Rep 2-18 Structure of Light

Nur Razana | | Rep2-18 | Structural of Light | Light Journey 1

CONTENTS On Site SITE DESCRIPTION

PG4

STUDY OF AMBIENT LIGHT

PG5

SHADE & SHADOW STUDY

PG6

SCALE STUDY

PG7

ACCESS & MOVEMENT

PG8

SOCIAL CHARACTER

PG9

LUMINOSITY

PG10-11

Ideation SEEK LIGHT METAPHOR

PG12

SPATIAL OR GEOMETRY EXPLORATION PG13 CONTEXT TO SITE

PG14

POINT OF ENTRY

PG15

SPACES IN SPACE

PG16

OPENING FOR LIGHTS REFLECTION

PG17 PG18-19

Spaces VIEWS OF EXTERIOR OF PAVILION PG20 EXPLODED AXONOMETRIC BASEMENT PLAN GROUND FLOOR PLAN

PG21 PG22 PG23

SECTIONS

PG24

ELEVATIONS

PG25

OPACITY

PG26-27

Details AERIAL VIEWS

PG28

INTERIOR VIEWS

PG30-31

DETAILS FILTRATION

PG32-33 PG34-35

Site Description The site is between two buildings adjacent to each other. It also acts as a common space for people to stop to rest or just sitting down on the grass to catch up with friends. The area is well lined up with small trees that acts as small shade to the people sitting down the benches.

Lamp post are also place to accommodate the people who uses the lawn at night.

4

Study of Ambient Light The site is between two buildings adjacent to each other. It also acts as a common space for people to stop to rest or just sitting down on the grass to catch up with friends. The area is well lined up with small trees that acts as small shade to the people sitting down the benches.

Lamp post are also place to accommodate the people who uses the lawn at night.

5

Shade and Shadow Study Summer

Winter

9am

12pm

6

3pm

Scale Study 5

1

5

5

1

5

From the study of the elevation and plan of the Barr Smith Library the I found out that the proportion similar in the elevation and plan. The proportion of the window bay also is similar with the elevation of the main library building. The column are placed orderly and evenly space. Most of the rectangular shape are according to the spatial alignment.

7

Access and Movement

The site have very prominant access points. Most of the users approach the site from the surrounding buildings but the area near the library is where people get across from the university to their homes. The traffic light at the end of the site also helps to direct traffic flow from site and towards the site. The seatings are a stopping point and mostly use as a place to unwind or have lunch.

8

Social Character

During the Open Day for University of Adelaide, the maths lawn is used as a place for different courses to showcase their products for people to try.

Most days the maths lawn is use for rest stop and for meeting area since it is a open area with no restriction above.

9

Luminosity

Linguistic definition of Luminosity Linguistic definitions of Luminosity are the quality of being intellectually brilliant, enlightened, inspired. But in astronomy, it is also called luminosity factor. Optics is the brightness of a light source of a certain wavelength as it appears to the eye, measured as the ratio of luminous flux to radiant flux at that wavelength. In physics the attribute of an object or colour enabling the extent to which an object emits light to be observed.

Philosophical meaning of luminosity The greater the greater the luminosity of an object, the brighter it appears. An object can be very luminous in visible light, x-rays, ultraviolet, infrared, microwave, radio, and gamma-radiation. It often depends on the intensity of the light being given off, which is a function of how energetic the object is. The luminosity that matters when it comes to understanding what’s powering an object, from stars to quasars, is the intrinsic luminosity.

10

Case study on Luminosity From Zaha Hadid’s projects, the theories of fragmentation and fluidity are now well-known design techniques which enabled her form-finding. The use of light might look graphic with light lines. Luminous lines,either as luminaires or windows—characterize her early work, whereas luminous fields and a play of brilliance emerged later. In order to interweave the surrounding landscape with her new structures, she analyzed then abstracted urban transport patterns and transformed them into luminaire patterns. The windows and luminaires in the building’s surface share the same form, creating a holistic design approach and thus moving on from her earlier period of lines and sharp corners. In one of her buildings the elevated concrete structure generates a large shaded area, with the view to daylight on one side intensifies the impression of a dark void. As a counterpoint, diffuse ceiling luminaires intervene in the dim atmosphere. The diagonal building structure has been translated into rhombus-shaped windows for the façade light is not absorbed by concrete but is instead reflected by glass. She was inspired by local glacial moraines and ice formations. With that it significantly increased the reflectance of her surfaces for stunning mirror images.

Therefore the structure does not stand isolated in the landscape but has features of the local landscape embedded in it. It will be illuminated at night, and the station radiates an energetic glow.

In her next project, the interior of the MAXXI, the Museum of XXI Century Arts in Rome, 2009. She developed a characteristic feeling of unison between fluid forms, daylight and lighting at the Italian Museum. Linear louvers follow the conceptual grid and filter the sunlight. To ensure a soft light for the structural curves. Electrical lighting is concealed wherever possible. The black stairways create an contrast with the white luminous underside. Diffuse light flows through the building and builds a calm counterpoint to the dynamic lines and the black and white material contrast. During the day, the volume reflects the light and the overall shadow pattern of the sun dominates, with no sub-textures interfering in the smooth surfaces. The flat glass facades mirror the surrounding environment. At night, the interior light flows onto the exterior surfaces and exterior floodlights enhance the building geometry.

Consequently, the fluid lines in the auditorium reveal soft brightness graduations as well.

11

Seek Light Metaphor Geometrical Diagram Seek Light is a Journey

From a point or single line to a rays of different lines projected across a point.

From a point then to the journey of twirling then from the inner part to the other part.

From a certain point shooting out and join at certain point can form a curve line that look like roof.

12

Spatial or Geometry Exploration

Three possibilities of spatial development are boxes stack up on top of each other to increase volume and to add spatial form. Box creates linear form as it is more rigid and straight.

Circular shapes form and also curve lines to show how it expands from one point to several points. Starting from a two dimensional to some line being lifted up to create a three dimensional which varies in height and also it shows how a entrance can be a strating point.

These are more of lines intersecting at some point creating different points. The points are then translated to the the opening in plan view. To help bring in light during the day and let light out during the night.

13

Context to Site

Curvilinear lines for above ground structure while rigid shapes or lines for underground structure. Strips of small openings for light to pass through during the day and during the night it will emit out light from within the space.

14

Point of Entry

The spiral form on plan. Dividing them in different distance to create a thin space for opening or for lighting. The opening are sloping down and the lines echo like a drpolet of water rippling out.

The others are in similar shapes with the concept of rippling out but the difference are the underground structure.

15

Spaces in Space

Initial Ideas of Spaces

16

Openings for Lights

To show the entrance which is sloping down and the opening above the entrance or near the entrance.

Steps creating a different level of feel in the space.

Openings to bring in light and also to give out light during night time.

17

Reflection

Linguistic definitions of reflection The throwing back by a body or surface of light, heat, or sound without absorbing it. Or an image seen in a mirror or shiny surface. In mathematics term 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.

Philosophical meanings of reflection

18

One of the meaning of reflection is the careful examination of life situations. This involves the weighing of several alternatives and using specific standards to evaluate one’s actions. A man reflects philosophically when he is able to build on previous actions, events, or decisions. There’s two ways one can use self-reflection, positively and negatively. If a person looks at their day and all the events that occurred and sees all the wrongs that they are doing but as an instinct they lie to them self’s and say they did the right thing to themselves and in return walk away in a better state of mind because they can’t handle the emotions that come with telling the truth to themselves, the stress that comes with those emotions

Case study on Reflection Reflection in modernism promoted the transparency of glass architecture, many within the movement were conscious of the monotony of large glass facades, with even Mies van der Rohe using elements such as his trademark mullions to break up his facades. But after many years, countless uniform structural glazing skyscrapers have emerged. In response to this, unconventional reinterpretations of facades have gained interest. Celebrating the expressive materiality of transparency and reflective imagery for entire building skins emerged during the early 20th century, when Paul Scheerbart and Bruno Taut envisioned a new glass culture. Undoubtedly the glass faรงade at the Elbphilharmonie in Hamburg by Herzog & de Meuron refers to the visionary glass culture of Scheerbart. A new structure were built above a warehouse which create contrast of both facade. 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. Under direct sunlight, bright glossy points appear and evoke a jewel-like shimmer.

Additionally, the vertical and horizontal convex curves of numerous single glass elements reinforce the shiny distorted reflections of the sky. Overall the curved faรงade with its printed dot screens evokes a vivid and liquid image, which expresses a close link to the water around. The intriguing imagery of brilliant reflections on transparent glass facades is fortunately not limited to those outside the building; it also offers interesting views for those inside. However, for closed exhibition or concert halls, the concept of veiling an entire building with brilliant reflective effects has been adapted with other shimmering panels. 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. Paul Andreu covered the monumental dome of the National Grand Theatre of China with a shiny titanium skin and heightened the effect with a surrounding reflecting pool to stand out against the nearby ancient red walls of the Forbidden City. Materials play an important role in creating a reflecting surface or defining reflection.

19

Views of Exterior of Pavilion

Different views angle towards the surrounding area and showing the Pavilion. From the top view to the side view in both direction.

20

Exploded Axonometric

Above Ground Structure

Glass - To Bring In Light

Structure to hold the Glass

Ramp Down For The Disabled

Walls Separating Each Areas

Wall Boundary

21

Basement Plan

Legend Spaces

22

Scale 1:200 In A4 Paper

of

Ground Floor Plan

Scale 1:200 In A4 Paper

23

Sections

Scale 1:500 Section cutting across the two short sides of the existing building.

Scale 1:500 Cutting logitude section to show how the spaces look like.

24

Elevations

Scale 1:500 Elevations looking towards North.

Scale 1:500 Elevation looking over to Bar Smith Library.

25

Opacity

Linguistic definitions of Opacity The quality of being difficult to understand or know about, especially because things have been intentionally kept secret or made complicated and also the state of being opaque, or the degree to which something is opaque.

Similar related to transparent. It also means the quality or state of a body that makes it impervious to the rays of light broadly which also is the relative capacity of matter to obstruct the transmission of radiant energy. Also it is an opaque spot in a normally transparent structure (such as the lens of the eye).

Philosophical meanings of Opacity

26

Opacity is that when it is read in a certain way, to understand the content of the work like the fictional world, it only in terms of the particular way in which it is described. Meanwhile transparency is the converse of opacity which it is a way of reading that construes the events and characters as though they were part of a fictional world that we see through a particular work of literature but where the language used to open up the world to us is purely a means to the end. The interest in what is being described. Opacity and transparency are not features of particular works, but ways of reading works: “Transparency and opacity in narrative are not intrinsic qualities of a narrative but ultimately rest on the interests brought to the text.” There seems to be a lot of opacity in our language. Quotation is opaque. The modal idioms are apparently opaque. Opacity raises a number of issues — first and foremost, whether there is such a thing. Philosophical use of ‘opaque’ traces back to Quine.

In some works , Quine speaks of a “purely designative” or “purely referential” occurrence of a singular term; such occurrences are ones on which the term “is used solely to designate its object.” That is how diverse opacity is.

Case study on Opacity Opacity is a view of daylight looks beyond the practical advantages of using reflective white spaces to facilitate bright rooms. Played with white surfaces to counterbalance the long and dark winter days. low position of the sun in northern regions creates long shadows and therefore daylight enters the buildings more from the side than from above. In contrast, summer evenings emanate a diffuse light. white surfaces offer a high reflectance in order to maximize interior brightness for dark winter periods. white architecture could already be found in Denmark´s medieval churches, and this design approach still influences modern sacred buildings like the Dybkær Church by Regnbuen Arkitekter. For example, the sophisticated daylight concept arrives from three directions 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. the nave walls are animated by an irregular texture of white brickwork.

The concept of white diffusion, using white-painted plaster, white-enamelled steel and white linoleum, was introduced by Alvar Aalto for the Paimio Sanatorium in the 1930s, and achieved a peak at the Nordyjllands Art Museum in 1972, according to Plummer. Shades of white cover the walls, floors and ceilings as well as the expressive daylight scoop. However, the power of pure white volumes is not the only characteristic of the Nordic built environment. The pulse of nature with vibrating patterns of light or the transiency of dramatic light and shadow belong to the distinctive Nordic light approach as well.. Religious buildings especially reveal a wide variety of time-concepts. The concepts range from material textures to specific glass features and built volumes that change the image during the course of the day and season. Some churches call for attention with characteristic light patterns during the whole morning liturgy, some welcome the sunlight at the end of the service at noon whereas others imply only subdued light to enhance contemplation. An outstanding example of a dramatic light and shadow sequence occurs at the Pirkkala Church by Käpy and Simo Paavilainen. The altar appears as a canvas for the richly contrasting sunlight projections, where glass acts as a lens and as mirror. The drama of harsh sunlight that distracts from the liturgical service. His interpretation of sunlight comes from a more abstract presence of light, as he states: “Light originates somewhere, but 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.”

27

Aerial View

Looking towards Bar Smith Library.

Top view

28

Entrance or Exit Point

Entrance to the pavilion from the North

Point of Entrance or Exit

29

Interior Views Of Pavilion

Near the entrance

Going down into the pavilion

30

Going up to exit

Partition for different spaces

31

Details

Glass

Aluminium Pipe

32

Timber Floor

Concrete

33

Filtration

Linguistic definitions of Filtration The act of passing a liquid or gas through a piece of equipment in order to remove solid pieces or other substances. The process of using a filter to remove solids from liquids or gasses. The process of filtering and also the process of passing through or as if through a filter also known as diffusion. A filter is a device through which sound or light is passed and which blocks or reduces particular sound or light frequencies. For example if light or sound filters into a place, it comes in weakly or slowly, either through a partly covered opening, or from a long distance away.

Philosophical meanings of Filtration Filtration is a process used to separate solids from liquids or gases using a filter medium that allows the fluid to pass, but not the solid. The term “filtration� applies whether the filter is mechanical, biological, or physical. The fluid that passes through the filter is called the filtrate. The filter medium may be a surface filter, which is a solid that traps solid particles, or a depth filter, which is a bed of material that traps the solid.

Filtration is typically an imperfect process. Some fluid remains on the feed side of the filter or embedded in the filter media and some small solid particulates find their way through the filter. As a chemistry and engineering technique, there is always some lost product, whether it’s the liquid or solid being collected.

34

Case study on Filtration In filtration, Le Corbusier has played masterfully with orientation, openings and textures to create kinetic architecture with daylight. His pilgrimage chapel at Ronchamp, the monastery of Sainte Marie de La Tourette, and the parish church of Saint-Pierre in Firminy reveal distinctive and individual approaches that each render contemplative spaces with light.white surfaces offer a high reflectance in order to maximize interior brightness for dark winter periods. Light has been linked with divinity and holiness in many different religions.

In Christianity the Bible speaks of God who “is light” or Christ as “the light of the world”. 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. Each epoch has formed a new language of light: The glow of the Romanesque apse, the golden shimmer of Byzantine mosaics or the luminous walls of Gothic stained glass. As an artist as well as an architect, Le Corbusier expressed an exceptional sensitivity for the interaction of colours and light 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. , from the continuous circle of solar events. The dawning sun illuminates the alcove of the side chapel and turns the red-painted void even redder. For Plummer this reddish morning light is a clear analogy to human birth Later, sun floods the tall slot between the east and south walls, continuous with the rays of light through the deep cavities of the south wall. The small horizontal crack of ten centimetres lifts the roof from the wall and creates a harsh contrast to the glow of the vertical brise-soleil at the southeast corner. The cycle culminates finally in a warm glow from an opening in another side chapel at sunset.

The Monastery of Sainte Marie de la Tourette at Éveux-sur-l’Arbresle (1953-60), with its rectilinear geometry, embodies a clear counterpoint to the poetic forms of Ronchamp and Firminy. Due to the fact that all corridors have an open side facing one of the four cardinal directions, the believers encounter diverse light experiences.

Additionally, the corridors are distinguished with different window arrangements. The irregular rhythm of light and shadow appears like a musical composition

35

Nur Razana | | Rep2-18 | Structural of Light | Light Journey 2