Thursday, May 8, 2008
Sketch Series 1: April 20 @ 1:00
The sky on this day was slightly overcast. Since the building faces the west it doesn't get any direct sunlight accept when the sun begins to set. At 1:00 the sun is high in the sky and no direct light enters the lobby, and since the sun wasn't very bright that day, the reflections that are there are slightly fuzzy.
Sketch Series 1: April 1 @ 12:00
The sun was shining bright on this day. Since the building faces west there is no direct light coming into the lobby but there is light reflecting on the concrete surface. This image is very similar to the one taken earlier in the semester in February at 11:00. The daylight savings time change has had a large influence on this matter.
Sketch Series 2: Retail Store (CVS)
This retail space used overall Flourescent lighting. Across the store there are rectangular flourescent lights lined up and evenly spaced creating a striped effect. Along the Perimeter there is a cove lighting that faces downward, washing the wall. The areas of the store are color coded to make finding items easy. There are strips of colored plastic above the shelving that identify the merchandise. These colored pieces are illuminated from behind.
Sketch Series 2: Restaurant (PF Chang's)
PF Chang's is a Bistro that serves Chinese Cuisine with an upscale setting and the design of the space echos that concept. The first picture is a view from the host stand. There are 5 glowing pendants overhead with a similar fixture as a lamp on the stand. Overhead there is a paneled system hanging from the ceiling that acts as a marker to designate the host stand. Some of the panels have frosted amber glass and some have a grass texture within the panes. These panels have lights behind them illuminating the colors and textures. There are accent lights shining on the chinese emblems that adorn the lobby. Windows line the perimeter of the restaurant letting in daylight. There are blinds to allow daylighting control. Single halogen bulbs shine on the center of every table. Over most of the booths there are pendants like those at the host stand. There is a large chinese mural along the main wall within the restaurant. Accent lighting highlights this mural. Large circular fixtures coer the ceiling in the main part of the restaurant and the bar. These fixtures have a fabric stretched across them. Lighting behind the fabrics makes these circles flow. It is an innovative way to provide ambient lighting. Overall i feel the lighting in this space is pretty successful. Except, when the summer/spring sun sets in the evening there is a horrible glare at the host stand making it difficult to see the faces of entering guests. (this is where I work) Some sort of exterior sun blocking would be appropriate to solve this problem.
Sketch Series 2: Weatherspoon Art Museum
The main hallway in the weatherspoon art gallery is a very dynamic space when it comes to light. There is a skylight pertruding up and angeled so the sunlight doesn't directly enter the space, limiting the amount of glare. There is also a long flourescent fixture shining on one wll. The side facing the gallaries is opaque focusing the light on the white wall. The space is very dynamic and is the perfect background for the featured art.
There is a small pavillion off the side of the main gallary. It is situated on the edge of campus on the corner of spring garden and Tate Street. This space houses a featured part of visiting exhibits. Floor to ceiling windows allow light to fill the space and provide visual connection to the campus. Directly above this pavillion is an interesting bell shaped form with a skylight at the very top. This is a very special moment and shows its significance through form and light
Sketch Series 2: Stone Lobby2
These two hallways extend from the stone lobby. The north hallway has tall ceilings and the same lights as in the main lobby. the south hallway has dropped ceilings and cove lighting washing the ceiling. The south hallway is brighter and more illuminated but neither is a dynamic space. If the flooring was changed there would be less glare. Flourescent lights with up and down lighting abilities would be good choice for the space. The cove lighting was a good attempt but the boxes should have been addressed differently and if paired with other layers of lighting would have been more successful.
Sketch Series 2: Stone Lobby
The Light's in this space are direct/indirect. The lamp is not visible from below but the frosted glass allows light to pass through to illuminate below. The fixtures are dated an do not appear very efficient. The light emitting has a yellow hue to it. The space feels drab and dark. There is some natural light through the front door and window above. The tarrazo floors are very glossy and the light causes a glare on the ground.
Wednesday, May 7, 2008
Monday, March 17, 2008
Sketch Series 3 Analysis
In the first residence photo the light source was one overhead light with a compact flourescent bulb in it, and no sun light was entering the space. I feel that in this setting the colors seemed the most unpleasant. The yellow fabric is very soft with a bumpy texture, and in this light the texture is not apparent. This was my least favorite lighting.
In the second residence photo there was natural light from a window and no electrical lighting was on in the space. I feel that this is the most pleasant of all the settings. The colors are rendered vibrant and seems the "true" color, and the textures are visible.
The retail setting had standard overhead flourescent fixtures. The colors appear bright and vivid but the textures aren't as visible as in the daylight. The texture of the light blue fabric was the most visible and it seems that there is a shiny thread in the weave which is reflecting in the flourescent light.
The grocery store had ambient light from large flourescent fixtures similar to those hanging in the studio. In this light the colors were clear but not as bright or rich as some of the other lighting conditions. The textures were pretty visible.
The last setting was the library. The light in the space was soft ambient lighting, bright enough to read but low enough to enforce the quiet atmosphere. The appearance of the fabrics in this light was very similar to that of the residential setting with the CFL bulb; colors vivid, textures not so much.
In the second residence photo there was natural light from a window and no electrical lighting was on in the space. I feel that this is the most pleasant of all the settings. The colors are rendered vibrant and seems the "true" color, and the textures are visible.
The retail setting had standard overhead flourescent fixtures. The colors appear bright and vivid but the textures aren't as visible as in the daylight. The texture of the light blue fabric was the most visible and it seems that there is a shiny thread in the weave which is reflecting in the flourescent light.
The grocery store had ambient light from large flourescent fixtures similar to those hanging in the studio. In this light the colors were clear but not as bright or rich as some of the other lighting conditions. The textures were pretty visible.
The last setting was the library. The light in the space was soft ambient lighting, bright enough to read but low enough to enforce the quiet atmosphere. The appearance of the fabrics in this light was very similar to that of the residential setting with the CFL bulb; colors vivid, textures not so much.
Sketch Series 1
The space i photographed was the lobby of the Gatewood building looking down from the second floor. This space is fairly stark with plain white walls, glossy finished concrete flooring and coffered concrete ceiling. This space acts as a gallary space for student work in the department of art and interior architecture. This space acts not only as an egress space but also a space for gatherings, presentations, group meetings etc.
Because the entrance faces west, this space recieved the most direct sunlight during the later afternoon and evening hours, than it did in the morning. I haven't noticed a big change as the seasons have progressed from the day to day light activity in the space. The only difference is that because of daylight savings time which occurred a couple weeks ago, the sun arrives and stays in the space later than before. The shadows later in the day are longer for the sun is setting and lower to the ground. When the sun is higher in the sky the shadows are short and crisp.
Because the entrance faces west, this space recieved the most direct sunlight during the later afternoon and evening hours, than it did in the morning. I haven't noticed a big change as the seasons have progressed from the day to day light activity in the space. The only difference is that because of daylight savings time which occurred a couple weeks ago, the sun arrives and stays in the space later than before. The shadows later in the day are longer for the sun is setting and lower to the ground. When the sun is higher in the sky the shadows are short and crisp.
Sunday, March 16, 2008
Day-Light Model
For this project we built a model of a space that was 20' wide by 35' long and ceilings up to 15' high. There had to be a separation between two areas. Space A was to have an outside entrance and was for gathering of larger groups of people. Space B was for quiet contemplation and spiritual stimulation, a sort of escape. My group chose have our building face west, where the main entrance would be. The ceiling slopes so that it is 15' in the community space and goes down to 8' in the meditation area. we chose to use clearestory windows that followed this slope to allow more light to enter in the community space and less in the quiet area. Also we used a level change from one area to the other to define a separation of the two space. In the quiet space we placed a window that wraps around one corner of the building, acting as a "zen" view or as a sort of alarm clock from the rising sun in the east. As the day continues the sun will be brighter in the community area as the sun sets towards the west. We felt that this light encouraged the activity taking place in this space. We also mirrored the "zen" window on the opposite corner of the building, but made it smaller and placed it along the bottom of the wall. This allows extra light to enter and wash the space without being directly in ones eye. The wall that divides the two spaces is made of a translucent material allowing light and shadow to pass through without being able to see a clear image. Also the strips of material crossing over this wall create a point of interest and again enforce the activity in the community space while creating interesting shadows in the meditation area.
Sunday, February 10, 2008
Light Box
From my understanding of light, so far in this course, i had to design a 12x12x12" volume illustrating lighting quality. In my box i experimented with materiality. I chose to use metal due to its reflective qualities and the mesh i chose created interesting shadows in the space. The light i used created and ambient light that filled the whole box but was focused on one corner creating a focal glow. Also the way the material reflected the light along with the shadows created, showed a bit of sparkle. I experimented with colors as well to see what different shadows could be seen with different colors as well as the different emotion that was evoked by the viewer.
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