Mohammad Qamar. Rep 2-18

LIGHT

STUDY

Mohammad Qamar | | REP 2-18 | Structures of light |

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introduction shadow study & movement analysis capturing materiality of the site LIGHT STUDY:LUMINOSITY ideation & concept forming of the light instrument LIGHT STUDY: REFLECTION LIGHT STUDY: OPACITY the pavilion perspectival drawings site plan & elevation Exploded axonometric construction details LIGHT STUDY: FILTRATION

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AERIAL LOOKOUT OF THE SITE

The site is located at a ver y interesting yet central position at the University of Adelaide campus designed by Walter Her vey Bagot. The site known as ‘Math Lawn’ is located between Adelaide universities’ two ver y contemporar y campus building yet it pays homage to the locally valued and prestigious Barr smith Librar y.

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An Aerial view of the site provides a perfect view of the connection of the site to it’s past, present and future. Connected and integrated with exquisite and prestigious buildings from the past transforming into a more contemporar y interpretation of the style as we move along the site. The proportion of these are seen through ‘Ingkarni Wardli’ where it’s column like vents copy the essence of the Barr Smith Librar y’s small colonnade entrance.

The Braggs Building located on the north wing of the site pays respect and homage to the site through it’s pure glass facade, like Ingkarni Wardli.

Almost Mirroring the site to look even more grand.

The proportion of these buildings are not over whelming as they also ser ve underground spaces just as the Barr smith Librar y storage room which is located at the basement level.

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9AM-SUMMER

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SITE MOVEMENT ANALYSIS-SUMMER Due to the site recieving ample amounts of sun during the summers, the movement to the site is large and random. The movement is covered from end to end, where usually students tend to spent their breaks at the Maths Lawns. During the summers the site is also used for multiple events therefore, it’s ver y important to design something that does not reply on changing the demographics of the site into an isolated space that is of no good use.

9AM-WINTER During the winters, the site recieves close to little or nothing however, the glass facades reflect light and heat on the site therefore making it somewhat comfortable for the users .However, due to regular rains this place usually doesn’t get much attention.

Therefore it is also important to create something PERMENANT.

3 SHADING AND SHADOW STUDY-WINTER

SHADING AND SHADOW STUDY-SUMMER

3PM-SUMMER The site recieves ample amount of intese and scorching sun during the summers. The lighting is strong and penetrating, so much so it can be a reason of seeking shade so the point of intense sun on the site is also something that needs to be seeked refuge from at times.

SITE MOVMENT ANALYSIS-WINTER The site recieves heavy amounts of rain if not drizzling regularly throughout the winter. This in some sorts is not good for the sites location. In contrast to the summer movement the users tend to use the side paths even more, this is due to the soggy texture of the site during winters. The points of access to site remain the same how ever the connection of the site to the university loses it’s relationship due to the winters.

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SCALE STUDY OF THE HISTORICAL BARR SMITH LIBRARY

Apart from analysis, it is important to get a sense of proportion around the site, the importance of this helps to get a sense of scale within the site and possibly a ratio through which architecture can be created with meaningful yet some sort of a mathematical connection to the site.

“Bslpan-Proposedplaninternal�. 1930. Adelaide. Series 113: Barr Smith Library Plans. Barr smith Library.

Two scale studies of the Barr smith Librar y were carried out. Firstly, the ground plane was distributed according to the scaling proportions and the following divisions were achieved:

The second scale study was conducted on a section of the basement plan where a similar propotional method was applied and the following divisions were achieved:

Th length of the floor plan had 11 divisions.

the length of basement plan front section had 9 divisions.

The width of the floor plan had 5 division according to the formation of a box.

The width of the basement plan front section had 3 divisions.

Hence, the Ground floor plan ratio = 11/5 = 2.2

Hence, the Basement section plan ratio = 9/3 = 2

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CAPTURING THE SITE THROUGH A LENSE

Material Quality

The Photography ex pl ores the s urfac e tex tures around the s i te. A c ombi nati on of rough, hard, and s oft s urfac es .

Architectural features

A rch i te c tu ra l d e ta i l o f th e o l d and c ontemporar y. A tra n s i ti o n o f k n o wl e d g e a n d unders tandi ng of ther worl d.

Landscape through the lense.

S tu d yi n g th e e xi s ting l ands c ape el ements .

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A STUDY INTO LUMINOSITY AND SPACE Luminosity is one of key physical features of light derived from its Latin roots Lumen, meaning light.

The Quality of something that gives off a certain amount of light or whether it shines with reflected light. The greater the shine, the greater the luminosity. Hence it can be taken as luminosity of light itself or even an object illuminating light. 1 Illumination and Luminosity lie in the same philosophical spectrum.

In simple words Luminosity can be taken as a physical character defining the metaphorical meaning behind a certain stor y or an object.

Many religions refer to light as a guiding path to eternal truth and solace or even a simple term ‘let the light shine on you’ which is quite beautiful. Moreover, Luminosity of an object can also be taken as the magnitude of appeal it has towards it spectators. This type of magnitude is quite often used in Architecture both as a physical and metaphorical quality. This can be easily applied to the relevance of site in both the physical context of the site and the character of Barr smith librar y playing a luminous role in the importance of the site and its orthogonal relation to the campus around.

Steven Holl can be considered one of the shining or luminous examples in Architecture for using his unique approach to daylight designs. His obsession with light started during his childhood. Later, that obsession transformed into his one of the strongly followed architectural suits.

According to his approach the phenomena of space and entering light is integral to design. The way the objects in the space illuminate light because of the light hitting them at different angles is quite interesting.

One of ver y interesting and strong projects of Steven Holl is the Higgin Hall insertion, pratt institute in New York, USA. This project is going to form a case study into developing a similar design process at the current site.

The Higgins Hall Centre is a beautiful urban insertion between the two historic landmark Building. Not only does Steven Holl achieve a great connection between the two historic buildings but he also successfully makes light an essential component to the pavilion like buildings. The translucent and porous materials used with minimal structural composition really brightens the whole building.

Opening at carefully calculated areas the architecture lets ample amount of sunlight in during day time. A twothroated opening lets skylight in from north and south to beautiful harmony quite like a harmonious sound in a dissonant chord, not only that but ever y space is somehow connected to getting straight or diffused sunlight making it a glowing object during day light. Moreover, during the night time the porous nature of the structure allows it to act like a light pavilion of sorts as it illuminates a ver y calming light around the site. This only one creates wonderful space outside but also emphasizes on the connection of the centred wing to its surrounding historic landmarks, paying homage to them and creating a beautiful and function connection. 2

According to his approach the phenomena of space and entering light is integral to design. The way the objects in the space illuminate light because of the light hitting them at different angles is quite interesting. One of ver y interesting and strong projects of Steven Holl

1.“Luminosity - Dictionary Definition”. 2018. Vocabulary.Com. https://www.vocabulary.com/dictionary/luminosity.

2.Márquez Cecilia, Fernando, and Richard C Levene. 2008. Steven Holl Architects 2004-2008: Instrumentos Híbridos =. Madrid: El Croquis Editorial.

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Yan, Shuo. 2016. File:Pratt Institute School Of Architecture Facade.Jpg. Image. https:// commons.wikimedia.org/wiki/File:Pratt_institute_school_of_architecture_facade.jpg.

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IDEATION OF LIGHT AS A NEVER ENDING JOURNEY There w ill be t w o e l e m e n ts th a t wi l l me d i a te thi s i deati on of t he jour n e y o f l i g h t. Fi rs tl y, fo rmi n g a co nne c t ion be t w e e n th e va s t d i s c o n n e ct o f th e si te, and ta k ing light a s co n n e cti o n o f th e p a s t, p re s ent and th e f ut ur e . T he s e s p a ce s fo rm th e fu n cti o nal i nstrum e nt of t he de s i g n c o n c e p t. W i th i n th e re are man y possibilit ie s t h a t c a n b e o rc h e s tra te d . Thi s i s done by a bst r a c ti n g mo v e m e n t a ro u n d th e s i te referri ng t o t he m o ve m e n t a n a l y s i s e a rl i e r. Thi s g en era t e s a r a ndom i ze d p a tte rn fro m th e three acces s point s ( siz e d a cc o rd i n g to th e ma g n i tude o f tra f f ic t hr ough th e p o i n t). S e co n d l y, th e l i ght i nstrum e nt w ill use to cre a te q u a l i ty o f s p a ce s that wi l l fo r m e d f or m ing a n e n ti ty i n i ts e l f.

Geometrical representation of journey of light in the site.

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The ge om e t r ic a l r e p re s e n ta ti o n o f s tu d y p l ac es o n th e sit e r e a lly g i ve s d i re c ti o n o f tra ve l , where cu rren t m ov e m e nt re s i d e s a n d h o w i t ca n be man i p ula t e d in t he fu tu re b y i n tro d u c i n g s ome s ort o f a c onne c t iv e e l e m e n t i n th e co re o f thi s ran dom iz e d m ov e m e n t.

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IMPLEMENTING THE PATTERNS ON SITE

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The pa t t e r ns ge ne ra te d th ro u g h m o ve m e n t are s uperim pose d on t h e s i te .

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Thi s pattern takes the F rome road as one of t he mai n ax i al c hannel s i nto the pav i l i on s pace. This l ater s preads i nto c hannel s i nto Braggs and t he I ngkarni Wardl i formi ng a v er y s trong connect ing to the s i te.

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M oreov er, the c onnec ti on mai nl y emphasises on the Barr s mi th l i brar y thi s c an ei ther be connect ed through the bas ement of the l i brar y or kept as a s eparate enti ty del i beratel y, pay i ng homage but not formi ng an abs ol ute c onnec ti on.

The fo llow ing ge om e tri c p a tte rn fo rms a ve r y s trong l an gua ge t hr ough it’s c h a n n e l fro m th e n o rth wes t to th e sout he a st w h i ch ta k e s fu rth e r c h a n n e l s i nto s outh c onne c t ing a l l th e a rc h i te c tu re a ro u n d .

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The randomized movement of light and travellers of the site generate patterns of incisions organically.

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Implementing it on the site to trigger possible incisions into the site for functional spaces.

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Thi s pattern gathers al l pos s i bl e ac c es s point s int o an ordered pattern ri ght i n the mi ddl e c reating spaces throughout the c hannel s that c an be c at egor ized as func ti onal s pac es . Thi s i s al s o ac hi ev e d in ot her patterns howev er, thi s further c onnec ts spaces t o di fferent c hannel s of the pav i l l i on i ts el f. Hence, not s o bol d i n c onnec ti ng the s urroundi ng ar chit ect ur e but c reati ng s el f-v al ue as wel l .

re T he Ba rr S mi t h

The Braggs

The fol l owi ng s ec ti on c onc ept s hows how t he s pac es wi l l c onnec t wi th the i ns trument in or der to orc hes trate the ki nd of s pac es wi l l be f or m ed i ns i de the func ti onal s pac es but al s o th e space in the c entre of the two enti ti es .

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FORMING AN INTRUMENT STO DEPICT QUALITIES OF LIGHT WITHIN THE EXISTING SPATIAL SETTING.

The i ns trument of c apturi ng l i ght i s as i mpo r t ant as the func ti onal s pac es of the pav i l i on. The Design c ompri s es of meani ng and arc hi tec ture. wher e t he formati on of trus s es has been us ed onl y as a be ginning s tep to obs er v e how thi s qual i ty of l i ght can be refrac ted, refl ec ted and di ffus ed i nto the spaces underneath whi s t formi ng thi s s c ul pturous qualit y to i nfus e perpl ex i ty and c uri os i ty to the passer- by.

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M or e ov e r, t his ins tru me n t wi l l ta k e a s u b tl e r form i n th e la t e r de sign p ro c e s s o f th e i n v e s ti g a t i on of l i g ht a nd it s m e a n i n g , c o n s tru c ti n g w o rg a ni c al l y i nto t he sit e t hr o u g h th e s ca l e s a n d ra ti o s of the exi s t ing num be r s o n th e s i te . T h i s wi l l further i nfu se int o t he s p a ce s u n d e rn e a th , o rc h e s t rati ng the e m ot ion of a j o u rn e y o f A d e l a i d e th rough the la ngua ge of l i g h t a n d i ts i n s tru m e n ta l form.

PERSPECTIVA AEREA

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the connection of branches reaching from the present to the future, protesting to reflect on the past and the challenges ahead.

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The form imprisoning light and forcing a journey of light reflecting upon itself in a looped journey, entraped by the reflection of the past and haunted by the future.

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photorator.com. 2018. Going Through Photos I Took A Couple Years Ago Interior Of The Genzyme Center In Cambridge MA Designer Stefan Behnisch. Image. Accessed August 30. https://photorator.com/photo/20549/goingthrough-photos-i-took-a-couple-years-ago-interior-of-the-genzyme-center-in-cambridge-ma-desig-.

A REFLECTION OF LIGHT INTO THE DARK

Reflection is one the most interesting and highly used physical characteristics of light. It is process of when light bounces off a surface that is smooth and shiny, where light reflects at the same angle as it hits the surface. This phenomenon is called specular reflection.

Another form of reflection obser ved by us is diffused reflection. Diffused reflection varies in intensity and can be linked to ever ything around us. Regardless of the surface type, light is absorbed by an object and reflected in different intensities, it is by this process we can obser ve the environments around us. This makes reflection the most vital quality of light.

Psychologically the word reflection can have a ver y powerful meaning.

It is referred to as reflecting or pondering on one’s consciousness and feelings.

Moreover, adding a religious element to the equation changes the meaning significantly to a higher level where the reflection is of the soul, giving a more personalised/interiorised feeling.

Also, all of this is ver y important when going through the designing process. It is a critical tool of loops which maximises the utility of having experiences. Rather than quickly moving on to the next step of designing process by reviewing (reflecting) the outcome of each step towards leads to a more refined idea. 3 This revaluation of experiences and past process informs us of the coming future, almost predicting things correctly according to their contexts.

3. “The Psychology Of Reflection | Reflection Psychology”. 2018. Reflection Psychology. https://www.reflectionpsychology.com.au/our-practice/ the-psychology-of-reflection.

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It is quite amusing to know that all these qualities run through the many channels of architecture perfectly. Ever y context of reflection can be approached to some sort of an ideation of form.

This form can be further contended on its ethical significance but that’s a stor y for another day. Arguably, one of the projects that executed this to perfection in both physical and metaphoric means is the Genzyme Centre, Cambridge, MA, USA. Günter Behnisch (m. 1952-2010) a German architect responsible for the design of Genzyme centre approached the building from inside out. So firstly, the functions were integrated into plans ranging from accommodation to research facilities forming a 12-storey complex.

Now the challenge lied in making this building consume as much day light as possible which I assume would have not been an easy task to accomplish. Not only did he successfully managed to make light as one of the strongest components of the centre but also strategically placed environment friendly spaces within the building to go along with the infusion of light into spaces. 4

4. “Behnisch Architekten / Genzyme Center”. 2018. Behnisch.Com. https://behnisch.com/work/projects/0104.

So how did he do it? By using three layers of function. First layer can be categorized as purely machining to generate and light from the sun, through a Heliostat (a device used for reflecting sunlight).

A combination of Strategically placed Heliostats, reflecting mirrors, and prisms at the roof of the building he was able to collect light and reflect at different angles. Second layer is simple yet a work of genius where simple glass walls have been placed around the vertical channel, this reflects light in loops, giving a sense of infinity. Lastly, this language of pure machine is transformed into aesthetics.

This was done by introducing beautiful yet strategically placed chandeliers that reflect light to horizontal spaces, some creating a rainbow-like effect and other producing pure sunlight.

Overall, making it a ver y successful project in terms of light infusion and making the building almost porous during the day.

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VARIANCE OF OPACITY AND ITS EFFECTS Opacity is the measure of impenetrability of light or other forms of radiation through a certain medium.

An opaque object is neither transparent nor translucent. Therefore, there are two main instances where light hitting the surface would either be diffused completely, and therefore no effect of light would be obser ved from the opposite side.

Second instance, the light hitting the object and showing all qualities such as reflection and refraction in different variances, making it difficult to obser ve the object on the other side but enough to determine its presence.

The measure of impenetrability in opacity can be taken as philosophical means to explore the idea of opacity and transparency within the society we live in. One of the interesting articles written

by Ulrich Loock a critic and curator is the subject of opacity increasing in the world of contemporar y art and politics. Critical questions like should art works reveal their cultural origins, or should they hide them? Do political claims still depend upon making identities visible? 5 Raising ethical questions as how opacity of our decisions and identity impact the surroundings environments we work and live in.

This in specific is a ver y debated question within the realms of architecture.

Architecture heavily relies upon opacity to create quality of open and closed spaces. The opaque side of the spectrum allows for creation of qualities of separation, isolation and personal space. In contrast, using translucent and transparent materials can create separation but fluidity within connected spaces. The physical presence of a wall creates discontinuity within a space however the transparent quality invites users of one space to transition between with ease and transparency. The fluidity is the cause of light being able to transcend the physical presence of an object creating a welcoming, transparent and ‘nothing to hide’ quality. This study of opacity is brilliantly incorporated in Sou Fujimoto’s summer pavilion at the London’s Serpentine Galler y, Sou creates a three-dimensional steel grid cloud of about 40 centimetres modules to create its physical presence on the site. This cloud is then subtracted from with creating exciting transparent yet permeate spaces. The use of light steel and grid helps to create a light and welcoming structure. The light diffuses and reflects easily throughout enriching its presence.

During the night the pavilion is infused with strategic lighting on the ground and throughout the vertical structure.

The ground lights help to navigate throughout the structure with ease, creating paths and occupying spaces on the ground. The vertical lights dictate the possible access of vertical spaces. Moreover, the vertical lighting helps further define the cloud and the spaces. This almost sets up an interstellar mood for its users.

Increasing the curiosity of exploring the object or even just laying down and looking towards the ceiling of the steel morphed cloud.

Altogether, the structure is a great example of using the variant qualities of opacity and relation to light to create an interesting pavilion structure illuminating as lamp, becoming a source of light to the surrounding environment. This helps set up a welcoming atmosphere around the pavilion like that of positive phototaxis insects attracted to light. .6

5. Loock, Ulrich. 2012. “Opacity”. Frieze.Com. https://frieze.com/article/opacity.

6. Portilla, Daniel. 2013. “Serpentine Pavilion / Sou Fujimoto”. Archdaily. https://www.archdaily.com/384289/serpentine-pavilion-sou-fujimoto.

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USING LIGHT AS AN INSTRUMENT TO

INTIATE A JOURNEY OF SELF INTERIORISATION.

The c onc ept of orc hes trati ng l i ght was i ni ti al l y der ived from s tudy i ng l i ght’s mov ement. The geometr y generated enc ouraged to s tudy l i ghts ’ random and s poradi c mov ement. Thi s c onc ept was ti ed to l ight pl ay i ng a rol e of a j ourney and s el f-enl i ghtenm ent of the us er.

The pa v ilion a lso c o n n e cts th e s p a c e th ro ugh i ts p hysic a l pr e se nc e , th e v o i d e a rl i e r l e ft a rather i ncom ple t e f e e lin g wi th i n th e s i te . T h e us e of Arch it e c t ur a l lighti n g d e vi ce s n o t o n l y c o n n e cts the s i te but m or e ov e r e n h a n ce s th e e xp e ri e n ce o f i ts us ers

PERSPECTIVA AEREA

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PERSPECTIVA DEL SUELO

The structural and parametric language to define the pavilion signifies a step towards the future.

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The lighting devices orchestrate the feelings of the site throughout the day. Making the site more overwhelming and exciting.

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PERSPECTIVA NATURALIS 3

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PERSPECTIVA NATURALIS 2

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NORTH ELEVATION 1:500

SITE PLAN 1:500

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EXPLODED AXONOMETRIC

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The lighting devices form the main architectural feature of the pavilion. During the day time the light devices use reflection and refraction to change the quality of the site not only connecting the space through occupying but letting light orchestrating different feelings and qualities of the site setting the mood of the site. During the night time these turn into emitting light throughout the site which turns ver y dark during the night hours. Again, giving a completely different sense of space

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The steel frame gives the device structural integrity and an architectural quality separating it from the obser ved random parametric sculptural nature.

The spaces inside form galleries to enhance the lighting effects obser ved from the site’s ground level. The underground features 3 galleries with an attached rest room for all access.

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CONSTRUCTION DETAILS

310 UC 158

HSS-28 TAPPERED GUSSET PLATE 310 UB 54 280 PFC

MILD STEEL ANGLE 50 X 50 X 3MM X 3MTR AS1252 GR8.8 H-T HDG STRUCTURAL BOLT

STEEL FRAME DETAIL 1:25

MILD STEEL ANGLE 50 X 50 X 3MM X 3MTR STRUCTURAL STEEL BRACKET 140 X 80 X 40MM WELDED PIN ROD CLAMP TO TENSION BEARING STEEL ROD

CF HIGH FRICTION STEEL CLAMP

4MM 7X19 S/STEEL AISI316 RHOL - PROD. TO BS MA 29 TENSION BEARING STEEL ROD

SUSPENDED SYSTEM DETAIL 1:25

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FILTERATION OF LIGHT AS A THOUGHT Filtration is the process of removing something unwanted from a liquid, gas, etc., by using a filter screen as a passing medium. Filtration of light can be achieved through passing it through a screen glass filter. The filter can have various qualities of breaking light or refracting it as one singular colour.

According to Modern psychodynamic theor y considers self-consciousness like a justification system. That is, the people adopt certain beliefs and perspective through the experiences of life and form multiple layers of screens or ‘filters’ on different scenarios and situations in life. For example, having a religious belief puts a ver y strong filter as to how one approaches life in general.

These var y from interaction with other individuals to even as small as doing ever yday chores in a different way. All of this is approved by a self-justification system acting as a primar y filter for all the secondar y ones. However, this does not necessarily intend that the filters are positive. These filters can be created through cognitive dissonance, self-ser ving biases and implicit and explicit attitudes. 7

A great example of this in both literal and psychological sense is Brutalist house by Greek designers LaertisAntonios Ando Vassiliou and Pantelis Kampouropoulos. The Architecture of this mansion residence is a mixture of conflicting ideas of brutalism and minimalism. On top of such a mix filtration is used in a ver y smart manner to completely change the feeling of space through exceptional introduction of light into the occupying spaces. Firstly, the house is places into an incognito situation where visibility of the mansion is masked by the brutal cliff surrounding its approach. The pool of the mansion is radically placed at the top of the house as a ceiling. This radical approach changes the brutal walls of interior spaces into fluid, ever moving texture of walls. Moreover, the water and the movement of the sun act as an ever-moving filter screen for the interior spaces. The light reflects, diffuses and refracts through water to change colour and quality of the spaces inside.

During the night time this action is reversed as the source of light is directed from the interior spaces towards the transparent ceiling. This leaves the mansion to illuminate light through the water towards its surroundings.

In contrast to its nature during the morning as a hidden under the rough terrain brutalist structure, the structure illuminates light as beacon through its rough terrain, almost as if changing between filters during the day and night. 8

7. Henriques, Gregg. 2012. “Understanding How We Filter Our Thoughts”. Psychology Today. https://www.psychologytoday.com/us/blog/theoryknowledge/201202/understanding-how-we-filter-our-thoughts.

8. Finney, Kathy. 2015. “This Home Built Into The Side Of A Cliff Is Both Terrifying And Incredible”. The San Francisco Globe. http://sfglobe. com/2015/07/09/daring-home-design-in-brutalism-style-is-turning-heads/.

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Mohammad Qamar | REP 2-18 | Structures of light | Architecture in Light