A Dichroic Discovery

A DICHROIC DISCOVERY Bailey Austin A1742191

CONTENTS Place 4 light study: Luminosity 10

Idea 12 light study: Reflection 18

Form 20 light study: Opacity 24

Material 26 light study: Filtration 32

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PLACE The site commonly known as the math lawns is located on the North-East side of the University of Adelaide city campus. The lawns sit between the mathematics, engineering and science buildings which lie on the north and south sides of the area. To the West is the Barr Smith Library and to the East is Frome Rd. During the day the site receives sufficient light and at night there is plenty of artificial lighting coming from light posts but also from the towering buildings that surround it.

SITE DESCRIPTION

The Math Lawns are used for a variety of events, all of which are pop-ups. These range from the orientation day and careers expo information centers, through to an Ice skating arena and the location for the RCC during the fringe. Outside of these seasonal pop-ups it used predominantly by the students in the surrounding buildings for study but also as a place for relaxation and community-based activities.

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HUMAN USAGE, SCALE & PROPORTIONALITY STUDY The site consists of two large grass areas with large walkways running between and around both areas. Lining each side of the site are equally spaced trees as well as a number of picnic tables used by students as study and community spaces. The pathways provide direct routes between buildings providing easy access for students to get to class quickly and efficiently. Esthetically

the variation of building styles towering over the grass areas provides quite a nice area to do work or relax.

These buildings also block wind at times as well as provide sufficient shade during different times of the day while allowing sunlight at other times. There is already clearly a consideration of the site’s interaction with light which is why it is a great location for this design.

North Side Site Elevation

Grass sitting area

Movement Diagram

South Side Site Elevation

9am

12pm

3am

9am

12pm

3am

July 1st

LIGHT & SHADE STUDY

January 1st

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KEY SITE FEATURES When looking at the finer details, the areas surrounding the site consist of plenty of seating, shade, bike storage and accessibility.

There is a real consideration of layering various materials such as the use of brick paving, concrete and grass for the ground cover mixed with black steel light posts and timber and steel seating. To the Western side of the site there is also a staircase/seating area allowing access to the Ingkarni Wardli building’s second floor. Towering as tall as the buildings is a tree which shades a fair portion of the middle of the site which is tucked in between the buildings on the south side.

This building is listed as a heritage site due to its historical significance in South Australia and the connection to the Barr Smith family. Its grand beauty and architectural detail is what makes this building stand out. Due to the heritage listing the view of the building from Frome Rd cannot be skewed and therefore is a consideration when implementing the design ideas.

SITE HISTORY & IDENTITY

Although most of the spaces around the site are fairly new constructions, the Barr Smith Library is the building that has been there from the beginning.

The Barr Smith Library is the main library of the campus and named after Robert Barr Smith who donated money for the Library to buy books. The Library was opened on the 4th of March 1932 with renovations and extensions added from the 1950s onwards.

The large entrance that stands today was constructed in 1984.

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L i n g u i s t i c : Luminosity is the brightness of a light source as it appears to the eye. When referring to lighting fixtures within buildings, often the term lumen is used to describe the magnitude of total quantity of visible light emitted by a source per unit of time. This is also referred to as lux, where 1 lumen per square meter is equal to 1 lux.

Luminosity is also used in astronomy referring to the brightness of a star in relation to the sun. In all areas it is commonly used as a measurement of light.

Philosophical: Luminosity is also referred to as the quality of intellectual brilliancy. This is consider-

ing the first definition which is a measurement of light over a period of time. When referring to someone who does not know information, they are known to be “kept in the dark� this works in the inverse too where the more light that is visible, the more knowledge you are aware of. Therefore, light is commonly a symbol of illumination and intelligence, the source of goodness and reality. Goodness and reality are often perceptions created by belief systems and cultural roots. Commonly Christians refer to Jesus as the Light of the World, in which they believe they are illuminated by the teachings of Jesus and working of

LUMINOSITY

A r c h i t e c t u r a l When Luminosity, the various levels of light, is implemented within architectural structures and buildings it changes the way forms appear and the way people interact with a site. Zaha Hadid throughout her work explored this and the way natural light, or artificial light that appears as natural, influences a space both inside and outside a structure. Throughout her designs she always looked for a new way that light could interact, variations from layered indirect strip lighting to clusters of lights to appear as stars. In all of her

pieces it is incredible how these lighting fixtures change the form of the details within a building and how the light bounces between materials.

This composition of daylight and artificial light is found in many of her projects. At the Heydar Aliyev Centre in Baku she focused on a softer graduation of light and shadow.

The interior and exterior are smoothed to ensure there is no interferences.

During the day light flows into the theatre through a series of windows and at night the artificial lighting hidden within the overlapping walls provides lighting for both within the theatre but also illuminates the exterior. A similar occurrence happens within MAXXI, the Museum of XXI Century Arts, in Rome. In this project again we find fluid forms and a composition of daylight and artificial light overlapped. All lighting is hidden behind panels to allow the space to feel as free flowing as possible.

Transparency and Translucency

the spirit in their lives. In a similar manor, Buddhists believe they can reach ‘enlightenment’ through meditation, a higher level of understanding. Considering these things, luminosity can also refer to being enlightened and inspired, therefore holding value when it comes to spirituality and passion.

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IDEA

GENERATION

METAPHOR light is a discovery 13

idea 3 idea 2 idea 1

PRECEDENT

The American artist Stephen Knapp is well known for the creation of light paintings. This new technique of art is created by only a few artists and is recognized as one of the first new art mediums of the twenty-first century.

He derived his inspiration from a combination of light, dimension, space and perception.

In speaking about his work, Stephen Knapp states, “"I have been fascinated with light all my life, both for what it can do and for the effect it has on us.

In all my prior mediums I’ve used light in ways that are not always apparent. When I found a way to uniquely express myself in light, I embraced it fully. With my lightpaintings I separate white light into pure color and ‘paint’ with light. Each piece has a presence that far exceeds its physical dimensions. At once both physical objects and illusions, they remind us that dreams, hopes and aspirations are the center of art’s ability to touch the human spirit."”

He is internationally recognized, maintaining a strong reputation for grand light art pieces which are displayed in many museums and art galleries all over the world.

Stephen Knapp

Lightpaintings are a new artform, an unquantifiable, multi-dimensional composition of pure luminosity making visible the light that surrounds us and transforming it into something physical yet inherently divine. Underlying the grand colours and bold compositions is a serious exploration of space, dimension, light, colour and perception.

These pieces are created through the use of dichroic glass, a substance made from a special glass with layers of metallic coatings through it which selectively separate colours and guides them in different directions through reflection off of the metals when focused light is passed through it. Knapp cuts, shapes and polishes the glass fragments in his studio so that when placed in particular compositions, they will refract and reflect light onto the surrounding surfaces and spaces. These pieces are arranged to create a 3D sculpture of light rays which is phenomenal in the way it transforms the environment around it. To describe the experience, one might say it is a symphony of colour.

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DIAGRAMMING

VISUAL REPRESENTATION

Modular Form Development

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L i n g u i s t i c : Reflection is the act of reflecting, the change of direction after a phenomenon or matter in motion comes into contact with an object. This can apply to a multitude of substances, such as the casting back of light or heat; the effect of mirroring; or the motion of physical objects bouncing off platforms. In terms of light, this normally occurs alongside absorption where the object absorbs and reflects the light simultaneously to different degrees depending on the material.

P h i l o s o p h i c a l : Much like a physical mirror, which is a direct representation of what is visible, and is most commonly used to analyze or capture the smaller details; when considering human behavior, a common and yet important part of understanding comes from reflection. The art of looking back at a point in time, situation, person or self to carefully consider and analyze the

REFLECTION

A r c h i t e c t u r a l : Reflection of light is a powerful tool in architecture. They provide the unique illusion that a space is larger than what it actually is as well as when used in a curved manor can distort or change the environment around it.

This can be applied to a

variety of materials however most commonly it is explored through glass and metals. Mies van der Rohe has focused on this through his projects as he was fascinated with how to move away from the boring uniform glazed skyscrapers to explore more interactive structures. These variations are clearly visible when observing the Elbphilharmonie in Hamburg. Lining all sides of the building are concave and convex curved glass elements distort the surrounding city, water and sky as the images are reflected off the building. The American architect Frank Gehry has also explored reflection through structures like his Guggenheim Museum Bilbao. The building is cladded in titanium which is curved magnificently which makes it stand out among the tall skyscrapers. Rather than reflecting the surroundings, this piece reflects and curves the sunlight as it bounces off the structure.

REFRACTION AND IRIDESCENCE

causes and effects. Many people practice this in meditation or when a situation has not gone the way it was expected too. With that said, reflection can also occur on positive situations too, where a person can observe behaviors that led to the efficient result and therefore repeat those actions for a similar outcome. Ultimately this leads to outstanding growth in communities, businesses and individuals as the art of taking a step back to reflect on the bigger picture puts things into perspective, similar to that of taking a step further away from a mirror to be able to see more within the reflection.

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FORM EXPLORATION When considering the construction of the form there were a few considerations that needed to be made. There was the requirement that the Barr Smith Library must be visible from the street therefore the design couldn’t hinder the view in any way. It was also important that the students could still easily cross the site to reach opposing buildings and it was ideal that the design wouldn’t interfere with the tables and trees that line the site as it stands currently. Knowing all of this it was ideal that majority of the site would lie below the ground line, providing a direct visual line to the library while

also allowing pathways across the site. The site is also used by pop-up information centers and for activities so it was necessary to allow spaces for these groups to utilize the space.

In exploring the form design as seen in the development, it was inspired by Stephen Knapp’s Light-paintings.

Both in the use of dichroic glass but also the forms that were created by the light’s reflection and refraction off the glass surfaces. Through testing variations of these forms and various angulations I was able to meet the needs of the site while still providing an exhibition space with teaching rooms.

The design itself consisted of long ramps that would allow for disability access from both the East and West ends into the site. Running North to south is an elevated bridge that is level with the ground plane to still allow for pedestrian passage. There are 4 forms that are mirrored along the center line and these protrude above the groundline creating more diversity among the towering buildings. Underground lies several rooms including bathrooms, teaching rooms, a foyer, library and an exhibition space, all of which are in an open space which allows the space to be more flexible for various uses.

SPACIAL QUALITY 21

SECTION & ELEVATION

Section 1:500

Elevation 1:500

PLANS

Plan 1:500 Plan- Underground Not to scale

Plan- Above Not to scale

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l i n g u i s t i c : Opacity is referred to the spectrum of transparency or translucency of an object or surface. To be opaque means that the view is so distorted that you cannot see through it, this often appears cloudy allowing minimal light, or even no light at all. Opaque and transparent are opposites. Alongside light, to be opaque can also refer to no heat, sound and radiation passing through a surface.

OPACITY

P h i l o s o p h i c a l : Opacity is normally demonstrated as being cloudy, so for someone to be opaque, it would refer to them being cloudy, whether referring to judgment, awareness or knowledgeability.

To be opaque can also refer to someone’s mental dullness. Transparency on the other hand refers to things being all visible, open and clear, relating to clear judgement, full awareness and knowledgeable.

Opacity can also refer to the

Arhcitectural: When exploring opacity within architecture, often times it is portrayed through levels of lightness often in whiter spaces and focuses on the way light softly enters a space, normally due to the scarcity of light in those locations.

Henry Plummer has studied the variations in daylight phenomena within the Nordic countries, and how architects have responded through their designs.

In Scandinavia the architects focus on the use of white spaces to counter the long dark

winters. This occurs because the white materials reflect the light more efficiently, white also creates consistency to the snowy landscape that surrounds during seasons. Due to these drastic weather changes, architects adapt to the opaque natural lighting through this focus on white designs, extending the lighting capacity beyond what was thought possible.

A great example of this is at the Nordyjllands Art Museum by Alvar Aalto. The interior space is a composition of white-painted plaster, white steel and white linoleum.

These materials create a white diffusion of light, where the shades of white allow for the natural light the carry and fill the whole space.

DARKNESS AND SHADOW

obscurity of meaning, ideas and understanding, whereby things are not as clear as once believed. Similar to the philosophy of luminosity, the act of being in the dark goes hand in hand with this idea of being opaque and unclear.

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MATERIALITY

The Materials used within the site are a composition of steel, dichroic glass, white fiberglass panels and concrete.

The goal with using lighter materials was to allow for a more efficient reflection of the various colours coming from the dichroic glass. This with a combination of geometric angular forms creates an exciting and immersive experience of colours in all directions. This phenomenon occurs both during the day and at night, Along the pathways is a combination of concrete and artificial grass to still encourage casual use and relaxation around and above the site. Concrete retaining walls are what separates the underground spaces from the soil around it. All glass panels are framed with structural steel to support both the large panels but also the ‘floating’ roofing above the spaces.

Toilets

seminar rooms with storage

Pathways/ ramps

Reception/ library/ lounge/ exhibition space

FORMS & SPACES

Exploded axonometric

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Construction Details Artificial Grass Waterproof Membrane Steel I-beam R3 Batt Insulation White Plaster White Steel Beam

Dichroic glass panel

Detail 1: Roof and wall construction of EAST Side

Detail 2: Roof and wall construction of West side

Concrete Slab Steel Beam Dichroic glass panel Pre-cast concrete Plastered wall supported by timber frame Concrete retaining wall

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Daylight Renders

LIGHT & TEXTURE

The renders for the design speak for itself in the vast geometric formation. During the day the sunlight enters the space through direct contact with the surfaces and the dichroic glass. The surfaces reflect the light into the glass or into the underground areas of the site, and the dichroic glass extracts the colours through its prism and metallic technology, separating them and dispersing them throughout the site. This allows a variety of light and colour to infiltrate all areas creating a unique experience, almost as if the user is standing inside one of Stephen Knapp’s light-paintings. Through the use of reflective materials the light would continue to bounce around the space until it expels to the surrounding area, giving a hint of what is to come during the night experience.

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Night Renders

At night the space is transformed due to the way light interacts in an inverse to the daylight. This occurs as artificial light hidden behind the dichroic glass passes light through these panels and because the light is passing from the opposite direction, the light is split differently allowing different colours to disperse from different places. This follows a similar pattern to the way light interacted during the day only the light reflects and refracts off the surfaces until it overcomes the surrounding environment. At this point the reflection and refraction has occurs so much so to the point where there is a diverse array of colour displayed across all surrounding trees and buildings, all in the form of geometrical shapes like that of the design it-

VISUAL EXPERIENCE

self. It is a demonstration of the capabilities of dichroic glass, a discovery one might say of how all colours come from the same source but are reflected differently. This combination of dichroic has never been produced on this scale and therefore explores further the way that colour can impact architectural expression. When in use by exhibitions, the creations themselves that are displayed will change once entered into the space due to the way this geometrical light interacts with the surfaces. This space would also act as an interesting space for pop-up eateries for students or even groups such as the RCC, overall becoming an even more flexible interact environment and a greater expression of the impact light discovery can have on a space.

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Design Collage

Design Net 31

l i n g u i s t i c : Filtration, the act of passing a substance a substance through a filter to remove other substances. Commonly this substance is a liquid such as water and the process of filtering occurs when the liquid passes through cloth, paper, porous porcelain, charcoal, sand or other materials to remove suspended impurities or to recover solids. The filter is also used to slow or partially obstruct the path during this process.

P h i l o s o p h i c a l : To filter is to separate one substance from another, for the purpose of either removing or collecting the denser one from the other. This can be taken one of two ways in referring to people and how they interact, either on the personal level where it is an internal cleanse of character or it refers to the community level where people filter their surroundings and the people around them to overall increase their quality of life. Cleansing a person’s mind and soul is highly valued among many societies through various means

FILTRATION

Architectural: To filter light into an architectural space, the experience would require a significantly darker room with more creative minimalistic ways for the light to enter the space. Le Corbusier uses this style to create kinetic archi-

tecture with light. Often light is associated with spirituality, particularly for Christians. Many of Le Corbusier’s projects were sacred buildings for people of faith and therefore was sensitive in the interaction of colour and light infusion within these spaces.

The monastery of Sainte Marie de la Tourette at Eveux-sur-l’Arbresle is a great example with its rectilinear geometry. Throughout this space believers are met with a diverse range of light experiences. The components reenacting a musical piece demonstrated through the irregular light rhythms. It is fascinating how this diffusion of light that is filtered through these spaces can change the atmosphere and create an experience where a believer can feel more intimate with their God.

DIFFUSION AND POROSITY

of cultural and spiritual practices. It is known to refine people’s character and bring a higher level of moral understanding. The second idea of filtering through people refers to the common saying ‘show me your friends and I will show you your future’. A saying that implies you become like the people you surround yourself in. This would mean that by filtering through and separating yourself from those negative people, the quality of life and your ability to grow would improve.

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Sources https://www.archdaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light https://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid https://www.archdaily.com/796974/veiled-in-brilliancehow-reflective-facades-have-changed-modern-architecture https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries

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