Wednesday, December 16, 2009

i don't understand where the 3D page is gone,
how can I just do a string,
where the render option,
why when i chance one option for one lamp all the other lamp are changing as well
OMG i absolutly hate learning a new sofware you loose a lot of time when you need it!

Monday, December 14, 2009

Wednesday, December 9, 2009

high Sodium-vapor lamp

A Sodium vapor lamp is a gas discharge lamp which uses sodium in an excited state to produce light. There are two varieties of such lamps: low pressure and high pressure.

High-pressure sodium (HPS) lamps are smaller and contain additional elements such as mercury, and produce a dark pink glow when first struck, and a pinkish orange light when warmed. Some bulbs also briefly produce a pure to bluish white light in between. This is probably from the mercury glowing before the sodium is completely warmed. The sodium D-line is the main source of light from the HPS lamp, and it is extremely pressure broadened by the high sodium pressures in the lamp; due to this broadening and the emissions from mercury, colors of objects under these lamps can be distinguished. This leads them to be used in areas where good color rendering is important, or desired. Thus, its new model name SON is the variant for "sun" (a name used primarily in Europe and the UK). HPS Lamps are favoured by indoor-growers for general growing because of the wide colour-temperature spectrum produced and the relatively efficient cost of running the lights.

High pressure sodium lamps are quite efficient—about 100 lm/W—when measured for photopic lighting conditions. They have been widely used for outdoor lighting such as streetlights and security lighting. Understanding the change in human color vision sensitivity from photopic to mesopic and scotopic is essential for proper planning when designing lighting for roads.

Because of the extremely high chemical activity of the high pressure sodium arc, the arc tube is typically made of translucent aluminium oxide. This construction led General Electric to use the tradename "Lucalox" for their line of high-pressure sodium lamps.

Xenon at a low pressure is used as a "starter gas" in the HPS lamp. It has the lowest thermal conductivity and lowest ionization potential of all the non-radioactive noble gases. As a noble gas, it does not interfere with the chemical reactions occurring in the operating lamp. The low thermal conductivity minimizes thermal losses in the lamp while in the operating state, and the low ionization potential causes the breakdown voltage of the gas to be relatively low in the cold state, which allows the lamp to be easily started.

Metal halide lamp

Metal halide lamps, a member of the high-intensity discharge (HID) family of lamps, produce high light output for their size, making them a compact, powerful, and efficient light source. By adding rare earth metal salts to the mercury vapor lamp, improved luminous efficacy and light color is obtained. Originally created in the late 1960s for industrial use, metal halide lamps are now available in numerous sizes and configurations for commercial and residential applications.

Like most HID lamps, metal halide lamps operate under high pressure and temperature, and require special fixtures to operate safely.

Since the lamp is small compared to a fluorescent or incandescent lamp of the same light level, relatively small reflective luminaires can be used to direct the light for different applications (flood lighting outdoors, or lighting for warehouses or industrial buildings).

reflection

since i know that spaces are not gonna be the same as last year festival, i can not define, where i can be

it's gonna be difficult to create something without environment

light

light i'm gonna use:

hight pressure sodium light:
pros: efficient, outdoor use, long term life
cons: really hot, i have to protect it


Metal halide lamp:
pros: good colour, efficient, use for shopwindows
cons: possible failure and lamp explosion

problems

i can not receive documentation about the differentes places before middle of january and IF they accept my candidature!
no integration, no inraction with the existing place!
damn it!!
still don't understand how to install revit! i hate that!

Monday, December 7, 2009

first 3D about the project

for this part, i'm really bad, so i'm gonna to do it in french first to help me to understand how the light works

Photographier signifie étymologiquement « écrire avec la lumière ».

Avant d’aborder la technique photo proprement dite, il est nécessaire de rappeler quelques notions d’optique de base.

La lumière est une manifestation de l’énergie perceptible aux êtres vivants par le sens de la vue. Les physiciens la définissent comme un phénomène à la fois corpusculaire et ondulatoire :

CORPUSCULAIRE : certaines de ses propriétés seront expliquées en la définissant comme un mouvement de grains d’énergie (les photons). C'est ainsi que l'on peut tenter de comprendre son action sur les surfaces sensibles (l'émulsion de nos "pellicules")

ONDULATOIRE : ce qui touche à la couleur ou aux filtres sera mieux expliqué en en la considérant comme un “rayonnement“ d’ondes de fréquences diverses.

Un phénomène ondulatoire est caractérisé par :
1) sa vitesse de déplacement
2) sa fréquence ou sa longueur d'onde.

La fréquence est le nombre de périodes (d'ondulations, ou d'oscillations ...) par seconde.
La longueur d'onde est l'espace franchi par le rayonnement pendant 1 période (ou 1 oscillation)
Equation fondamentale : Vitesse = Fréquence x Longueur d'onde.
La lumière ne constitue qu'une faible partie de l'ensemble des “rayonnements électromagnétiques“ récapitulés sur la figure ci-contre

Quelques données à garder en mémoire :

1) la lumière est produite par une source, généralement de la matière portée à une haute température.

2) la lumière se déplace très rapidement (300 000 km/s), les physiciens considèrent que c’est la “vitesse absolue“ qui ne pourra jamais être dépassée.

3) la lumière se déplace dans le vide, et dans certains cas dans la matière : celle-ci est donc affectée d’une qualité de transparence, ou d’opacité.

4) dans un milieu transparent homogène la lumière se déplace en ligne droite. Sa direction est généralement déviée lorsqu’elle atteint la limite entre deux milieux transparents différents : ce phénomène s’appelle la réfraction.

5) la lumière perd une partie de son énergie en traversant la matière. Un milieu n’est jamais complètement transparent. La lumière est absorbée proportionnellement à l’épaisseur traversée. Au cours de cette absorption la lumière se transforme en chaleur.

6) lorsqu’elle traverse des milieux différents
- une partie de la lumière est transmise à travers le second milieu s’il est transparent,
- une partie est absorbée et transformée en chaleur,
- une partie est réfléchie par l'interface entre les deux milieux.

Nous avons dit que le rayonnement lumineux s’étale sur une gamme de fréquences diverses : on appelle spectre visible l’ensemble des longueurs d’onde comprises entre 400 et 700 mµ (millimicron, c'est à dire millième de millième de millimètre). L'équation fondamentale citée plus haut nous permet de calculer les fréquences correspondantes : de 750 à 430 Térahertz (1Térahertz = 1000 milliards de vibrations par seconde).
Notre œil est sensible à ces différentes longueurs d’onde, que notre cerveau traduit par les couleurs. Ce qui nous apparaît comme une lumière colorée est en réalité une combinaison de radiations de différentes fréquences.

7) Lorsqu'elle rencontre un corps non transparent, une partie de la lumière est absorbée et transformée en chaleur, une partie est réfléchie. Les rayonnements de fréquence différente ne sont pas absorbés ou réfléchis également, ce qui provoque l'impression de couleur.
Les sources lumineuses produisent ces couleurs en proportions variables. Les milieux transparents peuvent absorber certaines fréquences et laisser passer les autres, les corps réfléchissants de même. D'où les impressions colorées que nous avons des objets éclairés qui nous entourent.

Notre œil ne perçoit qu’une infime bande de fréquences particulières parmi toutes celles existantes (spectre visible).

Règle générale : un milieu transparent ne laisse pas passer toutes les fréquences, donc filtre les couleurs.
La lumière blanche est constituée par le mélange de l'ensemble des fréquences visibles pour l’œil humain.
2.1.2 Transmission de la lumière

Dans un milieu complexe, les phénomènes de transparence, de réflexion et d’absorption sont multiples, et créent des ensembles d’ombres et de reflets qui permettent à notre cerveau, par l’intermédiaire de la vue, d’appréhender le monde qui nous entoure.
Un volume opaque frappé par la lumière possède une partie éclairée et une partie dans l’ombre : c’est l’ombre propre de l’objet. Un autre volume placé derrière le premier par rapport à la source lumineuse ne sera pas éclairé, il est dans l’ombre portée par le premier. Les surfaces appartenant à une ombre propre peuvent recevoir des reflets d’objets environnants et apparaissent de ce fait légèrement plus claires que les ombres portées. L’angle d’incidence des rayons lumineux influe sur la densité de l’ombre : sur les surfaces courbes le passage progressif de la lumière vers l’ombre produit un dégradé.

Les ombres seront différentes selon le type ou la situation de la source lumineuse :
- Source à l’infini : projection cylindrique, exemple : la lumière solaire - ombres dures.
- Source proche ponctuelle (spot, projecteur) : projection conique, ombres dures.
- Source proche étendue (boîte à lumière) : projection conique, ombres douces.

Notre œil perçoit la lumière réfléchie par les objets, et donc modifiée par rapport à la source par suite des multiples phénomènes d’absorption, réflexion, transparence, diffusion, couleur.

Certaines modifications des caractéristiques de la lumière ne sont pas directement perceptibles par nos sens, c’est le cas de la polarisation

focusing on technology

Thursday, December 3, 2009

Wednesday, December 2, 2009

Light and shadow are like 2 inseparable things. Being between is being a part of it. So basically, I things instead of doing something where the spectator turn around, I will do something where the spectator become a part of the piece. He will make the light and the shadow live.
I thing I’m getting closer, a form start to be create in my head but I want to do , different proposition and thing about it in a different way maybe??

Monday, November 30, 2009

i particulary like this one because it represente my general idea about 'between light and shadow'

some pics about shadow



questionning myself

The question I ask myself is how can I start my project, I’m doing usual research, history of Montpellier, analyses of sites, what we can understand to the sentence “between light and shadow’ but I don’t feel it.
This project needs poesy, what’s the relationship between light and shadow?
One can’t exist without the other…that’s a relation really ambiguous, how can I do something between 2 things which couldn’t be dividing or separate?
So instead of being “between”, the project will be to create something to add between the light and the shadow…or put the spectator between the light and the shadow, he could became an actor of the piece…
And the piece should have a relationship with the environment

Sunday, November 29, 2009

after few days of reflection

I started my project trough different angle;
The first one is the 'between light and shadow aspects', i have to define what's the meaning for me of BETWEEN, the subject is not light and shadow but between light and shadow. I think that's really perturbating. That’s why I barrow few books to the library ‘making light’ by Ingo Maurer which is more or less in the subject, ‘lightbook’ by Ulrike Brandi and Christoph Geissmar-Brandi which is about the relationship between light and environment, ‘light zone city’ by Christa Van Santen which is about light planning in an urban context,’L.I.G.H.T.I.N.G’by Edward Effron which was useless because just about furniture and provoking magic’ by Ingo Maurer which was the best book I borrowed. Why?
First there is some concept about light in it that i really like:
-illuminating with memory and emotion
-creation of a piece of art
-notes of inspiration: playing with shadow
-provoking magic through collaboration
-underlining the existent
I’ll go deeper for the understanding of the magic of light but let’s start with Monptellier
This is my second angle: first i had a look where were the sites:
-7 place du marché aux fleurs
-1 rue de la carbonnerie
-26 rue de l’aiguillerie
-2 place petrarque
-5 place du sauvage
-14 rue des trésorier de la bourse
-14 rue eugene lisbonne
-12 rue du plais des guilhem
-place de la canourge
I have to find few pictures of this places because that’not really good on google earth

Story of Montpellier:
Montpellier (Occitan(language of the south of france) Montpelhièr) is a city in southern France. It is the capital of the Languedoc-Roussillon region, as well as the Hérault department.
The population of the commune of Montpellier at the 2006 census was 251,392, whereas the whole metropolitan area had a population of 600,000 in 2006. In 2008, the estimated population of the metropolitan area was 533,000.
The city is situated on hilly ground 10 kilometres inland from the Mediterranean coast on the River Lez. The name of the city, which was originally Monspessulanus, is said to have stood for mont pelé (the naked hill, because the vegetation was poor), or le mont de la colline (the mount of the hill)Montpellier is located 52 kilometres from Nîmes, 168 kilometres from Marseille, 248 kilometres from Toulouse. The city is built on two hills, Montpellier and Montpelliéret, thus some of its streets have great differences of altitude. Some of its streets are also very narrow and old, which gives it a more intimate feel.

web site

http://favmontpellier.nerim.net/participants09.html

Thursday, November 26, 2009

this is my brief

Festival of Lively Architecture – Association Champ Libre
Type: open
Language: French, English
Eligibility: young architects, landscape designers
Registration Fee:
none
Awards:
Grant of 10,000 euro for the realization of the installation
Timeline:
15 December 2009 - Registration and application submission deadline
January 2010 – Announcement of selected teams
15 February 2010 – Deadline for project submission
17-20 June 2010 – Festival
Jury:
To be announced
Design Challenge:
Thematic Festival 2010: Between shadow and light
On the occasion of the 5th FESTIVAL OF LIVELY ARCHITECTURE in MONTPELLIER, the
association Champ Libre launches a call for applications to realize 10 installations.
The Festival settles in the very heart of the city of Montpellier, it will thus take place in the
Escutcheon and more specifically in the courtyards of private mansions. Therefore it will
propose a journey to visitors, sort of an architecture discovery in the middle of the city.
Submission Requirements:
The application file must content: + A presentation of the team, and each member if it is not an
individual application, with curriculum vitae of each member + References of architecture
realizations, installations, competitions… + An intention letter according to the Festival of Lively
Architecture and to the thematic Between shadow and light.
The application must be sent by email as a PDF to the following address:
asso_champlibre@yahoo.fr
A complete document with details about the thematic constraints will be sent to the selected
teams
For more information, go to: http://favmontpellier.nerim.net/

Wednesday, November 25, 2009

looking for a new project

For this new project i would like to do something new and different from what i've done before

Thursday, November 19, 2009