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
4 pla ce 14 idea
STAGE 3
24
STAGE 4
34
form
material
CONTENTS seek light
MOLECULAR LIFE SCIENCES
BARR SMITH LIBRARY
THE BRAGGS
INGKARNI WARDLI
STAGE 1 4
place
SANTOS
s it e desc r iptio n 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
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.
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
a cce 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 main pathway
SITE ANALYSIS place 8
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.
11
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
13
co n ce pt 1
conce pt 2
STAGE 2 idea 14
sp a t ial d iagrams 15
SOUTH FACING ELEVATION
con ce pt 1
con ce pt 2
DOCUMENTATION
idea
16 WEST FACING ELEVATION
pla n s/ se ct ion s/ e le va t ion s 17
WEST FACING SECTION
NORTH FACING SECTION
WEST FACING SECTION
NORTH FACING SECTION
VISUAL E XPLORATION
idea
18
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
21
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)
23
A
ramp up
A
PL AN: GROUND LEVEL
A simple, single level space below ground, provides ample opportunity for natural day lighting throughout the building. A journey by light is curated in the building by the restriction or invitation of light into each functional area.
STAGE 3 form 24
B
ramp up
P L A N: LO W E R G RO U N D L E V E L
B
S E C T I O N A : W E S T FA C I N G
S E C T I O N B : S O U T H FA C I N G
pla n s + se ct ion s 25
AERIAL VIEW EAST FACING
AERIAL VIEW NORTH FACING
SITE E XPLORATION form 26
light is bor row e d
GROUND VIEW NORTH FACING
The pavilion draws on the concept of light is borrowed and shared or redistributed. The aerial and ground views provide an indication of the impact the pavilion has on the site. The shallow reflective pool that runs the length of the pavilion borrows its light from the sky above and reflects it back to the buildings. This is also true of the domes positioned in the pool and over the reception area to the north of the site. The Barr Smith Library can be seen over the smaller domes and reflected in the larger dome, offering an ever present view from most angles.
GROUND VIEW SOUTH FACING
e xt e r n al vie w s 27
1
acce ss + move me n t There is a singular point of access into the pavilion via the pathway cutting through the middle of the Maths lawns. A long ramp leads down into the welllit reception and exhibition space. The only way to access any of the other areas is via a comparatively dark corridor.
VIEW 1 VIEW 2
SITE ANALYSIS form 28
3
2
VIEW 3
in side / ou t sid e 29
RECEPTION
By day, the reception area is filled with natural light from the large dome above. Along the corridor and between spaces, glass partitions sit atop the existing walls, allowing segments of light to wash over the walls
LIBRARY + READING ROOM
SITE E XPLORATION form 30
MAIN CORRIDOR
The main corridor is mostly in shadow, with limited exposure to natural light during the day apart from six small round openings in the ceiling. In contrast, the seminar rooms are filled with natural light from the domes around, signifying a greater energy requirement in the two rooms. SEMINAR ROOMS
in t e r n al vie w s 31
l i ng uis 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).
philo sophic a l meanin g Ulrich Loock’s article “Opacity” is an analytical response to Edouard Glissant’s statement on opacity in his last collection of essays titled Philosophie de la Relation (2009). Glissant argues the right of people ‘to be opaque’. It is not necessary to be so transparent in person or idea, for it should not affect how that person or idea is treated by others. Loock compares the language used in a previous exhibition The Global Contemporary (2011) to a more recent exhibition dOCUMENTA (2013), the former proclaiming to ‘uncover, unmask, reveal, illustrate’ while the latter speaks to solidarity and isolation. For like transparency, opacity is a useful form of representation by what is unseen, unexplained. Reference: Ulrich Loock (2012) Opacity https://frieze.com/article/opacity Image credits: Top right: Opacity and transparency. https://aos.iacpublishinglabs.com/question/aq/1400px-788px/examples-opaque-objects_d3e0f13c35872c7c.jpg?domain=cx. aos.ask.com Middle right: Xray opacity http://medind.nic.in/ias/t11/i3/ IndianJMedPaediatrOncol_2011_32_3_180_92830_f2.jpg Bottom right: Backlit Mushroom https://upload.wikimedia. org/wikipedia/commons/7/75/Backlit_mushroom.jpg
LIGHT STUDY opacity 32
Next page: In Praise of Shadows https://www.yatzer.com/ sites/default/files/media/slideshow/f12_in_praise_of_ shadows_by_pitsou_kedem_architects_yatzer.jpg
C A S E S TU DY: Th e Indic at or : In P raise of Shadow s In Praise of Shadows will change you. Sebastian Jordana echoes this sentiment numerous times throughout his review. “It’s a thin volume. Ever so slight, it easily gets lost amongst more substantial books. But every time I’ve gone through my library and thought I don’t need it anymore, I hesitate and then put it back on the shelf.” Regardless of its size, Tanizaki’s essay on aesthetics is a powerful piece of literature. Jordana describes it as ‘at once… enlightening, problematic, complicated, evocative, romantic, and critical.’ In Praise of Shadows is piece on east versus west and highlighting the contrasts between them. Tanizaki transforms the mundane, daily routines into engaging rituals. One example of this is his view on the toilet. Jordana quotes “The parlor may have its charms, but the Japanese toilet truly is a place of spiritual repose.” The depth of the detail in which Tanizaki writes, offers a rich visual context for the reader. Not only does Tanizaki discuss his views on
Japanese architecture compared with that of the West, he spends a great deal of time extolling the virtues of Japanese and Chinese paper, of lacquered bowls and other cultural divergences. The book influences the reader in ways that they are not immediately conscious of. Or perhaps they are, after some thought. Jordana comments ‘I write this by firelight and the dimmed, headache-inducing glow of my laptop… I seem to spend a great deal of time in subtle lighting. I blame In Praise of Shadows.’ This has been my experience also. For even now I sit at my desk in the subdued light from a half open shuttered window. It feels at once cool and comforting. While theoretical, In Praise of Shadows offers an alternative to current reality where the ‘shiny, reflective well-lit world of western power and efficiency would have been more nuanced by depth, patina, wear.’ Why most every space be so (harshly) well-lit? Surely, its setting everyone up to
fail in some form or other. For everyone knows a dimly lit room is more forgiving on the complexion. Jordana draws upon the influence of the East on Western modernity and suggests that Apple’s design responses could be tracked back to Japanese or even Chinese aesthetics. An interesting thought. Jordana summaries the book well in saying ‘In Praise of Shadows reminds us of other realms, other feelings that architectural space can evoke, ways of designing for repose, reflection and solitude in a world that places emphasis on striving, action and noise.’ He questioning is pertinent in our flashy, dynamic world – ‘Could the shadow world of subtle phenomena be saved in architecture? Can we turn off some of the lights? A few, at least? Can we have just a little less of the shiny and bright?’ Reference: The Indicator: In Praise of Shadows (http://www.archdaily.com/316262/the-indicator-inpraise-of-shadows)
33
ma t e r ial d e cision s The pavilion is constructed from a heavy palette of concrete, marble, steel and glass. The concrete shell and internal walls are to provide a sense of comfort in strength, while also instilling that sense of weight in construction. The glass panels atop the internal concrete walls lighten the atmosphere and disconnect the walls with the ceiling. As an animal would seek out a bright warm spot of light to bath in, the dark internal spaces are broken by a series of spotlights throughout the pavilion, encouraging visitors to seek out the light in the otherwise dimly lit spaces.
STAGE 4 material 34
STEEL FRAMED GLASS PANELED DOMES
REINFORCED CONCRETE CEILING
STEEL FRAMED DOORS
GRASS INSTALLED OVER CONCRETE ENTREANCE
MIRRORED FACADE ON CONCRETE OUTER SHELL
PRE-CAST CONCRETE RAMP PLACED UPON COMPACTED RUBBLE
MARBLE FACADE ALONG CORRIDOR IN SITU CONCRETE SLAB FLOORING
IN SITU CONCRETE OUTER SHELL
STEEL FRAMING ON GLASS PANELS, DOORWAYS + WINDOWS
in side / ou t sid e 35
RECEPTION
LIBRARY + QUIET SPACE
PROGRAM material 36
SEMINAR ROOMS
EXHIBITION SPACE
TOILETS
STORAGE
e xplode d vie w 37
REFLECTIVE POOL The shallow pool of water covering the main area of the pavilion is an expression of light in reflection. It captures the images of the surrounding buildings and everchanging sky.
FE ATURES material 38
RFLECTIVE GLASS PANEL
MIRRORED WALL
Reflective glass panels have been used to construct the domes. Drawing upon the concept of ‘borrowed light’ and giving a presence to the surrounding buildings. The glass is transparent from the inside, providing greater connection to surrounding natural and built environment.
The two stepped walls at either end of the pavilion have been placed to draw in and concentrate as much natural light into the seminar rooms as possible. By reflecting the light off the mirrored panels through a large opening at each end, plus the light from the glass domes above the concentration and range of light is amplified.
highlig ht s 39
TRANSPARENT GLASS Along the corridor and between each room there is a glass panel above the concrete walls. This provides light and a sense of connection from one room to another. STEEL FRAME
TE X TURE material 40
A thin steel frame is used to attach the glass panels on the concrete walls as well as door and window frames.
POLISHED MARBLE
IN SITU CONCRETE
The corridor is flanked by dark marble panels which seem to absorb and reflect the light simultaneously, creating a shadow filled space full of mystery and potential.
The shell and internal partition walls have been constructed of reinforced in situ concrete. This dense, dark material provokes a strong sense of underground and yearning towards the selected light openings.
41
l i nguis tic s The Oxford English Dictionary defines Filtration under the following terms: a. The action or process of filtering something; an instance of this. Also in extended use and fig. b. The action of passing through a filter; the action of percolating or seeping through a porous medium. Also in extended use. Reference: filtration, n. http://www. oed.com.proxy.library.adelaide.edu.au/ view/Entry/70290.
philoso phic al mean ing Looking at filter theory from a sociological standpoint, provides for an interesting review of the mechanisms of evaluating and selecting our relationships with friends and partners. Based on research conducted by A. Kerckhoff and K. Davis (1962), choices are made through the identification and evaluation of different criteria. The level of ‘filtration’ increasing with the importance of the choice. Cultural, religious, family concerns all play a part in the process, as does lifestyle and standard of living, in the respect that those who have similar backgrounds and standards of living will be drawn to each other more so than those with differing backgrounds, cultural and family values. Reference: 1. Filter theory (sociology) 2017 https://en.wikipedia.org/wiki/ Filter_theory_(sociology) 2. Filter theory http://changingminds. org/explanations/theories/filter_ theory.htm
LIGHT STUDY filtration 42
Image credits: Top right: Filtering light through water. http://www.ilikewallpaper.net/ipad-air-wallpapers/download/4041/ Light-Filtering-from-Above-ipad-4-wallpaper-ilikewallpaper_com_1024.jpg Middle right: Filtered light through curtain. http://cache. gettyimages.com/xc/89678972.jpg?v=1&c=EWSAsset&k=2&d=910C62E22B9F47AA176FAE2FAB0C5AFCB72B32999E264208E7C3A4AA97BEC776 Bottom right: Permeable pavement. https://www.equipmentworld.com/wp-content/uploads/sites/2/2015/11/ permeable-pavement-demo.jpg Next page: Sainte Marie de La Tourette interior. http://numelyo.bm-lyon.fr/f_eserv/BML:BML_01ICO001014ce3b60d8ac8a/Source0.jpg
C A S E S TU DY: Le Cor bus ier an d the Tr inity of L ight Filtration in architecture is characterised by elements of light such as strength, orientation, timing and passage into and around buildings. Looking at three of Le Corbusier’s buildings; his pilgrimage chapel at Ronchamp, the monastery of Sainte Marie de La Tourette, and the parish church of Saint-Pierre in Firminy, it is clear to see the myriad of ways in which light is diffused and filtered throughout the buildings. After briefly outlining the buildings for discussion in the article, Thomas Schielke moves on to the much-discussed topic on religious light, divine light as opposed to visible light. Schielke has his own case study: Henry Plummer’s publication Cosmos of Light: The Sacred Architecture of Le Corbusier, which he regularly references, and uses his interpretation of Plummer’s observations, rather than his own. Reading through the article gives the impression that Schielke devotes the
majority of the article to the monastery of Sainte Marie de La Tourette, filled with natural daylighting effects that morph as the day passes, in colour and intensity. Schielke provides great detail in describing the numerous lighting moments contained in the three buildings. The time of day and concurrent climatic environment are powerful determinants of the resulting light moment. “Light eats away and weakens institutional discipline, while exerting its own dazzling powers to draw attention out to the sky and its commonplace marvels – in effect using light to consecrate the natural universe” Using musical metaphors and vocabulary to describe the effects in La Tourette, Plummer evokes an undulating journey filled with soft edges and constant flows. His words have the effect of being wrapped up in a cosy blanket, soothingly and calmly
clarifying each element of light within. “A rectilinear light cannon projects the intense warm sunlight onto the interior wall while a cool sky blue falls softly through the stellar windows. Here the cosmic scenes of day and night appear mysteriously together.” Schielder wraps up the article, reiterating two main points – the ‘multifaceted language’ arisen from Le Corbusier’s numerous light techniques; and his ability to create such light interventions through a wide range of structural elements. Even in today’s designed world these are still interventions to strive for, as a creator space and atmosphere. Reference: Light Matters: Le Corbusier and the Trinity of Light (http://www.archdaily.com/597598/ light-matters-le-corbusier-and-the-trinity-of-light)
43
...light is borrow ed