Zoe.Spooner Rep 2 2019 - attempt 2

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helios representation2.2019 zoespooner

Y 1

contents 2

place

idea

site description

idea generation

circulation & key features

diagramming

scale study

concept analysis

light/shade study

precedents & references

light study 1 - luminosity

light study 2 - reflection

form

material

form exploration

materiality & textures

plans & elevations

3d detailing

sections

light & texture

views & spatial qualities

visual experience & atmosphere

light study 3 - opacity

light study 4 - filtration

Y 3

place the site is located at the university of Adleaide, on the Maths Lawns. it is surrounded by preexisting buildings belonging to th university, which range in style, usage, and age vastly. most notable is the barr smith library, an iconic building with a heritage facade which is visible accross the lawns form outside the university on forme street, preserving this line of site is an essential consideration when designing for this location. also in the area are inkarni wardli, the braggs, the engineering maths building, and

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the molecular life sciences building. these have moder modern facades and are mostly cladd in glass, making an interesting site full of reflective surfaces and bouncing light. the maths lawns are a central gathering point of the university, frequently used for events, open days, bbqs, and the like. one regular days they maintain quite heavy traffic as students use the benches and sit on the lawns to study or eat or just socialise.

pics

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g ra

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major view

major access/ usage in er s e h n gi at m en

h it sm ry rr ra ba lib

ith sm ad rr ro ba me fro

fe li r a s ul ce ec ien l o sc m

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n ar

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secondary access/usage

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access and site qualities

Y 5

3d areal and ground level views of site

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seasonal/temporal light study

9AM

12PM

3PM

12PM

3PM

summer

9AM

winter

place

Y 7

light study 1

t r a n s p a r e n c y

fluid luminosity : the architectural lighting of zaha hadid

l e e z a s o h o ( 2 0 1 7 )

l u m i n o s i t y (n) latin root lumen, meaning light

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emitting or reflecting usually steady, suffused, or glowing light. the quality of something that gives off light or shines with reflected light

n o r d p a r k r a i l w a y s t a t i o n ( 2 0 0 7 )

light is what makes vision possible, and the luminosity of an object therefore is an extension of our ability to see it. because of this, the philosophical connotations of luminosity envelope the concepts of enlightenment, clarity, learning, and inspiration.

transparency + translucency

theoretical reflections of the presence of light luminous atmosphere to her designs. this can be seen in the example pictures, namely the vitra fire station which features a sharper delineation of light and dark through use of light absorbing concrete as the primary material. the diffusion of light on the surfaces is beautiful and an effective visual technique, but as hadid’s work progresses we see a more sophisticated approach to this topic in the use of light reflecting materials arranged in layers to maximise the captured and released luminosity. in particular this can be seen in the leeza shoho building, where layered glass material bounce light to make the space glowing and luminous.

v i t r a f i r e ( 1 9 9 3 )

s t a t i o n

g u a n g z h o u o p e r a h o u s e ( 2 0 1 0 )

t r a n s l u c e n c y

through the work of zaha hadid we can observe many different interpretations and utilisations of luminosity in architecture. the progression of hadid’s works reveals a change in personal style that highlights at one end a sharper contrast of light and dark, before gradually softening borders of light and allowing a the translucency of materials to bring a more

Y 9

idea the initail metaphor chosen to represent the concept of ‘seek light’ was that of light being a source of clarity and magnificationof ourselves and our best qualities. i chose to explore this theme through the idea of lenses, warped glass and translucent materials that magnify and focus light.

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through this exploration i looked at sunlight in particular, since that to me is the embodiment of light and the source of so many of its known positive qualities. the sun is warm, inviting, healing, and visually very striking. i through of ways to reflect the sun shape and mirror it underground to create the form of my pavilion.

i also played with the idea of three tubes, or three corridors, forming the basis for my form. following from the concept of magnification, i explored the possibility of holes in the roof of the pavilion to be used as small skylights, which in the day would light the interior and at night would give a glimpse into the pavilion.

Y 11

section - formal design choices initial metaphor : seek light is reflec

p a v i l l i o n

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f o r m

c o n c e p t

formal design choices - plan

b a r r

s m i t h

l i b r a r y

tion and magnification of ourselves

initial design choices - symmetry / reflection

EXHIBITION / PRESENTATION SPACE

STORAGE

READING / RELAXATION RECEPTION

WC

LIBRARY SEMINAR ROOMS

spatial distribution of functions

internal flow and external access

idea

Y 13

light study 2

veiled in brilliance: how reflective facades have changed modern architecture r e f r a c t i o n

the use of reflection and reflective materials in architecture has been part of the revolution of modern architectures ‘place’. in no other way can architects directly echo a buildings surroundings on its surface so simply. the style of these reflective shells add a new layer to the way the site is interpreted by these reflective buildings, s e l f r i d g e s b i r m i n g h a m f u t u r e s y s t e m s

e l b p h i l h a r m o n i e h e r z o g & d e m e u r o n

r e f l e c t i o n (n) latin root reflexus, meaning tobend back

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the act of reflecting, as in casting back a light or heat, mirroring, or giving back or showing an image; the state of being reflected in this way.

the definition of reflection gives us its philosophical connotations - to reflect on something is to experience the same thing in a different way. this concept can apply to memories, emotions, self image, and when discussing physical light reflection of light on surfaces is all we actually see. it is not objects we interact with visually, but the reflections of them.

reflection

theoretical reflections of the reflection of light g u g g e n h e i m b i l b a o f r a n k g e h r y

this mesh of site and architecture is an exciting and nowadays essential consideration in these types of projects - with so much access to beautiful reflective methods of facade, how can we best enhance the site and the building itself. the Guggenheim museum designed by frank gehry is a prime example of the way that reflective façades have influenced modern architecture. a ‘jewel’ in

the city, the Guggenheim is well know for its dynamic forms. however, the true magic of it is in the shifting and changing of light over its curved and reflective surfaces. a unique light reflection effect is achieved with its titanium sheeting and this dynamism makes it stand out and also ensures that despite its outlandish and stylised design, it is always responding to its environment directly and reflecting a modified image

of that to onlookers.

i r i d e s c e n c e

a prime example of this is elbphilharmonie in hamburg, a building coated in a pleasing and extremely eye-catching reflective facade that reflects a distorted echo of the city, water, and sky surrounding it. in this way it communicates through the site, while distorting in subtle curves this image to evoke aspects of the buildings purpose.

another effective use of reflective facade is future systems’ selfridges design in birmingham. covered in semi-reflective discs which don’t reflect a clear mirror image, the large curved form looks oddly organic, like a creature in dropped into the city that grows and changes appearance with the shifting of the clouds and outside light.

Y 15

form

the basic intent of my form is to create a sun mirrored under ground and overhead. the overhanging forms act as ‘magnifying glasses’ above the pavilion. the pavilion also has a completely flat profile from ground level, so it doesn’t impede on the view from frome street to the barr smith library.

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Y 17

library

reading room

circulation and continued exhibition space

exhibition and presentation space

seminar rooms

toilets

reception

storage

pavillion floor plan 1:200

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overhanging semi transparent ‘lense’ installtion, cabled to surrounding buildings

thick translucent roof and ceiling of the pavillion studded with small light tube that at night create a starry sky underfoot

shell of the pavillion - three seperate forms with outer ‘corridors’ for flow throughout the pavillion spaces. holes in ceiling let in tiny beams of light filtered through the upper ceiling

internal walls and ovular main wall

floor plate with access ramp

pavillion footprint, fully imbedded into the ground

Y 19

exploded perspective compositional and structural study

longitudinal section in context 1:300

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perspective section with context 1:300

form

Y 21

experiential collage

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experiential plan

Y 23

light study 3 light matters: whiteness in nordic countries o p a c i t y (n) latin root opacus, meaning darkened

darkness

the quality or state of a body that makes it impervious to the rays of light

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opacity as a metaphorical concept can refer to the extent to which someone it truthful, honest, open, and ‘transparent’. to be opaque is to be unreadable, a solid and unyielding being. alternatively, opaqueness can also represent strength and conviction in ones own beliefs or in ones morals.

d y b k ĂŚ r c h u r c h r e g n b u e n a r k i t e k t e r .

opacity

theoretical reflections of the absence of light

p i r k k a l a

c h u r c h

to accentuate every scrap of dim light makes the most of the natural surroundings. in summer however these nordic countries receive a wonderful pure light for long hours during the day. the pirkkala church in finland seen below is a perfect example of the ways opaque elements can accentuate the light and a white wall can be transformed according to

the angle of sunlight upon it. the dybaekr church in finland offers another interpretation of the concept of opacity in architecture. the architect chose to intertwine three different directions of light, each of which interact differently with their opaque materials. light enters low from the north to emphasize a crucifix, as well as more

broadly from the south as a wash; and also as a ‘shower’ directly behind the altar, guided down through a section of wall. the walls are also textured by irregular brickwork, again a lovely opaque frame onto which beams of light can project and become animated within their space.

s h a d o w

playing with opaque materials and clear cut fenestration in design is a simple but nonetheless extremely effective way of imbuing a space with unique light qualities. nowhere can a reliance on clean opaque white material and piercingly bright light be seen than in the nordic countries. with dark harsh winters, playing up white surfaces

h y v i n k ä ä c h u r c h a a r n o r u u s u v u o r i

Y 25

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material

roof. holes in the ceilings of the inner forms act as mini skylights and allow air to circulate throughout the structure.

materiality is an essential element of this design. after looking at precedents i wanted to create symmetrical and ordered forms that had more interest than regular rectangular prisms. this creates a based upon with beams of light can play and create a huge variety of shapes and patters on the walls, floor, and ceiling.

mounted about the main pavilion and, mirroring its for turned upside down, is a translucent plexiglass shade device which visually draws the eye to the barr smith be-

tween it and the pavilion. it is strung with thin cables so as to evoke a sense that it’s floating in space, and give the pavillion an interesting and light spatial presence.

subsequently, i decided to construct the main forms all out of solid concrete. a flexible and affordable material, it affords a lot of variety in forms and offers a nice texture for light to hit. a plexiglass ceiling lets in an ambient light to the underground pavilions, along with a series of mall cylindrical lights mounted inside this

Y 27

experiential renders: unside pavilion,daylight through translucent roof

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experiential renders: on ramp looking into pavillion with roof lights turned on

perspective construction detail

semi-transparent plexiglass floor/roof cylyndrical light buckets and inner cavity for electricals

perspective construction detail

concrete ceiling with simple skylight holes

material

Y 29

light study 4

le corbusier and the trinity of light c h a p e l o f n o t r e l e s c o r b u s i e r

d a m e

d e

h a u t

f i l t r a t i o n (n) latin root filtratus, meaning to filter

c h u r c h

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o f s a i n t - p i e r e l e s c o r b u s i e r

the act of passing or sifting through slowly, partially obstructing the passage of an object

filtration

theoretical reflections of the filtration of light o f

n o t r e

d a m e d e h a u t l e s c o r b u s i e r

m o n e s t a r y d e s a i n t e m a r i e d e l a t o u r e t t e l e s c o r b u s i e r

filtration is the act of passing an object through a series of obstruction, loosing elements until only a certain size or type is left. philosophically the act of filtering is an aspect of social interaction that allows good relationships to be maintained. or, it can represent the filtering of negative things out from the positives.

le corbusier was a master at using light in his architecture. it truly came across in every design how highly he valued the light qualities of each project. in particular his use of materiality to diffuse and filter light is notable. long passageways and high windows force light to pass through more ear before reaching the viewer, thus filtering it naturally.

the church of saint-piere provides a clear example of the filtration of light from outside. the walls or speckled with tiny holes, which at in the sunlight directly but also filter and limit the quantity of light that makes it into the building at any given time. in my opinion a an extension of this is his use of sporadic windows in buildings such as the chapel de notre dame de haut, in which windows dotted around and at high positions in the building bring a variety of shafts of light into the space to mix and filter through the air and space and through each other. through use of filtration as a primary consideration in many of his designs, le corbusier imbues said light with a sense of directional, and a type of

softness and specialness that comes from being the very last light to reach ones eyes, so to speak. this technique is also particularly well suited to churches as it above all else makes the internal spaces washed out with the bright lights. a spiritual, meditative atmosphere is achieved when the light bounces off of and around many textured internal surfaces.

p o r o s i t y

d i f f u s i o n

c h a p e l

Y 31

9 2 0 1 r e p

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Y t h g i l k e se er poon s e o z 539 a1706

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