Peter Willsmore Cerebrum Light Pavilion Rep 2 FINAL Magazine

CEREBRUM

PETER WILLSMORE A1741110 REP 2

CONTENTS

PART I - PLACE Site description

PG 1-2

Site analysis

PG 3-4

Light s tudy I: luminosity

PG 5-6

PART II - IDEA Metaphor

PG 7-8

Concept analysis

PG 9-10

Experiental views

PG 11-12

Light study II: reflection

PG 13-14

PART III - FORM Form in context

PG 15-16

Form qualities

PG 17-18

Light study III: opacity

PG 19-20

PART IV - MATERIAL Light & texture

PG 21-22

Light atmosphere

PG 23-24

Construction

PG 25-26

Diagrams

PG 27-28

Light study IV: filtration

PG 29-30

SITE DESCRIPTION

1

PART I GROUND VIEW FRONT

SITE HISTORY

GROUND VIEW BACK

AMBIENT LIGHT STUDY

AERIAL VIEW 1

AERIAL VIEW 2

2

SITE ANALYSIS PART I

PRE-EXISTING SITE USAGE

PRE-EXISTING SITE MOVEMENT VICTORIA DRIVE

FROME ROAD WALKING SITTING + WALKING MOVEMENT DIRECTION NORTH TERRACE

3

LIGHT/SHADE STUDY 9AM SUMMER

12PM SUMMER

3PM SUMMER

9AM WINTER

12PM WINTER

3PM WINTER

4

LUMINOSITY PART I

DEFINITIONS

Linguistic: There are two versions of luminosity, the astronomical definition and the physics definition. The inherent lightness of a supernatural object, which is distinguished by its brightness which is lowered by the distance travelled. (Astronomical) The emission rate of radiation, visible or otherwise. (Physics) (Oxford dictionary, 2019) Philosophical: Adelaide universities motto ‘Seek Light’ uses light as an example of knowledge, research, different possible futures etc. This open-ended definition instils the thought of looking for something greater as you come to their university. Something more than just the tangible qualifications that you get from studying at university. Luminosity looks at the amount of light something puts off, so in a way it comes across as the different levels of aspiration, people have as they start a new part of their lives with tertiary education. People that are generally considered very knowledgeable or intuitive are referred to as ‘bright’ again referencing the level of luminosity alluding to the amount of knowledge and life aspirations.

5

ARCHITECTURAL MEANING Zaha Hadid’s projects are extremely unique in the different ways that she achieves unique atmospheres and moods within her buildings. Her ingenious tactics whilst using light to portray these thoughts and feelings are what put her apart and causes her techniques to be used regularly as inspiration for other architects when thinking about how they use light in their designs. The way our human eyes perceive forms and objects is not by direct light from the object but through the light which is reflected off of the object.

Zaha Hadid uses this to her advantage with lines of light, directing them in different directions to portray her design concepts, provoking different responses to the senses. One example is with one of her first buildings with the Vitra Fire Station in 1993, where she aims to portray the feelings of tension. She does this by laying light lines against the ceiling and floors of the building. These light lines break the buildings form away from the conventions of a simple building structure. She uses every detail of the building she can to convey these atmospheric qualities, down to the custom-designed sun blinds which also help to emphasise her linear patterns of light throughout the building.

The Phaeno Science centre showed

a shift in Hadid’s interpretation and uses of light in 2005. With this building, she experimented with giving the windows and the buildings light fixtures allowing them to share the same form. This establishes a comprehensive design outlook and shows Hadids progression as a designer from the use of linear lights. The concrete structure is above ground projecting a sizeable shaded area, with the contrast between the dark space and daylight further exaggerating the feeling of a dark space. As opposed to her earlier designs she now allowed her forms to take on a curved shape. She uses this to show and effectively use both the natural daylight and the artificial light fixtures that she has added, this allows the visitors to enjoy both of these sources of light. Hadid has used glass-enclosed buildings in the past, but in one of her recent designs, she looks at the use of a fragmented glass case for a building creating lots of interest points, incorporating different levels of luminosity by breaking up the sunlight in different ways.

6

METAPHOR PART II

SEEK LIGHT BREAKDOWN Infinite single Dimensional Discovery

Infinite two Dimensional Discorvery ending and beginning at each end

SEEK LIGHT is a DISCOVERY

Multiple strands of discovery captured into ‘ENLIGHTENMENT’

Infinite three Dimensional Discovery reaching enlightenment in ‘NUCLEUS’

SEEK LIGHT is a JOURNEY

Continuous discovery journeys all leading to the same point of ‘ENLIGHTENMENT’

7

BRAIN NEURON CONCEPT PRECEDENT Simple geometrical neuron structure (Seek Knowledge)

ISOLATION OF CONCEPT

Isolating Hexagonal Shape from the natural form, multiple pathways into the nucleus

8

IDEATION PART II

CONCEPT PRECEDENT BREAKDOWN

9

‘NUCLEUS’ PRECEDENT IDEATION

DESIGN CONCEPT OPTION 1

SITE PLACEMENT VISUALISATION

DESIGN CONCEPT OPTION 2

DESIGN CONCEPT OPTION 3

10

EXPERIENTIAL VIEWS PART II

EXPERIENTAL ENTRANCES

11

EXPERIENTAL ENLIGHTENMENT

12

REFLECTION PART II

DEFINITIONS

Linguistic: The return of light or sound waves from a surface. the production of an image by or as if by a mirror. (Merriam-Webster Dictionary) A serious thought or consideration.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. (Oxford Dictionary) Philosophical: Reflection is the act of looking back at what you have done, or the act of self-reflection involves looking at yourself and your actions or thought patterns. Finding yourself and thinking about the situations in everyday life that you are involved in, and how they each affect you differently. Reflection on knowledge is an important part of life, especially for university students that a large portion of their current existence evolves around the seeking of knowledge. The act of putting work in to achieve a result can be said for the university experience, with the student’s level of achievement greatly depends on the amount of work put in, to then be reflected back with results.

13

ARCHITECTURAL MEANING Reflection and the use of glass facades on buildings have been prominent in architecture since the rise of modernism which greatly increased the interest in the use of ‘transparent glass architecture’. Those that were involved in the modernist movement were aware of the increased use of simple and monotonous large-scale facades, to which they tried to counteract with elements to break up these facades. Despite this awareness, in the following years, urban cities have sprouted with a multitude of large boring glass facade buildings.

Again, the reaction to this was to begin experimenting with different façade techniques which explored lots of unorthodox techniques. This helped the shift towards looking at how a buildings exterior surface brought a new level of meaning to a building, with new techniques being employed with glass and metal to form reflective facades causing buildings to be interpreted differently. An example of this was when Paul Scheerbart and Bruno Taut brought about a new perspective on the use of glass in architecture, looking at ‘coloured glass’ and how it sparkled in the sun, giving buildings the ability to shine like jewellery. The architect Mies van der Rohe resonated with this new perspective, demonstrating this in his

ground-breaking design proposal for the glass skyscraper in Berlin 1921.

Instead of sticking with the conventional rectangular skyscraper design, he proposed breaking the façade up into multiple different sections, putting them at slight angles to each other, allow the light to affect to each of the individual surfaces uniquely rather than the usual uniform approach. This also solved the problem of having areas where the sunlight would reflect off the façade too intensely. These ideas birthed numerous different techniques in manipulating glass facades to give interesting reflections on the exterior and also the light filtering through into the interior. With further consideration, these ideas evolved into looking at using fully reflective exteriors for building programs which required a closed exterior such as opera houses and theatres. One prominent example of this is Frank Gehry the American architects Guggenheim museum Bilbao using a thin titanium skin causing the full exterior to be reflective, allowing the interior light to be fully controllable.

14

FORM IN CONTEXT PART III

LIGHT PAVILION

15

AXONOMETRIC VIEW

COMPLEX SHADE CREATION

WALKWAY OVER SITE + ENTRANCE / EXITS

SITTING / READING ATRIUM

16

FORM QUALITIES PART III FLOOR PLAN

SANTOS PETROLEUM ENGINEERING

ENG & MATHS SCIENCE

INGKARDNI WARDLI WALKWAYS LECTURE THEATRE

LIBRARY ENTRANCES/EXITS

ATRIUM

ENTRANCES/EXITS

TOILET

LIBRARY WALKWAYS MOLECULAR LIFE SCIENCES

PLAN

SANTOS PETROLEUM ENGINEERING

ENG & MATHS SCIENCE

MOLECULAR LIFE SCIENCES

17

THE BRAGGS

INGKARDNI WARDLI

THE BRAGGS

SECTION

ELEVATION

18

OPACITY PART III

DEFINITIONS

Linguistic: The quality of lacking transparency or translucence. The quality of being obscure in meaning. (Oxford, 2019) Philosophical: Opacity looks at the amount of light that is allowed through an object. This relates to a person’s character and whether they are open with others or closed off and ‘opaque’ preferring to keep their thoughts and ideas to themselves. The extreme opposite to having a transparent character where they have no secrets to hide and are open with everything.

Due to opacity referring to the range between transparency and being completely opaque, this relates to the possibility of obscuring certain things from peoples view, whether that be a character trait, an emotion or feeling, but either way the act of obscuring something at different levels gives the ability to manipulate light or ‘knowledge’ as in the University of Adelaide’s motto ‘Seek Light’. This also relates to the different levels that a persons character would involve and depending on how long you had known the person.

19

ARCHITECTURAL MEANING Light manipulation in Scandinavian countries is drastically different from the southern hemisphere due to the huge range of light throughout the year in these places. Meaning architects need to consider how a building will be able to manipulate light at these drastically different levels of natural light throughout the year. Some extensive research has been undertaken by Henry Plummer who has been on a large photo trip to investigate the numerous techniques employed to create well-lit rooms both in full sunlight and low sunlight in response to the local climate. While also investigating the way these techniques such as using white reflective rooms to create bright spaces, but he also investigates the deeper meaning behind it all, and how these uses of light affect the human experience and soul, whilst also looking at the way it encompasses the local nature. Due to their positioning on earth, Scandinavian architecture involves counting the fact that the sun is much lower, leading to longer shadows and sunlight hitting the building more from the side of the building than directly above. In his findings, Plummer emphasizes the consistent use of white throughout buildings allowing rooms to best make use of the low levels of sunlight, with highly reflective interior

surfaces, meaning less light is absorbed. He also links this consistent use of white with the local climate and landscape remarking on how it is connected to the unique white and snow-covered country. This extensive use of white throughout the interior of a building is very prominent in many recent religious and spiritual buildings, looking at how the white conveys an atmosphere to the eye of the beholder that they are entering a somewhat sacred space which is almost ‘heavenly’. This is expertly shown in the Dybkær Church by Regnbuen Arkitekter which uses the different angles of the sun at different times of the day to highlight different important aspects of the church such as the black steel cross, and the altar at the front of the church. Arkitekter designed the building to specifically capture the light to project how he wants it inside the building, manipulating the natural light despite being unable to control the suns movements, calculating its position and direction to maximise its effect.

20

LIGHT & TEXTURE PART IV

ACCESS & MOVEMENT PLAN

RAMP TO MOVE OVER PAVILION

21

WHEELCHAIR ACCESS FROM ALL ENTRANCES / EXITS

MATERIAL PALETTE

White Textured wall plaster over reinforced concrete roof

Texture reinforced conrete retaining walls

Timber benches situated around the edge of light atrium

Stone Floor of Light Atrium

22

LIGHT ATMOSPHERE PART IV

EXPERIENTIAL ATMOSPHERE

CEREBRUM LECTURE THEATRE

INTERIOR VIEW OF RAMP EXITS/ENTRANCES

23

VIEWS THROUGH COMPLEX SHADE GENERATION CEILING

DAPPLED SUNLIGHT

24

CONSTRUCTION PART IV

CONSTRUCTION DETAIL- REINFORCED CONCRETE WALLS

3D detail of the reinforced concrete joints allowing the atrium to be supported without the use of pillars interupting the expansive indoor atriums atmospheric moments.

25

CONSTRUCTION DETAIL- STONE FLOOR

3D detail of the construction of the atriums stone flooring.

MOONLIGHT DIFFUSION

26

MOBILITY DIAGRAMS PART IV

DESIGN NET An exploded net of the Cerebrum light pavilion, showing the multide of simple geometry folded into a 2D graphic.

27

DESIGN COLLAGE Collage of light pavilion visuals to create an abstract representation of the experience and atmosphere that the Cerebrum would provoke.

28

FILTRATION PART IV

DEFINITIONS

Linguistic: The action or process of filtering something. (Oxford, 2019) The act of reducing either all or some of the wavelengths of light as they pass through a light filtration device.

Philosophical: The act of passing through something and certain pieces, or people not being able to pass through whereas some are. An example of this in nature is natural selection, where a species will gradually adapt over time to a certain environment so that they more suitable offspring.

This takes place everywhere in a society where people or things are ranked according to social constructs that have been created and most people abide to. Whether it’s when buying a new car and you have to find one that suits all your needs, during this process, we subconsciously filter our thoughts and perspectives on the things around us. The careers world is a prime example of this filtration, finding the perfect candidate, this is the way that our society has discerned to choose people and sift through the masses, allowing the unique and talented to stand out, being able to pass through more metaphorical barriers than the average person.

29

ARCHITECTURAL MEANING The filtration of light in architecture is a key component in the work of renowned architect Le Corbusier, who crafts buildings to use different openings and textures, to allow light into spaces in a certain way that causes his buildings to come ‘alive’ As they have the effect of changing throughout the day as the sunlight moves across the building hitting the openings he has designed at different angles to create different light colours and intensities to filter through, casting them onto different textures to further emphasize this ‘kinetic architecture’.

Throughout the history of architecture, the use of light has been heavily tied to the ‘dive’ and manipulated in ways to create holy and spiritual spaces in which people from different religions can worship and perform their rituals and traditions. For example, the Bible refers to the divine God as ‘light’, this allows architects to take this metaphor and use this to their advantage projecting natural light into their buildings to create an almost heavenly atmosphere, despite not seeing anything tangible, the reflections and filtrations of light into these types of buildings trigger people’s imaginations of what could be beyond that light. The positioning of light in sacred buildings is key. For

Christian churches the position of light above the beholders eye-level, draws people attention in an upwards direction to the light, causing them to focus on the ‘divine’ above them. This particular usage ranges across religions with some using reflective ornamentation which light shimmers and reflects off of, stained glass windows, causing light filtration to only let in certain colour wavelengths into the building creating a colourful atmosphere for praise and worship. Henry Plummer has been investigating and studying Le Corbusier’s work for most his career, having revelations about the life-changing effects that the use of light can have on the life of a building, and its ability to convey meaning, atmosphere and holiness. Le Corbusier’s vision for spaces was incredible with Plummer’s stating that for some designs such as the church of Saint-Pierre were constructed after he died, meaning he was able to envision such a place despite having no tangible experience, instead passing his imagination on to the eye of the beholder.

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SOURCES: Thomas Schielke. “Fluid Luminosity: The Architectural Lighting of Zaha Hadid” 31 Mar 2017.

ArchDaily. Accessed 30 Oct 2019. <https://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid/> ISSN 0719-8884 Thomas Schielke. “Veiled in Brilliance: How Reflective Facades Have Changed Modern Architecture” 12 Oct 2016. ArchDaily. Accessed 30 Oct 2019. <https://www.archdaily.com/796974/ veiled-in-brilliance-how-reflective-facades-have-changed-modern-architecture/> ISSN 07198884 Thomas Schielke. “Light Matters: Whiteness in Nordic Countries” 29 Aug 2014. ArchDaily. Accessed 30 Oct 2019. <https://www.archdaily.com/542503/light-matters-whiteness-in-nordiccountries/> ISSN 0719-8884 Thomas Schielke. “Light Matters: Le Corbusier and the Trinity of Light” 11 Feb 2015. ArchDaily.

Accessed 30 Oct 2019. <https://www.archdaily.com/597598/light-matters-le-corbusier-andthe-trinity-of-light/> ISSN 0719-8884

PETER WILLSMORE A1741110 REP 2