A Representation of Light
Adem Zaganjori a1744048
Representation II Stage 1 : Magazine
place
idea
form
material
elevations and plan
design process
plan and section
materials
perspective views visual analysis
conceptual designs precedents
3d modelling spatial elements
textures visual experience
case study:
case study:
case study:
case study:
luminosity
reflection
opacity
filtration
west elevation
south elevation
north elevation
elevations
1:1000 scale
site plan
site perspectives
9am summer
12pm summer
3pm summer
9am winter
12pm winter
3pm winter
shade
photography - day
photography - night
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
access and movement
space
traffic and movement
surroundings
the maths lawns is 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)
site character
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 faรงade. 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. Zaha Hadid's explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. In order to interweave the surrounding landscape with her new structures, Hadid analysed abstracted urban transport patterns and transformed them into luminaire patterns.
light study one - illumination
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.
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.
While Hadid generally applied her virtuous flowing forms mainly to the exterior of buildings, the interior of the MAXXI, the Museum
light study one - illumination
developing the concept 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
seeking light as a metaphor 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
concept development
concept 1 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 concept 2 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
refinement
precedent analysis throughout further research, 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. each of the designs encapsulate the use of light which is vital for the concept
precedents
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
concept finalisation
z
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. Later Paul Andreu covered the monumental dome of the National Grand Theatre of China with a shiny titanium skin and heightened the effect with a surrounding reflecting pool to stand out against the nearby ancient red walls of the Forbidden City. But continuous glossy skins do not present the only option for sparkling jewels in the city.
light study two - reflection
Though they are less than half a millimetre thick, the titanium sheets evoke an interesting, almost corrugated- tactile dressing – an association which the New York Times critic Herbert Muschamp connected with Marilyn Monroe: “Frank Gehry’s new Guggenheim Museum is a shimmering, Looney tunes, post-industrial, posteverything burst of American optimism wrapped in titanium (...) The building is the reincarnation of Marilyn Monroe.” With the Walt Disney Concert Hall, opened in 2003, the lustrous gesture subsequently arrived in the glamorous Hollywood scenery.
The store was able to avoid attaching any logos to the building due to the fact that the building itself was turned into a sign. Its sensuality immediately spurred the marketing world to utilize the sensational setting for advertisements. The glistening net creates a fascinating feeling for scale: Small discs generate a haptic, human feeling while the overall form offers hardly any clues about the building's number of stories or size. The diffuse reflections of the façade cladding leads to an abstract transformed image.
The play of elegant veils in fashion and shiny cladding in architecture combined in a Paco Rabanne dress for a British retail temple. Future Systems stylishly covered the Selfridges Birmingham department store, opened in 2003, with a dense mesh of 16,000 anodized aluminium discs.
light study two - reflection
exposed top level
wall composition
ground floor plan
exploded perspective
3D model snapshots
reception presentation space
corridor
storage
toilets library / reading space
seminar room one seminar room two
temporary partition wall
floor plan
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
access and movement
north elevation 1:200
north section 1:200
north side
east elevation 1:200
east section 1:200
east side
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 UrbanaChampaign, 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.
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.�
light study three - opacity
Early examples of white architecture could already be found in Denmark´s medieval churches, and this design approach still influences modern sacred buildings like the Dybkær Church by Regnbuen Arkitekter. For example, the sophisticated daylight concept arrives from three directions, as Plummer explains: “Low from the north to emphasize a black steel crucifix; more broadly from the south as a glancing wash; and as a shower directly behind the altar, guided down through a sluice of wall.” Further on, the nave walls are animated by an irregular texture of white brickwork. In a similar way, the Bagsværd Church by Jørn Utzon plays with white, as the architect elucidated to Plummer: “Light is the most important feature of the church. I provided white walls and white ceilings so that daylight, which is limited in Denmark for much of the year.
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.
light study three - opacity
external views
internal views
approach to site
approach to site
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
main entrance
site movement
air vent paving concrete slab ground
wall detail
ground to wall detail
1:50 scale
1:100 scale
section detail
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.
As an artist as well as an architect, Le Corbusier expressed an exceptional sensitivity for the interaction of colours and light in his sacred buildings. His position as an outspoken agnostic seems very ambivalent in combination with his desire to open the soul to poetic realms. Studying Le Corbusier's sacred buildings for more than four decades has led to a deep fascination for Henry Plummer regarding the transformative power of light: “Instead of serving as a tool of religious persuasion, as it generally has in the past, light has become a quiet force to visually resist and elude, erode and outshine, the Church´s mandate. Light eats away and weakens institutional discipline, while exerting its own dazzling powers to draw attention out to the sky and its commonplace marvels – in effect using light to consecrate the natural universe”.
light study four - filtration
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-sur-l’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, the believers encounter diverse light experiences. Additionally, the corridors are distinguished with different window arrangements. The irregular rhythm of light and shadow appears like a musical composition, notes Plummer when he observes the corridor to the atrium: “Unlike the repetitive rhythms of windows and columns in traditional churches, these fluent rhythms are aperiodic, based upon intervals of light and transparency that gradually compress and expand in waves.
The lovingly cadenced beats have the intonation and flow of music – not orchestral music, but chantlike 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