Archive for ‘Facade Lighting’

November 28, 2011

Hilton Pattaya | Department of Architecture

Architects: Department of Architecture
Location: , Thailand
Principals: Amata Luphaiboon, Twitee Vajrabhaya Teparkum
Design Team: Picha Thadaniti, Wipavee Kueasirikul, Sutah Schonrungroj, Atirojt Rojratanawalee, Worawut Oer-Areemitr, Kanin Manthanachart
Lightning Designer: Dazzle Design
Project area: 1,650 sqm
Project year: 2010
Photographs: Wison Tungthunya

 is responsible for interior design of various common areas for Hilton Pattaya Hotel which includes the First Floor Lobby, the Main Lobby on the 17th floor, the Bar, and various common area and linkage spaces within the building. The hotel is part of a larger multi-used complex located in the heart of Pattaya, overlooking the Pattaya beach.

Lobby & Bar

The space for the hotel lobby and bar occupies the 17th floor, high above the bustle of Pattaya beach below. Upon entering the space from one end, as elevator doors open, one would enter a spacious lobby area. The architectural intervention to the entire ceiling plane, with its dynamic wave lines, leads the movement of the visitors towards the seafront beyond. The fabric installation on the ceiling becomes a main feature in the space while simple elements on the ground provide a tranquil atmosphere.

At night, strip lighting accents from above the fabric linear pattern. The whole ceiling volume becomes a gentle luminous source of light giving a fine ambient to the overall space.
At the end of the lobby space, the bar area is arranged linearly along the building edge parallel to the sea with maximum opening to the ocean view. Backdrop of the bar area lies a wooden wall with alcoves where the daybeds partially tuck themselves into the wall. Oversized and soft furniture provides comfortable and relaxing seating for guests to sink into. A full-wall mirror at the end of the long space doubles the visual length of the bar area.
Further in front of the indoor bar area is an outdoor lounge space with a large reflecting pond catching the reflection of both the sky and the droplet daybeds and lamps scattered around. From this area the space is opened up to the panoramic ocean vista and gentle sea breeze.
July 13, 2011

Dee and Charles Wyly Theatre by REX | OMA

2599_2_20 Wyly Exterior © Iwan Baan

321_2_Wyly - night view © Tim Hursley

2370_2_Wyly - view from terrace © Tim Hursley

2371_2_Wyly - lobby © Tim Hursley

2372_2_Wyly © Tim Hursley

2373_2_Wyly - dusk view with sign © Tim Hursley

2594_2_19 Wyly Exterior © Iwan Baan

2595_2_27 Wyly - Performance Hall © Iwan Baan

2598_2_18 Wyly Exterior © Iwan Baan

2601_2_24 Wyly - Stair to Performance Hall © Iwan Baan

2602_2_25 Wyly - Performance Hall © Iwan Baan

2603_2_26 Wyly - Performance Hall © Iwan Baan

2604_2_28 Wyly - Conference Room © Iwan Baan

2605_2_30 Wyly - Rooftop Terrace © Iwan Baan

Level 01 THRUST thrust floor plan © REX

Level 01 PROSCENIUM proscenium floor plan © REX

Level 01 FLAT FLOOR flat floor plan © REX

Level 08 eight floor plan © REX

Concept_Diagram-02-SUPERFLY_credit-REX concept diagram © REX

Architects: REX | OMA
Location: Dallas, USA
Key Personnel: Joshua Prince-Ramus (Partner-in-Charge) and Rem Koolhaas, with Erez Ella, Vincent Bandy, Vanessa Kassabian, Tim Archambault
Executive Architect: Kendall/Heaton Associates
Client: The AT&T Performing Arts Center
Consultants: Cosentini, DHV, Donnell, Front, HKA, Magnusson Klemencic, McCarthy, McGuire, Pielow Fair, Plus Group, Quinze & Milan, Theatre Projects, Tillotson Design, Transsolar, 2×4
MEP/FP Design Engineer: Transsolar Energietechnik, Germany
MEP/FP Engineer of Record: Cosentini Associates, 
Structural Engineer of Record: Magnusson Klemencic Associates, Seattle
Theatre Design: Theatre Projects Consultants, Connecticut
Acoustics: Dorsserblesgraaf, Netherlands
ADA: McGuire Associates, Massachusetts
Construction Management: McCarthy Construction
Cost: Donnell Consultants, Florida
Facades: Front, 
Furniture: Quinze & Milan, Kortrijk Belgium
Graphics/Wayfinding: 2 x 4, 
Life Safety: Pielow Fair, Seattle
Lighting: Tillotson Design Associates, 
Vertical Transport: HKA, California
Project Area: 7,700 sqm
Project year: 2006-2009
Photographs: Iwan BaanTim Hursley, Jeffrey Buehner

The Dallas Theater Center (DTC) is known for its innovative work, the result of its leadership’s constant experimentation and the provisional nature of its long-time home. DTC was housed in the Arts District Theater, a dilapidated metal shed that freed its resident companies from the limitations imposed by a fixed-stage configuration and the need to avoid harming expensive interior finishes. The directors who worked there constantly challenged the traditional conventions of theater and often reconfigured the form of the stage to fit their artistic visions. As a result, the Arts District Theater was renowned as the most flexible theater in America. The costs of constantly reconfiguring its stage, however, became a financial burden and eventually DTC permanently fixed its stage into a “thrust-cenium.”

Imagining a replacement for DTC’s old house raised several distinct challenges. First, the new theater needed to engender the same freedoms created by the makeshift nature of its previous home. Second, the new venue needed to be flexible and multi-form while requiring minimal operational costs.

The Dee and Charles Wyly Theatre overcomes these challenges by overturning conventional theater design. Instead of circling front-of-house and back-of-house functions around the auditorium and fly tower, the Wyly Theatre stacks these facilities below-house and above-house. This strategy transforms the building into one big “theater machine.” At the push of a button, the theater can be transformed into a wide array of configurations—including proscenium, thrust, and flat floor—freeing directors and scenic designers to choose the stage-audience configuration that fulfills their artistic desires. Moreover, the performance chamber is intentionally made of materials that are not precious in order to encourage alterations; the stage and auditorium surfaces can be cut, drilled, painted, welded, sawed, nailed, glued and stitched at limited cost.

Stacking the Wyly Theatre’s ancillary facilities above- and below-house also liberates the performance chamber’s entire perimeter, allowing fantasy and reality to mix when and where desired. Directors can incorporate the Dallas skyline and streetscape into performances at will, as the auditorium is enclosed by an acoustic glass façade with hidden black-out blinds that can be opened or closed. Panels of the façade can also be opened to allow patrons or performers to enter into the auditorium or stage directly from outside, bypassing the downstairs lobby.

By investing in infrastructure that allows ready transformation and liberating the performance chamber’s perimeter, the Wyly Theatre grants its artistic directors freedom to determine the entire theater experience, from audience arrival to performance configuration to departure. On consecutive days, the Wyly Theatre can produce Shakespeare on a proscenium stage or Beckett in a flat-floor configuration silhouetted against the Dallas cityscape. Both learning from, and improving upon, DTC’s original Arts District Theater, the Dee and Charles Wyly Theatre will restore Dallas as the home of the most flexible theater in America, if not the world.

June 21, 2011

A SPACE OF LIGHT | Lebbeus Woods in collaboration with Christoph a. Kumpusch

(above) The Light Pavilion by Lebbeus Woods in collaboration with Christoph a. Kumpusch, in the Raffles City complex in Chengdu, China, by Steven Holl Architects.

The Light Pavilion is designed to be an experimental space, that is, one that gives us the opportunity to experience a type of space we haven’t experienced before. Whether it will be a pleasant or unpleasant experience; exciting or dull; uplifting or merely frightening; inspiring or depressing; worthwhile or a waste of time, is not determined in advance by the fulfillment of our familiar expectations, because we can have none, never having encountered such a space before. We shall simply have to go into the space and pass through it, perhaps more than once. That is the most crucial aspect of its experimental nature, and we—its transient inhabitants—are experimentalists in full partnership with the space’s designers. Each of our experiences will be unique, personal.

Set within a more known three-dimensional geometry and framed by it, the Light Pavilion exerts its differences. Most apparently, the elements defining it do not follow the known, rectilinear geometry of its architectural setting. The columns supporting stairs and viewing platforms obey a geometry defined by a dynamic of movement. Their deviation from the rectilinear grid releases its spaces from static stability and sets them in motion, encouraging visitors to explore.

The structural columns articulating the Pavilion’s interior spaces are illuminated from within and in the twilight and night hours visibly glow, creating a luminous space into which the solid architectural elements appear to merge. This quality is amplified by the mirrored surfaces enclosing the Pavilion, which visually extend its spaces infinitely. We might speculate that this new type of space stands somewhere between traditional architecture and the virtual environments of cyberspace, a domain we increasingly occupy in our homes and workplaces, but in the Light Pavilion with more emphasis on the physical than the mental or the virtual.

From distances across the city, the Pavilion is a beacon of light for the Raffles City complex. From within the buildings, and especially from the large public plaza between them, the glowing structure radiates subtly changing color symbolizing different holidays and times of day, month and year.

The space has been designed to expand the scope and depth of our experiences. That is its sole purpose, its only function. If one needed to give a reason to skeptics for creating such experimental spaces in the context of this large urban development project, it would be this: our rapidly changing world constantly confronts us with new challenges to our abilities to understand and to act, encouraging us to encounter new dimensions of experience.

Lebbeus Woods

Christoph a. Kumpusch


(below) Development of The Light Pavilion’s design:

Recent construction photograph:

Light and color studies:

LW and CaK