G2.Warren.Georgie.rep2.17.

LIGHT

TRANSLATES

GEORGIE

WARREN

DARKNESS

PLACE

2017.

1.

AUG 14

ISSUE

Exposure.

Contents.

Page

Page

04 04 05

Light Study 01.

Luminosity.

The church of light.

06 06 07 08 09

SEPT A1704968

GEORGIE

WARREN PLACE

Page

Site Documentation.

Site Plan.

Elevations.

10 10 11 12

Three dimentional.

13

Analysis.

Shadow Study.

Site Analysis.

Social and Cultural.

Photographic study.

Page

14 13 14

Page

Light Study 02.

Reflection.

Casa Invisible.

15 16 19

Page

Light Pavillion.

Design 1.

Design 2.

22 22

Precedent. pablo valbuena.

Luminosity.

Astronomy - Luminosity is 'The intrinsic brightness of a celestial object (as distinct from its apparent brightness diminished by distance)'.

Physics - The rate of emission of radiation, visible or otherwise.

The presence of light that by its very nature provides brightness.

Philosophers have been searching for a comprehensive explanation for what has become known as the term `Illumination' since before medieval times. This is a term that has been used extensively in Arabic and Persian texts with the basic meaning of `rising of the Sun'.

Philosophical texts connect the term to "signifying a special intuitive mode of cognition", while ordinary language explores the term as "signifying the mystical" as well as extraordinary personal inspiration and intellectual knowledge. Within its technical use the term is united to the concept of `vision" expressing the theory of "knowledge by presence".

Blackwellreference.com. (2017). Blackwell Reference Online: Login. [online] Available at: http://www.blackwellreference.com/ subscriber/uid=7898/tocnode?id=g9781405106795_chunk_g97814051067955_ss1-130 [Accessed 14 Aug. 2017].

Art-sheep.com. (2017). Church of Light by Tadao Ando | Art-Sheep. [online] Available at: http://art-sheep.com/art-sheep-featurestadao-ando/ [Accessed 14 Aug. 2017].

ArchDaily. (2017). AD Classics: Church of the Light / Tadao Ando Architect & Associates. [online] Available at: http://www. archdaily.com/101260/ad-classics-church-of-the-light-tadao-ando [Accessed 14 Aug. 2017].

Iranicaonline.org. (2017). ILLUMINATIONISM – Encyclopaedia Iranica. [online] Available at: http://www.iranicaonline.org/articles/ illuminationism [Accessed 14 Aug. 2017].

Anon, (2017). [online] Available at: https://en.oxforddictionaries.com/definition/luminosity [Accessed 14 Aug. 2017].

4

The church of light.

"Light is the origin of all being. Light gives, with each moment, new form to being and new interrelationships to things, and architecture condenses light to its most concise being. The creation of space in architecture is simply the condensation and purification of the power of light." Tadao Ando

The `Church of light' was

created by Tadeo Ando in 1999, in the small town of Ibaraki. The concrete construction is a basis for featuring natural light as it embraces Ando's "philosophical framework between nature and architecture through the way in which light can define and create new spatial perceptions equally".

The church speaks a language featuring dynamic qualities of contradictory dainty light and solid concrete walls. This allows for the concrete to develop a "luminous quality when exposed to natural light", and the minimalist design of the volume to create a rich interior. Ando detailed this connection down to ensuring perfect alignment between the seams of the concrete and the cross extrusion.

Natural light fills the volume through a series of strategically placed windows and concrete walls, as can be seen in figures 1,2 and 3. This is clearly evident with his placement of a cross on the facade which allows for "light to pour into the space throughout early morning and into the day".

As a result the interior space plays with shadows and the eye is drawn to the celestial qualities of the lit cross that is featured within the space.

The Curch of Light, Tadeo Ando

Figure 1.

Church of light plan Sunpath during afternoon

5

Figure 2.

Church of light plan Sunpath during morning

Figure 1.

Church of light plan with Sunpath at dawn

10

The Maths Lawns.

D B

A

E F C

N

1:1000

Tree A Barr Smith Library B The Braggs C Ingkami Wardi D Molecular life sciences E Engineering and Maths sciences F Santos 1 petroleum engineering

1

6

Northern Elevation 1:500

Southern Elevation 1:500

Western Elevation 1:500

7

Western Ground view

South West Ground view

8

N

N

North West Aerial view

N

South East Aerial view

9

Shadow Study.

Summer 12pm

Summer 9am N

N

Winter 9am N

Summer 3pm N

Winter 3pm

Winter 12pm N

10

N

Site Analysis.

The Maths lawns

Meeting

Passage

Pedestrian network Entrance points - Street access point - University access points - Internal access points

Contemplation/rest

Passage

Study

External elements

Natural light movement over a day Heritage view- To be retained Noise

11

Events

Utilites

Clubs

Access Toilets Library/Reading room Academic area - Study, Lectures and reserach Cafes

Social and Cultural.

Social

Cultural

Context

The Maths lawns and the University of Adelaide provide a hub for vibrant social activity. This includes organised larger events such as open day and open night during which the lawns cater for many social groups. Smaller social gatherings are also a more regular activity held on the Maths lawns. The many seating options and quiet surrounds provide an ideal setting for conversation and academic work.

Adelaide is a multicultural University that caters for many International students. As a result many religions and various belief systems play an important part in the University’s culture.

The orginal owners of the land, the Kaurna people are also of significant importance and continue to be recognised today. Any design must recognise these cultural factors as of significant importance.

Adelaide University is located in close proximity to the River Torrens and the Botanic gardens. It is situated within the Adelaide CBD and as a result recieves a large number of the public visiting the University grounds. A new school is currently being built on Frome st and will bring an increased number of teenagers to the area.

Sporting areas such as the University ovals and Adelaide ovals are all within walking distance.

12

Day and Night.

Night

Ambient lighting has been featured within the design of buildings surrounding the Maths lawns.

Day

The Braggs building is highlighted at night through light that frames its neat corners and adds a sense of depth.

13

The Barr Smith Library recieve direct sunlight throughout the day. This allows it to look illuminated and creates diverse shadows.

The Eastern rising sun dispurses through the trees and creates silhouettes that span across the lawns.

SEPT 04 REFLECTION

GEORGIE

WARREN IDEA

Reflection.

Reflection in a linguistic sense is

defined as “The throwing back by a body or surface of light, heat, or sound without absorbing it” and “Serious thought or consideration”.

The philosophy of reflection through mirrors Reflection is described through the rule of reflection that explains that when light meets a mirror, its angle of incidence equals its angle of reflection.

As a result of mirrors or reflective surfaces following the mirror rule it can be understood that they will alter the geometry of the world in their refections such as a shift between left and right.

This is a concept developed over time through various tried and failed explanations about light. Such as Platos concept of light being emitted from fire in the eyes, which he attempted to explain a reflective shift between left and right as a result of, “The fires from within and from without meet about the smooth and bright surface of the mirror; and because they meet in a manner contrary to the usual mode, the right and left sides of the object are transposed.” (Timaeus).

This concept was later questioned by Aristote who believed light was from an external source that entered the eyes, which led to the mirror rule.

Wilkinson, T. (2016). Mirror Mirror. PhilosophyNow, [online] (121). Available at: https:// philosophynow.org/issues/114/Mirror_Mirror [Accessed 28 Aug. 2017]. http://www.archdaily.com/770303/invisible-barn-stpmj Anon, (2017). [online] Available at: https://en.oxforddictionaries.com/definition/reflection [Accessed 28 Aug. 2017].

Invisible Barn, Stpmj

Mirror Reflection 14

Specular Reflection

Diffuse Reflection

Invisible Barn.

Invisible Barn features the concept of ‘reflection’ at its very core and delves into the impact of such an interesting design component within architecture. Designed as a “site specific design proposal that re-contextualises the landscape of the site by projecting the landscape on the structural proposition… The mirror-finished folly is placed in the middle of the grove and reflects its surrounding environment: different species of trees and plants, sky ground and the seasonal changes of the site.”

The structure’s interaction with the landscape it sits within, is manipulated by the designer to allow it to “lose its man-made architectural presence in nature but add novel experience and interaction to the user”, as seen in figure 1.

While the exterior blends in extremely well with the surrounding environment, the openings of the folly have been accentuated to create a visual trick that the “framed openings are floating on the grove”.

This allows for contemplation on the subtle differences between the real and mirrored landscape. Further, these apertures create a gateway for interaction as they indicate viewing frames, passages and benches.

Through the architects interpretation of the design components that generally indicate a single purpose, such as a window, have been reinvented to manipulate the users experience on a greater level.

Stpmj, the architecture firm for Invisible Barn aim for “provocative realism” within their designs as they believe their work “explores a new perspective built from careful observations of material, structure, and program expanding to the social, cultural, environmental and economic phenomena of our time.”

The reflection seen on the exterior facade of Invisible Barn is similar to that of what people would see without the folly, as the trees are all of similar size and spacing. This allows the architect to create a visual illusion that “blurs the perceptual boundary between the folly and the site.” This is one component of the design that was successful through the architect’s careful analysis of the materials and site.

Man-made architecture

Nature/Background

Figure 1

15

Man-made architecture

Nature/Background

The highly reflective exterior has more than 99% of UV reflectivity in the range of 200-4000nm wavelength. This wavelength is not visible to humans, however is evident to birds and so this prevents accidental collision.

The construction process of Invisible Barn is suggested as a prefabricated system, with movement and assembly by 2-3 people. This is possible due to its lightweight timber frame and mylar mirror film.

Design One.

Eastern Section AA 1:500 Northern Section BB 1:500

Concept

Divulge, aims to expose and question preconceaved ideas of dark spaces beneath the earth. The architecture meshes with natural earth and light to invert the dark with light and the solid with hollow.

AA

A F D

A Exhibition Space

B

B Seminar room C Library/Quiet space D Foyer E Storage Space F Elevator

N

Site Plan 1:250

E

B

16

C BB

C

A

Form Generation.

Design base - Submerged space underground

Bringing the surrounding Earth into the design.

To celebrate the pavillions underground location.

Establishing circulation space .

Extruding the entrance walkway.

17

Circulation route.

Dark paths leading to feature points of the building, exhibition space and library.

Glass.

Earth lighting locations.

Earth.

1

2

3

18

1. Northern view featuring the exhibition space to the left 2. North West view of the open library door. When open the natural light from above is blocked altering the experience.

3. North West view of the closed library door. The natural light filters into the room through a small slit.

The internal experience is greater with the closed door and silent reflective atmosphere.

Shadow.

1

2

3

1. Western aerial view 2. North West Ground view 3. Western View from Foyer to Exhibition space. Featuring Tree root lighting on the right.

4. South East view from interior library space facing hidden door. Featuring tree root lighting ot the right.

19

4

Shadow.

Eastern Section AA 1:500

A D

F

E

Northern Section BB 1:500

C

A

F D

D BB A BB

B

A

E AA

A A Exhibition Space B Seminar room C Library/Quiet space

E

C

BB

D Foyer E Storage Space F Ramp

N

Site Plan 1:250

20

F A

B

Form Generation.

Design base - Submerged space underground.

Tree root entrance.

space

and

ramp

Extrusion of grassed strips Maintain grass view across lawn from Frome st.

21

Transparent concrete strips form the connection between the tree planters for people to walk across and create shadows below.

Tree roots are included within the space as a lighting feature.

Pablo Valbuena.

Currently based in the South Pablos work inspires unique of France, Pablo Valbuena thinking on previously develops mundane spaces through clever usage of light, reflection and the interaction people “art projects and have with space. He is able to research focused create a link between people’s on space, time and perception and preconceived perception”. ideas of site specific places and the inverse of their Key elements of his work expectation. include exploration of “the overlap between physical and the virtual, the generation of mental spaces by the observer, the dissolution of the boundaries between real and perceived, the links between space and time, the primacy of subjective experience as a tool to communicate and the use of light as prime matter”.

Obvious and expected

Unique and inspiring

22 Figure 1. kinematope [pommery]

Upon analysis of figure 2, he seems to explore the concept of light as surface.

A simple strip of lighting is manipulated to form the shape of a room with lighting to the top right hand side.

The lighting only defines the boundaries of the space but through this creates the illusion of surfaces and material elements. This is a concept implemented within the first pavilion design. In a slightily different take on the concept only a single wall was modelled with the frame of the wall and doorway sculpted with LED strips. As a result the visitors interaction with this component will create a unique experience.

It can be explored as to whether the wall is seen as a surface and visitors walk through the doorway only or whether they break through their preconceived ideas and step into the space over the lighting. Through breaking this concept an understanding of light and its ability to define boudaries can be discovered.

Figure 1 is a site specific installation that explores light, sound and architecture.

It is currently on view at caves Pommery. The installation is an effective example of the inverting perceptions through light and ‘light translating darkness’. The space is previously classified to be dark, dull and lacking in luminosity that filters the space. The downward staircase is perceived to lead to darkness while a small aspect of light enters the space from above. A simple concept for the space would be to add lighting to the interior spaces featured at the bottom and top of the stairs. However, Pablo has illuminated the stairs themselves making the journey between the top and bottom, darkness and light, the experience of the space.

Within the first light pavilion this concept is explored through the unconventional illumination of earth rather than the interior space. The second pavilion features the illumination of tree roots and the inclusion of shadows beneath the surface. These are all concepts that invert ones initial perception of the function and lighting of an underground space where natural light is not the normal and artificial light becomes primarily a visual tool.

Pablovalbuena.com. (2017). intro : pablo valbuena. [online] Available at: http://www.pablovalbuena. com/ [Accessed 1 Sep. 2017].

Forward Council. (2017). Pablo Valbuena. [online] Available at: http://forwardcouncil.com/index/49/ pablo-valbuena [Accessed 1 Sep. 2017].

Figure 2

Figure 3

Figure 4

23

A1704968 LIGHT

GEORGIE

TRANSLATES

WARREN

DARKNESS