CONTENT
01
Phase 1: Lighting Timeline 1.1 Modern Period 1.2 Bauhaus 1.3 Asian Modern Period 1.4 Final Timeline
02
Phase 2: Technical Drawings 2.1 Louver 2.2 Diffuser
03
Phase 3: Design 3.1 Definition and Brainstorm 3.2 Concept Design 3.3 Lighting Test 3.4 Detail Design 3.5 Final Product
04
Reflection
VERTICAL
STUDIO
PHASE 01 - LIGHTING TIMELINE
MODERN PERIOD ASIAN PERIOD BAUHAUS
Modern architecture emerged at the end of the 19th century from revolutions in technology, engineering and building materials. People have better manipulation of materials and can therefore create more interesting form instead of being rigid. The form of openings is also bigger and crazier.
“The Goetheanum”
“Solomon R. Guggenheim Museum”
“Whitney Museum of American Art”
Rudolf Steiner 1928 Basel, Switzerland
Frank Lloyd Wright 1937 New York, USA
Renzo Piano 1931 New York, USA
The building was a great space on a continuous floor with glass dome atrium. The interior appear bathed in sunlight without shadow. The paintings also seem to float on walls of light.
The building consists of a flexible auditorium and four large terraces. Each individual piece of artwork is carefully lit through a combination of daylight and LED light sources. The technology is proving to be more than capable of showing artwork in its best light.
The building is concrete casted and was named a "true masterpiece of 20th-century expressionist architecture". The stained glass windows are replications or reinterpretations of those in the First Goetheanum.
“Unity Temple”
“Beth Sholom Congregation”
“Glass Pavilion”
Frank Lloyd Wright 1908 Illinois, USA
Frank Lloyd Wright 1954 Pennsylvania, USA
Bruno Taut 1914 Berlin, Germany
The building is described as a temple for man to worship god. The skylights are an interplay between light and dark. It allows light and shadow to clarify forms and enliven selected surfaces. The interior appears open and airy.
The Hebrew church was made of steel and glass. The translucid membranes of the roof allows natural light to penetrate through. It was enriched and deepened by many vague shadow as 2 different membranes overlapped.
Bruno Taut tried to show the relationship of glass to human emotion and spirituality. The architecture used glass bricks as base and stained glass as the atrium. There wasnʼt any colored photography documented.
1925 - 1940 BAUHAUS
Bauhaus architecture is famous for its simplified forms and absence of ornaments & colour. It emphasise volume over mass and the functionality of the building interior. Bauhaus architecture values transparency. The interior is usually illuminated with sufficient quantities of light through the large windows and glass curtain walls.
GROPIUS
HOUSE Walter Gropius 1937 Massachusetts, USA
Open Wall
Glass Block
Gropius used mass-produced industrial materials such as glass blocks, welded steel, acoustic plaster, and chromed metal to construct the building, making it possible to shift the load to a steel or concrete skeleton, allowing large expanses of glass, hence the emphasis of “open walls�
Glass block was developed from prism lighting principles in the early 1900s to provide better distribution of natural light. Hollow glass wall blocks are manufactured as two separate halves and, whilst the glass is still molten, the two pieces are pressed together and annealed. The resulting glass blocks will have a partial vacuum at the hollow center.
Aluminum Louvers Aluminum louvers was installed on the deck of the second floor. The louvers is 90 degree against the wall to block partially of the the sun. It created interesting projected shadow patterns that changes at time goes by.
Industrial steel light fixture
Half chrome bulb
The desk originally had upper cabinets which had to be removed to fit properly in this house, so as not to block the natural light and view from the window which runs the length of the study.
Top of the bulb is covered by metal, they can be hung from the ceiling without providing too harsh a glare. On each side of the bathroom mirrors, half-chrome light bulbs redirect light to the sides and reflect light back to the mirrors. This creates flattering light, while simultaneously eliminating the need for any additional lighting shade or cover.
Bauhaus Lamp balanced solution for the proportions and the functional clarity of the lamp. He had actually designed it as an all-purpose lamp for the illumination of living spaces and not just a table lamp. On the other hand, its geometric structure largely followed the specifications of his teacher Lรกszlรณ Moholy-Nagy.
CENTRAL
MARKET 1938 Central, Hong Kong
Individual Glass Panels
Artificial Lighting
Natural Lighting
Since Central Market was a fresh food market, ventilation is a critical requirement for the building. The curtain walls in central market were made with individual glass panels to allow opening and closing when needed.
Being built in the late 30s, the lighting in central market uses incandescent light bulb and fluorescent light tube and it hasn’t been changed ever since.
Corner glass window gives undisturbed exterior views and maximum interior lighting and visibility. This window allows maximum light to enter and can be used as an architectural feature. The atrium in the middle allow sunlight to enter the interior within such large space, eliminate the crowded and dimmed factor.
FARNSWORTH
HOUSE Mies Van der Rohe 1951 Chicago, USA
Steel Beams and Joints With the characteristic of steel beams, the structure could hold up itself strongly with only a few supports, it is those 8 beams hold up the structure which could leave more void space for installing windows, hence more light to penetrate.
Panorama Windows
Artificial Light
The absence of walls also broaden the eye-view horizontally, giving a 360 degree windows surrounding. Light penetrates easily through the whole building. Light experience fully integrated with the exterior environment: climate, weather, day and night time.
There is very few direct artificial light, but more indirect and diffused light found. A warm color tone is applied to the residence. Each light became the separation of areas when turned on for service.
ASIAN MODERN PERIOD JAPAN
“Jiyu Gakuen Girls School”
“Imperial Hotel”
“House of Kunio Maekawa”
Frank Lloyd Wright 1921 Tokyo, Japan
Frank Lloyd Wright 1923 Tokyo, Japan
Kunio Maekawa 1935 Tokyo, Japan
The building is one of the 2 only building of Frank Lloyd Wright in Japan. The name of the school literally translates into “a free spirit” which both the architect and the client wished children can learn happily on the school.
The building was another work of Frank Lloyd Wright during his stay in Japan. The building was described as unbreakable due to the use of volcanic stone and ferro-concrete as construction materials. Unfortunately, the building was demolished in the 1960s.
Influenced by Le Corbusier, Kunio Maekawa input Le Corbusierʼs design into traditional Japanese houses. The large horizontal windows on the facade resembled the windows in Dessau Bauhaus, with the square grid to made up a large window with small pieces of glass.
“House of Kunio Maekawa”
JAPANESE WESTERNIZATION
JAPANESE MODERNISM
Kunio Maekawa 1935 Tokyo, Japan
Japan aimed to improve its power and authority through Meiji restoration. The way to do it is through westernization, learning from Europe and America. In terms of architecture, Japan incorporate modernist style of construction into its vernacular houses.
When the House of Kunio Maekawa was built, Japan was in the middle of World War II. Materials such as concrete and metals were scarce, as they were used for making military weapons. As a result, Maekawa had no choice but to use timber, a local extracted material instead. His choice marked a signi cance
Influenced by Le Corbusier, Kunio Maekawa input Le Corbusierʼs design into traditional Japanese houses. The large horizontal windows on the facade resembled the windows in Dessau Bauhaus, with the square grid to made up a large window with small pieces of glass.
During that time, many local architects were sent aboard to the US and European countries and work in many big name architects atelier as an apprentice, and Kunio Maekawa was one of them. Having to work with Le Corbusier since the 1920s, Kunio Maekawa was hugly in uenced by Le Corbusier's way of designing. In many of his design, materials such as concrete and glass can be seen.
to Japanese architecture as he incorporated western style of construction into Japanese traditional building, creating what was called "Japanese Modernism".
ASIAN MODERN PERIOD JAPAN TECHNOLOGY
SHOJI
TRANSLUCENCY
TRANSLUCENCY DIAGRAM
Shoji is an element that was frequently found in Japanese architecture. It is made of a piece of translucent paper attaching onto a frame of wood which holds together a lattice of wood.
Shoji is a translucent material. It is able to allow light to penetrate through, but not the image behind the paper.
The doors connected to exterior are divided into 2 layers. The rst layer, facing the living room, are shoji. They protect the family's private but allow light to penetrate through at the same time. The second layer, facing the yard, are glass curtain walls. This adjustable system allows user to select different lighting quality.
ASIAN MODERN PERIOD JAPAN MATERIAL
TIMBER
WOOD FINISH REFLECTION
REFLECTION DIAGRAM
Due to the scarcity of construction materials such as concrete and steel, Kunio Maekawa had to settle with timber, a less featured material in his work but a material used frequently in Japanese architecture. The entire house was made out of wood, except the openings.
What differentiate this house to other Japanese house is the absence of Tatami. Unlike other houses, the house of Kunio Maekawa used hardwood flooring instead. The floor was finished and therefore create a shiny appearance.
Because of this, the floor is able to bounce off the light from the window and the artificial light.
ASIAN MODERN PERIOD JAPAN ARTIFICIAL LIGHT
DINING TABLE LIGHTING
LIVING ROOM LIGHTING
EXTERIOR LIGHTING
A light is installed directly above the dining table. Without any materials to cover the light bulb, the light transmitted is rather intense. It is estimated the such intense light is used above the table in order to keep food warm and heated.
In contrast with the dinning room, the light feature in the living room is rather soft. The light bulb is covered with a woshi lantern exterIor, giving a more gentle, relax mood.
No exterior lighting was found in this building, as it is meant for private residence. However, the light of the lantern lamp in the living room was able to penetrate through the curtain walls and illuminate the exterior with little square grids.
ASIAN MODERN PERIOD JAPAN ARTIFICIAL LIGHT
DINING TABLE LIGHTING DIAGRAM
LIVING ROOM LIGHTING DIAGRAM
EXTERIOR LIGHTING DIAGRAM
From the diagram, it is shown that the light only focuses on the table surface, as the table is the only element in the dining room. However, the shiny surface of the table is able to re ect light to the surroundings.
The lattern light in the living room is really soft. It is a better choice for the living room as it is a place to rest. Also, it is a more suitable choice to match with the strong illumination from the curtain wall right next to it.
No exterior lighting was found in this building, as it is meant for private residence. However, the light of the lantern lamp in the living room was able to penetrate through the curtain walls and illuminate the exterior with little square grids.
ASIAN MODERN PERIOD JAPAN NATURAL LIGHT
CURTAIN WALLS
NATURAL LIGHTING DISTRIBUTION
LIGHTING PERCENTAGE
The curtain walls on the West side of the house is divided into two parts, the upper part and the lower part. The upper part is purely made of glass and wood lattice. It resembles the windows in Bauhaus architecture, but the use of wood as the structure gives a little Asian twist to it. The lower part is made of glass, wooden frame, as well as Japanese shoji partition.
Because of the large openings, the interior of the house is able to receive sufficient sunlight throughout the day. Such concept is similar to the Bauhaus Style, or International Style architecture, which transparency and light is emphasized.
Due to the different materials used in the two parts of the curtain wall, lighting percentage varies. The upper part, made out of glass, is able to transmit 100% of sunlight. However, the lower part, made out og shoji, is only able to transmit 50% of sunlight. This makes it convenient as sunlight at human height level is less intense.
ASIAN MODERN PERIOD JAPAN NATURAL LIGHT
ATMOSPHERE
COLOUR TEMPERATURE
SHADOW
The overall interior is in earth tone, mainly consist of white, yellow and brown. It was able to connect with the natural scenery outside because of the presence of the curtain wall.
The colour temperature is warm, due to the use of warm colour such as yellow and brown in the interior. Other than that, the natural yellowish pigment on the shoji add a little warmth into the house as light shines through.
Shadows of the wood lattice is illuminated to the wall. It creates an interesting pattern onto the wall during sunset.
PHASE 02 - TECHNICAL DRAWING
DIFFUSER
LOUVER
Louver
Louver
Walter Gropius 1937 Massachusetts, US
Le Corbusier 1954 Ahmedabad, India
Gropius House
Diffuser
Mill Owners Association
Diffuser
House of Kunio Maekawa Gropius House Kunio Maekawa 1942 Tokyo, Japan
Diffuser
Walter Gropius 1937 Massachusetts, US
Austrian Postal Saving Bank Otto Wangner 1904 Vinne, Austria
Louver
Gropius House Walter Gropius 1937 Massachusetts, US
Walter Gropius believe that dwelling house should no longer resemble something like a fortress, like a monument with walls of medieval thickness and an expensive front intended for showy representation. Instead it is to be of light construction, full of bright daylight and sun-shine, alterable, time-saving, economical and useful in the last degree to its occupants whose life functions it is intended to serve. The sun travels on the southern side of the building. The roof deck is located on the west side of the building, to obtain the western afternoon sunshine. The Louvre is located on the 2nd floor roof deck. It is found to be 90 degrees perpendicular to the horizon. The Louvres are wide spread to let in more sunlight as the location is a semi open room.
Elevation
Plan
Construction Axonometric
Lighting Axonometric
Lighting Performance (Direct Light, Reflected light & Shade)
Shadow Pattern
Louver
Mill Owners Association Le Corbusier 1954 Ahmedabad, India
The Mill Owners Association, design by Le Corbusier in India, where the sunlight is intense, the southern facade of the building using louvers all facing from northeast to southwest, blocking the direct sunlight in the afternoon and evening, the architecture is mainly been built by using poured molding concrete. The sun travels from the East to the West through the South side in the northern hemisphere, in this case Ahmedabad, around 20° N attitude. Therefore, louvers or sun breakers are constructed on the South side.. The concrete building conducted heat not in a very efficient way, Le Corbusier considered the poured mold concrete structure, using large opening on the hallway to the exterior, yet keeping the interior cool and light-controlled by using the louvres as facade. Consider the terms of heat circulation and material advancement in India, this building truly shown its remarkable.
Plan
Plan Detail
Construction Axonometric
Lighting Axonometric
Lighting Performance (Direct Light, Reflected light & Shade)
Shadow Pattern
Diffuser
House of Kunio Maekawa Kunio Maekawa 1942 Tokyo, Japan
Influenced by Le Corbusier, Kunio Maekawa input Le Corbusier's design into traditional Japanese houses. The large horizontal windows on the facade resembled the windows in Dessau Bauhaus, with the square lattic to make up a large window. However, much Japanese traditional architecture features can still be seen around the house, such as the use of wood as a construction material, as well as the paper latterns hung on the ceiling. Shoji is an element that was frequently Japanese architecture. It is made of a translucent paper attaching onto a frame which holds together a lattice of wood. Shoji made as side door and window, as often Japanese vernacular architecture.
found in piece of of wood is usually seens in
Elevation
Plan
Refraction Diagram & Lighting Axonometric
Construction Details
Diffuser
Austrian Postal Saving Bank Otto Wangner 1904 Vinne, Austria
The building is regarded as an important early work of modern architecture, representing Wagner's first move away from Art Nouveau and Neoclassicism. It was constructed between 1904 and 1906 using a lot new material and combination. Frosting describes the process of changing the surface of the glass from transparent to translucent to create an opaque, cloudy look. The skylight where private offices meet the public spaces of the bank and the glass ceiling and roof become integrated.
Elevation
Plan
Refraction Diagram & Lighting Axonometric
Construction Details
Diffuser
Gropius House Walter Gropius 1937 Massachusetts, US
Light construction, full of bright daylight and sun-shine, alterable, time-saving, economical and useful in the last degree to its occupants whose life functions it is intended to serve. Glass block was developed from prism lighting principles in the early 1900s to provide better distribution of natural light. Hollow glass wall blocks are manufactured as two separate halves and, whilst the glass is still molten, the two pieces are pressed together and annealed. The resulting glass blocks will have a partial vacuum at the hollow center. Glass wall blocks are fixed together with a Portland cement-based mortar with reinforcing rods of steel placed within the mortar.
Elevation
Plan
Refraction Diagram & Lighting Axonometric
Construction Details
FINAL
OF
PHASE 1 & 2
BRAINSTORM
FINAL DESIGN
DETAIL DESIGN
PHASE 03 - DESIGN
LIGHTING TEST
CONCEPT DESIGN
DESIGN DEFINITION & BRAINSTORM
We were given the word contemplation as the activity inside our space. We first tried to define the word according to what we want people to feel inside. We think contemplation is:
We also brainstorm the typologies of space that is related to contemplation, the kinds to behaviors people would have inside a contemplating space, atmosphere we try to achieve and words related to contemplation.
“A continuous journey of thinking and searching, concentration on spiritual things as a form of private devotion. Contemplative practices reconnect us to ourselves, each other, the earth, and the cosmos.�
Afterwards, we began to link the word contemplation back to the 2 lighting terminologies we researched on in phase 2.
Words related to Contemplation
Building types of Contemplation
Places for Contemplation
Activities for Contemplation
Atmosphere
Circulating
Religious
Temple
Meditation
Respectable
Distraction
Commercial
Church
Praying
Decent
Focus
Cemetery
Reflection
Quiet
Maze
Library
Planning
Calm
Coffee shop
Stress relief
Cultural
Study room
Climax Safe Relax Moody Emotional
Relationship with Diffuser
Relationship with Louver
Ambiguity
Rhythmic
Unclear
Light to give a direction
Ambient light throughout the day,
Change through time
thinking without the limitation of
Climate
time
Low contrast
High contrast
DESIGN DEFINITION & BRAINSTORM FEATURES IN THE SPACE
Height of ceiling, Sizes of opening
Common area
Light filter, Colour of window
A Climatic moment = The Realization from a deep thought to a realization Direct light, gives Direction, answer
Indirect light, Ambiguious
Unchanging environment = Stillness of time
DESIGN DEFINITION & BRAINSTORM BODY POSTURE We also studied the body posture that can be found in the behavior of people who contemplates, thinking that these may help us making a user-oriented design.
Sitting
Crossing legs
Squatting
Praying
Standing
DESIGN DEFINITION & BRAINSTORM CASE STUDY These are some research after we brainstormed about contemplation, inspirations of the use of material and colour.
HONG KONG
As the project is set in Hong Kong, we were suggested to input Hong Kong cultural identity in our design. The space should be storytelling and conveying the history of Hong Kong. We use the sky of Hong Kong as the primitive subject of our design. We want to express sorrow for the disappearing sky as more skyscrapers are built. We find some photos that depict the sky with positive and negative space. We thought that this effect could be achieved with louvers and diffusers. Inspired by these pictures on the left, we want to create a space that highlight the height of buildings in Hong Kong and the partly visible sky.
DESIGN CONCEPT DESIGN AIMS We were asked to size down the subject and content. We had to think of the people we are serving, The place we want to put in, and the programme we want the space to have. We decided to selected a theme for further development, and the theme is the suicide of students in Hong Kong.
DESIGN CONCEPT DESIGN CONCEPTUAL DRAWING 01 From that we developed drawings which we put the desirable lighting effect into the L-shaped site. And about how the lighting affect the human activity.
DESIGN CONCEPT DESIGN STORY LINE We were suggested to create a storyline for our space to first, give a meaning to the space, and second, to let people experience the atmosphere as the story goes on. Nevertheless, we were told that the storyline is too complicated for such a small space. We were than asked to pick 3 scenes to continued developing.
iiiIsolationiii
We then translates the storyline into key features we want to have in out space. We tried to translated these scenes to also include lighting effect and exploration. This would be our initial circulation of the space.
The entrance starts small, with names of the suicides
iiiAcademicsiii
iiiPeer Pressureiii
Using paper from academic work as a diffuser
The shadow of louvers intersects
iiiCompetitioniii
iiiThoughts aboutiii iiiCommitting Suicideiii C
The sizes of openings illuminates different sizes of sufaces
People standing on louvers like standing on top of a building
iiiContemplationiii
People standing on top of the building to look at the diffused sunset
iiiStress Reliefiii
People jumping down from the building, only to find a pool of soft materials can they can bounce on to release stress
DESIGN CONCEPT DESIGN CONCEPTUAL MODEL
We then develop some conceptual testing model for the lighting effect we desired. They are about manipulating the location and intensity of light and shadow
DESIGN CONCEPT DESIGN CONCEPTUAL DRAWING 02 From that we developed drawings which we put the desirable lighting effect into the L-shaped site.
DESIGN LIGHTING TEST CIRCULATION
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Entrance Hong Kong building from down below Horizontally placing the vertical point of view Feeling the pressure Being trapped in the concrete jungle Reflective mirror pool User can look at the building from down below The mirror reflect the image of the building to elongate the height Stairs Scissors staircase: typical in Hong Kong Made of horizontal/vertical louver Disconnected, Floating illusion As if you cannot walk on it Paper partition Folded into cube shape Representation of study cubicle on one side Represent the days and nights students spend to study for exams The other side represent Hong Kong public dwelling
●
Building edge Climatic scene: jumping off a building User can sit at the edge of the building to experience from the students perspective To contemplate about the meaning of life
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Exit The sun shines directly above the exit in the afternoon Creates a pyramid like shadow Looks like the user is standing on top of the pyramid Conveys a sense of hope and encouragement
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DESIGN LIGHTING TEST ENTRANCE
Thinner
Using louvers, we wished to create the perception of buildings in a horizontal point of view.
Thicker
DESIGN LIGHTING TEST LOUVER X ENTRANCE We want to let in light in order to project the shadow of a man standing on top of a building. However, we cannot leave the entire side open. We thus use louver to create semi openings to the wall, so light can penetrate into the space at certain time of a day. We tested 2 types of vertical louvers at different angles. The first one is 90 degree. The second one is pointing at Northwest, so sunlight illumination is the strongest before sunset.
90°
45°
DESIGN LIGHTING TEST INFINITY MIRROR Increase the depth of the interior by adding mirror to the bottom and ceiling.
DESIGN LIGHTING TEST DIFFUSER WALL Moving on from the entrance is the mirror on the ground floor. The mirror creates height illusion as if the ground is extended even further. Surrounding the mirror are diffuser walls. The walls are made of paper which diffuse light into the space and also create interesting pattern due to the light and shadow casted on them. Together with the mirror, the repetition of the folding and creases are reflected onto the mirror, hence extending the walls and produce infinite tower effect.
DESIGN LIGHTING TEST STAIRCASE
We thought of using louvers to act as stairs. Not only will it look like the stairs are floating, The shadows blocked by the individual louver pieces will add a layer of illusion to the original illusory paper walls. We tested 2 types of louvers, horizontal and vertical, to see whether the width of the gap in between louvers will make different effects with the walls. We then also overlaid the picture of the stairs and the paper wall to stimulate the result.
Horizontal Louver Stairs
Vertical Louver Stairs
DESIGN LIGHTING TEST STAIRCASE X WALL
Horizontal Louver Stairs + paper
Vertical Louver Stairs + paper
LIGHTING TESST Translates the storyline into key features we want to have in out space. Evaluate different elements like openings, patterns, spatial effects etc to our space, with human proportions, and light gradation.
DESIGN LIGHTING TEST PAPER FOLDING
We put much emphasis on using paper as a diffuser to diffuse sunlight and create shadow patterns. Paper is a translucent materials. It allows light to penetrate through but the image behind the paper remains unclear. We believed that paper can give a sense of ambiguity and uncertainty to the space, representing the future of the youth in Hong Kong. Also, the folds and cuts on the paper make some interesting light and shadow. It makes the space illusory with the repeating pattern.
Looking Upward
Therefore, we produced 4 paper folding methods that represent the plight of Hong Kong student's, as well as the density of the city.
Looking Straight
Looking Downward
PAPER FOLDING 1 Paper was folded to resemble study cubicles where students study for their exams. The foldings are square in shapes and repeated throughout the whole design to mimic the exam season. When putting the squares together, it also becomes the image of Hong Kong public housing, where most people live. It is a suicide hotspot and conveys the stress of the lives of Hong Kong people.
East Light
Middle Light
West Light
PAPER FOLDING 2
Upper right Light
Upper left Light
The second folding method emphasizes on the elongating height of Hong Kong building towers.
Up Light
Right light
Low Light
Left Light
PAPER FOLDING 3
Upper right Light
Upper Right Light
W
Upper left Light
Paper folding 3 is the combination of 1 and 2. The square folding is used to represent the facade of Hong Kong housing. In the middle, a larger fold is created to create a break from the repetitive patterns.
Left Light
Low Light
Right light
Up Light
PAPER FOLDING 4
Upper right Light
Upper left Light
Paper folding 4 focuses on the combination with the staircase. The pattern is created to suit the leveling of each step of stairs. The pattern will thus rise according to the sight level of the people.
Left Light
Low Light
Right Light
Up Light
DESIGN LIGHTING TEST PAPER FOLDING - OTHER COMBINATIONS
After testing with paper physically, we thought it is quite hard to develop new, innovative paper folding. So we move on to working with computer. We built modular paper folds and rearranged them differently, Here are some results.
DESIGN LIGHTING TEST PAPER FOLDING - FINALIZED DECISION
Morning
Afterwards, we finalized our decision onto 2 folding methods. The first one is method 3. It will be the wall where people walk and sit on. The second one is method 4, which will be included with the louver staircase. Using the computer, we simulate the patterns of shadow we want to achieve,
Noon
Afternoon
Morning
Noon
Afternoon
We then create templates to properly cut and fold the paper.
DESIGN LIGHTING TEST OPENING TEST 01
Thin
Thick
We originally planned to have a skylight in the middle to imitate the atrium in public housing, however, the skylight blocked the movement of sun light and we cannot create the change of shadow pattern we desired.
DESIGN LIGHTING TEST OPENING TEST 02 Our original skylight cannot allow us to create shadow patterns. We therefore did testing on different opening options to see which one can create the most illusory light and shadow pattern. Also, we want the lighting journey starting from the darkness to the brightest, from the bottom to the top. We took pictures of different times ofOption day to 1 see if the pattern changes, or if the light source will be blocked Vertical by the L-shape box.
Option 1
openings along sides of the 4 walls
Vertical openings along sides of the 4 walls
Option 2 Openings Openings around around the the edges of the edges of the ceiling ceiling Option 2
DESIGN LIGHTING TEST TIMELINE OF THE OVERALL CHANGE OF LIGHT
Morning
Noon
Afternoon
Night
DESIGN DETAIL DESIGN SPACE 01 - ONE PATTERN
Section
Plan
DESIGN DETAIL DESIGN SPACE 01 - LIGHT GRADATION
CEILING: lightest
STAIRS: lighter
ENTERANCE: darkest Section
Plan
DESIGN DETAIL DESIGN SPACE 02 - OPENING IN CEILING
Section
Plan
DESIGN DETAIL DESIGN SPACE 02 - LIGHT GRADATION
Section
Plan
DESIGN DETAIL DESIGN SPACE 03 - ONE OPENING IN WAL, LED LIGHT
Section
Plan
DESIGN DETAIL DESIGN SPACE 03 - LIGHT GRADATION
We are making a space for people to contemplate about the meaning of life and not to commit suicide. We use louver and paper diffuser as the main lighting elements to create illusory light and shadow. People walk through the space and will be mesmerized by the changing pattern on the walls. Upon reaching the top of the structure, people can sit along the edge of the wall to mimic the scene of jumping off a building. The reflectiveness of mirror creates a sense of depth and lengthen the interior. Through this imagery, people will develop fear for dying and treasure their lives.
1:50 FINAL MODEL
NATURAL SUNLIGHT @5:30
TIME CHANGING
DESIGN FINAL DESIGN PHOTOGRAPH OF THE PHYSICAL MODEL
Exploded Isometric
DESIGN FINAL DESIGN TECHNICAL DRAWINGS
Hand Sketch 1:50 - Section Perspective
G/F
1/F
2/F
3/F Floor Plan & Section
700 50
800
1600
800
3300
160
3400 800
1700
100
200
STAIRCASE
3400 200 SEATINGS
1:20 Plan 1:20 Elevation
1:50 Plan
1:50 Elevation
WOODEN FRAME
1:20 Isometric
1:20 Section
1:20 Exploded Isometric 1:50 Isometric
1:50 Section
WOODEN FRAME WITH STEPS
CONCRETE
GLASS
MIRROR
LED LIGHT
Ceiling Exploded Isometric
Concrete wall LED light
Wooden frame
Paper
Glass opening
Wall Exploded Isometric
Ceiling, Wall, Floor Detail
Computer rendering
DESIGN FINAL DESIGN TIME CHANGES - INTERIOR
Stair
Paper Wall
Ceiling
8AM
9AM
10AM
11AM
12PM
1PM
2PM
3PM
4PM
5PM+
DESIGN FINAL DESIGN TIME CHANGES - INTERIOR
8AM
DESIGN FINAL DESIGN TIME CHANGES - INTERIOR
9AM
DESIGN FINAL DESIGN TIME CHANGES - INTERIOR
10AM
DESIGN FINAL DESIGN TIME CHANGES - INTERIOR
11AM
DESIGN FINAL DESIGN TIME CHANGES - INTERIOR
12PM
DESIGN FINAL DESIGN TIME CHANGES - INTERIOR
1PM
DESIGN FINAL DESIGN TIME CHANGES - INTERIOR
2PM
DESIGN FINAL DESIGN TIME CHANGES - INTERIOR
3PM
DESIGN FINAL DESIGN TIME CHANGES - INTERIOR
4PM
DESIGN FINAL DESIGN TIME CHANGES - INTERIOR
5PM+
DESIGN FINAL DESIGN CIRCULATION
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Entrance Hong Kong building from down below Horizontally placing the vertical point of view Feeling the pressure Being trapped in the concrete jungle
DESIGN FINAL DESIGN CIRCULATION
● ●
Reflective mirror pool User can look at the building from down below The mirror reflect the image of the building to elongate the height
DESIGN FINAL DESIGN CIRCULATION
● ● ● ●
Stairs Scissors staircase: typical in Hong Kong Made of horizontal/vertical louver Disconnected, Floating illusion As if you cannot walk on it
DESIGN FINAL DESIGN CIRCULATION
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Paper partition Folded into cube shape Representation of study cubicle on one side Represent the days and nights students spend to study for exams The other side represent Hong Kong public dwelling
DESIGN FINAL DESIGN CIRCULATION
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Building edge Climatic scene: jumping off a building User can sit at the edge of the building to experience from the students perspective To contemplate about the meaning of life
DESIGN FINAL DESIGN CIRCULATION
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Exit The sun shines directly above the exit in the afternoon Creates a pyramid like shadow Looks like the user is standing on top of the pyramid Conveys a sense of hope and encouragement
DESIGN FINAL DESIGN TECHNICAL DRAWINGS PRESENTATION BOARD
420 X 841 mm
A1 Lighting Change Timeline
DESIGN FINAL DESIGN TECHNICAL DRAWINGS PRESENTATION BOARD
A2 Hand Drawing
REFLECTION Lighting design is not easy. There are much to take care of. Humans take thousands of years to manipulate light and we took 3 months trying to do that. In these 3 months, we learnt the history of lighting form relying on daylighting and lighting candles, to innovative inventions. We also learnt the technicality and details of certain types of lighting design from doing precedent studies of the Modern era. We realised that lighting was utilised to help with humans’ lives, to satisfy the basic need of illumination. Now that we are living in this brightened world, we should not take light for granted. Instead, we should fully make use of lighting to the maximum, to give reasons and meanings to light, to use light to convey a sensation, an emotion, an experience. We faced a lot of hardships when trying to use light to tell a story, to remind people the history. Sometimes it is too abstract while sometimes it is too blunt. Many times it is over complicated that there is no focus. However, it is through this learning process that we understand our weakness in thinking poetically and orderly.
THANK YOU!