A STUDY OF LIGHT
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CONCEPT ONE
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4 SITE PLAN ACCES S
CONTENTS
COVER
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13 - 14 SECTION PLAN ELEVATION
INTERNAL VIEW
CONTENTS STAGES 1 - 4
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7 ELEVATIONS SITE INFO
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3D VIEWS
17 CONCEPT TWO
6 SITE ANALYSIS
9 SHADE SHADOW
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18 SECTION PLAN ELEVATION
INTERNAL VIEW
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10 CASE STUDY
21 - 22 EXTERNAL VIEW DESIGN TRIAL
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23 CASE STUDY
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25 SECTION PLAN
STAGE 3 COVER
27 - 28 ACCES S MOVEMENT ELEVATION
3D VIEWS
EXTERNAL VIEW DESIGN TRIAL
36 COMPOSITION
37 SECTIONAL PERSPECTIVE
38 CONSTRUCTION
39-42 INTERNAL VIEWS
43-44 CASE STUDY
29 - 32 INTERNAL VIEWS
33-34 CASE STUDY
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HIGH FOOT TRAFFIC LOW FOOT TRAFFIC DISABLED ACCESS VEHICLE ACCES S
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I N S T I T U T E F O R P H O T O N I C S A N D A D V A N C E D S E N S I N G ; O F F E R S R E S E A R C H I N M AT E R I A L S C I E N C E , C H E M I S T R Y, B I O LO G Y A N D P H Y S I C S , A S W E L L A S T H E D E V E LO P M E N T O F M O D E R N T O O L S F O R M E A S U R E M E N T. H O L D S T H E M I S S I O N O F U S I N G T H E P O W E R O F L I G H T T O I M P R O V E T H E S A F E T Y, H E A LT H A N D W E A LT H O F T H E W O R L D. I N 2 0 1 3 M O V E D I N T O $ 1 0 0 M I L L I O N B U I L D I N G ; A R C H I T E C T U R E O F T H E P L A N R E J E C T S O P E N , T R A N S PA R E N T A N D C O L L A B O R AT I V E M I N D S T H R O U G H U S E O F G L A S S A N D L I G H T A N D C R E AT E S A C O M F O R TA B L E A N D A S T O N I S H I N G W O R K E N V I R O N M E N T. T E C N H O LO G I E S F U N D E D A N D S U P P O R T E D BY T H E S A G O V E R N M E N T, U N I V E R S I T Y O F A D E L A I D E , F E D R A L G O V E R N M E N T, D S T O A N D D E F E N S E S A .
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F O R M E D I N 2 0 1 5 A S A S C H O O L O F B I O LO G I C A L S C I E N C E S . T H E S C H O O L O F F E R S T E A C H I N G I N E C O LO G Y A N D E N V I R O N M E N TA L S C I E N C E , G E N E T I C S A N D E V O LO U T I O N , A N D M O L E C U L A R A N D C E L L A R B I O LO G Y.
2 THE BRAGGS | 3 MOLECULAR LIFE SCIENCES 1:1000 4
F O U N D E D BY P R O F E S S O R W I LO U G H BY I N 1 9 4 6 ; C O M M E N C I N G T H I S D AT E R E L AT I V E C O U R S E S W E R E H E L D I N C O N J U N C T I O N W I T H A LT E R N AT I V E S C H O O L S F O R S E V E R A L Y E A R S . I N I T I A L LY O FF E R E D B A C H E LO R O F E L E C T R I C A L E N G I N E E R I N G , I N 1 9 9 0 B A C H E LO R O F C O M P U T E R S Y S T E M S E N G I N E E R I N G , A N D I N 2 0 0 5 B A C H E LO R O F I N F O R M AT I O N T E C H N O LO G Y A N D T E L E C O M M U N I C AT I O N S E N G I N E E R I N G . I N 1 9 8 3 T H E N A M E O F T H E FA C U LT Y C H A N G E D T O E L E C T R I C A L A N D E L E C T R O N I C E N G I N E E R I N G , A D O P T I N G E L E C T R O N I C T E C H N O LO G I E S I N T O I T S T E A C H I N G A N D RESEARCH.
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F O U N D E D I N 2 0 1 0 A N D I S A W A R D E D A U S T R A L I A S F I R S T 6 S TA R G R E E N R AT I N G F O R A N E D U C A T I O N B U I L D I N G . I T C O N T R I B U T E S T O T H E U N I V E R S I T Y ’ S V I S I O N O F B E C O M I N G A N E C O V E R S I T Y. R E D U C I N G I T S F O O T P R I N T A N D P R O M O T E S T H E V A L U E O F S U S TA I N A B L E P R A C T I S E S . T H E T I T L E O F T H E FA C U LT Y I S I N T H E L A N G U A G E O F K A U R N A , M E A N I N G P L A C E O F L E A R N I N G ; G R E AT I M P O R TA N C E T O H I S T O R Y A N D C U LT U R E O F C A M P U S A S I T G I V E S R E C O G N I T I O N T O T H E R E L AT I O N S H I P B E T W E E N KU A R N A P E O P L E A N D T H E C I T Y O F A D E L A I D E , A N D T H AT T H E O R I G I O N A L L A N D O F T H E C U S T O D I A N S I S T H AT W H I C H T H E U N I V E R S I T Y I S S I T U AT E D O N .
4 INGKARNI WARDLI | 5 ENGINEERING AND MATHS SCIENCES 1:1000
ELEVATIONS
& INFORMATION
EXPERIENTIAL VIEWS
ARIEL
EXPERIENTIAL VIEWS
GROUND
AMBIENT LIGHT
DAYLIGHT
AMBIENT LIGHT
AFTERDARK
SHADE
& SHADOW SUMMER
9
SHADE
& SHADOW WINTER
9
3 PM
12
3
12
3
LIGHT STUDY
LUMINOSITY The term luminosity can be defined as the amount of energy emitted by a source per unit time of a given wavelength perceived by the eye. In general, the phrase describes the brightness radiated by an object in all directions, and in astronomy can refer to measuring the radiant power of a star compared to the sun.
LINGUISTIC DEFINITION The concept of luminosity or illumination involves applying a source of light in order to achieve a practical or aesthetic effect; this can include both natural and artificial approaches. The term illumination refers to the luminous flex per unit area on a surface at any given wavelength; implicating the capture or supply of natural daylight to an enclosed space resulting in the entire inner surface being lit up; enhancing both the appearance and the performance of the space, as well as lowering energy consumption. The luminous efficacy of an artificial light source is important as it determines the quality of the light being produced; this is determined by the conversion of energy to radiation, and furthermore how well the radiation is perceived by the human eye. The quality of artificial sources in regards to light intensity and spectrum sets the environment of the space and therefore is of great importance to a successful light design.
FIGURE 1
PHILISOPHY DEFINITION FIGURE 2
Zaha Hadid adopts fuid luminosity in her unique architectural language which intensites the enhancement of light itself, opposed to using light as a visual effect within a structure. Her approach incorporates the aspects of form, which includes handling tangible materials, taking advantage of the medium of light in her designs, which includes interrelating light patterns into the fexible movements of membranes, and refectance, focusing on the sensation of materials and forms indirectly through refected light, which typically involves the use of glass surfaces. An example this can be seen in Zaha Hadid's Guangzhou Opera House, China
FIGURE 3
The design of Guangzhou Opera House interweaves its surrounding landscape perfectly, so much that its design is symbolic of two pebbles picked from the bed of the river and placed on the river bank. The design incorporates the concepts of natural landscape, with nature and architecture being at intervals, followed by the principles of topography, geology and most importantly erosion and the role it plays in transforming river valleys. The way in which the interior of the building is divided into districts and zones is defined by the fold lines in the landscape, producing sensational l and smooth interior and exterior circulation passages, and penetrates natural daylight into the entire building. The interior endures the exterior and landscape language through fuidity and seamlessness; this was achieved through the use of GFRG (a custom moulded glass fibre reinforced gypsum). A unique feature of this building can be seen in its 1800 seat ground theatre, which adopts a ceiling filled with thousands of pixels, penetrating to the audience the illusion of a dream like starry sky and setting a stunning warm and glossy atmosphere. In addition, the cascaded balconies incorporate light patterns, which are intended to arouse the illusion of waterfall refections; linking the interior to the exterior water body and continuing the provocation of the same sensation through the whole building. In contrast, the glass triangular patterned facade, along with the crystalline exterior, refkect the lake water and cause a rippling effect throughout the structure and walls, especially when the interior light of the building is shining on the water surface after dark. In addition, the triangular facade is comprised entirely of glass, which allows maximum light to enter the building and bounce off of the white walls throughout the entire building. REFERENCE: ArchDaily. (2017). Fluid Luminosity: The Architectural Lighting of Zaha Hadid. [online] Available at: http://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid [Accessed 14 Aug. 2017].
FIGURE 4
FLUID LUMINOSITY: THE ARCHITECTURAL LIGHTING OF ZAHA HADID
CONCEPT DESIGN
ONE
1 TO 200
SECTION
1 TO 200
FLOOR PLAN
1 TO 200
ELEVATION
EXPERIENTIAL VIEWS
INTERIOR
EXPERIENTIAL VIEWS
DESIGN PROCESS
EXTERIOR
CONCEPT DESIGN
TWO
1 TO 250
SECTION
1 TO 250
FLOOR PLAN
1 TO 250
ELEVATION
EXPERIENTIAL VIEWS
INTERIOR
DESIGN PROCESS
LIGHT STUDY
REFLECTION
The term ‘reflection’ can be defined as wavelengths of a light source colliding with a surface or boundary which does not consume the emitted energy of the radiation thus rebounding off of the surface. The reflection of light results in the formation of an image of the scenery surrounding the surface.
LINGUISTIC DEFINITION The theory of ‘reflection’ can described as an act of self examination; in the human mind, concepts and situations are bounced off of the methods provided by philosophy with intentions to rebalance the conscious state of mind and gain a more clear and positive perception regarding a topic of contemplation or consideration; this includes the decision making and is crucial for generation of conceptions. The process of reflection may include an the internal states of the mind undergoing aspects of receiving ideas, and then through thinking, taking a position of doubt or belief through reason, knowledge and will power. This relates to the physics definition of the word ‘reflection’ by means of having a source (idea or thought) encounter a surface (philosophical related belief or law within the mind) which is then bounced away as an enlightened and more rational perception.
PHILISOPHY DEFINITION This precedent building influenced both the first and second design concept in various ways. The most obvious aspect being the ceiling punctured with countless circular openings to allow the diffusion of natural light through the structure and provide ventilation also. The light which is penetrated through appears in small round rays which bounce off of the floors and walls, almost creating a starry sky or galaxy illusion. The light is broken into small parts and so it is easy on the eye and stimulates a rather calming atmosphere for a social, work or study space. The first design concept adopts the use of circular openings not only in the ceiling but throughout all of the faces which are above ground, thus when moving through the space a similar effect seen in this image is achieved. The second design concept is based on the same idea however expressed differently, opposed to small rays of round light, the space comprises of linear strokes of natural daylight on one side of the ceiling all throughout the building. This is achieved through the ceiling comprising of triangular shapes tilted on different angles at different height above ground, and sections of these triangles being almost stripped down into linear openings. This space also appears relaxing and comfortable on the eye as the light is broken up and penetrated through into smaller fractions.
L I G H T G R A I N H O U S E | O S A K A , J A PA N
FIGURE 1
The incorporation of reflection in architecture can be determined as the combination of materials and natural sources such as light and water to create forms with transparent skins which reflect the surrounding scenery and furthermore stimulate illusions and crystalline spaces. This approach to architecture shifts the focus from the internal space of structures to the external surfaces, increasing the importance and relevance of the skin as a carrier for the meaning of built forms. The common materials used to achieve this type of design include metal and glass. A great example of a modern reflective structure is the Cairns Botanic Gardens Visitors Centre, designed by Charles Wright Architects, 2012. The green building is a representation of a paradigm shift for the city, abandoning conventional architectural techniques and adopting progressive solutions for tropical latitudes instead. The design intended to catch the attention of national as well as international people by means of being a new architectural language for the tropics that is progressive. The structure maintains a strong relationship with its surrounding context by means of being ideally visible to the eye; reflecting and respecting the environment which it is in so well that it quite literally camouflages. The visual presence of the building extends far beyond its physical scale, the dramatic use of reflective glass walls and mirror finished stainless steel disturbs the perception of space by means of abandoning rigid boundaries between nature and built form. The cladded mirror surface consists of a series of flat metal panels which sit at different angles to break the facade down into facets and muddle the effect of reflected images. In order for the structure to blend into its site location, the design process required consideration of existing paths roads, easements, mature trees as well as the gradient, therefore the form of the building is non-linear as it is generated by the routes of significant pathways and tree plantings. In conclusion, the technique of reflection in architecture has several benefits towards achieving successful and unique built forms. From this case study the following can be established; in order for the external skin to not reflect an uncomfortable amount of light, the surface is broken up into smaller series which are positioned at different angles to achieve a crystal like effect which continuously changes as it catches glimpses of the reflections of its surrounding environment, particularly light, sky and water. The use of mirrored surfaces in architecture stimulates the aspect of truth in designs in regards to seeing the context as it is, without distortions or flaws. This furthermore enhances the element of natural light which is linked to positive energy and in general more attractive spaces. Reference: ArchDaily. (2017). Cairns Botanic Gardens Visitors Centre / Charles Wright Architects. [online] Available at: http:// www.archdaily.com/239957/cairns-botanic-gardens-visitors-centre-charles-wright-architects [Accessed 2 Sep. 2017].
FIGURE 2
CAIRNS BOTANIC GARDENS VISITORS CENTRE / CHARLES WRIGHT ARCHITEC TS
THE LIGHT OF
REASON
1 TO 150
SECTION
1 TO 150
PLAN
PERSPECTIVE ACCESS
1 TO 150
PLANS
DISABLED ACCESS GENERAL ACCESS BOTH
PERSPECTIVE MOVEMENT
EXPERIENTIAL VIEWS
ARIEL
EXPERIENTIAL VIEWS
GROUND
INTERIOR VIEWS
SHED LIGHT ON
INTERIOR VIEWS
SHED LIGHT ON
LIGHT STUDY
OPACITY
The expression opacity derived from the condition of opaque which in the language of Latin defnes a state of darkness. An object which is considered opaque is characterised by its capacity to prevent the penetration of light; it is neither transparent nor translucent, and opposed to transmitting light it reflects, scatters or absorbs it.
LINGUISTIC DEFINITION The philosophical concept of opacity is as a matter of fact termed opaque context and makes theoretical reference of an expression in which the substitution of a coreferential expression may alter the truth value of the sentence.
PHILISOPHY DEFINITION
FIGURE 1
In distinction to the examination of Light matters: Whitness in Nordic Countries, the concept of opacity in architecture can be defined through explicit choice of material as well as techniques which consider the inflltration of natural lighting into an interior space. Light as a focal point in architecture appears to be devoted more on aesthetics than practicality; despite the recognition that once combined with a white space it allows maximum reflectance and enhances overall brightness, it also plays a crucial role in the determination of beauty characterised by nature and humanity. The article explains the relationship which the colour scheme of white on the interior of a built form has with the exterior and lighting. Concentrating on the situation of Scandinavia in which winter courses are prolonged and dark, the architects apply most of their skills to experimenting with white surfaces to counterbalance the effects of light during unpleasant periods. The point of entrance of light, which in this case appears to be from the side, determines where the openings should exist in order to allow penetration of light inside. In addition, the metaphor which influenced this approach to dealing with the complications of the surrounding environment was the appeal of a snow covered landscape, which is from where the colour white generated.
FIGURE 2
This concept of design was apparent mainly in church built forms, with particular reference to Denmark. The Dybkaer Church by Regnbuen is used as an example of an elegant design regarding the division of access points for natural lighting; each positioned and intentioned to serve as a representation of the purpose of certain parts of the church. This can be determined as the result of the combination of both function and aesthetics; is appealing whilst serving a purpose. Furthermore, the Pirkkala Church promotes this approach to interior architectural design in a spectacular manner, as the article highlights. The opaque type of glass used in the squared window panels can be classified as both a lens and a mirror; penetrating a dramatic series of ornamentations during daylight onto the white wall, floor and ceiling surfaces. This gives way to dramatic patterns of diffused light and shadows which change in consonance with the course of the day and season. This architectural technique is adopted only in built forms which intend to advocate an experience similar to the two previously mentioned within a space; although the design intention or influence may alter, the overall effect remains consistent with these types of forms. In saying this, former architects are uninterested in the harsh projections of daylight which shift the focus from the literal function of the building. Such architects interpret light in a more abstract manner; the point of origin of the light source does not need to be revealed, instead emotions linked to eternity will be created.
FIGURE 3
L I G H T M AT T E R S : W H I T N E S S I N N O R D I C C O U N T R I E S
THE LIGHT OF
REASON ENHANCED
GRASS
SOIL & DRAINAGE
CURVED STEEL BEAMS
CONCRETE STRUCTURE
EXTERIOR WALLS
EXPLODED COMPOSITION
PERSPECTIVE
SECTIONAL
COMPOSITION 1.
GRASS LAYER
2.
SOIL LAYER
3.
STEEL BEAM
4.
RENDER
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CONCRETE STAIR
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BEAMS
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CONCRETE WALL
8. CONCRETE FLOOR
GREENROOF 1.
GRASS LAYER
2.
SOIL LAYER
3.
FILTER CLOTH
4.
DRAINAGE LAYER
5.
ROOT BARRIER
6.
CURVED BEAM
GLASSJOINT 1.
GRASS LAYER
2.
GLASS LAYER BETWEEN CURVE
THREE DIMENSIONAL
ROOF DETAILS
MATERIALITY
GRASS | GLASS | CONCRETE
MATERIALITY
GLASS | CONCRETE
MATERIALITY
GLASS | CONCRETE
MATERIALITY
CONCRETE
LIGHT STUDY
FILTRATION The phrase filtration can be defined as the process of elements passing through a device thereupon causing reduction in frequencies; case in point the passing of a light substance through a glass material. Upon contact, the refinement stage of the transmitted components could involved them being removed, blocked or separated.
LINGUISTIC DEFINITION ?
PHILISOPHY DEFINITION
FIGURE 1
In respect to Light Matters: Le Corbusier and the Trinity of Light, the multifaceted style adopted by Corbusier in several of his sacred built forms, promotes the filtration of natural daylight into enclosed spaces in the pursuance of an architecture which is kinetic and poetic in a sense. The manner in which the light is filtered varies from materials to alternative structural openings which could range from small to large ornaments configured in a manner to generate patterns of light which express cosmic power; changing on a regular basis in reference to the course of the day as well as the situation of the sky.
FIGURE 2
In association with several forms which most incorporate this technique, the Pilgrimage Chapel expresses the filtration of light through both narrow slits on the surfaces and random patterned openings; all of which possess material of coloured glass. In addition, the consideration of solar events plays a crucial role in achieving purposeful and unique spaces; the dramatic sun which commences at dawn for example through the alcove of the side chapel appears enhances colour of red which is a representation of human birth. Throughout the remaining course of the day the different lighting effects are achieved; from a tall window slot continuous rays of sun are produced on the walls, from a smaller horizontal slot a contrast is created regarding the vertical glow of the brise-soleil, and just around sunset concludes with a warm glow from another opening. In comparison, the experience accumulated in the Monastery of Sainte Marie de La Tourette alternates vastly; through the featuring of rectilinear geometries achieving forms which are rather diverse. The windows in the corridor are arranged to appear irregular opposed to those of the traditional church design, penetrating an unique rhythm of light and shadow on the floors and walls which compress and expand as the course of time takes place. As for the choreography for the remainder of the building, it commences at sunset via a slit on the top of a wall which directs linear lights on the side walls, which are then connected with the falling sun causing them to move upwards and increasing the atmosphere to become dramatic in a sense, with the roof plane and ceiling slabs taking part in the effect. The penetration is once again determined by the changing lengths of the day and month; the light effect could appear as triangular at particular times and rectangular at other; the size and shape depending on the power of the sun and its position in the sky. Finally, the Church of Saint-Pierre incorporates multiple acts of scenography; a generation of luminous dots which progress into thin waves of light are the result of small stellar windows, as the day passes these disappear and instead two sharp beams of light invade the dark space as a result of angled tubes in the roof. On top of this a large circle of light penetrates onto the wall as a reference of sunset. Through interpretation of Corbusier’s alternative design approaches regarding techniques of filtration, it can be concluded that the spaces are formed according to orientation of the building in reference to sun patterns. The placement of openings along with the ornamentations of them depends entirely on the desired atmosphere.
FIGURE 3
L I G H T
M AT T E R S : W H I T N E S S
I N
N O R D I C
CO U N T R I E S