaining.”








entertaining.”








entertaining.”

QUALITIES OF LIGHT

1 Intensity – the total quantity of light flux moving toward a surface.

2 Brightness – the apparent light per unit area reflected from or

emitted through a surface or area.

3 Diffusion – multiple directions of incidence resulting in shadowless

illumination.

4 Spectral Color – relative recognition of light wavelength from

natural and artificial sources.

5 Direction – major apparent light area in space relative to eyelevel.

6 Movement – real and implied.

“…light itself as a physical force can have specific qualities attributed to it by the regular occurrence of specific effects as does the wind.”

Richard Kelly

COMPOSITIONAL BODIES OF LIGHT (DEREK PORTER)

Edge – Perimeter definition of space. Typically vertical surfaces,

that establish perimeter extents of an area and orients the

inhabitants gaze.

Field – The ground or ambient luminosity of the room or area. It is

the background within which more defined bodies of luminosity

are seen and task activity takes place.

Threshold – The articulated transition between spaces that

establishes boundary between two defined regions. This may be

achieved though light or shadow.

Object – The physical presence of the luminaire, it’s form and

material existence within space as well as its multiplicity,

repetition, pattern, rhythm, and scale.

REFERING TO HISTORY TO MAKE NEW THEORY FOR TODAY

“Lighting is both an art and a science. In 1917, Mr.

Mathew Luckiesh of Nela Park wrote of lighting: “That

which changes the mysteries of today into the

commonplace facts of tomorrow is science in whatever

guise”. In 1952 we are entering a new phase of mystery

and magic.”

Richard Kelly

RESOURCES

Kelly, Richard. Lighting as an Integral Part of Architecture. College Art

Journal, Vol. 12, No. 1 (Autrumn, 1952), pp. 24-30

Stable URL: http://www.jstor.org/stable/773361

Neumann, Dietrich. The Structure of Light: Richard Kelly and the

Illumination of Modern Architecture. Yale University Press, New

Haven and London. 2010

Complete Richard Kelly Archive is located at Yale University.

http://www.jstor.org/stable/773361

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MAKE NEW HISTORY: A CONTEMPORARY VIEW OF RICHARD … · 3 Play of Brilliants (Sharp Detail)...

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