AT 1.2 WORKBOOK

Name : Rosabella Zuntivai Mobijohn Student I.D : 7185569 Assignment Title : Workbook- Principle Praxis Module : AT1.2 Architectural Technology Submission Date : 23rd April 2018

Table of Contents Introduction…………………………………………………………………………………1 Component 1 : Workshops Outputs……………………………………………………1-23 1.1 Environment……………………………………………………………………………1-13 1.1.1 Task…………………………………………………………………………………..1

1.1.2 Geographical Location……………………………………………………………..1-3

1.1.3 Contour Map…………………………………………………………………………4

1.1.4 Foundation Types…………………………………………………………………...4-5

1.1.5 Plant Life……………………………………………………………………………..6-7

1.1.6 Climate and Weather……………………………………………………………….7

1.1.7 Carbon Footprint……………………………………………………………………8

1.1.8 Solar Readings………………………………………………………………………9

1.1.9 Man-made forces…………………………………………………………………..10-11

1.1.10 Basic Skills…………………………………………………………………………12

1.1.11 Styles……………………………………………………………………………….13

1.1.12 Reflection…………………………………………………………………………..13

1.2 Lighting…………………………………………………………………………………14-16 1.2.1 Task…………………………………………………………………………………..14-15

1.2.2 Observation………………………………………………………………………….15

1.2.3 Outcome……………………………………………………………………………..16

1.2.4 Reflection…………………………………………………………………………….16

1.3 Structures………………………………………………………………………………..17-18 1.3.1 Task……………………………………………………………………………………17

1.3.2 Outcome………………………………………………………………………………17-18

1.3.3 Reflection……………………………………………………………………………..18

1.4 Thermal Comfort………………………………………………………………………..18-19 1.4.1 Task……………………………………………………………………………………19

1.4.2 Observation…………………………………………………………………………..20

1.4.3 Outcome………………………………………………………………………………20

1.4.4 Reflection……………………………………………………………………………..20

1.5 Acoustics…………………………………………………………………………………21-23 1.5.1 Task……………………………………………………………………………………21-22

1.5.2 Observation…………………………………………………………………………..22

1.5.3 Outcome………………………………………………………………………………23

1.5.4 Reflection……………………………………………………………………………..23

Component 2 : Lighting Case Study : The church of Light by Tadao Ando………24-34 Introduction…………………………………………………………………………………..24 Analysis……………………………………………………………………………………….24-25 Building Structure and Construction……………………………………………………25-26 Choice of Materials…………………………………………………………………………26-27 Spatial Transition……………………………………………………………………………27-29 The Sources of Light……………………………………………………………………….30-31 Conclusion……………………………………………………………………………………32

Bibliography…………………………………………………………………………………..33 Appendix………………………………………………………………………………………34

Introduction This workbook consists of two components. The first component are workshops outputs based on five topics covered throughout the lecture. Furthermore, the second component is the case study investigations. The topic I chose to further study in depth is lighting and the case study building is the Church of Light by Tadao Ando. We are then to compile all the outputs and produce a well written workbook.

Component 1 : Workshops Outputs 1.1 Environment 1.1.1 Task For our very first workbook, we were introduced to do various tasks in the lecture and do it as a homework which all outputs will be written in our workbook.

1.1.2 Geographical Location

My hometown is located on the east side of Malaysia called the city of Kota Kinabalu formally known as North Borneo when it was governed by the British. Below are maps, images and graphs of information such as temperature, hours of sun, rainfall and humidity throughout the year :

• Location:

Kota Kinabalu

Map of Kota Kinabalu

Taken from google maps

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• Images of my hometown:

Kota Kinabalu Harbour

Kota Kinabalu in the evening

• Temperature:

Kota Kinabalu Graph Temperature Data

• Hours of sunshine:

The average of sun per hours per day

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• Rainfall:

The average of rainfall per month per day

• Humidity:

The average of humidity per month

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1.1.3 Contour Map The image below shows the contour map section Z-Z. The value of each contour is 20 meters and contour value at each point are as stated below.

Elevation A : 2470m

Elevation B : 2680m

Elevation C : 2220m

Chosen Scale: 1:100 (A4 Size)

Actual Scale: 1:10,000 (A4Scanned Size) with CamScanner

1.1.4 Foundation Types Foundation is important because it gives support and stability for a structure. Therefore, the following are four dierent types of foundation :

• Strip Foundation : Are used to support line of loads. For example, can be used for most subsoils or when a line needs supporting where column positions are too close that individual pad foundations would not be suitable.

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• Pad Foundation : Are used to support an individual point load when due to a structural column. They are usually hollow and may be square, circular or rectangular in shape. It usually consists of a slab of uniform thickness or a block which may be haunched if they are required to spread its load from a heavy column.

• Raft Foundation : If an area is large, raft foundation is used to spread its load. They are used when structural loads are close together which the individual pad foundation would interact. It consists of concrete slab and can extend the entire loaded area which are often required on loose or soft soils with low bearing capacity.

• Pile Foundation : Are used to anchor structures against uplift forces which assist structure to resist overturning and lateral forces. In addition, it is economical and also used for constructional or soil condition considerations which desires to transmit loads to strata beyond its practical reach of shallow foundations.

For my accommodation in Leeds, we are produce a map showing the geology for that area and describe using diagrams and key words the type of foundations needed.

Map showing the geology for my accommodation area in Leeds Legend: (1: 10 000) Rock Unit

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1.1.5 Plant Life The following are names of the four different trees and the climate zone they live in.

• Name : Pine Tree

• Climate Zone : Temperate and subtropical

• Name : Palm Tree

• Climate Zone : Temperate and Tropical

• Name : Oak Tree

• Climate Zone : Mediterranean, temperate and tropical

• Name : Cactus

• Climate Zone : Hot and desert

Below are my sketches and information of 5 different indigenous plants presented with photographs which were found around my accommodation in Leeds.

1. Daisy (Bellis perennis)

2. Pasque flower (Pulsatilla vulgaris)

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3. Dog Violet (Viola riviniana)

4. Red Clover (Trifolium pratense)

5. Buttercup (Ranunculus bulbosus)

1.1.6 Climate and Weather The definition of climate is it plays a role as the area’s pattern of weather which is observed throughout dierent times such as when the day is wet, dry, cold and so on. As for weather, its defined as an immediate change in an atmosphere such as its temperature, when its rainy or sunny and so on. During the lecture, a video that described 10 situations were shown and we are required to note down whether the situation were describing climate or weather. The following are my answers :

1. Climate 2. Weather 3. Weather 4. Climate 6. Climate 7. Climate 8.Weather 9. Weather

5.Weather

10. Climate

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1.1.7 Carbon Footprint

Below are my results and answers of the calculation of carbon footprints taken online.

To sum it all up, my results came to a total of 156% which is way out of the Uk government’s expectations of year 2020. Areas that made the biggest contribution is Travel, which brought up a percentage of 77%, food 11%, home 9% and other stuff 3%.

To start off, I can decrease the figures of my two most highest percentage which are travels and food according to the following :

• Travel smart : I need to travel efficiently, I need to walk or cycle, or I can car-pool to save money and the earth!

• Eat more greens : I consume a lot of meat in my daily meals, It’s one of the easiest ways to improve my footprint. Getting more fruits and veg into my diet is healthier and good for the planet anyway.

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1.1.8 Solar Readings

Below are the elevation Gage & Azimuth Angle Gage made with cardboard. In addition, the results of the solar radiation reading for Broadcasting Place and the conclusion of final sun chart diagram and photos of process.

Final sun chart diagram 9

1.1.9 Man-made forces Below are diagrams for each of the Man-Made Forces for my accommodation in Leeds which is located at Marsden House, 1-3 Burley Rd, Leeds LS3 1HX:

• History

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• Urban Grain

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p a m i g i D Urban Grain Map

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Contains OS data © Crown copyright and database right 2018. FOR EDUCATIONAL USE ONLY

Apr 20, 2018 17:46

Scale 1:10000

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Leeds Beckett University

Projection: British National Grid

• Access

p a m i g i D Accessibility Map

Legend

© Crown copyright and database rights 2018 Ordnance Survey (Digimap Licence). FOR EDUCATIONAL USE ONLY.

Apr 20, 2018 17:35

Scale 1:5000

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Rosabella Mobijohn

Leeds Beckett University

Projection: British National Grid

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1.1.10 Basic Skills The following are my attempts of the series of basic skills introduced and performed in the lecture:

• Lines

• Hatching

• Bike

• Dark to Light

• 3 Hand Sketches

H

F

HB

B

2H

3B

4B

5B

6B

7B

8H

9B

• Basic Forms with light & shade

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1.1.11 Styles The following are my attempts of the series of styles of the building of my accommodation in Leeds:

• Positive / Negative Space Collage of geometry in the building

• Continuous Line Expression sketch of the exterior of the building

• Purest Line and Primary Colour Representation inspired by Mondrian

1.1.12 Reflection

To conclude, I’ve gained knowledge through the lecture and workshop on environment through my studies based on all the topics given as a lecture task and homework. Though it was quite an amount, I managed to pull through and gained so much from it. Now I have a better understanding of sustainability and environmental design.

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1.2 Lighting The following are types of meters for measuring different types of light metrics.

• Lux Meter : Most common that are used to measure illuminance or the amount of light falling on a surface (Iux)

• Foot-candle : To measure illuminance, but Lumens per square foot are used to measure foot-candle (fc)

• Luminance Meter : To measure luminance (cd/m²)

• Intensity Meter : To measure luminous intensity (candelas)

1.2.1 Task For this workshop, we were asked to form a small group of 5 to complete a task within the workshop time allocation. In our respective groups, we were given and taught how to use a light meter to correctly measure the amount of light. The task is to measure, record the light level as well as photograph each of the following spaces below:

i. Projector area in the studio space

ii. On a desk bright enough to draw comfortably

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iii. Inside a building but by a window

iv. In the same room, but as far

from the window as you can be

v. Outside in the daylight

vi. Outside under the shade

1.2.2 Observation The table below shows the dierent light level recorded at dierent locations.

Locations

Lux

Projector area in the studio space

220

On a desk bright enough to draw comfortably

330

Inside a building but by a window

860

In the same room, but as far

from the window as you can be

186

Outside in the daylight Outside under the shade

1350 405 15

1.2.3 Outcome The higher the exposure of light, the higher the lux meter recorded. Based on my observations, when recording outside in the daylight, the light meter recorded is the highest amongst all other locations in contrast to when recorded as far as natural light with slight exposure of artificial lighting. Generally, factors that effects the light level reading are the quality and quantity of light, amount of glare and flicker, as well as contrast and shadows.

The table below shows the recommended light levels in different workspaces.

Locations

Lux

Normal drawing work, Detailed Mechanical Workshops

1000

Normal office work

250

Warehouses, Homes, Theaters

150

Libraries, Laboratories

500

Conference Room

300

1.2.4 Reflection Before the lecture and workshop was given, I never knew that we were able to measure light as well as a device such as the light meter even exist. Throughout this lighting workshop, I was able to benefit new variety of knowledge on it. I have learnt that in order to design for visual comfort, one must be able to measure light and also consider its efficiency, purposes, cost, and durability. To conclude, I now have the basic understanding on the principles of lighting design through the observation of light levels in different locations.

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1.3 Structures

1.3.1 Task For this workshop, we were asked to form a small group of 5 to complete a task within an hour. Were given 50 pieces of A4 paper. We then had to build the tallest tower that must be able to support the weight of an apple placed on top. What’s interesting about this tower is that, its foundation and material is made out of only 50 pieces of paper and nothing else. No glue, tape or blue tac.

1.3.2 Outcome

Basket Tower

Basket Tower up close

Above are pictures of the tower made. The “basket” Tower is made out of paper which my group and I used the origami method to fold the papers into a basket. We worked together and made 50 origami baskets and stacked them up till it became a as high as 0.75 meters high. My tower’s manufacture emphasises more on structure stability as well as aesthetics rather than its height. We went with the solution of creating a larger base and slowly decrease as the levels goes higher. Hence, my group and I made a conclusion to go with the origami method which creates a contemporary look and able to give the tower a stable foundation.

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Similarly, an actual tower which resembles the structural solution of the basket tower is one of the world’s premier tourist attraction, the Eiffel Tower. Though it is not the tallest tower in the world, it is aesthetically beautiful and of course structurally stable with the base that covers a square area of 100 meters on a side and decreases as the levels goes higher. In conclusion to the challenge, the basket tower was not name the tallest tower, but it was able withstand the weight of an apple when placed on top. Therefore, it was a successful tower.

Sketch of my tower

1.3.4 Reflection Finally, this was another interesting workshop that I enjoyed especially throughout the construction of the paper tower. I have now understood the basics of structural components and its principles through the experiment of compressive forces.

1.4 Thermal Comfort Temperature : Measured by a thermometer. Its basic unit is the kelvin (SI). It has the symbol K. It is often convenient for daily usage to use the Celsius scale, in which 0°C is close to freezing point of water and 100°C is its boiling point at sea level.

Relative Humidity : Measured by a hygrometer, units are grams of water vapour per cubic meter volume of air is a measurement of the actual amount of water vapour in the air, regardless of the air's temperature.

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1.4.1 Task For this workshop, we were asked to form a small group of 5 to measure and record the temperature and relative humidity using a thermometer and hygrometer at the following places:

i. Lecture theatre

iii. Inside a building but by a window

v. Outside in the daylight

ii. On a desk bright enough to draw comfortably

iv. In the same room, but as far

from the window as you can be

vi. Outside under the shade

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1.4.2 Observation The table below shows the different temperature and relative humidity recorded at different locations.

Locations

Temperature

Relative Humidity

Lecture Theatre

17.2 °C

40%

On a desk bright enough to draw comfortably

24.4 °C

31%

Inside a building but by a window

24.6 °C

27%

In the same room, but as far

from the window as you can be

24.9 °C

33%

Outside in the daylight

21.5 °C

37%

Outside under the shade

16.6 °C

45%

1.4.3 Outcome The higher the temperate, the lower the relative humidity. Ideally, the key percentage of relative humidity is not to be too low or too high. High enough to be comfortable, but low enough to avoid moisture problems associated corrosion, mould and so on.

1.4.4 Reflection To conclude, I’ve gained knowledge through the lecture and workshop on thermal comfort. I’ve understood the basic principles of thermal comfort through the testing of temperature and relative humidity in different environments.

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1.5 Acoustics Sound travels in waves wavelength. The following are types of sound unit for measuring sounds:

• Decibel : Ratio of the sound pressure to reference pressure to something. Noise of sound measurement is called decibels (dB).

• Hertz : The number of displacements, or oscillations that a particle undergoes in 1 sec is called frequency (Hz)

1.5.1 Task For this workshop, we were asked to form a small group of 5 to measure and record the decibels using a sound meter at the following places:

i. Lecture theatre

ii. Outside by a busy road

iii. Outside in a grassed/ pedestrian area

iv. In a shopping centre

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v. In the studio

vi. In a cafe/restaurant

1.5.2 Observation The table below shows the decibels recorded at dierent locations.

Locations

Decibels

Lecture theatre

14.7 dB

Outside by a busy road

80.8 dB

Outside in a grassed/pedestrian area

74.6 dB

In a shopping centre

71.9 dB

In the studio

58.3 dB

In a cafe/restaurant

65.8 dB

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1.5.3 Outcome Based on my observation, the busier the area, the higher the unit of decibels recorded.

The table below shows what decibels are required to comfortably inhabit different spaces.

1.5.4 Reflection As a conclusion, I’ve gained knowledge through the lecture and workshop on sounds and how important it is when it comes to designing a building . I’ve understood the basic principles of acoustics through the testing of noise level in different environments.

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Component 2 : Lighting Case Study : The church of Light by Tadao Ando

Introduction Forming light is something that is simple and pure for Architect Tadao Ando. Situated in Ibaraki-Osaki, Japan, in year 1987 the Church of Light is the ultimate example of not only shaping light, but how its simplistic design of concrete took formations through light. The minimalist building is composed of basic architectural elements with couple openings that forms a space that creates light. The church represents simplicity of christianity with its low tech, yet powerful design. The interiors are mystical and dark with the entry of light from dierent openings becoming a sensational event in itself. The intensity with which light enters from the cruciform opening in the south wall as seen in (Figure 1), which makes the space spiritually powerful and sacred.

Figure 1: Church of light exterior and interior view showing cruciform opening in the concrete wall. Image by Masaru Tezuka, 2016

Analysis The perception of space has a connection to the way light incorporates with it. What we see, experience and how we interpret the elements is aected by how light interacts with us and the environment. In architecture, it is dependant on the lighting circumstances that includes both the object and the observer which can be analysed in any dimensions such as material, colour or space. Hence, light is likely to perceive distinct physical measurable conditions in a space, yet additionally to provoke and induce various visual moods and

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experiences. Light constitutes a component of major relevance for the design of spaces, thus plays a consequential role in the symposium of quality in architecture. The research relies on the analysis of the church of light by the exceptional architect, Tadao Ando. The plasticity of the material provides its vital freedom in the design and placement of the openings for natural daylight. Therefore, provides greater scope for experimentation with the placement of the openings and the building envelope achieving unique effects of natural light inside a space. Ando has always had an underlying accentuation on the experimentation with the quality of light inside a space which provides the opportunity for us to get a deeper understanding on how it was accomplished throughout all his works.

Building Structure and Construction Perhaps the most vital element of all in lighting is the construction and structure of the building, for there is an interrelationship between the method of lighting and the structural form, the former revealing the latter. The shape of the structure is a basic box. The effused light through the cruciform opening, gives the illusion that the dense and heavy concrete quadrants are defying gravity while the angled concrete wall is objectified, which extends through the windows and the volume of light sliced which allows the light to reflectively seep through the concrete. The 5.9m concrete volumes (5.9m wide x 17.7m long x 5.9m high) of the church is cut by a freestanding concrete wall angled at 15° which ploughs the box, creating a bond between the entrance and the church. The line created slices directly through the window, dividing it and highlighting the outline of the wall’s shape, objectifying the plane. (Figure 2)

Figure 2: Plan of Church of light. Image by Barandon. J, 2001

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With this, we recognise the way in which light can modify structure, where a wall can be made to have solidity and mass, or be broken up by light. Tadao Ando had used his powers of observation and experience to understand the consequences of light distribution and the integrity of structure in this building.

Throughout the construction of the church, it was feared that it would cost more than the budget and Ando even considered building it without a roof. It took over two years to complete. The delay in completing the work was due to problems in raising the necessary funds. In the end, the construction firm donated the roof and all problems were solved.

Choice of Materials

Concrete and wood are also the main materials in the building. The benches, along with the floor boards, are made of re-purposed scaolding used in the construction. The dark wooden floor with oil stain finish provides a change in material as compared to the dominant use of concrete on all other surfaces. Also from the worshipers’ seats, the floor has a gradual slope down towards the altar on the south side. The level change is in terms of small steps in the central aisle (Figure 3).

Figure 3: The bench and flooring inside the church. Image by Jonas Sommarset, 2014

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In spite of the fact that this was made essential by the limited budget, it became a positive outcome in that we are made directly aware of the texture of the material. To eliminate materiality in architecture, Ando is incredulous of the present tendency to utilise artificial materials which has no character in the name of economic rationalism. He always uses natural materials for parts of the building with which people come into physical contact and create a relationship between the space.

Not only the choices of the hardware is important, though this can be a major design factor for good or bad, it is the distribution of light from the choices hardware which will determine the information of the space, its appearance, and the way it is perceived. Our spirits soars through light, we are made to perceive in the most fundamental sense our relationship to nature. Materials such as stone, wood and concrete empowers us to sense the building directly through our bodies therefore are essential materials for architecture as believed by Ando. The church design oers both representational and an abstract nature. Natural materials that appeal to the senses are left in darkness while a rectilinear distortion of light is cast on to the floor.

Spatial Transition The spatial envelope chosen for the final analysis is the main chapel in the Church of the Light. The space follows a hierarchy from the access to the seating and the alter. Whereas the congregation area, the service areas and the oďŹƒce space flows in a sequence in the sunday school. There are four main cardinal directions which has dierent boundary edges in the chapel. The dominant boundaries that define the spatial enclosure are:

i ) West wall

The west side of the chapel is incorporated with two intersecting exposed concrete walls.

The splay-wall on the west wall slits through the rectangular space in a way that an L shaped entrance sequence is formed on the northwest side of the chapel. The openings on the west side include a full height glazed opening of a considerable size that is cut through the splay-wall. The splay-wall does not touch the ceiling of the chapel thus creating an opening for light on the top as it breaks through the west wall. (Figure 4) The main entry to the chapel is through a large rectangular opening on the north side of the splay-wall (Figures 5).

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Figure 4: West wall of the chapel. Image by Daniel Suganda, 2012

Figure 5: The entry into the chapel from the rectangular opening in the west wall. Image

by Liao Yusheng, 2002

ii ) East wall

This is a plain exposed concrete wall with no opening towards the exterior. There is a horizontal groove line that runs flushed along the lower arm of the cross on the south wall at a height of 7m (Figure 6).

Figure 6: East wall without any opening.

Image by Jc Maya, 2010

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iii ) North wall

North wall - The exposed concrete wall is cut through by the splay-wall on the west side.

The two walls intersect in a manner that they do not appear to touch one another, making two small slit openings for light that run through the full height of the north wall and help in guiding the visitor to make the entry into the chapel (Figure 7).

Figure 7: North wall with the full height slit opening.

Image by Liao Yusheng, 2002

iv ) South wall

The exposed concrete wall has a slit opening with fixed float glass in the shape of a cross placed just behind the altar (Figure 8). The direct rays of light from the sun silhouette the entire wall as the cross is bathed in bright white light.

Figure 8: South wall with a cruciform opening.

Image by Masaru Tezuka, 2016

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The Sources of Light Light is the most important elemental material Tadao Ando used in the church. Hence, the name. His main reason is due to creating a space that is so empty that all of its focus is placed on the light as a design feature which will give no distractions within the space to detract from the reverence and significance the light offers. Therefore, there are four different sources of natural light that pierce through the chapel.

i ) Cruciform opening in the south wall This is the most powerful source with the direct rays of sun passing through the narrow slit and illuminating four different planes. The pattern of light and shadow is similar on all four planes, however the effect is less visible on the dark wooden floor as compared to the other three concrete surfaces. There is a visible use of contrast when oriented towards the altar. The source of light makes for a strong visual element when seen against the dark grey concrete wall on the south side (Figure 8).

ii ) Slit opening at the top of the splay-wall on the west side

The light shines through the ceiling and illuminates the space from the top. This creates an even modelling and a gradual transition from the concrete ceiling to the dark wooden floor (Figure 9).

Figure 9 : Slit opening at the top of the splay-wall on the west side by Masaru Tezuka, 2016

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iii ) Full Height slit opening where the splay-wall meets the north wall The light that enters from this opening acts as a source that guides the visitor from the dark L shaped entry court into the chapel. This is the first source of natural light that makes its presence felt inside the darkness of the chapel (Figures 5 and 7).

iv ) Full Height glazed opening in the west wall This provides more of a diused quality of light inside the space; one that washes along the splay-wall to make a quiet transition from the exterior into the interior. This provides a soft illumination as it is protected from the direct rays of the setting sun by the natural shade from the extension of the splay-wall in the exterior (Figure 10).


Figure 10 : Full height glazed opening in the west wall by Liao Yusheng, 2002

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Conclusion The power with which light enters into the chapel creates a strong emphasis that helps in defining the sacred nature of the space. The cruciform opening is lit up in extreme bright light that connects it with the symbolic meanings of the projected geometry formed by the void in the thick concrete wall. The emphasis on the source of natural daylight was a common and recurring theme in the Church of Light. The intensity of the dierent light sources is born out of the dark interiors of the chapel. Thus, the results supports the character of an interior space that is dependent upon the way an architect brings natural light into the space. The purpose of this analysis has been to introduce all factors above that need to be considered by the architect at the design stage of any project and to experiment the eects of natural light in relation to the quality of the space in order to achieve success in forming natural light into a space. In projects where there is complexity, it will be necessary for the architect to consider all factors identified in addition to the various options in some details. Whereas, in simple structures an acknowledgement that such factors exist and must be considered by an architect since in most cases should be fully aware of the sort of solutions that should be applied in order to achieve what Tadao Ando achieved with the Church of Light.

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Bibliography Ando, T. 1995. Tadao Ando: Complete Works, Phaidon Press, London.

Baker, N. and Steemers, K. 2002. Daylighting Design of Buildings, James & James Ltd, London.

Frand, N. 2012. Tadao Ando – Church of Light. Material Strategies. Available at: https:// arch5541.wordpress.com/2012/10/12/tadao-ando-church-of-light/ [Accessed April 16, 2018].

Phillips, D. 2004. Daylighting: Natural Light in Architecture, Architectural Press, Burlington, Massachusetts.

Phillips, D. 2000. Lighting Modern Buildings, Oxford: Architectural Press.

Illustrations Figure 1 : Masaru, T. 2016. viewed 16th April 2018,

<http://www.interactiongreen.com/church-light-tadao-ando/>

Figure 2 : Barandon, J. 2001 viewed 17th April 2018,

<https://www.designspiration.net/save/43999508047623/>

Figure 3 : Sommarset, J. 2014 viewed 17th April 2018,

<http://www.aaso-photography.com/churchofthelight/churchofthelight9993>

Figure 4 : Suganda, D. 2012 viewed 17th April 2018,

<https://www.pinterest.com/pin/298011700323588927/>

Figure 5 : Yusheng,L. 2002 viewed 17th April 2018,

<http://figure-ground.com/church_light/>

Figure 6 : Maya,J. 2010 viewed 17th April 2018,

<http://orig05.deviantart.net/8dbc/f/2009/051/2/e/church_of_the_light_by_leesaf.jpg>

Figure 7 : Yusheng,L. 2002 viewed 17th April 2018,

<http://figure-ground.com/church_light/0006/>

Figure 8 : Masaru, T. 2016. viewed 17th April 2018,

<http://www.interactiongreen.com/wp-content/uploads/2017/12/Church-of-the-lighttadao-ando-7.jpg>

Figure 9 : Masaru, T. 2016. viewed 17th April 2018,

<http://www.interactiongreen.com/wp-content/uploads/2017/12/Church-of-the-lighttadao-ando-4.jpg>

Figure 10 : Yusheng,L. 2002 viewed 17th April 2018,

<http://figure-ground.com/church_light/>

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Appendix The volume of the building which is equivalent to three cubes, is penetrated on the long side by an L-shape wall which exits at the back

Church of Light axonometric drawing

No scale

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