Fred Webb Representation II 2nd Attempt 2019

ANARCHY TO HOPE, THROUGH LIGHT FREDERICK WEBB A1743855

PART 1

PART 3

SHADE AND SHAWDOW STUDY - 4

LIGHT PAVILION RENDERS - 18

BASE SITE RENDERS - 5

EXPLODED ISOMETRIC DIAGRAM - 19

CURRENT SURROUNDING ELEVATIONS - 6

PLAN - 20

AMBIENT LIGHTING -

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TRANSPORT - 9

SECTION & ELEVAION - 21 OPACITY STUDY - 22

LUMINOSITY STUDY - 10

PART 2

PART 4

SEEK LIGHT IS EXPANSION - 12

APPROACH, ACCESS & MOVEMENT - 24

BREAKING OF THE CRUST - 14

INTERNAL RENDERS - 26

REFLECTION STUDY - 16

DESIGN AND CONSTRUCTION DETAILS - 27 FILTRATION STUDY -

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WINTER

SHADE AND SHADDOW

SUMMER

9AM

4

12PM

3PM

TRANSPORT CIRCULATION AND ENTRANCE

GREENARY AND EVENT SPACE

STATIONARY SPACE

HERITAGE VIEW FROM FROME ROAD

CURRENT SPACE

EAST ELEVATION 1:500

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NORTH ELEVATION 1:500

NORTH ELEVATION 1:500

PLAN 1:1000

SOUTH ELEVATION 1:500

AMBIENT LIGHTING

AUGUST 11AM

8

AUGUST 7:30PM

CURRENT SITE

LUMINOSITY Luminosity relates to the output of light and its can be used to make a place more welcoming origin. The use of light can divide areas, give either with natural or artificial light to create people a direction of travel/guidance and foareas which are a joy to be in. cus attention using direct light.

Zaha used light to counteract the design style, Philosophically, the presence of light has been although, this is not a particularly negative used to portray many ideologies such as a thing. Using soft light to counteract the heavy, very common conception that light is god in solid lines of concrete on The Vitra Fire holy spaces.

Station. The lights internally are then linear to Light if usually seen as a very positive thing. It mimic the straight windows and sharp interior can be considered a sign of hope and a means lines. She mimics lines through her work with to a finish line. This is well known by the simple light such as the road markings taken on to quote “There’s light at the end of the tunnel”, the wall and the light shines through the gaps. meaning things may be a bit of a push or hard Her urban design style then developed more work currently, but it will soon be worth it. Light with the Phaeno Science Centre in Wolfsburg

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Guangzhou Opera House (Guangzhou, 2010)

(2005) using a soft similar shape moving away Opera House but developed into softer lines from the heavy, angular style previously used. and graduation of light vs shadow in the Heydar Aliyev Centre in Baku (2012). She Lighting has become more used internally more utilised the exterior to influence the interior and more as a feature is Zaha Hadid’s work. light which was done by a glass exterior The way she used it was not in the conventional facade reflecting light on to the interior walls sense of just a light source, but to create depth and ceiling. At night, the interior lights leak and contrast against shadow. For her design of outside and exterior lighting highlights this. the Guangzhou Opera House in China (2010), The lights here are therefore hidden out of lights were scattered through the ceiling which view and the light output is all that is visible became more frequent under overhangs and which was also seen in her earlier work of the darker sections creating a starlight effect. This MAXXI Museum in Rome (2009) which was shape then accentuates the roof lines of the focusing on the contrast of black and white building’s interior along the impression of a with hidden light emitters. waterfall edge of light.

The light therefore can be used to accentuate The light Zaha uses can great a feeling of lines and features in architecture on the exterior warmth vs cool. Her earlier work such as The and interior. This is especially effective when Vitra Fire Station used quite a white light on joined with contrasting colours and shadows. raw concrete which looked very cold. This was seen in the previously mentioned Guangzhou

Heydar Aliyev Centre (Baku, 2013)

https://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid

Vitra Fire Station (Weil am Rhein, 1993)

Phaeno Science Centre (Wolfsburg, 2005)

SEEK LIGHT IS EXPANSION As the quest for learning and personal growth progresses, greater opportunites arrise and new doors are opened. Metephorically, “Seek Light” refers to the search of knowledge which is the main goal for the Univeristy of Adelaide, Sub Cruce Lumen.

Diagramatically, these images show possible ideas relating to the concept of “expansion” along a path to an increaseing space designed to show growth. The third diagram is a concept of the expansion and growth rings with a trail of speed behind it shown as a blur or cracks.

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The image below shows a possible section of the site with the developing size of a fairly tight entrance all the way to a large open space set down into the ground. This would give the building a look of being quite small from the exterior but large internal volume.

The areas here are wider as well as taller as they EXPAND meaning each room is a surprise with the larger, they get.

The designs shown here were dramatically underground as I decided this was the best way to play with light via either sun tubes, mirrors or artificial lighting throughout the day.

This design above was a play on dramatically changing the roof line going from larger to smaller spaces. While walking through, doing down would take you to a new area and more EXPANSION.

This design is a development of the first diagram on the previous page. The above ground line is broken up and rough as though it were damaged by a natural occurrence. However, there no above ground constructions. This intrigues the user to EXPAND on what they currently see.

The gradual decline into the enclosed space means that the size of the space is not all seen at once. The change in floor level and ceiling level will give interesting and natural looking spaces rather than sharp corners and orthogonal design.

BREAKING OF THE CRUST

The concept of the design is a space which is damaged and created by a natural disaster. This is carried out by rough edges with texture on the walls and changing ceiling heights internally.

From the exterior, the “breaking of the crust� is shown through the topsoil being upturned and broken around large cracks or sinkholes, this concept is explored on the following page.

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The soil tapers up around the edge of the damaged areas as to show a natural break of rough style.

Separate areas are defined by the lighting definition through the ceiling cracks. Walkways have a glow in the next section of the skylights

The concepts here portray a possible plan on site. The first being that of a broken larger hole as a main gathering space along with smaller areas coming off of that. This is an example of a possible explosion at the larger centre and ripples on from that. This would allow a lot of light into the space, although it would mean the inside is heavily visible from above which may put people off using the space or opting for frosted glass.

The design on the lower left shows two large cracks in the top which with their fracturing could create an interesting style underground. This would work nicely with the idea of expansion and exploration.

The third option below is a break down the centre of the site which may suit the clean-cut style of the current site. This may take away from the natural “disaster� style which is the basic concept for this design. It would however tie in well to a display towards the barr smith library.

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https://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-havechanged-modern-architecture

Elbphilharmonie (Hamburg, 2017)

REFLECTION Reflection as used in context of light is to describe the mirroring effect of light rays.

The material that light is shines towards may have different reflective properties depending on whether it is a smooth, shiny material (which are highly reflective) or a rough, dark coloured material.

Philosophically, reflection has a deep meaning when coming to a mentality state of thought. Reflecting on thoughts and memories.

This is considered looking back on an event or time. This is a similar point to reflecting light as it goes back on itself. Other input from reflection, is external factors reflecting on to something else. Such as one person’s

habits or attitude is reflected on to someone else after spending a lot of time with the person. This influence can be from surrounding habitats or people.

With the introduction of glass heavily used in facades in the early 1900s, came the reflection of light. The use of glass has been carried heavily due to the properties of allowing light to pass through while also reflecting a small amount of light to produce image reflections. With newer examples such as the Elbphilharmonie in Hamburg (2017) by Herzog & de Meuron showing a full glass façade while giving some panels texture along with

Guggenheim Museum Bilbao (Bilbao, 1997) overhanging balconies which break up the large flat panel. This creates a reflection of the city surrounding it while distorting the image. It’s the sort of building which will make you look twice after seeing just a city and suddenly realising something isn’t quite right. Along with the city reflection, it picks up the water surrounding and the skyline. The reflection of the raised panels shimmer due to the reflection and refraction through the warped glass. This can become a useful tool when you wish not to disrupt surrounding landscapes too harshly.

SAHMRI (Adelaide, 2009)

Many reflective buildings must be carefully considered, the material selected to ensure it won’t be too bright while keeping the shine it has. An interesting example of this is the well know Guggenheim Museum Bilbao (1997) which was design by Frank Gehry.

The satin silver, titanium exterior sheets

create a shine like that of fish scales.

As seen in numerous buildings including that of the SAHMRI (South Australian and Medical Research Institute), reflective buildings have aged very well compared to some made of concrete. These were focusing on dark voids and shadow whereas the reflective style focuses on bright, reflecting properties which created colour and shape to the surrounding areas.

Newer materials are developed all the time and as more become available for the architectural market, more buildings will be built with materials not seen before like the Guggenhei Museum Bilbao or the Walt Disney Concert Hall which would have been extremely expensive if done year prior.

THE LIGHT PAVILION

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Water Covered, Glass Sunlight

Grass and Broken Edges for Roof

Textured Concrete Walls

Existing Grass Space

PLAN 1:500

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ELEVATION 1:500

SECTION 1:500

OPACITY Opacity describes the amount of light which transfer through an object. For example, glass has a high opacity in a clear form which means light can pass through it easily and can see through it with ease.

Opacity is interesting when it comes to a philosophical standpoint. Being having a high opacity and therefore transparent means you are showing people you have no secrets and so people should trust you. This is usually a good thing as the person is open with and to others. However, it could be portrayed as someone being see through and gullible which means they’re at high risk to someone taking advantage of them.

Within architecture, having opacity in the correct location, can

Early Morning

give a different feel to the whole building. Within the Nordic examples, the religious ones have light coming through taller windows mainly by the alter. This will be to symbolise Christ and a clean hopeful place as described in the luminosity section.

The Scandinavian countries have used what little light they have available to them during the winter by ensuring the large windows are orientated towards the sun and have very bright, crisp interiors. Henry Plummer also speculated that white tied in with the white, snow laden surroundings. The white helps reflect the light through the space as seen in all the examples on the spread. The sun is typically very low in the sky within these countries which is why windows are much better on the side than any sky light system which could be implemented.

Midday

Mid Afternoon

Nordyjllands Art Museum (Denmark, 1972)

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https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries

Pirkkala Church (Finland, 1994)

Late Morning

Early Afternoon

A simple, yet affective, way of spreading the light is reflective skylights. In the case of the Nordyjlland’s Art Museum built in 1972, the building was designed to be as efficient with light as possible as seen with white enamelled steel, white plaster and white linoleum surrounding the area. Feeding the light into the space are the sunlight scoops as got to give direct sunlight but to reflect and scatter the light throughout the space. There are artificial lights available also for evening/ night. This style seems very set to the Nordic fashion and reminds me of a clean and neat space such as that of a hospital.

Light can be utilised and manipulated to the desired outcome which is a great design feature when it comes to architecture.

Some people embrace light and allow it to reflect internally and create magnificent patterns. An example of this is the Pirkkala Church in Tampere, Finland. As seen in the centre of this spread, over a set of time lapse pictures, the light from the sun shines through the high opacity glass creating patterns behind the alter to be amazed by.

Dybkaer Chruch (Denmark, 2010)

Late Afternoon

Dybkaer Chruch (Denmark, 2010)

Hyvinkaa Church (Finland, 1961)

CONSIDERATIONS ON SITE

Access across the site is still maintained so not to affect daily usage.

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Entrance into the site. Shown in a night context to show the beckoning of the lights inside.

VIsual Display of the change in ground levels.

Direct walkway through the site showing the deformation of the top ground layer.

INTERNAL VIEWS

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MATERIALITY BASE SOIL

GLASS SKYLIGHT WTH WATER COVERAGE LED LIGHTING IN DARKER AREAS

TEXTURED CONCRETE, CREATED WITH WOOD IMPRINTS

POLISHED CONCRETE FLOORS FOR LIGHT REFLECTION

DETAILS

CONCRETE PANELLING MIN 50mm

TEXTURED FINISH CREATED WITH TIMBER MOULD

STEEL REIFORCEMENT IN CONCRETE

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MOVEMENT

50mm GALVANISED STEEL SUPPORT FRAMEWORK IN SOIL

WALL TIES BETWEEN STEEL REIFORCEMENT AND FRAMWORK

WATER PROOF/DAMP PROOF LINER

MOVEMENT

FILTRATION

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Filtration is method of splitting items to remove or gain what you’d like from it. In the sense of light, you can filter certain colours in or out to gain a desired effect.

which is a bright, warm yellow colour.

Filtering light can change someone’s perception of a space and dramatically change how they feel about it.

The ideology of filtration can be fairly in depth due to a personal filter being developed over many years which is affected but possibly previously learning and experiences. Filters can be used to alter emotions, and this is especially important when considering colours.

Within the animal kingdom, certain colours are considered warning signs such as red being danger. Therefore, if a room or a building is red, it is typically not as desirable as a room

Filtered lighting can create a different feel within a space. This is great to utilise if you’re creating an architectural space to provoke emotion. Let alone just colour filters is angled filters. A simple version of this is having windows in certain positions so that the light shines in each one at different times of the day. This can be developed further with different styled windows to change the light pattern.

Chapel of Notre Dame du Haut (France, 1955)

In the example of The Monastery of Sainte Marie de la Tourette in Eveux-surl’Arnresle, France; a high level opening on the west wall projects a line walong the sides at sunset while as the sun goes down, they meet and skim across the raked ceiling creating a warm evening glow. Interestingly, throughout the year the pattern changes due to the seasons and the light pattern goes from engulfing the wall to a small triangle.

In the case of the Church of Saint-Pierre at Firminy, France, small windows create light spots on the floor which throughout the morning turns in to waves across the wall which then move up and down the wall. This filter is one that surely could not have been expected but is a welcomed anomaly. At around midday, light tubes over head create beams behind the alter

Chapel of Notre Dame du Haut (France, 1955)

which yet again portrays the light of god.

On overcast days they create a more mellow light which in turn is a style of pathetic fallacy creating a calmer emotion directly linked to the weather. As the sun sets the dots move on to the wall creating a cosmic style wall like that to some of Zaha Hadids work.

This work could be introduced into modern architecture with enough planning and studying of the light movement on a certain site. A moving pattern could be achieved and angled. Directional light filtration is therefore a great way of adding detail to a building.

Light filters such as ones used on older gothic style churches in Britain and similar places are a great way of adding colour and a story which I believe could be modified to suit a newer style.

Monastery of Sainte Marie de la Tourette (France, 1961)

Church of Saint-Pierre (France, 2006)

Monastery of Sainte Marie de la Tourette (France, 1961)

https://www.archdaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light

Church of Saint-Pierre (France, 2006)

A state of disorder due to absence or non-recognition of authority or other controlling systems.

To

A feeling of expectation and desire for a particular thing to happen.

Through

The natural agent that stimulates sight and makes things visible.

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REPRESENTATION II - SEMESTER 2 2019