Light Journey - RepII Light Pavillion Magazine Stage 2 - Bingchuan Wu

light journey

REPRESENTATION II LIGHT PAVILLION BINGCHUAN WU A1695946

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contents

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place

site description

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about the site ambient light

idea

site analysis

shade & shadow study

access & movement social character

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Light study 1

meta

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c

ligh

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idea

aphor

material

form 12

a generation 13

diagramming concept analysis

ht study 2

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3

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documenting

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plan/elevation section

Place making

3D modelling

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place making 3d views

light study 3

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marterial

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detailings

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material

construction detail

views

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light study 4

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place

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SITE DESCRIPTION The light pavilion is located in the Maths Lawns space in front of the Barr Smith Library’s East elevation, which is bordered on the southern side by the Mathematics and Engineering Building, and on northern side by the Physics Building and the Braggs Lecture Theatre.

place: site description

about the site

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place: site description

ambient light

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place: site analysis

shading & shadow study

Mid summer

9:00

12:00

15:00

Mid winter

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place: site analysis

Access and movement

access movement

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place: site analysis

social character

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place: light study 1

Luminosity Case study Fluid Luminosity: The Architectural Lighting of Zaha Hadid

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f architecture is solid music, then light and shadow is the chapter of rhythm; if the structure is the physique of the building, then the light and shadow is the expression of the building. But Why is light so important to buildings? How is light used in architecture? Looking into Zaha Hadid’s designs may help answer these questions.

The Phaeno Science Centre (Wolfsburg, 2005)

the same form, creating a holistic design approach.

The elevated concrete structure generates a large shaded area, with the view to daylight on one side intensifies the impression of a dark void. Diffuse ceiling luminaires intervene in the dim atmosphere as a counterpoint. The diagonal building structure has been translated into rhombus-shaped windows for the façade. Thereby the visitors perceive a holistic

formal approach encompassing both daylight and artificial lighting.

Using light can create space and artistic expression.

In the Guangzhou Opera House, thousands of light pixels in the ceiling remind the audience of a dreamlike starry sky. Light patterns on the cascaded balconies evoke the impression of reflections in waterfalls.

Light can help balance the atmosphere of the building. The Vitra Fire Station is Zaha Hadid’s first building. The edges of the interior luminaires echo the sharp concrete lines, while the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Another example is the Phaeno Science Centre. The windows and luminaires in the building’s surface share

The Vitra Fire Station (Weil am Rhein, 1993)

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Guangzhou Opera House (China, 2010)

place: light study 1

Luminosity

Lights can add a sense of order to the building, thus architects can expressing a complete space system.

Such homogeneity is perfectly presented in Heydar Aliyev Centre and Nanjing International Youth Cultural Centre, but in different forms. The former created a softer graduation of light and shadow, while the latter demonstrates a dynamic transition from vertical glass towers to a horizontal concrete podium.

Light is an architectural language that describes the architect's design philosophy and artistic pursuits.

Learning from Zaha Hadid’s designs, we can see that light is a design tool and a building material.

Architects can use it to create ideals and showcase their talents.

Light not only just brings the building bright and comfortable in the physical sense, but alsi integrates the architectural and environmental space in the spatial sense, enhances the architectural appeal in the artistic sense, and excavates the deep value of the building in the spiritual sense.

Nanjing International Youth Cultural Centre (Nanjing, 2016)

Heydar Aliyev Centre (Baku, 2012)

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2 IDEA

idea

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SEEKING LIGHT IS ... A

JOURNEY

idea: idea generation

diagramming

direction

road

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idea: idea generation

concept analysis

the griund would be rugged and bumpy, which symbolize the difficulties in life journey.

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shape like an abstract mountain

idea: idea generation

concept analysis

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Case study Veiled in Brilliance: How Reflective Facades have Changed Modern Architecture idea: light study 2

reflection

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Sparkling façade detail at Elbphilharmonie, Hamburg.

efraction is the bending of light as it passes from one transparent substance into another. This bending by refraction makes it possible for us to have lenses, magnifying glasses, prisms and rainbows. Even our eyes depend upon this bending of light. Without refraction, we wouldn’t be able to focus light onto our retina.

Iridescence is the phenomenon of certain surfaces that appear to gradually change color as the angle of view or the angle of illumination changes.

Examples of iridescence include soap bubbles, feathers, butterfly wings and seashells, as well as certain minerals. Such two things are increasingly used in architecture through the use of glass.

When it comes to glass, many people think of the mirror first. In fact, mirroring the surrounding environment is indeed the most widely used glass curtain wall. Modernism promoted the transparency of glass architecture, and countless uniform structural glazing skyscrapers have emerged. More and more urban citizens feel bored with these one-size-fits-all structure, how can we jump out of this circle and make refraction more interensting? Learning from Veiled in Brilliance’s study may help answer the question.

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Water like patterns at glass façade. Elbphilharmonie, Hamburg.

One good example is the glass façade at the Elbphilharmonie in Hamburg by Herzog & de Meuron. Inwardly and outwardly curved glass elements distort the perception of the city, water and sky. The surrounding environment is not appreciated as a clear mirrored picture, but instead goes through a process of modification and reproduction. This help Elbphilharmonie operate as a magical eyecatcher. “We thought it was going to destroy us” -- one journalist wrote such words to appraise it.

Reflections on titanium façade at Guggenheim Museum Bilbao, 1997

Refraction is not a patent only for glass. By using other matrerials can also make fantastic effects. The American architect Frank Gehry proved this and transferred from glass to metal with the titanium cladding of the Guggenheim Museum Bilbao. 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.

the Selfridges Birmingham

place: light study 2

reflection

The Selfridges Birmingham department store, opened in 2003, with a dense mesh of 16,000 anodized aluminium discs, completely broke the “mirror” intention. The diffuse reflections of the façade cladding leads to an abstract transformed image, which is primarily determined by the brightness and colour of the sky and neglects any clear mirror effects of the neighborhood.

Refraction, as a wonderful way of changing light, is also an extremely important part of architecture. This effect can be achieved by glass, metal, and various other materials. The uniformity of mirroring cubes has begun to erode a sense of human scale. Concave and convex building forms, reflective curved façade elements, or a mixture of the two, have opened another set of options, enhance the beauty of the building and echo the building with the surrounding environment as well.

the Elbphilharmonie, Hamburg

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3 IDEA

form

PLAN 1:200

ELEVATION 1:200

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form: documenting

plan/ elevation

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form: documenting

section

section 1:200

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form: 3D modeling/views

north-east

north-west

south-west

south-east

3d modeling

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above ground: exhibition/ presentation space

Reception area form: 3d modeling

place making storage space

seminar rooms

rlaxing area

tiny library

toilets (M/F/D) main entrance & exit (with disable facilities)

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form: 3D modeling

3d views

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Case study Whiteness in Nordic Countries

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ithout light, the space will be submerged in the darkness. Light is the foundation of visual perception, without light, there is no shadow, and there is no way to talk about it. However, the reason we can perceive light is also because there is darkness. These three things are not isolated, but set off against each other. Light and shadow is a crucial factor in the design of architectural space. Large areas of light and dark contrast and light and shadow changes reflect the perfect blend of light and architecture. The design of light and shadow in space design is an important factor in communication with people, and is conveyed by light and shadow.

form: light study 3

opacity

Due to the climate, Nordic countries have long and dark winter days. The low position of the sun in northern regions creates long shadows and therefore daylight enters the buildings more from the side than from above. In contrast, summer evenings emanate a diffuse light. As a result, architects have played with white surfaces, which offer a high reflectance in order to maximize interior brightness for dark winter periods, to counterbalance those cold days. At the same time, such design also has its unique light and shadow aesthetics. In the DybkĂŚr Church in Denmark, the sunlight slanted down, formed a soft and sacred atmosphere with the shadows.

DybkĂŚr Church, Silkeborg, Denmark.

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Pirkkala Church, Tampere, Finland.

Light sequence on altar wall: Early morning, lat noon, late afternoon.

Nordyjllands Art Museum, Aalborg, Denmark.

form: light study 3

One interesting feature of light and shadow is that they will change through time. An outstanding example of a dramatic light and shadow sequence occurs at the Pirkkala Church by Käpy and Simo Paavilainen. The altar appears as a canvas for the richly contrasting sunlight projections, where glass acts as a lens and as mirror.

opacity

Light and shadow itself is a kind of art of special nature. The vivid light and shadow effect enriches the space, and it can be mainly light, or expressed as shadow, or light and shadow at the same time. Enhance the light and dark contrast of light to achieve the artistic image or details of the performance, forming a eye-catching visual center. In the Nordyjllands Art Museum in Denmark, shades of white cover the walls, floors and ceilings as well as the expressive daylight scoop. Through the contrast of light and shadow, the space is refined and presented in a bright and interesting world, rather than simply taking up the space for using functions.

te morning, midday, early afternoon, mid-afterDybkĂŚr Church, Silkeborg, Denmark.

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4 IDEA

material

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glass roof/ground

wood chair/ display wall

material: detailings

material

external: double-brick wall internal: banboo wall

ground: grey marble tile

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handrail fixed on wall

40mm polished steel treads

20mm polished jarrah steel treads ceiling

material: detailings

construction detail

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material: views

views

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material: views

views

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material: views

views

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Case study Le Corbusier and the Trinity of Light

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orosity is a measure of the void spaces in a material, and is a fraction of the volume of voids over the total volume.

Diffusion is the movement of a substance from an area of high concentration to an area of low concentration. Diffusion is the movement of a substance from an area of high concentration to an area of low concentration. These two concepts are not only related to building materials, but also closely linked to light. When the light is full of space, the interior is shrouded in soft light; when the light is weak, only a slender light can be seen; when the evening comes, the shadow of the building is drawn into a narrow length. The building is filtered through light, and presents a magnificent posture.

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. The north wall connects the two golden lines and with the falling sun the line slowly moves upward. The dramatic atmosphere increases till the moment when the golden light hits the slight upward tilted roof plane and grazes over the tactile ceiling of prefabricated slabs. This effect changes with the seasons – ranging form a small triangle in winter to a large rectangle in summer when the sun reaches its maximum power.

material: light study 4

filtration

Upward view into scoop at sunrise.

Chapel of Notre Dame du Haut, Ronchamp, France.

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Upward view of climax of sunset as golden light Monastery of Sainte Marie de la Tourette, Éveu

t grazes over the tactile ceiling. ux-sur-l’Arbresle, France.

Spaces in the parish church of Saint-Pierre in Firminy are contemplatively rendered by light. The small stellar windows on the east façade generate dots of light on the floor which later mysteriously turn into waves of light. These waves gently rise and fall with the course of the sun. They create an astonishing pattern over all three walls facing the altar. Polycarbonate cylinders with concentric grooves holding the glue cause these impressive wave effects. The luminous pattern appeared unexpectedly for the client when the cylinders were mounted into the concrete wall.

The light orchestration of the Monastery of Sainte Marie de la Touretteis more complex and widely dispersed. All corridors have an open side facing one of the four cardinal directions, make the believers encounter diverse light experiences. The corridors are distinguished with different window arrangements. These fluent rhythms are aperiodic, based upon

intervals of light and transparency that gradually compress and expand in waves.

Emergence of solar projections, one rhomboidal and the other elliptical.

Church of Saint-Pierre, Firminy, France.

material: light study 4

filtration

Golden light on altar wall.

Church of Saint-Pierre, Firminy, France.

View looking east as solar line bends around the far end wall.

Monastery of Sainte Marie de la Tourette, Éveux-sur-l’Arbresle, France.

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representation ii

light pavillion