A STUDY OF LUMINOSITY
By ThomasPage Scholar 1
CONTENT Site Plan Page 4
- Math Lawns & surrounds
Elevations Page 5
- Barr Smith Library, Math & Engineering
Experiential Views Page 6 - 7
- Aerial & ground Level
Site Analysis Page 8 - 11
- Site Information, Light interaction, Access & Movement
Study of Luminosity Page 12 - 13
- Linguistic & Philosophical meaning, Case Study
Page 2
CONTENT Spatial Study Page 14
- DIagrams & Precedence
Pavilion Plans Page 15
- Floor Plans of Light Pavilion One & Two
Sections Page 16
- Section Elevations of Light Pavilion One & Two
Experiential Views Page 17 - 21
- Aerial, ground Level & Interior Views
Study of Reflection
Page 22 - 23
- Linguistic & Philosophical meaning, Case Study
Page 3
Site Plan
Scale 1:1000
Page 4
Elevations
Barr Smith Library
Maths & Engineering
The Braggs
Ingkarni Wardli
Molecular Life Sciences
Page 5
EXPERIENTIAL VIEWS
Ground Views
Page 6
The Math Lawns are located in the north east corner of the University of Adelaide’s campus. It is a community hub that people walk through to get to classes and sit and enjoy time with other people. The Barr Smith library is heritage listed and so is the view of the building from Frome Street.
EXPERIENTIAL VIEWS
Aerial Views
Throughout the year many events are held on the lawns such as open days, lunches/ barbeques, club recruitments and more. The main use for the site can be seen during orientation week at the start of every year. New students will be able to experience what the university has to offer by visiting the Math lawns on campus. Page 7
ACCESS & MOVEMENT
Standard access Disabled Access Page 8
Low Foot Traffic High Foot Traffic Car Traffic
SHADE & SHADOW
December 21st - 9:00am
December 21st - 12:00pm
December 21st - 3:00pm
June 21st - 9:00am
June 21st - 12:00pm
June 21st - 3:00pm Page 9
LIGHT INTERACTION
The Braggs
Page 10
LIGHT INTERACTION
Barr Smith Library
Page 11
STUDY OF LUMINOSITY Linguistic Definition Luminosity has different meanings depending on context. According to science, luminous eludes to the radiation or reflection of light from various sources with differing magnitudes. However astrology uses luminosity as a unit of measurement for emitted light.
Philosophical Meaning Morals are generally based on this model of light and darkness; depicting that if light is good, then Darkness is evil. People come to the conclusion that if it is not good to them, then it must be considered bad. This metaphor is ambiguous because the opposite of light is not darkness; in the absence of light there is darkness. When the earth rotates and night comes, darkness consumes the land because the light has been removed. This is not due to darkness having its own source of power, its due to the notion of light and darkness not being opposites, but being counterparts in each other’s existence. Light allows us to see the impurities and imperfections in all things, whereas darkness can mask these qualities and keep them hidden. They each have their role to play. Page 12
STUDY OF LUMINOSITY Case Study of Light
In her thirty years of architecture, Zaha Hadid evolved the way in which she used light to bend it to her own will. Her earlier designs focused less on light and its qualities, and targeted tackling the form of her architecture. ‘Luminous lines’ was the term used to describe her early use of light. Hadid later became more intrigued with the use of transforming patterns into light; by paying attention to the surroundings, she would use fragmented form to inspireher architecture and in turn, use of light. In
they need to adjust how they operate in designing.With this new style of architecture came the use of more natural Heydar Aliyev Center, 2013,Azerbaijan.
lighting, the cohesive use of natural and synthetic light in her designs creates a unique surrealist environment for people to enter. The use of a variety of materials affected the light play in her designs. Whether it was a an effort to further her understanding concrete structure which would absorb of light, she the light, or a reflective surface such as moved towards glass, plastics and polished metals, light more organic would be manipulated to what she had architecture. envisioned. Hadid restricted herself to The way light encapsulating form and reflectance in interacts with the fluidity of her designs, mainly focusing geometric forms on light towards the end of her carrier. is contrasting to Building such as the Heydat Aliyev Center that of organic in Azerbaijan follow this ergonomic manipones; especially when it comes to ulation of light in a wave like pattern and individual people. creates soothing environment for the visitors of the building.Zaha hadid has been When catering for the masses as able to make people feel a multitude of emotions with the variety of designs she architects do, MAXXI Museum, 2009, Italy.
Phaeno Science Center, 2005, Germany.
has produced. The way she uses light is like no other, creating special qualities that may previously have been vacant of emotion. - http://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid - https://mr7uj.wordpress.com/2011/10/25/daylighting-assignment-4-part-1/ - https://www.pexels.com/photo/sunlight-streaming-through-concrete-opening-of-underground-passageway-133576/ - http://www.cpr.org/news/story/celebrating-the-italian-architect-who-designed-the-denver-art-museum
Port House, 2016, Belgium.
Page 13
Spatial Study The design motif used in the pavilions focuses on the interaction with light and naturally occurring forms; hence the honeycomb and seashell spiral patterns. The Barcelona Gaudi Cathedral carrys a lot of the influence in the designs of the light pavilions. The cathedral has a large spanning ceiling with columns in the shape of trees. The holes in the roof allow light to come through the ceiling and into the cathedral. The light that comes through mimics the light that would come through the leaves on a tree. The interaction between trees and the light is represented in the Barcelona Gaudi Cathedral and my designs. Honeycomb
Spiral Seashell Page 14
Barcelona Gaudi Cathedral
Pavilion Plans
Pavilion one - Honeycomb
Scale 1:500
Pavilion Two - Spiral Seashell
Scale 1:500
Page 15
EXPERIENTIAL VIEWS Sections
Page 16
Pavilion one - Honeycomb
Scale 1:1000
Pavilion Two - Spiral Seashell
Scale 1:1000
EXPERIENTIAL VIEWS
Aerial Views - Light Pavilion One
Page 17
EXPERIENTIAL VIEWS
Page 18
Ground Views - Light Pavilion One
EXPERIENTIAL VIEWS
Aerial Views - Light Pavilion Two
Page 19
EXPERIENTIAL VIEWS
Ground Views - Light Pavilion Two Page 20
EXPERIENTIAL VIEWS
Internal Views - Light Pavilion One
Internal Views - Light Pavilion Two
Page 21
STUDY OF REFLECTION Linguistic Definition
Philosophical Meaning
Reflection has multiple meanings; in a scientific sense it refers to the ‘casting back’ of light and images. In a social construct it accredits the thought process of humans, meaning we think back on the past and ‘reflect’ on the decisions we have made.
Reflection when looked at in the sense of philosophy could be interpreted as many things. A common thought is that reflection can mean the ‘influence’ of a person, or object, on another. For instance when we look at a child, we can generally see the behaviour and mannerisms of their parent; this is due to their influences being reflected upon the child. The qualities of influence are ever changing in all things; when a new product is being created, the manufacturer will look at its previous model or ancestor and incorporate or design new elements to add to it. The influence of the previous product can be seen in the in the new one. As we can see, the notion of reflection meaning ‘influence’ has some amount of validity.
Page 22
STUDY OF REFLECTION Case Study of Reflection The birth of modernism in the early 20th century brought a new wave of ideals and beliefs to not only the profession of architecture but even the lives of everyday people. A major shift in the way design occurred had come, and one of these new standards was the manipulation of light, particularly that of glass and its reflective properties. New designs with large glass facades were appearing everywhere, defining this new era of architecture; but it soon began to grow old and boring with too many of these buildings being produced.
The architect Ludwig Mies Van Der Rohe broke free of this dull flat glass façade and began to manipulate the geometry to develop a new concept of light. Through his efforts he used the different angles in the glass to create an atmosphere within the building and also on the exterior. He used light and its properties of reflection to invoke life into the space. This design process later went on to inspire other architects such as Norman Foster who designed ‘Willis Faber Dumas headquarters’ which evolved the geometric aspects into an organic free flowing façade. To further control the reflections in their designs, architects us different materials with varying properties to display unique effects. Metals such as aluminium can have a highly reflective surface which could act as a mirror or a redirector for the sunlight.
Reflecting the sunlight away from the building helps with the comfort side of the spectrum as it keeps the harsh sun in some areas of the world out of the interior. Reflective facades can be used to create an elusive space; using the reflections to distort the viewers’ attention elsewhere. The Selfridges Birmingham department store uses domes of metal to reflect the sunlight off of the building and is designed in such a way that from the exterior we can’t even see how many levels the building is. Since the creation of modernism, the manipulation of reflections in architecture has impacted the way designers generate form and space. Page 23
Page 24