I think in Temple bar, the idea probably is to allow people eating inside in the restaurants to 'see out into the street' - since the restaurant interiors are so dark. I.e. Common sense tells you, that when interior spaces are 'overly-well-lighted', all you see, when you would try to look out, is the blackness of the glass - while people outside, can see perfectly into, strongly lighted interiors at nightime, the occupants inside would not be able to see out.
Click this sentence to link to CG Architect thread in question.
This thread at CG Architect made me think about Temple Bar's restaurant interiors and the darkness in lighting terms of those interior designs.
Anyone else have any opinions? I think this image of a lighting solution is similar to the kinds of ones used in Temple Bar.
I seem to notice as many pockets of 'darkness' as there are dimly lighted ones in the space. Perhaps we as architects, aren't too sensitive to the interior designers trade - as we tend to grab onto things, which are really solid, things like walls and columns and roofs - none of which make 'a design' for a restaurant interior any better usually, or really make improvements to the 'space' at that scale.
I think, that as architects, we need to be more perceptive of factors affecting our mental perceptions of space too. I.e. Things like the time it takes to walk through a building and the experience of space/time. Things like views, natural daylight in space, things like 'open spaces' in urban situations and how people use them.
Only when we as architects, manage to observe reality in its many layers of perception, does the 'inversion of this process' actually become the process of design. I mean, that drawings no longer become just lines, arcs, rectangles etc - but something a bit more than that.
The trouble with many design courses in architecture, is the 'quick-fix' teaching you how to 'design' per se, which is impossible I think now. It is learning to see, and the inversion of that process, which becomes 'design'. The better you can see, the more you learn to notice and observer, the more sucessful your 'forays' into designing real architecture are likely to become.
More than that, as you begin to improve these skills of observation, your design 'talent' might ultimately scale very high over the given period of time, required to complete an architectural design third level course. I mean, the process should start day one in first year, with tentative attempts to look at Ching etc. I do see this 'absense' of perceptual training about interior space, circulation and open exterior public space, in architectural design education as a real problem today.