24 karina borodai

24

Favi Giordano Chinazzo Giorgia Chamilothori Kynthia

BORODAI KARINA . epfl . 13.06.016

light and emotions

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2

SOMMAIRE 1 2

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Abstract

4-7

introduction

8-11

state of the art 1. research on the light 2. architect work with light

12-13 14-15

current situation in the uderpass 1. illuminance measurements 2. one day observation 3. illumination calculations

4

development of the project 1. EPFL faculties 2. one unit project 3. final project

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conclusion Referances

16-19 20-23 24-37

38-45 46-57 58-69 70-71 72-73

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1.project location

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Abstract

Project 24 is an urban art project in the underpass (M1 metro) north district of EPFL. This underpass is a key way for access to the epfl campus, the new northern district and the Swiss Tech Convention Center. it is the scene of the first impression for Each one from visiting the school. currently being a single underpass it will soon be remodeled with the help of an artist in an aesthetic rather high quality.

Project 24 invites future visits to immersion in a work of art in situ. exceeding a purely artistic context, this project is also structured along a reflection and a practice demarhe it is demand to me to reconsideration of the type and design of lighting in the underpass.

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2. entrance of metro M1 from EPFL

3.entrance of metro M1

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1.

abstract

4. access to the tunnel from M1 (Rennes)

5.access to the tunnel from the swiss tech center

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6.view on the underpass

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1.

introduction

to show the context in which EPFL is changing daily, the project has created a metaphor of the flagship activities of the epfl: teaching and scientific research. to dive in from the school’s universe the artist chose to paint the entire surface of the underpass, including soil and create a three-dimensional mural. the light then this is the central element of this work.

Starting from this center and making an abstract project of the scientific domain of research in 24 colors is sweeping the color spectrum. This circle, being the central well of light, the 24 colors start from here and going on the floor and the ceiling. The number 24 is symbolic and it gives a rhythm to the project. the walls will be decorated with white mathematical formulas painted, being the basis of the formal expression of the various sciences.

This work synthesizes the three main tasks of the EPFL training research and innovation.

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7.project 24-existing light-dome

8.project 24-existing light-access to M1 (Lausanne)

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2.

introduction

9.project 24-existing light-access to EPFL campus

10.project 24-existing light- chemical formuls

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2.

state of the art 1. recherche sur la lum.

Why in our culture the day light is so important and how it’s influance our perception? maybe this is coming from an history part like explained by Phillips, D.; «the colours of daylight vary from morning to evening and with changes in the sky and weather patterns; it is alwaysregarded as the reference by which colour is judged...daylight is regarded as real colour. In early stores,such as Harrods, voids were oponed in the roof to admit daylight to sales areas below; whereas for some years this was ignored. there were several reasons for this, not least being that it was considered that means of artificial light were more suitable for display , to show off the goods in a better light.»

Phillips, D. (2004). Daylighting: natural light in architecture. Routledge.

Or maybe, it’s coming from some thing more deep, some thing that all humain beings needs, like a biological needs, light is showing us the normal hapening of the day. I can not imaging, passing a week without any light. The sunlight is comfortable and reassuring , it makes us feel at ease, while helping us to do the things we do. «whenever we treat lighting in purely physical, quantitative terms...to design good, appropriate,relevant luminous environment, it’s not sufficient to state vague objectives such as «create a mood» and it is counterproductive to state oversimplified objectives in purely numerical terms, such as «deliver a minimum of 70 footcandles» throughout the entire building at 30 inches from the floor.»

Light is not just about numbers is more about the brightness which is often used to create a hierarchy and increase the understanding of a space.

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Frank LLoyd Wright, Johnson Wax Administration Center Racine 1943.45

46.James Nizam

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47.Paul Friedlander

Pierre Chareau and Bernard Bijvoet’s Maison de Verre in Paris (1928-31)

50. James Turrell

51.Anthony McCall

work architecture

light inpare all the famous architect from the last generation.

The Corbusier use to say, the light can only be seen because of the penombre.Having light in the light became obsolete and can not be seen anymore.

«In the last few decades the use of penumbra in architecture seems to have become not only a technological and environmental benefit but also, as in fashion, a language of seduction. The variability in envelopes or wrappings, from the envelope to the skin, encourages an exploration of intermediary luminosity landscapes, capable of regulating new degrees of shadow and light. Eliminate the sight but not the light. A frst step towards the use of penumbra by pioneering architects was taken by those who believed that diffused light could compete with the empire-like presence of direct light and transparency. A well-known case study is Pierre Chareau and Bernard Bijvoet’s Maison de Verre in Paris (192831) in which glass blocks covering the building protects the privacy and intimacy of its proprietors just like a skin. Another example is F.L. Wright’s Johnson Wax Administration Center (1943-45) in which a multi-layered envelope of Pyrex glass assures a milky opaque light rather than a crystalline one, thus creating a melted luminous sensation ideal for office work.»

Barbara, A. the culture of penumbra/2.

«Even a part to be obscure needs at least a small slot that is aware of its obscurity. But architects who today draw parts have forgotten their faith in natural light. Subject to the ease of a switch, they simply static light and forget the infinite qualities of natural light by which a piece is different every second of the day.»

Louis I. Kahn.

Architectural studies conclude that light is a part of the darkness, and light have this emotion sometime that is pure and cannot be disrupted. light is working with the architecture and it also reveals the beauty of an architectural project.

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11.dome of light- existing situation

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3.

current situation in the underpass

The world of light and lighting design is changing. The architectural lighting is experiencing new technologies, coming from a largely functional element in architecture, becoming as a true spatial element, providing people with comfort, direction and inspiration. The broad arrival of digital lighting or LED means that possibilities and ways to apply light change more rapidly than ever before.

In the 19th century, architectural education would have been also about light. How does light shape the space, set the scene, indicated function and creates the use of a building? These are the questions that an architect have been answering as a student. Later, with the broad adaptation of electric light, the luminance of architectural spaces became functionalized, focused on its own efficiency, and planned based on quantitative criteria.

We are moving to light that gives comfort, with the help of new technologies, such as LED lighting, are accelerating this movement, and offer new design possibilities that we did not have before.

This study represents an attempt to go beyond the functional role of lighting, understand the esthetic and emotional aspect of light and improve the quality of lighting according to this underpass. During this study I try to understand the trends I see and anticipate, and the meaning associate with what is happening around this site.

My methodology for this research focuses in the first part on “one day observation� inside the underpass, looking at the people move and focusing on the light intensity. And in the second part on the computer calculation, looking the result of light presence inside this underpass over a year.

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The day mesurement is showing an average of 100 lux next to the walls and 1500 lux next to the exits

12.mesurement take on site// day light- 14.30/14.45

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3.

state of the art

3.1

the illuminance measurements in the passage

The night mesurement is showing an average of 190 lux next to the walls and 50 lux next to the exits The night mesurement is showing that the illumination inside the underpass can be lower than it is now.

13.mesurement take on site// night light - 21.10/21.25

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1

1.train

7.00

11.00

tres faible afluance de passage

14.00

train entre 10 à 20 min

13.00

anfuance moyenne de passage

12.00

train toutes les 10 min

2.people

10.00

grand anfuence de personne dans le passage

9.00

2

3

train entre 5 à 10 min

8.00

of one day video people . transit

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15.schema of one day . people . transit

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2

3

1

14.screan shot of

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3.flux

15.00

17.00

3

18.00

19.00

flux tres relax / direction maison / lausane ou renens

flux relaxe / promenade / direction pause / migros

flux stresé / direction cours / epfl

16.00

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20.00

4

5

22.00

video 20 min ambiance passage

21.00

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3.2

«one day observation»

“One day observation of the site”: I decide to work about light exactly the same way as if I had to do an architectural project, so I went to the site in order to understand how it work and where are the actual not working elements that I can improve true my lighting design.

“ Sunlight is happiness, don’t you think? When the darkness of night turns into day, they is a big evolutionary association with positive change.”

Martin Lupton

I start my analyses at 7.00 am, is the beginning of school classes.

At this time of the day the metro arriving every 5 mins and the people are going out in the direction of the EPFL campus. They are going from point A to point B without looking around them.

The ambiance of this pass is stress and people are just moving in one direction.

Light: at this time of the day, natural light is enough for this underpass. The inside light is diffuse, it means that the people can see direct light. It’s a “cosy “ brightness.

Later from 12.00 to 13.00 the metro arrives every 10 mins and the people are not going in the direction of the EPFL campus, but in the opposite direction, Migros or others cafeteria next to the Swiss tech building. They are not going from point A to point B, they are more relaxed and they are looking around them.

The ambiance of this underpass is more relaxing and people are not moving in one direction.

Light : at this time of the day, natural light is enough for this pass but the light is contrasted there is a difference between outside light and the inside diffuse light. Is a “contrast in brightness” 21

°light intencity and people flow over one day study:

from 7.00 to 9.00

° sufficient light, ° a very large flow of people 1 from 12.00 to 13.00

° natural light ° moderated flow 2 from 16.00 to 19.00

° light missing ° low flow 3 from 19.00 to 20.00

° light missing ° low flow 4 from 21.00 to 23.00

° too much light ° almost nonexistent flow 5

16.conclusion on the one day anallyses

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3.2

state of the art

Then from 16.00 to 19.00, it’s the end of a long day of classes at the EPFL campus. At this time of the day the metro arrives again every 5 mins and the people are going in the direction of the metro on their way back home. They are going from point A to point B, without looking around them, and sometime they run for having the metro. The ambiance of this underpass is less stress than in the morning, but still not realy relax and people are moving in one direction.

Light : at this time of the day, the sun is going down, it means that the light intensity in the pass is low and contrasted with the outside light . It’s a “contrast in brightness” Later, from 19.00 to 20.00 the metro arrives again every 10 mins and the people are going in various directions, no stress, just moving. They are looking around them and speaks with other peoples. The ambiance of this underpass is no stress and people are walking in the relax way.

Light : at this time of the day, the sun is almost down, the light intensity in the underpass is not enough anymore, the contrasted with the outside light is to big . It’s a “contrast in brightness” At the end of the day from 21.00 to 23.00 the metro arrive every 20 min and there is less or no people in this pass. People are going again in various directions no stress, just moving. They are looking around them and speaks with others peoples. The ambiance of this underpass is no stress and people are walking in the relax way back home.

Light : the sun is down and the light inside the underpass is now made by electricity light. The intensity of this light is to strong and it’s not a diffuse light but a direct.

After this day of observation I conclude that the light inside this pass should be related to the people movement and the use of this underpass.

This underpass should attract people in, and once they in, they must have the feeling of well-being and of happiness.

“there’s a big difference between light and darkness. It’s much stronger than in public space… dramatic or more talkative” Michael F. Rohde 23

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3.3

state of the art

climat-based from 8 to 6 illuminance 300 lux

climat-based from 8 to 6 illuminance 100 lux

17a.

17b.

3.3

daylight simulation analysis over 1 year, 8 to 18.00.

Daysim Simulation Report (fig 17a.)

Daylit Area (DA300lux[50%]) 45% of floor area Mean Daylight Factor 4.1% Daylight Autonomy (DA) Analysis: The mean daylight autonomy is 49% for active occupant behavior. The percentage of the space with a daylight autonomy larger than 50% is 45% for active occupant behavior.

Site Description: The investigated building is located in GENEVA_CHE (46.25 N/ 6.13 W).

User Description: The total annual hours of occupancy at the work place are 3650.

Daysim Simulation Report (fig 17b.)

Daylit Area (DA100lux[50%]) 68% of floor area Mean Daylight Factor 4.1% Daylight Autonomy (DA) Analysis: The mean daylight autonomy is 67% for active occupant behavior. The percentage of the space with a daylight autonomy larger than 50% is 68% for active occupant behavior.

Site Description: The investigated building is located in GENEVA_CHE (46.25 N/ 6.13 W).

The first report show that with an illuminance of 300 lux the sunlight inside this underpass will be effechiante for 49% of the total annual hours of occupancy. So for the rest of the 51% artificial light will be need.

The second report show that with an illuminance of 100 lux the sunlight inside this underpass will be effechiante for 68% of the total annual hours of occupancy. So for the rest of the 32% artificial light will be need.

This two report are showing that in this two differens illumination artificial light will be need from 32% to 51% on the total annual hours of occupancy

Figure 17a//17b. shows the occupied Hours red/orange zones: 60-100% of the precesed yellow: 30-60% // blue: 0-30 % // The study identified 3 substantial fully exits and around the dome in the middle.

% hours hours hours daylight areas around the three

The materials used for this calculation are : wall/ floor/ ceiling : Generic Ceiling_70 dome :Glazing_SingelePane_88 There is a 70 % of reflection for the walls, floor and the ceiling because of the ÂŤresinÂť, material that will be used for this art intervention.

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18.schema of the

solstice and equinox

3.4

daylight simulation analysis over one chosen day.

For this light analysis I’m using the solstice and equinox days in order to have a different results base on the more different sun conditions.

(fig 18.)

A solstice is an astronomical event that occurs twice each year (in June and December) as the Sun reaches its highest or lowest excursion relative to the celestial equator on the celestial sphere. Both the solstices and the equinoxes are directly connected with the seasons of the year. The day of the solstice is either the longest day of the year (summer solstice) or the shortest day of the year (winter solstice) for any place outside of the tropics.

An equinox is an astronomical event in which the plane of Earth’s equator passes through the center of the Sun,which occurs twice each year, around 20 March and 23 September. The oldest meaning of the word «equinox» refers to a day when daytime and nighttime are of approximately equal duration.

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march 21 at 09.00

19.calculation point-in-time illuminance /clear sky CIE

20.calculation point-in-time illuminance /overcast sky CIE

march 21 at 12.00

21.calculation point-in-time illuminance /clear sky CIE

22.calculation point-in-time illuminance /overcast sky CIE

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3.4

state of the art

march 21 at 15.00

23.calculation point-in-time illuminance /clear sky CIE

24.calculation point-in-time illuminance /overcast sky CIE

All figures show the fully daylight (red-orange/2000-1300lux), partially daylight (yellow/1300-500lux) and non daylight (blue/300-0 lux) areas

March 21 at 9.00 in the morning (figure 19)the daylight is partially present in the tunnel and coming mostly from the access. If the weather changed the sky became more cloudy (figure 20) the result at will be affected by that, and light inside the tunnel is less intense.

Then at 12.00 (figure 21)the sun is higher and the intensity is more stronger, the light is coming from the axis and also from the dome. we can see three light spot inside the tunnel.

Finally the same day, but at 15.00 the sun intensity is less strong(figure 23) than in 12.00 we can see that by the size of the red area, which became smaller than before (figure 21). We can see three different length spot of natural light. If the clouds are coming the situation is changing again and the intensity of natural light is decreasing (figure 24) in direct relation to the climate change.

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june 21 at 09.00

25.calculation point-in-time illuminance /clear sky CIE

26.calculation point-in-time illuminance /overcast sky CIE

june 21 at 12.00

27.calculation point-in-time illuminance /clear sky CIE

28.calculation point-in-time illuminance /overcast sky CIE

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3.4

state of the art

june 21 at 15.00

29.calculation point-in-time illuminance /clear sky CIE

30.calculation point-in-time illuminance /overcast sky CIE

All figures show the fully daylight (red-orange/2000-1300lux), partially daylight (yellow/1300-500lux) and non daylight (blue/300-0 lux) areas The sunlight is higher than in march, so the intensity of the light inside the underpass is changed.

June 21 at 9.00 in the morning the daylight is partially present in the underpass(figure 25) and coming mostly from the accesses and because of the intensity of the sun, the dome is also emitting light. If the weather changed the sky became more cloudy (figure 26) the results will be affected by that, and light inside the tunnel will be less intense.

Then at 12.00 the sun is higher and the intensity is more stronger (figure 27), the light is coming from the accesses and also from the dome. We can see two light spot on the right connecting to each other and almost making one, and another on the left of the underpass.

Finally the same day, but at 15.00 the sun intensity is less strong (figure 29) than in 12.00 the red area change and became smaller, but it’s almost the same size as in march of 12.00 (figure 21). We can see three differents length spot of natural light. If the clouds are coming the situation is changing again and the intensity of natural light is decreasing (figure 30) in direct relation to the climate change.

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septembre 21 at 09.00

31.calculation point-in-time illuminance /clear sky CIE

32.calculation point-in-time illuminance /overcast sky CIE

september 21 at 12.00

33.calculation point-in-time illuminance /clear sky CIE

34.calculation point-in-time illuminance /overcast sky CIE

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3.4

state of the art

september 21 at 15.00

35.calculation point-in-time illuminance /clear sky CIE

36.calculation point-in-time illuminance /overcast sky CIE

All figures show the fully daylight (red-orange/2000-1300lux), partially daylight (yellow/1300-500lux) and non daylight (blue/300-0 lux) areas

September 21 at 9.00 in the morning the daylight is present in the underpass and coming mostly from the access and the dome (figure 31). If the sky became cloudier (figure 32) the result will be affected, and the light inside the tunnel will be less intense.

Then at 12.00 the sun is higher and the natural light (red spot20001300lux) is more larger on the plan (figure 33), the light is coming from the accesses and also from the dome. Three light spot are inside the tunnel.

Finally, at 15.00 the sun intensity is less strong than at 12.00, we can see that by the size of the red area (figure 35)becoming more small and leave more space for the blue area. Once again, three differents natural light spots are represented. If the clouds are coming the situation is changing again and the intensity of natural light is decreasing (figure 36) showing more blue area, in direct relation to the climate change.

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december 21 at 09.00

37.calculation point-in-time illuminance /clear sky CIE

38.calculation point-in-time illuminance /overcast sky CIE

december 21 at 12.00

39.calculation point-in-time illuminance /clear sky CIE

40.calculation point-in-time illuminance /overcast sky CIE

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3.4

state of the art

december 21 at 15.00

41.calculation point-in-time illuminance /clear sky CIE

42.calculation point-in-time illuminance /overcast sky CIE

All figures show the fully daylight (red-orange/2000-1300lux), partially daylight (yellow/1300-500lux) and non daylight (blue/300-0 lux) areas

The sun intensity is really low at this time of the year, the result, finding here will indicate the lower light result over a year.

December 21 at 9.00 in the morning the daylight is really low and almost not present inside the underpass. There is more blue area than red (figure 37). If the sky became more cloudy the results will be affected, all the tunnel turn to be one blue area (figure 38) and the light inside the tunnel will be none.

Then at 12.00 the sun is higher and the natural light (red spot) appears on the plan (figure 39), the light is coming from the accesses and also from the domemaking three spots inside the underpass.

Finally, at 15.00 the sun intensity is less strong, we can see some orange or yellow spots (figure 41). Three, small, natural light spots are represented. If the clouds are coming the situation is changing again and the intensity of natural light is decreasing (figure 42) showing mostly blue area.

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june 21 at 09.00

25.calculation point-in-time illuminance /clear sky CIE

26.calculation point-in-time illuminance /overcast sky CIE

december 21 at 09.00

37.calculation point-in-time illuminance /clear sky CIE

38.calculation point-in-time illuminance /overcast sky CIE

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42b.calculation on one point (dome center) climat-based from 8 to 6 illuminance

In conclusion, this calculations are showing us that the sunlight inside the underpass is not sufficient and depend on the time of the year (figure25./37). The day of the summer solstice is either the longest day of the year (figure 25.26)and the shortest day of the year the winter solstice (figure 37.38)

the sunlight inside the underpass is depend on the and on the weather. (figure25.26)

-more the sun is present -more sunlight will be in the underpass -less the sun is present and more is cloudy -less sunlight will be in the underpass Almost all the time, the sunlight is coming from the accesses and the dome.

Three sunlight spots are inside the underpass, showing red/ orange area(1300-2000lux) If the clouds are coming the situation is changing and the intensity of the illuminance is decreasing, showing mostly blue area. (0-300lux) Referring to the outdoor lighting standards made by the Swiss association of light NF EN 12464-2:2014. A light inside the covered area of large number of pedestrian passages is up to 100lux.

It was approved with the calculation of one point on the center of the dome (figure 42.b) that at some times of the year electric light will be necessary for the benefit of the use of this underpass.

The previous recherche and calculations show, that an electric light should be part of the project in order to improve the use of this underpass, and the intensity of the illuminance should be 100lux or more.

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43.EPFL faculties.

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4

Development of the project

My Intervention on this art project was only about the design of the light inside the underpass.

For this intervention, being more effective, and more suited I take my base on my «analysis of the underpass for a day», and the analysis of «light of this passage throughout the year» .

I wanted the light not being the first thing that is noticed but that highlights the work of the artist.

At this stage of designate I also chose to work with different technical supports for lighting: LED or light wire.

As the project advanced, ideas changed directions and became more and more concrete.

I will start with the first one inspired by the EPFL faculties (figure 43).

This underpass is the first face of the EPFL school, I want to represent all the EPFL’ faculties, reinterpreted with the diferantes lighting system. In the second part I will use one «unit project», base on two differents technical light. And in my last part, I will explain the final lighting project.

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44.Sciences de la Vie SV

45.chemical formula

46.James Nizam

Sculpteur de lumière

47.Paul Friedlander

48.Collège du Management de la Technologie

CDM

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49.follows- Massimo Uberti

50. James Turrell museumtion

51.Anthony McCall

4.1

epfl faculties

The faculties of chemical formulas (figure 44) are one of the faculties that I imagine to represent with the lighting cables showing different formulas in 3d (figure 46) or by reflection on the floor (figure 47) changing with the time and the peoples’s movement.

The faculties of management (figure 48) teach how to manage people and make them follow your ideas. I imagine to represent with the lighting cables or neons on the walls (figure 49) or just by framing or extruding some part of the underpass (figure 50) or by movement intervention of lines on the walls (figure 51) changing with the time and the peoples’s movement.

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52.Sciences de la Vie SV

53.RGB LED Matrix

54.RGB LED Matrix

55.Barrisol

56.Environnement Naturel, Architectural et Construit

Sciences de Base SB

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57. epfl MAP

58.Ruban LED

59.LED

For this faculties of cosmic science (fig 52) I imagined an LED sky inside the tunnel playing with the intensity and the colors on it (fig 53.54). The light can also change with the pedestrian movement or with the weather. I imagine that this small space can be a reflection spot for the incoming natural or artificial light (fig 55).

the faculties of architecture and the natural environment (fig 56.) is working on this project of pedestrian wifi. it’s a map related to all users of wifi on the campus and showing the daily movement of it.

I am imaging this concept of map being the welcome sign to the EPFL campus. for this realization I imagine a train of leds being connected to a computer and each led can be on or off showing where there is a lot of people and where is empty depending if you are looking to be part of a group or if you prefer to be more alone.

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60.Sciences et Techniques de l’Ingénieur STI

61.dynamique poster at Pixeolab | Exhibit Group

62.Body temperatur

63.Joanie Lemercier

64.Informatique et Communications IC

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65.Water Light Graffiti -Stereolux of Nantes

66.Tatiana Plakhova

67.Tatiana Plakhova

the faculty of engineering science is working on many complex projects like this one (fig 60) they are moving an electric arm with the human brain. all this innovation inspires me to make my light working with human intervention in this case only looking for the body temperature (fig 62) the light inside the tunnel can change and became more intense (fig 63) or just change the color (fig 61).

the informatics faculty (fig 64) are use to work with tactical computers that inspires me this wall can also became more tactile and they can became one art project and changing with all the human interventions (fig 65/66/67) the problem with this idea was that is another art project and it’s not only a lighting design.

In conclusion on this first light concept, I realize that all this differs faculties are not connected to the work of the artist and they can be defined as an art installation and that is not what I was looking for this project. all this different institutions are adding more layers and they are not working all together. so I realize that I should find one unified system of light and play with it.

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68.J. Jaffrain EPFL - LTE

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4 Development of the project 4.2 one unit project

For this project part, the concept t will depend of the chosen light technology, the design will follow this element of light.

The light project should fuse movement, sound and light into an experience that alters perception of time and physical space. like we saw in the 3.3 parts (daylight simulation analysis) the light inside the underpass is constantly changing and some time just depending on the weather. I imagine putting a captor outside and inside the underpass in order to be capable to readjust the light intensity automatically by using the captors calculations.

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End emitting fibers (also called end glow, or end light) are the classic fiber optics, with bright points of light at the ends and very little light escaping along the strands themselves. They are usually thin, somewhere from .25 to 3mm in diameter. They are also generally stiffer than the side emitting fibers.

69. end emitting fibers

Side emitting

fibers (also called side glow, or side light) are usually larger and more flexible than end emitting fibers. They seem to be available anywhere from 2mm to 12mm in diameter.

Because of the way they are constructed, with a cladding that is intentionally less effective, light gradually escapes along the whole length of the fiber creating a fairly even glow almost like a neon tube or el wire.

70. side emitting fibers

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White Core Side Glow Fiber,

or Light Pipe: These are similarly flexible to the clear ÂŤsolid coreÂť side glow fibers, but have a white core embedded in the center of a clear strand. The white core illuminates and radiates light into the clear section,

These fibers only seem to conduct light a few feet down their length before it fades and yellows, but they have an interesting look and could be great for certain projects.

71. white core fibers

A new product from the Corning glass company that is a very thin and flexible fiber with a structure similar to a white core light pipe.

Corning powers their fibers with lasers instead of LEDs which makes them significantly brighter with a look very similar to el wire as you can see in the last photo. This product has a lot of potential, especially for incorporation into textiles, but at the moment it is quite expensive and not readily available to the consumer.

72. corning fiber

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73. light lines

74. light lines- evolution

75. light lines- triangle

76. light lines- rectangle

77. light lines - dome

78. light lines - line

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4.2.1

fiber line light

This concept use only lines between colors (figure 79) in order to illuminate the space. This line also reacting to the human’s movements and depending on the time in the day.

Some line is on at 12.00 (figure 73) and if someone is moving another line will follow this movement (figure 74).

The lines are on at 13.00 (figure 75) and if someone is moving an other connected line will draw a geometric element like a triangle (figure 75.80) or a rectangle (figure 76) or a circle (figure 77) or finally just another line (figure 78).

This concept was using the fiber because of their small thickness.

The lines are following the colours of the artiste’ project, and they are guiding us to the central dome that the artist use for the starting point of the art.

The concept was to see this tunnel not like a unit an mountain pass, but like an ensemble that is changing every time.

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79. plan - light lines

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80. plan - light lines - triangle

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81. LED light

82. LED light - evolution

83. LED light - evolution2

84. model led light

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85. model led light

4.2.2

led cloud light

This concept uses only lines between colors (figure 79) in order to illuminate the space. This line also reacting to the human’s movements and depending on the time in the day.

Some lines are turn on at 12.00 (figure 73) and if someone is moving another line will follow this movement (figure 74).

The lines are turn on at 13.00 (figure 75) and if someone is moving an other connected line will draw a geometric element like a triangle (figure 75.80) or a rectangle (figure 76) or a circle (figure 77) or finally just another line (figure 78).

This concept was using the fiber because of their small thickness.

The lines are following the colors of the artiste’ project, and they are guiding us to the central dome that the artist use for the starting point of the art.

The concept was to see this tunnel not like a unit an underpass, but like an ensemble that is changing every time.

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86. plan - LED light

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87. plan - LED light

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D

88. pers - new light design

signaletique

58 design lumiere dome

A

C

lumiere

design chemin velos

B

4.2.3

linear difuse light - final

This final approach to this underpass light’s design was more looking for a diffuse light that will not really affect the people and will copy the natural sunlight.

For this I choose to work with linear light following the color line. all the linear lines have the same length, but because of difference betwen the angel, it’s looking like, they are all different and they are creating a movement.

I choose to use only the top part of the tunnel and not the rest because of some technical problems and also because I want to have a diffuse light.

The dome (figure A) also is playing a central role in this design. the dome became the bigger diffuse light, recreating the sunlight and reflecting it into the tunnel.

The back light (figure C) also needs to be changed because of its design and mostly because of the light color that is made blue and will not work with the new art installation.

Inside this tunnel there is a bike part, that actually we are not seeing like this because it’s only representative of a line on the floor. I was thinking to put some linear light (figure B) in order to separate these two spaces.

Finally, because the project of art is made out of colors the artist ask us to think about the sign inside the tunnel. (figure D) 59

91. dĂŠtails . design . lumiĂŠre diffuse

A: dĂ´me

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axo - lumiere indirecte - refration//difusion - non aveuglante -simulation lumiere naturelle.

90.

89.plan

4.2.3

linear difuse light - DOME

The concepte of the dome is to create an artificial difuse light that simulates natural light. for this I imaging this systeme of assemblage that use an circular neon that is reflecting to the top part of the lamp and is redirected to the tunel. the lower part is tranlucide in order that we can not see the lighting source but only the light that is coming out of it. this systeme is making an inderect light by refraction and difusion. this light have no impact on the art instalation but only illunimation of it.

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94. détails . design . lumiére diffuse

B: vélo

62 -

separation physique lumiere encastré double sens plus sécurisé tige 5cm illumination sol

93.«Dune» studio Roosegaarde

92.axo

4.2.3

linear difuse light - bike

The concept of this light is mostly for the visual separation all this light stem are unbreakable (figure 93) because made out of special plastic and if it broke, they is no risk because the light is coming thru the plastic stem, but based on the underground part. (figure 92) this light will also help to illuminate this underpass. (figure 94)

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C: lumière

96.new spot

99.tactil wall

98. information wall

reference

95.spot

64 100.existing information wall

97.existing spot

existant

4.2.3

linear difuse light - back light

The concept of this light was to follow the circle design (figure95) of the dome, the central point of this project and creating new diffuse light (figure96) according to the design of the new lighting project and changing the color temperature of the older one (figure97).

At the same time the information wall also needs to be changed because of it’s wrong place (figure100) on the bike line and also for a better use a new tactic screen that can show you all the information you need. (figure98).

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signaletique . plexi

101.signaletique . epfl

66 SwissTech

 

LES ARCADES

1

3- bienvenue

2- lumiere rampe

1- signaletique transaprante

4.2.3

linear difuse light - signe

The signs need to be changed, they need to be transparent in order to see the color that is behind the sign and they need to be with light in order that we can see them also in the night. for this entrance to the tunnel coming from the m1 from RENNENS I also add some floor light because without it there is no light at all on the night. this new entrance can be seen as the future image of the EPFL campus.

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totale

mètres linéaire de lumiere

estimation project

50chf/m

rampe extérieure

100m

intérieure

142m

102.

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42 000 chf

somme:

20 000 chf

main d’oeuvre:

2 000 chf

LED «bienvenue»:

5 000 chf

signaletique:

15 000 chf

lumiére:

4.2.3

linear difuse light - cost

The cost of the project can be estimated very roughly as shown in (figure 102).

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70 103 . light . epfl

5.

Conclusion

light what is it? is a source, or a tool maybe an experience? our emotion in this room after turning on the light can be just a small part of the answer, yet it already shows that light is all about space, and more. ÂŤArchitecture creates a space where there was none...at the beginning the space is completely dark, and then you start slowly opening it.

This elements is inherent to imagining a space: you think about the amount of light you need, and where and what this light do The lighting effect is such that two different lighting schemes can alter our impression of the same space from chaos to calm. Light can sculpt a space, by using a luminous dome and linear light, that create ambience and the feel of this place. It’s the essential element in transforming darkness into a habitable space, making sense of this underpass.

The challenge behind this light design was to make the light infrastructure disappear, leaving viewers to wonder how it works and just admire the art color project.

The dome is the most important part of this design, the light is coming from the hemisphere, but nothing is visible apart from the diffused glow under the dome.

This light design is about aesthetical aspects, but also about emotional aspects in the field of architectural lighting.

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104. light spectrum reflection

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References

• Phillips, D. (2004). Daylighting: natural architecture. Routledge.

• Barbara, A. the culture of penumbra/2.

• Louis I. Kahn.,silence and light,1969

light

in

• James Nizam, art, le sculpteur de lumière,Trace Heavens,2015 • Paul Friedlander, ART SHOW, GALLERY.oct 2013 • James Turrell, pink white, Los Angeles, California, National Gallery of Australia,1969 • Anthony McCall, Solid light works, les Abattoirs - Frac Midi-Pyrénées, 2004 • Joanie Lemercier, Muriel Guepin gallery, 2012 • Tatiana Plakhova, Life Zone, Galerie Center Mars de Moscou,2015 • Reinhart, C. F., Mardaljevic, J., & Rogers, Z. (2006).

Dynamic Daylight Performance Metrics for Sustainable Building Design. Leukos, 3(1), 7-31.

• Reinhart, C. F., & Walkenhorst, O. (2001). Validation of dynamic RADIANCE-based daylight simulations for a test office with external blinds. Energy and Buildings, 33(7), 683-697.

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