Structures of Light. Structures of Light. Structures of Light. Structures of Light.
Structures of Light.
01. 01. Place // Site Photographs 02. Site Plan 03. Access & Movement 04. East & West Elevations 05. North & South Elevations 06. Summer Sun Aerial Views 07. Winter Sun Aerial Views 08. 3D Model Ground Views 09. 3D Model Aerial Views 10. Light Study 1 // Lumosity 11. Light Study 1 // Lumosity 12. 02. Idea // Design Introduction 13. Precedent Study 14. Design 1, Plan 15. Design 1, Section & Elevation 16. Design 1, Aerial & Ground views 17. Design 1, 3D Interal Views 18. Design 2, Plan 19. Design 2, Section & Elevation 20. Design 2, Aerial & Ground views 21. Design 2, 3D Interal Views 22. Light Study 2 // Reflection 23. Light Study 2 // Reflection 24. 03. Form // Natural 25. Natural Plan Form 26. Pavilion Access & Movement 27. Natural Sections & Elevations 28. Natural Aerial & Ground views 29. Natural 3D Internal Views 30. Light Study 3 // Opacity 31. Light Study 3 // Opacity 32. 04. Material // Timber 33. 3D Internal Views + Materials 34. Pavilion Exploded Perspective 35. Construction Details 36. Light Study 4 / Filtration 37. Light Study 4 / Filtration
Contents
1
01. Place
m
125
980
mm
50m 1 7 3
m
00m
Plan // 1:1000
5m 800
2 m
N 80590m
45 138 m
Access & Movement // 1:2000
Vehicle Access & Movement Pedestrian Movement Main Access Points
3
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.
5
Summer 9:00 am 6
Not to Scale.
12:00 noon
3:00 pm
Winter 9:00 am
12:00 noon
3:00 pm 7
8
Ground View
9
Aerial View
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.
11
Artifical Vs Natural
02. Idea
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.
12
By Ryue Nishizawa
Moriyama House
Precedent Study
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.
13
14
Sections // 1:1000
Elevations // 1:1000
Artifical Plan // 1:1000
South
North
3000mm 6000mm
West
3000mm 6000mm
East
15
16
Artifical Ground View
Artifical Aerial View
17
Artifical Interior Views
18
Elevations // 1:1000
Natural Plan // 1:1000
Sections // 1:1000
N
South
North
3000mm 6000mm
West
3000mm 6000mm
East
19
20
Natural Ground View
Natural Aerial View
21
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 22
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.
23
24
Natural Plan Form // 1:500
03. Form
m
0m
0 275
0m
590
m
0m
600
m
mm
0 600
m
0m
111
0 306
500
mm
mm 0 990
N
25
26
Sections // 1:1000
Pavilion Movement
South
North
Elevations // 1:1000
Pavilion Access
3000mm 6000mm
West
3000mm 6000mm
East
27
28
Ground Views
Aerial Views
29
Interal Views
Definition 2 // the quality of being obscure in meaning. “the difficulty and opacity in Barthes’ texts”
Definition 1 // the quality of lacking transparency or translucence. “thinner paints need black added to increase opacity”
noun: Op-a-ci-ty
Opacity 30
Philosophical meaning // Opacity is a term thrown around quite a lot. This is due to the fact that the meaning of the word can be portrayed in a few different circumstances. Obviously the first and main meaning of the word is used to describe an object, a physical object of any. The second meaning behind the term is used to describe a human. And third, used to describe things such as, writing and poetry, art and paints, design and architecture. Opacity is the property of being an opaque context. Dependant of which context, the property can vary its opaqueness. For example, if I were to you that you Wwere opaque, this would mean the I cant necessarily see you or that I can understand what you are try to say, what you’re trying to explain to me. Where as if I were to say, that red box has a certain opacity to it, I’ll be trying to say that the red box is almost transparent. Transparency and opacity are often confused with each other. But you can’t have a property within a context that is transparent.
How light enters and exits a dwelling is the most important aspect of designing in architecture. Architecture is revolved around light, how it plays with the building and its spaces and the surrounding landscape. Scandinavian architects have mastered this art of light, designing space which light can flow through, creating interior light greater than exterior light. All of this comes down to the connection between the landscape and the building. Materials used within the interior of the building also plays a crucial part in how light elegantly flows throughout spaces. White surfaces offer a high reflectance in order to maximise interior brightness for dark winter periods. Although Whiteness is a key aspect of Scandinavian architecture, there could be a slight problem when it comes to the long summer day periods. Having light reflected off these white surfaces and materials that cover the interior head to toe, light can become very intense within the building. The sun emits rays that reflect off the bright snowy landscape, which then intensifies and then again when the light is portrayed through the space. Obviously, shading devices and the extremely intelligent and fashionable designs that Scandinavian architects develop, work their way around these problems seamlessly. These spaces that are designed and created around the scarce light and landscape that is Scandinavia, could not be built anywhere else in the world. The angle that the sun hovers
above the ground is like no other. Light that penetrates at such an angles is difficult to master, but once mastered, the building and space can have an almost opaque feel to it. Light can have a certain opacity to it once reflected of surfaces and materials. Some religious buildings and churches call for attention with characteristic light patterns during the whole morning liturgy, some welcome the sunlight at the end of the service at noon whereas others imply only subdued light to enhance contemplation. Reflected light especially in religious buildings, reveal a wide variety of time-concepts. The concepts range from material textures to specific glass features and built volumes that change the image during the course of the day and season. Clever orientation and richly contrasting light projecting onto a bright wall can act as a canvas for the central alter in religious spaces, while the glass front he windows can act as a lens and also a mirror. Such direct sunlight can possibly take away from religious doings and can act as a distraction. Other architects try avoid the drama of harsh sunlight that distracts from the liturgical service. These ideas of indirect and “easy on the eyes� sunlight are a completely different way of designing in Scandinavia. There are ways to light up a space without using direct sunlight. The play of materials, angles and how sunlight penetrates the building is another way of thinking altogether.
31
32
04. Material
32
33
Interal Views + Materials
Pavilion Axonometric // 1:750 34
Balustrades Light Filter Ground Level Pavilions Paths Connecting Pavilions Stairs/Enterence/Exit
Construction Details // 1:50
Grass
Steel Cable
Soil
Cable Hook
Earth
Vine/Filter
Concrete Retaining Wall
Leaves/Filter
Concrete Render Screws to Hold Timberin Place
Grass Timber Interior Finish Concrete Render
Timber Interior Finish
35
Definition // The action or process of filtering something. “small particles are difficult to remove without filtration”
noun: Fil-tra-tion
Filtration 36
Philosophical meaning // You can put a filter on almost anything. But to put a filter on a certain object might not mean the same as putting a filter on a different certain object. People use the word filter is a literal sense and in a fictional sense, in a scientific sense or an architectural sense. Filtration is defined as “to filter a substance means to pass it through a device which is designed to remove certain particles contained in it”, yet it’s also defined as “a filter is a device through which sound or light is passed and which blocks or reduces particular sound or light frequencies.” There is no “one” meaning or definition to filtration but all these definitions have one thing in common, a substance or particle enters, and the same substance exits but with purposeful alterations. There are 2 main instances of the term filtration. The first case have to play a large role in chemistry and science, meaning, Filtration is a process used to separate solids from liquids or gases using a filter medium that allows the fluid to pass, but not the solid. The term “filtration” applies whether the filter is mechanical, biological, or physical. On the other side of the hill, filtration meets a different terminology, terminology to relate to architecture and light. To filter light is to alter its appearance on the other side. To filter light in such a way the space its being filtered within becomes a canvas to such beauty and art.
Le Corbusier, a true poet that can speak through architecture and his filtration of light. Each of Le Corbusier’s buildings and religious buildings are all different and all speak a different and amazing story. Although agnostic, he definitely believes that there is some sort of almighty power within light, and how it liberates our world day after day. These religious buildings and structures that Le Corbusier designs have a great amount to do with how light plays with the central alter at certain times of the day. Also, he must believe that light has been linked with divinity and holiness in many different religions. And, In Christianity the Bible speaks of God who “is light” or Christ as “the light of the world”. Filtering light to romantically play with the colourful textures of his buildings to create a certain energy and aura about the space is masterful beyond years. To have these visions or how the design will play out, without technology of today is incredible. Each of his three sacred buildings, tell a different story. These are just stories, but they are poems, songs, masterpieces that cant be written or sung, but only envisioned thought light and powerful filtrations. His building orientation connects light and shadow to portray stories only understood by the building itself. These tales can vary from large open corridors, to small 10cm gaps between 2 huge prefabricated concrete modules. The light perceived through a smaller entrance can be intensely more powerful then light light through a large series of windows. Le Corbusier uses small interventions to generate remarkable light patterns that
reflect cosmic power. Entering these spaces with such openings and textures create kinetic architecture with daylight. Another way to perceive light is through large openings and subtle textures. These openings, as big as the corridors within The Monastery of Sainte Marie de la Tourette at Éveux-sur-l’Arbresle are music to you’re ears. When there is such a large filtration, the light becomes less intense but the room to move and play is much greater. Having a plethora of light entering such a space, Le Corbusier alters the structure of the open facades to allow the walkway to become a canvas. Within this canvas, the believers encounter diverse light experiences. Poetically, the corridors are distinguished with different window arrangements. The irregular rhythm of light and shadow appears like a musical composition. Unlike the repetitive rhythms of windows and columns in traditional churches, these fluent filtered rhythms are based upon intervals of light and transparency that gradually compress and expand in waves. Furthermore, Le Corbusier explores the power of the sun. Crafting gaps and openings with adjust sunlight to particular parts of the year and can portray when the sun is at its weakest in winter, to when the summer sun is at its most powerful. There is no fault in his architecture, even when there is, this attends to the characteristics of his buildings. His dynamic layers of light transcend the static building volumes - a cosmic cycle that changes with the course of the day, year and with a clear or overcast sky.
37
Alexander Price Representation ii University of Adelaide
WW