PERCEPTION OF SPACE
LIGHT + MATERIAL AN
ARCHITECTURAL
THESIS
j
EXTERNAL
IDENTIFICATION DENSITY + DEPTH
D+D
LIGHT + MATERIAL
L+M
TEMPO + ORDER
T+O
SCALE + ENCLOSURE
S+E
LIGHT + MATERIAL The exchange between permanence of architectural form and transience of extended connections influences the perceived boundaries of experienced space. Physical material form and entering spatial light interact to define the influence of directionality of light, to manifest the light condition through the filter of the physical surface, and to perceive time through the sequencing of architectural experiences. Directionality of entering light maintains an ever-present connection with the boundless exterior space and unifies defined architectural spaces with shared light sources. The material surface, together with incoming light, defines experiential boundaries and structures the perceived spatial hierarchy within each space. The composed architectural tempo and the progression of individual moments of experience enable perception of time and inhabitation of light. The interdependent relationship between physical material and quality of received light heightens awareness of the perpetual exterior space and extends spatial perception to include the connected progression of experiences.
x
LIGHT +MATERIAL DIRECTIONALITY OF LIGHT p.2-24 MATERIAL CAPTURINGLIGHT p.25-43 EXPERIENCE OF LIGHT p.44-60
No. 2 oMODEL PLATES No . 4-5
LIGHT + MATERIAL DIRECTIONALITY
OF
LIGHT
The direction of entering light connects levels of influenced space and questions spatial boundaries beyond limited physical form. Conventionally, light, with its ability to uplift experiential understanding, interacts with space through the overhead plane. Through shifting light entry and layering dynamic light sources, defined space expands its perceived boundaries to encompass surrounding spatial context. This spatial understanding of light connects shared intermediate spaces, generates physical movement, and elevates distinct moments within the architecture.
DIRECTIONALITY
OF
LIGHT
LIGHT + MATERIAL
DIRECTIONALITY
OF
3
LIGHT
No. 5 oMODEL PLATESNo.40-46
The composition of angled elements enhances the directionality of incoming light and generates a strong upward connection to the surrounding exterior. The direct light is in contrast to the extreme depths of the abutting shadow. These dual opposing presences not only enhance their individual infinite spatial limits, but also establish two distinct architectural spaces.
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LIGHT + MATERIAL
DIRECTIONALITY OF OF LIGHT LIGHT DIRECTIONALITY
The entry of direct light into defined space generates perceived upward momentum-- an innate response to light’s natural orientation and physical connection to exterior space. Light not only defines, through levels of experienced illumination, spatial boundaries of interior space, but also extends, by implied association, spatial understanding of exterior space. The direction from which light enters the space plays a vital role in perceived connections of indirect space and overall expansion of spatial boundaries.
how does
directionality of light inform the perception of
connected spaces?
PLATE No. 3 PLATE No. 6
INTERIOR/ EXTERIOR CONNECTION D+D p.20-21 T+O p.18-19 p.26-27
In the above sections, entering light not only enhances the visual connection established with the exterior space, but also implies a shared connection within the contained space. Light entering through the overhead plane establishes a strong relationship with the occupied plane to enhance the upward gravitational pull. On the opposite page, the direct intensity of incoming light, establishes a strong relationship between the contained space and the exterior, while degrees of shared light connect the contained space with the partially revealed spaces.
LIGHT + MATERIAL
DIRECTIONALITY
OF
LIGHT
PLATENo.22
LIGHT + MATERIAL DIRECTIONALITY
PLATENo.48
OF
LIGHT
LIGHT + MATERIAL
DIRECTIONALITY
OF
While the influence of light provides a directional force, the natural gradation of tones and effective spatial transitions instill fluidity within spatial definitions. The experiential impact of light can be understood whether seen over considerable spatial distances or filtered through multiple interconnected spaces. Light’s ability to span distinct spaces unifies those spaces and questions the perceived limitations of spatial boundaries.
7
LIGHT
PLATE No. 6
FLUIDITY OFSPACE D+D p. 6-9 T+O p. 8-9
While direct light defines a spatial boundary, it can also create multiple illumination levels that transition space outward to produce a fluid continuous space. The inherent fluidity of light can transition the individual space, as seen in the above section exploration, or the more complex, interactive sequences in the opposite architectural rendering. Both explorative drawings employ shifting light to create a seamless hierarchy of architectural spaces.
8
LIGHT + MATERIAL
DIRECTIONALITY DIRECTIONALITY OF OF LIGHT LIGHT
With traditional directionality, light enters from the overhead plane to maximize the amount of received light. Introducing light through new, shifted directionalities, challenges this convention and alters the customary boundary of defined space to generate innovative, spatial momentum. Light from remaining planes necessitates the interaction of intermediary spaces with material surfaces, and produces varied gradients of reflected light to affect spatial definition.
LIGHT + MATERIAL
9
DIRECTIONALITY DIRECTIONALITY OF OF LIGHT LIGHT
Each iteration explores how manipulating form and apertures can influence the directionality of entering light and the resultant spatial definition. While the conventional overhead aperture maintains upward momentum , the experiential qualities produced and the relationship formed between the interior and exterior evolve dramatically. The introduction of light through apertures on the side panels, the floor, or the edge joint, enables the individual to extend inhabitation to the perceived exterior and the connecting intermediary space.
LIGHT + MATERIAL DIRECTIONALITY
OF
LIGHT
LIGHT LIGHT ++ MATERIAL MATERIAL
11
DIRECTIONALITY DIRECTIONALITY OF OF LIGHT LIGHT
Complex light directionalities that layer its entry points enable defined spaces to compose dynamic habitations and experientially expanded spatial boundaries. The ability then exists, to concurrently inhabit multiple levels of spatial extensions, and as a result, experience diverging, gravitational pulls of space. This collective engagement of multiple light directionalities enhances existing spatial fluidity and awareness of connected exterior space.
The defined spaces of the ground section are engaged with multiple directionalities of light. This creates dynamic and fluid spatial boundaries and allows the individual to perceive the infinite exterior space and adjoining spaces. Each individual experiences simultaneous pulls of space and maintains a constant awareness of perceived light sources.
how can
layering light sources
inform of continued space and expand inhabitation ?
PLATENo.34
12
LIGHT + MATERIAL DIRECTIONALITY
OF
LIGHT
LIGHT + MATERIAL
DIRECTIONALITY
OF
18
LIGHT
No. 1 oMODEL PLATES No . 1-2
MODEL No. 3 PLATES No . 7-9
MODEL No. 4
PLATESNo.13-18
MODEL No. 5
PLATESNo.40-46
19
LIGHT + MATERIAL DIRECTIONALITY
OF
LIGHT
Light, entering along the transition of distinct spaces, generates a collective architectural condition which unites distinct spatial experiences and impacts perceived spatial connections. Shared light works in conjunction with visual connections of space to extend inhabitation to partially revealed spaces. Layering these spatial relationships orients the defined boundary for a singular space within the context of the collective understanding.
can
complex light
connect distinct spaces and spatial hierarchies establish
PLATENo.10
CONNECTION OF SPACE D+D p.2-21 T+O p.58-59 p.70-71 S+E p.28-29
The direction of light entering the central interior space enhances the established connection of that space with the exterior. Opposing directionalities of incoming light link the contained space with surrounding spaces. Direct and reflected light sources, in varying degrees, generate individual pulls of space and link the central contained space with its adjoining spaces.
?
LIGHT + MATERIAL
DIRECTIONALITY
OF
LIGHT
20
21
LIGHT + MATERIAL DIRECTIONALITY
OF
LIGHT
PLATENo.19
GRAVITATIONAL PULLFORWARD D+D p.44-47 T+O p.32-39
In the above perspective and plan, light enters the defined space from an unseen aperture, above, and reflects down the back panel. This direct contrast of filtered light with the overall dark containment elicits the individual’s movement forward into the space. This glimpse of intense light identifies the continuation of space that provides a spatial release from the contained experience and heightens the presence of the architectural form.
LIGHT + MATERIAL
DIRECTIONALITY
OF
22
LIGHT
Spatial connections, established by shared light, combine with the existing gravitational pull to encourage a physical movement through the defined space. Through shifting light directionality and partially revealed experiences, the implication of continued space is made evident. The individual is drawn forward, through fluctuating spatial boundaries, to newly identified light sources and extended space.
PLATENo.19
The immediate perspective and its plan, shows spatial boundaries that are extended beyond physical limits so as to receive the layering of light sources. This perceived spatial expansion juxtaposed with the brief physical containment and resulting heavy shadows from the overhead element, serves to enhance the reintroduction of a new light source. The directionality of this light engages the partially revealed space and pulls the individual forward to experience further, the perceived extension of space.
LIGHT + MATERIAL DIRECTIONALITY
PLATENo.47
OF
LIGHT
Light is inherently hierarchical and is physically manifested through the gradient of tones. Light also retains the capacity to distinguish between hierarchies of spatial experiences. Architecture is activated, most effectively through extremities of light gradients. In order to experience concentrations of light or shadow, the surrounding spaces must first exist within a contrasting, and lower, level of hierarchical space.
GRAVITATIONAL Within this section, the direct light, received at the PULL UPWARD D+D p.50-53 T+O p.42-49
bottom of the staircase and the extreme shadows, experienced at the top, exemplify spatial conditions that have experienced higher levels of activation. Surrounding spaces transition between these two spatial extremities manifested from the intensities of light and shadow. A gradual transformation of light rebalances the individual‘s level of architectural experience and readies him for the next heightened spatial condition.
LIGHT + MATERIAL
DIRECTIONALITY
OF
LIGHT
LIGHT + MATERIAL
MATERIAL
CAPTURING
LIGHT
Material is the physical form necessary to capture and experience qualities of light. The interaction of the physical surface with light can either highlight entering light with a gradual transition over a smooth surface or can enhance the material’s texture through exaggerated contrast between collected light and shadow. The composition of two distinct masses heightens the boundary of defined space and generates a shifting hierarchy, within each space, based on the experienced dominant mass. The direct connection of light with the physical surface enhances the spatial dominance of the mass. Each space defines its own balance of experienced light and hierarchy of dominant mass to inform the construction of the spatial sequence.
MATERIAL
CAPTURING
LIGHT
LIGHT + MATERIAL
MATERIAL
CAPTURING
26
LIGHT
No. 4 oMODEL PLATESNo.13-18
As seen in the above experience, by capturing light differently, the texture of the dominant concrete surface parallels the presence of the gridded metal pipes to define the intersecting forms. Each individual space is defined through its singularly determined hierarchies of dominant materials, balance of light and shadows, and the reaction of the surface with captured light.
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LIGHT + MATERIAL
MATERIAL
CAPTURING
LIGHT
Material form is an architectural necessity to receive and physically manifest the effects of intangible light. In the process of accepting the directionality of light, the surface texture has the ability to significantly influence the experience of the light within the affected space. Material can heighten the presence of light through the even transition over a smooth surface or can amplify the irregularities of the material’s texture that break up light’s flow and introduce contrast to the overall panel. Both surface treatments utilize the physical material to experience light, but neither place the emphasis on the existing textured form or on the manifested ephemeral light.
how does the interaction of
surface texture and light influence the
experienced presence of each condition ?
PLATENo.19
The opposing textures of the rough, embedded metal pipes and the flat consistency of the poured concrete react differently with the transitioning light and clearly define a moment of strong spatial compression. The use of polished concrete, on the back panel of the opposite, open architectural perspective, reinforces the smooth and effortless transition around the partially revealed corner. The surface retains the ability to magnify the minimal light, which has entered from future space, and to gradually extend that light into the defined space.
LIGHT + MATERIAL
MATERIAL
CAPTURING
28
LIGHT
MODELNo.2
MODELNo.1
No. 1 oMODEL PLATES No . 1-2
MODEL No. 2 PLATES No . 4-5
MODEL No. 4
PLATESNo.13-18
MODELNo.4
The series of modeled moments, above exemplify the influence that a material surface maintains over the experience of light. This interaction between physical materiality and intangible light identifies the perception of light as a distinct architectural material, that can be manipulated and controlled, to govern the desired spatial experience.
LIGHT + MATERIAL
MATERIAL
CAPTURING
LIGHT
LIGHT + MATERIAL
MATERIAL
CAPTURING
30
LIGHT
No. 4 oMODEL PLATESNo.13-18
The spatial model must form a connection to exterior conditions through shared contact with the ground plane. This necessary ground mass provides the opportunity for the overall form to interact with other materials and to define varying spatial experiences. Dependent upon the interaction of these two masses, spaces can be established entirely through form and retained ground, or as a complex, indeterminate space established through the containment of both architecture and ground massing. Light, that enters a given space, can react differently throughout the entire architectural progression, which creates a dynamic range of spatial experiences.
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LIGHT + MATERIAL
MATERIAL
CAPTURING
LIGHT
The interaction of two distinct materials generates spatial definitions that fluctuate, because of the shifting hierarchy of experienced materials, throughout the progression of space. Whenever this change in material dominance occurs, each spatial experience necessitates an evaluation of material hierarchy to determine which mass anchors the definition of space. Physical material differences illustrate distinctions in underlying form and enable the architectural composition to arise from the integration of contrasting elements.
PLATENo.31
The concept diagram explores the interaction of two architectural masses. Within each defined spatial boundary, the dominant mass is constantly shifting between white architectural mass and black retaining mass. Both masses separate and enhance the experience of contrasting architectural form.
LIGHT + MATERIAL
MATERIAL
CAPTURING
LIGHT
PLATENo.49
Demonstrating the evolution of the interaction of two masses, this section employs the same architectural and retaining mass, but now factors in the material’s surface. By distinguishing underlying mass differences through the concrete surface treatment, the overall architecture maintains a unified experience while each individually defined space preserves the subtle shift of dominance.
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LIGHT + + MATERIAL LIGHT MATERIAL
MATERIAL MATERIAL CAPTURING CAPTURING LIGHT LIGHT
LIGHT + MATERIAL
MATERIAL
CAPTURING
39
LIGHT
No. 4 oMODEL PLATESNo.13-18
MODEL No. 5
PLATESNo.40-46
40
LIGHT + MATERIAL
MATERIAL
how can
direct light
CAPTURING
LIGHT
A symbiotic relationship is established between light, necessitating a physical form to act upon, and textured material, craving the introduction of contrast to experience the physicality of the surface. Surfaces, interacting with direct light, increase their spatial dominance through a perceived connection that bridges the conceptual, infinite space with the intangible light. This connection is experienced and understood through gravitational pulls towards illuminated spaces and the subsequent desire to dwell within extended limits of space.
enhance the perceived
spatial dominance of material form ?
PLATE No. 3
Within the above section, light only interacts directly with the floor panel. Establishing this connection between the floor surfaces and exterior pyramid aperture enhances the vertical boundaries and defines the shaded interior space as secondary to the directly illuminated space. On the opposite page, only the top spaces receive direct light and form immediate connections to the exterior; the lower defined spaces interact with only reflected light, and therefore maintain stronger connections with adjoining spaces rather than the exterior.
LIGHT + MATERIAL
MATERIAL
CAPTURING
LIGHT
PLATENo.23
LIGHT + MATERIAL
MATERIAL
PLATENo.29
SEQUENCEOF EXPERIENCES L+M p.57-62 T+O p.54-55 p.64-67 S+E p.32-22
CAPTURING
LIGHT
LIGHT + MATERIAL
MATERIAL
CAPTURING
43
LIGHT
Architecture is a composition of individual spaces that obtain their order through the evaluation of spatial hierarchy that governs the defined space. Within each space, the multitude of interacting materials necessitates a distinct hierarchy be established that structures the perceived dominance of individual surface elements. Material dominance is elevated based on the strength of connections established between physical surfaces and exterior light. In this way, each defined space is ordered by its own, internally defined, dominant material form and reaction to entering light, to further delineate the progression of space.
The architecture is experienced through the combination of plans and sections. Each individual space reacts to incoming light in its unique way to enhance architectural spatial definitions. In the layered aerial plan, the depth of the spaces is perceived through the shifting of materials’ reaction to incoming light.
LIGHT + MATERIAL
MATERIAL
CAPTURING
LIGHT
LIGHT + MATERIAL
45
MATERIAL MATERIAL CAPTURING CAPTURING LIGHT LIGHT
The comparison formed between the illuminated, shifting experience, on the opposite page, and the dark, contained space, above, enhances the definition of spatial boundary and illustrates how each space’s unique composition of material form and interacting light create dynamic experiential conditions. The exposed metal rebar elements combine light and material to heighten awareness of the passage of time.
LIGHT + MATERIAL
EXPERIENCE
THROUGH
LIGHT
Architectural experience is crafted through the interaction of material form with the directionality of light. Layering directional apertures, not only enhances connection of the defined space to the exterior, but also enables the space to receive a range of light intensities that evolves throughout the day. It is this sequence of individual spaces that determines the progression of defined architectural experiences and reveals the intangible presence of time. Light emerges as an ephemeral material through which physical architecture can affect the balance connecting the infinite exterior and the spatial containment.
EXPERIENCE
THROUGH
LIGHT
LIGHT + MATERIAL
EXPERIENCE
THROUGH
47
LIGHT
No. 4 oMODEL PLATESNo.13-18
The experience of a space is generated by layering the evolution of light, as dominance shifts between light and shadows, and the sequential progression of experiences connecting the surrounding architecture.
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LIGHT + MATERIAL
EXPERIENCE
THROUGH
LIGHT
Light is physically experienced through its interaction with material surfaces. Time can also only be perceived through the manifested light’s progression across the architectural form. As an intangible concept, time is a challenging principle around which to structure an architectural experience. The interaction of light with the architecture generates an ephemeral material through which the individual can observe temporal conditions of the current spatial experience. In order to physically perceive the experience of time, moments of architectural pause enable the spatial dwelling to exist beyond physically occupied limitations and inhabit the transitioning definition of space created by shifting light.
LIGHT + MATERIAL
EXPERIENCE
THROUGH
how does the perception of time manifest through and
shifting
progression
49
LIGHT
PLATE No. 3
spatial experiences of light ?
During the greater part of the day, light illuminates the overhead pyramid aperture and reflects light downward into the lower portion of space. The exception to this indirect light occurs during a limited time when direct light is able to penetrate the interior space. Throughout the day, the amount of entering light builds, culminating in this brief moment of direct connection and the physical manifestation of light on the ground floor.
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LIGHT + MATERIAL
EXPERIENCE
THROUGH
LIGHT
LIGHT + MATERIAL
EXPERIENCE
THROUGH
56
LIGHT
No. 3 oMODEL PLATES No . 7-9
57
LIGHT + MATERIAL
EXPERIENCE
THROUGH
LIGHT
how does
the sequence of individual spaces
impact the relative perception of each experience ?
LIGHT + MATERIAL
EXPERIENCE
THROUGH
58
LIGHT
Architectural progression is constructed from the fluid sequencing of spatial moments of incoming light and the subsequent definitions of manifested, heightened space. While natural gradients of light seek to create a uniform transition throughout the space, the interaction of direct light, with its corresponding shadows, generates a hierarchy of experienced space within these continuous boundaries. The dynamic architectural experience is choreographed through the deliberate sequencing of these defined hierarchies of light Within this section, each defined space uniquely reacts to entering light, and yet readily connects back to the overall understanding through the natural fluidity of light and the structured hierarchy inherent in the experienced lit space. The ordering of these individual experiences of light structure compositional sequencing that governs the architecture. In the above sequence of moments, future space is partially revealed to allow the individual to fluidly turn the corner and still maintain a degree of inhabitation.
No. 4 oMODEL PLATESNo.13-18
LIGHT + MATERIAL
EXPERIENCE
THROUGH
LIGHT
LIGHT + MATERIAL
60
EXPERIENCE EXPERIENCE THROUGH THROUGH LIGHT LIGHT
Light, with its range of intensities and implied directionalities, exists as a perceived material; architecture can manipulate the effect of light on each defined experience of space. The introduction of light oMODEL No. 1 into a space generates an experienced release from PLATES No. 1-2 the physical containment inherent in the architectural form, and propels movement through the space OPEN v. to connect the individual to the infinite exterior. CLOSED SPACES The dominant forces of light and shadow, in each D+D p.26-29 spatial boundary, govern the overall experience. The T+O p.14-15 p.22-23 manipulation of balance between entering light and S+E p.26-43 subsequent shadows determines spatial equilibrium between perceived open and closed experiences. The light, entering simultaneously, opens the spatial experience on the far page, while on this page, enhances the experience of containment. This duality of architectural experience is caused by the conflicting relationship between the perceived, spatial liberation of light and the subsequent restraint of shadows. Elevating either one of these experiences to a spatial dominance minimizes the influence of the other and thereby governs the individual’s overall experience.
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LIGHT + MATERIAL
EXPERIENCE THROUGH THROUGH LIGHT LIGHT EXPERIENCE
PLATENo.19
SEQUENCEOF EXPERIENCES L+M p.42-43 T+O p.54-55 p.64-67 S+E p.32-22
These individual moments of space, experienced through the combination of analytical perspectives and orienting plan, interact with light and shadow to create both types of dominant space and subsequently, to produce both open and contained architectural experiences. These defined spaces, existing alongside each other, enhance the individual experience through direct comparison and contrasting interaction in order to generate continuous movement and simultaneous inhabitation of both distinct spaces.
LIGHT + MATERIAL
62
EXPERIENCE EXPERIENCE THROUGH THROUGH LIGHT LIGHT
While physical architecture is constructed from a sequence of material spaces interacting with directionalities of light, architectural understanding is composed of the progression of individual experiences, layered together, to develop a cohesive narrative of space. These singular, spatial experiences build upon one another based on the individual’s physical movement within the architectural space. In this way, each defined space cannot become impassive towards its adjoining spaces, but instead, must understand the influence it retains over future experience of surrounding spaces.
PLATENo.19
MODEL No. 5
PLATESNo.40-46
Directionality of incoming light unifies adjacent defined spaces and diminishes perceived boundaries. The intensities of light and shadow, evidenced on the landing and distant space, respectively, activate the perception of individual moments. The material surface receives and captures entering light to enhance experienced dominance. The reaction of each space to material and light governs the overall architectural understanding
how can
the i n t e r a c t i o n of material and light
explore the perception of spatial boundaries?
The individual’s perception of spatial boundaries is influenced by the interaction of physical material form with entering light. Directionality of light engages the individual with an awareness of the boundless exterior space and unifies extended progression between spaces. Shifting light sources, combined with partially revealed spaces, alert the individual to future experiences and transition the spatial perception fluidly throughout the architecture. The surface of material form not only receives the incoming light, but also heightens the presence of either the underlying form or the even gradation of light quality. The direct interaction between light and material generates a perceived spatial dominance that governs the hierarchy of the surrounding space. Each distinct space, evaluated in context with its perceived dominate spatial hierarchy and its balance of light and shadows, is used to compose the overall sequence of architectural understanding. The perceived passage of time and evolution of light can dramatically alter the individual’s experienced space through the progression of manifested light and extended length of spatial inhabitation. The fundamental architectural conditions of light and material heighten spatial perception through shared directionalities of light, spatially dominant material form, and evolving defined light experiences.
The contrast, manifested in the relationship of light and shadows, enhances the perception of light’s layered intensities and its transitional impact on connected spaces. Spatial boundaries are experientially expanded with recognition of shared light from adjoining spaces and vertical extension with the infinite exterior. Additionally, light fluidly transitions adjoining spaces by establishing a secondary, horizontal connection that expands current dwelling space and encourages movement towards future extended space.
MODELNo.1
MODELNo.3
MODELNo.4
MODELNo.3
MODELNo.5
Material transitions light across a surface and heightens the experience of the underlying texture. A surface gains spatial dominance through its ability to directly capture entering light and to balance the contrast of light and shadow within each space. The individual layering of material dominance and manifested light combine to further inform spatial definition and to distinguish between surrounding context.
MODELNo.4
MODELNo.4
MODELNo.4
MODELNo.5
MODELNo.5
Layering directional apertures enhances movement of light and perception of time that can then be experienced through the evolution of defined space. The introduction of multiple directionalities of light allows the defined space to experience concurrent entries of light with a range of intensities. This natural hierarchy of light enables the individual to orient himself within the peripheral space and to then perceive the movement of the sun. As the day progresses and concentrations of entering light change, the spatial experience will gradually shift focus to perpetually maintain connection with the exterior and to manifest the perceived passage of time.
9:00am
MODELNo.3
11:00am
MODELNo.3
1:00pm
MODELNo.3
3:00pm
MODELNo.3
5:00pm
MODELNo.3