Rhyse GUTSCHMIDT a1747760 - The Nature of Light - Assignment 2 - Rep2_2019

T h e

Representation II - 2019

Rhyse GUTSCHMIDT a1747760

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Existing Elevations Existing Site Plan Site Diagrams 3D Model Perspectives Site Photos Shade Analysis Night Photos Light Study - Luminosity

CONT E N T S

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Metaphor Precedent Concept Sketches Exploded Axonometric Concept Sketches Movement Drawings Light Study - Reflection

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Exterior 3D Views - Day 3D Views - Night Interior 3D Views Elevations Plans Section Light Study - Opacity

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Spatial Experience Constructio Construction Diagrams Material Pallet Light Study - Filtration References

North side Elevation

South-side Elevation

West-side Elevation

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SI TE PHOT O S - C O N T EXT

SI TE PHOT O S - Q U A L I TI ES

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SH AD E A N A L Y S IS

NI GHT I LL U MIN A T IO N

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Linguistic Definition

Luminosity is defined by the intrinsic brightness of a celestial object; the intensity whereby it emits visible radiation in the form of what humans perceive as light. The apparent brightness of an object is defined by two things; firstly, it’s luminosity, and secondly, the distance between the observer and said object. The derivation of the word light comes from the Latin word, lumen.

Philosophical Meaning

LUMINOSITY ZAH A HA D ID | F L U ID LU MI NOS I T Y

The University’s motto “seek light”, and the message displayed underneath the coat of arms within its logo “Sub Cruce Lumen”, roughly translates into the phrase “the light (of learning) under the (Southern) cross”. Here we can see that the properties of light aren’t bound to a visible phenomenon of illumination, but rather a deeper philosophical understanding whereby light is knowledge and wisdom and

MAXXI Museum, 2009, Rome, Italy

carries a metaphorical quality to itself as well. In other catch phrases, to light the way is to take charge and to guide, to say that somebody is glowing refers to their effervescent happiness, to refer to somebody as bright is to praise their intelligence. In the bible, light is associated with creation, the removal of darkness and mystery, and the introduction of days and rhythm. Arguably, this leads to the idea that light is life.

Case Study

Luminosity, though predominantly a measure of brightness is what is generally perceived as the presence of light. A room with a higher luminosity is a brighter room because there is more light present. A room with

higher luminosity is clearer to see in, and therefore is often considered safer; A highly illuminated area is an area without doubt.

The absence of brightness in a room will depict how dim that room is. Dim lighting is often considered to be ‘moody’ and have deeper emotion, while a brighter room is better for critical thinking.

Zaha Hadid carefully uses the presence of light, and more specifically the way it falls upon objects, to create an atmosphere within each of her designs. To help aid this, the notions of transparency and translucency play a key role within each scenario. In Hadid’s early days, the use of straight and angular lines was very prominent. This can be seen in the Vitra Fire station whereby the

sharp faces were illuminated, and the shapes that made up the exterior of the building were very fragmentated. Later in her career Hadid explores the use of curved, and interconnected shapes to create ambience.

Instances such as the Nordpark Railway Station, and the ceiling of the Phaeno Science Centre explore these notions. To further add to the spatial properties of Hadid’s designs, translucent, and indirect light were incorporated in buildings such as the Museum of XXI Century Arts. This building effectively showcases a wide variety of stark and crisp lighting, coupled with both curved and angular elements through its use of translucent screens and light diffusing elements. This luminous, yet

shadowless outcome presents a coherent, and honest feel to the building.

Roughly similar in design styles, both the Heydar Aliyev Centre and the Nanjing International Youth Cultural Centre explore the use of fluidity in its styling. Hidden behind the curved elements, the soft and dim lights of the Heydar Aliyev Centre create a warm and comforting feeling; this atmosphere successfully reflects the use of the building.

However, in the Nanjing International Youth Cultural Centre, the warm glow is obtained through the liberal use of downlights. These different design styles have quite a dramatic effect on the overall feel of each of the buildings and the luminous qualities which they each provide.

Vitra Fire Station, 1993, Weil am Rhein, Germany

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Since a grapevine is a climbing plant, its limbs are very curvaceous so that it is able to attach itself to nearby objects and climb up to bear fruit. This waviness forms the connection and pathway for the nutrients in the plants, and seemed fitting to mimic in this naturally themed design. Though the movement of these vines are often quite sporadic, the leaves and positioning of fruit are essentially thought through. The larger spots represent these leaf and fruit areas of the vine.

The pattern of sticks on a gum tree all have a main spine with smaller limbs branching of those further and further until leaves are produced. This style and pattern can be found on almost any living species, whether it be flora or fauna. The notion of a main corridor with the servant spaces surrounding it has an extremely strong presence within nature.

To aid to the ‘backbone’ of my design, this shape runs through the middle of the site underground.

A Jelly fish is an elegant underwater creature in which some species are naturally luminous. The clear and translucent body of these creatures react to electrical currents and signals to emit light. This ‘glow-in-the-dark’ phenomenon is an element that was strongly used in the final design through the addition of a scaffold and lattice of glow in the dark rings. These rings, much like the colourings of a jellyfish, are mostly redundant apart from adding to the overall beauty of the scheme.

E X PLAI NI N G M E T A P HOR

D O C U MEN T IN G ID E A G ENERATI ON

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Pictured to the right is the 2013 Serpentine Gallery Pavilion design

by Sou Fujimoto. The structure is a 3D cube grid lattice that is connected together to create this form. Though made out of no real substance, the pavilion is able to create a sense of walls and separation within different spaces through its use of the sophisticated shape, allowing for seating and viewing areas with the addition of transparent platforms whilst being illuminated from underneath at night by a series of lights around the structures base.

PREC E D E N T

I took inspiration from this lattice structure with the ‘loop’ elements of my design. The ability to see through the structure at specific angles was quite intriguing. Since the heritage view of the Barr Smith Library had to be preserved, having a similar above ground structure block little to none of the façade proved benevolent.

Though not conforming to the geometric fashions of Fujimoto’s work, the loop shapes loosely take ingenuity from them but apply their own twist of natural form to it.

STAGE 1

STAGE 2

CONC E P T S KE T C H E S

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N A T UR AL S HAPED L A T T I C E S TR UC TURE

TO A RT ISTI C A L LY S H A D E TH E RO O MS B E LOW

G R A VEL PATHS

TO INT E R AC T WI TH TH E A BOV E GROU ND STR U C TU R ES

G R OUND PLANE TO RE M AI N G R A S S

U N D E RG R O U ND H A L LWAY

TO L INK TH E P RO G R A M M E TO GE T H ER

R O T UND A R O OMS

W IT H O NE WAY M I R RO R C E ILINGS TO L E T L I G HT I N, BU T K E E P PR IVAC Y FOR P EO P L E WA L K I NG O N-TO P O F T H E CE I L I NG S

E X PLO D E D A X O A N O MET RI C - CONCEP T

CO MPO N E N T C O N C EP T S K ET CH ES

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MO VE M E N T C O L L A GE

MO VE M E N T N E T

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Linguistic Definition

By definition, reflection is the change in direction of a wave upon contact of an object; more specifically between one medium and another. Though reflections most commonly occur in light waves (e.g. a mirror) sound and water waves are affected by this phenomenon too. The reflective index of an object essentially defines the overall quality and clarity of a reflection, as well as how much light is absorbed/reflected.

Philosophical Meaning

REFLECTION THOMAS SCHIELKE | VEILED IN BRILLIANCE

A pure mirror reflects back 100% of what it ‘sees’ without absorbing any of the waves that hit it. Somebody who reflects upon themselves or the actions they make are seeing themselves from somewhat of an outside perspective. Self-reflection is often considered an important part of personal development as it allows you to analyse a situation with a different mindset and are able to

Selfridges Building, Birmingham

make better judgements from that process.

A mirror is often considered truthful; apart from being inverted, there is no distortion within its redirection processes, it shows what it is shown. A person who is considered a reflection of somebody else is just that.

A child who is a reflection of one of their parents displays the same behavioural traits as them, as they are displaying the qualities that are displayed to them.

Case Study

The façade of a building is generally the exterior faces. It’s what is seen from the street, and is usually the image that defines what the building is considered to be. Due to the construction of how glass is used on the

outside of buildings, it is considered very much external, hence the reason the specific term used in the title of the article is ‘veiled’.

With a rise of glass facades from modernist trends, many figures within this movement were wary of the potential repetition and dreariness that these glass exteriors could impose. A solution to this problem, though slightly unorthodox, was to break up and shift from flat glass to curved and shaped “crystalline shapes”. Figures who began this movement were Architects such as Paul Scheerbart, Bruno Taut, and Mies van der Rohe.

These shiny exterior panels manipulated the way that light from the building’s surroundings were directed off these

surfaces. Since mirrors are considered to portray what it is that is around them, these facades effectively manipulated the view that is seen on the surface depending on different perspectives of the viewer. As seen in the example of the Elbphilharmonie in Hamburg, the concave and convex glass shapes of its straight sides manipulate the reflections and thus the onlooker’s perception of the context around them. By progressing from flat facades with these unconventional and eccentric designs, it is considered to display a “fresh contrast to the uniform plane glass curtains of the International Style.” The notions of toying with reflections wasn’t something specifically pertained to glass facades; qualities of metal provided somewhat of a similar effect. The aluminium discs arranged in a honeycomb

fashion on the Selfridges building in Birmingham provide a matte reflection of the surrounding nature; specifically, the light qualities of the weather. Likewise, the stretched and “grater” appearances of the steel shading over the Messe Basel New Hall, and the SAHMRI building inherit the surrounding ambience, though not in direct mirror reflection, but in their own lustrous way. The silver panels of these metal and aluminium facades scatter and diffuses the light and therefore the appearance of each of these buildings is very much connected and related to the conditions surrounding it. This is essentially because the differences in the light qualities reaching the buildings interact with these surfaces to create the differences that are visible each day.

Messe Basel New Hall, Switzerland

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E X T E RI O R 3D V IE WS - DAY

3 D V I E W S - N IGH T

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FI NAL D ES IGN S E C T IONS

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Linguistic Definition Opaque is the word given to an object that is not able to be seen through; it is not transparent. The term ranges from things that are cloudy, and blurry, all the way up to things that no light can be transmitted through. Opacity and translucency are somewhat similar in the effect that they have, whereby they both have the potential to let light through, whilst simultaneously diffusing the clarity of the image that passes through it.

Philosophical Definition

O P A C I T Y THOMAS SCHIELKE | LIGHT MATTERS

A transparent person is considered to be someone that can be seen through.

They aren’t concealing anything and are free to observe as they have no lies.

An opaque person on the other hand is quite the opposite. The word opaque is derived from a latin word meaning “dark” which is metaphorically correct

Hyvinkaa Church, FInland, 2009

in a philosophical context. An opaque person is unclear and hard to read, as well as difficult to grasp and understand. Usually their words are fabricated, full of doubt and they aren’t easy to reason with because they are deceptive. A person who is opaque is guarded and hidden in secrecy. The motives of a person who is transparent are easily understood and fair, where as an opaque person isn’t. ¬

Case Study The article in question focuses predominantly on the use of white within Nordic countries, specifically using examples of churches,

religious buildings, and art museums. White walls are an opaque material as they don’t let light through. They do however stand as an object in which the shadows can lie upon and for the direct light to radiate and shine from. Opaque walls usually provide the feeling of closing in a space by harshly defining its boundaries, though the crisp subtlety of the white, and careful use of daylight in the examples help to ease the claustrophobic feelings. Due to the intrinsic nature of opaque white, the luminous qualities help to facilitate bright rooms. Since in the Nordic countries, the weather, and in particular the sunlight times and angles

are quite extreme, the design of buildings within such places has to take into account daylight directly entering from the sides of buildings rather than the top. Especially in buildings that rely on the specific use of light, manipulating this can prove quite challenging. As mentioned previously, the opaque use of white helps to fill the room with brightness especially in the long and dark winter days. Essentially, the job of the white colour is to alleviate the shadows with a diluted, and soft light.

The examples used in the article all display this trait. The Hyvinkaa Church in Finland

has large triangle openings on the sides which face the sun, whilst the ribbed interior further adds to the ambience. The Dybkaer Church in Denmark has deep windows which eliminate all the direct light from penetrating the building, leaving only a soft glow to seep through. The Nordyjllands Art Museum has a complex ceiling structure aimed at reflecting direct light around the interior, and the Pirkkala Church in Finland actively works with window shape and thus the shadows against a white wall to create the desired atmosphere.

Dybkaer Church, Denmark, 2010

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SP AT I AL EX P E R IE N C E

To create the luminous loops, a series of custom-made forms would need to be created. Starting with an RGB strip of LED lighting will allow any colour to be selected should they wish to change it for different occasions or effects. To weather proof, surround and haze the LED lighting strips is a translucent resin coating in which will create the illusion of substance both when illuminated and not. These ring shapes are to be connected with one another horizontally to create somewhat of an archway and placed above the one-way mirrors situated about the design. This will create a patterned effect of the shadows for the rooms underneath during the day, and help illuminate the rooms during the night.

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CONST RU C T IO N

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G rass an d Gravel P at h s S usp en d ed Cei l i ng S ystem

P ly w ood C e iling

S tu d Fra m e w ork

V e ne tian P la s te r

Wh ite C on crete C a st in S it u F o o t in g

CONST RU C T IO N D IA G RAMS

The material pallet chosen has been selected due to a combination of natural feeling elements, as well as elements that would successfully interact with light.

The gravel and grass have been selected for the above-ground pathways to help keep those areas feeling natural. For the underground design, the white concrete; as depicted in the ‘Opacity’ study, will help diffuse and reflect the light to add a calm and subtle luminescence throughout the design. The texture of the venetian plaster will add another element of complexity to the shadows as well since the finish of the plastering is slightly 3D. Lastly, the wooden ceiling relates back to the natural elements of the grassed Math Lawns whilst also providing warmth to the design, suitable to conceal services for the rest of the design.

MAT E RI AL P A L L E T

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Linguistic Definition Filtration. Filtration is the act of filtering something to a more refined state. Filtration is commonly used in the context of removing unwanted, redundant, or unnecessary objects.

For example, water filtration helps remove dirt and small particles such that the water that comes through is further refined, safer to drink, and of a higher quality. Filtration removes impurities.

Philosophical Definition

FILTRATION THOMAS SCHIELKE | THE TRINITY OF LIGHT

Since filtration is about removing impurities, filtration in a philosophical sense is just that. Filtration can refer to a cleanse, a cleanse of the mind and body to flush away and unwanted toxins, whilst filtration can also refer to progress. When progressing through the stages of life, a person refines their character, and begins to solidify

Church of Saint Pierre, France

their morals. This is done so by removing the unwanted characteristics. Filtration works about keeping only the wanted and beneficial components of something.

Case Study In all examples of architecture, the designs have gone through some description of filtration and refinement, from thought, to concept, to design, to actuality. Each stage of this process filters through and seemingly removes the negatives so that the outcome is better. Filtration in terms of light is very similar in that regards. Sunlight, in its purest form contains the entire spectrum of wavelengths

and colours, and can therefore be broken down further into its specific colours. Out of an entire spectrum of shear blanket daylight emitted from the sun, specifically refining that light into a bespoke pattern, and concentrated point is something that Le Corbusier focuses on. The article outlines how light is linked with divinity and holiness in a vast array of religions, and the examples used within are all centred around religious buildings. Explored through these examples is the use of coloured and stained glass to refine and filter the light into an outcome that is exclusive to that specific window. Le Corbusier’s design intent and stylistic choices

lead to a dark interior with specifically chosen accent elements. In the example of the Church of Saint-Pierre in France, the “upwardly springing waves of light” to the south side of the interior demonstrate a mystical and light feel to the space despite being quite dim. The roof scoop within the

calculated “solar projections” are visible on the interior walls of the Church of SaintPierre only during specific times of the day and year when long tubes line up with the sun to create the pattern. Other instances of this specular light patterning can be seen on other walls of the Saint-Pierre Church too.

Chapel of Notre Dame du Haut in Ronchamp lights up with a magnificent pink colour during sunset to produce an angelic glow. In the Monastery of Sainte Marie de la Tourette in France, the light pattern produced by the sun gleaming through the window spreads across the length of the wall to create what looks like a golden laser line. Specifically

In essence, the further level of filtration and refinement of light allows Le Corbusier to further explore and manipulate it’s properties to produce remarkable light installations.

Church of Saint-Pierre, France

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https://www.archdaily.com/868157/fluid-luminosity-the-architectural-lightingof-zaha-hadid https://www.archdaily.com/796974/veiled-in-brilliance-howreflective-facades-have-changed-modern-architecture https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries https://www.archdaily.com/597598/light-matters-le-corbusier-and-the-trinityof-light

REFE R E NC E S