Millet, M. S. (1996). Light Revealing Architecture. Hoboken, N.J: John Wiley & Sons.

I love the subtleness of this book.  The images in the book display simple ideas of the use of light in space.  One of my favorites: the images and section drawing of Alvar Aalto’s library at the complex of Seinajoki in Finland.

Swirnoff, L. (1989). Dimensional Color. Design Science Collection. Boston: Birkauser.

The combination of color diagrams and photos and paintings in this book connects our natural attraction to color to the science behind it.  The volume and void diagrams on pp. 69-78 give a beautiful illustration of how color reveals volume.  I am fascinated by how this same diagrams can reveals such a variety of forms.

Butterfield, J. (1993). The Art of Light and Space. Abbeville modern art movements (1st ed.). New York: Abbeville Press.

The beginning chapters of this book look at the work of Robert Irwin and James Turrell.  What I find most interesting about these two artists is their exploration.  I feel that they both work to find new and creative ways to experiment with light.  And, most interestingly, they use their own work as inspiration and precedent for future projects. 

Stattmann, Petra Schmidt & Nicola. Unfolded. Basel: Birkhauser Verlag AG, 2009.

This beautiful book display an array of work associated with cutting and folding paper.  I was particularly inspired by the simplicity of Olafur Eliasson’s  ‘Your House (2006),’ project.  The 454 pieces of paper that make up the house give a beautiful view of how the voids and solids create space.  The origami work of Richard Sweeney also provided a form inspiration for my light fixture.

Vyzoviti, Sophia.  Folding Architecture: Spatial, Structural, and Organizational Diagrams. BIS Publishers.  Amsterdam, 2010.

This miniature picture book was an inspiration for my early explorations for my light fixture.  The images, models and diagrams in this book have a rough character that allude to the beauty of exploring through making.  This book inspired me to be more playful in my explorations with paper.

Grynsztejn, Madeleine, ed.  Take Your Time: Olafur Eliasson.  Thames & Hudson. San Francisco Museum of Modern Art. 

I have never experienced an Olafur Eliasson installation.  I find it difficult to judge his work through looking at images of the installations.  I feel the depth and feeling of the experience of the pieces is probably far more intriguing.  This book displays the difficulty of preserving an art of impermanence. 

 ADDITINAL ANNOTATED SOURCES:

Egeraat, E. V. (2005). Erick Van Egeraat Associate Archtiects: 10 years realized works. Mulgrave: Images Publishing.

             Enjoying tremendous success in the last decade, in this collection of works master architect Erick van Egeraat discusses his philosophies and vision for his office demonstrated through his firm’s work.  As an extensive portfolio the book showcases significant projects that define the architect’s style of viewing architecture as fashion and treating each project differently with a new perspective.  The introduction by Philip Jodidio is an excellent summary of Egeraat’s evolution of style with each milestone of his career.

 

Millet, M. S. (1996). Light Revealing Architecture. Hoboken, N.J: John Wiley & Sons.

                       Profiling numerous historic examples like Luis Kahn’s Kimbell Art Museum and Le Corbusier’s La Tourette Monastery, the author describes historic spaces purely from the perspective of lighting.  Having studied these significant projects before, it was refreshing to learn about each architect’s design intents through the use of light.  The extensive uses of natural lighting in these projects remind contemporary designers of the power and potential of light.  The working sketches of Luis Kahn were also a resourceful way of gaining insight into the design process for lighting strategies.

  

Swirnoff, L. (1989). Dimensional Color. Design Science Collection. Boston: Birkauser.

             As a series of simple design explorations using color and specifically the effects of bounced color, and how it can play on our perception directly influenced the design of my double layered light modulator screen.  The mystery of bounced color sources and the additional effects materials can generate without revealing their sometimes very simple identity is an intriguing area to explore.

 

Butterfield, J. (1993). The Art of Light and Space. Abbeville modern art movements (1st ed.). New York: Abbeville Press.

             Describing the works of Robert Irwin as a simplified way of introducing light, in an effort to begin to interpret its basics and how we perceive it.  Through a series of installations in the reading Irwin’s phenomenological effects using light and simple surfaces break down preconceived notions as each installation plays on light’s ability to blur our perception of boundaries.  The work is minimalistic and powerful using empty rooms as a canvas for light. 

 

Guzowski, Mary. “Carbon Neutral Daylighting Design.� Carbon Neutral Design Project 2011 May 2011.  <http://www.architecture.uwaterloo.ca/faculty_projects/terri/carbon-aia/strategies1e2.html>

            The seven prescribed strategies of Guzowski toward zero carbon lighting strategies include not only environmental control measures, but suggest the need for mindset changes in the design community toward prioritizing the use of daylight.  Strategies like passive integration, being modest toward lighting requirements, incorporating responsive envelopes in buildings are a few examples the reading mentions that will be crucial in achieving performance of buildings that use significantly less artificial sources of light and energy.  These constraints can be viewed as significant design opportunities utilizing the phenomenological effects of lower light levels as they can significantly influence the mood of occupants.  These notions guided my exploration of my light modulator as a creator of ambiance lighting.

Works Cited

Bahamo%u0301n, Alejandro, and Ana Mari%u0301a A%u0301lvarez. Light Color Sound: Sensory Effects in Contemporary Architecture. New York: W.W. Norton &, 2010. 110-17. Print.

In this example of pure color and expression I found it quite inspiring for my use of vibrant colors. It takes a lot of understanding of the space and experience with color to present a project with such simplicity and, yet experiential complexity.

Butterfield, Jan. The Art of Light and Space. New York, NY: Abbeville, 1993. 78-87. Print.

As an undergraduate I went on a wild trip to try and sneak into roden crater to see what was being worked on by James Turrell. Roden Crater Is expected to be one of the most spectacular experiences of light, color and shadow he has ever worked on. I have also seen a work of his that was constructed of neon tubes which display a full spectrum of color much like my RGB LED tube. The ability to keep the design simple and the intent strong is very apparent and Turrells work.

Weibel, Peter, and Gregor Jansen. Light Art from Artificial Light: Light as a Medium in 20th and 21st Century Art = Lichtkunst Aus Kunstlicht : Licht Als Medium Der Kunst Im 20. Und 21. Jahrhundert. Ostfildern, Deutschland: Hatje Cantz, 2006. 287-347. Print.

The works within this range of Light Art from Artificial Light helped me to see the potential of fiber optics with the use of many tubular light forms from florescent bulb arrays, neon lights, and fiber optics themselves. It helped me to understand the beauty in the color and purity of these light sources.

Leski, Kyna. The Making of Design Principles. [Providence, RI]: RISD, Departement of Architecture, 2007. Print.

This book is interesting in the way the produced objects are all photographed without color.  I think this is very helpfull to see and understand light in its purest forms.  The ability to see the gradient, crisp line or jagged edge between the black and white.  The compositions produced are quite beautiful, and elegant.

Marpillero, S., James Carpenter, and Kenneth Frampton. James Carpenter: Environmental Refractions. New York: Princeton Architectural, 2006. Print.

I have found this book to be good not only in Light and Shadow, but also my studio.  I am currently designing a sky scraper  for Portland.  It depicts some very good ways to deals with facades of this scale.  It gives great examples of using reflection, and refraction a tool to break down the facade of large scale buildings.

Iwamoto, Lisa. Digital Fabrications: Architectural and Material Techniques. New York: Princeton Architectural, 2009. Print.

The projects in this book have light and shadow as a driver, but it gives great examples of how digital fabrication can be implemented into our projects.  It does a great job of going through all various techniques of creating digitally fabricated spaces objects, and screens.  This book is full of beautiful way of taking two dimensional materials into three dimensional experiences.