G2.Lindner.Darcy.Rep2.17.Final

T he S tudy

‘ surrounded

of

L ight

by light ’

Content Table S ta g e O n e :

pg.

1-10

S ta g e T w o :

pg.

11 - 2 0

S i t e P l a n

pg 1

P r e c e d e n t p g 1 2

North Elevation/

pg. 2

Light Pavillion One pg. 13-15

South Elevation

Spacial Diagrams

Plan E a s t E l e v a t i o n

pg. 3

Section/Elevations

3D Views

3D Model Views

pg. 4

M o d e l S h a d o w s

pg.5

L i g h t P a v i l l i o n Tw o p g . 1 6 - 1 8

Site Access Map

pg. 6

Spacial Diagrams

Plan Section/Elevations

S i t e C u l t u r e

pg. 7

A m b i e n t L i g h t

pg. 8

Photographs

3D Views

L i g h t S t u d y : Reflection

L i g h t S t u d y : Luminosity

pg. 9-10

pg. 19-20

S ta g e T h r e e : p g . 2 1 - 3 0

Access + Movement pg 22

S ta g e F o u r :

pg.

31-40

S t r u c t u r a l M o d e l

pg 32

M o d e l V i e w s

pg. 22-24

Exploded Composition

pg. 33-34

R o o m S p a c e s

pg. 25-26

Construction Details

pg. 35-36

Internal Views

pg. 27-28

M a t e r i a l s + Te x t u r e s

pg. 37-38

L i g h t S t u d y :

pg. 29-30

L i g h t S t u d y :

pg. 39-40

Opacity

Filtration

The Site

s i t e p l a n

n

1:1000

pg 1

s o u t h e l e vat i o n

1:500

n o r t h e l e vat i o n

1:500 pg 2

The Site

e a s t e l e vat i o n

1:500

pg 3

3 D V I E W S N . T. S

pg 4

S i t e A n a ly s i s

S U MM E R S H A D I N G

9am

12pm

3pm

WINTER SHADING

9am

Images

12pm

3pm

n.t.s

pg 5

S i t e A cc e ss M a p

Site Access via Foot

Ve h i c l e A c c e s s

via Frome Road

Access into surrounding buildings

s i t e p l a n n

1:1000 pg 6

C u lt r u a l E x p e r i e n c e The University of Adelaide is filled with students from all over Austra-

lia and all corners of the world, it embraces great diversity of cultures.

The Braggs Lawn site and surrounding buildings is not only a place for learning to take occur but also for the coming together of social activities.

This site is a very popular space for doing study outside on the lawns

and benches during the nicer months in Adelaide. Not only is it a communal place for study but also for events such as O-Week, BBQ’s and

other fundraisers. In a sense, the culture of the site demonstrates the sense of ‘luminosity’ by bringing everyone together from all cultures and creating a positive and creative atmosphere.

pg 7

Ambient Light Photographs

At night time, the ambient

Throughout the day sun-

Certain buildings have ar-

man made lights installed

of light which creates am-

or objects connected to

lighting comes from the

inside the building. The

fluorescence of the light

radiates through the glass panels and reflects to the

outside, creating this illumination surrounding the building.

light is the main source

bient lighting within the

site. When the sun is directly above the Bragg’s

Lawn there are many shiny and light coloured surfaces in which the sunlight

reflects off of which creates a bright, lively and inviting place to be. pg 8

eas extruding out of them

them, which when the sun shines on the buildings,

creates a positive and negative lighting experience

between shaded areas and areas in full sunlight.

LUMINOSITY L u m i n o s i t y, t h e l u m i n o u s q u a l i t y o f l i g h t . D e f i n e d b y t h e r a d i a t i o n q u a l i t y o f n a t u r a l o r m a n m a d e l i g h t . ( D i c t i o n a r y. C o m , 2 0 1 7 ) L u m i n o s i t y i s t h e way the light beams into the atmosphere and how it reflects off different surfaces and objects to enhance the ‘glow’. The luminosity of light is a very powerful tool in creating a particular mood or atmosphere.

Luminosity can be considered as the presence and vision of light. This correlates to values that go deeper than just the physical illumination of light. The radiation of light can signify a positive idea such as enlightenment and awakening. Having a bright, luminous light connected to the idea amplifies the deeper meaning of ‘awakening’ and ‘enlightenment’ suggesting ideas of success, happiness, awareness and knowledge. When something is ‘luminous’ it is usually associated with a positive idea or act, such as reaching set goals all the way to people coming t o g e t h e r a s a c o m m u n i t y. T h e s e a r e n o t p h y s i c a l l y ‘ l u m i n o u s ’ h o w e v e r t h e s e a c t s c r e a t e a n d e c h o t h a t q u a l i t y.

In architecture light plays a very important role, without light there is no space or vision. The article Fluid Luminosity: The Architectural Lighting of Zaha Hadid talks about how influential luminosity lighting is and it is becoming an essential element throughout her work. (Schielke 2017) The importance’s of luminous light has not always been recognised. Zaha Hadid, over time, increasingly used this technique to further enhance fluidity between architecture and light. By involving this element of luminosity into designs, it allows the building designs to adopt a mood and create an atmosphere that is inviting and creates c u r i o s i t y.

pg 9

Zaha Hadid’s early designs started with lines and sharp corners, enhancing her buildings with windows and luminaires, often in strips. This is the first point in which lighting played a major role in her architecture. One of her first buildings to demonstrate this was the Vitra Fire Station which shows how she plays with non-parallel lines and then accentuates certain areas, such as where the ground and wall or wall and ceiling meet, with luminous lighting. (Schielke 2017) This intensifies the linear aspect of the design whilst also defusing the harshness of the sharp lines, complimenting and creating the right balance between harsh and soft.

Moving through the career of Zaha Hadid, she started to look at and use l i g h t i n a d i f f e r e n t w a y. S h e m o v e d f r o m t h e i d e a o f s h a r p l i n e a n d s t r i p lighting, to then creating designs that have fluidity between the inside and out. The design of the Phaeno Science Centre was the first point in which Hadid really pushed the realms of lighting. (Schielke 2017) The building structure is elevated with large vertical voids creating a relationship between the outside daylight and the shade of the inside. Creating this contrast between the daylight from out side and the shaded area inside, really intensifies the darkness created from the elevated building.

T h e t r a n s i t i o n f r o m s h a r p e d g e s t o c u r v e d a n d t h e u s e o f f l u i d l u m i n o s i t y, really creates a coherent form throughout Hadid’s designs. Another technique Hadid used to create this fluid luminosity was incorporating material that had a shiny surface such as glass. (Schielke 2017) This allows for the light to reflect off the surface and also emphasises the idea of coherent design as the reflective surface mimics the surroundings of the building, making it look like it fits well into the landscape.

“Dictionary.Com - The World’s Favorite Online Dictionary!”. 2017. Dictionary.Com. http://www.dictionary.com.

Schielke, Thomas. 2017. “Fluid Luminosity: The Architectural Lighting Of Zaha Hadid”. Archdaily. http://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid.

pg 10

S TA G E T W O : REFLECTION

p g 11

F u s h i m i I n a r i - ta i s h a S h r i n e

T h e F u s h i m i I n a r i - Ta i s h a S h r i n e l o c a t e d i n J a p a n ,

I took inspiration from this design in the way it

tion to create a pathway that weaves up the moun-

let the light through in different and visually pleas-

has creatively used a simple stick form and repetitains to the entrance of the shrine. The sticks are

used to create a rectangular arch which are then repeated multiple times to create a continuous path.

The gaps between each arch allows the light to be

uses repetition and how offsetting an element can

ing ways. This allowed me to keep the spaces sim-

ple, while allowing the lighting to create a specific mood and feeling.

let in at different angles creating a contrast between shadows and light.

pg 12

L i g h t P av i l i o n O n e

Start with simple rectangular shape, repeating the

Staggering of the arches allows light to come

ous arches to the width of the building.

point for the design.

length of the centre of the building. Extending vari-

through in different angles and create a central

p l a n 1 : 2 0 0

pg 13

south section

1:500

e a s t e l e v a t i o n 1 : 1 0 0

n o r t h e l e vat i o n

1:200 pg 14

3d

internal view

aerial view

3d

ground view

internal view

n.t.s

pg 15

L i g h t P av i l i o n T w o

Working with lines and squares to create the second pavilion, was a proccess of creating

grids and layering boxes. The glass grids let

the light shine in and by offsetting each row it allows the light to come in at different angles.

This design is a lot more open than the first

one and only having certain strips of glass letting in the light. This allows for certain areas to not have any natural light to contrast with those areas that do.

p l a n 1 : 2 0 0

pg 16

w e s t e l e vat i o n

south section

1:100

1:500 pg 17

3d

internal view

aerial view

ground view

3d

internal view

n.t.s

pg 18

REFLECTION Reflection can be defined as ‘the throwing back by a body or surface of light, heat or sound without absorbing it’. The way the light casts off a surface due to the material its made of, creating a reflection. A shiny surface will reflect any variety of light resulting in the creation of a reflection and a shadow.

Reflection in architecture is formed by the surfaces created and the materials used for those surfaces. Reflection allows for a particular atmosphere or experience to be created for a space, whether its an internal or external space. It allows for the natural light to be used as a design element, creating different ambience of light. For example, when a glass façade reflects the imagery and light of t h e s k y, i t p r o d u c e s a f e e l i n g o f c a l m w h i c h y o u w o u l d s e e k f r o m s m o o t h w a t e r.

Normally you would not experience this sense of calm in places such an inner city location, however facades that allow reflection help create these emotions in unsuspecting places.

An important element in architecture is the landscape that the buildi n g i s l o c a t e d w i t h i n . Yo u w a n t t h e b u i l d i n g t o c o m p l i m e n t t h e l a n d scape and not dominate the space. Incorporating reflection into a design is a creative and practical way of tying the building and lands c a p e t o g e t h e r.

A n A m e r i c a n d e s i g n e r, D o u g A i t k e n , c r e a t e d a r a n c h s t y l e h o u s e i n the middle of Palm Springs which was cladded from roof to floor w i t h m i r r o r. T h e l o c a t i o n i n P a l m S p r i n g s i s i n t h e m i d d l e o f a d e s ert that has potential for a 360-degree view of mountains in the vast distance, radiates a wide range of colours from the sand, rocks and p l a n t s w h i c h t o g e t h e r c r e a t e a n a m a z i n g d e s e r t s c e n e r y.

pg 19

Aitken took this opportunity to make the landscape a main feature in his design and achieved this by incorporating mirror and reflection.

B y c l a d d i n g t h e e n t i r e e x t e r i o r o f t h e h o u s e i n m i r r o r, h e c r e a t e d a reflection of the whole landscape. This makes the house look like its invisible, with no interruption to the landscape at all.

There were areas of the house where the mirrors reversed the reflection, purposely trying to create feelings that are outside of a person’s comfort zone. This technique created a colidescope type reflection which sparks a person’s interest as it creates confusion and misperception. This is a clever way of using the natural surroundings to p r o v o k e f e e l i n g s b u t i n a n u n u s u a l w a y. A l t h o u g h t h e e n t i r e h o u s e i s cladded in mirror and has the sense of being invisible in the landscape, you can still admire the architecture of the building including the joins of each wall, each panel and each roof sheet changing

the

a n g l e o f t h e m i r r o r. T h i s f o r c e s t h e l i g h t t o r e f l e c t i n d i f f e r e n t d i r e c tions, making visible the different components of the house.

Aitken has shown how you can take the simple elements of architecture and create a very thought provoking and interesting design. By using the simple technique of reflection he managed to create a house that allowed the surrounding landscape to be the main feature of the design, while still allowing the architecture of the building to also shine through, demonstrating reflection as a very useful and practical key element in his design.

Howarth, Dan. 2017. “Doug Aitken Installs Entirely Mirrored Cabin In The Southern Californian Desert”. Dezeen. https://www.dezeen. com/2017/02/28/doug-aitken-installs-mirage-entirely-mirrored-cabin-palm-springs-california-desert-x/.

pg 20

S TA G E T H R E E : O PA C I T Y

A cc e ss

and

Movement

main entry

pg 22

+

exit

t h e b e e n a

s u r r o u n d i n g s p l a n t e d

f e e l i n g

a n d

o f

l o o k i n g i n

Model Views

o u t

o f

w i t h

p r i va c y u p

t h e

,

t h e

y o u

l a r g e

. Wh g e t

m i d d l e

l i g h t

o f

e n

pav i l i o n

t r e e s

i n s i d e

t h e t h e

t o

t h e

f e e l i n g f o r e s t

pg 23

c r e at e pav i l i o n

o f

.

h av e

b e i n g

pg 24

north section

1:100

4

1

2

3

R o o m S pa c e s

south section

pg 25

1:100

1

r e a d i n g

r o o m

o n e

s pa c e

/ 6

s pa c e

/ 4

6

pg 26

l i b r a ry

r e c e p t i o n

/ 3

p r e s e n tat i o n s e m i n a r

r o o m

/ 7

/ 8

wa s h

r o o m s

7

s e m i n a r

/ 5

s t o r a g e t w o

5

/ 2

r o o m

8

Internal Views

pg 27

‘a

r c h i t e c t u r e

t h e

t h o u g h t f u l

m a k i n g

-

i s

o f

l o u i s

s pa c e

.’

k a h n

pg 28

O PA C I T Y O p a c i t y i s t h e q u a l i t y o f a m a t e r i a l t h a t l a c k s t r a n s p a r e n c y, t h e m o r e transparent the material, the more light that is able to pass through. The l o w e r t h e o p a c i t y, t h e m o r e s e e t h r o u g h t h e m a t e r i a l / o b j e c t a n d v i s a v e r sa. Opacity is technique used to manipulate the intensity of light.

Opacity in architecture plays an important role in creating moods and feelings about a building or space. Opacity is all about the translucency of a material and how it lets the light through. It allows for a simple tool such as light to be controlled and worked in a particular way to create a certain ambience of light. Opacity can be related to seeing through or past things, to seeing light at the end of the tunnel. It has an over arching theme of persistence and resolution, where you can’t quite see the destination but you can see what path to take to get to the end. Opacity plays on the ability of vision, depending on what the opacity is helps with the visibility of light.

Scandinavian countries have two very different seasons of light, summer where the light creates long summers days and winter where the light is scarce. Looking past the typical uses of white walls to reflect the natural daylight off of, Scandinavian architect Henry Plummer agrees that whiteness is one of the main techniques to maximise the light inside of a building. Nordic architects use this technique of ‘whiteness’ as it is the most appropriate way to respond to the Scandinavian environment and allows them to work with the unique sunlight. White surfaces are very successful to bounce light off of as they have a shiny and reflective surface, which maximises light inside a building.

pg 29

The concept of white diffusion was introduced by architect Alvar Aalto in the 1930’s. This style of design allowed the light to diffuse throughout the building due to the all white building materials. The materials were white painted plasterboard, white enamelled steel and white linoleum which created a space which was highly reflective, allowing the light that was captured by the room to radiate throughout the whole space. In combination with idea of white diffusion, vibrant patterns of light play a key role in radiating light. Buildings use different textures, glass materials and built volumes that change the way light and shadows is depicted through different times of the d a y. I n p a r t i c u l a r b u i l d i n g s s u c h a s c h u r c h e s a n d c a t h e d r a l s show this technique of time-concept, where shadows are cast onto the interior walls but the shadows change their pattern and placement on the wall depending on what time of day it is.

In a church setting this allows the shadows and light to illustrate a certain mood at particular times throughout the days.

N o r d i c a r c h i t e c t u r e h a s a v e r y s t r o n g i n f l u e n c e o f o p a c i t y, t h e combination of light and white space creates an amazing feel to the space. It allows a space to really be defined by the use of light, the way the light is penetrated into the room and bounced off of the surrounding walls. This brightness that’s created gives the feeling of the room being larger than it actually is.

Opacity is a really important design technique in architecture as it helps in creating a mood and feeling within a space giving a room a humanly touch.

Schielke, Thomas. 2017. “Light Matters: Whiteness In Nordic Countries”. Archdaily. https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries.

pg 30

S TA G E F O U R : F I LT R AT I O N

t h e

‘s

l i g h t

u r r o u n d e d

d w e l l i n g t h e

e

m a i n

c o n c r e t e a n d

m i r r o r

m at e r i a l s

,

pa i n t e d

. Th

i n g

o f

i s

o f

t h e

y e l l o w

pav i l i o n p l a s t e r

c o m b i n at i o n

b e i n g

b y

,

b o a r d

l i g h t

g l a ss

t h e

f e e l

.

pg 32

-

b y

a r e

y e l l o w

l i g h t

p o l i s h e d

i n t e n s i f i e s

s u r r o u n d e d

L i g h t P av i l i o n

a r e

y o u

b r i g h t r a l

Th

pav i l i o n

a n d

d e m o n s t r at e s

l i g h t

’. Wa

c o n s ta n t ly c o l o u r c r e at e s

l k i n g

m e ta p h o r

t h r o u g h

f u n

t h e

b y

l i g h t

,

a m p l i f y

t h e

n at u

-

v i b r a n t

f e e l

s u r r o u n d e d

h e l p s a

t h e

.

g l a ss

r o o f i n g

s o u t h

wa l l

e a s t

wa l l

i n t e r n a l

wa l l s

Exploded Composition

pg 33

s t r u c t u r a l

a r c h e s

f u r n i t u r e

w e s t

n o r t h

wa l l

wa l l

f l o o r i n g

pg 34

10

m m

d o u b l e

g l a z e d

g l a ss

200

x

100

m m

s t r u c t u r a l

s t e e l b e a m

e x t e r n a l

C o n s t r u c t i o n D e ta i l s

wa l l

pg 35

50

m m

p r e c a s t

25

m m

i n s u l at i o n

50

m m

p r e c a s t

s t e e l

I

b e a m

c o n c r e t e

c o n c r e t e

t r a c k

t r a c k

12 s u p p o r t i n g

m m

p l a s t e r b o a r d

pa i n t e d

b e a m

pg 36

f i n i s h

C

o m b i n at i o n

p o l i s h e d c r e t e t h e

a n d

n e x t

g l a ss f o r

o f

t o

m i n i m a l i s t i c

r e f i n e d t h e

r o o f

l i g h t

,

m at e r i a l s

s pa c e

y e l l o w

c r e at e s

r e f l e c t i o n

. Th

e

pa i n t e d a

p o l i s h e d c o l u m n s

p e r f e c t

a n d

c r e at e s

,

-

w i t h

e n v i r o n m e n t

i l l u m i n at i o n

M at e r i a l s + T e x t u r e s

c o n

a

.

pg 37

pg 38

F I LT R AT I O N Filtration is the action or process of something moving through a device to remove unwanted material, or the action of moving through a space in an orderly fashion. Filtration allows for a product to be refined and made more pure than its original state.

Filtration can be looked at in many ways. Filtration of light allows for the creation of a particular mood or feeling in a certain space. Filtering out unwanted light leaves you in a space that’s dim and vague, creating a mysterious feeling of the unknown. Whereas filtering minimal light allows for a space to be well lit and illuminates the space creating an area which has a more upbeat feel. By filtering and being specific in the quantity of light that is allowed in a space you can create a difference in positive and negative, good and bad or vibrant and dull environments and moods.

Light is an important element in architecture and creating a s p a c e . H o w e v e r, i t a l s o h a s a d e e p e r m e a n i n g t h a n j u s t l i g h t ing up a room, it is often related to God being lit. Le Corbusier being an architect and an artist knows how to use light in a c r e a t i v e w a y a n d u t i l i z e d i t i n a p r a c t i c a l a n d a r t i s t i c w a y.

Corbusier was no stranger to designing and building sacred spaces and within each of them he manipulated the light differently achieve a new language of light such as a glow, a shimmer and a luminous light. The way Le Corbusier designed with light, created a poetic and artistic element in the spaces.

pg 39

One building that showed the amazing use of light was the Saint-Pierre a t F i r m i n y, w h i c h u s e s l i g h t p l a y t o c r e a t e a n e x t r a o r d i n a r y v i s i o n a r y experience. An interesting design feature is the way the light is able to change from one shape to another just with the movement of the sun. On the East façade of the building, the small windows create dots on the floor which later in the day turn into waves of light. As the sun rises and sets, the waves also move, giving it that life like feeling of waves in the ocean. This wave effect is projected not only onto the floors but also up onto the walls, creating a visual display around the building. After a certain point in the day the waves disappear and a new visual appears. The church is surrounded by darkness apart from two large beams of light that come straight down from the ceiling giving a more defined and harsh light. The design of the building has taken into consideration all aspects of the surrounding environment such a s t h e t i m e o f d a y a n d t h e t y p e o f d a y. T h e t y p e o f l i g h t c h a n g e s d u e t o t h e w e a t h e r, i f i t i s a n o v e r c a s t d a y a s o f t e r d u l l e r l i g h t i s p r e s e n t and when it is a bright summer day the light is more vibrant and striking.

This really shows that light is a crucial tool in the design of a building, both natural and synthetic. The manipulation of light is a clever way of creating something mysterious and magical out of a standard space. It allows the design to be lifted and taken to a higher level of creativity just through the simple inclusion of light.

Schielke, Thomas. 2017. “Light Matters: Le Corbusier And The Trinity Of Light”. Archdaily. https://www.archdaily.com/597598/light-matters-lecorbusier-and-the-trinity-of-light.

pg 40

D arcy L indner //

a 1708385