Seek light as to be with nature - feiyang huang

LIGHT PAVILION SEEK LIGHT AS TO BE WITH NATURE REPRESENTATION II - 2019 FEIYANG HUANG

CONTENT CONTENT

LUMINOSITY CASE STUDY

REFLECTION CASE STUDY

OPACITY CASE STUDY

FILTRATION CASE STUDY

PLACE SITE HISTORY AND CHARACTER AMBIENT LIGHT PHOTOGRAPHIC SITE QUALITY ANALYSIS SHADE AND SHADOW STUDY AERIAL VIEWS GROUND VIEWS

FORM TO SCALE PLANS TO SCALE SECTIONS EXPLODED DIAGRAM MOBILITY AND UNFOLD 3D MODELLING VIEWS

IDEA IDES GENERATIONS METAPHOR AND PRECEDENTS DESIGN CONCEPT ANALYSIS 3D ONSITE

MATERIAL STRUCTURE DIAGRAM TEXTURE AND MATERIALITY DETAILLING DIAGRAM INTERNAL VIEWS LIGHT AND ATMOSPHERE

PLACE

SITE HISTORY AND SCALE STUDY

Site plan - 1:700 The site for the ligh pavillion study project is Maths Lawns which located in the north Terrace campus of the University of Adelaide. In general, it is an open space formed with two large areas of grass where rows of wooden benches and tables are along the edges. Its north side lies the Braggs building, west side is the historical Barr smith Library, with Ingkarni Wardli and Engineering building at the south, facing Frome road at the east.

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In general, it is an open space formed with two large areas of grass where rows of wooden benches and tables are along the edges and sides. The Maths Lawns are used for O’week activities and other different campus enevnts. It is been used for several stors of clubs of the university. Mostly, the Math Lawns are usually where students could sign up for those clubs and learn about getting involved in more of the university life.

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Elevation of site building: Barr Smith Library - not to scale

Elevation of the Braggs and Molecular Life Sciences building - not to scale

Elevation of Engineering, Maths and Sciences building - not to scale

SITE ANALYSIS

BARR SMITH LIBRARY

THE BRAGGS MOLECULAR LIFE SCIENCES

INGKARNI WARDLI

ENGINEERING MATHS&SCIENCES

EXISTING BUILDINGS

The Maths Lawns are flanked by Ingkarni wardli, Engineering, Maths and Science buildings to the south, Barr Smith Library reading rooms with a classic facade filled of Roman columes to the west, and The Braggs and Molecular Building at the north side. Apparently, the east side has no existing building, and the library is the only building at the site that could not get access from the Maths Lawns.

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AREA FOR EVENTS

The two grass areas are currently have the similar sizes around 30 metrs wide and 80 meters long. The centural areas are usually used for common use by university students and teachers, sometimes for the public as well while there is holding an event like The RCC. the tables and chairs on their edges are regularly occupide. The open areas are occassionally used for sitting or equipment setting.

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ENTRY POINTS TO THE LAWN

The entry points from the surrounding areas to the Maths Lawns are basically pointed from the main access ways adjoining the grass areas. The west side is from the Library with an exterior staircase facing the Lawns, and from the south and north sides are normally under the bridges between Ingkarni and Engineering buildings and between the Braggs and the Molecular. Others are from the exit points or the stairs of the Engineering building.

MAIN MOVEMENT ON SITE

Most of the movement during the day and early night times at the Maths Lawns are coused by the workers, students and teachers or event organisers. The main pathways arround the grass areas are lie at the north, west and east sides of the Maths Lawns, people who need to get access to the parking port of the uni at the victoria drive can use the north and west parts and use south ways to get access to the North Terrace.

DAY LIGHTING ON EMS BUILDING

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SHADOW AND SHADE ON SITE

REFELECTED LIGHT ON GLASS

9 NIGHT LIGHTING ON BRAGGS

NIGHT LIGHTING IN EMS AISLE

ARTIFICAL LIGHTING

AERIAL VIEW 1

SUMMER 9AM

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AERIAL VIEW 2

SUMMER 12PM

SUMMER 3PM

11 GROUND VIEW 1

WINTER 9AM

GROUND VIEW 2

WINTER 12PM

WINTER 3PM

Definition As it is well known, most of the objects we see are due to the light source that has been emitted on the object. Luminosity is described as a brightness of an object in the space. According to scientists, the greater the luminosity of an object, the brighter and shinier it appears.

In most cases, luminosity is meant

L U M I N O SI T Y 12

to relate how much energy is being emitted by an object in all the forms of light it radiates. Recently, it gained significant influence in cultural material studies in specific ways. In architectural areas, luminosity has become an important element for the development of artistic forms.

13 Fluid Luminosity of Zaha Hadid’s Phaeno Science Centre Zaha Hadid’s exploration of light started a new approach which updated her career as an architect.

She is astonishing not only due to the way she applied and managed tangible materials to her projects but also because of the technique she developed for regarding light as a powerful medium connecting human and architecture. By

functional spaces in architecture.

Apparently, the station does more than simply exist as an object in space, with a series of narrow and long stretched concrete walls and roof, its inside is as imaginative as the outside.

looking at Zaha Hadid’s early building Vitra Fire Station to her amazing Phaeno Science Centre, we could tell where the turning point in her lighting imagination is. She transformed from her early linear pattern language and sharp corners to stunning curved shaped façades and windows, marking her adaptation of radical form designs.

the traditional positions of the relational norms between horizontal and vertical planes, the entire surfaces of the building were called upon to work as a unit as supporting parts. The Centre itself appears as inspiration and scientific awe. With the extraordinary self-compressing concrete and the sizing of the windows on the ceilings and walls, the building maintains a large degree of transparent and porosity on the ground. The organic and fluid form of the interior walls allow the building to produce different kinds of lightscapes with the existence of natural or artificial light.

The form of Vitra Fire Station itself was designed to act as a linear shape which sits along with the street, which formed the layout of the surroundings. This emerges as Hadid’s early attempts of putting in her built presentations of her powerful conceptual drawings into

The structure of Phaeno Science Centre is totally different from

IDEA

SEEK LIGHT IS A JOURNEY TO BE WITH NATURE

ON SITE HAND-DRAWN SKETCH

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Photographs of the Maths Lawn

From the shade and shadow study of the Maths Lawns, I noticed

I could not stop thinking about using those beautiful patterns as

there are many different kinds of elements from the site surroundings

inspirations for my light pavillion design ideas and develop my

are really meaningful as cues to start a journey of seeking light as to

design concepts based on my sketches.

be with nature. The shapes of the shadow of trees under sunlight,

After several times of visting the site, I evloved my drawings from

the dark sides of the brick walls and columes of the Molecular Life

two dimensions to three dimensions and abstract them back wards

Science and the Engineering buildngs, moreover, with the wind

as two dimensions but in architectural ways, which became my

breezing gentely, the motley shadows on the floor become an

further design concepts.

enjoyable drawing in my eyes.

PROCESS OF GENERATING AND MODELLING IDEAS

DEVELOPMENT OF IDEA I

DEVELOPMENT OF IDEA II

For idea III which as my final design idea, I draw several sorts of lengths and orientations of lines and circles puttinf in random directions first, then I connected the lines and circles in vertical orders to form an overall design concept. After that, I digitally modelled the circles and making lines into retangular three-demensional boxes on a two dimensional site plan. At the final editting stage, I divided and rebuilt the areas and the transformation percentage of the spacial bals and the retanglar box.

DEVELOPMENT OF IDEA III

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CONCEPT ANALYSIS OF IDEA I

CONCEPT ANALYSIS OF IDEA II

CONCEPT ANALYSIS OF IDEA III

ON SITE 3D MODELLING RENDERS OF IDEA III

Definition The change in direction of a wavefront at an interface between two different mdia is called reflection, and reflectivity or reflectance is the reflecive quality or power of a surface or material, which describes the effectiveness of a material in reflecting radiant energy. Reflectance could be the measurement for the thickness of the materials in physics.

Iridesence is known as the performance of certain surfaces that appear to gradually change their color as the angle of view point or illumination changes, such as butterfly wings and seashells. It has been applied into architecture recent years especially on the external surfaces.

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The Port House in Antwerp - reflective facades Zaha Hadid’s previous work was consisting of glass-enlosed buildings, this example is shown in the Nordpark Railway Station.

However, her newer Port House with sparkling facets that break the volume in Antwerp, which was completed in 2016, is a great example of a building that focuses on reflection of the light. The Port house introduces interpretation of a floating glass volume, with most triangular facets on the building extension being transparent in contrast to few being opaque.

During the day with different daylight situations, the façade of the building continually changes

19 its rippling vibrant surface.

In comparison to her matt insitu concrete walls of Vitra fire station, the façade of Antwerp has a sparkling appearance.

The volume is still broken into fragmentations by means of form but also broken by means of reflection.

where architecture mirrored its surroundings. Moreover, the interiors changed from raw concrete of white to glamorous gold for key spaces. This diffuse illumination of light created a soft atmosphere, in a way which the energy of the space rooted from the fluid forms.

In Nordpark Station, where

Railway continuity

Through Port House and all of her previous projects, Hadid

and fluidity replaced Hadid’s deconstructivism and fragmentation, the Port House was translated into a new language of light, which in this case was a turning point in regards to her design strategy. Matt façade surfaces were replaced by reflections,

followed a remarkable path from fragmented light lines to day and night luminous fluidity and constrained her design parameters to form and reflectance.

R E F LE C T ION

1:500

FORM ABOVEGROUND MID-WAY PLAN A 1 :1000

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1:1000

1:1000

SITE PLAN WITH FINAL DESIGN 1:500

UNDERGROUND SECTION - PLAN B 1 :1000

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SOUTH EAST SECTION 1:500

TO SCALE PLANS AND SECTIONS

NORTH EAST SECTION 1:200

TO SCALE ELELVATIONS

EAST ELEVATION 1:500

NORTH WEST ELEVATION - 1:500

SOUTH EAST ELEVATION - 1:500

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23 The ramp for the disable is

Light penetrating areas

accessable from east side of the light pavillion, and it connects the underground spaces by a 2 meters wide and 1.5 maters long landing. From the west side where close to Barr Smith Lbrary is the stairscase that leads the main in and out movements of the light

Relaxing/ reading space

pavillion, leading from the roof which contains enormous glazing

Storage room

circling-shaped windows.

Public area with a long bench Reception area

Two seminar rooms are below the landing of ramp. Each of them is 18 square meters in size. A 80 square meters exhibition and presentation area is next to the seminar rooms, facing a small library with open public area in between where

Male/ female/ disable washhrooms

stands a long bench for people to take a rest during the busy days. A 1/7 sphere-shaped space stands

Library

close to the staircase, with a 8 meters high dome, this is where

Seminar rooms

the storage lookers are kept in.

Exhibition area SPATIAL QUALITY DIAGRAM

MOBILITY

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UNFOLD

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26 3D MODELLING RENDERS

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Steven Holl’s Herning Museum of Contemporary Art

Definition As designers and architects, we always see and talk about opacity while we defining the quality of transparency or transalucence of a certain kind of material or color. In architecture fields, opacity is accosionally used as the measure of impenetrability to electromagnetic or other kinds of radiation, especially visible light.

100 percentage opacity as called default most of the time, means the contents of the material are opaque, and on the opisite, 0 percentage opacity means the layer of the material is invisble because it is completely transparent, what we will see is the things behind it.

O PAC I T Y 28

In architecture, one of the key elements of a good design is indicated by the orientation of the building which can benefit the most from natural lighting.

A great example is the Scandinavian countries that have developed great buildings that corresponds well with the scare light in winter as well as the long summer days. Henry Plummer who is Professor Emeritus at the University of Illinois at Urbana-Champaign, has studied the daylight phenomena in Nordic countries and compiled his photo journeys and writing for evidence to provide his analytical perspective. In these writings, Plummer brings to sight the value of reflective white spaces that enhances the bright rooms in Nordic countries.

29 In Scandinavia, the weather is extremely unstable and always changing, resulting in various light situations. To counterbalance the long and dark winter days, the architects play with various white surfaces. The light situations vary in northern regions where sun sits low and create long shadows, whereas in summer evenings consist of diffuse light.

Plummer points out the connection of countries like Norway, Sweden, Denmark and Finland that share the same subdued light.

Henry Plummer’s discovery of Nordic architects in respond to their environment is dedicated to whiteness and white surfaces, white surfaces provide high reflectance that maximizes interior brightness for dark winter periods as well as its linkage to the beauty of snowcovered landscape.

Among good examples are Steven Holl’s Herning Museum of Contemporary Art. Viewed from above, the roof geometry resembles a collection shirt sleeves laid over the gallery spaces: the curved roofs bring balanced natural lights to the galleries, and the loose edges of the plan offer spaces for the café, auditorium, lobby, and offices. Truck tarps were inserted into the white concrete formwork to yield a fabric texture to the building’s exterior walls. Vertical skylights in the upward curving roof supply the spaces with natural light and, at the same time, expose the walls to the optimal amount of daylight. The gallery skylights are north oriented to prevent direct sunlight and glare.

MATERIAL

Open area with a long bench Reading/ relaxing/ reception sapces

Main movement path Internal second movement path

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ORGANISATION DIAGRAM

31 ROOF TOP Aligned with ground plane Colored

glass,

partly

opened for natural light

ROOF WINDOWS

penetration, and access to

Incorporated as part of the

entrance.

design of a roof. Allowed both light and fresh air into the underground space.

CONCRETE WALL Concrete insulated panel system

with R40 EPS

insulation which consists of

GEODESIC DOME 6

frequency

80’ glass

diameter, pieces

series

fine

glass

fibers to slow the rate of

65-

heat transfer inside the light

coloredand

extremely

pavillion.

steel

construction.

CONCRETE FLOOR Poured precasted concrete onto the dirt bed of Math Lawns, polished smoothly with anti slip paint.

STRUCTURE DIAGRAM

Laminated double glazing window

1

2

3

4

5

1 & 5: Laminated glass 2 & 4: PVB interlayer/ EVA film 3: Colored interlayer/PDLC

600mm Concrete slab

Structural laminated glass panel

CONSTRUCTION EXPLODED DIAGRAM

Vertical steel bars

Horizontal steel bars

Teal irregular metallic glass tiles

Concrete floor with anti slip paint on top

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Constructed reinforced concrete floor

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View from the Braggs building ground level

View of the staircase facing Barr Smith Library

View from the exhibition room

View of people using the long bench at the public area

View on top of the double glazing roof

Definition In physics, biology and chemistry, filtration is the process of separating suspended solid matter and fluid from a mixture, by causing the latter to pass through the pores of a certain kind of substance as a medium, which usually is called a filter. Filtration is roughly devided into mechanical, chemical and biological three types. However, in architecture filtration is essentially connected with applying light effects in designing process of a building. If we pay attention, we could see the passions of photographers are largely in the light effects that play with the local beauty of nature and tuch the human soul.

Monastery of Sainte Marie de la Tourette Looking at Sainte Marie de la Tourette in Lyon, France, it is deu to le Corbusier’s light technique emerges having many sides of language that make his sacred buildings. He uses layers of light that can go beyond the static building volumes, like a celestial cycle that changes through the course of the day, year and with clear or overcast sky. His structural elements vary from samll stellar openings to large tubes as well as other small interventions that produce remarkable patterns of

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F ILT R AT IO N light reflecting cosmic power. Le Corbusier with his three sacred buildings, skilfully played with orientation, openings to invite light and textures to enhance it. These buildings reveal distinctive and individual approaches that each convey contemplative spaces with light. These buildings are pilgrimage chapel at Ronchamp, the monastery of Sainte Marie de La Tourette, and the parish church of Saint-Pierre in Firminy. However, for this light study, La Tourette will be used for as a case study.

The way light at La Tourette is arranged is completely different to Ronchamp.

The Monastery of Sainte Marie de la Tourette consists of rectilinear geometry, which embodies a clear counterpoint to the poetic forms of Ronchamp and Firminy. The people (believers) encounter diverse light experiences because of the fact that all corridors have an open side facing of the four cardinal directions.

These corridors become more prominent because of the different window arrangements of the building. According to Henry Plummer, the irregular rhythm of light and shadow appears like a musical composition.The highlight of the light sequence in La Tourette’s church begins with the sunset. A crack on top of the west wall draws warm lines along the side walls. The northern wall joins the two golden lines, which then moves in upward direction as the sun falls down.

You are the light itslef. Be stunning.

SEEK LIGHT AS TO BE WITH NATURE FEIYANG HUANG