TECHNOLOGY ASSIGNMENT

A.T. DAYLIGHT ANALYSIS

STEPHANIE ADAMOU WSA 2

DESIGN INTENTIONS FOR DAYLIGHT: The design intention for daylight in this art gallery is such that the galleries share light within a bigger volume. To achieve this, the building itself is a unified exhibition space and receives light through a series of clerestory windows. The building volume is split into 5 volumes and their difference in height allows light to penetrate the space, as shown in the section on the right. A service core runs at the back of the building, which is relatively darker than the provided exhibition space (can be seen in the far right in the photographs below). The galleries within it are open to at least one side, allowing light to be shared throughout. However, the individual gallery spaces will also receive light individually through a series of strip windows in strategic positions.

09:00 1ST MARCH

09:00 1ST JUNE

09:00 1ST DECEMBER

ROOM UNDER ANALYSIS

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12:00 1ST MARCH

12:00 1ST JUNE

12:00 1ST DECEMBER

16:00 1ST MARCH

16:00 1ST JUNE

15:00 1ST DECEMBER

ATMOSPHERE & MATERIALS: The overall atmospheric intention for the visitor would be able to experience a daylit space, without an overwhelming level of brightness in the room. The depth of the room will allow light to reflect and diffuse within it. The choice of materials allows the galleries to appear domestic within a bigger, colder volume. The light timber choice of flooring gives the room its warm and light character, whereas the exposed concrete ceiling connects it back to the wider concrete structure.

A.T. DAYLIGHT ANALYSIS

LIGHT METER RANGE: 0-1650 LUX

KEY DIGITAL IMAGE

STEPHANIE ADAMOU WSA 2

HT LIG TER ME 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 The space explored in this study is an exhibition space, providing wall space for 28 hanging art and floor space for installations and sculpture pieces. The recom29 mended average daylight factor values for an art space such as this one in the UK 30 are between 2-5 % which amounts to 100-250 lux on the surface.

31 32 Shown on the right are the daylight values calculated from the light meter, on the 33 34 wall surface illustrated in the diagram below. The total illumination values range from 35 as low as 11 lux up to 1614 lux. More extreme values lie near the windows and in 36 the corners of the room, where artwork would not be normally displayed. The room 37 is of adequate brightness, since overall most values are above 100 lux. However the 38 light falling on the walls seems to vary in intensity, whereas a soft uniform light is 39 most desirable. This variable light might distrct visitors and withdraw attention from 40 the paintings. This might be more of a problem in darker winter days, where artificial 41 lighting can be used to balance light levels and focus attention on the paintings.

42 43 Below lies an image of the physical model i did of the same space. I measured the 44 45 lux levels throughout the room, but this time at eye level along the floor plane.

46 Depending on the apparatus used, the lux levels measured were quite differenevery 47 time, due to their high sensitivity and therefore more sources of error. This digital 48 analysis provides us with a more stable analytical tool.

49 50 ROOM UNDER ANALYSIS 51 VALUES TAKEN ON THIS WALL 52 53 54 55 56 57 58 59 N 60 61 62 63 64

PHYSICAL MODEL IMAGE

T L EC ION TA TION R I T O T N T INA EC TIO IND INA R I M A UM D IN LU ILL L I M U 16.7 91.5 lx ILL 74.8 86.6 18.7 105 lx 95 17.1 112 lx 107 19.2 127 lx 122 54.4 177 lx 120 142 262 lx 132 143 275 lx 124 216 340 lx 120 411 531 lx 121 464 585 lx 112 518 630 lx 105 313 418 lx 89.4 413 503 lx 80.6 131 211 lx 62.7 481 544 lx 54.8 838 893 lx 88.6 27.1 116 lx 108 27.7 136 lx 131 28.6 159 lx 146 27 173 lx 168 26.9 195 lx 175 71.6 247 lx 178 82.1 260 lx 196 275 470 lx 197 473 670 lx 183 636 818 lx 172 692 864 lx 150 404 554 lx 137 497 633 lx 114 355 469 lx 88.8 317 406 lx 74.3 909 983 lx 64.6 26.8 91.4 lx 84.5 25.7 110 lx 97.4 27.5 125 lx 107 26.2 133 lx 135 29.3 164 lx 140 25.8 166 lx 155 37.7 192 lx 164 151 315 lx 139 404 543 lx 154 637 790 lx 138 667 805 lx 129 560 689 lx 117 577 694 lx 86.5 624 710 lx 76.5 450 526 lx 64.7 586 650 lx 0 11 11 lx 0 20 20 lx 0 24.9 24.9 lx 0 27.1 27.1 lx 0 24.5 24.5 lx 0 25.3 25.3 lx 0 25.6 25.6 lx 0 26 26 lx 0 28.7 28.7 lx 0 27.7 27.7 lx 0 30.8 30.8 lx 0 28.5 28.5 lx 0 34.9 34.9 lx 0 1614 1614 lx 0 48 48 lx 0 23.9 23.9 lx

A.T. PHOTOMETRIC LIGHTS

STEPHANIE ADAMOU WSA 2

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ARTIFICIAL LIGHT STRATEGY The design intention for artificial lighting would be to emphasise artwork on the wall, and for this i used spotlights hanging from the ceiling. The lux levels analysis on the right shows how the lux levels vary from 0 to 200. After this analysis ive realised that there is a lot of contrast between the light falling on the wall and the light levels of the rest of the room. Therefore i have decided that it would be best to also use lights in the centre of the room. Another option would be to use weaker spotlights, but in higher quantities.

Also artificial lighting will benefit some darker days in the winter, as shown in page number 1, where light levels in the room tend to be lower, and more focus on the art pieces is needed. It is important though to maintain the same atmosphere in the space, both during the day and the night.

PSEUDO COLOUR ILLUMINANCE SCENE: LIGHT LEVELS 0-200 LUX

CONCLUSIONS: After analysing both the daylight and the artificial lighting, i have deduced that they should both maintain the same atmospheric intention described at the beginning. This results from the choice of materials. The ceiling appears to be dark, however this is the intention; to expose and link it back to the overall concrete structure. As we can see from the image on the left, even in artificial lighting, the timber flooring and plain white walls maintain a domestic feeling.

STEPHANIE ADAMOU

A.T. CUTAWAY SECTION

WSA

2

CONNECTION: steel structure slotted into the concrete structure. steel structure rests on and bolted onto the concrete

WALL construction: 250mm concrete waterproof membrane 120mm rigid insulation 10mm plasterboard

FLOOR construction: timber floorboards timber battens waterproof membrane 120mm rigid insulation 250-260 concrete

ROTATED VIEW

ROOF construction: asphalt waterproof membrane rigid insulation timber battens vapour barrier perforated beam plasterboard

truss

structural I-beams

glass

INTERSECTING VOLUMES

Steel I beams and steel trusses are the supporting members of the elevated volume. Steel was chosen as a lightweight material to contrast the heavier concrete structure. The two contrasting volumes intersect, with the steel one resting and being supported onto the concrete structure.

POINTS OF SUPPORT OF THE ELEVATED STEEL STRUCTURE

AS EXPLAINED AND ANALYSED IN THE PREVIOUS PAGE

1:20 DETAILED SECTION

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT A.T. DETAILED SECTION

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

WSA

2

STEPHANIE ADAMOU

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT