The newly adapted rectangular form of the eating act undergoes another adjustment according to the site; the early ambition of capturing the right views return in focus. The side angled outwards emphasizes on the importance of that particular view while increasing the length of the scenery frames of the canals and intended forest garden.
The direction source of direct lighting is also treated as defining character of cooking and eating.
Subtraction method is used as a strategy for light penetration.
Direct daylighting accompanies journeys from one point to another while it is decided that artificial lighting would cater activities of cooking on both parts.
The change of pattern throughout the day creates an awareness of time/reality within the shaded interior despite the isolated level of the building.
In addition to the one-source dramatic lighting strategy of the mosque, more daylighting is derived from a corridor next to the cooking hall through an L-shaped roof glazing. Only diffused, reflected light are allowed into the cooking space most of the time. The Sefaira analysis of the building (bottom left) indicates a 0% Annual Sun Exposure where the space is free from discomfort of excessive direct sunlight.
As cooking is a ‘medium contrast visual task’ requiring specific lighting of 500-1000 Lux directed on tasks involved, utilization of controllable artificial lighting catered specifically on the activity within a heavily shaded mass (of diffused daylighting) seems more appropriate than attempting complete dependability on shifting sunlighting.
The columns are transferred to the eating side as structural columns supporting the roof. Although without the halos of light, absence of solid structural wall optimizes light penetration from all sides.
Trees filter sunlight during summer, creating dramatic shadows that change throughout the day.
