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wilton’s music hall redefining the

nocturnal identity stylianos axiotakis

BENVGLG4 S.N. 938794


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visual analysis

redefining the nocturnal identity

Wilton’s Music Hall is a complex of five small buildings and an attachment at the back. The building as a whole is not visible from the main roads. However, a small part of it can be seen from the back, where unfortunately there is no sign to mark its existence. At the front of the building there is a narrow alley, separating the music hall from the opposite school yard. The alley is badly lit with intense and glary sodium lamps. Approaching the front of the building it is still hard to visually read the whole of it. Still, when being in front of the building, due to the proportions of the alley one sees the facade as two individual parts, one part at the eye level and one part looking upwards. This separation in two parts, the top and the bottom, is strongly prominent in the architecture of the building itsself. The upper part is made from brickwork. On this part there are twenty two windows with concrete cornices appended on them during the last century. The bottom part is quite different from the top. The walls are covered with many layers of coloured plaster, forming a special patina of time. These layers of colour are especially important for the identity of the building and the owners wish to keep them as they are. The walls, windows and doors are painted in carmine-red colour. The two edges of this lower zone have no visual interest. The most important part of this zone is in the centre, where the entrance lies. Above the entrance there is an old-style lantern. This causes glare and has no artistic or historic value. In the inside of the building, in the big music hall, colour again is one of the most inmportant characteristics. The colours used on the surrounding walls are mainly cerulean blue, green and golden.


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visual analysis

lower part

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2

top part

redefining the nocturnal identity

area with no visual interest

increased visual interest

entrance

increased visual interest

area with no visual interest


redefining the nocturnal identity

music hall (theatre, dance, music, multipurpose space)

complex architectural style (edwardian character inside, appended neoclassical details on the facade) the complex consists of five small buildings and has a grade II* rating strong separation in two unified parts: the top part (with brickwork and 22 windows neoclassical cornices) and the bottom part ( a long stripe with layers of coloured plaster)

brief (client)

the proportions on the front alley make it hard to read the top part of the facade and too see the building in whole

the lighting should bring people to the building (flow)

objectives

the building

a building with history that needs to move forward

to state and enhance the identity of the building (music hall)

make the building visible from the front and from the back the exterior lighting should give a hint for the interior lighting contemporary, flexible, changeable, colourful lighting history of the building in the front alley

to make it visibly prominent (with light markers) to enhance accessibility to the building (entrance, guidance, flow, motion, readable building) concealed lighting

concept

Bring the inside out, to bring the people inside. inside-out lighting (light from within) clear separation between the upper and the lower part of the building

dark part

brief

lighting with theatrical character contemporary character that maintains a sense from the past use of the colours used inside (inside glow effect)

bright part

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itulazastion and reformation of the alley with a strip of light light marker at the back of the building The main objective of the lighting concept is to enhance the identity of the building and to bring the people inside. Thus, the concept of the lighting scheme is based on lighting from within and bringing the internal characteristics outside. The lighting should also have a theatrical character, as the building is a music hall, clarify the features of the building and set the appropriate atmosphere. The lighting should create a flow towards the building. The whole concept utilizes the alley in front of the building as part of the building itsself. Creating a theatrical lighting for the building involves using intense, colourful light, enhancing motion, flow, rythm and depth, creating the appropriate mood for the visitor and preparing them for what they will see inside. The lighting maintains part of the current atmosphere. The lighting of the front facade is divided in two zones, according to the facade; the upper part and the bottom part. The upper part cannot be fully perceived due to the small depth of the alley. Also it is not visible from the highway either. Therefore it is concidered that excesive lighting on this part would be a waste of means. Thus, it remains almost unlit. Only the windows are accentuated, by lighting them up with saturated colour-light from the inside of the building, making them in this way prominent and giving depth. The colour used here will be blue, green and yellow, which are the colours used inside the music hall. This way an illusion will be created as the light will appear to come from the room of the music hall itself. These intense colour-lights can be programmed to change accordingto the needs or according to what is happening inside the building, bringing the inside to the outside. The bottom part is lit in warmer colours, to enhance the reddish colourations used in this zones. The lighting will create a flow towards the entrance by maximazing the area being lit and the intensity of the light. This separation in two zones, as well as the layering of hierarchies gives depth to the facade. The alley at the front of the building is transformed to serve lighting up the building and guiding the people towards it, making it thus prominent and visible front both ends of the alley. A lengthy structure, running from the beginning to the end of the alley, incorporates the light fittings used to light up the bottom part of the facade and the alley itself. This stripe consists of steel frames that adapt the form of the windows of the building itsself. These frames are dyed with an off-white colour and bear all the light fittings that are used to light the facade and the alley. Some of these frames are very low and can be used as benches, whereas the rest are taller with glass panels, where projections can be made, displaying information (media cornices), such as the history of the building. Inside these frames linear colour changing led fittings will be installed to light up the alley. The colour used here will be the same as in the upper zone (blue, green, yellow) and will be programmed to change as well. The alternation between the steel frames enhances the rythm and flow. The appended lantern above the entrance of the building, as well as all other fiddling light fittings or objects, will be removed. Also all the light fittings of the alley will be removed. At the back of the building only a corner with two windows is visible. These will be lit internally with intense colour light, like the windows at the front, becoming light markers at the back of the building.


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concept

redefining the nocturnal identity


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media cornice

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Some of the-light bearing frames have glass panels. These panels can be used for the projection of media and information, such as the history of the building, current performances, etc. Inside these frames linear colour changing led fittings will be installed to light up the alley. The colour used here will be the same as in the upper zone (blue, green, yellow) and will be programmed to change as well. The alternation between the steel frames enhances the rythm and flow.

1. The projectors that light up the facade will be placed in the cavity of the top of the steel frames. This way they will me concealed.

2. In the side parts of the steel frame colour-changing LED fittings are placed. These will be tilted outwards in order to prevent light from going to the facade.

3. Colour-changing LED fittings will be placed along the stripe on the alley (but not inside the frames).

4. Media projector (projected image should be skewed appropriately)

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panel holder component for rotation of fitting steel holder

steel holder of glass panel projection film double glazing

2 frosted glass panel (ground) underneath iColourGraze colour changing LED-fitting concrete

steel frame iColourGraze (Philips) colour changing LED-fitting frosted acrylic panel panel holder 30 degrees beam

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4


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windows w

The windows will be lit from inside using linear colour changing LED fittings. The fittings will be mounted at the base and at the top of each window opening, as displayed at the window section. White window shades will be placed inside, which will be rolled down when the fittings are switched on.

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section

elevation


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lower part redefining the nocturnal identity

The bottom zone of the building is lit in warm white light, to enhance the reddish colourations used in this part. The intesity of the light will get stronger as one approches the entrance. Also the colour of the LED stripe is going to fade to another colour as approaching the building. This way, the flow towards it will be enhanced. Additionally, the intense light in the area of the entrance will create a ‘lantern’ effect, bearing the memory of the old lantern, which will be removed. The lamps anf fittings used for this installation will be analysed later on.


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lamps & fittings redefining the nocturnal identity

A01

B01 B02

A02

B03

A03

F03

F01

F02

B04

B05

F04

lower zone (lamps) For the lighting of the lower zone floodlights will be used. These will be placed on the steel frames (F01, F02, F03, F04). The lamps to be used for the installation will be warm-white HID lamps at 3000K. The floodlights to be used will be Philips Decoflood MVF619, due to their small size (height: 259mm) and the vast variety of beam width, which will be necessary in this case. A small floodlight size is essential as the width of the steel frames that hide the floodlights needs to be kept to a minimum. The lighting of this zone is symmetric, therefore only half of the floodlights need to be calculated. The rest will be the same. Half the area of the zone is taken for the calculation. This area is divided in smaller areas, according to the intensity of the applied lighting. The desired luminances for the lower zone are: 25cd/sqm max at the area of the entrance area A01 ( =B01 ) 15cd/sqm area A02 10cd/sqm min area A03 The mean reflectanse of the whole lower zone will be taken as 0.20 (Fairly dairty, many different materials, red, orange, ochre, white, grey plaster) The floodlights to illuminate area B01 will be placed on frame F01, so that the peak intensity is closer to the entrance. Also the floodlights to illuminate A02 will be placed on F01. The floodlights to illuminate A03 will be placed on F03. Diffusion filters will be placed on the floodlights to make the result more uniform and to avoid leaving patches of light on the wall. The floodlifhts for frames F01 and F03 will be calculated. The required illuminance for each area is E=Lxπ/R and the required flux for each area is Φ=ExA/(UFxMF). it will be assumed that UF=0.35 and MF=0.83, and so UFxMF=0.29. Therefore: B01: E = 25 x π /0.2 = 392 lux A02: E = 15 x π /0.2 = 236 lux A03: E = 10 x π /0.2 = 157 lux

and so: B01: Φ = 392 x 20 / 0.29 = 27034 lumens lamps: CDM-T 150W (14000 lumens) floodlight code: F01.1 CDM-T 70W (6600 lumens) floodlight code: F01.2 CDM-T 70W (6600 lumens) floodlight code: F01.3 total: 290W 27200 lumens A02: Φ = 236 x 12 / 0.29 = 9756 lumens lamps: CDM-T 70W (6600 lumens) CDM-T 35W (3300 lumens) total: 105W 9900 lumens

floodlight code: F01.4 floodlight code: F01.5

A03: Φ = 157 x 13 / 0.29 = 7037 lumens lamps: CDM-T 20W (1650 lumens) CDM-T 20W (1650 lumens) CDM-T 20W (1650 lumens) CDM-T 20W (1650 lumens) total: 80W 6600 lumens

floodlight code: F03.1 floodlight code: F03.2 floodlight code: F03.3 floodlight code: F03.4

F01 = F02

F03 = F04

The floodlights for area B01 will aim at the same area but they will be placed next to each other (additive lighting). The same will happen for A02. For A03 the floodlighs will aim as shown in the elevation, overlaping at the edges. In all floodlights diffusion filters will be used for uniform result.


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lamps & fittings redefining the nocturnal identity

lower zone (beams)

peak intensity

F02

The floodlights will be tilted in two directions (horizontally and vertically). In order to find the required beam angles, a procedure has to be followed. An the plan this procedure is shown for area B01 (floodlights F01.1, F01.2 and F01.3). Horizontal beam angle as displayed on the plan and vertical beam angle as projected to the elevation from the peak intensity on the plan. The same process is followed for the rest of the floodlights. Therefore the required beams are: F01.1: asymmetrical narrow beam ~20˚, ~60˚ F01.2: asymmetrical narrow beam ~20˚, ~60˚ F01.3: asymmetrical narrow beam ~20˚, ~60˚

placing: vert. tilt 19˚, hor. rotation 73˚ placing: vert. tilt 19˚, hor. rotation 73˚ placing: vert. tilt 19˚, hor. rotation 73˚

F01.4: asymmetrical narrow beam ~20˚, ~50˚ F01.5: asymmetrical narrow beam ~20˚, ~50˚

placing: vert. tilt 32˚, hor. rotation 71˚ placing: vert. tilt 32˚, hor. rotation 71˚

F03.1: asymmetrical very narrow beam ~10˚, ~40˚ F03.2: asymmetrical very narrow beam ~10˚, ~40˚ F03.3: asymmetrical very narrow beam ~10˚, ~30˚ F03.4: asymmetrical very narrow beam ~10˚, ~30˚

placing: vert. tilt 85˚, hor. rotation 67˚ placing: vert. tilt 63˚, hor. rotation 70˚ placing: vert. tilt 47˚, hor. rotation 74˚ placing: vert. tilt 36˚, hor. rotation 77˚

B01 F01

beam angle 60o vertical tilt 19o beam angle 20o

wall

horizontal rotation 73o

vert. dist. of oodlights from wall=1

plan

rotated elevation

Philips Decoflood MVF619


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lamps & fittings catalogue redefining the nocturnal identity F03.4

F03.3

F03.2

F03.1

F01.5

F03

F01.4

F01.3

F01.2

F01.1

F02.1

F01

F02

lower zone lighting lumens

beam

vert.tilt

F02.3

F02.4

F02.5

F04.1

F04.2

F04.3

F04.4

F04

upper zone (windows)

code

lamp wattage

F01.1 F01.2 F01.3 F01.4 F01.5

CDM-T CDM-T CDM-T CDM-T CDM-T

150W 70W 70W 70W 35W

14000 6600 6600 6600 3300

20˚,60˚ 20˚,60˚ 20˚,60˚ 20˚,50˚ 20˚,50˚

19˚ 19˚ 19˚ 32˚ 32˚

73˚ 73˚ 73˚ 71˚ 71˚

F02.1 F02.2 F02.3 F02.4 F02.5

CDM-T CDM-T CDM-T CDM-T CDM-T

150W 70W 70W 70W 35W

14000 6600 6600 6600 3300

20˚,60˚ 20˚,60˚ 20˚,60˚ 20˚,50˚ 20˚,50˚

19˚ 19˚ 19˚ 32˚ 32˚

73˚ 73˚ 73˚ 71˚ 71˚

F03.1 F03.2 F03.3 F03.4

CDM-T CDM-T CDM-T CDM-T

20W 20W 20W 20W

1650 1650 1650 1650

10˚,40˚ 10˚,40˚ 10˚,30˚ 10˚,30˚

85˚ 63˚ 47˚ 36˚

67˚ 70˚ 74˚ 77˚

F04.1 F04.2 F04.3 F04.4

CDM-T CDM-T CDM-T CDM-T

20W 20W 20W 20W

1650 1650 1650 1650

10˚,40˚ 10˚,40˚ 10˚,30˚ 10˚,30˚

85˚ 63˚ 47˚ 36˚

67˚ 70˚ 74˚ 77˚

* all CDM-T lamps are Philips MASTERColour CDM-T 830 (3000K) * all floodlights are Philips Decoflood MVF619 * diffusion filters are placed on the floodlights

F02.2

hor. rot.

Philips iColorGraze Powercore beam 10˚,60˚ (NB), width 610mm, 543 lumens per 610mm 2/window (up, down) total: 22 x 2 = 44

alley lighting

general illumination: Philips iColorGraze Powercore placed along the stripe on the floor (32 metres total lenght) beam 10˚,60˚ (NB), 543 lumens per 610mm additional for vertical illumination: Philips iColorGraze Powercore placed vertically in the frames beam 10˚,60˚ (NB), width 610mm 3 x 1219mm per side = 6 1219mm per frame total: 6 x 8 fr = 48 x 1219mm benches: Philips iColorGraze Powercore placed horizontally in the frame beam 10˚,60˚ (NB), width 610mm 2 x 1219mm total: 2 x 5 bences = 10 x 1219mm * all ColorGraze LEDs are custom configuraion of Amber, Green, Blue LEDS * LED installation of alley and windows controlled by digital Ethernet based Philips Video System Manager.


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epilogue

redefining the nocturnal identity The main objective of the lighting concept is to redefine the nocturnal identity of Wilton’s music hall by using elements familiar to its current identity, in a simple and contemporary way. One of the main concerns was to bring people to the building, as it is almost hidden. The stripe that slices through the alley is a new three-dimentional architectural element that bears references to the forms and colours of the building, extending its character to the surrounding environment. It also bears and hides all the light fittings, keeping the building free of the excessive clutter. Furthermore, the lighting concept is strongly conected to the interior of the building. This way some of its elements can be applied for the interior lighting. All the light fittings of the alley will be removed. In this way the whole surrounding arrea can be sanitized and acquire a friendlier, more neighbourly character. Thus, Wilton’s music hall can be reestablished as a landmark for the whole district, making it more accessible to the whole city.

stylianos.axiotakis.09@ucl.ac.uk stylianos.axiotakis@gmail.com

wiltons music hall, redefining the nocturnal identity  

wiltons music hall, redefining the nocturnal identity Stylianos Axiotakis

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