Structures of Light. Structures of Light. Structures of Light. Structures of Light.
Structures of Light.
01. 01. Place 02. Site Photographs 03. Site Plan 04. East & West Elevations 05. North & South Elevations 06. Access & Movement 07. 3D Model Photographs 08. Summer Sun Aerial Views 09. Winter Sun Aerial Views 10. Light Study 1 / Lumosity 11. Light Study 1 / Lumosity 12. 02. Idea 13. Design Introduction 14. Precedent Study 15. Precedent Study 16. Design 1, Plan & Sections 17. Design 1, Sections & Elevations 18. Design 1, Aerial & Ground views 19. Design 1, 3D Interal Views 20. Design 2, Plan & Sections 21. Design 2, Sections & Elevations 22. Design 2, Aerial & Ground views 23. Design 2, 3D Interal Views 24. Light Study 2 / Reflection 25. Light Study 2 / Reflection
Contents
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01. Place
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37150mm
80000mm
0mm
8059
125980mm
Plan // 1:1000
138455mm
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Elevations // 1:1000
27660mm 26000mm
12595mm
West 27660mm
12595mm
East 4
Elevations shown without trees.
26000mm 16090mm 12595mm
South 27660mm 24090mm
12595mm
North Elevations shown without trees.
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Ground View
Access & Movement // 1:2000
Vehicle Access & Movement Pedestrian Movement
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Main Access Points
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Aerial View
Summer 9:00 am 8
Not to Scale.
12:00 noon
3:00 pm
Winter 9:00 am
12:00 noon
3:00 pm 9
Physics // the rate of emission of radiation, visible or otherwise.
plural noun: luminosities “Altair has ten times the luminosity of the sun”
Astronomy // the intrinsic brightness of a celestial object (as distinct from its apparent brightness diminished by distance).
noun: Lum-in-os-ity
Luminosity 10
Philosophical Meaning // There’s a lot thrown around about the word luminosity. Mostly to do with the measurement of brightness that a certain object is radiating towards us but there are other meanings and other ways that beings like ourself pitch the term “luminosity” to each other. The luminosity of poetry for example can be interpreted as how deep or how moving the authors words have been. But the most moving terminology of luminosity relates to knowledge and the question of “are we luminous?”. There is an interesting debate going on between certain philosophers and authors about that question in particular. In this case of luminosity, they are relating the word to knowledge as a whole. The knowledge of knowing and where we have interpreted this knowledge from is the main argument amongst the experts. Timothy Williamson’s anti-luminosity argument has come under sustained attack by luminists. There are many different disagreement against Willamson’s passage such as; how David Walsh laminates the standard interpretation of modernity describes it as a revolutionary overthrowing of premodern thought. Moving as such, but there are others like like David Hemp and his principle of KK (Knowing that ones Knows) and Ram Neta that preach there are luminous mental states of mind, with safety.
Obviously luminosity plays an exceptionally huge role in architecture. There are many, many ways that one can infuse luminosity into architecture but to use luminaire design to heighten visual effects and rather concentrated on the light itself as an important dimension of architecture. Something Zaha did extremely well. It’s funny to imagine that so many different designs can lead to one ultimate experience within light and luminosity, and how the light moves like liquid throughout a building. Each designer has their own certain style that could capture light in many different aspects but to be such a curator of light, one must understand how light works, its luminosity, fluidity, reflection and flow. Throughout the study, reflection was mentioned almost to be hand in hand with luminosity. They are both spectrums of lights and aspects of designing. To combine the two ways of light, understanding materials within and throughout the exterior of designs and building in crucial. The fluid luminosity of design is create a space that you cant come across in everyday light. Fluid luminosity is like an aurora, fitting almost seamlessly within the northern skies. To create a space that feels like you are staring into the northern lights would be truely incredible. Believing so, Zaha Hadid, to me, almost created that in the sense or motionless curves weaving throughout the site, reflective materials capturing its natural surroundings and its luminosity with the natural sunlight. Theo retically
light is the essences of architecture. Without light architecture wouldn’t exist, well nothing would, but contextually within architecture, all design need, have or play with the aspects of light and luminosity. Yes, some much, much, much better then others but even if we aren’t designing around light as an important dimension, sub contagiously its in the back of our mental operations.
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02. Idea
Artifical Vs Natural
The debate between artificial and natural is an on going argument. There are so many pros and so many cons gathered between the two concepts. The concept of artificially and naturally filtered light however, is something to explore. The two design int he coming pages have been designed, one artificial and one natural. Both concepts explore the organic path of the sun throughout the day and it angles towards the earth, to gain maximum light penetration toward the light pavilion. The artificial concept is a series on six light pods connected via a blacked out underground tunnel. Each pod is angled towards a certain direction to gain maximum light intake within that time of day and month. These generated angles have been worked off the summer and winter solstice. The light filter on the roof of these pods are an artificial diagram representing a forest tree top canopy, being viewed from ground level. The natural concept follows as 4 pods. 2 larger pods angling towards the morning and afternoon sun light paths and then 2 smaller pods angling towards the midday sun paths. These pods are bigger for the reason of creating a natural path that can be walked from end to end (or morning to afternoon) viewing the graceful light display you get through the natural leaves of the vines covering the roofs of the pods.
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Precedent Study
By Ryue Nishizawa
Moriyama House
The Moriyama House by Ryue Nishizawa is an almost apartment block way of living. There are several tenants living within the space. What makes this space so special is that there are a series of individual dwellings all between, one and three story. Located in a small Japanese suburb, the block isn’t large, therefore the dwellings are large. These seperate small spaces all serve their own individual purpose, designed with no window looking into another and placed just like a floor plan of an ordinary home. The courtyard is made up of small paths and secret gardens that lay between the dwellings. This creates a space that allows all different kinds of light to flow through the courtyard and all times of the day and year. For me, what makes the Moriyama House special is the fact that the individual pods serve a different purpose. After looking at the block, I designed a set of individual light pavilions that all serve a different way of filtering light throughout different times of the day.
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Sections // 1:1000
Elevations // 1:1000
Artifical Plan // 1:1000
South
North
3000mm 6000mm
West
3000mm 6000mm
East
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Artifical Ground View
Artifical Aerial View
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Artifical Interior Views
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Sections // 1:1000
Elevations // 1:1000
Natural Plan // 1:1000
South
North
3000mm 6000mm
West
3000mm 6000mm
East
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Natural Ground View
Natural Aerial View
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Natural Interior Views
Definition 2 // Serious thought or consideration. “he doesn’t get much time for reflection”
Definition 1 // The throwing back by a body or surface of light, heat, or sound without absorbing it. “the reflection of light”
noun: Re-flec-tion
Reflection 24
Philosophical meaning // Reflection is one of three “logical acts of the understanding by which concepts are generated as to their form”, the other two being comparison and abstraction. Reflection is defined as “the going back over of different presentations, how they can be comprehended in one consciousness.” Reflection, comparison, and abstraction are “essential and general conditions of generating any concept whatever”. Reflection is neither the present of the future, reflection is the past and will always be in the past. Reflection can be seen as objects, i.e. sensation and observation of the internal operations of the mind. Hume states there are two kinds of impressions: those of sensation and those of reflection. Hume says little more than that sensation “arises in the soul originally from unknown causes.” Impressions of reflection arise from a complicated series of mental operations. First, one experiences impressions of heat or cold, thirst or hunger, pleasure or pain; second, one forms a reflection of the knowledge of which experiences in the internal operations of the mind. All claims of knowledge are, first, sense experience the red colour of a rose, the ringing sound of a bell, the taste of salt, and so on and, second, “ reflection” one’s awareness that one is thinking, that one is happy or sad, that one is having a certain sensation, and so on.
There seem to be two types of modernists in this world. Modernists that use plain, matte finished materials, i.e. concrete, wood etc. and modernists that use reflective materials, i.e. glass and aluminium. The modernists that design with reflective materials seem to have some sort of grand idea that captures the aspects of light and are portrayed onto the chosen material to structure light in way that is beautiful for viewing. Sometimes these ideas work on a grande scale and become some of the worlds most renowned structures. Two main materials are used in architecture to capture light reflection: glass and aluminium. Although there may just be 2 main materials, the way that architects and designers use and interpret these materials have an undefined beauty about them. Cladding a building in glass or aluminium is easy, but its the introverted way that designers think that create these enhanced buildings that somehow fit seamlessly within its landscape. Mirrored cladding (glass) is one of the most beautiful materials to use in design, the way it captures the reflection of the natural surrounding landscape and the routinely habit of the suns path is exceedingly desirable. But the environment is not appreciated as a clear mirrored picture, but instead goes through a process of modification and reproduction. Although the direct reflection may be harvested differently through the eternal mind, the outcome is still just as beautiful, modified or mangled, it’s charm or boldness is still standing tall. Alu
minium is used in a plethora of different ways. In one aspect, reflection is the new ornament. Cladding our building in different and strange but noticeably repetitive patterns and shapes, gives a new complexity to architecture, much like when ornament in architecture first became a movement. But these strategies with shimmering veils have significantly increased the relevance of the surface as a carrier for the meaning of a building. Increased, yes, but there are unimaginable ideas still yet to become, thus neither shadows nor simple mirror effects seem to evoke enough attraction for our spectacle-oriented society today.
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Alexander Price Representation ii University of Adelaide
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