LIGHT & SHADOW INTERNAL VIEW
CONTENTS INTERNAL VIEW
0 | COVER 1 | CONTENTS 2 | CONTENTS 3 | INTERIOR VIEW 4 | SECTION & PLAN 5 | EXTERIOR VIEWS 6 | ELEVATION & DETAILS 7 | INTERIOR VIEW 8 | SECTION & PLAN 9 | EXTERIOR VIEWS 10 | ELEVATION & DETAILS 11 | CASE STUDY 12 | CASE STUDY & PRECENENT 13 | BACK COVER
CONCEPT DESIGN | 1 INTERNAL VIEW
SECTION | 1:200
FLOOR PLAN |
1:200
EXTERNAL VIEW | GROUND
EXTERNAL VIEW | AERIAL
ELEVATION 1:200
DESIGN PROCESS
CONCEPT DESIGN | 2 INTERNAL VIEW
SECTION | 1:250
FLOOR PLAN |
1:250
EXTERNAL VIEW | GROUND
EXTERNAL VIEW | ARIEL
EXTERNAL VIEW | AERIAL
ELEVATION 1:250
DESIGN PROCESS
CASE STUDY | REFLECTION LINGUISTIC DEFINITION
PHILOSOPHICAL DEFINITION
The term ‘reflection’ can be defined as wave-
The theory of ‘reflection’ can described as an act of self examination; in the human mind, concepts and situations are bounced off of the meth-
lengths of a light source colliding with a surface
ods provided by philosophy with intentions to rebalance the conscious state of mind and gain a more clear and positive perception regarding a
or boundary which does not consume the emitted
topic of contemplation or consideration; this includes the decision making and is crucial for generation of conceptions. The process of reflection
energy of the radiation thus rebounding off of
may include an the internal states of the mind undergoing aspects of receiving ideas, and then through thinking, taking a position of doubt or
the surface. The reflection of light results in the
belief through reason, knowledge and will power. This relates to the physics definition of the word ‘reflection’ by means of having a source
formation of an image of the scenery surround-
(idea or thought) encounter a surface (philosophical related belief or law within the mind) which is then bounced away as an enlightened and
ing the surface.
more rational perception.
CASE STUDY | REFLECTION DEFINITION IN ARCHITECTURE THROUGH CASE STUDY 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].
DESIGN PRECEDENT LIGHT GRAIN HOUSE | OSAKA, JAPAN 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.