Shadow Glow Curtis Dowdell Representation II 2019
01
Part I Place Site Perspectives Shadow Studies Site Photos Site Movement & Access Site Analysis Light Study 1
1 2 3 5 6 7
09
Part II Idea Design Development 9 Design Iterations 10 Light Study 2 11
13
Part III Form Light Pavilion Plan & Sections Sections & Perspectives Structure Composition Light Study 3
13 14 15 17 18 19
21
Part IV Material Access & Movement Material Quality Visual Mobility Light Study 4
21 22 23 26
01
Site Perspectives
Summer
9am
12pm
3pm
Winter
9am
12pm
3pm
02
Shadow Studies
03
Site Photographs: Day
04
Site Photographs: Night
e
m
Fro
05
Site Movement & Access
ad
Ro
B.S Library
The Braggs Throughfare
I.G Wardli Plaza
M. Sciences
Eng. Maths Science
Surrounding Program
Solar Study
Green Space
Critical Viewpaths
Key Pathways
Design Focus Area
06
Site Analysis Diagrams
Luminosity Linguistic & Philosophical Definitions
Luminosity is a term that generally refers to a source of light. Whether it be the sun, a star or an LED light, the term luminosity is most commonly used to describe the apparent brightness or glow emitted from a particular source of light. It is a term which is frequently used within astronomy in reference to the glow of celestial objects.
07
Light Study One
In similarity to the way in which luminosity is often used to refer to the light emitted from our primary light source, the sun, the term is also found to be associated around guiding bodies, gods, or holy leaders of many religions and cultures. It can be argued that in the same way the sun has provided and eternal and guiding light for the human race in our time on earth providing luminosity rich in energy on the surface of the earth, the worship, praise or respect of spiritual figures of importance also provide luminosity to the people of the associated religion, culture or generation. Luminosity is further referenced in religion by the inclusion of a glow around the head of gods or leaders in many graphical depictions of these religions leaders.
Case Study: Zaha Hadid Zaha Hadid’s portfolio of design projects is an impressive display of techniques which employ the use of light that not only enhance her designs but to actually define them. Hadid capitalises on the fact that the way we sense form and materials is by the light reflected off
them. Her work with light and luminosity progressed over a period of thirty years from using luminous lines in her early work to involving luminous fields and fluidity in her later work. The Flat concrete façades of the Vitra Fire Station are positioned in different planes, creat-
ing decisive non-parallel edges, distinguished by varying levels of luminosity reflected from each surface. Finer details like the sun blinds in the windows, light lines in the ceiling and glowing gaps between the walls and ceiling, further enhance the buildings response to luminosity. Incorporating luminosity into her design of the Phaneo Science Centre, she contrasts the dark atmosphere created by the large concrete structure overhead, with dim lighting allowed in through small but regular ceiling windows which diffuse light from above into the space below. The dark interior is further intensified by the stark contrast to the outside world through ground level un-covered openings to the space, where unfiltered light pours in. As Hadid developed her use of fluidity and flow in her forms, she also experimented with the use of different materials to reflect light and create luminosity. The use of highly reflective glass in The Nordpark Railway Station as opposed to her more typical use of raw concrete, is a design choice that lends itself heavily to reflecting luminosity of surrounding sources of light. As there are no straight or hard edges in the form, light that reflects off the surface is moulded in a way that emits a sense of fluidity and flow. The reflective surface of the over-head structure is contrasted with the softer absorption of light of the concrete work on the ground level.
08
Light Study One
Form Development
Design Development
Metaphor: Emerging
- Geometrical exploration - Sunlight consideration - Spacial Relationships
- Sight lines through maths lawns to B.S Library - Exploration of building floor levels
- Arraging space in order of size - Emerging from small to large - Pedestrian flow around site
09
Proccess & Development
Design One
Design Two
Design Three
Inspired by the metaphor of‘emering’, abstract shapes are arranged in order of size and geometrical form, creating flow and continuity from small to large when viewed in both plan and section.
Despite its continuous path of access through the centre, from north to south and east to west and ease of internal access, this design lacks large facades to the outside which woud limit light penetration.
Using uniform shapes arranged by size inspired by the metaphor of emerging, the form would lend itself to light penetration at all times of the day but access throughout would become a dis-jointed and lack flow.
10
Design Iterations
Reflection Linguistic & Philosophical Definitions
Most commonly used to refer to the return of an image or view off a smooth or shiny surface, notably a mirror or water, the term reflection can be used to describe the way that a body or surface re-casts energy or waves or light, whether it be light, heat or sound, without absorbing it. The term is also used in a different sense meaning to think about or consider the past.
11
Light Study Two
Philosophically, reflection is a word heavily linked to the deep though and consideration of one’s self, particularly relating to things happened in the past. It could be said that without reflection there would be no change or no progression in the entire human race. It is through reflection that we look back on, re-consider, and often look for areas to improve or change. In a sense of work, production or creation looking back on past work, previous iterations or failed designs are all methods of reflection used to enhance the way we do things. Similarly, in a social sense, looking back, remembering or discussing past interactions or relationships with others, are ways in which we use reflection to personally develop our behavioural habits and ultimately shape the way we act.
Case Study: Reflection The emerge of modernism in saw a push for architecture rich with glass facades and structures. The highly reflective characteristics of glass as a material meant that many buildings and skyscrapers especially, in bright sunlight or heavily illuminated cities at night time, used
reflection to give of a brilliant and crystal like display upon their surface. The unique quality of reflection on a high-gloss and smooth surface is it’s ability to blur the lines of what is really visible Infront of us and what is being reflected. Thus reflection in architecture is used
to add depth, to an otherwise shallow or flat façade. Herzog & de Meuron use inwardly and outwardly curved glass panels on the façade of the Elbphilharmonie in Hamburg to give a distorted reflection of the surrounding city. The curved edges and cut-outs of the form also re-create the frame in which we see the reflection and contrast it to the linear approach to architecture of modernism surrounding the building. The ripple-like effect of the facades of the building mean that light reflected from it’s surface give a similar impression to a liquid and the slightly distorted reflection we see of ourselves when looking down into a calm body of water. Frank Gehry has used reflection to create a sense of brilliance to the skin of his Guggenheim Museum Bilbao. Whilst it lacks the colour-rich and crisps reflections of glass, the metal skin reflects light in a way and responds directly to the change in surrounding light. The curved bowllike sections which make up the façade are placed at varying angles, meaning the structure is able to reflect light at anytime of the day giving it the ability to take on various different appearances depending on the movement of the sun, clouds and even the moon.
12
Light Study Two
13
Light Pavilion: Final Design
West Section 1:1000
Plan 1:1500
East Section 1:1000
14
Plan & Section
North Section 1:1000
South Section 1:1000
15
Sections & Perspectives
16
Pavilion Perspectives
Pavilion Skin Promote light penetration and filtration
Pavilion Shell Defining and dividing space
Complete Pavilion Skin and shell utelise light to filter, reflect and absorb light
17
Pavilion Structure
Exhibition/Presentation Space -Ground level - Saturated light Reception Area -Part above & below ground - Filtered light Library/Reading & Relaxing Space. -Below ground - Medium light Seminar, Bathrooms & Storage Space. -Below ground - Low light
18
Spacial Composition
Opacity Linguistic & Philosophical Definitions
Opacity is a term that has direct contrast to transparency or translucence. Where Opacity lacks transparency, transparency lack opacity. It can be defined as the inability for light to penetrate a certain material or surface. The word is most often used when referring to the appearance of a particular material and regularly judged in intensity on a scale from 0% to 100%. In context, one might say that clear glass has 0% opacity and timber has 100% opacity. The region within these extremes are commonly used to enhance, change or diffuse light. In a philosophical sense, the term opacity takes the same core meaning from it’s linguistic definition and applies it in a more social context. Similar to the range lying between 0 and 100% of the opacity of a material, the way in which someone can describe something can also have a certain degree of opacity. To describe something in a clear and concise way would be maintaining total translucency where as a description which was unclear or in-direct could be said to have a certain level of opacity.
19
Light Study Three
Case Study: Opacity Environmental conditions provide an interesting challenge to architects working with light in Nordic countries. Light is scarce in in winter and in summer, lasts for over-extended periods of time. The level of opacity of the shell of a building is critical in making use of the long but low lying sun in the summer sky and near non-existent sun in the winter months. Architects have used vast white surfaces to absorb, reflect and diffuse the light they receive and naturally brighten the space within. Whiteness is the central aspect of how architects in these countries respond to the unique environ-
mental design challenge. Through the use of white painted plaster, white enamelled steel and white linoleum, all opaque materials, light is increased within the target space. This differs to more traditional design responses to light in architecture where translucency is featured more heavily, through the use of glass especially. Low lying openings in the walls of Nordic Bagsvaerd Church by Jorn Utzon allow summer sun, which remains low in the sky for the entirety of the day, allows light to penetrate the building from the side, rather than from above. Extensive use of white material and surfaces
within means the light that does penetrate the skin of the building is multiplied and diffused broadly around the space. The white surfaces also provide a stark contrast to the long shadows resulting from the low hanging sun. The resultant of these design choices is an internal space with often with greater light intensity than the environment outside. It can also be argued that the opaque but bright white surfaces are inspired by the snowy landscape of the Scandinavian countries.
20
Light Study Three
1 2 3 4
6
7
Pavilion Footprint 1. Exhibition/Presentation 2. Reception 3. Library/Reading & Relaxing 4. Seminar 5. Bathrooms 6. Storage
21
Space, Access & Movement
Key access and interior movement 3 main, above ground access points located at pedestrian hotspot area
Pedestrian flow and exterior movement Protected communal space with oppurtunity for pedestrian congregation.
Laminated Glass
Laser cut aluminium curtain wall
Complete structure
22
Material Quality
23
Atmosphere
24
Atmosphere
25
Visual Mobility: Experience
26
Visual Mobility: Plan
Filtration Linguistic & Philosophical Definitions
The term filtration is used to refer to the act of filtering something; allowing something to pass through a certain type of filter whereby one particcular type of object is removed from another. In the context of light, filtration involves the passing of light waves through a filter, altering the light which has been allowed to pass through filter. This can have relevance to a coloured lens whereby the output colour of light is changed. Filtration can be further interpreted as purification or manipulation; going from one state or form, to another. In this sense, we use filtration of light on an everyday basis to manipulate how we see light. Wearing sunglasses prevent higher-frequency UV radiation from passing through the filter lens and into your eye. On a larger scale, we use filtration to manipulate the way light behaves. We may want light to highlight certain aspects of architecture or be blocked from other aspects. By filtering the light, we can achieve this. It could also be argued that filtration is part of day to day social life, whereby humans tend to filtrate through a kind of invisible filter and congregate in groups of the same culture, interest or age.
27
Light Study Four
Case Study: Filtration Le Corbusier has employed strategic use of openings, orientation and textures to compliment and enhance his architecture with daylight. In particular he uses light filtration to alter the way light is perceived from the inside. The link of light to holiness, divinity and figures of worship is a clear inspiration for the sensitivity to light in Le Corbusier’s three sacred buildings. A key design feature of the Chapel of Notre Dame du Haut at Ronchamp is the continual solar interaction with the building. Morning light filtrates through stained glass creating a red hue within, symbolising human birth. Midday sun casts down through a slot between walls creating stark lines of shadow at contradicting angles to those created by the vertical brise-solei.
Later in the day, sunlight flows through a side opening emitting a warm glow as the sun sets. The light filtration techniques used by Le Corbusier in the Monastery of Sainte Marie de la Tourette contrast that of previous, with a focus on contrast; shadow and light. All corridors have an opening facing one of the cardinal directions, each providing a different experience of light from within. Windows and columns are arranged in a way that when light filters through, shadows are cast and create a rhythm that gradually compresses and expands in waves. It is also noted that the layout of these shadows have a flow which resembles music, another key part to many churches and religions. In another nod to
year-round changing atmosphere through light, an opening atop the western wall creates a warm line of light which increases until the golden light hits the upward tilted roof. The intensity, size and shape of the light filtering through the opening changes with the seasons. Small windows on the east façade of The Church of Saint-Pierre at Firminy create dots of light on the floor which layer into complex waves which rise and fall as the sun moves throughout the day. Furthermore, light filters through polycarbonate cylinders in one of the concrete walls generating a luminous pattern until around noon. After which, sunlight is cast down two angled tubes and casts sharply defined beams of light into the darkness.
28
Light Study Four
Curtis Dowdell a1688053 The University of Adelaide Representation II Semester 2 2019