LIGHT IN UNDERGROUND a1754314 SHUANG GUO
PART I Place 06
PART II Idea 14
3D Views of the Site Photographic Study Site Analysis Case Study
Idea 1 - Underground Idea 2 - Colour Idea 3 - Flat Case Study
PART III Form 20 Final Design Structure Plan & Compoition Site Plan & Section Case Study
PART IV Material 26 Aerial & Ground Views Access & Movement Internal Views Construction Detailing
1 PART I Place
PART I Place 2
3D VIEWS
PHOTOGRAPHIC STUDY
3 PART I Place
PART I Place 4
SITE ANALYSIS
There are two main pedestrian passages, which intersect together and usually have a large flow of people.
` The darker the point, the denser the crowd. The population on the front of BARR SMITH library is much larger than anywhere else of the site.
There are two separate huge lawns in the middle of the buildings, benches are placed on both sides of the lawn, people usually take break here.
Planted on both sides of the site, this helps the site to be well isolated from the outside.
WINTER SHADOWS
SUMMER SHADOWS
9 am
SITE ANALYSIS
12 am
15 am
9 am
12 am
15 am
5 CASE STUDY
CASE STUDY 6
LUMINOSITY
Linguistic definitions "luminosity" is often confused with luminance. It is the amount of light emitted by a source within a solid angle per unit area in a given direction, in nits. Luminosity is not physical quantity, the term is used in photometric functions. Luminosity refers to Luminous intensity as well. Philosophical meanings 'luminosity' is not an event in existence, it cannot be 'said', but only 'shows' as its horizon. It is also plausible to say that although luminosity is not an event in existence, it nonetheless shows only in relation to what is sayable.
The Architectural Lighting of Zaha Hadid Her progress in using light to render her architecture is often overlooked - even though they become the basic elements of revealing and explaining her architecture. Light compensates for the gap between architecture and our perception. We use the eye not to directly sense the shape and material, but to reflect light. Transforming urban lines into glowing stripes: In order to intertwin the surrounding landscape with its new structure, Hadid analyzes the abstract urban traffic patterns and turns them into lighting patterns. A coherent process from window to ceiling: the windows and gratings on the building's surface share the same shape, creating an overall design approach that shifts from Hadid's early lines and sharp corners. The elevated concrete structure creates a large shaded area, and sunlight on one side exacerbates the impression of dark voids. In contrast, diffuse ceiling luminaires interfere with the dim atmosphere. Introducing a glorious landscape reflection:
Here, light is not absorbed by concrete but is reflected by glass. Inspired by local glacier hail and ice, Hadid significantly improved her surface reflectivity for an amazing mirror image. Therefore, the structure is not isolated in the landscape, but has features of a partial landscape embedded therein. Complex mirrors can irritate the viewer as the observer moves around the station and station. Use daylight and lighting to enhance mobility: She formed a flowing shape in the Italian museum with consistent daylight and light. Linear blinds follow the conceptual mesh and filter the sunlight - ensuring a soft light to the structural curve. Hide electrical lighting as much as possible. The black staircase contrasts sharply with the underside of the white lighting. Diffuse light flows through the building, creating a calm contrast with dynamic lines and black-and-white materials. Golden Glamor and a Splendid Starry Sky During the day, the volume reflects light, and the overall shadow pattern of the sun dominates, with no subtextures interfering with smooth surfaces. The flat glass exterior reflects the surrounding environment. At night, indoor light flows to the outer surface, and external floodlights enhance the building's geometry.
PART II Idea 7
PART II Idea 8
IDEA 1 - UNDERGROUND Most of this building is underground, divided into three large areas, these three areas are respectively on different horizontal lines. This staggered design makes the area division more obvious and makes the space more orderly. Most of the area above the roof is covered with grass, some parts are covered by glass, so the sunlight can get into the room directly. The roof is not flat, it is tilted up near the library so that a certain space can be reserved for the installation of glass. People outside can enjoy the indoor environment, which brings sunlight to the interior and increases the visual freshness as well.
Concept development
PART II Idea 9
PART II Idea 10
IDEA 2 - COLOUR
Concept development
Light as a journey The entire building is placed underground, with a single floor. Colored transparent glass is placed on the top of the corridors as a roof. During the day, sunlight can directly shine in and form a colored halo inside the space. At night, the interior light flows onto the exterior surfaces and exterior floodlights enhance the building geometry. While moving toward and around the site, complex mirror images stimulate the viewer's perception. Illuminated at night, the site radiates an energetic glow.
11 PART II Idea
PART II Idea 12
IDEA 3 - FLAT All the lines of the building are straight, and this construction makes the building's visual impact greater. A part of the space will be built underground, another part of will be elevated, the transparent glass will be used as the main wall of the high-altitude space, bringing a fresh visual experience while bringing the sunlight.
Glass wall -Bring great views for people inside.
Concept development
Elevators as one of the enrances.
13 CASE STUDY
CASE STUDY 14
REFLECTION Linguistic definitions Reflection is the change in the wavefront direction at the interface between two different media, causing the wavefront to return to the medium from which it originated. Common examples include reflections of light, sound, and water waves. Philosophical meanings Philosophical reflection is a careful study of the context of life. This includes weighing several alternatives and using specific criteria to assess a person's behavior. When a person can construct on the basis of previous actions, events or decisions, he will be reflected in philosophy.
How Reflective Facades have Changed Modern The glass curtain wall of Herzog&de Meuron in Hamburg's Elbphilharmonie refers to the glass culture of Scheerbart and indirectly through the golden glittering skin of Hans Scharoun's Berlin Philharmonic. Glass elements that bend inward and outward distorted the perception of the city, water and sky. They stand in stark contrast to the international style of uniform flat glass curtains. The environment is not seen as a clear mirror image, but undergoes a process of modification and reproduction. Due to the curve of the balcony, the building reflects the dots or lines of the bright stripes. In a blue or diffuse sky, a unique curve reflects light into a bright line. Overall, the curved façade with printed dot net evokes a vivid liquid image that expresses a close connection with the surrounding water. In 1997, American architect Frank Gehry transferred the titanium casing of the Guggenheim Museum Bilbao from glass to metal. Thanks to the shiny quality of the titanium plate and the ever-changing appearance, Frank Gehry not only brings a dynamic combination. The form of Bilbao, but enhanced his design with a unique, dynamic image that changes with each cloud and sunlight. For Australian science facilities, the veil can even complete the task of preventing strong sunlight. Architect Woods Bagot built a city logo for the South Australian Institute of Health and Medical Research in Adelaide, surrounded by aluminum awnings, each with a separate computer model. Some forms of sparkling reflection patterns can even trigger political discussion and influence the name of the building. The “Fernsehturm Berlin” is a good example, but the choice of pyramidshaped stainless steel panels leads to an unexpected effect: the reflection of the sun produces a clearly visible cross pattern on the sphere.
15 PART III Form
PART III Form 16
FINAL DESIGN
STRUCTURE There are several areas on the roof that are transparent glass. This design can bring more sunlight to the room.
The rest area of the roof is covered with grass, which blends the roof with the ground. It also visually hides most of the buildings, which provide people with Mysterious atmosphere. The uneven shape of the roof will also bring the sunlight into inside the building.
Different internal spaces are placed on different levels, which makes the space function more distinct and makes the space organized.
17 PART III Form
PART III Form 18
PLAN & COMPOITION
1. Exhibition Space 2. Reception Area 3. Library 4. Relaxing Space
SITE PLAN & SECTION
5. Seminar Room A 6. Seminar Room B 7. Toilets (M/F/D) 8. Storage 9. Disable Access
3 SECTION CUTTING LINE
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9
4
2
5
7
8
6
SECTION CUTTING LINE
GROUND LEVEL
19 CASE STUDY
CASE STUDY 20
OPACITY
Linguistic definitions Opacity is the measure of impenetrability to electromagnetic or other kinds of radiation, especially visible light. In radiative transfer, it describes the absorption and scattering of radiation in a medium, such as a plasma, dielectric, shielding material, glass, etc. An opaque object is neither transparent (allowing all light to pass through) nor translucent (allowing some light to pass through).
Philosophical meanings The central philosophical idea is in the title: opacity. Opacity is a kind of interest in fictional works: it treats the characters and events in works as though they were "constituted by the modes of their presentation in the narrative." (3) The most important part of opacity is that when we read in this way, we understand the content of the work (the fictional world) only in terms of the particular way in which it is described. Transparency is the converse of opacity: it is a way of reading that construes the events and characters as though they were part of a fictional world that we see through a particular work of literature but where the language used to open up the world to us is purely a means to the end: our interest in what is being described.
Whiteness in Nordic Countries Extreme changes in weather and daylight have led to a unique light in Scandinavia, and architects use white surfaces to balance long and dark winters. In the 1930s, Alvar Aalto introduced the concept of white diffusion for the Paimio sanatorium, using white smeared plaster, white enamel steel and white linoleum, and reached its peak in the 1972 at the Nordyjllands Art Museum. White shades cover walls, floors and ceilings, as well as expressive daylight shovel. However, the power of pure white volume is not the only feature of the Nordic architectural environment. Natural pulse and light vibration modes or dramatic light and shadow moments belong to the unique Nordic light method The low position of the sun in the northern region creates a long shadow, so sunlight enters the building from the side rather than entering the building from above. In contrast, the summer night emits diffuse light. The white surface provides high reflectivity to maximize indoor brightness in dark winters, but for Plummer, the effect on whiteness is also related to the beauty of the snowy landscape. Kapy and Simo Paavilainen have excelled examples of dramatic light and shadow sequences at the Pirkkala Church. The altar looks like a canvas for contrasting contrasting sunlight projections, and the glass acts as a lens and mirror.
21 PART IV Material
PART IV Material 22
AERIAL & GROUND VIEWS
ACCESS & MOVEMENT
People could move easily around the building without any obstruction.
Inside the building is organized well, the c irculation is appropriate.
23 PART IV Material
PART IV Material 24
INTERNAL VIEWS
CONSTRUCTION DETAILING Disable Access
Entrance
The construction detail of the glass roof.
The construction detail of the inside stairs.
25 CASE STUDY
CASE STUDY 26
FILTRATION
Linguistic definitions Filtration is any of various mechanical, physical or biological operations that separates solids from fluids (liquids or gases) by adding a medium through which only the fluid can pass. The fluid that passes through is called the filtrate Le Corbusier and the Trinity of Light The Sainte Marie de la Tourette monastery in Eveux-sur-l'Arbresle (1953-60) has a straight geometric shape that contrasts sharply with the poetic forms of Ronchamp and Firminy. Since the open faces of all corridors face one of the four basic directions, believers will experience different lighting experiences. In addition, the hallway differs in the different window arrangements. The irregular rhythm of light and shadow looks like a musical piece. Unlike the repeated rhythms of traditional church windows and columns, these smooth rhythms are nonperiodic, gradually compressing and expanding in waves based on the interval between light and transparency. The meticulous rhythm has a musical tone and flow - not an orchestral music, but a humming sound whose tone helps to further attract people to a state of contemplation.
The highlights of the light dances of the La Tourette church begin at sunset. The crack at the top of the Western Wall draws warm lines along the side walls. The north wall connects the two golden lines, and the falling sun line moves slowly upwards. The dramatic atmosphere increases until the golden light strikes the slightly upwardly sloping roof plane and rubs over the tactile ceiling of the prefabricated panel. At around noon, the light waves disappeared, and the sunlight from the two bends on the roof illuminates the darkness with a distinct beam of light. On a cloudy day, two soft glowing veil appeared on the wall. As the sunset approached, the golden light came into the church and shot at the altar wall. The straight light cannons cast strong warm sunlight onto the inner wall, while the cool sky blue gently passes through the stars' windows. Here, the cosmic scenes of day and night appear mysteriously together. Le Corbusier's light technology came into being, a diversified language that sanctified his sacred architecture. His dynamic light layer transcends the static architectural volume - a cosmic cycle that changes with day, year, and clear or cloudy sky. His structural elements range from tiny star openings to large pipes, but even small interventions can be used to produce superior light patterns that reflect the energy of the universe.
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