Representation II - Stage 1: Magazine 1st Attempt

REPRESENTATION II BAO NGUYEN A1756394

CONTENT TABLE

PLACE SITE DESCRIPTION

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PLACE LIGHT AND SHADE STUDY

3PM, FEB 1 2019

12AM, FEB 1 2019

9AM, FEB 1 2019

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SUPERIMPOSED

PLACE CIRCULATION AND USAGE STAFF AREA ACADEMIC AREAS PARK LAND CIRCULATION

SITE USAGE

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CIRCULATION

Light closes the gap between architecture and our perception. We sense forms and materials with our eyes not directly but through the reflected light. Zaha Hadid’s use of light might appear graphical at first sight with her light lines. Nevertheless, the grand dame operated very skillfully to enhance her architectural imagination. Luminous lines either as luminaires or windows—characterize her early work, whereas luminous fields and a play of brilliance emerged later.

Luminosity

LUMINOSITY 4

HEYDAR ALIYEV CENTRE

Looking back at the career of

Zaha Hadid, we can identify a decisive turning point regarding her design strategy, manifest in the Nordpark Railway Station, where continuity and fluidity pushed her deconstructivism and fragmentation aside. This step was also translated into a new language of light. Matt façade surfaces were then supplemented or replaced by reflections and the architecture started to mirror its surroundings. Similarly, her interiors changed from raw concrete, via a purist white to glamorous gold for key spaces. Deep-rooted in the visual language of suprematist paintings, Hadid often converted geometrical lines into diffuse luminous light lines and respectively curves. Thus, her earlier lighting looked more like an expression of graphic design than an exploitation of the full potential of light to interpret architecture. Meanwhile, her diffuse illumination created a soft atmosphere, in which the energy of the space stems from the fluid forms. But she did not use

Luminosity

The

Luminosity

Center, designed to become the primary building for the nation’s cultural programs, breaks from the rigid and often monumental Soviet architecture that is so prevalent in Baku, aspiring instead to express the sensibilities of Azeri culture and the optimism of a nation that looks to the future.

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The

design of the Heydar Aliyev Center establishes a continuous, fluid relationship between its surrounding plaza and the building’s interior.

To empha size the continuous relationship between the building’s exterior and interior, the lighting of the Heydar Aliyev Center has been very carefully considered.

The lighting design strategy differentiates the day and night reading of the building. During the day, the building’s volume reflects light, constantly altering the Center’s appearance according to the time of day and viewing perspective. The use of

semi-reflective glass gives tantalizing glimpses within, arousing curiosity without revealing the fluid trajectory of spaces inside. At night, this character is gradually transformed by means of lighting that washes from the interior onto the exterior surfaces, unfolding the formal composition to reveal its content and maintaining the fluidity between interior and exterior.

IDEA IDEA GENERATION The concept of the design is about increasing lightness. My aiming is to seeking light through the aspect of natural catastrophe of the meteorite landing.

The design will express the intensity in light and brutal in appearence of the meteorite clashing again the ground Brutal/ exotic/ defomation shapes vs simple shape.

Increasing in light Intensity.

Gravity & Wieghlesness

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IDEA MAPPING IDEA

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BRIGHT SPOT

GROUP CIRCULATION

GRID OF VEGETATION

COLLAGE

IDEA MAPPING IDEA

The sketck is made by twisting the colage mapping around the Bright spot to perform the pull, push and deformation effect.

LIQUIDFY

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IDEA SKETCHING CONCEPT

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REFLECTION REFLECTION

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Accompanied

by the belief that light and brilliance could help in creating iconic architecture and a better human world, glass and metal have been in novatively transformed to create crystalline images. As a result, the locus of meaning in architecture has shifted from the internal spaceform towards the external surface.

Reflection

ELBPHILHARMONIE

Reflection

Undoubtedly

Reflection

the glass façade at the Elbphilharmonie in Hamburg by Herzog & de Meuron refers to the visionary glass culture of Scheerbart, and in directly to the golden shim mering skin of Berlin’s Philharmonic by Hans Scharoun as well. Inwardly and outwardly curved glass elements distort the perception of the city, water and sky. The views, and the bright autumn sunlight, are caught, refracted and multiplied by reflective surfaces and curving glass walls. They build a fresh contrast to the uniform plane glass curtains of the International Style. The environment is not appreciated as a clear mirrored picture, but instead goes through a process of modification and reproduction.

Due to the curves of the balconies,

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the building reflects points or lines of brilliant light streaks. With a blue or diffuse sky the distinctive curves reflect the light as bright lines, similar to the horizontal lines seen in the designs of the automotive industry. Under direct sunlight, bright glossy points appear and evoke a jewel-like shimmer. Additionally, the vertical and horizontal convex curves of numerous single glass elements reinforce the shiny distorted reflections of the sky. Overall the curved façade with its printed dot screens evokes a vivid and liquid image, which expresses a close link to the water around. Built upon the historic brick warehouse below, and with its abstract choreography of complex distorted light reflections, the Elbphilharmonie operates as a magical eyecatcher.

The defining feature of the Elb-

philharmonie: 1,000 curved window panels, tailor-made to capture and reflect the colour of the sky, the sun’s rays, the water and the city, turn the concert hall into a gigantic crystal. The glass facades in the loggias of the apartments and concert foyers are especially striking: with their boldly convex form they resemble huge tuning forks. link: https://www.elbphilharmonie. de/en/elbphilharmonie#elbphil-architecture

FORM METEORITE

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EXTRACT DRAWING

METEORITE MODULAR

VIEWPOINT 1

VIEWPOINT 2

ASSEMBLE

FORM GROUND BREAKING

BOUNDARY

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VIEWPOINT 1

EXTRUDE

REFINED FORM

VIEWPOINT 2

FORM SITE VIEWS

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SCALE 1:500

FORM ELEVATIONS

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BACK ELEVATION SCALE 1:500

FRONT ELEVATION SCALE 1:500

FORM SECTIONS & PLANS

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SECTION 1 SCALE 1:500

FORM SECTIONS & PLANS

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SECTION 1 SCALE 1:500

O PACITY

extreme changes in weather and daylight have led to unique light situations in Scandinavia, where architects have played with white surfaces to counterbalance the long and dark winter days.

The low position of the sun in northern regions creates long shadows and therefore daylight enters the buildings more from the side than from above.

Opacity 18

The

In contrast, summer evenings emanate a diffuse light. Whiteness is a central aspect of how Nordic architects responded to their local environment.

Whiite surfaces offer a high reflectance in order to maximize interior brightness for dark winter periods, but for Plummer the affection for whiteness is also linked to the beauty of snow-covered landscape.

DYBKÆR CHURCH

power of pure white volumes is not the only characteristic of the Nordic built environment.The pulse of nature with vibrating patterns of light or the transiency of dramatic light and shadow belong to the distinctive Nordic light approach as well.

Religious buildings especially 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. Some 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.

Opacity 19

The

Early examples of white architecture could already be found in Denmark´s medieval churches, and this design approach still influences modern sacred buildings like the Dybkær Church by Regnbuen Arkitekter. For example, the sophisticated daylight concept arrives from three directions, as Plummer explains: “Low from the north to emphasize a black steel crucifix; more broadly from the south as a glancing wash; and as a shower directly behind the altar, guided down through a sluice of wall.” Further on, the nave walls are animated by an irregular texture of white brickwork.

MATERIAL

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Since the meteorite can contain large amounts of both metallic and rocky material, I decide to have shiny metalic material applied on the modular parts surface, also as a mean to express the intensity.

Reflective concrete surface underneath the base to create some playfull enviroment.

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FILTRATION

Le Corbusier’s light techniques emerge as a multifaceted language to consecrate his sacred 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.

His structural elements range from tiny stellar openings to large tubes, but even small interventions are used to generate remarkable light patterns that reflect cosmic power.

Filtration

RONCHAMP

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In Le Corbusier religous budil-

ing, light has been linked with divinity and holiness in many different religions as visible light appears as the most sim ilar to the heavenly. Acordi ng to Henry Plummer regarding the transformative power of light: “Instead of serving as a tool of religious persuasion, as it generally has in the past, light has

become a quiet force to visually resist and elude, erode and outshine, the Church´s mandate.

Light eats away and weakens institutional discipline, while exerting its own dazzling powers to draw attention out to the sky and its commonplace marvels – in effect using light to consecrate the natural universe”.

Filtration

Le Corbusier has played mas-

Filtration

terfully with orientation, openings and textures to create kinetic architecture with daylight. .

Ronchamp is deceptively mod ern such that it does not appear as a part of Corbusier’s aesthetic or even that of the International Style; rather it sits in the site as a sculptural object. The inability to categorize Ronchamp has made it one of the most important religious buildings of the 20th Century, as well as Corbusier’s career. The most striking part of Ronchamp is the

curved roof that peels up towards the heavens. The curving roof appears to float above the building as it is support ed by embedded columns in the walls, which creates a 10 cm gap between the roof and the walls, which allow for a sliver of clerestory light. The roof is actually the only glimpse of mechanized influence in the overall design of Ronchamp; the roof’s curvature mimics the curves of an airplane wing. It’s aerodynamic in design and in all of its massive and heavy qualities it still appears weightless.

One of the most interesting aspects of the design is

the sporadic window placement on the walls. Corbusier implemented small puncturing apertures on the façade that amplified the light within the chapel by tapering the window wellin the wall cavity.

Each wall becomes illu minated by these differing window frames, which in conjunction with the stark white washed walls gives the walls luminous qualities punctuated by a more intense direct light. On the wall behind the altar in the chapel, the lighting effects create a speckled pattern, almost like a starry night, of sparse openings that are complimented by a larger opening above the cross that emits a flood of light, creating a powerful religious image as well as a transformative experience.

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