LUMINOSITY
Samir Baraket a1705337
Contents: 4
Site Plan
6
Elevations
8
3D Experiential Views
10 11
Access & Movement | Photographic Study
Shade & Shadow Analysis
12
Light Study | Luminosity
14
15
Sketches
16
Plans
18 20 22
Precedent Study
Elevations
Experiential Light Study 2 | Reflection
60m
12m
20m 60m
135m
40m
N 10mm
20mm
40mm
5m
10m
20m
1:500 Scale
73m
4
25
67m
22m
Site Plan | 1:500
20m
25m
m
5
Elevations | Not to Scale
6
7
Ground
3D Views | Experiental
8
9
Arial
Photographic Study | Ambient Light Access & Movement | Not to Scale
Disabled Access
Motor Vehicle
High Foot Traffic
Low Foot Traffic
Foot Access Only
10
Summer
Site Alanysis | Shade & Shadows
Noon
3pm
Winter
9am
11
Light Study 1 | Luminosity The definition of luminosity changes quite drastically depending on the reference. A Luminous quality can mean vivid colour, or in astronomy it is used as almost as a unit of measurement. The most relevant to the case study is the definition of luminosity from a physics perspective. It is the amount of radiation emitted from a source, visible or otherwise. However, the general notion of luminosity referrers to the amount of visible light radiation being emitted. Light is what allows us to perceive architecture, forms and materials are sensed with our eyes not directly but through reflected light. Luminosity and illumination from a philosophical perspective can be defined as the action of illuminating or the state of being illuminated in either a spiritual or intellectual enlightenment. With many different definitions of luminosity established, what makes this principal important to architectural design. Luminosity is a major key in experiencing a space and delivering the experiences to a person. In terms of physical luminosity (visible light), it is the only thing that allows us to perceive a design though our sense of sight. The light and the absence of light is what creates meaning in an architectural design, we have evolved to associate light and darkness with emotions and characteristics. Designed intentional use of light can be associated with more positive emotions that those associated with darkness and the absence of light. Light can be used to direct attention, and highlight something that is important. This form of applied illumination is the only difference between the visible light that allows us to see our surroundings, and the light that is being emitted from a source. Leeza SOHO, construction 2017
Guangzhou Opera House, 2010 Guangzhou, China
Nordpark Railway Station, 2007 Innsbruck, Austria
Beijing, China
Heydar Aliyev Center, 2013
Vitra Fire Station, 1993 Weil am Rhein, Germany
12
A lot can be learnt about our connection to luminosity and the effects of light on our senses. A study of renowned architect Zaha Hadid and her use of the light medium is a great example of the importance of luminosity in understanding an architectural design. Her use of light is an essential element in revealing and interpreting the forms of Hadid’s work. Her understanding and use of luminosity evolves over time, from minimal use of light lines to accent the brutalism of the Vitra Fire Station. To the Leeza SOHO skyscraper, which features the world’s tallest atrium accumulating daylight as a focal design feature. These two different uses of light in design show the development in Hadid’s legacy of luminosity. Beginning with deconstructive lines of light, acting as accents and contrasts, sharpening the edges of her earlier designs. However, projects like the Nordpark Railway Station marked a significant turning point in the way Hadid’s imagination of light is expressed. The entire building is one all-inclusive structure of smooth organic form this directly counters her earlier use of rigid and sharp geometry. With the removal of distinct windows, there is no distinction from luminaries allowing for a unified and holistic design. Featuring an elevated concrete structure casting a large shaded area highlighting the juxtaposition of bright daylight on one side and intensifying darkness. Contrastingly, the ceiling luminaries emit diffuse lighting which succeed as a focal design feature within the otherwise dim atmosphere.
In reflection of Zaha Hadid’s career, a significant turning point can be established where her understanding of luminosity and architecture are realised to a fuller extent. This apex occurs in Nordpark Railway Station, where organic fluidity pushed her deconstructivism and fragmentation aside. This revelation allowed her to use light as a more powerful medium. Her use of luminosity extends through surface textures, moving away from matt façades towards reflection and the architecture begins to mirror its surroundings. Hadid converts her once rigid geometrical lines into smooth organic forms, accompanied with diffuse lighting. Her initial experimentation with lighting seemed like an addition to a design, which later developed into an exploitation of the full potential of light to interoperate architecture. Zaha Hadid teaches us that the energy of a space stems from the fluidity of the form, and our understanding of the atmosphere created is dependent on luminosity.
Baku, Azerbaijan
References Schielke T. The Architectural Lighting of Zaha Hadid. Arch Daily. 2017. Available at: http://www.archdaily.com/868157/fluid-luminositythe-architectural-lighting-of-zaha-hadid. Accessed August 13, 2017.
13
Precedent Study | Prada Epicenter, Tokyo, 2003 He r zog & De Me uron
Glass bevel is used to add interest in an otherwise monotonous facade. This creates interest through refraction and the distorted reflection of the surroundings. Different thicknesses in the glass change the speed at which light travels through it, creating interesting interactions with light. An angular geometric frame is used throughout the entity contrasting the curved depth of some windows.
14
Idea 1 | Sine Curve
Idea 2 | Sharp Wave
Both pavilion ideas begin with a simple sine curve. Modern physics tells us light can be represented as photons or in wave form. From the basic wave, it is developed, abstracted and transformed to create a pavillion interacting with light in interesting ways.
15
Idea 1 | Plan
1: 2 0 0
N 10mm
20mm
40mm
2m
4m
8m
16
Idea 2 | Plan
1 :2 0 0
Re ce pt i o n L ib ra r y Exhib i t i o n Spa ce To ilet Sp a ce Sto ra ge Sp a ce Se mi n a r
N 10mm
20mm
40mm
2m
4m
8m
17
Elevations | 1:200
Sections | 1:200
18
10mm
20mm
40mm
2m
4m
8m
10mm
20mm
40mm
2m
4m
8m
19
Exper iental | Idea 1
20
Experiental | Idea 2
21
Light Study 2 | Reflection The linguistic definition of reflection in its purest from can be taken from a physics perspective. The return of a light, sound or energy wave from a surface without its absorption. Or also a synonym of thought, contemplation or study, to reflect on oneself is known in philosophy as one of the three major ‘logical acts of understanding’. ‘Reflection Theory’ suggests that all our knowledge reflects the information of the ‘real world’. Reflection can be seen as the going back over different presentations, and how they can be comprehended differently within one’s consciousness. Along with comparison and abstraction, reflection is an essential condition of generating any concept of meaning. The Empiricist reflection theory was developed by John Locke who argued that we have knowledge of the world because our ideas resemble (or reflect) the object that give rise to them. In John Locke’s ‘Theory of Ideas’ he begins by claiming that the source of all knowledge are first sensory experiences “the red colour of a rose, the ringing sound of a bell, the taste of salt, and so on”. However, true meaning is derived through the inner experience of reflection. “One’s awareness that one is thinking, that one is happy or sad, that one is having a certain sensation, and so on”. Locke believes through these senses, simple ideas a born which combine to create our thought foundation, complex ideas. “My complex idea of a glass of orange juice consists of various simple ideas (the colour orange, the feeling of coolness, a certain sweet taste...combined together into one object. Locke believes Simple ideas combine to form complex ideas, and these complex ideas can be combined to form even more complex ideas. All beginning with reflection of the world around us. Glass Pavilion, 1914
Bruno Taut
Elbphilharmie, Hamburg
22
Guggenheim Museum, Bilbao, 1997 Frank Gehry
Prada Epicenter, Tokyo 2003 Herzog & De Meuron
Modernism brought with it an era of monolithic and inhuman skyscrapers with monotonous glass facades. In the years following modernism, we have seen countless uniform structural glazing buildings have emerged and bored urban citizens. This has called for a response in the form of unconventional reinterpretations of facades. Belief that light and the ‘brilliance’ aesthetic could help give architecture life and character, creating a better human world. The transformation of glass and metal innovate the meaning of architecture from the usage of internal space, toward a focus on external surface. The early 20th century sparked the celebration of reflective materiality for building skins with Paul Scheerbart and Bruno Taut’s vision of a glass culture in architecture. “jewel-like architecture shimmer.” Referring to the vision of glass culture, the façade of Elbphilharmonie in Hamburg, by Herzon & de Meuron uses reflection to break away from the monotony of seamless glass facades. Inwardly and outwardly curved glass elements distort the perception of the city, water and sky. Creating an interesting deviation from the uniform glass plane of the International Style. The curves in the façade reproduce the surrounding environment as a distorted and twisted reflection, making a simple face interesting.
Herzon & De Meuron
Selfridges Department, Birmingham, 2003 Future Systems
“Continuous glossy skins do not present the only option for sparkling jewels in the city”. Future Systems covered the Selfridges Birmingham department store, opened in 2003, with a dense mesh of 16,000 anodized aluminum discs. The diffuse reflections of the façade cladding leads to an abstract transformed image, which is primarily determined by the brightness and colour of the sky, neglecting any clear mirror effects of the neighborhood. The shimmering veil strategy approach maintained the interest and relevance of the surface as a carrier of a buildings meaning. The uniformity of mirrored cubes is being innovated through reflective curved surfaces adding interest through interaction with the behavior of light. The elements of curved glass and its reflections opens another set of possibilities for design, generating different images for what the modern city can look like. Concluding, the interest in complex reflections and patterns supersedes that of other aesthetic styles. There are countless possibilities when interacting with light, innovative designs will continue to emerge with combinations of material and form to create brilliant veils keeping the future of architectural design bright and luminous.
The concept of veiling an entire building with brilliant reflective effects has been adapted with other shimmering panels. In the case of Frank Gehry’s Guggenheim Museum Bilbao, 1997, the aesthetic of ‘Brilliance’ is transferred from glass to the titanium cladding. However, the sparkling light qualities of the titanium panels constantly change appearance dependent on the environment. This building is dynamic in both form and light, its façade “varies with every cloud and sunbeam”
References 1. Locke, John | Internet Encyclopedia of Philosophy. Ieputmedu. 2017. Available at: http://www.iep.utm.edu/locke/. Accessed September 1, 2017. 2. Harvey L. Social Research Glossary. Qualityresearchinternationalcom. 2017. Available at: http://www.qualityresearchinternational.com/ socialresearch/reflectiontheory.htm. Accessed September 1, 2017. 3. Schielke T. Veiled in Brilliance: How Reflective Facades Have Changed Modern Architecture. ArchDaily. 2017. Available at: http://www. archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changed-modern-architecture. Accessed September 1, 2017.
23