Cocoon Elena Zekirias A1740082 Representation II
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Contents Page
Place 4
Idea 10
Form 16
Material 22 3
Site Description
The Barr Smith Library , was the first building to be at that location when the university first opened. With its history and its heritage listing its very important that there is an uninterrupted view from Frome
road to the Barr Smith Library. Therefore, a lot of consideration had to be made in the designing phase as to not obscure and obstruct the library.
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Key Site Features
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Sun Analysis of Site
Summer 9 am
Summer 12 pm
Summer 3 pm
Winter 9 am
Winter 12 pm
Winter 3 pm
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Site Circulation
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LUMINOSITY TRANSLUCENCY
TRANSPARENCY D
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The ability of making something appear as if it is shining, or the ability to produce or reflect bright light.
Philosophical
definition
The luminosity of an object can be defined by three states of being, the ability to shine, to reflect light, or to produce light. Although buildings may not be inherently capable of emitting luminescent light, they do however have the ability to reflect light and thusly become luminescent. They become that by either using the sun as a way to reflect light of the faรงade and appear as if they are shining, or by simply reflecting the light of the faรงade.
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nary things such as road line markings, can influence her work significantly as they then become a feature of her architecture by “transform[ing] them into luminaire patterns.” The integration of such ordinary things and the transformation that occurs, sets her work apart.
Throughout her entire career Zaha Hadid had a slow exploration of luminosity within her work. She started with “minimal light lines” with her work at the Vitra Fire Station early in her career. Her form finding techniques within her career have been primarily focused on her exploration of light and the fragmentation of the fluidity of light. Her use of light to render her architecture have become a key and essential part of interpreting her architecture, throughout her career. This can be seen in the Leeza SOHO skyscraper where there is an abundance of daylight throughout. In the beginning of her career, there was a primary focus on light lines, that appeared as forms of graphical lines to en-
hance her architectural works. “luminous lines – either as luminaires or windows- characterise her early work” and in her later work there was an obvious change to where she started enhancing light in fluid forms throughout her architecture. An early example of light lines in the Vitra Fire Station are seen in the ceilings, between walls and the ground. Her work was derived from her own paintings, and that where the light lines can be seen clearly. In the interior of the building the light lines from the sharp exterior allow for a soft diffusion of light throughout the building. Her abstracted paintings are a main source of inspiration for her, and are interpreted in her work with their relationship to light. Her fascination with ordi-
Her work prior to 2005 was majorly influenced from straight lines and there was a transition to curvilinear structures after that point. This is depicted in the Phaeno Science Centre, where she has diverged from the rigid linear structures of her early work. The structure was designed in such a way as to allow light to enter from purely one side of the building and to give the rest of the structure an intense feeling of darkness and void of light. The
square glass panes throughout the structure are spread throughout the roof in an apparently haphazard way that strategically diffuse the light, to allow the feeling of darkness to be more pronounced. The MAXXI Museum is where Hadid starded exploring fluid forms in the exterior and the interior of buildings. Allowing for anew exploration of light in relation to form and fluidity. The interior of the space with its white and grey backgrounds allows for refraction of light and a soft diffusion of the daylight. The contrast of the black staircases throughout the building allow for a spectacular concentration of light and diffusion to occur that causes a dynamic look.
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Process of Idea Generation
Seek Light is
Self Reflection Cocoon idea generation, and change in formation.
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Diagramming Concept Analysis seminar room 1 seminar room 2 Reading Space Exhibition Space Toilets Storage Space Small Library Reception Area 11
Process of Idea Generation Idea 2
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Process of Idea Generation Idea 3
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reflection refraction iridescence D
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The ability of an object to show an image in a mirror or a reflective object. The ability to return light, heat, sound or energy from an object.
Philosophical
definition
The ability an object has to reflective is defined by the material it is constructed from as well as its natural composition. Buildings can be made to be reflective due to those choices. The ability to reflect light from the faรงades of the buildings is demonstrated through the basic materiality.
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The use of glass architecture being led by modernism. Has taken over the glass facades of modern skyscrapers, however through the increase in those structures the facades have started to become monotonous. With architects such as Mies van der Rohe using his very specific mullions in his facades as a way to break through the monotony. With a greater focus now being on the external façade rather than the internal use of the space, as the way the light enters the building and forms spaces is seen to have a rising importance in the modern design of building with glass facades.
The glass façade of the Elbphilharmonie has the concave and convex glass that distorts the outside view of the city from the inside. The differences in the curved glass allow for a contrast within the plain glass facades in other buildings. The convex and concave glass allows the light that hits it to reflect in different patterns each time as each glass panel isn’t the same and there is a difference. The curved glass also reflects light in a way that makes it look like a precious stone, due to the different ways the light is reflected off the surface.
The Guggenheim Museum Bilbao has a metal cladding that reflects the light in a very different way to the Elbphilharmonie. The titanium cladding has many different qualities than glass, and the way it reflects light isn’t in the same jewel like way of the curved glass façade. The reflection of the sun on the metal claddings distorts the light and gives it a cloudy appearance that has been Frank Gehry’s signature, with his future buildings. The South Australian Health and Medical Research Institute (SAHMRI) has a façade of individual aluminium sunshades.
Each individual panel is model so precisely that the way they are arranged on the building allow for light to enter where needed, for it to reflect where there isn’t a larger need for light as well for ventilation. Some different forms of reflective panels such as the ones in SAHMRI can be seen in the Fernsehturm Berlin. The reflections of the pyramidal panels on the surface create a pattern in the shadow of the building, which wasn’t planned for in the construction of the building. However, the building was designed in a way as to allow the reflections from the building to form a crucifix.
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Form Exploration and Development
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Plans, Sections, Elevations
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Design Net Roof Level
Ground Floor
Underground 1
Undergrund 2
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Design Collage
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3D Modelling View
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Spatial Quality 1: Aerial view looking at site with view of the library 2: Aerial shot from above library 3: Aerial shot looking down
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6 4: Render from hallway looking at entrance 5: Render from entrance looking down 6: Render from main hallway 5
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opacity
darkness
shadow D
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The ability of an object to be opaque, or how much an object is opaque. The ability to prevent light from travelling through an object, the opposite of transparency.
Philosophical
definition
The ability of an object to be opaque is defined by how much light is allowed to pass through it. Buildings are inherently opaque, especially if there is an absence of windows. However, the deliberate usage of a transparent medium to allow opacity during the time there is a large sun exposure in a building to mask it, is ingenuity.
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Many buildings in Scandinavian countries have had to adjust and have been developed to allow for enough light during the winter as well as limit the light during the summer. The use of white is explored drastically as the reflection of light is seen as an important design feature as well as a way to make rooms seem brighter. This is evident in spaces of worship as a way to connect the effect of the light “with the local beauty [and] the human soul”. In the Scandinavian regions the drastic weather changes between summer and winter provide
a challenge for architects. The limited sunlight in winter and the long shadows enter buildings from any side windows as the sun is quite low in the sky in contrast to the high summer sun that allows for a large amount of light to be diffused. This influences the style of architecture greatly. Instead of skylights in roofs, there are long vertical windows from floor to ceiling to allow the winter sun. this is done to take advantage of the limited sun in the winter. And to limit the exposure to the summer sun as to not heat up the interior of the spaces too much. The white walls are also
used to reflect the light to allow for greater diffusion and to “produce an intensity of light [that is] greater than that outside.”.
the curtain wall panels on the side of the building as a lens and as a mirror to reflect the service.
Alvar Aalto introduced the concept of using walls plastered white as a way to diffuse light in spaces in the 1930’s. in the 1970’s this has also been seen more and more in Nordic architecture. Religious buildings tend to either use the light to bring attention to the service using the patterns the shadows bring or they use the light as a background feature of the liturgical service. The Pirkkala Church uses the shadows generated by
The white surfaces and the direct focus on light allow for both a spiritual connection is certain uses as well as for a greater exploration of the environment. Having to design in relation to maximising light in such a way is a challenging process as there must not be a compromise in the relationship the light has with the interior and the exterior experiences the building provides.
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Documenting Materiality
Glass balustrade
Glass
Dark grey tile
White concrete The walls of the building will be constructed from an insulated concrete panel, throughout the entire construction. The roof of the building will be from a lightweight aluminium that will have the glazed glass panel for the skylights.
A glass balustrade will used for the circular cut-outs on the first floor of the construction as to allow light, as well as allow people to look down.
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Construction DETAIL Concrete Insulation
Earth
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Visual Experience
Render looking at main courtyard from the back stairs
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Atmosphere
Render looking at front from the top of the back stairs
Render looking at back from front stairs
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filtration diffusion
porosity D
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The ability of an object to filter how much light,water, or gas passes through the object. Therefore controlling how much of certain elements are allowed to pass through an object.
Philosophical
definition
The ability of an object to filter light is through the use of glass as well as the construction of the building. By having large cut-outs in strategic areas as well as using glass panels, the are in which the light passes through it’s filtered and controlled to only allow certain aspects of it in.
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Plummer theorizes that the red light that bathes the chapel in the early morning is meant to signify human birth. During midday when the sun is at the top, there is a very harsh light that enters the chapel. To contrast that, in the evening when the sun sets, the chapel has a very warm glow to it.
Le Corbusier’s three sacred buildings, The Chapel Ronchamp, the monastery of saint Marie de La Tourette, and the church of Saint Pierre all have a very distinctive approach to the way that light is filtered through the spaces. Le Corbusier used light as a way to express both the holiness of the spaces as well as to allow the people inside the areas to have an interaction with the way the light travels. During his studies of Le Corbusier’s sacred building Henry Plummer stated that “Instead of serving as a tool of religious persuasion, as it generally has in the past, light has become a quiet force to visually resist and elude, erode and outshine, the Church´s
mandate. 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”. This analysis of the way Le Corbusier uses light has a very spiritual meaning and gives a sense that each person entering the three sacred buildings can have their own spiritual experience within. In the Chapel Ronchamp Le Corbusier’s use of light is very thoughtful and expressive within the religious context. As the sun rises and sets, it will hit certain panels of stained glass, those different panels have different colours and meanings.
The way the light is dispersed and filtered though at La Tourette is more complex to the dispersion of light at Chapel Ronchamp. In comparison to the domed roof, the very rectangular nature of the monastery is a vast difference. Each corridor of the monastery has one wall that is glass facing either north, west, south or east. As people would traverse through
them, the way the light travels through each corridor would be vastly different, giving people a different sense of spirituality and connection in each area. At Saint Pierre the arrangement of the light filtration is done in three stages. On the east façade of the building the light will form waves on the floor, and as the sun progresses through the sky those waves will move with it. At noon, when the sun is over the roof, there are two very defined beams of light that will go through the space. At the end of the day, the light of the sunset will project the light into the altar area of the church in a way that makes it appear as there are stars on the wall.
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Reference https://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries https://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changedmodern-architecture https://www.archdaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light
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