arhitectural portfolio

PORTFOLIOARchITecTuRALI R I S Z. B E N - G A L

IRIS ZANDBERG BEN-GAMaster of [email protected]

ACADEMIC PROJECTS

THESIS

PROFESSIONAL PROJECTS Commercial Residential

OTHER...

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Competition

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WORLD TRADE CENTER

EAST RIVER

CHRYSLER BUILDG

SiteConceptual Model

WIDE SECTION

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LONGITUDINAL SECTION

Williamsburg Waterfront Park is situated on the Brooklyn coast of the East River, overlooking the Manhattan skyline.As a state park, it serves a variety of demographics. The park’s de-sign focuses on the exploration of the surrounding neighborhoods needs’ by addressing landscape and program. Multi-tasking as a communal park and performance venue, the park draws diverse crowds that enjoy it throughout the year.The design incorporates two performance terraced seating areas, a visitor center, a water feature and canals, sports courts, a large size projection screen, lounging areas and a board walk, experiencing the river’s edge. The circulation scheme was formed around a continuous band of ‘ribbon’, allowing alternating paths to different locations on the site. The circulation was organized by framing specific views that create thresholds. These frames offer the user to experience moments along the path to their specified destinations within the park. The sloped topography helps keep the views clear over the permanent structures. The primary ‘ribbon’ path leads to the different attrac-tions, while the secondary paths lead to more intimate spaces.

Framed views capture distinct angles within the NY skyline, including the Empire State Building, Chrysler Building and UN Buildings. When seated at the terraced auditorium views reach towards the future site of the World Trade Center as well as Williamsburg Bridge

The circulation scheme was formed around a continuous band of ‘ribbon’, allowing alternating paths to different locations on the site. The circulation was organized by framing specific views that create thresholds. These frames offer the user to experience moments along the path to their specified destinations within the park. The sloped topography helps keep the views clear over the permanent structures. The primary ‘ribbon’ path leads to the different attractions, while the secondary paths lead to more intimate spaces.

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Green RoofSolar Panels & photovoltaic tiles on roof

SITE PLANNING: The building is located on the highest elevation of the site for two reasons: 1. To maximize vies towards opposing water features 2.To take advantage of topography and embed the structure partly into the ground.SHAPE & ORIENTATION OF BUILDING FOOTPRINT: The building has a south/north axial orientation as well as an East/West one, to take advantage of different circumstances for alternative strategies. The concrete underground production/storage areas orient from East to West and the above ground public areas orient from South to North.

Direct Heat GainEarth Sheltering

Stack VentilationEarth Cooling tubes & rock beds

Cross Ventilation Night Ventilation

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EASTERN EXTERIOR ELEVATION

scale 1’0” = 1/8”

NORTHERN EXTERIOR ELEVATION scale 1’0” = 1/8”

WESTERN EXTERIOR ELEVATION scale 1’0” = 1/8”

SOUTHERN EXTERIOR ELEVATION scale 1’0” = 1/8”

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“No space, architecturally, is a space unless it has natural light” Louis Kahn

THESIS METHODOLOGY

ARCHITECTURAL INTERACTIONThe Interplay of Light, Form & Space

THESIS RESEARCH (abbreviated)

Diagrams: Sacred Precedents Light Analysis Three potential Synagogue Light Strategies

Design Implementation: Site Documentation Light & Design Strategies Drawings Renderings Model Photography

ARCHITECTURAL INTERACTIONThe Interplay of Light, Form & Space

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“Design the Light and it will light your Design” Iris Z. Ben-Gal

Christmas Carole

Vermeer

Monet

Side Lighting

top Lighting

Combination Lighting

Church of light, Tadao AndoUnknown

Dali John Wolf

SAMe CoNDePT IN DIFFeReNT DISCIPLINeS

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Spring Summer Fall

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Flower mill room Temple emanuel

Summer

Spring

Fall

outdoor Synagogue Site Site across lake St. Paul Apostle Church

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Procession:

Successions of space that are rewarding and memorable that create a continuous flow of human perceptions called: “experience”

By Spaces

Through Spaces

Around Spaces

Hierarchy:As a formative idea, hierarchy in the design of buildings is the physical manifestation of the rank ordering. Hierarchy implies a rank ordered change from one condition to another and establishes the formal shape of the building. Space may dominate an architectural composition by being significantly different in size, shape or by placement. Light aids in orientation when it adds cues that help us negotiate an established spatial hierarchy.

By Size

By Shape

By Placement

Genius Loci:Each particlar place has its light. The Spirit of a place should be conveyed by responding sensitively to its typoical light. This interaction between light and climate is multidimensional:- we have a biological need for a sense of orientation- seosonal changes/time (refer to paintings)- sky condition- local patterns- cultural- phschological, locations with less light celebrate light to emphesize it

Spring Summer

Fall Winter

Moshe Safdie, Holocaust Museum, Jerusalem, Israel

Daniel Libskind, Jewish Museum, Berlin, Germany

Steven Holl, MIT, Simons Hall,Massachusetts, USA

James Turrell, Space That Sees, Israel Museum, Jerusalem Israel

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Revealing Space:Space, as humans experience it in architectural settings, is the culmination of our entire perceptual experience. Our sense of space depends upon the way lightreveals the enclosure. Walking through a room, our visual perceptual system clues us about the structure we are in as well as our movement in relationship to it.

Space within a Space

Adjacent Spaces

Interlocking Space

Revealing Form & Shape:Form is not perceptible without light. Light renders form visible as well as defines it by revealing structure. Forms are shaped by light, responding to its ever chang-ing qualities. Form is emphasized by light, especially when shadows animate its surfaces exposing materiality.

Front Three- Side Rim Back Top Base qurater left

Meaning:Natural light conveys a certain meaning in a building. Whether aware of it or not, we feel when we are moved. That meaning can take form in a divine, symbolic, metaphorical or contemplative manner. Very typically meaningful light tends culminate in a focal point in a room.

Interlocking Space

Tadao Ando, The Museum of Modern Art, Fort Worth, Texas, USA

Renzo Piano, NY Times Building, NY USA

Steven Holl, Chapel of St. Ignatius, WA, USA

Steven Holl, Herning Museum of con-temporary Art, Herning Denmark

Studio Kudara, Church in Piacenza, Piacenza Italy

Karl Friedrich Schinkel,The Neue Wache, memo-rial to the fallen soldiers, Berlin, Germany

Hiearchy:

As a formative idea, hierarchy in the design of buildings is the physi-cal manifestation of the rank ordering. Hierarchy implies a rank or-dered change from one condition to another and establishes the formal shape of the building.

Circulation & Use:

Circulation & Use represent the significant dynamic and static compo-nents in the buildings. Use space is the primary focus of architectural decision making relative to function, and circulation is the means by which that design is engaged.

Symmetry & Balance:

Balance is the state of perceptual or conceptual equilibrium. Symmetry is a specialized form of balance, where when divided the building in the middle axis, both sides are equal. Balance can be achieved with symmetry or a perceptual composition. Not all buildings that are bal-

anced are also symmetrical.

Geometry:

Geometry is a formative idea in architecture that embodies the tenets

of both plane and solid geometry to determines built form.

Enclosure:

The degree of enclosure of a space, as determined by the configurat-tion of its defining elements and the pattern of its openings, has a significant impact on out perception of the orientation and overall form of the space.

Parti:

Parti is the simplest form of the building and embodies the interior spacial flow as well as the enclosure.

Unity Temple, Illinois, USA

While the forms and volumes of this build-ing are byaxally symmetrical, the occupants do not move along the axis, but rather along the edge. In essence the movement of the occupant is a counterpoint to the geom-etry of the building. Entering the building from the street one faces a series of right-angled turns that emphasize the protected character of the sanctuary from the narrow lot on a busy intersection. This entrance, however, is hidden from its surroundings allowing for visitors to experience a small journey and ascend off of the street level to enter the sacred building.

Wright’s intent behind his design for the Unity Temple was to create two separate spaces for two different functions: a place for worship and a place for the service of man. The building is thereby broken into two distinct spaces, allowing form to follow function. The separation of these two functions establishes a hierarchy by allowing for the creation of a specific atmosphere in the place of worship.

A simple axial order establishes symmetry, although not imme-diately obvious, maintains an overall balance in form and space.

Hiearchy:

Circulation & Use:

Symmetry & Balance:

Above the balconies is a continuous plane of windows under the projecting roof slab. Wright set the windows right into the concrete to minimize the window framing and to create continuity between the inside and outside. Your eye can move through the windows to the columns outside whose geometric capitals abstract naturalistic leaf forms and repeat the cubic shapes of the building.

The primary volume of the sanctuary is a pure cube and the secondary spaces- entry cloisters and balconies to either side of the main space - are smaller double cubes; the secondary spaces depend on the primary one.The architect interlocks the two forms together by extending the side walls to the terraces.

The plan form of the Unity temple is the “pinwheel” surrounding the square.Its powerful experience is not jus a simple cubic center but a more volumetric one constructed of several spaces woven together held in tension

Geometry:

Enclosure:

Parti:

Jubilee Church, Rome, Italy

The project consists of two elements: the church itself and the parish center, consisting of offices, an auditorium and a multipurpose room. Both buildings are sepa-rated by a concave wall and linked by a glass screen on the facade of the building.

The complex formally differentiates itself from the surrounding buildings, becom-ing a white landmark in front of square, an area that receives the congregation. Circulation is very obvious: Straight to the primary chapel, left to the secondary, smaller chapel, right to the office areas.

The complex is not symmetrical, however balanced by the perceived equal weight.

Hiearchy:

Circulation & Use:

Symmetry & Balance:

The church has three curved walls resembling of a ship's sails, as it symbolizes "the ship in which the people of God sails." Three circles of equal radius are layered, and together with the opposite wall are the body of the ship. "These three walls discreetly refer to the Trinity," says Meier

The narrow slot at floor level, empha-sizing the non-load-bearing nature of the concrete panels immediately above it (the steel skeleton hidden within the shell), is reminiscent of the similar slot between wall and ceiling in Le Corbusier’s chapel at Ronchamp which, together with La Tourette, are Cor-busier influences Meier acknowledges, along with Alvar Aalto and Frank Lloyd Wright

Geometry:

Enclosure:

Parti:

The symmetry line lays in the middle of the pray space, which emphasizes it’s importance. It divides the building into two unequal parts, balancing the composi-tion by allocating equivalent massing to both sides.

The entrance and wind lobby lie on axis with the path that leads towards the niche, which points in the direction of Mecca. The floor of the mosque is square with an edge length of 13 meteres; the area on which the men sit and pray is carpeted light green. The annex on the left-hand side of the fore court has two storeys: a passageway below passes through to the cemetery; above it lies the entrance to the women’s gallery from which one can see the mihrab and minbar.The small minaret stands in front of the an-nex and encloses a spiral staircase that con-nects the lower floor with the upper floor. The Muezzin accesses the large minaret through the prayer hall. From inside the prayer hall a narrow stair ascends next to the minbar and leads to a room for meditation and contem-plation and from there on to the minaret.

The prayer hall itself is the focal point of the building. As such it becomes the upper point of the building’s composition, emphasizing it’s dominance. Anything leading to it is merely a pss-through or a temporary spot.

Hiearchy:

Circulation & Use:

Symmetry & Balance:

The mosque stands on a triangular site with sides of roughly equal length. By ar-ranging the prayer hall below ground level, the hall is less susceptible to noise from outside and to the extreme heat or cold that is not uncommon in Bosnia.Other than transitional door ways, all light apertures are located in the ceiling or upper part of the walls. Clearly the building owes much to Le Corbusier, whose work the young architect grew to appreciate in his studies with his teacher Iura] Neidhardt. An even stronger parallel, particularly with regard to the broad and high sweep of its roof, seems to be a similarity with Alvar Aalto ‘s churches

The prayer hall itself is shaped like a quarter pyramid, the two minaretsare both cylindrical and the annex contain-ing community and administration spaces is rectangular. The prayer hall’s form, a quarter segment of a pyramid,derives from the form of earlier Bosnian mosques from the era of the Ottoman Empire and from the shape of the nearby mountain Visocica.

Geometry:

Enclosure:

Parti:

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Cymbalista Synagogue, Tel Aviv, Israel

The building rises from a base perimeter that includes the ground-floor service areas facing south, and an atrium accessed by the two noth-facing main entrances.

The design synthesizes two functions, a space for prayer and another for cultural meetings. Thus, the two towers generate identical geometrical spaces designed for different functions, neither one takes priority.

The building is totally symmetrical, there-fore establishing a complete balance. The end results in a formal equivalence of the two towers.

Hiearchy:

Circulation & Use:

Symmetry & Balance:

The cubic mass enclosed within the outer circle is open to the light. All openings for light happen either in the ceiling in the form of skylights or clerestory windows located very high, with exception of a defined lit onyx that sur-rounds the ark.

From a rectangular base, which serves as the lobby, rise two matching towers both square in plan ,but are circular at roof level by the gradual widening of the walls towards the top.

The design marries two functions, a space for prayer and another for cultural meetings., and transforms them into an architectonic image of equal value.

Geometry:

Enclosure:

Parti:

Beth Sholom, CA, USA

The entry sequence establishes the distinction of a sacred place through passage. It is a circular journey of turning and rising and turning. The point of arrival is the courtyard. From here all the elements of the complex are accessed. The design for the sanctuary begins from the inside with the creation of a sacred room, a space in the round, focussed on the central Bimah from where the services are conducted

A plinth is established. This contains the daily chapel, medita-tion space, library, offices and meeting rooms. On this plinth two buildings are placed forming a courtyard. One is the masonry sanctuary, a vessel floating in air, the other a radiant cube housing the social hall.The room is a vessel focussing worshipers in a single community centered on the Bimah.

The complex is not symmerical, owever balanced by the perceived equal weight.

Hiearchy:

Circulation & Use:

Symmetry & Balance:

From 14th Avenue, the boulevard to the east, the synagogue appears as two contrasting volumes: a monumental concrete bowl (really, a half-cylinder), balanced atop a single-story plinth, and a decisively grounded, nearly cubic form, similar in scale but sheathed in zinc-coated steel with glass.

Getting from the sidewalk into the main sanctuary of Beth Sholom synagogue, in San Francisco, is hardly a matter of opening a front door and entering. Passing through a sequence of court-yards, rising a flight of stairs, turning, and turning again, congregants become engaged in a winding journey inward, gradually leaving the everyday realm and ultimately reaching protected sacred space.A slice of sky in the ceiling turns into the eternal light above the Ark on the Eastern Wall. All around the perimeter of the walls are clerestory windows, allowing for light to wash the sanctuary indirectly. There is no visual connection to he outside, allowing worshipers total isolation from reality.

Geometry:

Enclosure:

Parti:

Agudas Achim Synagogue, Tx, USA

The entrance to the building leads first to he primary and smaller sanctuar-ies. In order to go to the offices or other areas, one passes those high points of the building, which locationadds to their prominence.Every other space is less important and only supports the sanctuaries.

The building’s formal shape is composed of two parallel rectangles where the front of the building, the two sanctuaries, takes primary importance.

There is no symmetry to the building.The right side of the building weighs much heavier in form and importance.The plan of the sanctuary has a strong central orientation and high-lights the importance of he reading table in the worship service.

Hiearchy:

Circulation & Use:

Symmetry & Balance:

Inspired by the very first syna-gogues, Lake|Flato envisioned a light-filled limestone enclosure surrounding a communal tent-like space. The traditional square plan was used to bring the service to the congregant.

The geometry of the building is composed of two different sized squares, where the sanctuaries are located. All other spaces compose geometry of rectangles and are set to the back, which emphasize the importance of the sanctuaries, situated in the front.

The overall composition of the building is inward, complete, ad embracing in a way that provides an intimate setting for prayer.

Geometry:

Enclosure:

Parti:

Sherefudin’s White Mosque, Visoko, Bosnia-Herzegovina

Plan:

Jubilee Church, Rome, Italy

Jubilee Church, Section/Elevation 1:

Jubilee Church, Volumetric Light Analysis 1:

The church has large glass surfaces that guarantee a generous flow of natural light, located both at the top and at the main and back facades. The interior of the church is impressively lighted, giving different types of light from the glazing surfaces above and the facade of the building, as well of the light that plays with the convex surfaces of the sails. Despite all the glazing, the geometry is such that direct sun almost never comes into the church. A prism located in the altar area uses beveled windows to achieve indirect lighting, recalling the effect of the church of Notre Dame du Haut, Le Corbusier , of which Meier is a declared admirer. Light is the means by which we are able to experience what we call sacred. Light is at the origins of this building... In the Jubilee Church, the three concrete shells define an enveloping atmosphere in which the light from the skylights above creates a luminous spatial experience, and the rays of sunlight serve as a mystical metaphor of the presence of God...

Jubilee Church, Section/Elevation 2:

Jubilee Church, Volumetric Light Analysis 2: Jubilee Church, Section 2, Skyvault/Diffused

Jubilee Church, Section 2, Direct reflection:The church has large glass surfaces that guarantee a generous flow of natural light, located both at the top and at the main and back facades. Inclined planes used to achieve an indirect lighting. It is interesting how light is brought in from various angles and planes, yet is optimized indirectly.

Jubilee Church, Section 1, Direct reflection:The perceptual volume of the Church is directly influenced by natural light since the zenith light and the glazed skylights between the successive shells are continually responsive to the changing pattern of light and shadow as the sun moves across its trajectory. According to the season, the weather, and the time of day, light is variously graduated down the inner surface of the shells thereby imparting to the Church, the Chapel and the Baptismal Fount a particular character.

Plan:

Unity Temple, Illinois, USA

The art glass panels over the central space, protected outside by a glass shell, create a canopy of amber colored light for the entire room. Each panel recessed in the crossed ceiling structure is composed of four glass modules, each turned a different way. An oak strip connects each panel to the framing strip which, in turn, connects them to the geometric lines of the whole room. A yellowish hue casts a warm sunny glow throughout.

Upon entering the Temple, one turns left (north) through double glass doors, from the Entrance Hall into the even smaller, darker Cloister below the galleries along the sides. Following the Cloister into the back, shafts of light and the pattern of the art glass windows from the narrow openings are all that break the darkness of the interior, while ones eyes are lifted upward by the brightness of the ceiling.

Unity Temple, Section/Elevation 1:

Unity Temple, Volumetric Light Analysis 1:

The sanctuary receives natural light through clerestories along the upper walls and a series of square stained glass skylights that puncture through the ceiling.

The integration of various light sources brings light deeper into the sanctuary and provides a uniform and balanced contrast free light. A major source of light is the Temple’s double system of skylight. It consists of an exterior pitched clear glass roof and interior flat amber-tinted skylight ceiling. The latter covers the whole auditorium and distributes even, diffused and soft light providing the warmth of sunlight. Another source comes from the upper clearstories , allowing light to reach as deep as possible into the interior. Large horizontal projected eaves on all sides of the temple protect these windows, provide shade, and influence the amount and quality of light in the building. Light bounces from the overhangs upward to the interior ceiling creating an even glow.

Unity Temple, Section 1, Skyvault/Diffused

Unity Temple, Section 1, Diffused Light:

Unity Temple, Volumetric Light Analysis 2:

Unity Temple, Section/Elevation 2:The spiritual lighting journey is accentuated through a repeated interplay of light and darkness. Light/shadow effect is reinforced by washing the pulpit/altar surface with more light relatively to the other areas in the temple, which become darker as we move away from he main floor. Additional technique to il-luminate the darker areas are the window slits in the temple’s four corners, that lights the path and directs the visitor. Unity Temple’s drama of light/darkness create a spiritual bridge from the profane (the earthly world) to the sacred (a state of pure light).

Unity Temple, Section 2, Skyvault/Diffused

Unity Temple, Section 2, Diffused light:

Plan:Sherefudin’s White Mosque, Visoko,

Bosnia-Herzegovina

Sherefudin’s White Mosque, Plan Light Analy-

Sherefudin’s White Mosque, Section/Eleva-

Sherefudin’s White Mosque, Volumetric Light

At the front of the room, the height of the plain white walls sinks to half the overall height of the space, atthe rear to two-thirds thereof, intersecting with five sometimes smaller sometimes larger cupola-like skylights. The right angle that results where the latter meet the ceiling are deliberately aligned with importantparts of the sacred enclosure, for example, the central axis from the portal to the qibla. The five “cupola”- a permanent reminder of the five daily prayers and five most important commandments of Islam - are soclose to one another that the ceiling appears to sway and surge.

Sherefudin’s White Mosque, Section,

Sherefudin’s White Mosque, Section, Direct reflection:Light is not used to denote symbolic meaning in mosques since, with the exception of theKaaba in Mecca, the use of symbolism is prohibited in Islam. Light should not be used to create mysticalatmospheres but to clearly delineate the basic form of the prayer hall and its extents.As a result, despite the orientation towards Mecca, Sheferudin’s Mosques exhibits no particulardirectionality even though the opposite arrangement of entrance and mihrab creates an axis of sorts.The interiors of mosques should be evenly illuminated. The empty space of the floor, the ability toperceive the room as a whole and the even illumination, produce a space of great unity and peace.

The Mosque’s roof is a freely deformed quarter of a cupola, pierced by five skylights, themselves composed of segments of quarter cupolas. The effect is one of a dialog between the elementary plan and the sophis-ticated hierarchy of roof cones. Incoming sunlight is baffled and redirected in order to avoid glare. Walls can be seen throughout large spaces, satisfying the biological needs for orientation. By contrast however, patches of sunlight on the floor coming from the different skylights, may be visible on specific areas. Those changing patterns add drama to an otherwise small dark space.

Unity Temple, Illinois, USABy: Frank Lloyd Wright

Jubilee Church, Rome, ItalyBy: Richard Meier

Sherefudin’s White Mosque, Visoko, Bosnia-HerzegovinaBy: Zlatko Ugljen

Jubilee Church, Section 1, Skyvault/Diffused:

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Plan:

Cymbalista Synagogue, Tel Aviv, Israel

Cymbalista Synagogue, Plan Light Analysis:

Cymbalista Synagogue, Section/Elevation 1:

Cymbalista Synagogue, Volumetric Light Anal-

In each tower at the circular top is installed a square “canopy” which drapes natural light onto the walls of the hybrid cylinder and rectangle volume. These installations resemble the tradi-tional Jewish wedding canopy, the chuppah, here permanent and poetically cast in light. The Torah Ark is lit from an opening surrounding it, glazed by translucent onyx.

Cymbalista Synagogue, Volumetric Analysis 2:

Cymbalista Synagogue, Section/Elevation 2:

A rectangular plan base, gives rise to two matching towers, both square in plan, and merging into circles. As the square transforms into a cylinder the resulting space between the edges of the square ceiling andthe circular perimeter of the external walls, daylight falls through four inclined glazed segments sheddingsharp strips and sweeping curves of light across the interior walls. Despite having cast defined lit areas on the walls, light is bounced once reflected, ending up with a uniform illumination. The Ark’s placement is reinforced by defining it with surrounding incoming light, prioritizing it’s importance. By refraining from using windows and openings in the walls, a place of concentration, prayer and contemplation can be created that is free of outside distractions.

Cymbalista Synagogue, Section 2, Skyvault/Diffused

Cymbalista Synagogue, Section 2, Direct reflection:

Cymbalista Synagogue, Section 2, Skyvault/Diffused

Cymbalista Synagogue, Section 2, Direct reflection:

Top lighting penetrates through the four inclined glazed segments, intercepted by the square suspended ceiling, sweeping the walls with luminosity. The lighting in the synagogue is strictly from the top with the exception of the Torah Ark Cabinet that is lit by an opening surrounding it, glazed by translucent onyx.

Plan:

Beth Sholom, CA, USA

Beth Sholom, Plan Light Analysis:

Beth Sholom, Section/Elevation 1:

Beth Sholom,Volumetric Light Analysis 1:

A slice of sky in the ceiling turns into the eternal light above the Ark on the Eastern Wall. A shadow menorah animates the wall tracing the movement of the sun through the day and illuminated at night. All light enters the room from above with views of the sky creating a sense of sanctity and remove in the midst of the noise and bustle of the city. The walls and ceiling floating above are connected with light.

Light in synagogues represents eternal light, a light that never dies out, and symbolizes the presence of God. The seven branches of the Jewish candelabrum, the menorah, is the oldest and mostimportant religious symbol of Judaism. As a sign of religious enlightenment, the menorah is presentin one form or another in every synagogue. The sanctuary of Beth Sholom is a vessel, a metaphor to a menorah that is animated as a shadow on the wall, tracing the movement of the sun through the day and illuminated at night. All light enters the room from above with views of the sky creating a sense of sanctity and remove in the midst of the noise and bustle of the city. A slice of the sky in the ceiling turns into the eternal light above the Ark on the Easern Wall.

Incoming top light clearly defines the space by highlighting circulation patterns and rendering the seating areas darker. The Torah Shrine is lighted by a large overhead skylight, focusing the attention to it by adding drama. There is no side apertures or sidelighting at all.

Beth Sholom, Section 1, Skyvault/Diffused

Beth Sholom, Section 1, Direct reflection:

Beth Sholom, Volumetric Light Analysis 2:

Beth Sholom, Section/Elevation 2:

Beth Sholom, Section 2, Skyvault/Diffused

Beth Sholom, Section 2, Direct reflection:

Plan:

Agudas Achim Synagogue, Tx, USA

Plan Light Analysis:

Agudas Achim Synagogue, Section/Elevation 1:

Agudas Achim Synagogue, Volumetric Light

Light permeates the sanctuary with an ethereal glow. The Texas sun is diffused through a sky-lit oculus in the center of a Star of David 40 feet above, while clerestories allow light to slide behind the cantilevered concrete balconies. This creates ever-changing patterns of light that wash over and animate the Sisterdale limestone walls. In addition to skylighting in the sanctuary, slivers on the sidewalls allow the light to penetrate and light the side isles floor. This light connects to light that penetrates in the same manner from across, and together a lit pave way is established to lead the congregants towards their seating.In addition, the Ark is highlit from the top and side, to emphasise it’s importance.

The design of the sanctuary itself reflects the tent of the Tabernacle. Four columns form a square and support angled beams, which culminate in two intersecting triangles, forming a star of David hat hovers 40 feet above the main floor. The main source of light in the sanctuary in Agudas Achim is a skylight, in the middle of that star, which is covered by a tent-like fabric panel. Because there are no exterior windows, the saturated light helps to concentrate the worshippers’ attention on the Bimah, while making the cream-colored limestone walls appear luminous. High clearstory windows light the upper balcony seating, directing light downwards. Vertical slots in each corner of the room direct sunlight for a short period of the day into the room and only minimal outward glimpses are possible. The Torah Ark is similarly lit by a horizontal slot directing light over it ,emphasizing its central role in the room.

Agudas Achim Synagogue, Section 1,

Agudas Achim Synagogue, Section 1, Direct reflection:

Agudas Achim Synagogue, Volumetric Light

Agudas Achim Synagogue, Section/Elevation 2:

Most of the lighting of the interiors is achieved by filtering the toplight that penetrates through thecentrally located skylight. Even the Torah Ark is lit from the top through a clerestory located above it. In this case sidelighting is very minimaly used.

Agudas Achim Synagogue, Section 2,

Agudas Achim Synagogue, Section 2, Direct reflection

Cymbalista Synagogue, Tel Aviv, IsraelBy: Mario Botta

Beth Sholom, CA, USABy: Natoma Architects

Agudas Achim Synagogue, Tx, USABy: Lake/Flato Architects

WINTER SOLSTICE- January 21

SUMMER SOLSTICE- June 21

SPRING EQUINOX- March 20













STRATEGY # 1 STRATEGY # 2 STRATEGY # 3 STRATEGY # 4 STRATEGY # 5

9:30 am 11:30 am 1:30 pm

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9:30 am 11:30 am 1:30 pm9:30 am 11:30 am 1:30 pm9:30 am 11:30 am 1:30 pm9:30 am 11:30 am 1:30 pm

THESISD

iffe

rent Lig

ht S

trate

gie

s for W

inte

r, S

um

mer &

Spring @

9:3

0am

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STRATEGY # 1 STRATEGY # 2 STRATEGY # 3 STRATEGY # 4 STRATEGY # 5

9:30 am 11:30 am 1:30 pm

9:30 am 11:30 am 1:30 pm

9:30 am 11:30 am 1:30 pm

9:30 am 11:30 am 1:30 pm

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9:30 am 11:30 am 1:30 pm9:30 am 11:30 am 1:30 pm9:30 am 11:30 am 1:30 pm9:30 am 11:30 am 1:30 pm


S T R A T E G Y # 1

Indirect top lightingSidelighting



9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm




9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm




9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

S T R A T E G Y # 2

Diffused toplightingReflected toplighting through a light cnnonSidelighting

S T R A T E G Y # 3

Sidelighting

T O P L I G H T I N G

S I D E L I G H T I N G

I N D I R E C T L I G H T I N G

C L E R E S T O R I E S

ENTRYSeating Bimah

Torah Ark ENTRY Seating Bimah

Torah Ark

ENTRYSeating Bimah

Torah Ark

THESISThre

e S

ynagogue L

ight S

trate

gie

s for W

inte

r, S

um

mer &

Spring @

9:3

0am

,11:0

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,1:3

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S T R A T E G Y # 1




9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm




9:30 am 1:30 pm 6:30 pm

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9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

S T R A T E G Y # 2


S T R A T E G Y # 3

Sidelighting





ENTRYSeating Bimah


Torah Ark

ENTRYSeating Bimah

Torah Ark

DESIGN IMPLEMENTATION

FUTURE SITE

THESIS

| S

ite &

P

rocessio

n

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ENTRY

Tora

h Sc

rolls

EA

ST

Torah Procession

Prayers’ Procession

|

Pla

n &

C

ircula

tion o

f U

se

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S T R A T E G Y # 1




9:30 am 1:30 pm 6:30 pm

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9:30 am 1:30 pm 6:30 pm

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9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

S T R A T E G Y # 2


S T R A T E G Y # 3

Sidelighting





ENTRYSeating Bimah


Torah Ark

ENTRYSeating Bimah

Torah Ark


S T R A T E G Y # 1




9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm




9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm




9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

S T R A T E G Y # 2


S T R A T E G Y # 3

Sidelighting





ENTRYSeating Bimah


Torah Ark

ENTRYSeating Bimah

Torah Ark


S T R A T E G Y # 1




9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm




9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm




9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

S T R A T E G Y # 2


S T R A T E G Y # 3

Sidelighting





ENTRYSeating Bimah


Torah Ark

ENTRYSeating Bimah

Torah Ark


S T R A T E G Y # 1




9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm




9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm




9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

9:30 am 1:30 pm 6:30 pm

S T R A T E G Y # 2


S T R A T E G Y # 3

Sidelighting





ENTRYSeating Bimah


Torah Ark

ENTRYSeating Bimah

Torah Ark

p R e L i m i n a R Y L i g h t m o d e L STHESIS

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our pre

limin

ary

Sunagogue L

ight S

trate

gie

s

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east Facade 9:30amIndirect Sidelighting washes wall

east Facade 1:30pmDirect Toplighting lights Torah Ark

east Facade through out the dayDirect Sidelighting never hits Rabbi

east Facade 6:30pmDirect Sidelighting creates an arrorw pattern on floor

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d coord

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THESIS

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rior E

levations

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xte

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enderings

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10:00 am: Saturday morning Services are beginning. Light comes in from the south, illuminating the east Wall.

12:30 pm: Mid day during Saturday morning Services. The sun is on top, washing th eeastrn Ark wall even further.

1:30 pm: Torah is reurned to the Ark Holder after the Congregation’s procession. Light points on the Torah Ark during the Saturday morning Services.

5:30 pm: People start coming into evening Services. Light in the room is much warmer and points inwards, as if directing the visitors.

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endere

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1:30 pm: During Satur day Services the Torah Scrolls are returned to the Ark, lit from atop.

5:30 pm: People start arriving for evening Services, be ing led inward by light.

10:00 am: Saturday morning Services, the east Wall is being washed by Southern Light.

12:00 pm: During Saturday morning Services the east Wall is being washed from atop.

| P

hysic

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odel d

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onstrating Lig

ht S

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THESIS

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odel of th

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ynagogue

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Rendering o

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ynagogue

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elite p

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New

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hand drafted

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nt &

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