conceptual explorations of a light pavilion representation II daniel grilli 2017
a journey through light
place 02
idea 12
form 22
journey 30
elevations and plan perspective views photography visual analysis
overview concept a concept b design precedents
case study: illumination
case study: reflection
plan and section access movement structure materiality
exterior the corridor in praise of bathrooms seminar rooms gallery and library
case study: opacity
case study: filtration
Library elevation
South elevation
North elevation
elevations 2
PLACE
10
,7 42
1
The Braggs
m
0m ,26 37
Molecular Life Sciences
mm
Santos
,60 42
0m
m
Engineering / Maths Sciences
10m
1:1000
Ingkarni Wardli Barr Smith Library
site plan PLACE
3
site perspectives 4
PLACE
Summer - 9am
Summer - 12pm
Summer - 3pm
Winter - 9am
Winter - 12pm
Winter - 3pm
shade PLACE
5
photography - day 6
PLACE
photography - night PLACE
7
access and movement 8
PLACE
The site is flanked by science buildings to the north (green), mathematics and engineering buildings to the south (purple), and the library reading room to the west (red). Paradoxically, the library is the only building not accessible from the public square.
The central lawn areas are for common use by students and the public, but only the tables on their edges are regularly used. The open areas are occasionally used for events.
The view to the library building from Frome Road is heritage listed and cannot be obstructed. A minor axis of view also exist across the front of the library building.
site character PLACE
9
linguistic definition
philosophical definition
Luminosity is, in its strictest sense, the presence of light and its intensity. It is the state of being luminous, an ambiguous state in which an object can either be the source of light or irradiated by it. Derived from the Latin word for light, lumen, luminosity is also defined by its opposite: darkness.
When we examine the roles that the concept of light has in the English language today, it is apparent that luminosity is far more than a mere physical phenomenon. Light is associated with the good, with progress, with the divine. Someone may have a bright smile, as if there were literally rays of light streaming from their face. An illuminating lecture will clear away the darkness surrounding a difficult topic, leaving its listeners better off than they were before. Most tellingly, the coming of the age of reason in Western civilisation is known as the enlightenment. Like that of the Buddha, enlightenment is a transcendence of the mundane, an unquestionably good emergence from darkness from which there is no return. Light is truth; the truth of God, of science, and of our own visual realities.
Left: The staricase at the Villa Savoye; the facade of the Mill Owners’ Association building in Ahmedabad. Right: An alcove lit by the morning sun in the chapel at Ronchamp; the glowing sun celebrated at La Tourette.
case study one: illumination 10
PLACE
the purifying light of le corbusier The architects of modernism in the early twentieth century saw light as perhaps the most important fundamental of architecture. Light was healthy: an illuminated dwelling could change the lives of those who lived within. Foremost of the exponents of light was Le Corbusier. Fascinated with the pure Euclidian geometries of ancient Greek and Roman architecture, he marvelled at the way the bright Mediterranean sun revealed the plastic qualities of the white ruins of the Parthenon. Accordingly, in his early works light was not considered to be important in itself so much as it was used as a device by which to reveal, accentuate and glorify the new architecture he had created. The wash of light over the planar facades and geometrical roof gardens of his Villa Savoye (1928-31), the light that floods its interior spaces, is a passive light that merely illuminates his architectural creation. In his later works, Le Corbusier’s attitude towards light shifted. Light no longer revealed his architecture; instead, his architecture revealed light. The depth in the facades of his buildings such as the Mill Owners’ Association Building in Ahmedabad (1951-54) used
their pure geometries not as ends in themselves but as means to celebrate light shadow. Light’s truth became a truth of emotion change rather than of pure reason. The openings of the Chapel of Notre Dame du Haut at Ronchamp (1950-55) are arranged not for maximum illumination but rather for emotional effect: coloured alcoves lit in the morning and evening accentuate the warmth of the sun as it rises and sets, and deep cavities in the wall separate light into rays of different shapes and sizes that are revealed at different times of the day. In the Monastery of Sainte Marie de la Tourette at Éveux-surl’Arbresle (1953-60), the particular qualities of light at sunset are given almost ceremonial importance where a slit opening in a western wall draws lines of glowing light across the room with the setting sun. Illumination was always central to the works of Le Corbusier, but by the end of his career light was his architecture. References: Corrodi, M. & Spechtenhauser, K., 2008. Le Corbusier: Purifying Light. In Illuminating: Natural Light in Residential Architecture. Basel: Birkhäuser, p. 212. Merriam-Webster, Luminosity | Definition of Luminosity by Merriam-Webster. Available at: https://www. merriam-webster.com/dictionary/luminosity [Accessed August 12, 2017].
Thomas Schielke, 2015. Light Matters: Le Corbusier and the Trinity of Light | ArchDaily. Available at: http:// www.archdaily.com/597598/light-matters-le-corbusierand-the-trinity-of-light [Accessed August 14, 2017]. University, O., 2010. Oxford Dictionary of English Third Edit. A. Stevenson, ed., Oxford: Oxford University Press.
case study one: illumination PLACE
11
journey
direction
destination
modification
function
concept development 12
IDEA
light as a journey Light, often thought of as one of life’s constants, is in fact continually changing. The direction, intensity and colour of light from the sun shifts throughout the day and across the seasons. Indeed, it is these changes and cycles that have fascinated humankind since before the dawn of civilisation. Rather than despair that light cannot be fixed into place, the journey of the sun through the sky and all of the wonderful variations in light it brings should be celebrated. The light pavilions herein take the concept of journey as their parti. Much as the cycles of light have no beginning or end, the destination of each pavilion is ambiguous. As visitors travel through their depths, they pass through sun and shade, from bright to dark, and back again. Yet, each journey is different: being conceived to capture and amplify the movements of the sun, the pavillions will present an entirely different atmosphere upon visiting, each moment a once-in-a-year experience.
Conceptual sketches
overview IDEA
13
concept a 14
IDEA
5m
1:500
library
exhibition
Taking visitors on a slow, considered journey across the length of the site, the narrow skylights in this concept wash its walls with sun. In its simplicity the essential qualities of light are brought into sharp focus. Upon descending, a bright glow of light on a wall in the
bathroom
seminar
distance entices visitors forward, but the destination cannot yet be seen. An exhibition hall, lit by the warm glow of light reflected from a gently-curved wall, lies at the heart of the pavillion, a place to linger a while before visitors continue on their journeys.
concept a IDEA
15
concept b 16
IDEA
bathroom / storage
seminar exhibition library
entry
The spiral ramp slowly descends into the earth, plunging into darkness and then returning to the light as it passes a shaft dug into the ground. Each revolution the light dims, the change all the more apparent for the contrast between the dark of the earth and light of the shaft. Much as ‘travelling is half the fun’, the gallery in this concept is the walls of the spiral ramp itself, and the final destination at the bottom is merely a place for repose and contemplation. Each visit rewards with something new, and the passage of the seasons is celebrated, with the bottom of the shaft being completely illuminated only at noon on midsummer’s day.
glass-covered light well
2.5m
1:250
concept b IDEA
17
koshino house In the Koshino House, Tadao Ando almost entirely eschews traditional windows for narrow slits and skylights. In doing so, light is abstracted to its essence and the inhabitants are made keenly aware of the movement of the sun across the sky from sunrise to sunset, from summer to winter.
design precedent 18
IDEA
pozzo di san patrizio Built for Pope Clement VII by Antonio San Gallo the Younger between 1527 and 1537 and named after the Purgatory of Saint Patrick, the well provided drinking water for the town of Orvieto, Umbria. Originally lit only by the sun, the interior gradually becomes darker as one descends the double-helical staircase, before brightening on the return journey to the surface.
design precedent IDEA
19
linguistic definition
philosophical definition
A reflection is a phenomenon that arises from or is the consequence of something else. Light reflected by an object is light that the object throws back without absorbing it; the object is not the source of light. Similarly, an image seen as a reflection in a mirrored surface has an intimate relationship with but is not the source of the image itself.
Reflection is intimately tied up with the concept of human thought. The English philosopher John Locke used reflection to describe ‘the notice which the mind takes of its own operations’, in other words, thought about thought. For Hegel, on the other hand, reflection is the way by which we find the essential and significant in things (thoughts, experiences). In this sense, much as light reflected from an object is intrinsically linked to the light that hit it but will undergo a change in its intensity, colour or direction, reflection can only ever be a part of the thing from which it has arisen, a simplified indication of the presence of this thing but without any explanation of the thing’s deeper processes or origins.
Left: Reflected light off the entry wall in the Church of the Light; the reflecting pool at the Modern Art Museum in Fort Worth. Right: Descending into the sky at Honpuku-ji; the essential reflection of the sun on the concrete walls of Koshino House.
case study two: reflection 20
IDEA
the essential reflections of tadao ando The grounded, heavy concrete forms of Tadao Ando’s architecture are not typically associated with the phenomenon of reflection. However, in the austere surfaces of Ando’s work we can find a use of reflection that is much richer than the immediate visual stimulation of a mirrored façade. Most obviously, this is apparent in his recurring use of a reflective body of water as a compositional element, particularly in his public works such as the pools outside the Modern Art Museum at Fort Worth or the Museum of Literature in Himeji. Rather than reflect, his buildings are reflected; with this important distinction they surrender some of themselves to outside nature, becoming clear or distorted as light and weather changes. In their horizontality these pools also bring a part of the sky down to the earth, so that the oval-shaped pool in the Naoshima Museum of Contemporary Art infinitely expands its sunken, enclosing courtyard. The most profound manifestation of this use of reflection is the Buddhist temple of Honpuku-ji on Awaji island: the entry stairs to the main hall descend into the middle of a lotus pond, and in the reflection of the water the visitor finds themselves paradoxically descending into the sky, into heaven, marking
a transition into the sacred as surely as that of the raised platform of a traditional temple. Ando also uses reflection to illuminate his buildings with a soft, diffuse light. The mirrored surfaces of the pools of water outside the Museum at Fort Worth and the Church of the Water redirect an ever-changing light into the buildings’ interior, at once an elegant solution for illumination and a source of rich, shifting experience. Concrete too is made to reflect: in his Church of the Light, dominated as it is by the illuminating cross carved into the wall behind the altar, much of the internal light enters the dark interior reflected off the concrete plane that bisects the main building at an angle. Where other architects might use glass or polished metal to the same effect, by his use of concrete the light reflected off Ando’s forms is reduced to its essence. The reflections of the sun on the walls of his Koshino house thus become light materialised, and by removing all but abstract representations of light’s direction, intensity and colour reveal far more of the sun than might a glimpse through an open window. References: Blunden, A., 1997. IV: The Meaning of “Reflection.” Available at: https://www.marxists.org/reference/ archive/hegel/help/mean04.htm [Accessed August 26, 2017]. Bunnin, N. & Yu, J. eds., 2004. Chapter 18: R. In The Blackwell Dictionary of Western Philosophy. Maiden, MA, USA: Blackwell Publishing.
Erzen, J.N., 2004. Tadao Ando’s Architecture in the Light of Japanese Aesthetics. METU JFA, 21(1–2), pp.67–80. Jodidio, P., 2001. Tadao Ando, Koln: TASCHEN. University, O., 2010. Oxford Dictionary of English Third Edit. A. Stevenson, ed., Oxford: Oxford University Press.
IDEA
21
a journey through light To visit the pavillion of light is to undertake a journey. The destination is unimportant; it is the travelling itself that matters. The pavillion is thus composed almost entirely out of that space of circulation, the corridor, no longer secondary but the most important experience. Angled across the extents of the site, only one end of the corridor is visible at any one time; to move forward is an act of faith, a journey taken into the unknown. At the same time, the pavillion and its corridor act as a device by which the journey of the sun across the sky may be read. Light is reduced to its essence as it reflects off the long, planar walls, and the bend in the corridor accentuates the sun’s position by presenting a different angle of view. As the sun makes its slow journey across the sky day to day, month to month, each visit to the pavillion becomes a unique and memorable experience. Inspirations
final design 22
FORM
5m
1:500
library
exhibition
bathroom
seminar
plan and section FORM
23
Ground level
Ceiling
Underground pavillion
above and below 24
FORM
Whether a visitor to the pavillion passes through the ‘entrance’ or the ‘exit’ is irrelevant: the labels are relative, and the experience of the pavillion is not contingient on a single, fixed point of access. From the southwest visitors descend via a staircase, the journey ahead brought rapidly into view; from the north-east the descent is gradual, accessible to all, and inspiring of contemplation. Above the ground, movement across the lawns is uninhibited, and the well-used path between the buildings remains clear.
access and movement FORM
25
materiality 26
FORM
Toughened glass Stainless steel flashing
Concrete roof White plasterboard ceiling Engineered timber beams
Whitewashed brick retaining walls line the corridors and principle rooms, their subtly undulating surface allowing for a rich, textured reading of light and shadow. On the floor, the sound of footsteps on suspended timber boards celebrates the movements of visitors, while gently glimmering brass walls in the bathrooms bring a hint of surprise and magic to every visit.
Suspended wooden floorboards Waterproofing Whitewashedd double-brick retaining wall Timber framing Concrete footing
Left (clockwise): Timber flooring; the play of shadows on the whitewashed brick walls of the corridor; soft light glints from the brass panelling in the bathrooms. Right: Basic construction system.
structure FORM
27
linguistic definition
philosophical definition
In the most literal sense, opacity is the degree to which an object obstructs the transmission of light or other radiant energy. In meaning it is inseparable from its opposite, transparency, to which it is always inversely proportional. Opacity can thus be characterised as the absence of transparency, or the absence of light.
Just as light is a metaphor for truth and knowledge and transparency allows this truth to be revealed, opacity can be regarded as a state in which knowledge and truth are concealed. An opaque argument may still carry profound meaning, yet this meaning is obscured and can only be reached by some difficulty, much as light struggles its way through an opaque object, reaching the other side a weakened version of its former self. When used to refer to a person or their actions, to be opaque is not a passive state of being. Instead, it carries the connotations of a deliberate concealment, a desire to prevent the light of truth from illuminating whatever darkness is lies hidden from the observer.
Left: Kimbell Art Museum; alternating light and shadow at the Salk Institute Right: Light accentuating darkness at the Yale University Art Gallery; double-skinned walls maintaining the sanctity of the shadow at the Indian Institute of Management.
case study three: opacity 28
FORM
louis kahn and the shadows of being In an attitude far removed from the contemporary worship of transparency and ever-abundant light, Louis Kahn’s architecture explicitly celebrated the power of opacity and shadow. For Kahn, architecture was not just the “magnificent play of masses brought together in light” as it so famously was for his teacher, Le Corbusier. Instead, form could only arise from shadow: opacity was substance, and inseparable from light: “All material in nature, the mountains and the streams and the air and we, are made of light which has been spent, and this crumpled mass called material casts a shadow, and the shadow belongs to Light”. Architecture thus became for Kahn a play between shadow and light, neither allowed to reign supreme for one could not exist without the other. In his design for the Salk Institute (1959-1966), dark shadows on the monolithic concrete volumes bring the forms to life and heighten the awareness of the bright light of the sun, especially in the alternation of brigtness and darkness in the undercroft. Similarly, he often used a glimpse of light, abstracted and redirected, to articulate how dark a space actually was.
Kahn’s praise of shadows was at its most fervent in his later public works under the harsh light of the central Asian sun. In the Indian Institute of Management at Ahmedabad (1974), the building was not shaded externally with of bris-soleil but instead created its own internal shadows by means of deep reveals and a double-skin of walls. Here, shadow was kept sacred and protected: rather than be exposed to the sun outside, his architecture allowed the “outside [belong] to the sun, and on the inside people live and work”. Kahn’s shadows were a place between ideas and reality, between silence and light, a ‘treasury’ of mystery and awe by which architecture was made manifest and the world could be experienced.
References: Kite, S., 2017. Louis Kahn and the “Treasury of Shadows.” In Shadow-Makers: A Cultural History of Shadows in Architecture. London: Bloomsbury Publishing PLC, pp. 225–282. Merriam-Webster, Opacity | Definition of Opacity by Merriam-Webster. Available at: https://www. merriam-webster.com/dictionary/opacity [Accessed September 27, 2017].
Schielke, T., 2013. Light Matters: Louis Kahn and the Power of Shadow. ArchDaily. Available at: http://www. archdaily.com/362554/light-matters-louis-kahn-and-thepower-of-shadow [Accessed September 25, 2017]. University, O., 2010. Oxford Dictionary of English Third Edit. A. Stevenson, ed., Oxford: Oxford University Press.
case study three: opacity FORM
29
exterior 30
JOURNEY
Aside from slim canopies that shelter the points of access into the pavillion, the visible form above ground is kept to an absolute minimum. Many of the openings for light are flush with the ground, visible only when walked over, while others take the form of mysterious sculpture standing free in the lawn. These sculptures both capture the light of the sun and project its shadows, giving a taste of the journey to be experienced below.
Left (clockwise): The south-western entrace to the pavillion, clerestory windows for the seminar rooms, sculptured skylights for the bathrooms. Right: The north-eastern entrance.
exterior JOURNEY
31
1840 1956 2072 2188 2304 2420 2536 2652 2768 2884 3116
passage of the sun The corridor is both reflection of the sun’s journey across the sky and a journey in itself. In assistance of the former, the expression of the beams supporting the ceiling creates evocative shadows that elucidate the sun’s movements. At the same time, manipulation of the spacing between the beams subtly exaggerates the perception of perspective, making the journey ahead appear longer than it actually is.
3232
3348
3580
Left: Light streams down from the continuous skylight; diagram of the beams in the corridor showing how their spacing gradually decreases.
3696
corridor: day 32
JOURNEY
LED uplighting Perspex diffuser Brass casing 30mm gap between wall and and floor
walking in a dream To visit the pavillion at night is to enter a dreamlike world. No longer does warm sunlight stream from overhead: instead, a mysterious glow eminates from fissures at the base of the walls, bathing everything in an eerie glow.
Left: View from the corridor towards the entrance to the seminar room at night; detail of the concealed uplighting at the base of the corridor walls.
corridor: night JOURNEY
33
corridor: day 34
JOURNEY
corridor: night JOURNEY
35
bathroom 36
JOURNEY
in praise of bathrooms
light shafts capped with sculptures
skylight above shared basin
narrow skylight along passage
exposed beams catch light
passage ceiling slopes down
main corridor
In his seminal essay In Praise of Shadows, author Junichiro Tanizaki expounds on the virtues of the humble toilet. For him, bathrooms are a ‘place of spiritual repose’, located away from the house at the end of a long corridor where one can ‘bask in the faint glow’ of light and lose oneself in meditation. The bathrooms in the pavillion are thus not tucked away but celebrated with a unique experience of light of their own. Following the metaphor of the journey, they are located at the end of a narrow passageway, dimly lit from a slit above, that contracts both vertically and horizontally to increase the sense of distance. Upon opening the cubicle door the visitor is greeted with a final surprise: the toilets themselves are lit via a shallow alcove, the spiritual light from above engendering repose and contemplation in this most unlikely of spaces.
Section of bathrooms (not to scale)
bathroom JOURNEY
37
Plan - morning
To visit the two seminar rooms, mirrored across the corridor, is a completely different experience depending on the time of visit. Early in the day, the southern room captures the warm light of the morning sun while the northern room is lit only by cool, indirect light. In the afternoon the roles are reversed, and so the cycle continues day after day.
Plan - afternoon
seminar rooms 38
JOURNEY
Gallery The gallery space is lit indirectly by both skylights with large diffusers and light reflected off the cuve of the corridor wall, avoiding direct illumination of the artwork.
Library Three openings in the ceiling of the library capture the movement sun across the sky, marking the passage of time to those lost in the joy of reading.
gallery and library JOURNEY
39
linguistic definition
philosophical definition
Filtration is a process by which objects are passed through a device to remove all that is unwanted. The word carries with it connotations of movement, and is also used to denote the action of something gradually entering or leaving a place in small quantities and in a specified direction.
The process of filtration is an active and deliberate attempt to remove what is unwanted and keep only what is desirable. This notion of the agency of filtration would revolutionise the way we saw the world and ourselves when Kant proposed that all experience and thought was not objective, but was actively filtered by the mind. Our perception of reality, then, is only what made it through the filter, the good and desirable. What does not make it through a filter is inevitably discarded or dissipated, considered unworthy. Filtration implies action taken on a moving, continuous process, making it distinct from the sorting of immobile objects. In this regard light, water and traffic may be filtered while photographs, bottled drinks or cars are merely sorted. Filtration therefore does not produce discrete or even complete results, but is rather an ongoing process, an intention as much as an action. Left: Mashrabiya Around The Tomb of Shaikh Salim Chisti, Fatehpur Sikri , India; the mechanical occuli at the Institut du Monde Arabe. Right: The dynamic ‘umbrella’ facade of the Al-Bahr towers; shifting light from the dome at the Louvre Abu Dhabi.
case study four: filtration 40
JOURNEY
the filtering skin of the mashrabiya To let in the desirable while excluding the unwanted: this was and continues to be the function of the mashrabiya, the intricate latticework windows of the sun-baked middle east. Mashrabiya were used as a filter between the cool, private inside of a house and the hot, busy world outside: they allowed illumination without heat, views outside while screening those in, and opened the house to ventilation without compromising security. The mashrabiya has experienced a contemporary revival as both a practical element and a symbol of Islamic culture. Those of today have spread to cover entire buildings as a façade or skin, leveraging technology to in pursuit of a dynamic functionality. Jean Nouvel has been at the forefront of the mashrabiya revival, beginning with his now-iconic Institut du Monde Arabe in Paris (1987). Here, the mashrabiya are a series of light-sensitive oculi, each designed to open and close to regulate the entry of sun on what is otherwise an all-glass façade. Aedas’ Al-Bahr towers in Abu Dhabi (2012) take the dynamic mashrabiya of Nouvel’s Insitut to a colossal scale, with a second skin of umbrella-like shade structures covering the lightly-tinted glass building façade. In the latter
case, these filter incoming sunlight by as much as an astonishing fifty percent. In its renaissance, the mashrabiya is also being employed for its ability to create a shifting, dynamic beauty, not just for practical ends. In the Louvre Abu Dhabi (2007-2017), Jean Nouvel eschews his earlier attempt at a moveable mashrabiya in favour of a static screen, this time in the form of giant dome, that with its many layers induces kinetic displays of light as the sun crosses the sky. The mashrabiya has proven to be continually relevant as a means of filtering and mediating light, and its ability to adopt and interact with sensor and data technology promise to keep it a relevant architectural device well into the future. There is only some irony to be found in the fact that the contemporary mashrabiya are often employed as a method to attract the outside gaze, not filter it as they once were. References: Dorbolo, J., 2002. Immanuel Kant. InterQuest: Introducing Philosophy. Available at: https://oregonstate.edu/instruct/ phl201/modules/Philosophers/Kant/kant.html [Accessed September 29, 2017]. Schielke, T., 2014. Light Matters: Mashrabiyas - Translating Tradition into Dynamic Facades | ArchDaily. Arch-
Daily. Available at: http://www.archdaily.com/510226/ light-matters-mashrabiyas-translating-tradition-into-dynamic-facades [Accessed September 29, 2017]. University, O., 2010. Oxford Dictionary of English Third Edit. A. Stevenson, ed., Oxford: Oxford University Press.
case study four: filtration JOURNEY
41
image credits case study one - Illumination p. 10-11
case study two - reflection p. 20-21
case study three - opacity p. 30-31
case study four - filtration p. 41
p. 18
Plummer, H., 2011. Upward view into scoop at sunrise. Chapel of Notre Dame du Haut, Ronchamp, France. ArchDaily. Available at: http:// www.archdaily.com/597598/light-matters-lecorbusier-and-the-trinity-of-light [Accessed August 31, 2017].
Hsu, S.-M., 2007. Modern Art Museum of Fort Worth. flickr. Available at: https://www. flickr.com/photos/1001nights/2170110447/ [Accessed September 24, 2017].
Feininger, L., 1954. Yale University Art Gallery: Construction View of a Staircase. ArchDaily. Available at: http://www.archdaily.com/362554/ light-matters-louis-kahn-and-the-power-ofshadow/516f12e0b3fc4b589800013e-lightmatters-louis-kahn-and-the-power-of-shadowphoto [Accessed September 28, 2017].
Architizer, 2014. Al-Bahr, Abu Dhabi, by Aedas Architects. Architizer. Available at: https://architizer.com/blog/7-intelligent-buildings-that-prove-digitally-driven-design-works/ [Accessed September 29, 2017].
Jodidio, P., 2001. Tadao Ando, Koln: TASCHEN.
De, S., 2016. Mashrabiya. flickr. Available at: https://www.flickr.com/photos/139619192@ N04/26714542735/ [Accessed September 29, 2017].
Unknown, 2017. Koshino House. Pinterest. Available at: https://au.pinterest.com/fcannata/ architect-tadao-ando/ [Accessed September 4, 2017].
Plummer, H., 2011. View looking east as solar line bends around the far end wall. Monastery of Sainte Marie de la Tourette, Eveux-surl’Arbresle, France. ArchDaily. Available at: http:// www.archdaily.com/597598/light-matters-lecorbusier-and-the-trinity-of-light [Accessed Augu st 31, 2017]. Sumner, E., 2017. Millowners Association Building. Edmund Sumner Photographer. Available at: http://www.edmundsumner.co.uk/mobile/ gallery.php?gallNo=112&catNo=10 [Accessed August 31, 2017]. Emden, C., 2012. Le Corbusier: Villa Savoye, Poissy, France. Divisare. Available at: https://divisare.com/projects/199426-lecorbusier-cemal-emden-ville-savoye?utm_ campaign=journal&utm_content=imageproject-id-199426&utm_medium=email&utm_ source=journal-id-6 [Accessed August 31, 2017].
Jodidio, P., 2001. Tadao Ando, Koln: TASCHEN. Shinkenchiku-sha, 2011. Church of Light. Detail Inspiration. Available at: http://inspiration.detail. de/discussion-a-second-look---tadao-andoschurch-of-light-in-ibaraki-107219.html?lang=en [Accessed September 4, 2017]. van der Vegte, W., 2008. Honpukuji water temple designed by Tadao Ando. Panoramio. Available at: http://www.panoramio.com/ photo/13137364# [Accessed September 4, 2017].
Rake, A., Students’ Dining Halls and Kitchens, IIM Ahmedabad, Porch. Architexturez South Asia. Available at: https://architexturez.net/file/ raje-iim-dining-1-jpg [Accessed September 28, 2017]. Reid, M., 2013. Salk Institute. Maurice: Architecture Inspiration Ideas Observations. Available at: https://mauricereid. com/2013/04/27/salk-institute/ [Accessed September 28, 2017]. Yusheng, L., 2004. Kimbell Art Museum Louis Kahn. Figure/Ground. Available at: http:// figure-ground.com/kimbell/0016/ [Accessed September 28, 2017].
Loubre Abu Dhabi, 2017. Louvre Abu Dhabi. designboom. Available at: https://www. designboom.com/architecture/louvre-abu-dhabi-opening-jean-nouvel-09-06-2017/ [Accessed September 29, 2017]. Pillsbury, M., 2008. La Saile du Haut Conseil, Institut du Monde Arabe, Jean Nouvel, Architect, Paris. Benrubi Gallery. Available at: http://benrubigallery.com/gallery/94/time-frame [Accessed September 29, 2017].
Unknown, 2017. Koshino House. Pinterest. Available at: https://au.pinterest.com/ pin/350506783475642376/ [Accessed September 4, 2017].
p. 19 Cinque, P., 2014. Pozzo di San Patrizio. flickr. Available at: https://www.flickr.com/photos/ viaggionelmondo82/11951837913/in/photolistjd9i1V [Accessed September 4, 2017]. Marjason, R., 2013. Pozzo di San Patrizio, Orvieto, Italy. flickr. Available at: https:// www.flickr.com/photos/regmarjason/ albums/72157633715775496 [Accessed September 4, 2017]. Socolik, A., 2012. Pozzo San Patrizio/st. Patrick’s Well. Fine Art America. Available at: https://fineartamerica.com/featured/pozzo-san-patriziost-patricks-well-alan-socolik.html [Accessed September 4, 2017]. p. 22, leftmost Vident, 2012. Passageway. flickr. Available at: https://www.flickr.com/photos/ vident/7578754550/ [Accessed October 23, 2017].
An early concept sketch of the pavillion plan.
representation II - 2017