LIGHT IS A DISCOVERY Representation 2 Wang Kefan a1737607
contents Stage 1 : Place --3D model, site analysis --Photos of site
Page : 4--9
Stage 2 : Idea --Idea 1,2&3( design process)
Page : 10--17
Stage 3 : Form --Plan, section,elevations and 3D views of light pavilion -- Exploded structure
Page : 18--23
Stage 4 : Material --Movement inside&outside --Internal views --Construction detalilng
Page : 24--29
Place Site analysis
3D views from model
daytime
night
Aerial
N
Ground
site plan Page 4
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1:500
summer
winter 9:00am
The Braggs South Elevation
Ingkarni Wardli North Elevation
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12:00pm
3:00 pm
MLS South Elevation Page 6
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Deconstructive Lines of Light
Light study 1
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
Coherent Forms Flow From Windows to Ceiling The Phaeno Science Centre (Wolfsburg, 2005) was a decisive turning point in Hadid’s lighting imagination. The windows and luminaires in the building’s surface share the same form, creating a holistic design approach and thus moving on from Hadid’s earlier period of lines and sharp corners. The elevated concrete structure generates a large shaded area, with the view to daylight on one side intensifies the impression of a dark void. As a counterpoint, diffuse ceiling luminaires intervene in the dim atmosphere. The diagonal building structure has been translated into rhombus-shaped windows for the façade. In contrast to earlier projects with sharp edges, Hadid’s forms here took on curved shapes, marking a transition to fluid designs. In order to form a coherent exterior surface, the rhombus contour has also been applied to the underside of the elevated museum. Thereby the visitors perceive a holistic formal approach encompassing both daylight and artificial lighting Page 8
Zaha Hadid’s projects are remarkable not only for her innovative way of handling tangible materials but also for her imagination regarding the medium of light. Her theories of fragmentation and fluidity are now well-known design techniques which enabled her form-finding. However, her advances in using light to render her architecture have often been neglected—even though they became an essential element in revealing and interpreting her architecture. The three-decade transition from minimal light lines at her early Vitra Fire Station to the world’s tallest atrium at the Leeza SOHO skyscraper, which collects an abundance of daylight, shows the remarkable development of Zaha Hadid’s luminous legacy.
Enhancing Fluidity With Daylight and Lighting While Hadid generally applied her virtuous flowing forms mainly to the exterior of buildings, the interior of the MAXXI, the Museum of XXI Century Arts (Rome, 2009) surpassed the spatial energy of its façade. She developed a characteristic feeling of unison between fluid forms, daylight, and lighting at the Italian Museum. Linear louvers follow the conceptual grid and filter the sunlight— ensuring a soft light for the structural curves. Electrical lighting is concealed wherever possible. The black stairways create an intense contrast with their white luminous underside. Diffuse light flows through the building and builds a calm counterpoint to the dynamic lines and the black and white material contrast.
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Idea: light is a discovery Idea 1 : Sherish The idea come from that"people will prefer things had lost or cannot get. People enter the big hall with enough sunlight, but when people walk ito the structure, sunlight decrease quinkly and become more valuable and sherished. There are less sunlight in the bottom of the little tower, but it will be increased with the increasing height. In the end , people own plenty of sunlight again and understand the importance of light.
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Idea 2 : Suitable This idea is come from that" the best one is the most suitable one". In the 3 rooms, people will feel a kind of balance between brightness and darkness. First room have less sunlight, second room have plenty of them. As for the last room, there are some colored water between 2 glass roofs, the the sunlight won't as strong as second room which makes people know suitable is the best.
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Idea 3 : Coexist As for idea3, it shows balance between darkest and brightness in another way. Only a proportation of sunlight can reach ground floor so sunlight seems valuable there. However, the whole roof is made by glass, there are full of sunlight on level 1 which seems sunlight is a normal thing there. As a reason, light is meaningless without darkness, it is important to keep balance between them.
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light study 2 Undoubtedly the glass façade at the Elbphilharmonie in Hamburg by Herzog & de Meuron refers to the visionary glass culture of Scheerbart, and indirectly to the golden shimmering skin of Berlin’s Philharmonic by Hans Scharoun as well. Inwardly and outwardly curved glass elements distort the perception of the city, water and sky. They build a fresh contrast to the uniform plane glass curtains of the International Style. The environment is not appreciated as a clear mirrored picture, but instead goes through a process of modification and reproduction.
Due to the curves of the balconies, the building reflects points or lines of brilliant light streaks. With a blue or diffuse sky the distinctive curves reflect the light as bright lines, similar to the horizontal lines seen in the designs of the automotive industry. Under direct sunlight, bright glossy points appear and evoke a jewel-like shimmer. Additionally, the vertical and horizontal convex curves of numerous single glass elements reinforce the shiny distorted reflections of the sky. Overall the curved façade with its printed dot screens evokes a vivid and liquid image, which expresses a close link to the water around. Built upon the historic brick warehouse below, and with its abstract choreography of complex distorted light reflections, the Elbphilharmonie operates as a magical eyecatcher
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The precursor to the Elbphilharmonie, which first showcased Herzog & de Meuron’s desire to transform the mirror effects of modernist glass skyscrapers, was the Prada Epicenter in Tokyo, completed in 2003. The glazing shell consists mainly of rhombus-shaped elements, but selected parts create distinct distorted reflections due to the convex exterior shapes of the glass – comparable to a contact lens resting on the façade. The intriguing imagery of brilliant reflections on transparent glass facades is fortunately not limited to those outside the building; it also offers interesting views for those inside. However, for closed exhibition or concert halls, the concept of veiling an entire building with brilliant reflective effects has been adapted with other shimmering panels.
The American architect Frank Gehry transferred this aesthetic of brilliance from glass to metal with the titanium cladding of the Guggenheim Museum Bilbao in 1997. While the connotations range from a ship for the larger form to fish scales regarding the reflective panels, the building as a whole has turned into an urban jewel that kicked off numerous urban redevelopments with its iconic signature. Many an aspiring metropolis assumes that the structural form is the key successful factor in “Bilbao effect.” However, with the sparkling light qualities of the titanium sheets and its changing appearance, Frank Gehry has not only brought a dynamic composition of forms to Bilbao but reinforced his design with a distinctive, dynamic image which varies with every cloud and sunbeam.
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Form
Aerial
Ground
North&West elevation in 1:500
Plan Page 18
Section Page 19
storage space
reception area
Small library
Seminar rooms 3 toliets
Plan&section in 1:500
Relaxing space
Presentation space
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light study 3 The extreme changes in weather and daylight have led to unique light situations in Scandinavia, where architects have played with white surfaces to counterbalance the long and dark winter days. The low position of the sun in northern regions creates long shadows and therefore daylight enters the buildings more from the side than from above. In contrast, summer evenings emanate 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 Religious buildings especially reveal a wide variety of time-concepts. The concepts range from material textures to specific glass features and built volumes that change the image during the course of the day and season. Some churches call for attention with characteristic light patterns during the whole morning liturgy, some welcome the sunlight at the end of the service at noon whereas others imply only subdued light to enhance contemplation. An outstanding example of a dramatic light and shadow sequence occurs at the Pirkkala Church by Käpy and Simo Paavilainen. The altar appears as a canvas for the richly contrasting sunlight projections, where glass acts as a lens and as mirror.
The Scandinavian countries have developed great buildings that resonate with both the scarce light in winter and the long summer days. Henry Plummer, Professor Emeritus at the University of Illinois at Urbana-Champaign, has very carefully studied the various daylight phenomena in the Nordic countries, with extensive photo journeys and brilliant writing that combines an analytical perspective with a poetic touch. His view of daylight looks beyond the practical advantages of using reflective white spaces to facilitate bright rooms; the passionate photographer is much more interested in the light effects that play with the local beauty of nature and touch the human soul
The concept of white diffusion, using white-painted plaster, white-enamelled steel and white linoleum, was introduced by Alvar Aalto for the Paimio Sanatorium in the 1930s, and achieved a peak at the Nordyjllands Art Museum in 1972, according to Plummer. Shades of white cover the walls, floors and ceilings as well as the expressive daylight scoop. However, the power of pure white volumes is not the only characteristic of the Nordic built environment. The pulse of nature with vibrating patterns of light or the transiency of dramatic light and shadow belong to the distinctive Nordic light approach as well.
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Other architects, like Aarno Ruusuvuori, avoided the drama of harsh sunlight that distracts from the liturgical service. His interpretation of sunlight comes from a more abstract presence of light, as he states: “Light originates somewhere, but man does not need to know where. Lighting is not an end in itself. But its meaning is to create a feeling of the infiniteness of eternity.”
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Material
The general movement is moving up for people enter this structure. After they go through the glass door in west, there are a large hall with decreasing height and width. Then go up in the little tower which in the end of the hall and reach a terrace on the top of tower. This structure need go back with same way to go out
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The general movement is moving up for people enter this structure. After they go through the glass door in west, there are a large hall with decreasing height and width. Then go up in the little tower which in the end of the hall and reach a terrace on the top of tower. This structure need go back with same way to go out
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concrete bricks
isulation
concrete
glass
steel
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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.
The main characteristic of the Chapel of Notre Dame du Haut at Ronchamp (1950-55) comes, for Plummer, from the continuous circle of solar events. The dawning sun illuminates the alcove of the side chapel and turns the red-painted void even redder. For Plummer this reddish morning light is a clear analogy to human birth. Later, sun floods the tall slot between the east and south walls, continuous with the rays of light through the deep cavities of the south wall. The small horizontal crack of ten centimetres lifts the roof from the wall and creates a harsh contrast to the glow of the vertical brise-soleil at the southeast corner. The cycle culminates finally in a warm glow from an opening in another side chapel at sunset.
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The highlight of the light choreography in La Tourette’s church begins with the sunset. A crack atop the west wall draws warm lines along the side walls. The north wall connects the two golden lines and with the falling sun the line slowly moves upward. The dramatic atmosphere increases till the moment when the golden light hits the slight upward tilted roof plane and grazes over the tactile ceiling of prefabricated slabs. This effect changes with the seasons – ranging form a small triangle in winter to a large rectangle in summer when the sun reaches its maximum power.
The scenography at the church of Saint-Pierre at Firminy (19602006) is arranged in three acts. The small stellar windows on the east façade generate dots of light on the floor which later mysteriously turn into waves of light. These waves gently rise and fall with the course of the sun. They create an astonishing pattern over all three walls facing the altar. Polycarbonate cylinders with concentric grooves holding the glue cause these impressive wave effects. The luminous pattern appeared unexpectedly for the client when the cylinders were mounted into the concrete wall. Plummer points out, that Le Corbusier could not have envisioned this phenomenon - particularly as the actual construction of the building wasn’t carried out until decades after his death but it is known that he delighted in, and often encouraged, accidents of construction, especially when they enhanced the character of the building.
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Balance
