· 14. August 2017 | Issue 1
Barr Smith Library The Site
Engineering, Mathematics, Petroleum and Ingkarni Wardli The Facilities
The Braggs and Molecular Sciences
9am
January 1 12pm June 1
3pm
As seen left in the images, the site is well shaded by the buildings during the early hours, and is extremely well exposed to the sun during 12pm, and becomes slightly shaded as the afternoon extends. The angles of the Summer and Winter sun affects the amount of shade provided by the site, a
The Site The site has 3 direct access points, with 2 being located on either side of the library, and one located along Frome Road (located bottom). The site contains a number of benches with seating, scattered along either side of the grass lawns.
Barr Smith Library
The site is rarely used by students, presumably due to the lack of convenient lighting, lack of nearby facilities and the lack of controlled temperature. The lawns are extremely cold when shaded, and can reach extremely hot temperatures during the overhead sun of Summer. The purpose in mind of the designers of these lawns was for the congregation of students, to use it for a gathering place, place of study and for a thoroughfare for students navigating to their classes.
Ingkarni Wardli
"The Braggs"
Every building surrounding the site is used for lectures, tutorials and study, with the Barr Smith Library (located top), being the focal point, with the two rows of buildings either side directing the vision. Its prestigious nature and stature makes for the perfect grandeur view when viewing from the entrance located on Frome Road, The site captures an abundance of ambient light, primarily originating from the Braggs building, due to the large volume of glass encasing its exterior. Light is also prominent opposite, reflected off of the Ingkarni Wardli building at night.
Site Plan
The Barr Smith Library The Barr Smith Library is named after one of Adelaide's pioneer families, the Barr Smith's, who were benefactors to the University of Adelaide. The name of the library was chosen in 1899, when the University Council voted on its naming. The Library is the work of Walter Hervey Bagot, whose portfolio includes that of St Peter's and St Francis Xavier's Cathedrals, Bonython Hall and the State War Memorial. He designed the Library to be constructed with red brick, accompanied by stone dressings. Ingkarni Wardli, translated from Kaurna is
'place of learning or enquiry' recognises the relationship between the University of Adelaide and the Kaurna people, the original custodians of the land. Costing $100 million, the nine level building houses the Faculty of Engineering, Computer and Mathematical Sciences. It is the first building of education to be awarded for a 6 Star Green Star rating,demonstrates a strong commitment to the preservation of the local environment, a belief which is echoed by the Kaurna people. Ingkarni Wardli covers over 11,000 square metres, allowing for 24 hour service to student learning, 7 days a making it a highly valued space by students.
The Braggs Building With over $40 Million invested in its construction, the braggs building is the headquarters for IPAS; the Institute for Photonics and Advanced Sensing. The facilities contained within this building includes development and processing of glass, fibre optics, the development of LASER devices, and biochemistry offices. Also included is a lecture theatre, containing more than 420 seats for lectures, as well as many other facilities for learning and research.
“AMBIENT LIGHTING PROVIDES AN AREA WITH OVERALL ILLUMINATION” This widely found type of lighting is lighting which radiates a level of brightness which creates minimal amounts of glare, allowing for one to exist comfortably within the space. This lighting allows for one to navigate the space with minimal risk. Ambient lighting (or general lighting) comes in a wide variety of forms, radiating from wall-mounted light sources, through to ceiling voids, allowing for the sun to light the room.
These two terms have extremely similar spelling, however have meanings which are completely different, allowing for the two to be commonly mistaken for one another. But how does Luminance and Illuminance differ?
The difference is found in the physics behind the interaction of light and an object. Illuminance is as simple as remembering what has happened to a beam of light hitting a surface. The source of the light is what is illuminating the object, as it is the measurement of the brightness of this incident ray. In simpler terms, it is the measurement of the amount of light falling upon and spreading over an area or object. This makes it a term similar to that of brightness, which is also confused with illuminance, however this is also a mistake, as brightness is related to the visual perception and physiological sensation of light, however it is not a specific term and does not quantify anything. This means that luminance is the measurement of the light being emitted or reflected from an object or surface, radiated at a solid angle. Luminance may also refer to the brightness of light which is emitted or reflected off of a surface, something which is reflected in the display industry, as luminance quantifies the brightness of digital displays (i.e. Televisions, Computer screens, etc.). It is measured in candela/square metres (cd/m2), and is measured using a chroma metre, lux metre or illuminance spectrophotmetre.
LIGHT
In architecture, light is one of two imperatively vital components, the other being material. The importance of these components is reflected in the fact that for one to exist, the other must be present, otherwise we will not be able to see a surface at all, or vice versa, there is no surface to be seen. This leads to the perception of space being directly connected to the way it integrates with light. An architectural piece is completely dependent on the situation of lighting, as every aspect of the piece (be it space, colour material, form, etc.). This can be seen in the image below of Grand Central Station, in New York, as the space is entirely dependent on the flooding of natural light through the window.
The integration of this playing with light is abundant around the world, and is employed in many important spaces around the world, such as the Jatiya Sangsad Bhaban, or National Parliament House of Bangladesh. Designed by Louis Kahn, known for his mastery in the use of natural light to shape space, the Parliament House employs many examples of light play. The roof of the main plaza was designed with a clearance of an entire single storey to allow for daylight, allowing for this light to reflect off of surrounding walls and filter into the Parliamentary Chamber. The artificial within the Parliamentary house has been specially placed as to not obstruct any entering daylight.
Zaha Hadid's first building, the Vitra Fire Station, located in Rhein, is a concrete structure, focuses on line work as shown in its linear architecture and sharp edges. Its ability to both luminate and illuminate light is one unrivalled, due to its incredibly strong stance and well designed artificial lighting. The light contrasts in both strong and imposing, and soft and ambient, drawing the eye to certain areas and away from others, purely from the lights positioning and angles.
LIGHT
LIGHT PAVILION 1 Floor Plan
LIGHT PAVILION 1
SECTION
FRONT ELEVATION
LIGHT PAVILION 1 INTERNAL VIEW
INTERNAL VIEW
LIGHT PAVILION 1 AERIAL VIEW
GROUND VIEW
LIGHT PAVILION 2 Floor Plan
LIGHT PAVILION 2
SECTION
FRONT ELEVATION
LIGHT PAVILION 2 INTERNAL VIEW
INTERNAL VIEW
LIGHT PAVILION 2 AERIAL VIEW
GROUND VIEW
In Architecture, reflection is the interaction of mainly light with a surface, whose material does not absorb the light completely. This can be seen through the use of certain metals, such as the titanium used in Frank Gehry's Bilbao Museum, giving the effect of "shimmering fish scales." Reflection occurs when an incident ray of light, meets a surface, and changes its direction. This change in direction is what catches our eye as "shiny." The best metals for reflection are those which are smooth. This smooth surface is one which has extremely loosely bound electrons coating the exterior, which can be easily moved. This ease of movement allows for such great reflectiveness due to the oscillation of the electrons whilst interacting with the incident ray of light. The energy of the light ray is transferred into the electrons, which oscillate, resulting in the radiation of electromagnetic radiation (light).
Why can rough surfaces not be as reflective though? This is due to the textured surface; the roughness. If the surface is not polished, it results in many little bumps, which reflect the light in multiple directions. This is a process known as scattering. The less scattering that a surface has, the more polished it is and the more reflection the surface will offer. Rusted metals lose their shininess due to the rust affecting the surface electrons ability to vibrate. This is because of a tarnish that is produced by the elements when the metal is rusting. To fix this tarnish, metals can be polished, or chemically treated, to allow for the reflective nature of the metal or surface to return.
In Architecture, reflection can be used to mask the bottom facade of a building - as employed by the architecture firm REFORM Arkitekt. Their house, named the Izabelin House, appears to be floating from every angle. Its location in the forest produces many effective reflections, which cover up the fact there are mirrors covering the lower half of the structure. This structure uses reflection extremely effectively, as it is used to deceive the eye of the user - which it appears to do extremely efficiently with its minimalist design of the white box, which appears to be floating seamlessly.
REFLECTION
Frank Gehry's Bilbao Museum is one of the great pieces of modern architecture - one of the classics. Â The exterior panelling of the monolithic structure is comprised of many sheets of titanium - an extremely reflective, dynamic metal. The style created by Frank Gehry has been replicated over Bilbao, due to the construction of the museum. The reflective nature allows for the building to take on multiple visual appearances during the course of one day, making it quite the spectacle to view. The reflection of the Taj Mahal's reflecting pool is a similar spectacle. The constantly changing sun light is reflected off of the long stretches of water, giving a sense of peace and amazement. Instead of using a metal or other shiny material, water is employed in its place, due to the peaceful, calm nature of it. The suitability of water and religion has been definitely taken into account in this amazing piece of architecture.
Reflection in architecture is not only of material nature, it can also be comprised of self reflection. This can be seen in spaces which incorporate religion or meditation, as these places often are used for the user to reflect upon themselves and to be at peace. This can be done as seen in the Taj Mahal, through the use of water and nature. Similarly, Japanese prayer gardens use cherry blossom trees, running streams and grassed surfaces to relax the user. The water can be viewed as a symbol of reflectiveness, due to its natural ability to refract light - the interaction of redirecting light as it passes through the surface. Running water also has a naturally calming sound, due to the rhythmic nature of the sound. As seen through the few cases shown, reflection is everywhere in architecture it is both materialistic and for the user to discover. It can be used to deceive, or to reflect and see more clearly.
REFLECTION
LIGHT PAVILION - FINAL
LIGHT PAVILION SECTIONS
LIGHT PAVILIONÂ - AERIAL
LIGHT PAVILION - GROUND
LIGHT PAVILION -Â MOVEMENT
Opacity, scientifically, occurs due to the movement of electromagnetic radiation through a medium, where some rays of light are reflected, others absorbed and some scattered.
Well, by definition, opacity is the ‘quality of lacking transparency or translucence.’ Opacity (commonly) is referred to as the measure of impenetrability to electromagnetic radiation; visible light, however this is also used in sciences and painting as well. Closely related to opacity are terms describing how see-through a surface or object is, terms such as translucency and transparency, each describing the characteristics of the related object.
The remaining light is what gets through the medium, and is seen on the other side. This is due to refraction of light, a term describing the actions of electromagnetic radiation when interacting with a medium. The density of the medium varies, be it air, glass or water, and thus the speed of light when interacting with the medium is lowered.
This is visible when in a body of water. If you place your hand in the water, there is a distinct change in position as to where it should be, it appears to bend at an odd angle. This is due to light rays hitting the water, being slowed due to the nature of the water, and ‘bending,’ meaning objects may not be where they seem when in certain mediums. Opacity is also reliant on the frequency of the light interacting with the medium. Higher frequency electromagnetic radiation can penetrate different surfaces, and not be affected, meaning that there are surfaces which may block visible light, however allow ultraviolet radiation through.
OPACITY
Transparent surfaces however, allow for the viewer to be visually connected with a space, yet still holds the physical separation of an opaque surface by employing materials such as glass or plastics. Then there is translucency, where there is physical separation, however partial visual connection; such as a mesh screen, or stained glass. This can be easily taken advantage of, as light can be redirected and controlled, as well as an individual’s experience in a space. Opaque surfaces may be used to direct light, as surfaces coloured white reflects light much more effectively than that of a transparent surface, or one coloured black.
The Scandinavian countries have come to the conclusion, that by employing brilliant white surfaces in the path of sunlight, they are able to play with spatial composition. The dramatic effects of the play between brilliant, white surfaces and both direct and indirect sunlight, allude to the surrounding beautiful, white Scandinavian landscape.
This can be seen in The Pirkkala Church, designed by Simo and Käpy Paavilainen, where the path of the sun is played out above the altar. This direct contrast of shadowed wall and reflected light, shows the employment of light within a solid structure to bring a sense of calm to those within, with only the inclusion of glass.
After a myriad of analytical studies conducted by Scandinavian architects, it has been deduced that the correct employment of brilliant white surface in a space, nullifies the dark of Winter, and is able to diffuse harsh, Summer sunlight. Modern buildings of religious or spiritual nature often employ the use of white and opaque surfaces to attempt to evoke a The use of opacity in Scandinavian sense of ethereality and divinity, which is architecture is often found, as it is a key enhanced by the interaction of sunlight and element of the space. Opacity allows for surface. These scared structures often the interaction of material and light, and is employ transient glass, allowing for yet used to evoke certain emotions. The use another connection to the outside world, as of white surfaces allows for the reflection well as incorporating a sense of movement of light, no matter how subtle the light may seem, and emphasises the emotion one over the course of the day, through the experiences when entering the space. path of shadow and light play.
OPACITY
FILTRATION Filtration; "the process of passing through; also referred to as filtering or as if through a filter." This linguistic definition of filtration may refer to the passing of light through a screen, however filtering out certain light rays. What passes through is the filtered light.
Light Matters: Le Corbusier and the Trinity of Light Le Corbusier is extremely well known for his ability to control natural light within his structures, by playing with the texture, orientation and openings. His 3 sacred structures express the ways in which this was managed, allowing for the individual to have their own unique, individual experiences. The individual is exposed to a spatial composition, which encourages them to reflect and contemplate.
Le Corbusier uses light in these 3 structures to give them a sense of timelessness; the light resists and Le Corbusier is also extremely well outshines erosion and the natural known for his play with the interactions between light and colour wearing down of the structure. This is completely different from the more within his sacred structures. Light common use of light in spiritual and is closely related to holiness and religious structures, where light is divinity across many religions. This is due to it being seen as pure, and a employed to draw attention to a certain point, often towards the sky, and is connection between a more spiritual often used as a tool to aid a specific or religious location, such as a religions agenda. heaven, to Earth.
FILTRATION The Chapel of Ronchamp stands out when it comes to the use of light and colour. The sunlight of dawn sweeps over a red void, filtering through and making the red void a deeper shade of red, alluding to birth. As the sun proceeds to change angle, light floods the South wall, illuminating the inside with continuous rays of light. There is a contrast between the exterior and interior of the building, as a 10 centimetre gap lifts the roof from the wall. As the sun sets, a warm glow illuminates the interior of the chapel as the voids receive the amber glow of sunset.
Similarly to the Chapel of Ronchamp, Le Corbusiers' Saint Marie de La Tourette employs the combination of different types and sizes of windows, creating shadow play seen within the passage ways. The combination of windows, when viewed from the interior, create a pattern similar to that as a rhythm or flow. Also found in both the Chapel of Ronchamp and Saint Marie de La Tourette, is the careful consideration between sunlight and surface. During the rising and falling of the sun, light is filtered through carefully angled windows, and is projected onto the wall.
Le Corbusiers ability to manipulate and filter light into spaces is second to none, finding new and different methods to transfer the light from outside into the main spaces of a building. He often references religion, through the ties between light and divinity, namely tying light to God. He shows that with some attention paid to detail, a window can completely change a space, from a small hole, through to a complete void. His ability to filter colour through space, with such precision is one that many architects envy.