G1.MohdAzmin.SitiSarahJasmine.Rep2.17.

A1702130 SITI SARAH JASMINE MOHD AZMIN

LET THE LIGHT LEAD T H E WAY

CON TENT STAGE 1

PLACE

S I T E P L A N

IDEA

S PAT I A L D I A G R A M

11-12

E L E V AT I O N S 0 3 - 0 4

PLAN/SECTION/ELEVATION

13-14

M O V E M E N T

05-06

AERIAL & GROUND VIEWS

15-16

3 D V I E W S

07

3DVIEWS+PRECEDENT

17-18

AMBIENT LIGHTS

08

REFLECTION

LUMINOSITY

01-02

STAGE 2

09-10

1 9 - 2 0

STAGE 3

FORM

E L E V AT I O N

21-22

SECTION 23-24 GROUND VIEW 25 AERIAL VIEW 26 ACCESS 27 MOVEMENT 28 INTERNAL VIEWS 29-30 O PA C I T Y 3 1 - 3 2

STAGE 4

MATERIAL

MODEL STRUCTURE

33

E X P LO D E D D I A G R A M

34

CONSTRUCTION 35-36 T E X T U R E + M AT E R I A L

37-38

F I LT R AT I O N 3 9 - 4 0

01

S I T E PLAN

SCALE 1:2000

02

03 E L E V ATION

ELEVATION OF BARR SMITH LIBRARY AND SURRO 1:500

STREETSCAPE ELEVATION OF THE BRAGGS AND MOLECULAR LIFE SCIENCES BUILDING 1:500

04

OUNDING BUILDINGS

STREETSCAPE ELEVATION OF SANTOS PETROLEUM ENGINEERING, ENGINEERING AND MATHS AND SCIENCES AND INGKARNI WADLI 1:500

05 M O V E MENT The site is strategic as it is located in the middle of the university and accessible to most of the students in their everyday lives. The site is busy especially during the lunch break which is from 1pm to 2pm and during the morning where the students are heading to their respective classes. In addition, the Maths Lawn is a huge public space where the students will relax, rest or study during their break time . Furthermore, one of the components that attracts the students to the site are the benches and tables around the site where are always occupied by the them.

06

General movement Access into Maths Lawn Pedestrian movement Vehicles movement

SCALE 1:1000

07

3D VIEWS

SUMMER

WINTER

9

9

12

12

3

3

DAY

NIGHT

08 AMBIENT LIGHTS

09

L I G H T

L UM IN O SI T Y

Linguisticly, the term ‘luminosity’, which is in Latin, is ‘Lumen”, means light. ‘Luminosity’ has two different meanings based on general and astronomy’s point of view. Generally, it means that the quality of something that gives off light or shines with reflected light. For instance, The most noticeable quality of a large, sparkly diamond is its luminosity. However, in astronomy, luminosity means the instrinsic brightness of a celestial object (as distinct from its apparent brightness diminished by distance). In addition, Astronomers use the word luminosity to talk about a specific property of physics, which is the energy given of by an astronomical object in a certain amount of time.

In the philosophical aspect, luminosity usually relates to the presence of light, which the synonym term is illumination. Illumination means lighting or light, which is quite similar to luminosity.

Moreover, presence of light also means freedom, where it is like a presence of light at the end of a tunnel. Lumination too can relate religously. According to “The Weight of Glory” by C.S Lewis, glory means to me fame, or it means luminosity. As an example, religon is when there is a presence of light in a person’s soul.

The presence of light creates shadows. Luminosity create shadows. Shadows does have the power to produce form in architecture as proven by the master of light and shadow in Architecture, who is known as Louis Kahn. His archetypical forms are based on Greek architecture, which he studied in the 1950s, “Greek architecture taught me that the column is where the light is not, and the space between is where the light is. It is a matter of no-light, light, no-light, light. A column and a column brings light between them.

To make a column which grows out of the wall and which makes its own rhythm of no-light, light, no-light, light: that is the marvel of the artist.” However, light was also an important element in Kahn´s philosophy because he regarded it as a “giver of all presences”: “All material in nature, the mountains and the streams and the air and we, are made of Light which has been spent, and this crumpled mass called material casts a shadow, and the shadow belongs to Light.” According to him, light is the maker of material, and material’s purpose is to cast a shadow.

Louis Kahn Looking at His Tetrahedral Ceiling at Yale University Art Gallery 1953

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Hence, as Kahn believed that the dark shadow is a natural part of light, he never try to create a pure dark space for a formal effect. For Kahn, a glimpse of light elucidated the percentage of darkness: “A plan of a building should be read like a harmony of Spaces in light. Even a space intended to be dark should have just enough light from some mysterious opening to tell us how dark it really is. Each space must be defined by its structure and the character of its natural light.” As a result, the light as a source is usually hidden behind louvers or secondary walls, thus concentrating attention on the presence of shadow and not on its origin. The “mysteriousness” of shadow was also closely related to evoking silence and awe. For Kahn, while darkness evokes the uncertainty of being able not to see, of potential dangers, it also leads to the inspiration of deep mystery. It is up to the architect to evoke silence, secret or drama with light and shadow in order to create a “treasury of shadows,” a “Sanctuary of Art.” Furthermore, even though Kahn erected many buildings in regions exposed to extreme sunlight (such as India and Pakistan), he did not design his buildings to protect users from the sun, but to protect the sanctity of the shadow. He didn’t believe in artificial shade, such as the ‘brise-soleils’, explains Ingeborg Flagge, the former director of the German Indian Institute Management 1978

Architecture Museum who curated the exhibition “The secret of the shadow”.

Instead, he used windows and doors in his double walls to let light into the interior. As Kahn describes the large open windows and doors of the Indian Institute of Management: “The outside belongs to the sun and on the inside people live and work. In order to avoid protection from the sun, I invented the idea of a deep intrados that protects the cool shadow.”

Kahn´s path of designing with shadow attracted numerous followers, such as Tadao Ando with his Church of Light, Peter Zumthor and his Therme Vals or Axel Schultes with his Crematorium. All of them include shadow as a form giver for silent spaces. This perspective presents a pleasant counterpoint in today’s architecture that strives for dynamic and bright icons.

Yale University Art Gallery, ca. 1954 source: http://www.archdaily.com/362554/light-matters-louis-kahn-and-the-power-of-shadow

11 S PAT I A L DIAGRAM 1

THE ORGANISM

THE BONE STRUCTURE

A

B A A

Started with the outline of the structure with two bases showing two different spaces on different level.

12

2

A B B

THE ORGANISM

THE BONE STRUCTURE

Connecting the dots between the geometric line to form ‘skins’ on the structure. Hence, various of spaces were created in the structure.

B

13

PLANS SECTIONS ELEVATIONS

PLAN 1:200

SIDE VIEW 1:200

FRONT VIEW 1:200

SECTION 1:200

14 SIDE VIEW 1:200

PLAN 1:200

FRONT VIEW 1:200

SECTION 1:200

15 A E R I A L & GROUND VIEWS

16

17

3D VIEWS

+PRECEDENT

Polyhedral Naoshima Pavilion, Kagawa, Japan Architect: Sou Fujimoto Architects Implementing a series of geometric forms at the exterior of the building creates aesthetic geometric structure and having “net� effect around the strucrures in order to allow natural light into the interior space.

source: http://setouchi-artfest.jp/en/artworks-artists/artworks/naoshima/99.html

18

19

The word ‘Reflection’ in Latin is ‘reflex’ which means ‘bent back’. This can be defined as the return of light or sound from a surface. Generally, it means throwing back by a body or surface of light, heat, or sound without absorbing it. In other words, reflection also means an idea about something, especially one that is expressed or written down. Matematically, this term is defined as the conceptual operation of inverting a system or event with respect to a plane, each element being transferred perpendicularly through the plane to a point the same distance the other side of it.

Moreover, theorically, the reflection theory was founded by John Locke who stated that we have knowledge of the world as our ideas resemble (or reflect) the objects that give rise to them. He argues that ideas are generated in consciousness via sensate experience of the external world. A physical process, which is ‘observation’, gives rise to a mental one and the connection between objective world and subjective idea is causal and contingent.Therefore, sensations are mental entities with the character of subjective appearances reflecting material objects independently of consciousness that gives rise to them.

L I G H T

REFL ECT ION

Mies van der Rohe used elements which is his trademark mullions to break up his facades event though modernism has introduced transparency of glass architecture, many within the movement were conscious of the monotony of large glass facades. Years after that, countless similar structural glazing skyscrapers have emerged and bored urban citizens. In response to this, unconventional reinterpretations of facades have gained interest.In celebrating the expressive materiality of transparency and reflective imagery for entire building skins emerged during the early 20th century, Paul Scheerbart and Bruno Taut envisioned a new glass culture made of “colored glass” “sparkling in the

Façade with curved glass elements at Prada Aoyama, 2003, Tokyo.

sun,” “crystalline shapes of white glass” which make the “jewel-like architecture shimmer.”

Mies van der Rohe implemeted this vision when he discarded the rectangular tower in favor of a freeform glass skin in his proposal for the Glass Skyscaper in Berlin in 1921. In a interview in 1968, Mies explained his skepticism regarding the urban monotony of glass mirror effects, “Because I was using glass, I was anxious to avoid dead surface reflecting too much light, so I broke the facades a little in plan so that light could fall on them at different angles: like crystal, like cut crystal.” Norman Foster materialized this glass dream with his Willis Faber & Dumas Headquarters in Ipswich in 1975 and SOM presented it in its tallest manifestation with the Burj Khalifa Tower in Dubai in 2009.

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Undoubtedly the glass façade at the Elbphilharmonie in Hamburg by Herzog & de Meuron relates to the visionary glass culture of Scheerbart, and indirectly to the golden shimmering skin of Berlin’s Philharmonic by Hans Scharoun as well. In addition, curved glass elements distort the perception of the city, water and sky. Hence, 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.Because of the curved balconies, 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 imitate a jewel-like shimmer. Additionally, the vertical and horizontal convex curves of numerous single glass elements gives out the shiny distorted reflections of the sky. Overall the curved façade with its printed dot screens imitates a vivid and Glass façade of Elbphilharmonie, Hamburg liquid image, which expresses a close link to the water around and it operates as an magical eye-catcher.

The American architect Frank Gehry transferred the aesthetic of brilliance from glass to metal with the titanium cladding of the Guggenheim Museum Bilbao in 1997. While the connotations range from a ship for the larger form to fish scales regarding the reflective panels, the building as a whole has turned into an urban jewel that kicked off numerous urban redevelopments with its iconic signature. Many an aspiring metropolis assumes that the structural form is the key successful factor in “Bilbao effect.” However, with the sparkling light from the titanium sheets and its changing appearance, Frank Gehry has not only brought a dynamic composition of forms to Bilbao but also reinforced his design with a distinctive, dynamic image which varies with every cloud and sunbeam.

The International Style has come to where in façade design has begun to erode a sense of human scale. Furthermore, the concave and convex building forms, reflective curved façade elements, or a mixture of the two, have opened another set of options, providing various of multifaceted images for the city. Moreover, the interest in complex reflection patterns has swept aside brutalism with its raw concrete dualism of dark voids and light surfaces. These shimmering facades have also superseded Kahn’s monumentality, where casting shadow is the important element in design. Therefore, new landmarks will continue to reach for innovative combinations of material and form to create brilliant veils and a bright urban future.

Reflections on titanium façade at Guggenheim Museum Bilbao, 1997

21 E L E VA TIONS

STREETSCAPE ELEVATION OF THE BRAGGS AND MOLECULAR LIFE SCIENCES BUILDING AND STRUC 1:500

ELEVATION OF BARR SMITH LIBRARY AND SURROUNDING BUILDINGS AND STRUCTURE 1:500

STREETSCAPE ELEVATION OF S 1:500

CTURE

SANTOS PETROLEUM ENGINEERING, ENGINEERING AND MATHS AND SCIENCES AND INGKARNI WADLI AND STRUCTURE

22

23 S E C TION

SECTION OF BARR SMITH LIBRARY AND SURROUNDING B 1:500

SECTION OF THE BRAGGS AND MOLECULAR LIFE SCIENCES BUILDING AND STRUCT 1:500

BUILDINGS AND STRUCTURE

TURE

24

25 G R O U N D VIEW

25

26 AERIAL VIEW

27 A C C ESS

There is only one access into the structure which is from the main entrance. It is designed that way to allow the individual to explore and make use of the whole internal space.

Tthe individual will have to enter through the stairs that leads to the ground floor, which is located underground.

The spiral stairs in another hand leads to the first floor of the structure, which is the relax space and the mini library.

L I B R A R Y A N D LO U N G E A R E A As for the movement, the individual will experience a one way in and one way out journey as the design is inspired by the ‘escape room’ and also a maze.

E X H I B I T I O N S PA C E RECEPTION SEMINAR ROOM 2 SEMINAR ROOM 1

The passage which started narrowly to open space which leads to the reception counter is the exhibition space.

With this, the individual is able to experience different type of spaces that gives different kinds of atmospheres.

ENTRANCE / EXIT

28 MOVEMENT

29 INTERNAL VIEWS

30

31 L I G H T

OPA CITY

Initialy, the term ‘opacity’ used to be known as ‘opacus’ in Latin, which means ‘darkened’ then ‘opacitas’ and finally in French, it was called ‘opacity’ in the mid 16th century. Opacity has three different meanings from different aspects which in general, it means the obscurity of sense; unintelligibility, or the quality/ state of being mentally obtuse; dullness. In science, opacity is the quality or state of a body that makes it impermeable to the rays of light; broadly. In other words, it means the relative capacity of matter to obstruct the transmission of radiant energy Opacity, in another aspect means an opaque spot in a normally transparent structure, which is for example. the lens of the eye.

Countries such as Scandinavians have developed sophisticated buildings that resonate with both the scarce light in winter and the long summer days. Henry Plummer, who is a Professor Emeritus at the University of Illinois at Urbana-Champaign, has very carefully studied the various daylight phenomena in the Nordic countries, with extensive photo journeys and brilliant writing that combines an analytical perspective with touch of poetic. Henry’s view of daylight looks beyond the practical advantages of using reflective white spaces to facilitate bright rooms; the passionate photographer is much more interested in the light effects that play with the local beauty of nature and touch the human soul. The extreme weather changes and daylight have led to astonishing light situations in Scandinavia, where architects have explore white surfaces to counterbalance the long dark winter days. Long shadows are created due to the low position of the sun and therefore light enters the buildings more from the side than from above. However, in summer, the evenings emanate a diffuse light. In his book “Nordic light: Modern Scandinavian Architecture,” Henry says that although Norway, Sweden, Denmark and Finland are dissimilar in topography and vegetation, they share the same subdued light.

Dybkær Church, Silkeborg, Denmark.

Dybkær Church, Silkeborg, Denmark.

Countries such as Scandinavians have developed sophisticated buildings that resonate with both the scarce light in winter and the long summer days. Henry Plummer, who is a Professor Emeritus at the University of Illinois at Urbana-Champaign, has very carefully studied the various daylight phenomena in the Nordic countries, with extensive photo journeys and brilliant writing that combines an analytical perspective with touch of poetic. Henry’s view of daylight looks beyond the practical advantages of using reflective white spaces to facilitate bright rooms; the passionate photographer is much more interested in the light effects that play with the local beauty of nature and touch the human soul. The extreme weather changes and daylight have led to astonishing light situations in Scandinavia, where architects have explore white surfaces to counterbalance the long dark winter days. Long shadows are created due to the low position of the sun and therefore light enters the buildings more from the side than from above. However, in summer, the evenings emanate a diffuse light.

In his book “Nordic light: Modern Scandinavian Architecture,” Henry says that although Norway, Sweden, Denmark and Finland are dissimilar in topography and vegetation, they share the same subdued light. Denmark’s medieval churches are one of the early examples of white architecture as the design approach still influences modern sacred buildings such as the Dybkær Church by Regnbuen Arkitekter. For instance, the amazing daylight concept arrives from three directions, as Plummer says: “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.” Furthermore, the nave walls are animated by an irregular texture of white brickwork. Another similar example to this is the Bagsværd Church by Jørn Utzon where he plays with white, as the architect elucidated to Plummer: “Light is the most important feature of the church. I provided white walls and white ceilings so that daylight, which is limited in Denmark for much of the year, is fully used and produces an intensity of light always greater than that outside.”

Hyvinkää Church, Hyvinkää, Finland

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33 M O D E L STRUCTURE

01

02

03

01 - THE ROOF 0 2 - F I R S T F LO O R / R E L A X E D A R E A 0 3 - G R O U N D F LO O R / A C T I V I T Y A R E A

34 E X P LO D E D DIAGRAMS

35 C O N S T R U C TION

Steel frame and clearglass

Aluminium wall

36

Concrete spiral stairs

37 TEXTURE + M AT E R I A L THE EXTERNAL STRUCTURE

Aluminium exterior with abstracted

Dark and light coloured aluminium

spaces that are filled with glass to create unique shadows casted on the concrete floor inside of the structure

geometric shaped as exterior because aluminium appears to look lightweight a n d h a s h i g h l e v e l o f d u r a b i l i t y.

38 THE INTERNAL STRUCTURE

Reception area is made of timber as it looks versatile and visually appealing.

Timber is also anti-corrosive and it can l a s t l o n g e r.

The exhibition area and the walls inside the structure are made of concrete as it gives sense of strength and softness at the same time.

The stairs leading into the structure is made of stainless steel as it gives o u t t h e s e n s e o f s i m p l i c i t y.

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The word ‘filtration is origin fro Medieval Latin during the year 1605-15. Generally, filtration means an action or process of filtering something. In other words, it means that liquid that has been passed through a filter. Scientifically, filtration means the process of passing water through beds of granular materials. This is to reduce the remaining impurities in liquid which is after sedimentation that is not pure and may contain some suspended particles and bacteria in it, by filtering through the beds of fine granular material such as sand.

Light filtration can be potrayed in Le Corbusier’s buildings where his vital components are the orientation, openings and textures in order to create kinetic architecture with daylight. His three sacred buildings which are the church at Ronchamp, the monastery of Sainte Marie de La Tourette and the parish church of Saint-Pierre in Firminy shows the distinctive and individual opproach that each render contemplative spaces with light. In many different religons, light has been linked with divinity and holiness.

L I G H T

FILT RAT ION

For instance, in Christianity, the Bible explained that God “is light” or Christ as “the light of the world”.In addition, even if the divine light and visible light are not the same, visible light appears as the most similar to the heavenly and thereby links both spheres. A new language of light was formed in each epoch such as the glow of the Romanesque apse, the golden shimmer of Byzantine mosaics or the luminous walls of Gothic stained glass. Hence, as an architect and an artist, Le Corbusier incorporate a unique sensitivity for the interaction of light and colours in his sacred buildings. His position as an outspoken agnostic seems very ambivalent in combination with his desire to open the soul to poetic realms.

Henry Plummer was fascinated by Le Corbusier’s technique of transformative power of light after studying Le Corbusier’s sacred buildings for more than four decades.

“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 exChapel of Notre Dome du Haut, Ronchamp, France erting its own dazzling powers to draw attention out to the sky and its commonplace marvels – in effect using light to consecrate the natural universe”.

The La Tourette’s highlight of the light begins with sunset. A crack atop the west wall draws warm lines along the side walls. The two golden lines and with the falling sun slowly moves upward are connected by the north wall. The incredible atmosphere increases till the moment when the golden light hits the slight upward tilted roof plane and grazes over the tactile ceiling of prefabricated slabs. This ritual changes based on the seasons where it ranges from a small triangle in winter to a huge rectangle im summer where the sun reaches its maximum power.

The scenegraphy at the church of Saint-Pierre at Firminy is arranged according to three acts. First, the small stellar windows on the east façade shows dots of light on the floor which later mysteriously turn into waves of light. These waves gently rise and fall based on the movement of the sun.

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Chapel of Notre Dome du Haut, Ronchamp, France

They create a unique pattern over all three walls facing the altar. Polycarbonate cylinders with concentric grooves holding the glue cause these impressive wave effects. The pattern appeared unexpectedly for the client when the cylinders were mounted into the concrete wall. Plummer said that Le Corbusier could not have envisioned this phenomenon - particularly as the actual construction of the building wasn’t carried out until years after his death, but it is known that he delighted in, and often encouraged, accidents of construction, especially when they enhanced the character of the building. During noon, the waves of light vanish and sunlight from two angled tubes in the roof strikes below into the darkness with sharply defined beams. In addition, on overcast days, two soft luminous veils emerge on the walls. With the approach of the sunset light shoots into the church and hits the altar wall. A rectilinear light cannon projects the intense warm sunlight onto the interior wall while a cool sky blue falls softly through the stellar windows Monastery of Sainte Marie de la Tourette, Éveux-sur-l’Arbresle, France.

“

Architecture is the learned game, correct and magnificent, of forms assembled in the light.

- Le Corbusier

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