June 18, 2006

At last!!!!!!!!!!!!!!!!!!not to mention the whole day printing for ts...not doing too well with computers lately.
So here are the three views/options.My next drawings are going to be a lot cleaner though...photoshop renders from snapshots..Not sure I'm very fond of the renders ...very very slow and still look like collages in the end. But they look ok on the blog!

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June 15, 2006

3d model

quick snapshots of how the model is going.will be closed completely by tomorrow.

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June 12, 2006

thin paper 25g



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ANOTHER LAYOUT...will fill them with diagrams and more specifications but first I want to have all the photos done and lay them out

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June 11, 2006

live edge ligh tests

intensity varying on change in peeling away reflctive surface
intensity not vaying on change in curvature.
many more light tests on the way.


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June 07, 2006


one more on its way...my computer is going crazy...starts beeping then has to stay off for an hour...just the right day to start doing that!long night ahead...

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June 05, 2006

from today's tutorial...

will be slightly modified for friday, more layers and 'moveable' version of plan.

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June 01, 2006


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light borrowing catalogue

two spaces:
A light source
B light borrowing

variable factors:
1 number of layers
2 distance between layers


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May 26, 2006

future layouts


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May 25, 2006

model in progress...

some quick rhino snapshots to show where I am...I tried every optionpossible to try and find the fasted way of giving shape to the layers...in the end resolved to building the surfaces by sweeping about 8 section curves modified one by one...this to get the main surfaces right then the others will all be offset...its coming together
snapshots of the main layers that fit into each other and how the outer surface flattens out . Was thinking of something a more fragmented but I 'll have to work with this to keep it simple and eventually complicate it later on.

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May 22, 2006

Organizing portfolio for TS, updating sheets:
Three categories:
LIGHT_concepts and light tests
MATERIALS_structure of building and qualities of materials
LIGHT BORROWING DEVICES_documentation of existing examples and design/tests for my building


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May 21, 2006

section of lecture/projection events hall.
two slightly different ones from different ends of the hall.
plan will follow with indication of section lines.then TS sheets, plans and sections took a lot longer than they should have...

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May 20, 2006

loads of layers...

The 3d at the moment is a literal extrusion of the section, but would like to have more of a 'twist' to it as it is beeing peeled away irregularly.
The material acts with the similar properties of a pile of paper being gently bended. a few of the layers are rigid, creating the structure that the rest of the materials leans on.
Light conditions are determined by the borrowing from the building below, the sun and between adjacent spaces.
In some cases the spaces themselves are created by the peeling away of layers and the amount of these determines how much light seeps through.
Other sections with plan will be posted by tonight.

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May 18, 2006

have had to reschedule deadlines as I had to hand over the pc to its owner for an emergency hand in...so cad drawings will be posted tonight. Instead have been working out the spaces through sketching.Here is one of them, will scan the others at school on larger scanner.
a view inside the gallery/workshop spaces. light borrowing from room above and an intial peeling away to create a division between the two bottom spaces.
the direction of the layering is now the same for the whole building and the movement is given by the prrling away/crumpling of the layers....now back to cad...

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May 16, 2006

some sketches from this afternoon.defining areas and light borrowing.
form is still 'square' but was useful to get my ideas back together about where the light borrowing happens. Tomorrow the computer drawings of the gallery many more sections. 'scenario' sketches. posting deadline for tomorrow evening.

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May 14, 2006

Main hall again. Section towards end of oxford circus and roof plan. the idea is that the paper peeling a way has a nervature that will create a curvature.for now I am sticking to straight lines to make it more simple.

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May 13, 2006

A few of the layers will be made of live edge material, bringing streaks of light in from the sun and from the building below.

open air, only lighting when dark using the same idea for the transmission of light.

will post more tomorrow, not clearly related to the model, I am working on the larger version as I cannot really show this on such a small site model...the next image is what I want to use to show the sections, a drawing/model with the layers in relief. This one is the first attempt but is still too random, I have to make it more specific.

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an image from the sequence...similar to the ones shown during th preview, but creating spaces according to the programme.
The size of the model does not give the possibility to play around with borrowing light very much, so the next step will be building a larger one without the site...


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May 05, 2006

some light tests...

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April 13, 2006

early test models

some early models using fabric.

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April 05, 2006


05 repairing model with stronger adhesive and applying magnets to new parts.
06 buying materials, printing first set of files, finding out about the press for portfolio,building more of the prorotype
07 light models, light tests,finish model for CNC and send to Monia, parents wedding anniversary dinner.
08 light models, light tests, revision of portfolio, visiting light installations (that are all over Milan for Design Week)
09 voting, light drawing, revision of files
10 doctors appointment light models and drawings+CNC if it needs more work
11 prorotype+new drawings+layout of intro pages
12 prorotype+new drawings(TS)
13 prorotype+new drawings(TS)
14 prorotype+new drawings
15 prototype,finishing off all files, printing
16 Flying back to London_reading for Histories and theories
17 finishing prototype, buying more material if necessary,writing essay
18 finishing book-paper model and revision of booklet,putting together portfolio....

today added the magnets.Although I think it is so much better with the magnets, it doesn't thoroughly work, they aren't strong enough through the felt. will do a few more but most will be without, the process is long enough already. Aiming to make the prototype 4X3m, trying to make it blend into wall as much as possiblle. tomorrow will find different materials with different reflective properties to change with the white in a part of the prototype, see if the warmth of the light changes too.

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March 18, 2006


Mapping the programme of MOVEMENT/INFORMTION/ACTIVITIES on the site.
I am now working on the de/re materialization of form around this according to spaces of activities and borrowing light.
The primary aim at the moment is the definition of form, followed by a more detailed explanation of borrowing.
diagramcon retino.jpg

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March 12, 2006


I am having great problems working with the form of my gallery. Gone back to the manifesto to redefine. Hopefully it will be useful.

Oxford Circus. We are told to buy, buy, buy.
shop windows are lit as bright as possible in a perennial christmas light atmosphere
[at christmas we buy and buy and buy, don’t we?].

We are going to sit on top of these streets, and show them from up here how
light can be used in a different way. We will ‘borrow’ light, no continuous consuming.
We will sit on the building, borrow light from the sun to illuminate our gallery
[and borrow it from the streets and buildings when its dark].
One space will borrow it from the other, subtly, without anybody noticing.
spaces connecting, spaces separating, spaces that mean something
because of the kind of light they have. The light will be what materializes the form.

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March 09, 2006

reflection experiments

08_03light tests1.jpg
08_03light tests.jpg

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March 08, 2006

George Legendre 07.03.06

A very beautiful lecture.
A clear explanation of the process of the work (even for those who understand nothing about maths).
A demonstration of how it is applied to architecture, which, he is absolutely right, needs no renders and images at all.
An intelligent and beautiful book.
Most of all a very felt approach towards the analysis and creation of the surface, a very clear idea about what the work is about, with no pretense towards a total approach toward architecture. "I learnt nothing from Rem", quite a strong position to be taken in a school like the AA I beleive.
Personally I from the lecture I have discovered a way to produce very beautiful architecture. very curious to see what will come next. At the same time I am questioning myself more and more about the meaning of architecture. Without diminishing the importance of their role, does it not tend to easily become just design, or technical skills, beautiful and intelligent as it may be?

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March 02, 2006

drawing update

so how does this work?from flat to 3dimensional, the surface shrinks.

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postcard to complete the series...
Download file

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February 21, 2006

Alisa Andrasek

Although I agree with the comments read about the lecture this evening, I must say that I was listening from a different point of view. I suppose I considered it more as a first approach for me towards the subject rather than the lecture answering questions. I have always considered scripting as a very cold approach to design, but appreciated its function explained today more as a database of classified possible performances. I agree the part lacking strength was the application of these, what we were probably expecting to be proof of how useful the instruments could be.
hopefully the students' projects illustrated tomorrow will prove us wrong.
Apart from this, I found the lecture very interesting not only from the point of view of the subject but also the drawings and diagrams presented to illustrate the information.

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February 17, 2006

building light

building light.jpg

[Destruction, excavation, matter is dematerialized and light sparks from it]
Light becomes building material as it shapes space.

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February 16, 2006


Download file
No light and no forms, actors appear as if floating with no space. They begin to damage this black indefinite material and light is created from its dematerialization.Space begins to be revealed until the light is so much the space disappears. Light is switched off and the loop begins...

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February 15, 2006


Download file

Miners break away the material to obtain the precious light. As they work light floods the space until it takes over everything, space disappears. Light is literally "switched" off and the loop begins.

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February 14, 2006


01 [de]Materialize. Where am I?
02 destroy the Light. I need some Form
03 Materialize. extraction of light

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February 13, 2006


postcards...first video attempt
Download file

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February 12, 2006


after the suggestions from the jury, and some ideas from observation of the projects at the open jury, my lighting system is developing. I would like it to function according to the same ideas but become more of a 'space creator'...it is too flat, too much of a surface...the challenge of architecture is to see things as volumes, but how easy is it to end up reasoning the way we see, instead? did some useful reading "envisioning information", good reminder.
first attempt, same identical principle, but curves rather than flat folds...could be flexible material and guitar string (?) frame. Still too close to my regular pattern though, still doesn't work, just another surface.
second attempt.These are sketches, but it is not the shape I am looking for, rather a volume made by the closure of a surface, making the inside light and the outside dark. when they open they overflow onto the adjacent shapes.
The disposition of them must work so that you can dig deeper, open one and get to the one under it and open that too, creating tunnels, wholes of light.

really no where close to the final shape, but am using it to find out how this would work.

this diagram is important for the manifesto:it will be turned into a graphical drawing for the portfolio, but tried to make it as clear as possible for myself first. Will have explanation of various roles if it becomes page for manifesto.

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martelli copy.jpg

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this one is a more abstract version, somehow I want to combine the two: actors (part of my manifesto is the involvment of people creating space), but at the same time I want shapes to be simple (texture).
Most important of all, to show the creation of space, I want to play with perspective, not necessarily drawing the space, but using size of people,objects, shapes to give the depth of the sapce...the comment I got from Monia was very useful (images of dancing priests on snow).
So light is revealing the space, which is actually there already (the people are situating themselves in it so they can feel it) by giving form to it.
a gradual filling of the scene, the more people 'digging', the more form shaped, the more space created...


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February 11, 2006

mining light

my postcard is a black scene. because there is no light.
(I wasn't being witty, it was the first image of a sequence and I am working on the others)
when the actors appear they start decomposing, digging, tearing, manipulating, destroying, the material, creating form, that is when the light is created. light floods the scene, the form takes over and space is created.
the subject of the first images is the creation of space through deforming material to a critical point where it fractures and light sparks from it. From here the idea of the miners. Breaking away the material to obtain the precious light.

any suggestions?
storyboard is being prepared.


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no light. no form, no material.
no form, no material. no light.

(light is all about dematerializing matter)

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February 05, 2006


This is not the design for another lighting object.
What really matters to our perception of light is the way it is manipulated by space. This happens simply through the use of the qualities of MATERIAL and FORM. Combined, these are a lighting system themselves.
Light.Material.Form is a material itself, that responds to any external source of light as if light were appearing from it. Through the configuration of this decentralized network of identical modules, light is absorbed or reflected in different ways. The manipulation of the structure, made possible by certain degrees of liberty between the modules, creates spaces of various qualities.
This is a game between light and space: through the use of material and form the manipulation of the one defines the qualities of the other.

The blog is useful as a database for the unit, it helps to keep the projects going on in parallel. Being new at the school I have been able to learn how everyone is working through their pages, and the main blog was especially useful in the earlier stages, where ideas and suggestions were what built up our projects. At the same time posting helps to pin down ideas for oneself.

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The abstract material needs scenarios, applications. work on the performance is what is going to help`me define the lighting system.

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The model coming together with the materials...still one function is not visible, the complete aperture or closure of the parts, which will work once the magnets are inserted. At the moment it is still looking more like random configurations.

frra 027.jpg

frra 044.jpg

frra 040.jpg

frra 041.jpg

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February 01, 2006





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January 30, 2006


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light drawing...



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January 29, 2006

large curved surface.jpg

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January 18, 2006


It is sometimes used just as we do with artificial light. Such as lighting products as we do in windows, just by making sure they are under the sun!

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daylight is just as precious as artificial. It is how one uses it that makes its quality

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Back in London. From somewhere where light dictates the life of the people, the whole rythm of their day.

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November 27, 2005

more scenes

scenes 02.jpg

just updating some images...will be used as illustration of the tent-blanket structure...

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November 26, 2005

a question of scale


The new model, initially to help me with my photoshop scenes to deform the wall to spotlight, brought up another issue. my decision of the unit of one "folding plant" being 10 cm X 10 cm. this photograph would have included a smaller person. Through the exploration of different scales of the model, I confused the importance of manageability for the desired effect. It is a necessary characteristic but it does not produce what I want. This very small scale model brings back some points from my manifesto:
the idea of a construction material, the integration of the lighting system in the material rather than a new "object";
the subtlety of the light emerging from the material, and deforming the surface to give the person a choice of the quality of the light.

so now that I have decided the scale definitely must be quite small, I still have a big problem.the actual light emission. I have some very small christmas led lights, but whilst the effect is interesting in this small model (a little less the way it breaks a hole and has a light bulb sticking out), it only works with the "spotlight" mode. my idea of a flatter diffused panel is defyed by the little dots of feeble light...it doesn't work...
any suggestions? Patrick I'd thought of your idea (it's actually the way I create the effect in the animation...)but it would loose the advantages of a 3d surface, and there would always be some triangles of darkness in between the lights...i'm a bit lost!

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November 25, 2005


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light patterns

I have a few things that I havn't uploaded yet, both old and new...
I'll start with these...
combinations of light patterns. same little component, just opened in different ways and combinations.

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light patterns


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November 22, 2005

Creating scenes

soggiorno 02.jpg

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November 13, 2005


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Light.Form 03

LIGHT. We need a certain amount of light according to what we are doing. We prefer a certain quality of light according to what we are doing or how we feel.

But what are the factors of our perception of light?

How do these relate to each other, and how do they “operate” in our perception of light?
1.Receiving light
2.Shedding light or reflecting light from another source

What would I want from a lighting system?
No more lighting “objects”. A lighting system integrated into the construction material. One system that I decide how to use: according to the quantity and quality I need or desire in a certain moment.
Two options:
A. integrated in the existing construction material, a variation of it, emerging from it where installed
B. construction material itself

Through light emitting, reflecting and opaque surfaces, the system is creating a game determined by the form, configuration and organization of its parts.
The human, the operator.
The result: a texture and a device. Both at the same time.

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November 05, 2005


I used the word organism to describe the way my system operates, how it reacts to external stimuli.
I thought of a plant that I was shown once on a journey that fascinated me: as you touched its foliage it closed up immediately and curled. Just as some animals do in defence. The name of the plant is "mimosa pudica" or "touch-me-not plant". The movements in response to a stimulus (called nastic movements) are associated with loss of tugor pressure in the leaves. The surface sensitivity is enhanced by surface extrusions in the form of sensory hairs, which then pass on the signal to the neighbouring cells.
Other interesting reactions can be found in plants, algae and fish skin in regards to light reception and reflectance: they determine the changing direction of light and respond to it.

These Sensing mechanisms are then connected to actuation mechanisms that work in a similar way.
What is very interesting is that there are attempts to create "INTELLIGENT"-materials inspired by these biological creations.

I'm posting the link to the article if anyone is interested (Patrick...coiling up of plant tendrils...but it does say that they remain almost a mystery!)


What I'd really like to do is design a mechanism as simple but effective as these "bio-inspired intelligent materials"...or at least where you can sense this inspiration!

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November 04, 2005

back to materials...

whilst my rhino skills are very slowly moving towards a decent model of this simple (?!) geometrical form, I need to, along with the development of the scale and function, begin to understand how this texture/device really works. my first approach is trying to work out how I am imagining it through images...and while I wait for the digital model, I am beginning by carving the paper model from existing materials...

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November 02, 2005

texture or device?


construction material, skin, device...
form and materials can manipulate light through the way they receive and shed light. here we manipulate form, we are part of the process, through our decision making and in our active participation.
Based on this concept there are however infinite possibilities dictated by the actors of the stage.
camouflaged, then emerges to a sudden deformation of our surroundings. so is the light there or are we making it?
There does remain a factor that is determined beforehand. The structure and scale of the lighting system.
From a texture to a device. structure itself or dependant on existing forms. This game is based on the simplicity of the basic idea, were a variable number of identical modules, completely dependent on each other, together create a dynamic system that reacts as an organism. The stimuli is imparted by the person, the system reacts, and light is manipulated. or created?

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October 30, 2005

Paper tests

Just wanted to post some of the images i took of your model at Friday's tutorial. (you can delete the post if you want). You should get a factory of paper folders and build a giant wall surface - this flat-to-bumped texture will look amazing at the larger scale. __ Natasha



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October 24, 2005


artificial light__learning from controlled natural light

HUMAN PERCEPTION, LIGHT and MATERIALS mutually depend on each other, in a network that cannot exclude any of the three elements. Artificial lighting can enable activities when natural daylight is not available, can create an atmosphere or signal, give instructions. Nowadays these functions are merged together more and more because of the need for flexibility or the opposite, finding a solution which will satisfy all the tasks contemporarily. The outcome is a tendency towards the "abuse" of artificial light, and instead of a rich array of contrasts in the perception of spaces, we generally find ourselves in strongly lit spaces. As if the materials surrounding us were no longer relevant to our perception.

Human perception and lighting together bring forward two issues:
_the importance of the effect lighting has on people and their activities
_the ability to manipulate the surroundings

Could we learn from the basics of lighting: daylighting?

where we never look directly at the primary source of lighting, but decide how much and what quality of it we want.

where we harness it to suit our needs or desire of the moment;

where our instruments are architectural form and play with materials;

where the strongest element is the casual situation and it's conditions.
where the architect begins the project, but we ourselves decide how to make use of it. 

Just as the eye selects the light it wants, its imitation, the camera, does so with the possibility to choose a desired effect.
We can decide what lighting we want or need, without having to possess a number of different lighting systems to choose from.
Simply by thinking more about our requirements and giving value to the elements through which we perceive it.

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October 20, 2005

light.form MANIFESTO 01

el jaleo_SARGENT.jpg
(El Jaleo_Sargent)

artificial light__controlled natural light__artificial light recreating natural lighting conditions...

artificial lighting
can enable activities when natural daylight is not available
can create an atmosphere
can signal, give instructions

Nowadays these functions are merged together more and more and there is a tendency towards the "abuse" of artificial light.
For example, the more signals we have, the less we notice them, so their use is less effective.

THE HUMAN EYE, LIGHT and MATERIALS mutually depend on each other, in a network that cannot exclude any of the three elements.

However, instead of a rich array of contrasts in the perception of spaces, when artificial lighting is involved we generally find ourselves in strongly lit spaces. A contribution to this is the increase in the use of synthetic materials, which tends to uniform the effect light has when reflected, numbing the perception we have of it.

Learning from daylighting:
where the quality of the source light is not our main concern;
where we never look directly at the primary source of lighting, but are immersed in it or see a manipulation of it;
where we harness it to suit our needs or desire of the moment;
where our instruments are architectural form and play with materials;
where the strongest element is the casual situation and it's conditions.

We can decide what lighting we want or need, without having to possess a number of different lighting systems to choose from.
By giving value to the elements through which we perceive it.

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