MDearinger. Rep2-18. LIGHT DISCOVERY

LIGHT DISCOVERY MYKALEA DEARINGER || REP2-18 || STRUCTURES OF LIGHT ||

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table of

contents place 02 perspective views photography

scale and proportion

site

02 03 04 06

case study: luminosity

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idea 10 concept development concept 1 concept 2 concept 3

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case study: reflectance

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form 18 movement 18 plan 19 elevations and sections 20 materiality 22 composition 23 case study: opacity

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discovery 26 exterior 26 atmosphere 28 representation 30 case study: filtration

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perspective

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photography

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scale and

proportion

Barr Smith Library

1:250

Ingkarni Wardli

1:400

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By studying the proportions of the Barr Smith Library, it is evident the design language has been reiterated throughout the stylistic elements of the building, resulting in a harmonic and symmetrical exterior. To study this, a grid was superimposed over an elevation of the Library to analyse the symmetrical distribution of the external columns, and their proportional distance in relation to each other. After conducting this study, the library uses a ratio of 5:1:5 to maintain a symmetrical proportioning upon the Library’s exterior.

Ingkarni Wardli was also analysed to determine the relationship between the vertical and horizontal elements of the building’s exterior components.

By overlaying two circles, their tangency depicts the central axis, and reveals the symmetry within the horizontal and vertical order.

The windows within Ingkarni Wardli also satisfy the proportional scale implemented to analyse the form of Ingkarni Wardli of 1:1.

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site

analysis

Access

Site Plan

Movement Patterns

The Barr Smith Lawns are encircled by the Physics and Engineering annexes to the south, the Braggs lecture theatre and Science Centres to the north, and the historical Barr Smith Library reading room to the east. The eastern perimeter of the lawns are additionally perpendicular to Frome Road, a

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Social Character

main thoroughfare which exposes iconic views into the university grounds. Throughout the year, the lawns are used to host pavilions organised by the University of Adelaide for Orientation Week, the University Open Day, and student union events throughout the year.

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Winter: 3pm

Summer: 3pm

Winter: 12pm

Summer: 12pm

Winter: 9am

Summer: 9am

luminosity Luminosity is defined as the quantity of light perceived by the human eye which is emitted or reflected by an object. Light is a crucial element to exploit within architectural design, as it can singularly define a space by emphasising form, colour, and materiality.

Light, both natural and artificial, are fundamental elements to the perception of a space within architectural design. The use of natural, ambient lighting produces an ephemeral, transient quality within a structure due to the shifting orientation of the overpassing light source, but can also be used as a kinetic element when used in conjunction with colour, form and materiality, and used within enclosed spaces. The transformative qualities endowed by the implementation of light and shadow to define the atmosphere of a space is a technique greatly utilised throughout history which was employed to demonstrate a sensitivity of incorporating the natural environment. Artificial lighting is an element commonly exploited in contemporary architecture, which can be flexibly utilised within a design to express a mood, accentuate form, and create a sensual atmosphere without relying on a natural source. The selective, artistic use of light within architecture generates a rhythmic composition of light and shadow strikes a balance between aesthetic and function.

Image References (Clockwise from Bottom Left) Baan, ArchDaily. Unknown, My Art Guides, 2018. Ozler, Dexigner. Baan, ArchDaily.

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CASE STUDY: LIGHT IN ARCHITECTURE The MAXXI Museum by Zaha Hadid Architects is a contemporary art and architecture museum located in Rome, Italy. The project implements a variety of intersecting and juxtaposing spaces, such as curved concrete walls combined with suspended staircases and open ceilings, to form a dynamic and interactive exhibition space.

The incorporation of natural light throughout the museum is an integral element to the overall design. Hadid interestingly uses concrete beams to filter the natural light entering through the gallery ceiling, and depict the linearity of the interior. This linearity is contrasted by the minimal use of reflective materials to direct lighting throughout her interior, emphasising a focus toward the material properties of the concrete, glass and wall renderings. Hadid’s use of a greyscale interior, and “fragmented” geometries - particularly denoted within the museum’s exposed concrete walls emphasise her

desire to construct a fluid spatiality, which she uses to reflect the “chaotic fluidity of everyday life” in Rome.

The use of thin concrete beams in combination with a glass ceiling causes the structure to appear illusively lightweight, while also provides users with a relief from the industrial interior. The continuity and spaciousness of these galleries enable the flexible, efficient assembly of temporary exhibitions without impeding on user accessibility. Meanwhile, artificial cool-tone strip lighting is used throughout the ceiling of each gallery to accentuate the museum’s dynamic and directional structural form.

Fluorescent lighting is used on the underside of stair flights and walkways in a dissimilar fashion to the strip lighting, but this feature also provides a greater source of light within the interior. However, the subtle use of ambient light along the length between the banister and the wall of each staircase and suspended walkway articulates a gentleness amidst the use of concrete and strong geometries.

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concept

development

Light can be metaphorically interpreted as a desire to discover, learn new things and see them from a variety or a multitude of alternative perspectives.

The metaphor of “discovering” light was divided into four fundamental aspects: purpose, curiosity, exploration, and fascination – elements to the composition of discovery. as the prime motivation for discovery. These aspects however, are intrinsically interlinked with one another, as all four aspects are fundamental to discovery.

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PURPOSE

EXPLORATION

CURIOSITY

FASCINATION

Using these four principles, different methods were established which depict the varying processes of how an individual may “discover�.

Linear Process

Layers of Discovery

End Goal Visualisation

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concept

development 1

Axes of movement redrawn, and connected.

Pattern repeated to create form.

Visualisation

Context

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concept

development 2

Portion of pavilion illuminated at night.

Light qualities integrated within pavilion.

Context

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concept

development 3

Movement lines from the site study used to create a guiding axis.

Unifying the axies.

Curve viewed in perspective form.

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Directional movement established.

Refinement to demonstrate depth and form.

This concept was devised to demonstrate how light may be manipulated light to emphasise the juxtaposition of light and shadow, and the variations in lighting qualities produced with the sun’s overpassing, and how the interior of the pavilion may be illuminated in the evening. Unique in form, further elaboration of this idea will engage user curiosity, and evoke delight when reaching the centre of the structure, ultimately encouraging users to discover unique spaces within the pavilion.

North-West Section. Not to Scale.

Context

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reflectance Reflectance is the act of light striking, and remaining unabsorbed by an object, consequently rebounding from one surface onto another. The strength of the light varies due to the intensity of the source, and the reflective properties of the material. Reflective light can be utilised in a multitude of ways by accentuating the properties of a material and transform the atmosphere of a space.

The first use of glass and steel within architecture was conceived within 20th century Modernist architecture, fuelling the exploration and experimentation of glass and metal within architectural design. The International Style developed this aesthetic of faรงade design, producing an architectural typology associated with corporate identity.

Although glass and metal are exploited in contemporary architecture due to their versatility and universal elegance, designers are becoming increasingly conscious of the monotony in multi-storey glass facades.

Image References (Clockwise) Elbphilharmonie: Schielke, ArchDaily. National Grand Theatre: Niu, AEDesign. Sergeeva, Unsplash. Messe Basel Concert Hall: Schielke, ArchDaily.

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CASE STUDY: REFLECTANCE IN ARCHITECTURE The iconic concert hall, Elbphilharmonie by Herzog & de Meuron Architects expresses its form through the interplay of light upon the perforated concave and convex glass exterior. The bevelling of the windows interrupts the smooth glass exterior of the concert hall, which reinforces the reflective characteristics of the adjoining harbour. In

addition, the scalloped curves of the roofline are outlined in black to define their presence against the sky similarly to the purpose of bevelling the external windows.

In contrast, the innovative use of titanium cladding upon the exterior of the 1997 Guggenheim Museum, in Bilbao, Spain by American architect Frank Gehry is used to articulate the form of the museum without dependence upon glass facades. Movement and fluidity is endowed within the structure through the curvilinear facades of the museum’s form, cladded in titanium.

Minimal use of glass is an interesting feature of the museum’s exterior, instead articulating the curvaceous external and internal forms facilitate the interplay of light and shadow, producing a natural iridescence which reflects the ephemeral climatic conditions.

exhibition hall’s external form. Rather than using Gehry’s solid and curvaceous forms, the reflective aluminium mediates the relationship between the interior and exterior through juxtaposing exposed and enclosed spaces. The variation in the perforated modules unifies the interplay of reflected light and shadow upon the exterior, while controlling the diffusion and filtration of ambient light within the interior.

Comparatively, the Messe Basel New Hall by Herzog & de Meuron implements a double-skin exterior of perforated aluminium and glass to allow the penetration of light to the building’s interior whilst articulating the

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movement

diagrams

INTERNAL ACCESS

ROOFTOP ACCESS

ROOFTOP COMPOSITION

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site

plan

5m

N

SCALE: 1: 500 AT A3

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SOUTH-EAST ELEVATION SCALE 1: 250 AT A3

NORTH-WEST ELEVATION 1: 250 AT A3

ELEVATION 1 SCALE 1: 200 AT A3

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NORTH-EAST ELEVATION 1: 400 AT A3

SECTION A SCALE 1: 250 AT A3

SECTION B SCALE 1: 200 AT A3

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material and

construction detail

DETAIL A

DETAIL B

DETAIL A

5MM TEMPERED GLASS BALUSTRADING

170MM CONCRETE STEPS M14 BOLTS 75 X 40MM C-BEAM

250 X 90MM C-BEAM

DETAIL B

5MM TEMPERED GLASS BALUSTRADING

170MM CONCRETE STEPS

STEEL CLEAT

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EXPLODED AXONOMETRIC

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Opacity is the state of whereby a medium lacks transparency, and therefore, does not permit light to penetrate. This impenetrability within architecture is dependent upon the juxtaposition and interplay of light and shadow to articulate a spatial atmosphere, with particular emphasis upon physical and visual separation.

The relationship between opaque, transparent, and translucent surfaces enables the separation of elements, resulting in a space defined by light, rather than by spatial proximity. Light reflected upon opaque materials create a perception of spatial depth, in contrast to the use of transparent materials, which alternatively reveal the external surroundings of a structure, but however, do not articulate this same sense of depth.

Architect Aarno Ruusuvuori’s “abstract” interpretation of light as originating from an undefined source, reflecting “…man does not need to know where. Lighting is not an end in itself. But its meaning is to create a feeling of the infiniteness of eternity.” Professor of Architecture at the University of Pennsylvania School of Design, David Leatherbarrow,

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articulates a similar opinion to Aarno Ruusuvuori. Within his book Surface Architecture, Leatherbarrow remarks, “In the absence of any overlap between the two, would there be any sense of depth in this setting? Occlusion would seem to be important and perhaps essential to spatial continuity, presuming the layering or overlapping of both hidden and visible elements.” (Leatherbarrow, p.

116).

He observes opaque elements are vital to enabling the perception of spatial depth and continuity of form from both internal and external domains.

CASE STUDY: OPACITY IN ARCHITECTURE Opacity enables the accentuation and interplay of light upon a surface, which in turn, emphasises a project’s materiality and structural form. White interiors are a dominant contemporary

aesthetic, but were used historically within medieval churches in Denmark, enabling the expansive interiors to be naturally illuminated. Additionally, the subdued, natural dispersion of light, was accomplished through arches and vaulted ceilings, as the white surfaces offered a higher reflectance, rebounding the light throughout the interior.

Scandinavian architecture is an ideal precedent to examine, whereby white opaque interiors are implemented as a practical response to the scarcity of light available throughout the winter months, and to capitalise upon natural daylight within the summer months. These elements are incorporated within the contemporary context by using opaque surfaces to form harsh juxtapositions between light and dark, animating the interiors of these structures. Likewise, this interplay between opaque forms and abstraction of light is employed to ultimately evoke an emotional response from the viewer.

A direct contrast between the glass and concrete is evident within the Finnish Hyvinkaa Church, where experimentation with form produces intense shadows within the nave, directing viewer attention towards the smooth wall behind the altar. Whereas the Herning Centre of the Arts by Stephen Holl Architects alternatively implements an expansive white interior, maximising the natural light available to animate the interior. Similarly, the Bagsvaerd Church by Jorn Utzon, implements natural light to emphasise internal form, but ultimately seeks to retain the relationship between the structural interior, and the originating light source. The manipulation of opaque and transparent forms is a particularly powerful effect in engaging a viewer, critiqued by Utzon as the “… most important feature…” within his church, intensifying, rather and diffusing light, as was commonplace within traditional churches.

It is evident this dependence upon form and materiality, and contrast between light and opaque forms is crucial to articulating an interior, to narrate a visual experience carefully constructed by the architect.

Image References (Clockwise from Top Left) Grundtvig’s Church: Zhang, 2018. Bagsvaerd Church: Gomez, 2017. Herning Centre of the Arts: ArchDaily, 2009. Hyvinkaa Church: Schielke, 2014.

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FIRST IMPRESSIONS VIEW

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A PASSER’S-BY CURIOSITY

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ABSTRACT REPRESENTATION

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ASCENDING VIEW

DAYTIME ATMOSPHERE

INTERNAL DISCOVERY

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filtration

Light filtration is defined as any transparent material used to eliminate or reduce the intensity of given frequencies of light which may pass through it. This reduces the intensity of the light source and is typically implemented by architects to soften a space, to articulate an atmospheric tone within an interior.

The use of filtration as a visual compositional feature to define the tone of a space is an integral component of formal architectural design. Light filtration smooths the visual transition of light and dark, but due to this restriction, this technique also evokes an enigmatic experience, dissimilarly to the implementation of transparent or opaque materials, which achieve a harsher juxtaposition of light and dark to instead articulate the solidity of form. Modern aesthetics atypically implement steel and glass as contemporary fenestration materials within modern structures, due to their contemporary

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corporate aesthetic. Filtration enables the penetration of natural light without the conventional transparency of glass, enhancing the soft fluidity of light throughout a space. In an interview with ArchDaily author Thomas Schielke, architectural professor Henry Plummer reflects the use of filtration is a technique ultimately used to â€œâ€Śinfuse physical things with

a metaphysical spirit.” Plummer’s abstract interpretation of light is fundamental to its application the atmospheric aesthetics of architectural design.

CASE STUDY: FILTRATION IN ARCHITECTURE

resist and elude, erode and outshine, the Church’s mandate,” The filtration of light due to the dynamic application of coloured glass, combined with heavily recessed, scattered windows within the masonry wall infuses a kinetic energy within the church. Corbusier additionally implements a similar technique within the Church of Saint-Pierre, whereby filtered natural light is strikingly projected upon internal curvaceous surfaces.

This playful and elegant incorporation of aperiodic light through filtration, too, sensibly and elegantly establishes a place of spiritual enrichment.

The Louvre at Abu Dhabi is a contemporary gallery designed by Jean Nouvelle which uniquely applies the concept of filtration to create an “oasis” of serenity and calm within the region’s arid climate. Nouvelle implements eight layers of perforated cladding and steelwork to create the intricate latticed dome. This strategic implementation of filtration enables light to be controlled, resulting in a cinematic effect of light throughout the day, due to the constant shift of shadows corresponding with the arc of the sun.

Nouvelles’s innovative orchestration of dappled light within the gallery evokes a gentle internal atmosphere, reducing the intense glare of the region’s daylight, whilst retaining the connection between the external environment, and interior space.

Image References (Clockwise) Louvre Abu Dhabi: Author, site, date. Chapel of Notre Dame du Haut: Schielke, ArchDaily. Church of Saint-Pierre: Schielke, ArchDaily. Chapel De Ronchamp: Schielke, ArchDaily.

Le Corbusier’s strategically controlled approach of incorporating light within his architecture achieved precise outcomes which were innovative to modernist design. By considering light as a material to be exploited, Corbusier experimented with “shaping” light to resound with audiences and create spectacle within his works. The renowned Chapel of Notre Dame du Haut, in France by Corbusier implements an experimental use of coloured glass to introduce light and colour into the interior. Plummer perceives Corbusier’s employment of light, has become “…a quiet force to visually

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