See the light- an exercise in seeing.
Example #1: Floating Garden Observatory; Osaka, Japan.
This last summer, I visited the Floating Garden Observatory at the Umeda Sky Building in Osaka, Japan. Intrigued by the title, I wondered what form this garden would take, as we entered the building and began ascending the 40 story tower. Little did I suspect, the title Floating Garden is a metaphor for the observatory's design and location, as it is a circular deck perched atop two adjoining towers, with 2 glass escalators going through the center. When standing on it, one gets the feeling they are floating above the city, as they observe below and through the center of the building.
The design of the inner circle of the observatory is where natural light begins to compliment and enhance the architecture. The story below the observatory has a series of window panels meant to act as mirrors when viewed from the outside. Stretching the height of most of the ring, both the sky and the inner circle of the structure are reflected back upon itself, intensifying the natural light and creating a complex pattern for the viewer to see as the panels break apart and repeat the image. The glass window barrier protecting the observer around the edge of the observatory plays its part in reflecting light as well, as the steel creates a glare along the rim and the windows pick up more subtle reflections, as they are not meant to be mirrors like the windows one floor below. The steel supports protecting the glass escalators gleam from the natural light as well, while casting intricate shadows upon those who are riding it.
Viewed from the ground up, the continuing theme of reflection becomes apparent as the two connected towers are covered with windows whose faces reflect one another, which adds to the visual complexity of this architectural design.
Example #2: My Bedroom
On a much more domestic note, I recently had my windows replaced by my manager and the blinds that once covered my windows were removed, replaced by nothing else. Therefore, I have been relying on nothing but the sheer fabric of my blue curtains to shield me from the light as the sun rises in the morning. Unfortunately, they do a poor job of it. However, I never realized until those shades were removed the capacity those curtains had in turning all the natural light in my room quite blue, resulting in a very peaceful and soothing atmosphere particularly on days when the light is less harsh, and the sky is overcast. As the walls of my bedroom are white, this also intensifies the blue color emanating from the curtains, as the color subtly altars the hue of the walls. The bedroom has 3 window panels that span a large width of the far wall. Therefore, at around midday with the curtains open there is not really a need to turn on any of the overhead lights. Plenty of natural light floods the room, giving it a much more active feeling than it had before when I had window blinds which were rarely opened.
Example #3: Toyko Disney Sea, Journey to the Center of the Earth
After discussing two examples of natural light, I thought it would be important to explore lighting techniques that are carefully thought out in order to portray a very specific mood. Tokyo Disney Sea's The Journey to the Center of the Earth has a precise agenda in which the audience must feel as though they are underground, while being able to see well enough in lighting that is pretending to be for an old abandoned mine shaft. Therefore, the area for the line as you are waiting to enter is splattered with pools of light from things such as the entrance sign, whose bright yellow light backlighting the letters creates a feeling that the words are made of molten lava, a substance you might be expecting to see on your 'journey'.
Aside from this, there are hanging light fixtures with a single bulb, with wire frames that may also be characteristic of industrial areas. Pools of light coming from the fake lava rocks and the single bulb light fixtures appear to be the only sources of light in this area, aside from the occasional tv monitor or prop display, which sets the mood once again by referencing tools and objects the audience remembers from the movie.
These displays are brightly lit with white light, which breaks the character of the mineshaft lighting slightly. However, it also provides much needed light in order to see the path in front of you.
Before you are able to get on the ride, groups must enter into elevators designed to look like rickety old lift service machines. Once inside, this too remains dim, however shadows are played with using the vents on the side, as the elevator moves a few stories down and this motion is exaggerated through blinking lights, once again to simulate the age of the device, and to make the simple task of going a few stories down seem far more dramatic.
