Unrestricted Light - Mitchell Lobb Stage 4 Group 1

Unrestricted Light Adelaide University Site Development Mitchell Lobb | a1704682 | Representation 2

Table of Contents Plan 3D Views Elevations Shadow Analysis Ambient light Site Access/Movement Light study Spatial Diagrams Design Details Aerial Views Ground Views Internal View Precedents Light Study

1 2 3-4 5-6 7 8 9-10 11 12-14 15 16 17 18 19-20

Table of Contents Final Plan Section Elevations External Views 3D Access 3D Internal Light Study

21 22 23 24-25 26 27-28 29-30

Model Exploded Perspective Construction Detailing Internal Views Internal Views Light Study

31 32 33-34 35-36 37-38 39-40

Plan The Site, highlighted by colour to the right includes 4 large grass spaces, surrounded by a total of 5 buildings.

The Braggs and Molecular Life sciences buildings are north of the site, with the Barr Smith Library to the west and the Ingkarni Wardli, Engineering and Math Sciences, and the Santos Petroleum Engineering buildings to the south.

Site Plan - 1:1000

The site includes facilities on site such as bins, tables, chairs, lighting and two cafe’s in surrounding buildings to facilitate students needs, whether it be an outdoor study area or a place to sit and eat.

With large buildings on 3 sides of the site shade is abundant on the site, unfortunately not when desired as highlighted later in the site analysis. Trees are also lined along the north and south sides of the maths lawns, with another large tree just north of the eastern side of Ingkarni Wardli.

Lawn Sizes: 18.5m x 60m Pathway Surrounding Lawn Area: 9.8m Pathway Between Lawn: 13m

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3D Views A notable feature of the site is its lack of shade in summer, although it features trees alongside the seating area, they are yet to be fully grown and do not provide a sufficient Ground View - Facing West amount of shade to cover all of the benches.

Ground View - Facing East

Aerial View - Facing West

Aerial View - Facing East

*Image shadows based on summer position

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Elevations

Southern Elevation

Engineering Buildings

Northern Elevation

Ingkarni Wardli

The Braggs

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Western Elevation

Molecular Life Sciences

Barr Smith Library

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Shadow Analysis An analysis of the summer shadows that are cast upon the site reveal the minimal shadow given to the grass area and the seating alongside, with the only building light developing over the northern seating area after 3pm.

This in return, reduces the usage of the space in summer as people avoid the harsh summer sun in seek of a shady space to study and/or eat.

Summer - December 30th, 9am Summer - December 30th, 12 noon

With minimal shade, it also has an environmental effect on the grass, as it struggles to remain green and alive in summer without extensive watering, and in result usually ends up brown and patchy, rendering it uncomfortable for use.

Summer - December 30th, 3pm

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Shadow Analysis Analysing the winter shadows that are cast on the site, it is evident that majority of the site experiences shade all day long, with the exception of early morning and the southern edge of the site receives some up until approximately 1pm.

This is not ideal as during winter, people that want to utilize the space will aim for a sunny and warmer position, rather than sitting in the shade. It is also notable Winter - June 30th, 9am that there are no shading devices on the lawn or around the seating areas, hence allowing full rainfall to effect the site with little to no places with cover (except for the surrounding buildings).

Winter - June 30th, 12 noon

Winter - June 30th, 3pm

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Ambient Light

Ambient Light - Night

Ambient Light - Daytime An analysis of ambient light was conducted, to find that majority of the lighting during night time is from light posts or lighting to entrances of buildings. A notable amount of light is sourced from the entrance to the Barr Smith Library, while the large tree on site also has a light above/within it to illuminate it. All other lighting on site is minimal with the exception of the designated light posts scattered alongside the edges of the lawn.

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Site Access/Movement Key: Orange - Places of Congregation and Seating Green - Access Points to Site Blue - Movement Through Site (Thickness indicating activity) After analysis of the site, the most commonly used access points are either side of the Barr Smith Library, and the walkway between The Braggs and Molecular Life Sciences buildings.

Pathways alongside the site are indicated by the thickness of blue lines, with the thicker lines indicating more frequent use with thin indicating minimal use.

The largest entrance being to the eastern side of the site, is primarily used for dropping off and picking up of students along Frome street, which was used the least of the 5 highlighted main entrances for the site. Northern and Souther middle entrances to the site are used to gain access to classrooms in the surrounding buildings, while also being used to access food facilities located between the northern buildings and to the western side of Ingkarni Wardli.

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Light Study Commonly heard within the field of astrology, luminosity can be referred to as the brightness of a star1. The brightness of an object within a space may not necessarily be how much light is produced by that object, but can be looked at as the qualities that the object brings to a space, whether it be happiness or aesthetic attractiveness, and therefore has the ability to illuminate the mood in which surrounds the object.

Evidentially the light produced by a star is less relatable in architecture, but can be considered when concluding that illumination and luminosity can be the source of a light that illuminates a certain aspect or quality of a space. It can also be looked at as an item or space being attractive in the space surrounding it, therefore being the illuminating factor within that area, or it can be a light source that is either lighting up a space or doing the opposite, therefore ‘brightening with light or the resulting state’2.

As evident with case studies, particularly highlighted by ArchDaily’s article on Light Studies: Creating Walls of Light, lighting features can be used not only to create an object of attraction to themselves, but also to highlight features of a space that may not have been noticed beforehand.

Whether it is to bring attention to details on walls, or even light up entire areas to bring attention to the darker areas, luminosity and illumination could possibly be considered ornamental.

“Luminosity,” Collins Dictionary, accessed August 4th, 2017, https://www.collinsdictionary.com/dictionary/english/luminosity “Illumination,” Merriam Webster, accessed August 4th, 2017, https://www.merriam-webster.com/dictionary/illumination

Private Spa Lighting, Carmody Groarke

Sancaklar Mosque, Istanbul

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Light Study Highlighted in ArchDaily’s article, methods of wall grazing are becoming more popular due to their emphasis on the textural quality of the wall they are placed next to. Similar to wall washing, grazing uses a skylight instead of an artificial light source next to a wall, with the key benefit of both methods lying in the aesthetic look of a floating ceiling3, therefore making the space feel light and more spacious. The source of light is primarily kept hidden to retain curiosity for the viewer, and to enhance the ‘Mysterious Impression’ the feature gives out4.

Mariendom, Neviges Germany.

While successful as a border like feature for a roof to enhance its appearance, gaps in walls to allow an excess of light flow are becoming a common way of illuminating not only a shape on the wall but an entire space in a successful theme of limited illumination. As Arch Daily explored in their ‘Sacred Spaces’ article, light can be limited in a space to draw attention to where it still is allowed into the space, which in return can give the effect of a hidden meaning or as evident in Gottfried Böhm’s Mariendom, draw the viewers “attention away from the material world and towards inner enlightenment.5”

Church of Light, Japan.

Whether the limitation of light in a space is intentional or not, it does have the ability to be able to change and alter the space into an experience, rather than a place. This, highlight textures and features to further enhance the experience and create a successfully aesthetically pleasing area. Focusing on where light is and isn’t not only enables the viewer to choose where to stand and admire the space but can also determine how the person feels and reacts to the room/area, thus, communication on a much more personal level.

The most successful form of light within a space will change the entire area and the way it is considered and experienced when inside or in a surrounding area.

3“Light Matters: Creating Walls of Light,” ArchDaily, accessed August 14th, 2017, http://www.archdaily.com/522257/light-matters-invisible-light-sources 4“Light Matters: Creating Walls of Light,” ArchDaily, accessed August 14th, 2017, http://www.archdaily.com/522257/light-matters-invisible-light-sources 5“Light Matters: Sacred Spaces,” ArchDaily, accessed August 14th, 2017, http://www.archdaily.com/490781/light-matters-sacred-spaces

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Spatial Diagrams

Mind

map of access requirements

and

Lighting exploration

Concept 1 access and movement

Concept 2 access and movement

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Plans Concept 1

Concept 2

Total size: 267.2m2

Total size: 219.15m2

2 feature light walls Disability access to all areas Stairs and ramps Quiet relaxing space

1 large feature wall 1 small feature wall Small and large seminar rooms Open relaxing space Open reception area

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Sections Concept 1

Concept 2

‘unrestricting walls of light’

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Elevations Concept 1

Concept 2

‘Unrestricting walls of light’

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Aerial Views Concept 1

Materials match surrounding structures Provides sufficient shade for increased usage in area

Concept 2

Overall shape of structure matches surrounding buildings Materials suit surrounding features

‘Unrestricting walls of light’

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Ground Views Concept 1

Shading device continuing on from curved surfaces underneath Provides shaded area on lawn, of which was lacking beforehand two skylights uninterrupted by curved roof

Concept 2

Natural materials match outdoor seating textures provides shading around entrance and around back of structure Skylights do not obstruct grass area

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Internal View Concept 1 Lighting curved wall view from entrance Small artificial lighting bordering exhibition space Natural light on both curved surfaces Frosted glass finish Smooth gradient of light from distance and textured from up close

‘Unrestricting walls of light’

Concept 2 Lighting leading viewer from entrance to exhibition space Skylight in ramp entrance Large lighting wall with natural light and artificial highlights Frosted glass finish

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Precedents Horbranz Cemetery, Austria - Juri Troy Architects The selected design precedent changes lighting qualities depending on the time of the day, and emphasises the texture of the wall. Considerations were taken to include this into the two concept designs by having a frosted glass wall, (curved in concept 1) which would provide a soft glow from above from the outside light, while also having a soft glow emitting from the bottom of the wall. The texture of the glass will be viewable and also provide touch when close enough, yet at a distance will appear as a soft smooth transition from dark to light.

The light emphasized in the precedent design is focused on the floor and walls, with majority of the light input being from the roof as a soft glow.

The two concept designs were both related around the same metaphor of ‘unrestricting walls of light’, highlighting that regular walls provide restriction, while the concept design walls provide light and guidance throughout the pavilion space to the exhibition area.

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Light Study According to Oxford Dictionaries, reflection can be defined as ‘The throwing back by a body or surface of light, heat, or sound without absorbing it.1’ It highlights and clarifies the possible usage of reflection in an architectural project, to either enhance or develop a spatial feeling or perception of a space.

Evidentially, reflection can be used in architecture to make spaces feel bigger, smaller, and more commonly, to manipulate lighting effects within that space. As highlighted in Marxists article on Hegel’s Logic, reflection can be considered the act of an inorganic item reproducing something. In architecture, this can relate to many aspects, but most commonly the reproduction of light, whether that be in a different direction or following the same direction of its source. In organic nature, reflection can be considered ‘an active process, such as in the adaptation of animals to their environment or the irritability of plants and other organisms.’2 Although commonly referred to as a reflective surface, reflection in architecture can also be considered a space or object created to trigger reflection in the viewer, or to resemble a memory or item of the past.

As ArchDaily noted in their article titled ‘Veiled in Brilliance: How Reflective Facades have Changed Modern Architecture,’ glass facades have gained popularity in modern day architecture, and are commonly seen on skyscrapers and tall city buildings3. Mies Van Der Rohe was a key influential factor in using glass to break up a facade, with his 1921 Berlin glass skyscraper being a prime example of using a large facade of glass on the exterior of a building4. Eventually developing to reflective metal surfaces, Frank Gehry’s famous Guggenheim Museum uses free form shapes used to create a series of reflective surfaces.

“Definition of Reflection,” Oxford Dictionaries, accessed 31/08/2017, https://en.oxforddictionaries.com/definition/reflection.

“The Meaning of Reflection,” Marxists, accessed 31/08/2017, https://www.marxists.org/reference/archive/hegel/help/mean04.html.

An alternate example of reflection in architecture. Australian War Memorial, London.

Metal texture on Gehry’s museum.

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Light Study

(Left) New Hall by Messe Basel (Bottom) Frank Gehry’s Guggenheim Museum

Obviously not as effective as the use of structural glass, a metal surface creates a stable and structured look, although the effect suffers while the building ages with natural elements weathering the materials. One other notable feature of Gehry’s metal facades on his museum design, is the imperfections in metal faces, which can either be purposeful or accidental in creating impurities in the reflection created. A key benefit of using metal in Gehry’s museum design was the fact that more free flowing shapes can be created, and the manipulation of reflection can be expressed through different reflections and shadows.

Developing from small pieces of metal used to create reflection, modern day projects such as the New Hall by Messe Basel architects, which uses ‘twisting bands of aluminium,’5 creates reflection depending on the position of the observer. With gaps used to create breaks in the free form facade, it successfully highlights not only the reflective surfaces of the building, but also draws attention to the flowing form of the building and the dark sections that highlight its form. Although glass is most commonly used alongside metal to create reflection, it can also be thought about in the form of reflecting on the past or reflecting on an experience, thus creating an alternative meaning to the term reflection in architecture.

‘Veiled in the brilliance of how reflective facades have changed modern architecture,” ArchDaily, accessed 31/08/2017, http://www.archDaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changed-modernarchitecture.

4 ‘Veiled in the brilliance of how reflective facades have changed modern architecture,” ArchDaily, accessed 31/08/2017, http://www.archDaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changed-modernarchitecture.

5 ‘Veiled in the brilliance of how reflective facades have changed modern architecture,” ArchDaily, accessed 31/08/2017, http://www.archDaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changed-modernarchitecture.

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Final Plan Floor Plan | 1:200

Area Types

Floor Levels

Not to Scale

The space offers multiple level spaces separated by stairs and ramps, with disability access throughout the site.

Types of areas are shown to the right, with floor levels displayed below. Natural light within the spaces can be seen from nearly every room within the pavilion, with the exhibition space receiving the most visually attractive space, as it has views on not only the two seminar rooms, but the entrance, library and relaxing space.

Not to Scale

Natural Light

Not to Scale

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Section Section Cut - Facing North | 1:100 High usage areas can be separated from seminar rooms and the library/ relaxing space by doors, yet can also be seen through the windows in the library.

The exhibition space has 1 large long wall for usage, with another curved wall with backlighting for alternate usage.

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Elevations Southern Elevation

Both sides of the structure follow the same form and shape, with the southern elevation branching up and above the main structure to house the elevator underneath.

Northern Elevation

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Aerial View

Although appearing as random forms, the assortment of structures all follow the theme of ‘unrestricting walls of light.� All walls have either a source of light within them or attached to them, and work in conjunction to manipulate the light in the area.

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Ground View The ground view provides an abundance of areas of congregation and outdoor relaxation. Distribution of shaded spaces is a focus, as the site had minimal shading spots on the lawn before the designed pavilion was placed.

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3D Access Access to the site is through the primary set of stairs located down the middle of the structure, with additional disability access via the elevator to the west of the site.

Areas of relaxation are expressed throughout the wooden structure underneath the main form, with additional spaces located all around in any shaded areas.

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3D Internal

The two spaces displayed are primary areas of movement, with the main exhibition space (above) and the main walkway (left) to the seminar classrooms displayed with their natural lighting effects.

Both areas provide natural lighting that enables the space to be used casually while also being under lighting control for any formal events in the exhibition space.

Highlighted features of wood connect the inside with the outside, and portray light and wood as a connection to nature in the dark concrete featured room.

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3D Internal Breaks in the roofing surface with skylights provides a subtle yet attractive connection to the outside, in an area that may seem so distant from the exterior. By filling the skylights with water, a glimmering and subtle shimmer effect is achieved, which reduces the harsh break in artificial light from the bursting sunlight entering the room.

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Light Study Cambridge Dictionary defines opacity as ‘the state of being opaque, or the degree to which something is opaque’1. When considerations towards opacity are taken in architectural practice by this definition, the usage of windows and opaque surfaces can be used to manipulate the absence of light, and effect the aura or feeling within the developed space.

Opacity can be seen as not only the distortion of light, but also the separation of spaces and their qualities, such as sound, sight and even climate. Evidentially as architecture progressed into the current century, glass has become more popular with architectural projects and buildings due to the effective cost and availability2. Glass is one of the most common materials associated with opacity and transparency, as its manipulation through frosting effects or different finishes can acquire endless possibilities of light absence in a space.

The opacity of a surface will define how much light is allowed through and the absence of which will be present in the space beyond the surface. Recognised around the world, the Japanese Shoji walls are a key example of opacity and the limitations of light in architecture, with traditional walls being made of rice paper and limiting the light absence within a room to the desired level. An examination of opaque surfaces in architecture reflects and highlights the importance of lighting levels within a area, and can be isolated down to the fact that an objects opaque feature will limit lighting levels and create the desired aura and emotional connection within a space.

1 2

“Opacity Definition” Accessed 25/09/2017. http://dictionary.cambridge.org/dictionary/english/opacity “What is Transparency” Accessed 25/09/2017. https://arc612.wordpress.com/2012/10/12/what-is-transparency/

Effective gradient of light let in through an open skylight, draws the viewer to the light levels on the surfaces surrounding.

Lighting effects traveling through the glass panes, Millennium Tower, New York.

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Light Study Noted in ArchDaily’s article ‘Light Matters: Glass Beyond Transparency with James Carpenter,’ architecture can be looked at as the way that light enters a building, and the buildings effectiveness at letting light within3. By letting light enter a building in a creative manner, patterns and emotional effects can be implemented and have an immerse effect on the audience within. By manipulating light to highlight certain aspects of subtle features of a building, it can engage the audience in the architectural brilliance and dedicated thought that was put into the building during the design process.

Noted in the article, James Carpenter fascination with glass orientates around its material properties, such as transmission; reflection; refraction and diffusion, all of which can be related to opaque qualities of glass and its usage.

A notable quote in the article highlights the combination of successful light manipulation with engineering and art, “We strongly believe that a successful design with glass is one that merges art, engineering and architecture.4” An early project from Carpenter manipulates the opacity of different planes of glass in different directions, which has an effect on which colours are perceived through the glass depending on the time of day. This project, reinforces the quote above by showing how our developing knowledge in engineering and architecture allows us to incorporate advanced methods of art. Opacity is seen throughout many architectural projects of the current century, where it is used not only as an aesthetic quality of a building but also a functional benefit. Highlighted in ArchDaily’s article ‘Light Matters: 7 Ways Daylight Can Make Design More Sustainable,’ placing task areas near a natural light source will benefit the users of a room by providing a natural light source that does not confine users to an enclosed room5. Also noted, by placing transparent partition walls daylight can be provided to corridors or rooms, allowing a sense of a larger room with more attractive lighting qualities.

(Above) Traditional Japanese Shoji style wall.

(Below) Dark room illuminated by Shoji wall.

Opacity, overall can be seen through architecture as the absence of light within an area. Whether it is used to create an abstract effect on walls, an aesthetically approachable pattern on the façade of a building, or used in its primary function to allow natural light into a room, the absence and presence of light within a room will define the success of the space created.

“Light Matters - Glass Beyond Transparency with James Carpenter” Accessed 25/09/2017. http://www.archDaily.com/454892/light-matters-glass-beyond-transparency-with-james-carpenter.

“Light Matters - Glass Beyond Transparency with James Carpenter” Accessed 25/09/2017. http://www.archDaily.com/454892/light-matters-glass-beyond-transparency-with-james-carpenter.

5 “Light Matters - 7 Ways Daylight can make design more sustainable” Accessed 25/09/2017. http://www.archDaily.com/471249/light-matters-7-ways-daylight-can-make-design-more-sustainable 3

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Model The large free form shading device located in the central above ground area of the structure is supported by two 400mm reinforced concrete columns, with the other side seated on the ground. The concrete also continues underground and becomes the wall of the below exhibition space, with the lighting device attached.

The staircase down the middle of the structure has rails either side, sitting at 1200mm high, with glass sides. The staircase is within Australian standards, and provides users with platforms to stand on as the descend.

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Exploded Perspective Below Ground

Above Ground As seen above, the curved surface continues from above ground to below ground, with the wall below having similar curvature, and creates a connection between the outside structure and the inside walls.

The wall also develops into an opposing role below, with the wall not looking anywhere near as structural, as it is lined with glass and a void space inside, allowing light to travel through the water and create a glowing,shimmering wall within the exhibition space.

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Construction Detailing Reinforced Concrete Structural Glass (To Specifications) Grass Water Structural I Beam (Roofing System) Plasterboard Ceiling By allowing light to travel through the glass, then through water and into the room below, the sunlight is affected in a way of which it will not create a straight beam of light, yet shimmer and flow almost as if it was animated. The concrete above provides mounting points for the structural roof.

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Construction Detailing Reinforced Concrete Structural Glass Water 45x90 Floor Decking Joist Structural I Beam As the curved surface appears to connect to the ground, it directly flows into the lighting device for the room below.

Water is filled with a void above, to allow the water to move and flow, which in return manipulates the light let into the hollow structured wall below, creating a soft glow that constantly moves and changes.

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Internal View 1 The main entrance leads directly down into a reception area, which has access to the library, relaxation room, toilets and the corridor to the seminar rooms.

It has a textured light feature in the center, with water in a cavity in the skylight to give a shimmering lighting effect on the space.

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Internal View 2

Directly leading off of the reception area is the seminar corridor, one wall is a large skylight feature which produces varying lighting effects on the room.

The other side features a handrail to look over the exhibition space, all of which is wheelchair accessible via ramps, with stairs as an alternate option as well.

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Internal View 3 Looking over the exhibition space and the seminar corridor is the relaxation space, which branches off of the library. Only accessible through the library, it offers a quiet space separate from the rest of the pavillions spaces, but also presents a space to look out onto the busy area from a heightened distance.

It has enough room for multiple lounges and a few tables, and presents as a viewing platform for nearly the entire space.

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Internal View 4 The exhibition space in the pavilion is by far the most successful space, with a large walkway directly to the entrance, with a feature light wall flowing through from the structure above and into the room.

It has an elevator for wheelchair access, along with two alternate entrances of ramps or stairs.

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Light Study According to Merriam-Webster, filtration can be defined as ‘the process of passing through or as if through a filter.1’ Relatable through architecture, more specifically the lighting element within a space, filtration can be looked at as the diffusion of light. Light can be diffused by the arrangement of facades within a space, and can completely change and effect the effectiveness and connection to the area.

Monastery of Sainte Marie de la Tourette, France, filters light through a small slit in the higher end of the room which casts a strong beam of light across the room, which is acompanied by coloured panes of glass.

In philosophical thoughts, filtration can be considered as the filtering of a substance through an object that allows a medium to pass2. Less relatable in architecture, this meaning highlights the roles of a surface or item to filter out unwanted pieces of matter.

In architecture, filtration can be considered as the filtering of a source of light through an object into the desired location. Majority of major architectural projects in the current century will take into consideration the light qualities that will be achieved within each area, and how they are filtered from outside to inside. Filtration can be reflected upon as the diffusion of light from outside to inside, with the desired effect achieved by clarifying what is not wanted by using a surface of certain texture and composition to not allow particular elements through.

Lighting effects filtered through skylights to emphasise architectural qualities of a space.

As explored in ArchDaily’s article “Light Matters: Le Corbusier and the Trinity of Light,” manipulation of multiple openings and building orientation can be the key to creating a kinetic type of architecture. With a combination of glass surfaces, free form openings and further material manipulation, abstract and rather interesting effects can be achieved in a variety of building spaces, each with their own unique ambiance. Light, can also have a high importance in religious practices, with Christianity referring to it as God or even Jesus Christ3. Although not a direct object, light within a space can transform a room from a space with an altar and chairs, to a space of reflection and meditation.

“Filtration” Accessed 24/10/2017. https://www.merriam-webster.com/dictionary/filtration “Filtration Definition” Accessed 24/10/2017. https://www.thoughtco.com/filtration-definition-4144961 3 “Light Matters: Le Corbusier and the Trinity of Light” Accessed 24/10/2017. https://www.archDaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light 1

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Light Study Light, although not always 100% pure due to the ozone layer, clouds and eventually windows, is always diffused into a usable state within a building. Whether it’s the entire light source to a room, an ornamental element, or assistance to artificial light, the placement and level of light is one of the key factors to a room’s ambiance and aura. “Instead of serving as a tool of religious persuasion, as it generally Light is filtered through a roof structure small holes, together creating a has in the past, light has become a quiet force to visually resist and elude, erode with large amount of light into the room and outshine, the Church´s mandate. Light eats away and weakens institutional below. discipline, while exerting its own dazzling powers to draw attention out to the sky and its commonplace marvels – in effect using light to consecrate the natural universe. ” This quote, reinforces the need for light within a religious based building, by asserting its importance in connection the space to a non-physical form, and directing the occupants of the room towards a less institutional atmosphere.

While changing the overall aura of a room, filtering light through small cracks and slits of a wall can change the volume of a building, ensuring it looks lighter and less heavy than it actually is. Slim gaps in the connection from wall to roof can enable a floating roof, while vertical slits in a wall can create a lighter and less heavy feeling wall. While a slim gap in a wall can appear small from the outside, the effect on the inside of the building is magnified by the size and purpose of the room. The location of the light source within a room is obviously key to its success in manipulating a space, with the direction of sunlight constantly changing. No matter the size of the source of light in a room, the location is key to successfully manipulating light and benefiting from it.

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“Light Matters: Le Corbusier and the Trinity of Light” Accessed 24/10/2017. https://www.archDaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light

Church of Saint Pierre, France, slits in an wall provide an absolutely stunning lighting effect on the room, almost flowing down to those in the church space below.

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Mitchell Lobb | a1704682 | Representation 2