Rep II Magazine Final Submission - John Erwin De Leon a1755465

CONVERGENCE THROUGH LIGHT REPRESENTATION II LIGHT PAVILION CONCEPT

STRUCTURES OF LIGHT JOHN ERWIN DE LEON A1755465 2019

04.

10.

18.

26.

PLACE

IDEA

FORM

MATERIAL

SITE HISTORY AND IDENTITY SITE PLAN SITE ANALYSIS LIGHT STUDY 1

IDEA GENERATION PRECEDENTS VISUAL REFERENCES CONCEPT ANALYS LIGHT STUDY 2

FORM DEVELOPMENT PLACE MAKING 3D MODELLING/VIEWS SPATIAL QUALITY LIGHT STUDY 3

MATERIAL DEVELOPMENT LIGHT AND TEXTURE VISUAL EXPERIENCE ATMOSPHERE LIGHT STUDY 4

PLACE SITE PLAN

THE BRAGGS

MATHS LAWNS

BARR SMITH LIBRARY

INGKARNI WARDLI

In the heart of the campus of Adelaide university lies a lawn courtyard named the Maths Lawns contained within The Braggs, Molecular Life Sciences, Ingkarni Wardli, engineering and Maths. Sciences, and the SANTOS building. In contrast to these modern structures are the central structure the overlooks the courtyard, the Barr Smith Library, dating back to the 1930s.

The Math’s Lawns have a specific identity

4

MOLECULAR LIFE SCIENCES

ENGINEERING AND MATHS SCIENCES

of the merging of old and new. The old being the use of materials such as red brick, orthogonal layouts, such as the Molecular Life Sciences building, and general appearance which fits the image together with Barr Smith Library.

This is merged with the new such as the benches, and the materiality of both the Ingkarni Wardli building, and The Braggs building. The pathways feature different

SANTOS BUILDING

FROME RD

materials which are chosen in context the building it is next to, such as brick in front of the Barr Smith Library, and concrete paving in front of the Ingkarni Wardli building.

This itself in particular should go hand in hand with the design on the light pavilion, in hopes of achieving a coherent sense of place, and the identity of the university.

SITE ANALYSIS

The areas used are only restricted currently to the benches which surround the lawn, which reaches its peak at noon.

The lawn is largely unused apart from the occasional activities and events.

The current circulation is very rigid and conservative which is fitting for the surrounding buildings such as the Barr Smith Library, and the university context.

However, this could be more flexible and have the lawn see more use.

10AM

The main features are the 5 buildings which run parallel, the two most visually important however is the separated lawns, and the Barr Smith Library, which is not allowed to be visually covered from Frome Rd.

AUGUST 27 2019

A general sun path showing the current winter path over the Maths Lawns, an important aspect to consider for the pavilion and how that will interact with the rest of the paths and circulation.

6PM

5

MATHS LAWNS 3D MODEL VIEWS

The two lawns which are not in use apart from occasional events create space for the possibility of a centralized pavilion which would be able to maintain the current circulation and usage while creating the possibility for more.

6

WINTER 9AM

LIGHT AND SHADE STUDY WINTER 12PM

WINTER 3PM

In the study of the light, shadow, and the positioning of the site, the most exposed area is the central pathway that divides the Maths Lawns during winter, which would make the most sense for a pavilion of light with the focus on expansion.

SUMMER 9AM

SUMMER 12PM

SUMMER 3PM

As for summer, the central pathway is also the most exposed area from sunlight on the site, leaving about half of the site under shadow far less than winter. An underground pavilion is a possibility as an option to not only block sunlight, but direct or filter it to the structures needs.

7

LUMINOSITY

CASE STUDY - FLUID LUMINOSITY THE ARCHITECTURAL LIGHTING OF ZAHA HADID Luminosity, the visual quality, vibrancy, and intensity of light which can be expressed through its interactions and illumination within a space, or how we perceive its intrinsic and aesthetic qualities within our own eyes.

The luminosity of light creates a blend between to spaces or objects, a gradual feeling of expansion in light from a bright source, making the harsh and distinct contrast of light and shadow blurred or disappear altogether. It can create illusions that either accentuate parts or a whole of a being or object, or blend and merge them all through light, simply through its placement, intensity, and the initial gradual spread of light. In a much more metaphorical and symbolic sense, luminosity is

8

illumination, the gain and desire for knowledge and intellectual thought and the gradual spread of desire with similarity to how illumination of light spreads.

In the case of Zaha Hadid, she uses the luminosity of light to accentuate the curvature of space that she has designed, creating a blend or a bridge in which connects the architecture or the interior space with the visual experience. In Zaha Hadid’s design of the MAXXI Museum, the luminous lights spread throughout the curves and texture of the materials, acting as a union between the stark contrast of black and white, this along with the louvers which are above the museum ensures a soft natural luminosity from daylight

which works in placement or in tandem with the lights to create a unified space and accentuate the curves. Similar to the MAXXI Museum, the Heydar Aliyev Center works in maintaining the fluidity and curvature Zaha Hadid is renowned for, using openings to reflect and illuminate the space and once again putting emphasis on the curved forms of the interior. During the night, the lighting flows into the surfaces of the surfaces of the curves, creating an almost identical atmosphere from the sun, with the light directly reflecting edges of the curve, creating linear streaks of light further directing the flow of the space along with the curved forms.

In Zaha Hadid’s, earlier work, the Phaeno science Centre in Wolfsburg, became a turning

point for her architecture with the curves which is unlike the sharp and angular nature of her buildings. Along with this came the change in her direction in lighting, using the illumination of sunlight to blend into the darkness underneath, supported by the rhombus-shaped panels with its teal subtle and diffused luminosity. This blend to create a sense of fluid and coherent space for the people who enter with the use of daylight and artificial light has since become quite a large part of Zaha Hadid’s luminaire design, as an important aspect of her architectural design, as seen in her more recent buildings as previously stated.

9

IDEA METAPHOR

SEEK LIGHT IS GROWTH/EXPANSION

10

With light being a metaphor for knowledge, awareness, and understanding, seeking light means to move forward and to learn and gain knowledge, with growth and expansion being a metaphor for the growth and expansion of a person’s mind and experiences.

This could also mean the spread of light through a space, the multiple spatial experiences in which light provides through multiple interactions with the area and material.

For the generation of ideas, this was first visualised with the gradation of darkness to the light in relation to seeking light. This is expressed with spiraling and round shapes and spaces that is c entralised towards a main area or main source of light.

The second generation of metaphorical ideas is the literal expansion on space and light, similar to a tunnel which expands, letting in or reflecting in more light. The

gradation of shadow to light and narrow space to large, also plays with the idea of seek light and growth/expansion.

Both ideas have resulted in restricted pathway that grows and expands in size, which are located on all the sites entries and walkways.

Based on the idea of gradually enlarging or converging light from narrow pathways to a larger space, the idea is to create a sort of intersection or hub in similarity to the Tirpitz War Museum.

Rooms would be placed in accordance to the central space and the pathways to gather people towards the center, where majority of the light shines through. These rooms would be underground, with an opening in the center to gradually focus and expand light.

The current circulation of the Maths Lawns was simply moved down and placed with a center path to urge circulation to the middle of the lawns as well as create an intersection where all is directed to the middle, playing more on the previous metaphor.

TIRPITZ WAR MUSEUM BJARKE INGELS GROUP The Tirpitz War Museum has a centralized layout with the structure in its surrounding and four entrance and exits which work interchangeably with one another. Considering the Maths Lawns multiple paths and entrances, as

well as the underground aspect of the structure, this would relate as an example extremely well in the given context.

This also resembles the centralised interpretation of seek light.

PORSCHE PAVILION HENN ARCHITECTS Curvature, fluidity, and play of light and how it interacts with the Porsche Pavilion takes its precedents and design intentions from the Porsche designs. This continuous appearance changes of the structure depending on how

light interacts with it due to its curves is something to take note and how that can be expanded upon in the context of the metaphor of seek light is growth/expansion,

11

ABOVE GROUND CENTER SHADE AND OPENING CONCEPTS

The idea for the pavilion is to have a singular opening for light to then be diffused or reflected throughout the underground space depending on the material for a luminous quality from the metaphor of “Seek light is growth/expansion”.

To add another layer of possibility with light, shadow, and contrast, a curved surface for shade was created to cover the four corners of the intersection, originally from sharp triangles, then made into curves to contrast the already orthogonal layouts.

CENTRAL LIGHT OPENING

STAR/LIGHT OPENING WITH SHADE

FURTHER INSPIRATION WITH CENTRALISED LIGHT AND EXPANSE OF LIGHT

STEVEN HOLL

12

STUDIO MRDO & STUDIO LAM

KIMMEL ESHKOLOT ARCHITECTS

RECTANGULAR VARIATION

LIFTED GROUND VARIATION

LIFTED GROUND IMPROVED VARIANT

PROGRAM DESIGNATION 350M SQ

EXIBITION/PRESENTATION

READING/RELAXING

SEMINAR ROOMS

TOILETS M/F/D

SMALL LIBRARY

RECEPTION

STORAGE

13

REFLECTION

THEORETICAL REFLECTIONS OF THE REFLECTION OF LIGHT By definition, reflection is the interaction of qualities such as heat or light within the surface of material without absorption. The visual appearances of light in reflection can also be perceived or expressed in ways which it represents certain characteristics we give it.

The reflection of light represents and expresses the feeling of enlightenment, the wash of light simulates the reflectance of knowledge towards a person, causing a push of self-reflection and critical thought over oneself. One can also interpret this as a relay of information, the bouncing of thought and how that same information changes from one person to another, showing our own personality and individuality in that work, in the same way that concepts such as arts can be shelved into

14

different categories despite it having drastic differences from one artist to another. This would be in the same sense that light is diffused and reflected in multiple different angles.

In terms of architecture, the early skyscrapers such as that from Mies van der Rohe, had used structural elements which split the faรงades of his skyscrapers such as his own trademark mullions in anxiousness in having surfaces of his structures reflect too much light. As described

by Mies van der Rohe, he was cutting facades in plan similar to that of cutting a crystal. In contrast to the flat and uniform surfaces of the International style that is numerous throughout cities, buildings such as the Philharmonic in Berlin, but Hans Scharoun takes the faรงade of

CASE STUDY II

VEILED IN BRILLIANCE: HOW REFLECTIVE FACADES HAVE CHANGED MODERN

the structure in play to create a mirror surface which distorts and reflects light to create a jewel like surface. The mirror like surface also creates a wavy and distorted reflection of the city, water, and sky, in a process of modification and reproduction, instead of plainly mirroring a scenery such as the standard sky scraper. In a similar fashion the Prada Epicentre in Tokyo has concaved parts of the glass faรงade to distort views and reflect light and scenery, though this can be seen in both the exterior and the interior of the building.

In placement of glass, the Walt Disney Concert Hall in Los Angeles, features titanium as the main material used for reflection, the building uses thin titanium sheets with its indentations to reflect sunlight to create a dynamic imagery

along with its curved forms, effectively creating a constantly changing appearance with qualities in its reflected light qualities and surface that makes the structure appear to be a jewel among the urban landscape.

In the same way the Walt Disney Concert Hall appearing to change in appearance due to the reflection of light in conjunction with the form, the Selfridges Birmingham department store contains anodized aluminium discs which does something similar which defuse the light on its faรงade to break a sense of scale in its appearance.

This break of scale makes the building hides the appearance of size, and the number of floors as well as openings, which are all done through the form in support of the reflective form and surface of the cladding.

15

VISUAL MOBILITY EXERCISE - MOVEMENT COLLAGE

16

VISUAL MOBILITY EXERCISE - UNFOLDED VIEW

17

18

PROGRAM PLACEMENT

FOOT PATH PLACEMENT

OUTER LEVEL COVER

SHELTER AND COVER PLACEMENT

FORM

EXPLODED SHELTER VIEW

Rooms and programs are placed in a formation which surrounds the current walk paths which intersect and create a small hub where the opening is located, representing the metaphor of seek light is growth and expansion, in that it is shaded tunnel like spaces that converge into an illuminated centralised space.

the surfaces of the floors and walls below.

The shelters are curved rectangular shapes which are made in contrast towards the formal and orthogonal surrounding structures, as well as the more traditional placements of the rooms below.

The idea of the shelters almost The openings are pointed outwards pointing or tilted towards the centre is from the center towards the pathways, to play with the light and how it could which is to to achieve a gradient of be reflected both above and below light the interact with depending on through the opening.

ABOVE GROUND EXTERIOR VIEW

INTERIOR VIEW

19

SITE SECTIONS Santos Building

Engineering and Maths Sciences

Library Seminar Room

Ingkarni Wardli

Exibiton/Presentation Storage

Barr Smith Library

SOUTH SECTION 1:500

Molecular Life Sciences

Engineering and Maths Sciences

Underground opening for centralised light Exibition /Presentation Entry Ramp

Bench under Pavilion

EAST SECTION 1:500

20

Four curved pavilions Entry Ramp

Reading/Relaxing

Central path intersection

Seminar Room

Exibition/Presentation Reception

Barr Smith Library

NORTH SECTION 1:500 Ingkarni Wardli

Barr Smith Library

The Braggs

Central Pathway Library Barhroom Opening to Ramp

Reading/Relaxing Barhroom

WEST SECTION 1:500

21

EXPLODED VIEW 1:400

PAVILION RAMP SHADE COVER GROUND LEVEL CEILING UNDERGROUND LEVEL MATHS LAWNS

22

MOLECULAR LIFE SCIENCES

THE BRAGGS BARR SMITH LIBRARY

PAVILION

MATHS LAWNS

ENGINERING AND MATHS SCIENCES

INGKARNI WARDLI

PAVILION SITE PLANS 1:500 The rooms and formation of the underground space of the pavilion completely focuses on the central area on the basis of seek light is growth/expansion, where both light from the opening and people due to the placement of the main rooms, are directed and converged to the center in a underground yet open hub. Coloured light from the slight overhang of the pavilion shades also shine down to the central point.

SANTOS BUILDING

WC SEMINAR ROOM

SEMINAR ROOM

READING/ RELAXING

LIBRARY

EXIBITION/ PRESENTATION

EXIBITION/ PRESENTATION WC

RECEPTION

STORAGE

AT

23

Opacity is the qualities of materials, objects or beings that prevent or block light. A low Opacity lets some light through whilst a high opacity shall block most if not all light, creating an element of control in how light can affect and interact with what we perceive.

In a more metaphoric sense, opacity represents what we let ourselves be exposed to and what we want to see, or how

24

we do the same upon others, whether it’s in ignorance, or for undesired reasons and beliefs.

It’s the blockage of some if not all light through our own eyes, with light representing the knowledge, illumination, and intelligence that we would usually seek. Opposite to that, with the same metaphorical sense of light, opacity can also represent the seeking of a person’s own knowledge whilst

OPACITY

LIGHT STUDY III : THEORETICAL REFLECTIONS ON THE ABSENCE OF LIGHT

blocking the undesired, unrealistic, or what cannot connect personally, in a desire for their own individualistic knowledge.

In terms of opacity in architecture, it can be used to evenly spread light throughout space to fully illuminate larger area than a regular point of light.

In Scandinavian or Nordic countries, they have developed architectural ways to fill a room with light using opacity to make the most of the little light they obtain during winter, and

the low position of the sun from their geographical location.

Buildings in Scandinavian countries such as the Herning Center of the arts

by Steven Holl Architects as an example have a distinctive white interior with high reflective properties which makes complete use and maximizes the limited sunlight. The whiteness of the interior also creates a visual brightness with light more intense than the visual brightness outside.

In the case of the Dybkær Church in

CASE STUDY - WHITENES IN NORDIC COUNTRIES

Denmark, despite the limited amount of direct sunlight which are directed more towards the altar, the space Is still illuminated through reflectance of the surfaces and whiteness, creating a bright and vibrant space. Throughout the day, the atmosphere changes due to the change of light such as intense light, patterned light such as the interactions from the brick work, and subdued light, which suits the religious aspects as well as still remain bright without much use of artificial

light. This reflected and diffused light that spreads throughout the space almost lowers the opacity of darkness and shadow, almost as if it is effectively creating a space where no real darkness exists.

This example of lowered opacity with shadow and darkness, the intensity and spread of diffused and reflected light, and the overall whiteness of walls, ceilings, and other surfaces can also be seen in the Hyvinkää Church, and the Nordyjllands Kunsten Museum.

25

GLASS FIBRE REINFORCED POLYESTER

POLISHED CONCRETE

CEMINTEL PANELS

26

TINTED GLASS

MATERIAL Chosen materials are reflecting to create different effects of light and colour in the central space and covers. The areas made to be intentionally dark such as the pathways are cladded with matte materials which diffuse or offer little spread of light.

INTERIOR UNDERGROUND DETAIL REINFORCED CONCRETE CEILING REINFORCED CONCRETE WALL CEMINTEL INTERIOR CLADDING HORIZONTAL ALUMINIUM PANEL STRIP ANODIZED ALUMINIUM FRAME CONCRETE FOOTINGS

REINFORCED CONCRETE SLAB STEEL WALL FRAME INSULATION UNDISTURBED EARTH POLISHED CONCRETE

SHELTER/COVER MATERIAL DETAIL FIBER REINFOCED REINFORED POLYMER CLADDING STEEL PIPE FRAME STEEL PANEL PLATE WATERPROOFING SASH TINTED GLASS PLANE

27

VISUAL RENDERS

HUMAN LEVEL VIEW - ABOVE AND UNDER GROUND

28

VISUAL RENDERS

SKY LEVEL VIEW - ABOVE GROUND

29

LIGHT STUDY IV

THEORETICAL REFLECTIONS ON THE FILTRATION OF LIGHT

CASE STUDY - LE CORBUSIER AND THE TRINITY OF LIGHT Filtration in terms of light is the nature in which light is able to pass and go through certain objects and materials creating visual effect between light and shadow. In visualisation this can be the filtration of light from tree canopies and the outcome it brings to the ground.

This filtration of light can signify the entry of experience and warmth, piercing through darkness to illuminate a specific area. For this reason, the religious use this as

30

important symbolism of faith and a sort of rejuvenation, the filtration of light acting as purifying the dark, or a high being lifting their soul as a person steps into the light.

The light filtering through darkness also symbolises a path, a point of direction, or to attract attention, leading us to follow and walk directly to it or gaze upon it physically, intellectually, and spiritually.

different religious structures, and even more heavily used in Christianity. The filtration of light, visible rays of light, or light itself is heavily annotated with being a representation of god. This formed a way of representing light in architecture in similarity to the Romanesque aps, and its filtration of light. The idea of darkness being illuminated by a visible linear ray of light has been heavily used in In architecture this is more more sacred buildings, some commonly used in many of which also illuminate and

FILTRATION

control dark spaces through the filtration of light such as with the use of stained-glass windows.

Le Corbusier has expressed in his architectural work his sensitivity for the interactions of light and colour in his more religious structures in a way of expressing a more artistic approach. One example of a religious building by Le Corbusier is the Church of Saint-Pierre, Firminy, a structure which filters through multiple spectacles of light throughout the hours of the day, seasons, and current weather to show either strong rays of light directed to the

high walls through angled tubes, small dots of filtered light which resembles the sky above the altar, or exceptional waves of light that interacts with the setting sun, all made in the intention to create a space for the occurrence of spiritual enrichment, and giving light through filtration an artistic, poetic, and spiritual meaning.

The very same sense of light as a language being used to consecrate Le Corbusier’s buildings, the Monastery of Sainte Marie de La Tourette, uses filtered light through narrow horizontal gaps which filter light in different visual effects depending on the time

of day and season, adapting or causing different kinds of atmospheres within the dark and shadowed interior spaces. such as waves of light to large rays from large tube openings, a sight in which Le Corbusier has not been able see and anticipate This use and play of light and how it interacts with the space has been the distinct features of Le Corbusier’s sacred and religious architectural designs, elevating light as more than just a decorative feature which accentuates a building, but a part of the architecture of the building itself in developing the needs of the program.

31

JOHN ERWIN DE LEON A1755465 - 8/09/2019