LIGHT IS HISTORY UNEARTHING HISTORY, SEEKING KNOWLEDGE ELEANOR HUGHES - A1706637
TABLE OF CONTENTS:
STAGE 1 - PLACE 01
SITE PLAN
02
ELEVATIONS
03
3D VIEWS - GROUND
04
3D VIEWS - AERIAL
05
SHADE AND SHADOW
06
ACCESS AND MOVEMENT
07
SOCIAL/CULTURAL QUALITIES
08
PHOTOGRAPHIC STUDY AMBIENT LIGHT
09
LIGHT STUDY 1 - LUMINOSITY
10
CASE STUDY - LUMINOSITY
STAGE 2 - IDEA 11
FORM DEVELOPMENT
12
SPACIAL DEVELOPMENT
13
PLANS + SECTIONS + ELEVATIONS - CONCEPT 1
14
PLANS + SECTIONS + ELEVATIONS - CONCEPT 2
15
3D VIEWS - CONCEPT 1
16
3D VIEWS - CONCEPT 2
17
3D VIEWS - INTERNAL
18
DESIGN PRECEDENT - FORMAL + SPACIAL STUDY
19
LIGHT STUDY 2 - REFLECTION
20
CASE STUDY - REFLECTION
SITE PLAN 4 2
1 5
1
BARR SMITH LIBRARY
2
BRAGGS BUILDING
3
INGKARNI WARDLI
4
MOLECULAR LIFE SCIENCES
5
ENGINEERING AND MATHS SCIENCES
6
SANTOS BUILDING
01
3
SITE PLAN 1: 1000
6
ELEVATIONS
SOUTH ELEVATION 1: 1000
EAST ELEVATION 1: 1000
NORTH ELEVATION 1: 1000 02
3D VIEWS - GROUND VIEW FROM FROME STREET
VIEW FROM INGKARNI WARDLI STAIRS
03
3D VIEWS - AERIAL VIEW FROM ABOVE BARR SMITH LIBRARY
VIEW FROM ABOVE SCHOOL OF PETROLEUM
04
SUMMER
SHADE AND SHADOW
12NOON
3PM
9AM
12NOON
3PM
WINTER
9AM
05
SITE ANALYSIS: ACCESS AND MOVEMENT PEDESTRIAN MOVEMENT The foot path that runs through the site, located in front of the library facade and Braggs entrance is a popular pedestrian route, bringing a lot of people in/through the site. The back of the site, towards Frome Road is less frequented due to easier access points to the buildings closest to Frome Rd via points within the more centralised area of the university.
SITE ACCESS POINTS The site can be accessed from Frome Road, through the glass Aroma Cafe space at the back of the Braggs building, between the Braggs entrance and side of the library, between the School of Computer Sciences and the Australian School of Petroleum, and between the library and Aroma cafe.
06
SITE ANALYSIS:
SOCIAL/CULTURAL QUALITIES The site plays an important social and cultural role in the lives of the students and staff of the University of Adelaide. During university hours, the seating around the site is popular as a resting/socialising area between classes, and a pleasant area for meal times. Before and after university hours, the lawns are used by the university’s gym staff to hold outdoor exercise classes, and by university clubs and groups for practise. The site is also enjoyed by others, especially families, outside the university as a meeting place and relaxed area to sit on the lawns.
07
PHOTOGRAPHIC STUDY: AMBIENT LIGHT DAYTIME
In the photograph to the left, the ambient natural light floods the outdoor corridor, creating looming shadows from the tall columns. The light at the time this photo was taken was very bright, but it is warmed by the cream coloured pavers and warm orange tone of the buildings’ facade. The photograph to the bottom left depicts the site around the middle of the day, evident by the harsh ambient natural light. The light is so harsh that it creates a subtle film across the whole photo, dulling the colours of the buildings and their surroundings.
The top left photograph depicts the site late at night. Artificial ambient light can be seen running along the bottom length of the Braggs building. This strip light has a warm, pleasant, yellow tinge to it. The photo also captures the brighter lamppost lighting placed intermittently along the path. At the end of the Ingkarni Wardli building is where this photograph was taken. The blue coloured, ambient light, in the photo creates the focal point for this image, and is surrounded by warmer shades of blue and yellow artificial lighting.
NIGHT-TIME 08
LIGHT STUDY 1: LUMINOSITY LINGUISTIC DEFINITION: Luminosity refers to the light emitted by objects, and the brightness of this light. The word can also be used when describing a person’s complexion and character/personality. The concept of human luminosity relates to the quality of intellect, or the notion of being inspired or enlightened. In reference to astronomy, luminosity is used to explain the level of brightness of a star, when comparing it to the brightness of the sun.
“Definition of Luminosity,” Collins, accessed August 14, 2017, https://www. collinsdictionary.com/dictionary/english/luminosity. “Luminosity,” The Free Dictionary, accessed August 14, 2017, http://www. thefreedictionary.com/luminosity. “Luminosity,” Vocabulary.com, accessed August 14, 2017, https://www.vocabulary.com/ dictionary/luminosity.
PHILOSOPHICAL MEANING: Found in the very foundations of Buddhism lies the concept of luminosity. Luminosity translates from Indo-Tibetan Buddhism as radiant or light that is clear, whereas the translation from the Buddhism of East Asia can simply be termed as purity. Unlike the English definition and understanding of the term luminosity, the Buddhist meaning is not taken so literally, but rather refers to the purity, clarity, and wisdom of the mind. This meaning was used to explain how afflictions of the mind can be erased permanently, allowing for the possibility of wisdom and enlightenment. The term luminosity in Buddhism has also been connected to the ‘experience of consciousness,’ specifically that of lower levels of consciousness, referring to moments such as the point before death, and when falling asleep. 09
“Luminosity,” last modified May 26, 2016, http://www.oxfordbibliographies.com/view/ document/obo-9780195393521/obo-9780195393521-0219.xml.
CASE STUDY: LUMINOSITY THE BARNES FOUNDATION TWBT ARCHITECTS
Designed by Tod Williams Billie Tsien Architects (TWBTA), and opened in 2012, The Barnes Foundation sits proudly in Philadelphia where it is home to a vast collection of French and Post-Impressionist paintings, as well as some early Modernist pieces. Termed the ‘Gallery in a Garden,’ the building is surrounded by vegetation, creating a garden sanctuary within the busy urban centre. The building itself is created with the combination of three forms: two elongated block sections, and a translucent roof structure through the centre, linking the two sections. The two blocks run parallel to each other, one a simple rectangle form, the other an ‘L’ shaped form that folds around the exterior of the smaller block. The central translucent block, that appears to float above the two other forms, creates the roof for the central area of the building. The simple, elegant, and streamlined design of the building allows for the focus to be orientated towards the impressive collection of artworks. The artworks are displayed within the ground level of the building, on the south-west side. Clever use of interesting ceiling structures with inbuilt artificial light, along with large windows, allow the gallery spaces to be illuminated with a soft luminosity. The carefully planned light hits the luminous surface of the shiny oil paintings, displaying their magnificent colours and textures. The lighting of the rooms is further enhanced
due to the materials and finishes used in the spaces. The timber floorboards chosen are a lighter wood, with a smooth, lightened finish. The flooring, along with the white, textured, concrete walls, further amplifying the scale of the rooms. In the second storey of the gallery, top light is drawn into the spaces through a clerestory. A series of louvres then disperse this light to allow the rooms to fill with subtle amounts of natural light. The central area of the building roofed by the translucent block form is, during the day is almost solely illuminated by the natural light brought through the complex structure of the roof. The natural light, brought through the triangular roof structure, dances off the luminous qualities of the dark floor boards and warm sandblasted limestone walls, warming the building with the faintly reflected colours. Through the observation of light, and the adoption of luminosity in The Barnes Foundation building, the meaning and importance of luminosity in architecture is evident. In relation to the lighting of a building, it is impossible not to observe the role that the luminosity of materials plays in the atmosphere, and the effect that certain types of light can have on different materials. Without the luminous qualities of materials and light, and the interesting reflection and warmth this can create in a space, buildings would appear flat and lack a sense of scale and comfort. “The Barnes Foundation / Tod Williams + Billie Tsien,” ArchDaily, 28 May, 2012, http:// www.archdaily.com/238238/the-barnes-foundation-building-tod-williams-billie-tsien/.
10
FORM DEVELOPMENT
CONCEPT 2
CONCEPT 1
HISTORIC & ARCHAEOLOGICAL INFLUENCES
11
INITIAL FORM
PLAN CONCEPT
DEVELOPMENT OF ELEVATION
The initial form for concept 1 was generated through the analysis of archaeological excavation of animal bones, and the sharp patterns in their skeletons.
The plan concept uses the initial form and repeats it, creating a form resembling the skeletal tail of a dinosaur.
The development of the elevation view uses the wider inspiration of an excavation site, with its geometric and ordered cuts into the ground, to create the simple elevated form. This elevated form is also derived from the idea of how artefacts look, as they are exposed to the world after thousands of years.
INITIAL FORM
PLAN CONCEPT
DEVELOPMENT OF ELEVATION
The initial form for concept 2 was created through the observation of the geometric form of ancient spearheads, and the natural triangular growth pattern of crystals.
The concept for the plan was developed through repetition of the inspired triangulation, and in observing the dispersion of crystals in a large growth cluster.
The elevation was developed through analysing the dispersion, irregularity, and lack of symmetry found in crystal growths. The growths tend to extend in a more horizontal than vertical direction. This low, elongated growth was replicated in this elevation concept.
SPATIAL DEVELOPMENT DEVELOPMENT OF INTERIOR
DEVELOPMENT OF FLOOR AREA This underground floor plan concept was formed through observing the curvaceous form of dinosaur tails. The subtle flow/curve could create a comfortable and open space, allowing for socialising and a more open learning space.
The sketch to the left displays the possible formation of this concept into a design. The undulating form of the area would be interestingly juxtaposed against the linear and repeated light that would be let in through the triangular skylights at ground level. To allow for the curvaceous form to be appreciated, the use of movable walls could act as an effective device to create separated spaces when needed, and at other times to have the area as an open and vast space.
DEVELOPMENT OF INTERIOR
DEVELOPMENT OF FLOOR AREA The concept floor plan for the underground section of the design was developed through looking at the silhouette created by small crystal formations. This formed a dynamic area, with more secluded areas that could be developed into quiet spaces, or sectioned off as rooms.
To the left is the united design for the second concept. The jarring shape of the underground space and angled outer walls is quite unsettling by itself, but with the introduction of the dispersed skylights above it at ground level, the space would be filled with diagonal lines of light from all angles, bringing comfort and openness to the area. Again the idea of moveable walls is applicable to the concept as they allow the space to appreciated as a whole, instead of being split.
12
CONCEPT 1 PLAN 1: 1000
EAST ELEVATION 1: 1000
B
SECTION AA 1: 1000
A
A
B
SECTION BB 1: 1000 13
CONCEPT 2 D
C
C
EAST ELEVATION 1: 1000
D SECTION CC 1: 1000
PLAN 1: 1000 SECTION DD 1: 1000 14
3D VIEWS - CONCEPT 1
GROUND VIEW
15
AERIAL VIEW
3D VIEWS - CONCEPT 2
GROUND VIEW
AERIAL VIEW
16
17
CONCEPT 2
CONCEPT 1
3D VIEWS - INTERIOR
DESIGN PRECEDENT PALAON ARCHAEOLOGICAL MUSEUM The design of the Palaon Archaeological Museum in Germany, created by Holzer Kobler Architects, incorporates a mirrored exterior to reflect the different views of the wilderness surrounding the site. The dynamic, geometric form of the building was created to reference the man-made history and elements unearthed on the site.
ELEMENTS THAT INSPIRED THE CONCEPTS: • Focus on reflection (exterior) and use of luminous materials • Creation of dappled light in the interior • Dynamic/geometric form • Use of natural light • Connection with landscape • Focus on history and archaeology
THE MUSEUM WAS BUILD UPON AN IMPORTANT ARCHAEOLOGICAL EXCAVATION SITE.
18
LIGHT STUDY 2: REFLECTION LINGUISTIC DEFINITION: Reflection refers to the casting back or mirroring of an image, light, heat or sound, from a surface without it being absorbed. Reflection can also be used to describe the results or consequences that can occur as a result of something else or an unfavourable observation or opinion about someone or something. The term is also used when referring to the thought that can occur during careful consideration or meditation.
“Reflection,” Cambridge Dictionary, accessed August 29, 2017, http://dictionary.cambridge.org/dictionary/english/reflection. “Reflection,” Dictionary.com, accessed August 29, 2017, http://www.dictionary.com/ browse/reflection. “Reflection,” Merriam-Webster, accessed August 29, 2017, https://www.merriam-webster.com/dictionary/reflection. “Reflection,” Oxford Dictionaries, accessed August 29, 2017, https://en.oxforddictionaries.com/definition/reflection.
PHILOSOPHICAL MEANING: THE REFLECTION THEORY
There are several philosophical theories of reflection, each with often converging suggestions relating to the connection between consciousness and the material world. John Locke’s Empiricist Reflection Theory states that our sensate observation of the ‘real world’ causes a mental version of this observation, and therefore connecting the objective and subjective ideas of the world and allowing these perceptions to be informal and unpredictable. Developed by Engels and Lenin, the Dialectical Materialist Reflection Theory contradicts Locke’s theory in that it suggests that the physical world and our consciousness exist independent of each other. Lenin also argues that sensations are not restricted to only existing as mental systems, but also contain some sort of connection with the material world. In summation, the reflection theory in philosophy is the proposal that the knowledge of humans is a reflection of the physical world. 19
“Reflection Theory,” Social Research Glossary, last modified January 2, 2017, http://www. qualityresearchinternational.com/socialresearch/reflectiontheory.htm.
CASE STUDY: REFLECTION THE SLEUK RITH INSTITUTE ZAHA HADID ARCHITECTS
In 2014, the design for the Sleuk Rith Institute in Cambodia’s Phnom Penh was exhibited by Zaha Hadid Architects. The construction of the Institute began in 2015 and is yet to be completed. The building will be home to the history and artefacts of the Khmer Rouge, and become a front-runner in Asia for genocide studies. Influenced by Cambodia’s ancient Angkorian architecture, the structure will be made up of five timber towers that, as they increase in height, will begin to interconnect, eventually bringing all five singular forms into one large whole. The exterior of the building is predominantly timber, slatted in delicate organic patterns that appear to grow around and up the five towers. These exterior timber slats also serve as shading for the building, protecting from the harsh sunlight. Catchment pools are placed on either side of the main entrance, and will be filled by rainwater harvested on the site. These pools will act as lighting during the day for the internal spaces of the building, as harsh sunlight is reflected off them and into the building’s dark interior. Reflected in the pools is also the beautiful organic form of the institute, subtly displayed on the water’s surface, and distorted by the movement and rippling of the water. Long water pools are also located between the five sections, running parallel to the edges of the towers and
elongating the buildings through their reflection on the water. Reflection in the site is also achieved in a very different manner through the inclusion of inspiration from Cambodian vernacular architecture, and the artefacts, commemoratory sculptures, and the dark history that the site displays in it’s galleries. This reflection is of a far more personal nature, with focus on the painful history of the Khmer Rouge displayed in subtle and calm surroundings. This approach to the display will allow and even encourage mental reflection and contemplation of the horrific event in a less harsh or distressing manner than often seen in other genocide memorial buildings through looming geometric forms. Neighboring streets are also linked together through footpaths running through the Institute’s park, connecting previously separated areas and bringing locals into the site, allowing them time for reflection and healing. Through the observation and analysis of The Sleuk Rith Institute, it can be understood that reflection is not merely a physical element within architecture, but rather a fluid one that has ties to both what we see, and what we feel and think. The importance of the mental reflection that can emerge or be fostered through the design of a building is often overlooked, but can be the element that adds depth and thoughtful meaning to a design. Karissa Rosenfield, “Sleuk Rith/Zaha Hadid Architects,” ArchDaily, October 10, 2014, http:// www.archdaily.com/555976/zaha-hadid-designs-five-wooden-towers-to-house-cambodian-genocide-institute.
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LIGHT IS HISTORY