A1704593 HAMISH MCGREGOR REPRESENTATION II
THE BARR PROJECT
CONTENTS
1- SITE PLAN 2- ELEVATIONS 3- 3D VIEWS 4- 3D VIEWS 5- SHADE & SHADOW 6- ACCESS & MOVEMENT 7- AMBIENT LIGHT 8- SOCIAL & CULTURAL 9- LIGHT STUDY 1 10- LIGHT STUDY 1 11- SITE 1 12- SITE 1 SECTIONS 13- SITE 1 VIEWS 14- SITE 2 15- SITE 2 SECTIONS 16- SITE 2 VIEWS 17- CASE STUDY 18- LIGHT STUDY 2 19- LIGHT STUDY 2 20- LIGHT STUDY 2 21- PLAN 22- PLAN 2 23- SECTION 24- AERIAL VIEWS 25- GROUND VIEWS 26- 3D VIEWS 27- INTERNAL VIEWS 28- INTERNAL VIEWS 29- LIGHT STUDY 3 30- LIGHT STUDY 3 31- MODEL OF STRUCTURE 32- EXPLODED PERSPECTIVE 33-CONSTRUCTION DETAIL 34- CONSTRUCTION DETAIL 35- 3D INTERNAL VIEWS 36- 3D INTERNAL VIEWS 37- 3D INTERNAL VIEWS 38- 3D INTERNAL VIEWS 39- LIGHT STUDY 4
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SITEÂ PLAN 1:1000 PAGE 1
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ELEVATIONS PAGEÂ 2
WESTERN ELEVATION 1:500
SOUTHERN ELEVATION 1:1000
NORTHERN ELEVATION 1:1000
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3D VIEWS PAGEÂ 3
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3D VIEWS PAGEÂ 4
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SHADE & SHADOW PAGEÂ 5 9AM
SUMMER
WINTER
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12 NOON
3PM
ACCESS & MOVEMENT PAGEÂ 6
MOVEMENT
ACCESS
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AMBIENT LIGHT PAGE 7
AMBIENT LIGHT: AMBIENT LIGHT IS THE LIGHT THAT IS ALREADY PRESENT IN A SCENE, BEFORE ANY ADDITIONAL LIGHTING IS ADDED. IT USUALLY REFERS TO NATURAL LIGHT, EITHER OUTDOORS OR COMING THROUGH WINDOWS ETC. IT CAN ALSO MEAN ARTIFICIAL LIGHTS SUCH AS NORMAL ROOM LIGHTS. PROOF OF AMBIENT LIGHTING AT THE SITE IS LOCATED CASCADING THROUGH THE GLASS IN THE INGKARNI WARDLI BUILDING BORDERING THE SITE. MORE AMBIENT LIGHTING IS SEEM UNDER THE EXTERIOR LEDGE OF THE BRAGGS BUILDING ALSO SURROUNDING THE SITE AND ALONG THE EDGES OF THE GLASS TOWERS LOCATED ON THE CORNERS OF THE INGKARNI WARDLI BUILDING
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SOCIAL & CULTURAL QUALITIES PAGE 8
THE FAMOUS UNIVERSITY OF ADELAIDE BUILDING THE BARR SMITH LIBRARY (BUILT 1933 W H BAGO) IS STATE HERITAGE LISTED PROPERTY. HISTORIC BARR SMITH LIBRARY BUILDING CONSERVATION PLAN, BRUCE HARRY & ASSOCIATES, JULY 2000- THIS REPORT CONTAINS ANALYSIS OF THE HISTORY AND PHYSICAL CONDITION OF THE BUILDING. THE CONSERVATION POLICIES RECOMMEND RETENTION OF ALL EXTERNAL DETAILING ELEMENTS AND THE INTERNAL RETENTION OF THE READING ROOM VOLUME AND FURNISHING. THE LAND RIGHTS BELONG TO THE NATIVE ABORIGINAL POPULATION FROM THE KAURNA PEOPLE.
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LIGHT STUDY LUMINOSITY PAGE 9
LUMINOSITY THE STATE OF BEING LUMINOUS, OR A LUMINOUS OBJECT; BRILLIANCE OR RADIANCE. IS DEFINED TO BE A BRIGHT LIGHT OR A BRIGHT OBJECT THAT ALLOWS THE SPACE TO BE ILLUMINATED.
THE PHILOSOPHICAL MEANING OF LUMINOSITY IS THE QUALITY OF BEING INTELLECTUALLY BRILLIANT, ENLIGHTENED, INSPIRED OR THE FEELING OF BEING KNOWLEDGEABLE. THE BASIC MEANING OF ILLUMINATION IS “RISING,” MORE PRECISELY “RISING OF THE SUN”. THE TERM IS USED EXTENSIVELY IN ARABIC AND PERSIAN PHILOSOPHICAL TEXTS, SIGNIFYING A SPECIAL INTUITIVE MODE OF COGNITION WITH NO TEMPORAL EXTENSION, SPATIALLY COORDINATED “IN” THE KNOWING, SELF-CONSCIOUS SUBJECT. IT APPLIES TO THE RELATION BETWEEN THE “APPREHENDING SUBJECT”AND “APPREHENSIBLE OBJECT”.
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LIGHT STUDY LUMINOSITY PAGE 10 3 WHEN ‘LIGHT CLOSES THE GAP BETWEEN ARCHITECTURE AND OUR PERCEPTION,’ IT BECOMES AMBIENT. THROUGHOUT ZAHA HADID'S CAREER, HER USE OF LIGHT TAKES THE FORM IN SHINING LANDSCAPE REFLECTIONS, PIXELATED/FRAGMENTED LUMINOSITY, DECONSTRUCTIVE LINES OF LIGHT AND TRANSFORMING URBAN LINES INTO LUMINOUS STRIPS. LUMINOUS LINES—EITHER AS LUMINARIES OR WINDOWS—CHARACTERIZE HER EARLY WORK, WHEREAS LUMINOUS FIELDS AND A PLAY OF BRILLIANCE EMERGED LATER. INTRODUCING SHINING LANDSCAPE REFLECTIONS INTO MODERN ARCHITECTURE ALLOWS AMBIENT LIGHT TO REFLECT OFF THE SHINING SURFACES AND CREATE MORE LIGHT THAT BOUNCES OFF THE SURFACES. THIS TECHNIQUE IT EFFICIENT AS IT CREATES AMBIENT LIGHT FROM REFLECTION, THUS NOT USING ADDED ENERGY TO CONSUME MORE POWER. PIXELATED/FRAGMENTED LUMINOSITY ALLOWS FOR STAGGERED LIGHTING AND GENERATES LIGHT THAT RECOILS IN MULTIPLE DIRECTIONS. DECONSTRUCTIVE LINES OF LIGHT CAN CAPTURE LIGHT FROM A SOLID OBJECT BY ENHANCING THE POWERS OF THE SUNS LIGHT. THIS CAN BE DONE BY CREATING A SOLID STRUCTURE (CONCRETE ROOF) AND PRECASTING A HOLE IN THE CENTRE WHERE EITHER NOTHING OR GLASS SIT THAT CREATE THE LIGHT ENHANCEMENT. THIS IS CLEAVER BECAUSE IT CREATES A DIRECTED SHAPE LIKE STREAM OF LIGHT THAT CASCADES ONTO THE GROUND WHERE THE LIGHT CAN POUR IN.
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SITE 1 PAGE 11 SITE ARIAL VIEW 1:1000
FLOOR PLANS 1:500
CONCEPT THE CREATED LIGHT PAVILION FOCUSES ON THE MOVEMENT AROUND THE WESTERN LAWN IN FRONT OF THE BAR SMITH LIBRARY FACADE. ILLUMINATED PATHS THAT ALLOW LIGHT TO GUIDE VISITORS TO MAJOR MOVEMENT 'HOT SPOTS' WITHOUT STEPPING FOOT ON THE GRASS, CREATING A QUICKER ROUTE AND THEREFORE SMALLER DISTANCES TO TRAVEL. ALLOWING THIS KIND OF TRAVEL WILL ACTIVATE THE CENTRAL ENCLOSED COURTYARD THAT IS OPEN TO THE ELEMENTS. THIS CENTRAL SPACE IS USED FOR READING/RELAXING AND/OR PRESENTATIONS.
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BENEATH THIS SPACE IS THE FACILITIES EQUIPPED FOR THE SPACE INCLUDING DISABLED ACCESS THROUGH THE LIFTS LOCATED ON THE BASEMENT FLOOR OF THE INGKARNI WARDLI BUILDING
EXPLODED SPATIAL DIAGRAM
SITE 1 SECTIONS PAGEÂ 12
NORTHERN SECTION 1:500
SOUTHERN SECTION 1:500
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SITE 1 VIEWS PAGE 13
SECOND FLOOR INTERIOR
FIRST FLOOR INTERIOR
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SITE 2 SITE ARIAL VIEW 1:1000
PAGE 14
SECOND FLOOR INTERIOR
FLOOR PLANS 1:500
EXPLODED SPATIAL DIAGRAM CONCEPT THE CREATED LIGHT PAVILION FOCUSES PENETRATION OF LIGHT INTO THE THE DEEP SPACE LOCATED WESTERN LAWN IN FRONT OF THE BAR SMITH LIBRARY FACADE. AS THE LIGHT HITS THE GLASS ROOF, THE SPACE LIGHTS UP AND IS CHANGES THE DARK SPACE INTO A LIGHT AND BRIGHT AREA. ALLOWING STAIRS AT MULTIPLE LEVELS GIVES VISITORS INTENSITY LEVELS FROM VERY BRIGHT LIGHT UP THE TOP TO DULL LIGHTING AT THE BOTTOM. CREATING THIS EFFECT ALLOWS RELAXATION AND A CALMER SPACE AS IT IS ONLY LIT UP DURING THE LIGHT WHEN NATURAL LIGHTING INS'T PROVIDED.
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SITE 2 SECTIONS PAGEÂ 15
NORTHERN SECTION 1:500
SOUTHERN SECTION 1:500
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SITE 2 VIEWS PAGE 16
SECOND FLOOR INTERIOR
FIRST FLOOR INTERIOR
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LIGHT STUDY REFLECTION PAGE 17 DESIGN PRECEDENT THE FOLLOWING DESIGNS FOR THE LIGHT STRUCTURE ARE MAINLY DESIGNED FROM KEY POINTS THAT THE DE L'ARC DE TRIOMPHE POSESSES
CENTRALIZED FOCAL POINT CREATING MANY VIEW LINES THAT BRANCH FROM A CENTRE POINT AMBIENT LIGHTING THAT GUIDES A LINE OF VIEW AT NIGHT SEMI UNDERGROUND TO ALLOW MORE VISITORS TO SITE AS POSSIBLE WHILST CREATING AN UNKNOWN IN HOW TO GET THERE. CREATED TO HELP DIRECT MOVEMENT
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LIGHT STUDY PAGEÂ 18
REFLECTION IS DEFINED AS THE THROWING BACK BY A BODY OR SURFACE OF LIGHT, HEAT, OR SOUND WITHOUT ABSORBING IT. IT CAN BE DEFINED AS AN IMAGE SEEN IN A MIRROR OR SHINY SURFACE OR AN AMOUNT OF LIGHT, HEAT, OR SOUND THAT IS REFLECTED BY A BODY OR SURFACE. THE PHILOSOPHICAL MEANING OF REFLECTION IS ALLOWING TIME TO ADAPT UPON A SITUATION AND OR TIME TO WHICH SOMETHING HAS GAINED A GREAT DEAL OF SIGNIFICANCE. ANOTHER PHILOSOPHICAL MEANING OF REFLECTANCE IS THAT A REFLECTIVE SURFACE ONLY ALLOWS THE SEEN OBJECT AND/OR IMAGE TO MIRROR FROM LEFT TO RIGHT INSTEAD OF UP AND DOWN.
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LIGHT STUDY PAGE 19
CASE STUDY - REFLECTION THE USE OF REFLECTIVE FACADES IN TODAY’S MODERN ARCHITECTURE HAS CREATED A NEW AESTHETIC TO WHICH ALLOWS THE CREATION OF UNIQUE SURFACES. FOR EXAMPLE, CLOUD GATE IN CHICAGO, A STRUCTURE THAT IS SOLELY CHROME, REFLECTS THE SURROUNDINGS, ENVIRONMENT AND FIGURES THAT COME UP NEXT TO IT. IT ALSO WARPS THE REFLECTANCE AND CREATES A UNIQUE SHAPE IN FOR ARCHITECTURE. A SCULPTURE LIKE THIS LEADS THE WAY FOR REFLECTIVE FACADES ON BUILDINGS TO INCREASE THE SIZE BASED ON PERCEPTION.
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LIGHT STUDY PAGE 20
ANOTHER REASON THAT REFLECTIVE SURFACES HAVE CHANGED MODERN ARCHITECTURE IS THE MIRRORED LIKE FACADES THAT CREATE AN ALMOST INVISIBLE LOOK WHEN TOWERING IN THE SKY (SKYSCRAPERS). USING THIS METHOD WILL MAKE PEOPLE AT THE GROUND LEVEL LOOK UP AND SEE AN OUTLINE OF THE BUILDING DUE TO THE REFLECTANCE OF THE SKY ON THE FAÇADE. TO CONCLUDE, REFLECTIVE FACADES ON MODERN ARCHITECTURAL BUILDINGS HAVE ALLOWED MORE THAN A SHINY SURFACE. THE USE OF THESE SURFACES GIVES OFF ILLUSIONS AND CREATES PERCEPTION TO PEOPLE LOOKING AT IT.
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PLAN PAGEÂ 21
PLAN 1:500
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PLAN PAGE 22
STORAGE
COMMON AREA
SEMINAR SPACE
MALE BATHROOM FEMALE BATHROOM
PLAN 1 : 100
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SECTION PAGEÂ 23
SECTION 1:500
SECTION 1:500
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ARIAL VIEWS PAGE 24
ARIAL VIEW 1
ARIAL VIEW 2
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GROUND VIEWS PAGE 25
GROUND VIEW 1
GROUND VIEW 2
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3D VIEWS PAGEÂ 26
ACCESS VIEW
MOVEMENT VIEW
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INTERNAL VIEWS PAGE 27
INTERNAL VIEW 1
INTERNAL VIEW 2
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INTERNAL VIEWS PAGE 28
INTERNAL VIEW 3
INTERNAL VIEW 4
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LIGHT STUDY PAGE 29
THE LINGUISTIC DEFINITION FOR OPACITY IS A QUALITY OR STATE OF A BODY THAT MAKES IT IMPERVIOUS TO THE RAYS OF LIGHT. IT IS ALSO THE RELATIVE CAPACITY OF MATTER TO OBSTRUCT THE TRANSMISSION OF RADIANT ENERGY THAT PASSES THROUGH. THE PHILOSOPHICAL MEANING OF OPACITY IS BEING ABLE TO SEE THROUGH A CERTAIN PERSON TO SEE WHAT THEY TRULY ARE. FOR EXAMPLE, MEETING SOMEONE FOR THE FIRST TIME, YOU WOULD NOT KNOW WHAT THEY TRULY BEHAVE LIKE AT FIRST BUT WHEN YOU INTERACT WITH THEM AND SPEND MORE TIME WITH THEM, THEY AREN’T SO OPTIC ANYMORE AND BEGIN TO UNDERSTAND THEIR CHARACTERISTICS. THIS REFLECTS TO ARCHITECTURE BY USING BUILDINGS INSTEAD OF PEOPLE. YOU HAVE TO SPEND TIME WITH A BUILDING AND INTERACT WITH IT TO KNOW MORE ABOUT ITS FEATURES OR CHARACTERISTICS.
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LIGHT STUDY PAGE 30
DUE TO SCANDINAVIAN WINTER AND THE LONG SUMMER DAYS, LIGHT IS SCARCE AND THEIR BUILDINGS HARNESS THE POWER OF THE SUN TO CREATE NOT ONLY REFLECTION BUT THE EFFECTS THEY PLAY ON THE HUMAN BODY AND THEIR SOUL. SINCE THE WINTER DAYS ARE SO DARK, THE SCANDINAVIANS ALLOW WHITE SURFACES TO COUNTERBALANCE THE DARKNESS AND CREATE SUCH BRIGHT LIGHT WHEN THE SUN EVENTUALLY HITS IT, HARNESSING THE SUN THAT IS UNCOMMON IN THE AREA. NORWAY, SWEDEN, DENMARK AND FINLAND ARE DISSIMILAR IN TOPOGRAPHY AND VEGETATION YET THEY SHARE THE SAME SUBDUED LIGHT. WELL KNOW WHITE SURFACES OFFER A HIGH REFLECTANCE BUT IS ALSO LINKED TO THE BEAUTY OF SNOW-COVERED LANDSCAPE. ALLOWING THIS TO BE BRIGHT INTO THE ROOMS, CONNECTS THE OUTSIDE LANDSCAPES DURING WINTER TO THE OCCUPANTS OF THE ROOMS. ANOTHER ADVANTAGE OF HAVING WHITE WALLS IN THE ROOMS KEEPS THE ROOMS COOLER AND EVEN THOUGH IT IS COLD OUTSIDE, WHEN THE SUN HITS THE GLASS IT DOESN’T TURN INTO A SAUNA. IT IS ALSO SMART, TECHNOLOGY WISE AS WHEN THE SUN HAS GONE, ALLOWING WHITE WALLS IN THE ROOMS IS ENERGY EFFICIENT. THIS IS BECAUSE THE AMOUNT OF LIGHTS NEEDED IS MUCH LESS THANKS TO THE REFLECTIVITY OF THE WALLS, ALLOWING THE LIGHT TO BOUNCE OFF SURFACES.
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MODEL OF STRUCTURE PAGE 31
SITE MODEL WITHOUT ROOF
SOLID CONCRETE BLOCKS STRUCTURAL CONCRETE
FULL SITE MODEL
GRASS FOR AESTHETICS
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THE SITE CONSISTS OF THREE MAIN COMPONENTS FOR STRUCTURE: CONCRETE SUPPORTS, GRASS AESTHETICS AND SOLID CONCRETE BLOCKS TO HELP SUPPORT THE WEIGHT OF THE CANTILEVERED ROOF.
EXPLODED PERSPECTIVE PAGE 32
GRASS TOP WITH LIGHTING INTEGRATED ALONG EDGES
SOLID CONCRETE BLOCKS TO SUPPORT CANTILEVERED STRUCTURE ABOVE
ACCESS BY STAIRS AND RAMPS WITH LIGHTING TO GUIDE
ROOM LAYOUTS TO ACCOMMODATE FOR THE SPACES NEEDED
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CONSTRUCTION DETAILS PAGE 33
INCLUDED MATERIALS: CONCRETE, GRASS, DIRT, GREY CARPET, PLASTERBOARD WALL
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CONSTRUCTION DETAILS PAGE 34 INCLUDED MATERIALS: CONCRETE, GRASS, DIRT, GREY CARPET, PLASTERBOARD WALL. GLASS DOOR, CONCRETE STAIRS, ALUMINIUM DOOR FRAMES
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3D INTERNAL VIEWS PAGE 35
INTERNAL VIEW OF SEMINAR LOOKING OUT
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3D INTERNAL VIEWS PAGE 36
VIEW OF GUTTERS THAT HELP DRAIN WATER FROM OPEN ROOF (OPEN TO THE ELEMENTS)Â
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3D INTERNAL VIEWS PAGE 37
VIEW OFÂ EMERGENCY EXIT TO THE SOUTH AND NORTH OF THE SITE.
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3D INTERNAL VIEWS PAGE 38
VIEW OFÂ RAMP AND FACADE
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LIGHT STUDY PAGE 39
THE LINGUISTIC MEANING OF FILTRATION IN ARCHITECTURE REFERS TO SELECTIVELY TRANSMITTING LIGHT OF DIFFERENT WAVELENGTHS, USUALLY IMPLEMENTED AS PLANE GLASS OR PLASTIC DEVICES IN THE OPTICAL PATH. FOR EXAMPLE STAIN GLASS WINDOWS; THE LIGHT AS IT HITS IS WHITE BUT THEN APPLIED TO A TRANSPARENT SURFACE LIKE COLOURED GLASS RESULTS IN A DIFFERENT LIGHT COLOUR. THE PHILOSOPHICAL MEANING OF FILTRATION REFERS TO THE ORDER OF MOVEMENT WHETHER BEING PEOPLE, ANIMALS OR OTHER OBJECTS THROUGH AN OBJECT. FOR EXAMPLE, THE FILTRATION OF PEOPLE THROUGH GATES AT A FESTIVAL. THIS CREATES ORDER AND AN ORGANISED FLOW OF PEOPLE INTO A LARGE CROWD. THIS IS USED IN ARCHITECTURE WHEN IT COMES TO MOVEMENT THROUGH A STRUCTURE. IT CAN BE DONE WITH TIGHT WALLS THAT ONLY ONE PERSON CAN GET PAST AT ONE PARTICULAR TIME OR EVEN SUDDEN CHANGES OF LEVEL IN ORDER TO CONTROL THE FLOW SPEED.Â
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LIGHT STUDY PAGE 39
LE CORBUSIER HAS PLAYED MASTERFULLY WITH ORIENTATION, OPENINGS AND TEXTURES TO CREATE KINETIC ARCHITECTURE WITH DAYLIGHT. EVEN THOUGH LIGHT HAS BEEN LINKED WITH DIVINITY AND HOLINESS IN MANY DIFFERENT RELIGIONS. IN CHRISTIANITY THE BIBLE SPEAKS OF GOD WHO “IS LIGHT” OR CHRIST AS “THE LIGHT OF THE WORLD”. EVEN IF THE DIVINE LIGHT AND VISIBLE LIGHT ARE NOT THE SAME, VISIBLE LIGHT APPEARS AS THE MOST LIKE THE HEAVENLY AND THEREBY LINKS BOTH SPHERES. BUILDINGS SUCH AS CATHEDRALS HAVE A FOCUS ON LIGHT AND UTILISE IT AS THE FOCAL POINT. IT CREATES A CONNECTION BETWEEN THE LIGHT AND THE ARCHITECTURE OF THE CATHEDRAL AND GIVES LIFE INTO THE BUILDING THROUGH DEMONSTRATING THE LIGHT IS THE ‘GOD’. LE CORBUSIER HAS IMPLEMENTED THIS INTO HIS DESIGNS TO CREATE A FOCUS ON JUST THE LIGHT. WHEN LOOKING AT LIGHT IN A DARK ROOM, YOU ARE ATTRACTED TO ONLY THE LIGHT AND NOT THE DARKNESS. THIS IS SHOWN IN HIS BUILDING, CHAPEL OF NOTRE DAME DU HAUT, RONCHAMP, FRANCE.
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