LUMINOSITY
Samir Baraket a1705337
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Contents 4
Site Plan
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Internal Views
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Elevations
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Light Study | Opacity
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3D Experiential Views
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3D Pavillion Structure
Access & Movement | Photographic Study
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Light Study | Luminosity
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Precedent Study
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Sketches
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Plans
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Elevations
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Experiential Light Study 2 | Reflection
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Site Plan | Access & Approach
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Floor Plan | Access & Approach
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Sections | Elevations
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3D Arial View
3D Ground View 3D Access, Movement & Approach
Exploded Views 3D Construction Detail
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Shade & Shadow Analysis
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3D Section
3D Construction Detail
3D Internal View Light Study | Filtration
Back Cover
60m
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20m 60m
135m
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1:500 Scale
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Site Plan | 1:500
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Elevations | Not to Scale
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3D Views | Experiental
Ground
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Arial
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Site Alanysis Access & Movement | Not to Scale
Disabled Access
High Foot Traffic
Motor Vehicle
Low Foot Traffic
Foot Access Only
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Shad e & Shad ows
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Photog ra p h i c St u d y | Am b ie nt Li ght
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3pm
Winter
9am
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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
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Nordpark Railway Station, 2007 Innsbruck, Austria
Beijing, China
Heydar Aliyev Center, 2013
Vitra Fire Station, 1993 Weil am Rhein, Germany
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.
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Precedent Study | Prada Epicenter, Tokyo, 2003 Her zog & De Meuron
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.
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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.
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Idea 1 | Plan
1 :2 0 0 Toi let
E xhibition
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Seminar N
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Idea 2 | Plan
1 :2 0 0 Seminar Lib
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Elevations | 1:200
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Exper iental | Idea 1
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Experiental | Idea 2
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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
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Bruno Taut
Elbphilharmie, Hamburg
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.
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Site Plan | Acess & Approach ENTRANCE / EXITS ACCESSIBLE ENTRY
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Floor Plan | Acess & Approach
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Experiental | Arial Veiw
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Experiental | Ground Veiw
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3D | Acess , Approach & Movement
MOVEMENT
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ACCESSIBLE
ENTRANCE / EXITS
3D | Internal Views
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Light Study | Opacity
Opacity is the quality of lacking transparency or translucence. Unlike transparent or translucent elements, an opaque barrier does not allow for the transmission of light waves through it. However, in more philosophical terms, opacity can refer to the quality of being obscure in meaning. Many analogies arise from the science of opacity. A barrier which interrupts the pathway of light parallels the existence of opacity in in many other forms. For example, a poem’s meaning could be obscured by the poet’s writing techniques. These techniques shadow the opaque barrier interrupting a path. The long summer days and the short dim winter days in the Scandinavian countries lead to the development of great buildings that resonate with the unique environment. At this global location, the sun is often much lower in the sky, as well as much farther away. Consequently, this is result to diffuse lighting during most of the day time. Professor Henry Plummer studied the practical reflections and shadow manipulation by using reflective white spaces to facilitate bright rooms. Due to the low position of the Nordic sun in northern regions creates long shadows and therefore daylight enters the buildings more from the side than from above, this allows white surfaces to cast interesting shadows.
Dybkaer Church, Silkeborg, Denmark Regnbuen Arkitekter Dybkaer Church, Silkeborg, Denmark
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Regnbuen Arkitekter
Alvar Aalto introduced the concept of white diffusion using white-painted plaster, white-enammel steel and white linoleum for the Paimio Sanatorium in the 1930s. The walls covered in shades of white, with the floors and ceilings to match. However, the purity and power of the white volumes is not the only characteristic of the Nordic built environment. The organisms of nature with vibrating patterns of light or the transiency of dramatic light and shadow belong to the distinctive Nordic light approach as well. These prominent design elements of surface, shadow and white reflection all tie together with the study of opacity. The white surfaces are opaque and don’t allow for the transmission of light through them. Therefore, the subtle differences in colour against the whiteness acts as a powerful design element. Most commonly the geometry of the surface and the changes in shade provide structure whereas contrastingly the beautiful patterns created by light against the opaque surface provide a variety of organic patterns throughout different times of the day. Rather than manipulating light through reflection and other distortions, the beauty and success of this aesthetic pursuit lies in its simplicity; Understanding the behavior of light waves and manipulating its path with opacity, creating interest through the contrast of light and darkness.
Nordyjllands Art Museum, Aalborg, Denmark Alvar AAlto Hyvinkaa Church, Hyvinkaa, Finland
Aarno Ruusuvuori
References 1. Schielke, T. (2017). Light Matters: Whiteness in Nordic Countries. [online] ArchDaily. Available at: https://www.archdaily.com/542503/ light-matters-whiteness-in-nordic-countries [Accessed 30 Oct. 2017].
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Construction | 3D
STEEL BEAM SUPPORT PAVILLION CANOPY
PRE-CAST CONCRETE WALLS STRUCTURAL
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3 D | Section
STEEL BEAM SUPPORT PAVILLION CANOPY COUNTERSUNK GLAZING PANEL
PAVILLION CANOPY SUSPENDED FROM CONCRETE
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PAVILLION CANOPY REINFORCED CONCRETE STEEL STRUCTURAL SUPPORT
GLAZING BALUSTRADE CONCRETE ROOF/FLOOR POST-TENSIONED
GLAZING BALUSTRADE
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ELEVATOR
3D| Exploded View CONCRETE STEPS 3.5M TOTAL RISE
LIBRARY PARTITION STEEL FRAME GLAZING TOILET PARTITIONS TIMBER FRAME SEMINAR PARTITIONS PRECAST CONCRETE ELEVATED CONCRETE SLAB POLISHED
GROUND SPRAYED CONCRETE
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EARTH INTERIOR PARTITIONS
SPRAYED CONCRETE FINISH
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3D | Construction
BALUSTRADE GLAZING COUNTERSUNK
CONCRETE SLAB POST-TENSIONED STEEL REINFORCEMENT
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3D | Internal Veiw
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Light Study | Filtration
Filtration is the process of filtering something or the action of passing through a filter. To filter something is to selectively separate materials holistically rather than singular selection. Sand can be filtered from water through a sieve, and light waves can be filtered through a polarizing lens. In a broader approach, filtration can be analogized in any situation from filtering the overwhelming information around us to the filter which separates the words the think and the words we say. Much like how we see the world through the filter of our experiences, all information is perceived to a filter in one way or another. Le Corbusier’s use of light filtration is a medium which information can be understood in the form of symbolism. While previously light was viewed as a particularly religious element, it was a long time Le Corbusier analyst, Henry Plummer who said, “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”.
Monastery Tourette
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Le Corbusier
Ronchamp Chapel Upward view into scoop
Le Corb has proven himself in designing with light. Like the filtering light through the faรงade of Ronchamp to create aesthetic value telling a story chronologically as the sun moves through the sky. Further developing the filtration and complexity in the design, the light patterns created at the Church of Saint-Pierre in Firminy also tell a chronological story. Small holes in the eastern faรงade filter light through onto a concrete canvas creating smalls spots of scattered light, which later morph into organic waves of curved light on the walls and floor at different angles of sunlight. As the sunlight changes in daytime, the waves fall and rise changing shape and location, all through the filtration of sunlight.
Ronchamp Chapel Opaque Facade
The light manipulation at La Tourette is a more complex development in practice and theory that that of Ronchamp. This monastery casts rigid shadows with its rectilinear geometry, it embodies a clear contrast and counterpart to the poetic forms of Ronchamp. Therefore, all corridors have an open side facing one of the four polar directions, traversing this monastery provokes diverse experiences with light for all viewers. Unlike the repetitive rhythms of windows and columns in traditional churches, the fluidity and organic motion based upon intervals of light and transparency that gradually compress and expand in waves. Effectively creating an organic light experience through the filtration of light in the facades of the building.
Church of St Pierre, France
Le Corbusier
References 1. Schielke, T. (2017). Light Matters: Le Corbusier and the Trinity of Light. [online] ArchDaily. Available at: https://www.archdaily. com/597598/light-matters-le-corbusier-and-the-trinity-of-light [Accessed 30 Oct. 2017].
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Samir Baraket a1705337
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