The question to the problem becomes clear following the study of Le Corbusier’s Notre Dame du Haut, Ronchamp; can light be material? The phenomenon of light is captured through apertures as geometric composition; scale, spacing,
depth and width. This composition rule set is translated into computational algorithms which can be transferred to any geometrical volume and architectural proposal. Here the aesthetic is not just the whiteness of the plaster cast or compositional effects but an architectural strategy; a strategy of making whereby the casting mould is at time standardised and at the same time modulated to match the algorithmic process using CNC technology.
LIGHT
The innovation of this project lies in the persistence of the makers. While persistence in itself does not necessarily lead to innovation, the design team worked through the issues of casting as a problem and emerged with an aesthetic sensibility. This could only be mastered through continuous making and interrogation of the tools and methodology; thinking through making.
Above: Spatial model showing relationship of internal program and architectural volume
Below: Algorithmic inversion of composition rule into architectural volume
Bottom: standard mould that can be reconfigured
V.1
Below: Can light be material?
Tim Cameron, Joel Collins & Ruobing Li
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