Representation II - Mortaza Abuzar a1761191

Light “Light creates ambience and feel of a place, as well as the expression of a structure.�

- Le Corbusier Mortaza Abuzar | a1761191 Representation II

CONTENTS Place

Idea Form Material

Elevation I - Barr Smith Library

Site Description

Place

The light pavilion project is allocated in Maths Lawn between the heritage and famous buildings of Adelaide university. In the north lies the award-winning Braggs Building which houses the Institute for Photonics and Advanced Sensing, Frome

Road runs across the West side, School of computer science and Australian School of Petroleum are positioned to the South end and to the eastern side, Barr Smith Library is inhabited. Barr Smith Library was named in honor of Robert Barr Smith and was opened in 1932.

Elevation II - Australian School of Petroleum | Computer Science

Elevation III - The Braggs Building | Science Building

ACCESS, MOVEMENT AND PATTERN

15 Jan | 9 A.M.

15 Jan | 12 P.M.

15 Jan | 3 P.M.

SHADE AND SHADOW STUDY 15 June | 9 A.M.

15 June | 12 P.M.

15 June | 3 P.M.

GROUND VIEW

3D VIEWS AERIAL VIEW

NIGHT DAY

AMBIENT LIGHT

LIGHT STUDY I

LUMINOUSITY

Deconstructive Lines of Light Decisive non-parallel lines mark the explosive energy of her first building: The Vitra Fire Station (Weil am Rhein, 1993)—a lucid expression of tensions with in-situ concrete walls. Light lines in the ceiling, or between wall and ground or between the wall and the flying roof reinforce the linear architecture with sharp edges. In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds

intensify the linear pattern language. The precise light lines emerge as built manifestations of her suprematist paintings.

Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms.

IDEA DEVELOPMENT

SEEK LIGHT AS A JOURNEY

DIAGRAMMING

EXPLODED MODEL

PRECEDENT The Louis Vuitton Foundation is an art museum and cultural centre in the Bois de Boulogne overlooking the Jardin d’Acclimatation in Paris, France. To facilitate this, a digital model of the structure was created using Digital Project software developed by Gehry Technologies for high-performance scalable 3D modelling.

CONCEPTUAL STUDY OF SHELL STRUCTURE

LIGHT STUDY II

Veiled in Brilliance: How Reflective Facades Have Changed Modern Architecture Even as 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 in the years since, countless uniform structural glazing skyscrapers have emerged and bored urban citizens. In response to this, unconventional reinterpretations of facades have gained interest. Accompanied by the belief that light and brilliance could help in creating iconic architecture and a better human world, glass and metal have been innovatively transformed to create crystalline images.

REFLECTION

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 made of “colored glass” “sparkling in the sun,” “crystalline shapes of white glass” which make the “jewel-like architecture shimmer.” Mies van der Rohe absorbed this vision when he discarded the rectangular tower in favor of a free-form glass skin in his proposal for the Glass Skyscaper in Berlin in 1921. In a 1968 interview, 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.

FORM

3D MODELLING

LIGHT STUDY III

OPACITY

Light Matters: Whiteness in Nordic Countries Decisive non-parallel lines mark the explosive energy of her first building: The Vitra Fire Station (Weil am Rhein, 1993)—a lucid expression of tensions with in-situ concrete walls. Light lines in the ceiling, or between wall and ground or between the wall and the flying roof reinforce the linear architecture with sharp edges. In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds

intensify the linear pattern language. The precise light lines emerge as built manifestations of her suprematist paintings.

Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms.

FILTRATION

Le Corbusier and the Trinity of Light For his three sacred buildings, 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. In his book “Cosmos of Light: The Sacred Architecture of Le Corbusier,” Henry Plummer,

Professor Emeritus at the University of Illinois at Urbana-Champaign, has analysed these projects with outstanding photographs taken over 40 years and brilliant writing.

Light matters, a monthly column on light and space, is written by Thomas Schielke. Based in Germany, he is fascinated by architectural lighting and works for the lighting company and academy DIAL. He has published numerous articles and co-authored the book “Light Perspectives.”

LIGHT STUDY IV