Thesis (S.T.M.)--Dallas Theological Seminary, 1996. / Includes bibliographical references (leaves 55-60).

Thesis (M.A.)--Trinity Evangelical Divinity School, 1975. / Includes bibliographical references (leaves 103-111).

Thesis (Th. M.)--Western Conservative Baptist Seminary, 1973. / Bibliography: leaves 70-74.

Thesis (Th. M.)--Western Conservative Baptist Seminary, 1973. / Includes bibliographical references (leaves 70-74).

Thesis (Ph. D.)--Ohio State University, 1974. / Includes bibliographical references (leaves 219-227). Available online via OhioLINK's ETD Center.

Natural light, aside from its functional roles, has little significance in many contemporary spaces. The decline of its earlier shared cultural values and lack of any other to replace these translates into an impoverishment of architecture’s deeper experience and significance. By evaluating the connections that exist between light and architecture, and, consequently, between light and man, a better comprehension can be attained of its present value and of its potential as a creative inspiration and as an agent of its expression. By tracing the relationship between light and architecture in Western culture, the forces that have shaped its significance are revealed. From agrarian cultures that connected closely to nature, to the anthropocentric modern era, the way light is treated in architecture has expressed the cultural relationship not only to the sun, to the light itself, but also to nature and to one’s own position within it. The understanding of this progression and the analysis of the contemporary episode of this narrative elucidates the current significance and approach to light in architecture. The profound focus on light by many individual architects and architectural writers acknowledges its importance in contemporary architecture, although its collective cultural significance remains uncertain. A broader conception of light’s significance and ways of integrating it more meaningfully with architecture can be derived from positioning three case studies as complementary to the contemporary episode of its story. These case studies – the tearoom of the Katsura Palace, Junichiro Tanizaki’s book In Praise of Shadows, and photographic series Colors of Shadow by Hiroshi Sugimoto – exhibit nuance and subtlety in consideration of light and shadows alike, illustrating a different approach and attitude to natural lighting. Light becomes more than an enriching physical phenomenon or agent of poetic evocation, it creates a deeper connection of man to his surroundings. Two designs – a house and a library – explore this connection and the potential of light to articulate dwelling. In these, the encounters with light and shadows are palpable and intrinsic to the architectural space fostering the ability to appreciate light and its attendant significance.

Natural light, aside from its functional roles, has little significance in many contemporary spaces. The decline of its earlier shared cultural values and lack of any other to replace these translates into an impoverishment of architecture’s deeper experience and significance. By evaluating the connections that exist between light and architecture, and, consequently, between light and man, a better comprehension can be attained of its present value and of its potential as a creative inspiration and as an agent of its expression. By tracing the relationship between light and architecture in Western culture, the forces that have shaped its significance are revealed. From agrarian cultures that connected closely to nature, to the anthropocentric modern era, the way light is treated in architecture has expressed the cultural relationship not only to the sun, to the light itself, but also to nature and to one’s own position within it. The understanding of this progression and the analysis of the contemporary episode of this narrative elucidates the current significance and approach to light in architecture. The profound focus on light by many individual architects and architectural writers acknowledges its importance in contemporary architecture, although its collective cultural significance remains uncertain. A broader conception of light’s significance and ways of integrating it more meaningfully with architecture can be derived from positioning three case studies as complementary to the contemporary episode of its story. These case studies – the tearoom of the Katsura Palace, Junichiro Tanizaki’s book In Praise of Shadows, and photographic series Colors of Shadow by Hiroshi Sugimoto – exhibit nuance and subtlety in consideration of light and shadows alike, illustrating a different approach and attitude to natural lighting. Light becomes more than an enriching physical phenomenon or agent of poetic evocation, it creates a deeper connection of man to his surroundings. Two designs – a house and a library – explore this connection and the potential of light to articulate dwelling. In these, the encounters with light and shadows are palpable and intrinsic to the architectural space fostering the ability to appreciate light and its attendant significance.

This thesis begins with the premise that darkness offered by the landscape of the boreal north opens up new potential narratives and different languaging of the built environment. If sensitivity is nurtured towards this landscape, it may provoke the emergence of new methods of engagements that reconnects the self to the exterior challenging existing preconceptions. The study also recognises the fact as given, that in present times, this relation of self with darkness is endangered and not valued. Thus the thesis aspires to open up this question -- what is the value of darkness in such a landscape and what kind of architecture may emerge if an alternate discourse that values this darkness might exist.

No description available.

English speakers use the concept of "darkness" in a number of metaphors to portray a wide variety of experiences from evil to fear to ignorance. These metaphorical connections or entailments are so natural that we can see an image of a dark-clad person in a film or book and usually be correct in assuming that they are at best questionably moral and at worst a villain. The Old Testament (OT) also employs dark images and dark imagery to various effects. From Job's description of the underworld in Job 3 to Isaiah 's description of the coming light that will dispel the darkness in Isa 8- 9, to the dark paths the wicked trod in Eccl 2:14, the OT uses a number of metaphors of darkness. For most of these examples, it would be easy to assume that the ancient Hebrew writers of the OT were working with the same concepts of darkness that we do today and thus interpret these passages along the same lines as our own modem English metaphors. But such assumptions can and have led to a number of misunderstandings and conflicting interpretations of passages that employ dark images. These miscommunications are most apparent in passages where God's presence is indicated by darkness like at the Sinai and Temple theophanies (Exod 20:19-20 and 1 Kgs 8:12, respectively) as well as later poetry about God (Ps 97:2). By combining the theoretical framework of Cognitive Metaphor Theory (CMT), and the methodology of Conceptual Blending (CB), this study will work toward a clearer understanding of how the writers of the OT understood darkness and how that shaped their use of it in their images and imagery of death, captivity, the unknowable, and God. It will be shown that the ancient Hebrew conception and use of darkness centres around three key recurring metaphors - Death is Darkness, Captivity is Darkness, and the Unknown is Darkness - while the metaphor Evil is Darkness is foreign to the OT. These findings serve to provide greater clarity in interpreting those OT passages that portray God as having a penchant for darkness.