Rep II - Representation of Light -a1744048

A Representation of Light Adem Zaganjori a1744048

Representation II Stage 1 : Magazine

2

CONTENTS

place

idea

form

material

elevations and plan perspective views visual analysis

design process conceptual designs precedents

plan and section 3d modelling spatial elements

materials textures visual experience

case study:

case study:

case study:

case study:

luminosity

reflection

opacity

filtration

PLACE ELEVATIONS

west elevation

south elevation

north elevation

4

PLACE SITE PLAN

1:1000 scale

5

PLACE SITE PERSPECTIVES

6

PLACE SHADE + SHADOW STUDY

9am summer

12pm summer

3pm summer

9am winter

12pm winter

3pm winter

7

PLACE PHOTOGRAPHY - DAY

8

PLACE PHOTOGRAPHY - NIGHT

9

PLACE ACCESS AND MOVEMENT

travelling through the site the site is very easily accessible from all directions of the university, and a wide path connects both the engineering and maths buildings to the science buildings. this site is very important to the university, particularly the heritage library which is a focal point to the site as it highlights the history behind the site

10

PLACE SITE CHARACTER

space

traffic and movement

surroundings

the maths lawns are a vast span of luscious grass area, currently underutilised and rarely used for events, the grass area has the potential to become a focal point for the university

upon the visit to the maths lawns, a brief understanding was gathered for where major thoroughfares for foot traffic was to enter the site, particularly seen to be from either side of the library and from Frome Road, located to north-east of the site

the site is surrounded by three major buildings, the bar smith library (orange), the engineering and maths buildings (red) and the science buildings (green)

11

light study one – luminosity

Luminosity is the visual elements within a space which provide ambience to a site or specific characteristics, either with the use of illumination within a space or through other methods such as aesthetics which are interpreted differently.

The luminosity of light is able to provide a flow through spaces and / or objects. The strengths of the light source make a distinct contrast between light and bright

and dark and blurred, which then creates Illusions which either distinguish between paths or show particular parts of a shape.

Simply this is accomplished with the placement and intensity of light. Metaphorically, Luminosity is Illumination, both similarly relate to one another and the incorporation of the gradual use and spread of illumination / light similarly relates to the use of Luminosity.

In the case of Zaha Hadid, evidence provided with imagery shows how she uses the Luminosity of Light to emphasise the curvatures or sharp edges of spaces that she has designed to allow for a relation to the architecture as well as the interior space to provide the visual experience as shown. In Zaha Hadid’s design of the Vitra Fire

light study one – luminosity

Station, provides for a very modern yet simple conceptual design. The luminous lights spread throughout the site highlight the materiality textures and the sharp edges, the inclusion of the white lights Illuminating upwards provide an effect which shows how large the site is. This provides a union between the contrast of dark martials used with the composition of the site and the brightness of the illuminating light.

Light filters are also an important part of the design with the windows allowing for a contrast in illumining light into the site between different times of day highlighting important special features.

These design intentions resulted in a long, narrow structure that stretched the program along the edge of the street. The building itself is composed of a series of linear concrete walls and roof elements, with the program fitted into the interstitial spaces between them. The walls, which appear as pure planar forms from the outside, are punctured, tilted, or folded in order to meet internal requirements

IDEA CONCEPT DEVELOPMENT

developing the concept

seeking light as a metaphor

the initial idea for the redevelopment and design of the maths lawns had come from either extruding the surface either upwards or downwards, due to rules regarding the view of the library from frome road, placing the concept into the ground was the only option the design was then further developed into three main options which were translated from the extrusion of the surface, these were then sketched and shown as either two-dimensional or three-dimensional

the metaphor to seek light is vital, particularly with ‘growth and expansion’; as light is a vital part of human development and growth, light is an important factor of life and the incorporation of light in particular ways throughout the site will encapsulate the importance of it. the light pavilion is based around the use of light and encapsulating it 14

IDEA CONCEPT REFINEMENT

concept 2

concept 1

concept 2 (right) conducted the use of cylinders set into the surface with transparent curved tops which could be used as seating areas above the site, the cylinders placement would allow for allow for an amplified quantity of light to enter the site from above

concept 1 (left) is a hemisphere set into the surface of the site and shows the sloping sides of the curvatures. each of the rooms would be panned out from either side of the shape with holes in the roof to allow for light to illuminate through the site

15

IDEA PRECEDENT ANALYSIS

precedent analysis with further research to the site and concepts relating to the site, it became evident that concept 2 would be preferable and much move unique as a design, the use of sky lights would provide a ‘light at the end of the tunnel’ effect. this concept / design allows for light to illuminate throughout the site. each of the designs encapsulate the use of light which is vital for the concept. the use of curvatures provides a contrast to the consistent use of sharp edges of the buildings which surround the site

16

IDEA CONCEPT FINALISATION

concept conclusion to conclude the use of curvatures provides a contrast to the sharp edges of all the surrounding buildings on the maths lawns, it provides a much cleaner and less sharp feel to the site and will draw the attention of visitors to the site with its uniqueness the concept was then further developed and made via a 3d modelling tool which would allow for a much more realistic perspective of the site

17

light study two - reflection

z

By definition, Reflection is the interaction of qualities such as heat and light within the surface of multiple materials. The visual representation of reflection or light in reflection can be expressed in multiple ways depending on its characteristics or variables.

The reflection of light can represent the feeling of life, light is life and the reflection of light can enlighten. In particular, a flower ha

has no knowledge of the sun bit it turns towards the sun for growth, reflecting its orientation. One can also interpret reflection as the social interactions between others, with the reflection of personal being and individuality. Particularly with the works of architects and designers through the reflection and differences of ideas varying from person to person resulting in different interpretations.

In terms of Architectural design, the use of reflection is prevalent particularly with the design of the Elbphilharmonie, located in Hamburg. Herzog and De Meuron creates a gigantic glass faรงade that reflects the entire city back tond

light study two - reflection

onto itself. The design also allows for the illuminating light from above during daylight to be radiated into different directions mainly due to the ‘cheese – grater’ pattern on the site. From below the reflective façade evokes a bright shimmer. Not only is metal used for the reflection of light, but it can be composed of glass as well and be compiled into one site as seen on the SAHMRI which reflects in multiple directions and provides another perfect example of reflection with the use of individually carved aluminium sheeting.

The angled cut-outs allow for the site to become much larger than it actually is which breaks the form of scale in its appearance.

`

These strategies with shimmering veils have significantly increased the relevance of the surface as a carrier for the meaning of a building. The International Style has come to a point in façade design where the uniformity of mirroring cubes has begun to erode a sense of human scale.

Consequently, concave and convex building forms, reflective curved façade elements, or a mixture of the two, have opened another set of options.

FORM EXPLODED PERSPECTIVE

exposed top level

wall composition

ground floor plan

20

FORM 3D MODEL SNAPSHOTS

21

FORM FLOOR PLAN

1

RECEPTION

2

EXHEBITION / PRESENTATION SPACE

3

STORAGE

4

READING / RELAXING SPACE

5

SMALL LIBRARY

6

TOILETS

7

SEMINAR ROOM 1

8

SEMINAR ROOM 2

1 2

4

6

3

7

5 8

FOLDING PARTITION WALLS

22

FORM ACCESS AND MOVEMENT

access to site a requirement for the concept was to have disabled access to the site and disabled toilets, these were both incorporated into the site, particularly for the access to the site, the slightly sloping ground allows for an easily accessible ramp towards the site entrance, the arrows show the sloping surfaces to either sides of the site 23

FORM ELEVATION – NORTH SIDE

north elevation 1:200

north section 1:200

24

FORM ELEVATION – SOUTH SIDE

east elevation 1:200

east section 1:200

25

light study three - opacity

Opacity is the qualities of materials which reduce or block the movement of light. A low opacity item allows for some amounts of light to travel through it and a high opacity allows for no light to travel through. This creates an element of control when letting light enter a space or site and it can be manipulated.

In terms of opacity, it can be stated

shown through the exposure in a literal sense, for example with the amount of information we recognise and understand and or what we do and do not want to see. It’s the blockage of some, if not all things, mentally and physically.

In terms of architecture, the use of opacity can be used to spread light through spaces which can be perceived as conventionally dark or to change spaces to become much more brighter in a sense to allow for light to illuminate through a site. This art has been developed and perfected particularly within Nordic Countries

light study three - opacity

which seem to have dark winters and very bright summers based on their geographical location.

Therefore, the importance of opacity is vital.

In the case of the Dybkaer Church, the use of a distinctive white interior is used because of its high reflective properties, allowing for the space to illuminate with light and maximise the limited amount of sunlight.

The high pointed ceilings show authenticity and relate to older historical religious spaces, but also allows for light to reflect through the site through the small openings throughout the site, eliminating the possibility of no dark spaces.

This is particularly a use of low opacity designs, which allow for an amount of light to enter the site, which mainly focuses on the reflection of light to increase intensity.

Religious buildings especially reveal a wide variety of timeconcepts. The concepts range from material textures to specific glass features and built volumes that change the image during the course of the season.

MATERIAL EXTERNAL VIEWS

28

MATERIAL INTERNAL VIEWS

29

MATERIAL APPROACH TO SITE

30

MATERIAL MATERIALITY

sandstone tiling (roof) timber flooring

concrete slab tiling

31

MATERIAL

1

SITE MOVEMENT

travelling through the site flow through site is vital, particularly in this instance where the floorplan is very simplistic, each space leads into one another and every space is easily accessible from the main entrance. The toilets are very easily accessible and are located near the entrance / exit of the site.

32

MATERIAL SECTION DETAIL

10mm plasterboard air vent

timber framing batt insulation

paving concrete slab ground

wall detail

ground to wall detail

1:50 scale

1:100 scale

33

MATERIAL UNFOLDING PLAN

34

MATERIAL SITE COLLAGE

35

Filtration in the term of light is the process in which light is able to pass through and travel through certain objects and materials to create a visual effect through shadows and other forms of coverages. For example this can be achieved through the filtration of light through trees or plants.

The filtration of light can signify any particular space, through the experience of hot and cold spaces

Spaces, particularly with spaces being filtered being colder and unfiltered spaced becoming warmer. The use of filtration of light is to be uplifting and heart-warming whereas the use of darkness has a negative meaning spiritually and mentally.

The light orchestration at La Tourette is more complex and widely dispersed in comparison to Ronchamp, remarks Plummer.

The Monastery of Sainte Marie de la Tourette at Éveux-surl’Arbresle (1953-60), with its rectilinear geometry, embodies a clear counterpoint to the poetic forms of Ronchamp and Firminy. Due to the fact that all corridors have an open side facing one of the four cardinal directions,

light study four - filtration

the believers encounter diverse light experiences. Additionally, the corridors are distinguished with different window arrangements.

Light has been linked with divinity and holiness in many different religions. In Christianity the Bible speaks of God who “is light” or Christ as “the light of the world”. Even if the divine light and visible light are not the same, visible light appears as the most similar to the heavenly and thereby links both spheres. Each epoch has formed a new language of light: The glow of the Romanesque apse, the golden shimmer of Byzantine mosaics or the luminous walls of Gothic stained glass.

The lovingly cadenced beats have the intonation and flow of music – not orchestral music, but chant-like sounds, whose tones help to draw people further into a contemplative state.”

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.

light study four - filtration

A Representation of Light The End