DARKNESS
GEORGIE
WARREN
TRANSLATES
LIGHT
2017. 1.
SEPT
ISSUE
Exposure.
Contents. Page
04 Light Study 1. 04
Luminosity.
05
The church of light.
Page
Page
Page
06 Stage 01: Place. 14 Light Study 02. 16 Stage 2: Idea. 13
Reflection.
14
Casa Invisible.
Page
Page
Page
Page
24 Light Study 03. 26 Stage 3: Form. 34 Light Study 04. 36 Stage 4. 24
Opacity.
34
25
Light walls house.
Filtration
35
The Seed cathedral.
4 - LIGHT STUDY 1
SEPT 04
GEORGIE
WARREN
Luminosity. LUMINOSITY
Astronomy - Luminosity is 'The intrinsic brightness of a celestial object (as distinct from its apparent brightness diminished by distance)'. Physics - The rate of emission of radiation, visible or otherwise. The presence of light that by its very nature provides brightness.
PLACE
Philosophers have been searching for a comprehensive explanation for what has become known as the term `Illumination' since before medieval times. This is a term that has been used extensively in Arabic and Persian texts with the basic meaning of `rising of the Sun'.
Philosophical texts connect the term to "signifying a special intuitive mode of cognition", while ordinary language explores the term as "signifying the mystical" as well as extraordinary personal inspiration and intellectual knowledge. Within its technical use the term is united to the concept of `vision" expressing the theory of "knowledge by presence".
Blackwellreference.com. (2017). Blackwell Reference Online: Login. [online] Available at: http://www.blackwellreference.com/subscriber/uid=7898/tocnode?id=g9781405106795_ chunk_g97814051067955_ss1-130 [Accessed 14 Aug. 2017]. Art-sheep.com. (2017). Church of Light by Tadao Ando | Art-Sheep. [online] Available at: http://art-sheep.com/art-sheep-features-tadao-ando/ [Accessed 14 Aug. 2017]. ArchDaily. (2017). AD Classics: Church of the Light / Tadao Ando Architect & Associates. [online] Available at: http://www.archdaily.com/101260/ad-classics-church-ofthe-light-tadao-ando [Accessed 14 Aug. 2017]. Iranicaonline.org. (2017). ILLUMINATIONISM – Encyclopaedia Iranica. [online] Available at: http://www.iranicaonline.org/articles/illuminationism [Accessed 14 Aug. 2017]. Anon, (2017). [online] Available at: https://en.oxforddictionaries.com/definition/luminosity [Accessed 14 Aug. 2017].
"Light is the origin of all being. Light gives, with each moment, new form to being and new interrelationships to things, and architecture condenses light to its most concise being. The creation of space in architecture is simply the condensation and purification of the power of light." Tadao Ando The `Church of light' was created by Tadeo Ando in 1999, in the small town of Ibaraki. The concrete construction is a basis for featuring natural light as it embraces Ando's "philosophical framework between nature and architecture through the way in which light can define and create new spatial perceptions equally".
The church speaks a language featuring dynamic qualities of contradictory dainty light and solid concrete walls. This allows for the concrete to develop a "luminous quality when exposed to natural light", and the minimalist design of the volume to create a rich interior. Ando detailed this connection down to ensuring perfect alignment between the seams of the concrete and the cross extrusion.
5 - LIGHT STUDY 1
The church of light.
Natural light fills the volume through a series of strategically placed windows and concrete walls, as can be seen in figures 1,2 and 3. This is clearly evident with his placement of a cross on the facade which allows for "light to pour into the space throughout early morning and into the day". As a result the interior space plays with shadows and the eye is drawn to the celestial qualities of the lit cross that is featured within the space.
The Curch of Light, Tadeo Ando
Figure 1. Church of light plan Sunpath during afternoon
Figure 2. Church of light plan Sunpath during morning
Figure 1. Church of light plan with Sunpath at dawn
10
6 - STAGE 1
The Maths Lawns. D B
A
E F
N
1:1000 Tree
A Barr Smith Library B The Braggs C Ingkami Wardi D Molecular life sciences E Engineering and Maths sciences F Santos petroleum engineering
C
7 - STAGE 1
Northern Elevation 1:500
Southern Elevation 1:500
Western Elevation 1:500
8 - STAGE 1
Western Ground view
South West Ground view
N
9 - STAGE 1
N
North West Aerial view
N
South East Aerial view
10 - STAGE 1
Shadow Study.
Summer 12pm
Summer 9am N
N
Winter 9am N
Summer 3pm N
Winter 3pm
Winter 12pm N
N
11 - STAGE 1
Site Analysis. The Maths lawns
Meeting
Passage
Pedestrian network Entrance points - Street access point - University access points - Internal access points
Contemplation/rest
Passage
External elements
Study
Natural light movement over a day Heritage view- To be retained Noise
Events
Utilites
Clubs
Access Toilets Library/Reading room Academic area - Study, Lectures and reserach Cafes
12 - STAGE 1
Social and Cultural.
Social
Cultural
Context
The Maths lawns and the University of Adelaide provide a hub for vibrant social activity. This includes organised larger events such as open day and open night during which the lawns cater for many social groups. Smaller social gatherings are also a more regular activity held on the Maths lawns. The many seating options and quiet surrounds provide an ideal setting for conversation and academic work.
Adelaide is a multicultural University that caters for many International students. As a result many religions and various belief systems play an important part in the University’s culture. The orginal owners of the land, the Kaurna people are also of significant importance and continue to be recognised today. Any design must recognise these cultural factors as of significant importance.
Adelaide University is located in close proximity to the River Torrens and the Botanic gardens. It is situated within the Adelaide CBD and as a result recieves a large number of the public visiting the University grounds. A new school is currently being built on Frome st and will bring an increased number of teenagers to the area. Sporting areas such as the University ovals and Adelaide ovals are all within walking distance.
Night
Ambient lighting has been featured within the design of buildings surrounding the Maths lawns.
The Braggs building is highlighted at night through light that frames its neat corners and adds a sense of depth.
13 - STAGE 1
Day and Night.
Day
The Barr Smith Library recieve direct sunlight throughout the day. This allows it to look illuminated and creates diverse shadows.
The Eastern rising sun dispurses through the trees and creates silhouettes that span across the lawns.
14 - LIGHT STUDY 2
SEPT 04 REFLECTION
GEORGIE
WARREN IDEA
Reflection. Reflection in a linguistic sense is
defined as “The throwing back by a body or surface of light, heat, or sound without absorbing it” and “Serious thought or consideration”. The philosophy of reflection through mirrors Reflection is described through the rule of reflection that explains that when light meets a mirror, its angle of incidence equals its angle of reflection. As a result of mirrors or reflective surfaces following the mirror rule it can be understood that they will alter the geometry of the world in their refections such as a shift between left and right.
This is a concept developed over time through various tried and failed explanations about light. Such as Platos concept of light being emitted from fire in the eyes, which he attempted to explain a reflective shift between left and right as a result of, “The fires from within and from without meet about the smooth and bright surface of the mirror; and because they meet in a manner contrary to the usual mode, the right and left sides of the object are transposed.” (Timaeus). This concept was later questioned by Aristote who believed light was from an external source that entered the eyes, which led to the mirror rule.
Invisible Barn, Stpmj
Mirror Reflection
Specular Reflection
Diffuse Reflection
Invisible Barn features the concept
of ‘reflection’ at its very core and delves into the impact of such an interesting design component within architecture. Designed as a “site specific design proposal that re-contextualises the landscape of the site by projecting the landscape on the structural proposition… The mirror-finished folly is placed in the middle of the grove and reflects its surrounding environment: different species of trees and plants, sky ground and the seasonal changes of the site.” The structure’s interaction with the landscape it sits within, is manipulated by the designer to allow it to “lose its man-made architectural presence in nature but add novel experience and interaction to the user”, as seen in figure 1.
While the exterior blends in extremely well with the surrounding environment, the openings of the folly have been accentuated to create a visual trick that the “framed openings are floating on the grove”. This allows for contemplation on the subtle differences between the real and mirrored landscape. Further, these apertures create a gateway for interaction as they indicate viewing frames, passages and benches. Through the architects interpretation of the design components that generally indicate a single purpose, such as a window, have been reinvented to manipulate the users experience on a greater level.
Stpmj, the architecture firm for Invisible Barn aim for “provocative realism” within their designs as they believe their work “explores a new perspective built from careful observations of material, structure, and program expanding to the social, cultural, environmental and economic phenomena of our time.” The reflection seen on the exterior facade of Invisible Barn is similar to that of what people would see without the folly, as the trees are all of similar size and spacing. This allows the architect to create a visual illusion that “blurs the perceptual boundary between the folly and the site.” This is one component of the design that was successful through the architect’s careful analysis of the materials and site.
Man-made architecture
Nature/Background
Figure 1
15 - LIGHT STUDY 2
Invisible Barn.
The highly reflective exterior has more than 99% of UV reflectivity in the range of 200-4000nm wavelength. This wavelength is not visible to humans, however is evident to birds and so this prevents accidental collision. The construction process of Invisible Barn is suggested as a prefabricated system, with movement and assembly by 2-3 people. This is possible due to its lightweight timber frame and mylar mirror film.
Man-made architecture
Nature/Background
Wilkinson, T. (2016). Mirror Mirror. PhilosophyNow, [online] (121). Available at: https://philosophynow.org/issues/114/Mirror_Mirror [Accessed 28 Aug. 2017]. http://www.archdaily.com/770303/invisible-barn-stpmj Anon, (2017). [online] Available at: https://en.oxforddictionaries.com/ definition/reflection [Accessed 28 Aug. 2017].
16 - STAGE 2
Earth.
Eastern Section AA 1:500 Northern Section BB 1:500
Concept
Divulge, aims to expose and question preconceaved ideas of dark spaces beneath the earth. The architecture meshes with natural earth and light to invert the dark with light and the solid with hollow.
AA
A F D
A Exhibition Space B Seminar room C Library/Quiet space D Foyer
B
E Storage Space F Elevator B
N
Site Plan 1:250 C BB
E
17 - STAGE 2
C
A
Form Generation.
Design base - Submerged space underground
Bringing the surrounding Earth into the design. To celebrate the pavillions underground location.
Establishing circulation space . Extruding the entrance walkway.
Circulation route. Dark paths leading to feature points of the building, exhibition space and library.
Glass. Earth lighting locations.
18 - STAGE 2
Earth.
1
2
3
01 Northern view featuring the exhibition space to the left 02 North West view of the open library door. When open the natural light from above is blocked altering the experience. 03 North West view of the closed library door. The natural light filters into the room through a small slit. The internal experience is greater with the closed door and silent reflective atmosphere.
1
01 Western aerial view 02 North West Ground view 03 Western View from Foyer to Exhibition space. Featuring Tree root lighting on the right. 04 South East view from interior library space facing hidden door. Featuring tree root lighting ot the right.
2
19 - STAGE 2
Shadow.
3
4
20 - STAGE 2
Shadow.
Eastern Section AA 1:500
A D
F
E
Northern Section BB 1:500
C
A
F D
D BB A BB
B
A
AA
A Exhibition Space B Seminar room C Library/Quiet space D Foyer E Storage Space F Ramp
N
Site Plan 1:250
E
A
E BB
C
21 - STAGE 2
F A
B
Form Generation.
Design base - Submerged space underground.
Tree root entrance.
space
and
ramp
Extrusion of grassed strips Maintain grass view across lawn from Frome st.
Transparent concrete strips form the connection between the tree planters for people to walk across and create shadows below.
Tree roots are included within the space as a lighting feature.
22 - STAGE 2
Pablo Valbuena. Currently based in the South Pablos work inspires unique of France, Pablo Valbuena thinking on previously develops mundane spaces through clever usage of light, reflection and the interaction people “art projects and have with space. He is able to research focused create a link between people’s on space, time and perception and preconceived perception”. ideas of site specific places and the inverse of their Key elements of his work expectation. include exploration of “the overlap between physical and the virtual, the generation of mental spaces by the observer, the dissolution of the boundaries between real and perceived, the links between space and time, the primacy of subjective experience as a tool to communicate and the use of light as prime matter”.
Obvious and expected
Unique and inspiring
Figure 1. kinematope [pommery]
As a result the visitors interaction with this component will create a unique experience. It can be explored as to whether the wall is seen as a surface and visitors walk through the doorway only or whether they break through their preconceived ideas and step into the space over the lighting. Through breaking this concept an understanding of light and its ability to define boudaries can be discovered.
Figure 1 is a site specific installation that explores light, sound and architecture. It is currently on view at caves Pommery. The installation is an effective example of the inverting perceptions through light and ‘light translating darkness’. The space is previously classified to be dark, dull and lacking in luminosity that filters the space. The downward staircase is perceived to lead to darkness while a small aspect of light enters the space from above. A simple concept for the space would be to add lighting to the interior spaces featured at the bottom and top of the stairs. However, Pablo has illuminated the stairs themselves making the journey between the top and bottom, darkness and light, the experience of the space. Upon analysis of figure 2, it seems to explore the concept of light as surface. A simple strip of lighting is manipulated to form the shape of a room with lighting to the top right hand side. The lighting only defines the boundaries of the space but creates the illusion of surfaces and material elements.
This is a concept implemented within the first pavilion design. In a slightily different take on the concept only a single wall was modelled with the frame of the wall and doorway sculpted with LED strips. The exploration of this component is to whether visitors to the pavilion experience the wall as a surface and walk through the doorway only or break through their preconceived ideas and explore the concept that light can define boundaries and step into the space over the lighting. Within the first light pavilion this concept is explored through the unconventional illumination of earth rather than the interior space. The second pavilion features the illumination of tree roots and the inclusion of shadows beneath the surface. These are all concepts that invert ones initial perception of the function and lighting of an underground space where natural light is not the normal and artificial light becomes primarily a visual tool.
Pablovalbuena.com. (2017). intro : pablo valbuena. [online] Available at: http://www.pablovalbuena.com/ [Accessed 1 Sep. 2017].
Forward Council. (2017). Pablo Valbuena. [online] Available at: http://forwardcouncil.com/index/49/pablo-valbuena [Accessed 1 Sep. 2017].
23 - STAGE 2
Upon analysis of figure 2, he seems to explore the concept of light as surface. A simple strip of lighting is manipulated to form the shape of a room with lighting to the top right hand side. The lighting only defines the boundaries of the space but through this creates the illusion of surfaces and material elements. This is a concept implemented within the first pavilion design. In a slightily different take on the concept only a single wall was modelled with the frame of the wall and doorway sculpted with LED strips.
Figure 2
Figure 3
Figure 4
OPA 24 - LIGHT STUDY 3
OCT 10 OPACITY
GEORGIE
WARREN FORM
Opacity. Opacity
is defined as a “quality that lacks transparency”. It is the “quality of state of a body that makes it impervious to the rays of light”. It can be measured as the “capacity of matter to obstruct the transmission of radiant energy”. Opacity is the opposite of transparency.
C
ultural theorist and poet Édouard Glissant was prevalent within the art world, with his “aesthetic dimension best captured in his concept of opacity”.
Opacity
Transparency
.
“As far as I’m concerned, a person has the right to be opaque. That doesn’t stop me from liking that person, it doesn’t stop me from working with him, hanging out with him, etc. A racist is someone who refuses what he doesn’t understand. I can accept what I don’t understand.” Opacity within the art world reflects back on global notions of relationships between things. It was evident that the 2011 art show The Global Contemporary featured the desire to “examine, uncover, unmask, expose, reveal, reflect, illustrate, comment – a language of transparency that translated the works themselves, whichever part of the world they came from, into a dominant aesthetic of allegory”. In contrast 2012 saw “the isolation of artistic curiosities” and an interpretation of the opaque and mysterious. “For the ambivalent thinking of opacity, the art work is at once autonomous and linked to everything else, just as much a part of the world as a picture of it”.
2017. https://www.merriam-webster.com/dictionary/opacity. [Accessed 14 Sept. 2017]. “Light Walls House / Ma-Style Architects”. 2017. Archdaily. http://www.archdaily.com/433260/light-walls-house-ma-style-architects. [Accessed 14 Sept. 2017].
Light Walls house, mA-style Architects
25 - LIGHT STUDY 3
Light Walls house . “to create a space with uniformly distributed light by adjusting the way of letting daylight in, and the way of directing the light”.
Light
walls house explores the concept of opacity through the use of solid and void to manipulate the light entering the home from above. The homes site context results in an immense amount of shade from neighbouring properties that “intensify the impression of darkness”. This was a design driver for a unique integration of natural light to fill the home. This concept came to a desire “to create a space with uniformly distributed light by adjusting the way of letting daylight in, and the way of directing the light”.
It is evident that this was achieved through the use and specific design of both opaque and transparent materials. The home construction is evident in figure 1, with “9.1m square roof sky lights” (zone 1) to allow the light to enter the home, which is then narrowed by roof beams (zone 2) and reflected and diffused through the “slightly angled clapboard interior walls with laminated wood” (zone 4) to create the light walls (zone 3).
The open spaces are filled with soft distributed light, filtered through the opaque and transparent roofing features. This creates a frame around the kitchen, bathroom and study spaces. “Light coupled with the rhythm of scale raises the possibilities of the living space for the residents”. To provide further privacy to the centre of the home the bedrooms and storage are developed into four boxes. In combination with boxes of living spaces within the home the house is “turned out to be a courtyard house of light where new values are discovered”.
zone 1 Skylight zone 2 Roof beams zone 3 Light walls
zone 4 Diffused light
Figure 1
26 - STAGE 3
Darkness translates Light. F
L
ight walls house explores the concept of opacity through the use of solid and void to manipulate the light entering the home from above. The homes site context results in an immense amount of shade from neighbouring properties that “intensify the impression of darkness”. This was a design driver for a unique integration of natural light to fill the home. This concept came to a desire “to create a space with uniformly distributed light by adjusting the way of letting daylight in, and the way of directing the light”.
BB
C
D
C
C
B
A AA
AA B
A Exhibition Space B Seminar rooms C
Bathrooms
D E
Storage
F
Elevator access
Library
N
E
1:200 BB
27 - STAGE 3
B
A
SECTION AA 1:200
A
SECTION BB
1:200
C
SECTION CC
1:200
B
B
28 - STAGE 3
Reverse.
Questioning preconcied ideas of light and darkness
a. Exhibition space: Interior lighting results in hidden exhibits
a. Exhibition space: No interior lighting results in exposed exhibits
Preconceieved idea = ‘light results in visibility’ The exhibition space uses strategic lighting and materiality to allow light to create an opaque skin around the exhibited work. This skin is translucent with the lighting off and a subtle backlight creates visibility.
29 - STAGE 3
01. Exhibition space: Strip lighting provides illusion of surfaces.
Preconcieved idea = ‘Light defines edges’ Strip lighting explores the illusion of surfaces and the way in which spaces are explained through lighting.
02. Entrance space: Strip lighting provides illusion of surfaces.
30 - STAGE 3
01. Earth as it is preconcieved.
02. Earth becomes permiable to light.
Preconcieved idea = ‘Light defines edges’ Strip lighting explores the illusion of surfaces and the way in which spaces are explained through lighting.
31 - STAGE 3
01. Library - Open door
Preconcieved idea = ‘Open rooms provide light’ light is associted with openess hower this design explores the affect of manipulating spatial experiences through a closed door allowing light and an open door blocking it.
02. Library - Closed door
32 - STAGE 3
01. In context
02. In context
33 - STAGE 3
view of inside and outside
Axometic form
34 - STAGE 3
OCT 30
GEORGIE
WARREN MATERIAL
FILTRATION
Filtration. L
ight filtration involves “a screen, plate, or layer of a substance which absorbs light or other radiation or selectively absorbs some of its components”. It allows patterns to form and elements to be removed.
Light
Filter
Filtration
Filtration
is an integral part of decision making and rationality. Morality and ‘goodness’ are the basis for every decision however it is filtration and clarification that allow the decisions to materialise into actions. It is believed that: “any theory that a person can use to guide his actions must be irreducibly subjective; that is, the considerations a person uses to guide his actions must be filtered through his own beliefs (this is why goodness alone cannot guide action).” It cannot be determined through practical reasoning. The seed cathedral, Heatherwick studio
Wilkinson, T. (2016). Mirror Mirror. PhilosophyNow, [online] (121). Available at: https://philosophynow.org/issues/114/Mirror_Mirror [Accessed 28 Aug. 2017]. http://www.archdaily.com/770303/invisible-barn-stpmj Anon, (2017). [online] Available at: https://en.oxforddictionaries.com/definition/reflection [Accessed 28 Aug. 2017]. Loock, U. (2012). Opacity. Frieze, [online] (7). Available at: https://frieze.com/article/opacity [Accessed 27 Oct. 2017].
The
Seed Cathedral is a design based solely around the filtration of light. Its external skin filters external natural light through some “60,000 slender transparent fibre optic rods”. The ‘Cathedral’ is named after the seeds that are presented within each of the rods at its tip (figure 3). Presented as an exhibition, it aims to immerse participants in its unique exterior presence as well as the interior experience it was designed to create. This constant wonder that has been created is achieved through the interaction of light during both the day and night. During the day the fibre optic rods draw in natural light to “illuminate the interior”, while at night light sources inside the rods “allow the whole structure to glow”.
“Visitors will pass through this tranquil, contemplative space, surrounded by the tens of thousands of points of light illuminating the seeds”. This is a filtration design that is so unique because of the presentation of both the filters and the sheer number of resulting light sources.
The other dramatically important aspect to the experience because of its influence on the light filtration, are the ‘natural elements’. Airflow is an external uncontrollable influences on the fibre optic rods and the light as the rods are able to move with the wind to create a “dynamic effect”. The sky conditions such as clouds and weather also have an impact, creating “fluctuating luminosity” within the cathedral. “The studio’s intention is to create an atmosphere of reverence around this formidable collection of the world’s botanical resources; a moment of personal introspection in a powerful silent space.”
35 - STAGE 3
The Seed Cathedral . .
40 - STAGE 4
Grass
Light strips hollow
Roofing
Circulation space
Internal rooms
Walls A
Ground flooring
41 - STAGE 4
L
ight translates darkness is composed through a variety of materials. Structural integrity through a loadbearing retaining wall that frames the perimiter of the building. Circulation route walls emit light through earth offering a unique and unexpected affect as people move through an ‘underground pavillion’. Interior walls offer textured plaster wall with hits of rose gold metalic shine that grabs and heightens the manipulated lighting affects. Roofing provides wayfinding throughout the internal space. The numerical value of overhead bulbs is a direct corrolation of the time spend in a certain location as well as the frequency of such a visit. Interior rooms as a result feature more dense lighting while circulation spaces offer gentle illumination as a movement guide.
1:500A. Wall construction
38 - STAGE 4
The material pallette.
Exhibition space entrance
Earth Glass Concrete Blue Slate
39 - STAGE 4
Seminar room corridor
Emitter Strip LED lighting Aluminium Textured plaster wall
36 - STAGE 4
Design base - Submerged space underground
Bringing the surrounding Earth into the design. To celebrate the pavillions underground location.
Emphasising the ‘reverse’ through filtering dirt into the building in un percepted thin strips .
37 - STAGE 4
Establishing circulation space . Extruding the entrance walkway.
Circulation route. Direct paths leading to feature points of the building including exhibition space and library.
Illumination. Framing circulation space. Earth is illuminated.
42 - STAGE 4
1:20
43 - STAGE 4
1:50
A1704968 LIGHT
GEORGIE
TRANSLATES
WARREN
DARKNESS