SEEKING LIGHT IS A JOURNEY - MORTAZA ABUZAR A1761191

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

- Le Corbusier Mortaza Abuzar | a1761191 Representation II

Seeking light is a journey

CONTENTS

Place

Site Description Ambient Light and Shadow Study Site Analysis Luminosity

Idea

1-2 3-4 5-6 7-8

Idea Form Generation of Idea Reflection Mobility & Unfold

9-10 11-12 13-14 15-16

Form

Material Swamp Spanish Oak

150mm Float Glass

20mm Polarized Glass

Form - Elevations and Sections Exploded Diagram Plan opacity

17-18 19-20 21-22 23-24

Material Pavilion Material Path and Organisation Filtration

25-26 27-28 29-30 31-32

Site Description

PLACE

Elevation I - Barr Smith Library 1:750

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

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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 - Ingkarni Wardi Northern Elevation 1:500

Elevation III - The Braggs Building | Science Building Southern Elevation 1:500

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Ambient Light and Shadow Study

Day | Image 1

15 Jan | 9 A.M.

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Day | Image 2

15 Jan | 12 P.M.

15 Jan | 3 P.M.

Night | Image 1

Night | Image 2

Night | Image 3

15 June | 9 A.M.

15 June | 12 P.M.

15 June | 3 P.M.

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Site Analysis

Access and Movement

Engineering Building

Vegetation

Barr Smith Library

Maths Building

Science Building Braggs

Building Names

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Seating Area

Aerial | Image 1

Ground | Image 1

Aerial | Image 2

Ground | Image 2

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Definition

Luminosity

Luminosity is generally understood as a measurement of brightness, a radiant power that conceptualise brightness.

However, each discipline defines the term differently. In Astronomy, luminosity measures the total amount of energy emitted by a star, whereas in architecture it focuses on lighting and daylighting for the interior and exterior environment.

Guangzhou’s Opera House Zaha Hadid’s projects are well driven with tangible materials, while incorporating her imagination with the medium of light. Her theories of fluidity are the design techniques that enabled her form-finding. Hadid’s essential element that revealed and interpreted her architecture was mainly dealt with light. Only through light the forms and materials are rightly captured by our eyes. From minimal light of Vitra Fire Station to the world’s tallest atrium of Leeza SOHO skyscraper, Hadid presented her luminous legacy. However, after a period of raw, cool and concrete buildings, Zaha Hadid introduced Guangzhou Opera House in China in 2010 that brought a warm, golden and glossy atmosphere.

The Guangzhou Opera House is an auditorium where the illumination was discretely into the ceiling with thousands of light pixels and is visualised as a dream-like starry sky.

So seamless, the design is driven by fluidity. Light patterns on the balconies portrays the impression of reflections in waterfalls.The Opera House sit in perfect harmony with its riverside location at the heart of Guangzhou’s cultural development the same way as pebbles in a stream that has been eroded. The unique twin-boulder design unifies the

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towers of international finance in Guangzhou’s Zhujiang new town with the adjacent cultural buildings. The very latest acoustic technology has been applied to the 1,800-seat auditorium of the Opera House and the 400-seat multifunction hall is designed for opera, performance art and concerts.

Within the Opera house, the folding lines in the landscape defines territories and zones by cutting exterior and interior canyons for circulation, lobbies and cafes, and allowing natural light to penetrate deep into the building. Smooth transitions between elements and different levels continue this landscape analogy. Custom moulded glass-fibre reinforced gypsum (GFRC) units have been used for the interior of the auditorium to continue the architectural language of fluidity and seamlessness.

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Often the reflection of the light enhances the way form looks, this mainly happens because of the impact of light on different materials and surfaces, as they emit light back at us.

IDEA

In this case, the lines and forms of opposing building was visually seen as wavy forms, which were then translated and used for light pavilion design strategy.

Form achieved from top left hand

This form combines the two left and is selected from the right hand side This form is picked from the middle section

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This interesting form is achieved by combining the left hand forms together in a very joyful manner. This form is then translated into various means, which later became the most functional organic natural display of light pavilion.

When beautiful forms of this curves are combined, the resulting form emerge as pleasant as the wavy pattern of the rock formations that has been eroded by the sea.

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Form Generation Stage 1 - Defining spaces underground

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Stage 2 - Introducing accessibility via ramp to lower ground

Stage 3 - Sealing the underground surface

Stage 4 - Introducing design form to finished floor

Point of Entry

Experiential View- Ramp

Experiential View - Ground Level

Experiential View - Inside the Light Pavilion

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Definition

Reflection

Reflection is divided into two types, specular reflection and diffuse reflection. When light bounces off an object, such as in buildings and glass, it is called reflection. If the bounced surface is smooth and shiny, like glass or water, the light will reflect the same angle as it hit the surface. This type of reflection is specular reflection. However, when the opposite happens, in other way, when light hits an object and reflect in lots of different directions, mainly due to the rough surfaces, it is called diffuse reflection.

Elbphilharmonie in Hamburg The transparency of glass architecture was promoted by modernism, many within the movement involved the use of large glass facades, like that of Mies van der Rohe. Creating iconic architecture and a better human world is achieved and accompanied by light and brilliance. Therefore, central or fundamental meaning in architecture ahs shifted from the internal space-from towards the external surface, in other words, the skin.

Celebrating the materiality of transparency and reflective imagery for the entire building skin started during the early 20th century, when Paul Scheerbart and Bruno Taut envisioned a new glass culture made of colored glass that sparkled in the sun, as well as chystalline shaped of white glass which make the jewel-like architecture shimmer. In a 1968 interview, Mies explained the idea behind his glass mirror effect, “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.�

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Undoubtedly, the Elbphilharmonie in Hamburg by Herzog & de Meuron is one of the most astonishing design techniques that has been applied to the skin of the building. The building comprises of concave and convex curved glass elements, which distort the perception of the city, sky and water. This driven idea of Herzog & de Meuron, the desire to transform the mirror effects of modernist glass skyscrapers was based on the Prada Epicenter in Tokyo, completed in 2003. The Prada Epicenter consists of glazing shells that are rhombus-shaped elements in contrast to the distorted reflections of the convex exterior shapes of the glass.

The Elbphilharmonie is built upon the historic brick warehouse, which operates as a magical eyecatcher with its abstract choreography.

Beautiful reflections in the form of points or lines of astonishing and mesmerizing light streaks are caused by the curves of the balconies in the building. The distinctive curves reflect the light of the blue sky as bright lines, similar to the automotive industry horizontal lines. Under the direct sunlight, bright glossy points bring to mind a jewel-like shimmer. Moreover, the convex curves that are vertical and horizontal single glass elements reinforce the shiny distorted reflections of the sky. Additionally, there is a close link to the water around the building, the printed dot screens of the facade evoke a vivid and liquid image.

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Mobility and Unfold

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Ramp

Reception Disabled Toilet

Reading/Relaxing

Female Toilet Male Toilet Seminar 2

Seminar 1

Exhibition

Storage

Small Library

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Elevations and Sections

FORM

Northern Elevation 1:500

Northern Section 1:500

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Eastern Elevation 1:300

Eastern Section 1:300

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Exploded Diagram Though stairs makes it faster to get to secondary spaces, it will however not bring the unifrom movement of the ramp. What stands between two levels with interactions of two different spaces?

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The ramp makes the most important feature of the light pavilion. The geometry of the upper level structural forms in relation to the lower level structures can be visualised by the viewer as they go down and as they make their way up to the ground plane. ss

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As the visitors go down, the delicate carved wood generate beautiful light effects towards the spaces throughout the day. The polarised glass that sits between the timber acts as a filtration layer when the sun’s intensity is very high.

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Aerial representation of the Eastern Section

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Plan

Plan I - Ground Plane

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Plan II - Underground Plane

Aerial view of Light Pavilion in context

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Definition

Opacity

Opacity describes as how opaque an object is. To understand opacity, it is important to know what opaque is. An opaque object completely impervious to light, meaning nothing can be seen through it. Opaque surfaces separate two sides completely and fully. A subdivision which result in physical and visual separation.

Alvar Aalto’s Paimio Sanatorium The scarce light in winter, the long days in summer, addresses the issue of light, which is something the architects need to consider for Scandinavian countries. Henry Plummer carefully studied the various daylight phenomena in Nordic countries. He proposes reflective white spaces to facilitate bright rooms, something which he achieved through his means of photography, which uses light effects to play with beauty of nature and touch the human soul.

Weather and daylight consequently change throughout the day and leads to unique light situations in Scandinavia, the northern regions face low position of the sun and create long shadows, this means the sunlight enters from the side rather than above. However, like Henry Plummer, architects play with white surfaces to counterbalance the long and dark winter days. On the other hand, summer evenings produce a diffuse light. In his book “Nordic light: Modern Scandinavian Architecture,” Henry Plummer points out that although Norway, Sweden, Denmark and Finland are dissimilar in topography and vegetation, they share the same subdued light.

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The concept of white diffusion was first introduced by Alvar Aalto for Paimio Sanatorium in the 1930s, which uses white painted plaster, white-enamelled steel and white linoleum. Shades of white reach to the walls, floors and ceilings in an expressive way. The Paimio Sanatorium is considered to be one of Alvar Aalto’s most important works.

The hospital was built onto the highest point of a pine forest in Paimio, Finland. Aalto designed the Paimio Sanatorium according to the principles of functionalism. The main purpose of this building was to help the tuberculosis patieWnts to recover. Therefore, the colours of the buildings mattered to the patients. Alvar Aalto wrote about the colors in the patient rooms, “The walls are light and the ceilings darker. This makes the general tone more peaceful from the perspective of a lying-down patient. The general lighting point of the room is above the patient’s head at the interface of the wall and ceiling, which means that it is outside the angle of vision of a lying-down patient.”

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MATERIAL

Re-inforeced Concrete

Grade 500e Re-inforced Mesh

400mm Support Beam

Marble

Gravel Mixed in Concrete

Ramp Material Detail

25 23

Experiential - Float Glass

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Pavilion Material

Swamp Spanish Oak

150mm Float Glass

20mm Polarized Glass

Light Pavilion Materials

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Material - Swamp Spanish Oak

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Path and Organisation

Meshed re-inforce concrete Steel Lattice Swamp Spanish Oak

Blue Polarized Glass

The simple path, which lures you in!

Is it a trap or a joyous walk? Maybe both?

How can one correlate between the two different spaces simultanously? The answer remains with open spaces, natural light and clearly with a ramp. The ramp is gently peeled off the Maths Lawn at its ease for accessibility.

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Main Path Secondary Path

Organisation of space - View from the inside of the library

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Definition

Filtration

Filtration is the process in which solid particles in a liquid or gaseous fluid are removed by the use of a filter medium.

Other media, such as electricity, sound and light can be filtered. In light a transparent filter is used to reduce the light or some wavelengths of the light passing through it.

Chapel of Notre Dame du Haut at Ronchamp In many different religions, light has been linked with divinity and holiness. However, in architecture we focus on the scientific approach of light, the visible light, although visible light can be linked to heavenly architectural atmospheres.

Le Corbusier, known as an artist as well as a great architect, expressed unusual sensitivity in his buildings by merging colours and light together. Creating kinetic architecture with daylight was something Le Corbusier was fond of, which he successfully managed to do through openings and textures.

This kinetic architecture is evident in all three of his sacred buildings – the pilgrimage chapel at Ronchamp, the parish church of Saint-Pierre in Firminy and the monastery of Sainte Marie de La Tourette.

For Henry Plummer, the main characteristics of the Chapel of Notre Dame de Haut at Ronchamp is the continuous circle of solar events. The alcove of the side chapel gets illuminated by dawning sun and the red-painted void become more red, which Plummer describe as an analogy to human birth. Then later, the sun brightens the tall slot between the south and east walls.

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The cycle reaches its peak eventually with a warm glow from an opening in another side of chapel during at sunset. Le Corbusier wanted the space to be meditative and reflective in purpose, there the stark white walls corresponds when the light enters into the chapel, then becomes a washed out, ethereal atmosphere. At Ronchamp, the effect of light heightened sensations and brought emotional qualities with religious activities.

The curved roof of Ronchamp is one of the most striking design of Le Corbusier, which peels up towards the heaven. The curved roof is supported by embedded columns in walls, which create gap between the roof and the walls that allows for a silver of clerestory light. Sporadic window placement on the walls is one of the most interesting aspects of the design. Small puncturing apertures is implemented to the faรงade, which amplifies the light within the chapel by tapering the window well in the wall cavity. Each wall becomes illuminated by these various window frames which occur simultaneously with the stark white washed walls that give the walls luminous qualities by even a stronger direct light.

Each wall becomes illuminated by these differing window frames, which in conjunction with the stark white washed walls gives the walls luminous qualities punctuated by a more intense direct light. On the wall behind the altar in the chapel, the lighting effects create a speckled pattern, almost like a starry night, of sparse openings that are complimented by a larger opening above the cross that emits a flood of light, creating a powerful religious image as well as a transformative experience.

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“And now here is my secret, a very simple secret: It is only with the heart that one can see rightly; what is essential is invisible to the eye.” ― Antoine de Saint-Exupéry

Mortaza Abuzar | a1761191 Representation II