G2 morford waite claire rep2 17 by Claire Morford-Waite

SEEK LIGHT light pavilion

a1694062 Cl a i re M o r f o rd- Wa i te Re pre s e nt a t i o n II - 2 0 1 7

STAGE 1

place

STAGE 2

idea

STAGE 3 form

STAGE 4

place

idea

24 34

material

CONTENTS seek light

MOLECULAR LIFE S

BARR SMITH LIBRARY

THE BRAGGS

INGKARNI WARDLI

STAGE 1 place 4

SANTOS

SCIENCES

sit e de scr ipt ion Enclosed on the northern, southern and western sides by buildings , the Maths Lawns is a long strip of grass approximately 122 metres by 18 metres divided in two by a 12 metre passage way between the Sciences and Engineering buildings. The lawns are flanked by tables and trees on the northern and southern sides. The lawn furthest from the Barr Smith Library and closest to Frome Road is less regularly used, and has better sunlight through Summer and Winter. The views from Frome Road to the BSL must not be obscured by any development on the lawns. Hence why the project is for an underground pavilion.

sit e pla n 5

AERIAL VIEW LOOKING NORTH WEST

AERIAL VIEW LOOKING SOUTH EAST

si t e mat e r i al i ty

As shown from the elevations to the right, each building surrounding the Maths Lawns is different to the next. The Barr Smith Library constructed of red brick and stone, is the focal point of the vista from Frome Road. To the north the Braggs of glass and concrete stands tall next to the Molecular Life Sciences building, which is mostly constructed off red brick. On the southern side, the Santos and Ingkarni Wardli buildings mirror the material palette of their northern counterparts.

SANTOS ENGINEERING + INGKARNI WARDLI

SITE E XPLORATION place 6

GROUND VIEW LOOKING SOUTH EAST

GROUND VIEW LOOKING NORTH

BARR SMITH LIBRARY

a e r ia l + grou n d vie w s

THE BRAGGS + MOLECULAR LIFE SCIENCES

e le vat ion s 7

acce ss + move me n t From observing foot traffic between 10:15AM and 11:05AM on a Friday morning, the following comments are made on access and movement. Most pedestrians use the walkways in front of the BSL, The Braggs, and the Ingkarni Wardli buildings, and the walkway through the middle of the Maths Lawns. (see main pathway) Half or less of the total number of pedestrians used the secondary pathways, as shown on the map to the left. Even though it is winter and the grass is wet and muddy, people still cut across the grass, presumably to classes or other time sensitive activities.

key building entrance

SITE ANALYSIS place 8

main pathway

The BSL was not used once during the observation. The entrances with the most foot traffic were the walkways between the northern and southern buildings and the entrance to the Ingkarni Wardli building, which houses a popular coffee shop.

shade + sha d ow 9

SUMMER: 22 December at 9:00AM

SUMMER: 22 December at 12:00NOON

SUMMER: 22 December at 3:00PM

WINTER: 21 June at 9:00AM

WINTER: 21 June at 12:00NOON

WINTER: 21 June at 3:00PM

On a sunny, but windy 13O degree morning in Winter, people still frequent the tables in the sun during morning tea breaks, or to do work, after they have visited the poplaur coffee shop in the Ingkarni building. Otherwise, most people do not stop in the area,

PHOTO STUD Y place 10

day its simply a place on the journey to somewhere else. Even in Winter with clear blue skies, the buildings the reflections from the sun on glass and steel are intriguing as displayed above.

n i gh t The Maths lawns and surrounding buildings are so well lit at night, its brighter than a clear sunny day! Surprisingly, on a Saturday evening there was regular foot traffic, mostly crossing in front of the BSL. Additionally, many of the computer labs were also full and visible from outside.

The light features come alive with colour at night, the Ingkarni Wardli buildings strip lighting frequently changes colour from green to blue to purple and back again. The cavity along the Braggs building glows with a warm yellow light. The glass of the Braggs building scatters light reflections from the Ingkarni Wardli building facing it.

l i nguis tic s

philoso phic al mean ing

The Oxford English Dictionary defines Luminosity under the following terms: 1. a. The quality or condition of being luminous. b. the effectiveness of light of any particular wavelength in producing the sensation of brightness when perceived. c. astron. The intrinsic brightness of a heavenly body (as distinct from its apparent brightness, diminished by distance); the rate of emission of electromagnetic radiation (visible or invisible) within any part of the spectrum. 2. Something luminous; a luminous point or area.

Light and religion have been intertwined before scientific research had made its mark. In the 4-part BBC series Light Fantastic, presenter Simon Schaffer, declares ‘to understand light, is to understand God’ for ‘God is light’ and ‘Light is energy’ among other proclamations. These statements were backed by the Catholic Church encouraged the thought of the Divine light of creation. Illumination was from the God, from the heavens. Prior to the religious implications, the theories from early Greek philosophers provided us with the foundation of our knowledge of optics, geometry and perspective today.

Reference: “luminosity, n.”. OED Online. June 2017. Oxford University Press. http://www.oed.com/view/ try/111128?redirectedFrom=luminosity (accessed August 11, 2017).

Reference: “Let There Be Light” [Television series episode]. 2004. In Light Fantastic. United Kingdom. BBC Four. Retrieved from: https://vimeo. com/album/2973377

Image credits: Top right: God’s Light. https://s-media-cache-ak0. pinimg.com/736x/6b/2c/29/6b2c29e6867f709f0629316c025390f3--sun-rays-sunlight.jpg Middle right: Mosque or kaleidoscope? https://s-mediacache-ak0.pinimg.com/originals/fc/6e/74/fc6e7470fb839068dccd20e789224c9e.jpg

LIGHT STUDY luminosity 12

Bottom right: Mosque Geometry. http://voussoirs. blogspot.com.au/2017/01/murcutts-mosque-meanings-sources.html Next page: The Australian Islamic Centre lit from within. https://www.instagram.com/p/BLnlusEAN7D/

C A SE STU DY: Au stralian Is lamic Cen tr e Glen Murcutt is a well-known Australian Architect who usually specialises in small scale residential projects. Over the last decade Murcutt has been working with Hakan Elevli to create the Australian Islamic Centre in Newport, Victoria. It is not your typical Islamic mosque, although many of the elements are present. This project explores the use of light for visual effect, but also as a vessel for sharing knowledge. Clearly visible from the outside are 96 ‘hand-painted gold lanterns ‘adorning the roof of the Australian Islamic Centre. The triangular shaped lanterns, arranged geometrically, have coloured glass panes installed in one side, reflecting light into the interior. Each lantern contains one or four colours. “As the sun moves through the day, the lanterns illuminate a different colour. In the morning

yellow streams in representing paradise. Through the middle of the day blues (symbolising sky) and greens (nature) filter in. In the afternoon the lanterns draw in red (blood for strength).” Not only do the lanterns shine with their particular colour and provide light; they share knowledge – of time – different times of the day will call upon specific colours; they hold value to the community – the colours themselves are symbolic. Ray Edgar, author of the article, proposes the ‘most extraordinary’ element of the project, is the ‘way light touches the ground’. It could be argued that the way in which the light touches the ground is nothing new. Particularly in Islamic architecture where light, is used extensively and beautifully through materials such as stained glass and perforated screens.

Natural, day light plays a key role in the ‘success’ of this project, as ‘triangles of light’ are projected on to the floor, walls and columns within the centre. This form of luminosity tries to align with the religious thinking of yesterday, however falls short. In trying to produce an Australian mosque for nonMuslims, have they missed the mark and produced something of less value to both stakeholders. Lighting does not always illuminate. Reference: Light and colour frame Glenn Murcutt’s Newport mosque project (http://www.theage. com.au/victoria/light-and-colour-frame-glennmurcutts-newport-mosque-project-20160808gqne27.html

co n ce p t 1

concept 2

STAGE 2 idea 14

sp a t ial d iagrams 15

DOCUMENTATION

idea

16 WEST FACING ELEVATION

NORTH FACING ELEVATION

SOUTH FACING ELEVATION

EAST FACING ELEVATION

WEST FACING SECTION

NORTH FACING SECTION

con ce p t 1

con ce p t 2

pla n s/ se ct ion s/ e le va t ion s 17

WEST FACING SECTION

NORTH FACING SECTION

VISUAL E XPLORATION

idea

a e r ia l + grou n d vie w s

CONCEPT 2 - GROUND VIEW

CONCEPT 1 - GROUND VIEW

CONCEPT 2 - AERIAL VIEW

CONCEPT 1 - AERIAL VIEW

in t e r n a l vie w s 19

CONCEPT 2 - INTERNAL VIEW

CONCEPT 1 - INTERNAL VIEW

CONCEPT 2 - INTERNAL VIEW

CONCEPT1 - INTERNAL VIEW

g lass + mir ror s The Reichstag, Berlin Architects: Foster and Partners One of the key aims was to take full advantage of the natural day light within the entire building, thus mitigating the amount of artifical light required.

DESIGN PRECEDENT The Reichstag, Berlin 20

l i nguis tic s The most general definition of reflection is given as ‘the action of an object, surface, etc., in reflecting light, heat, sound or other form of radiation without absorbing it’. On colour, reflection is the ‘colouration on an object, surface, etc., produced by the particular quality of light cast on it, or the particular manner in which light is reflected from it’. Reference: “reflection, n.”. OED Online. June 2017. Oxford University Press. http://www.oed.com/view/ Entry/160921 (accessed August 16, 2017).

philoso phic al mean ing As human beings, we are capable of feeling something, such as fear, and taking this feeling further by examining the experience in relation to ourselves. John Dewey states plainly and succinctly; “We do not learn from experience. We learn from reflecting on experience”. Reflection is seen as an exercise of the mind, rather than that of the physical being, and relies heavily upon a consistent practice. In the words of Peter Drucker; “Follow effective action with quiet reflection. From the quiet reflection will come even more effective action.” Regarding object and objectivity, we can draw upon Confucius, who provides the follow statement: “The mirror reflects all objects without being sullied”. In this case, we rely on the inanimate object to provide unbiased insight, however, this is pointless, as our own experiences and bias will immediately influence our observations present by the object in question.

Image credits: Top right: The End of Reflection. https://static01.nyt.com/ images/2016/06/12/fashion/12FUTURETENSE/12FUTURETENSE-master768.jpg Middle right: Puddle Reflection. https://petapixel.com/assets/uploads/2014/12/viral.jpg Bottom right: Sun reflection on water. https://ak5.picdn. net/shutterstock/videos/15381553/thumb/1.jpg

LIGHT STUDY reflection 22

Next page: Glass façade of Elbphilharmonie. http:// images.adsttc.com/media/images/57f9/4b2a/e58e/ ce3e/7b00/0257/slideshow/elbphilharmonie_foto_maxim_schulz_9.jpg?1475955482

C AS E S TU DY: Ve i led in Br illian ce Thomas Schielke looks at the break from the monotonous glass facades. A change from the ‘internal space-form towards the external surface’ this is an interesting point of view as reflection in the human-philosophical sphere is very much an internal (self) process. By moving the internal process to an exterior, open one, what is the architecture saying to the population? Don’t keep your reflections to yourself, sharing them openly. Let everyone learn from your observations. The Elbphilharmonie by Herzog & de Meuron is a fantastic example of this interior/exterior reflection. For what is architecture, if not a reflection of the environment that surrounds it, as shown by the Elbphilharmonie reflecting the ‘golden shimmering skin of Berlin’s Philharmonic’ situated in close proximity. Schielke describes the reflective skin’s interaction with its surrounds going beyond the

basic level of reflection – ‘the environment is not appreciated as a clear mirrored picture, but instead goes through a process of modification and reproduction’. In contrast to reflection of self, which strives for clarity and deeper meaning, reflection in architecture while it can produce a sharper result, can just as likely lead to distortion and abstraction of façade or experience. While glass is an obvious choice for its reflective properties, Schielke also goes on to evaluate the use of various metals such as titanium steel and anodized aluminium used by Frank Gehry and Future Systems respectively. These materials produce a light reflective exterior, simultaneously creating a veil over the structure, preventing visual access in or out of the building. This level of privacy and mystery is somewhat diminished through the use of glass. In addition to the reflective properties,

these materials, particularly the titanium will also change in appearance, producing a ‘dynamic image with varies with every cloud and sunbeam’. In the ‘spectacle-oriented society’ we live in today according to Schielke, simple reflective techniques and careful use of shadow just will not do any longer. The crowds want to be wowed, and the expectations rise exponentially. While this encourages innovative solutions for future architecture and urban spaces, it simultaneously evokes sadness in the loss of appreciation for the shadow and the other face of light; darkness. Reference: Veiled in Brilliance: How Reflective Facades Have Changed Modern Architecture (http://www.archdaily.com/796974/veiled-inbrilliance-how-reflective-facades-have-changedmodern-architecture)

ramp up

Glass domes

Water feature

PL AN: GROUND LEVEL

Reception ramp up

Toilets Seminar room Storage

STAGE 3 form 24

Library + Quiet space

P L A N: LO W E R G RO U N D L E V E L

Exhibition space

Seminar room

S E C T I O N : W E S T FA C I N G

S E C T I O N : S O U T H FA C I N G

pla n s + se ct ion s 25

SITE E XPLORATION

form

26 AERIAL VIEW WEST FACING

AERIAL VIEW EAST FACING

e xt e r n al vie w s 27

GROUND VIEW WEST FACING

SITE ANALYSIS form 28

in side / ou t sid e 29

SITE E XPLORATION

form

30 TALL GLASS PARTITIONS ALLOW SEGEMENTS OF LIGHT TO WASH OVER WALLS

RECEPTION FILLED WITH NATURAL LIGHT FROM THE DOME

CIRCULATION PASSAGES ARE DARK WITH REDUCED NATURAL LIGHT SEMINAR ROOMS ARE FILLED WITH LIGHT FROM THE DEOMS ABOVE

The aerial and grounds views have been modeled at 9AM on December 22. As shown by the images, the lawns are in almost full sun at this time. They shown the significant space the Maths Lawns cover and the height of the surrounding buildings. As shown from the elevations to the right, each building surrounding the Maths Lawns is different to the next. The Barr Smith Library constructed of red brick and stone, is the focal point of the vista from Frome Road. To the north the Braggs of glass and concrete stands tall next to the Molecular Life Sciences building, which is mostly constructed off red brick. On the southern side, the Santos and Ingkarni Wardli buildings mirror the material palette of their northern counterparts.

in t e r n al vie w s 31

l i nguis tic s The Oxford English Dictionary defines Opacity under the following terms: a. The quality or condition of not transmitting light; lack of transparency or translucency; inability to be seen through; (Physics) the ratio of the intensity of the light incident on a sample or object to that of the light transmitted through it. b. The state of being in shadow; darkness, dimness, obscurity; an instance of this. Reference: opacity, n. OED Online. http://www.oed.com.proxy.librar y. adelaide.edu.au/view/Entry/131669 (accessed September 28, 2017).

philoso phic al mean ing Light and religion have been intertwined before scientific research had made its mark. In the 4-part BBC series Light Fantastic, presenter Simon Schaffer, declares ‘to understand light, is to understand God’ for ‘God is light’ and ‘Light is energy’ among other proclamations. These statements were backed by the Catholic Church encouraged the thought of the Divine light of creation. Illumination was from the God, from the heavens. Prior to the religious implications, the theories from early Greek philosophers provided us with the foundation of our knowledge of optics, geometry and perspective today. Reference: “Let There Be Light” [Television series episode]. 2004. In Light Fantastic. United Kingdom. BBC Four. Retrieved from: https://vimeo. com/album/2973377

LIGHT STUDY opacity 32

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