GEOMETRY GARDEN Yu Gu Representation 2 a1662970 2017
Table Content Stage1 Site Analysis
Stage2 Idea
Stage3 Form
Stag
Plan
4
Precedent
14
To-scale
24
Explod
Elevation
5
Ideas Plan
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North elevation
25
4X3D
3D view
6
Idea Elevation
16
3D View outside
26
4X3D
shadow form
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Idea Section
17
3D View inside
27
4X3D
Access&movement
8
Idea Aerial View
18
Aerial view
28
Light S
Ambient light
9
Idea Ground View
19
Ground view
29
social culture
10
Internal View
20
internal view of pavilion
30
Light Study 1 Lunimosity
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spatical Diagram
21
Light Study 3 Opacity
32
Light Study 2 Reflection
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ge4 Material
ded perspective
34--35
internal views
36--37
internal views
38--39
construction detailing
40--41
Study 4
Filtration
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Planďźš1ďźš1000
To-scale plan
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Furniture
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Elevations
Elevatios of the BSL Building
Elevatios of the mengineering Building
Elevatios of the math Building
Elevatios of the BSL Building
Elevatios of the mengineering Building
Elevatios of the math Building
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Arial view 2
Arial view 2
Arial view 1 Ground view 1
3D view
Ground view 2 6
Shade & shadow
9am，summer ，UTC+9：30
9am，winter，UTC+9：30
12noon，winter，UTC+9：30 12noon，summer ，UTC+9：30
3pm，winter，UTC+9：30 3pm，summer ，UTC+9：30
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Access & movement 8
Ambient light
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Math lawns Additional site information Two lawns in between The Braggs, Molecular Life Sciences, Ingkarni Wardli and the Engineering and Maths Sciences building. If you're looking for a bench to sit on, these lawns are lined by picnic tables. A water bubbler stands in front of The Braggs entrance.
Math lawns
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Luminosity
Linguistic definitions Luminosity is generally understood as a measurement of brightness. Each discipline, however, defines the term differently, Appearance to the eye of more or less light or that feature of an object that appears to emit more or less light Color constancy is often modeled on the assumption that color appearance in natural scenes is a function of the visual system’s estimates of surface reflectance. Some stimuli, however, do not look like illuminated surfaces. Instead, they appear to be selfluminous. We hypothesized that the appearance of luminosity occurs when the visual system estimates a reflectance spectrum that is outside the gamut of physically realizable surfaces.
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Philosophical meanings In the theory of Luminosity, it is common to find an explanation of what light is by considering it as energy or visible radiation. Our vision is then the perception determined by this radiation. However, the definition of our visual system by physiology and psychology goes to advanced image processing and psychological outcomes. When dealing with lighting analysis, many specialists consider light quality to be only physical aspects and run their principles by making measurements. They often rely their ideas based on a numeric and scaled light level, discussed in number of lux, which can be compared and detected by instruments. However, if we study deeper our relation to light, we will understand that light comprises a more complex field. Energy that can be measured it is not so reliable and comparative to our senses. According to Anders Liliefors’s lighting fundamentals, physical and visual terms are running parallel. The combination between the physical and the visual worlds is served by the stimulus of vision, the optic radiation from 400 to 700 nm wavelength. The vision is primarily concerned with lighting quality, with the information that is received from the objects in th environment (Liljefors, 1999)
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Meaning in architecture through case study Lighting in Swedish Architectural Competitions in general do not consider artificial lighting as an established criterion. Even the designing with daylight is not often mentioned in the list of considerations. Some countries, such as Denmark, have a certain level of daylight factor as code or standard for commercial and residential buildings. Daylight factor is defined as the ratio of the indoor illuminance at point to the outdoor horizontal illuminance, under an overcast CIE reference sky (thedaylightsite.com). However, even if daylight factor standard can represent an improvement as a recommendation for the daylight design, it can be inappropriate if it turns to a general law, since it alone does not give a proper evaluation of the annual daylight level in a building. As a result, it would underestimate existing buildings that don’t fulfill the standard. Architectural competitions in Sweden commonly do not have explicit daylight recommendations in the program; but reading the comments from the jury about the projects, it is very clear to notice that the presence of light represents a very important factor in their evaluation. In many texts, it is possible to identify comments that are related to light. Often light is contributing to a positive result of their judgment; and if there is lack of light in the building this will decrease the value of the proposal. However, in competitions to which graphic material is submitted, such as drawings and 3D models; it can be doubtful to analyze this aspect, since it is complex to understand the reality of the light conditions. It is necessary to have in the jury people that are trained and have experience in the subject. Light is a fundamental element to architecture; it interacts with the space, affecting the way we perceive it. The way lighting acts can change the spatiality, the atmosphere and the visibility. The lit environment deals with brightness, shadows, lighting distribution, color and many other aspects that influence our visual experience and plays with our mood. In my review of architectural competitions, it became obvious that daylight should play a crucial role in the way the jury analyzes the proposals. However, it was shown that lighting analysis is not yet a standard criterion. When discussing lighting, the members
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Idea Elevation
Precedent
14
Ideas plan
I made my space with four shapes: round, triangular, square, and octagon. After the combination, the overall site shape like the king of chess
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Idea Elevation
Idea 1
Idea 2 16
Idea Section
Idea 1
Idea 2
17
Idea Aerial View
Idea 1
Idea 1
Idea 2
Idea 2 18
Idea Ground View
Idea 2
Idea 1
19
Internal View
Idea 1
Idea 2
Idea 2
20
spatical Diagram
Exhibition space
Entrance
Small library
Reading space
Storage space
Seminar room Meeting area
Toilets
relaxing space
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Light Study 2 ReflectionReflection
Architectural design has changed a lot over the years, and in the process has come to incorporate a myriad of materials, ideas and designs. One element that has stuck around and become increasingly popular has been the use of reflection. Reflection can be used to create a number of different effects, such as making a space look bigger, adding privacy, as well as making the best possible use of natural light, so it is little wonder that reflection continues to be a mainstay in modern design. The following is a brief look at the use of reflection in architecture. Mirrors One of the best ways to make a space look bigger is by incorporating a few strategically placed mirrors, and with many people unable to afford such large homes or offices these days, mirrors have become an increasingly popular way to make the most of a small space. One of the best things about mirrors is that they can be cut to any size, and provide an easy way to get artsy with your architectural design.
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Glass Flooring For many years, architectural design has made extensive use of glass, Using reflection in flooring has been a growing trend in architectural design of late, and it is amazing how much brighter and while glass has been used for many different reasons, one of the biggest attributes is that it not only allows light through, but also the right flooring can make a space look. There are a lot of reflects it. Everything from glass bricks to double paned windows different flooring options available offering a range of reflective have been used to fabulous effect, and it seems glass will remain a ability, from hardwood to polished concrete floors, enabling central element in design for quite some time yet. you to bring in exactly the right amount of reflection to suit the look, style and purpose of the space. With polished concrete you can even have reflectiveelements such as minerals, coins or glass embedded into the top layer of your floor, before having it sealed in and before the polishing machine does its final polish. Water One of the more beautiful and natural ways architects have been adding reflection in their designs is by making extensive use of water, and the effect can be absolutely stunning. Fish tanks have been used to great effect, as have fountains and even shallow reflecting pools, and the increase in light and positive energy the water brings makes it look and feel amazing. Metal One of the biggest trends in architectural design is the growing use of metal, with metal furniture, fixtures, fittings, and even flooring starting to be seen. The ability of reflective metal in particular to make better use of the light, create an illusion of space, as well as be extremely easy to clean, has left metal with little competition for many key components in modern architecture and interiors.
End.
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To-scale 1:200
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North elevation1:200
North elevation 1:200 25
3D View outside
26
3D View inside
27
Aerial view
28
Ground view
29
internal view of pavilion
internal view of pavilion 30
internal view of pavilion
external view of pavilion 31
Opacity
Transparency presents a challenge associated with human perception. The proper and accurate execution of this complex process is conditioned by many factors and determinants. Homogeneous transparency was not common in the real world when the mechanisms of perception evolved (unlike fog and smoke), which is why it currently presents particular problems for vision and the notion of three-dimensional (3‑D) architectural space. From this perspective, the introduction of large-scale, clear, thin, and uniformly transparent materials was not only a great technological breakthrough accompanying industrial revolution and new methods of manufacturing (eg float glass, polycarbonates, and acrylics), but also a new demand for human cognition. Furthermore, since the advent of reinforced concrete (the slaband-post structural system, in particular), a perimeter wall no longer had to bear structural loads and could be strictly considered an envelope.
As a result, from these two modern trends came the curtain wall, in response to the growing need for “light architecture”; the deliberate ambiguity of the word refers to architecture that is both “naturally illuminated” and “weightless”. With the onset of new transparent buildings, new possibilities—but also new problems—have emerged. Unprecedented opportunities for aesthetic expression have attracted architects to large-scale transparent materials. The opportunity arose to create an essence of a building not with “shadows and solids”, such as in brickand-stone constructed buildings, but with the reflection and transmission of light. The new means of expression allowed architectural symbolism involving transparent, “lightweight”, and “honest” structures to play a vital role here as a sign of a new modern era. Unfortunately, after the first promising attempts to understand the essence of transparency, efforts to investigate the problem were undertaken only by certain dedicated architects (M vander Rohe, P Johnson).
The optical phenom obvious that very f issue worthy of fur Aesthetics and visu in the foreground, a focus on the climati consequences of the façades. Soon, advanced manu modify the propertie materials, solvin problems in the proc coatings were popula against increased so free glass turned ou “invisible” to many us 32 a considerable safety
menon seemed so few considered the rther investigation. ual issues were not as it was essential to ic and occupational e recentlyintroduced
ufacturing allowed to es oflight‑transmitting g many practical cess. Highly reflective arised as a measure olar gain, and glareut to be miraculously sers, but also caused hazard.
The original optical quality of the new envelope was replaced with extremes. Transparency, in its original form, became “the Holy Grail” of contemporary architecture. Although many attempts to achieve it have been undertaken, very few have succeeded. The surrounding reality, infused with opaque or imperceptible glazing,is the best justification for trying to achieve better understanding of this phenomenon. Raising awareness is vital for architects, their clients, and building users, but it cannot be accomplished without the extensive participation of vision scientists. The analysis of transparency in architecture requires an understanding of the physical property of light transmission through materials. The quantum-based models of transparency explain the phenomenon at the level of single photons of light, but are difficult to apply on an architectural scale. Although the data are rather hermetic, it is important to be aware of the basic rules and conclusions drawn from the quantum models, as transparent surfaces tend to behave counter-intuitively in terms of optics.
Thus far, the issues of light-transmitting materials have been approached in a number of different ways, depending on the specialist’s origin: vision researchers concentrated on the perception of transparency based on the production of illusion (Metelli 1974), while opticians measured the sole parameters of the material (refraction angles, etc), and architects usually addressed the issue from the perspective of lightweight glazing versus heavy masonry. It present a different focus. From prolonged observation of architecture I note important factors that influence the perception of transparency in a scale of an existing building, rather than in a laboratory-controlled experiment. This brings the presented model closer to reality and allows us to identify previously neglected conditions in the process. To reconcile the viewpoints of different disciplines, a simplification was introduced, making the model both understandable to architects who are usually focused on the aesthetics, and acceptable to representatives of the natural sciences. 33
Exploded perspective
34
Exploded perspective
35
Relaxing area
Small library
36
Seminar room
Arts distric
37
Corridor with skylight
reading space 38
Exhibition space
Toilet
39
Reception
40
construction detailing. The surface of the geometric glass block can not only be illuminated, it is also part of the math lawns landscape, and can be used as a bench for students to rest. In the setting of the geometric box in the lawns and the name of the grass math lawns special match with the harmony. 41
Filtration
Most light sources emit a broad range of wavelengths that cover the e it is desirable to produce light that has a restricted wavelength spectr specialized filters that transmit some wavelengths and selectively abso
Color filters are usually constructed using transparent pieces of dy that have been treated to selectively transmit the desired wavelength of filters in use today are absorption filters that absorb unwanted w wavelengths by internal destructive interference and reflection. In an from the surface regardless of the filter construction and a small port are usually very minimal and do not interfere with the primary functio
Absorption Filters- These filters are generally constructed of dyed glas have a wide range of applications. They are used to create special e widely employed in the cinema industry. In addition, absorption filter directional signals on automobiles, boats, and airplanes.
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entire visible light spectrum. In many instances, however, rum. This can be easily accomplished through the use of orb or reflect unwanted wavelengths.
yed glass, plastic, lacquered gelatin (e.g. Wratten filters) hs while restricting others. The two most common types wavelengths and interference filters that remove selected ny filter, a small amount of the incident light is reflected tion of the light is also absorbed. However, these artifacts on of the filter.
ss, lacquered gelatin, or synthetic polymers (plastics) and effects in a number of photography applications and are rs are commonly found in signs and traffic signals and as
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