G1 haojun yang rep2.17.final

LIGHT STUDY UNDERGROUND ARCHITECTURE HAOJUN YANG a1698036

REPERSENTATION

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SITE MODEL Site Plan & 2D View ELEVATIONS 3D VIEW Arial Views & Ground Views SITE ANALYSIS Access & movement Social & cultural qualities Shade & shadow Ambient light

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DESIGN ANALYSIS Design Precedent & Spatial diagrams DESIGN IDEA 1&2 Plan, Section & Elevations Aerial & Ground view 3D internal views

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CONTENTS

FINAL DESIGN IDEA Plan & Section Aerial & Ground view Approach & access 3D internal views

FINAL DESIGN IDEA Scale model of the structure Exploded perspective 3D construction detailing 3D internal views (textures and materials)

LIGHT STUDY Luminosity, Reflection, Opacity and, Fitration 3

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SITE MODLE

Site Plan 1:1000

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ELEVATION

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3D VIEWS Arial views 6

3D VIEWS Ground views

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Site area

Pathway The Braggs is a lecture theater and it may have lecture everyday, which will cause human traffic jam when lecture finish. Engineering has a large amount of students, they wait to have class or classes ending it may become more crowded.

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Barr Smith Library, University of Adelaide from the main university lawns opposite the gates on Victoria Drive. The building is of red brick with freestone dressing and was built by HSC Jarvis. The portico is of Murray Bridge freestone and was built by SA Monumental Works.

Only three Australian libraries are built in classical style on a monumental scale, the Mortlock Wing of the State Library of South Australia, the Barr Smith Library of the University of Adelaide and the circular reading room of the State Library of Victoria, which is modelled on the former Reading Room of the British (Museum) Library.

Social & cultural qualities

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The Reading Room was planned to hold 15,000 volumes and provide seating for 200 readers. A ground-level bookstack provided capacity for 135,000 volumes, and a proposed stack extension (eventually begun in 1958 to a new design) was projected to bring total accommodation to 500,000 volumes,

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FEB 9.00AM

FEB 12.00PM

FEB 3.00PM

AUG 9.00AM

AUG 12.00PM

AUG 3.00PM

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SHADE & SHADOW AMBIENT LIGHT

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Design Precedent Spatial diagrams

The precedent of my two ideas is bird nest, which is made of tree branch. And I just simplity them to triangle and line, then copy and show them in boldface. Finally, got my design.

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Design idea 1

Stairs Louver Bedroom Livingroom Dinningroom 14

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Plan 1:500 Elevation 1:500 Section 1:1000 15

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Design idea 2

Stairs Louver Bedroom Livingroom Dinningroom 16

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Plan 1:500 Elevation 1:1000 Section 1:1000

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Design idea 1 3D Interior Views

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Design idea 2 3D Interior Views

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Final Design idea

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Plan 1:100

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Section 1:100

Final Design idea

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Final Design idea

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Aerial Views

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Ground Views

Final Design idea

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Final Design idea Approach & Access

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Outside

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Inside

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Final Design idea

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Internal Views

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Final Design idea Model of the Structure 1:200

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Final Design idea Exploded Perspective

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Final Design idea 3D Construction Detialings

Footing detail 1:100 30

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Green Roof detail 1:50 31

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Final Design idea

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Interior Texture & Material

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Final Design idea

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Interior Texture & Material

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LUMINOSITY Luminosity is a kind of Luminosity is a can kind of arlight, which make light,chitecture which can different. make ar- It is chitecture also a different. material Itto isbuild also different a material to and buildvisual space different space and visual design.

Luminosity is also design.

Luminosity is also a term that astronomers a term that astronomers use to describe the brightuse to describe the brightness of an object in space. ness of an object in space.

For Louis For Louis Kahn, Kahn, light light is theis the maker maker of material, of material, and and material’s material’s purpose purpose is tois to cast a cast shadow. a shadow.

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Yale University Art Gallery, ca. 1954.

Natural science development of the modern philosophy of “contact” luminosity of the link: “society never agree with the empty ideas, the luminosity would not bring any real return. When people try to see what the time, just with the luminosity of the eternal If people try to be obsessed with abstract ideas, they are as empty as capturing luminosity. When people occasionally question ‘when the cloud is moving or moving in the heart’, it will awaken the depth of consciousness: heaven, earth, everything All things, there is a connection in every process, all because of the life given its meaning.

The degree of direct use of luminosity reflects the progress of society as the most common material, if the luminosity with the way of life, the meaning of life these most abstract ideas linked to means that civilization reaches the ultimate rationality is not difficult to imagine, with the passage of time, The benefits of the use of the way to update, improve the way, social progress.

A Glimpse of Light Elucidated the Level of Darkness Louis Kahn (20/2/1901 – 17/3/1974) was not only one of the great modern Architects, but also a master in his use of natural light. Other than most architects, he used light not merely as a surface effect, but as primary means of shaping space.

He said, “I sense Light as the giver of all presences, and material as spent Light.

What is made by Light casts a shadow, and the shadow belongs to Light.”

In his work ‘Yale University Art Gallery’, I find in Kahn´s world, light is to be sought not only as a physical, animating source, but for its natural symbolism, for its metaphorical, poetic and spiritual meanings. Just like “A plan of a building should be read like a harmony of spaces in light. Even a space intended to be dark should have just enough light from some mysterious opening to tell us how dark it really is. Each space must be defined by its structure and the character of its natural light.” In lesser architecture, light is often an afterthought, or perhaps an isolated aspect of the design. In Kahn´s best work, natural light is already in the “DNA” of the building, intertwined with its most fundamental characteristics: use, structure, scale, ideas of place and locale. Kahn encouraged architects to read a plan not merely as a diagram of use, but as a pattern of “light, no-light, light, no-light....” For him, “The decision for structure is a decision for light.” The use of light design and construction, through the changes in light to make a variety of buildings, to the building more development space. Classic black and white contrast, will make the light more vivid image.

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Reflection is the act of Philosophical meaning reflecting, as in casting back a light or heat, mirroring, or giving back or showing an image; the state of being reflected in this way. The simplest example of visible light reflection is the surface of a smooth exterior wall of a building, where incident light is reflected in an orderly manner to produce a clear image.

REFLECTION

Reflection of light happens when the waves meet a surface or other boundary that does not absorb the energy of the radiation and bounces the waves away from the surface. Reflections change the light distribution in the space in front of and behind the wall, glass, and mirror.

The exterior wall makes the outside brighter because additional light sources appear in the reflective image. However, the appearance of additional light does not violate the conservation of energy principle, because some light no longer reaches behind the wall, glass, and mirror, as them simply re-directs the light energy.

Set on the edge of the Nerviรณn River in Bilbao, Spain, the Guggenheim Muse-

um is a fusion of complex, swirling forms and captivating materiality that responds to an intricate program and an industrial urban context. Gehry has also creatively used the waterfront setting. Building out over the water and using a combination of water-filled pools and the river itself, he clouds the boundaries of both, again finding a flow between building and site. But it is more complicated than that, for from some viewpoints inside, the water feels like a protective moat, adding yet another layer of perceptions. The towering glass sheathing of the central atrium achieves a parallel result, integrating interior and exterior, while the space provides the fulcrum for the surrounding galleries, the stem from which the petals grow. The metallic form of the exterior looks almost floral from above, from the ground the building more closely resembles a boat, evoking the past industrial life of the port of Bilbao. Constructed of titanium, limestone, and glass, the seemingly random curves of the exterior are designed to catch the light and react to the sun and the weather. Fixing clips make a shallow central dent in each of the 0.38mm titanium tiles, making the surface appear to ripple in the changing light and giving an extraordinary iridescence to the overall composition. Light is the most important factor in the appreciation and understanding of Architecture. The relationship between light and architecture is grounded in the principles of physics; it is about energy and matter but in this particular case it also implies an emotional effect on people. And reflection give architecture a new way to express mood or influence what people think. Architectures through elements like space, light, reflection and materials, can have on our mood. How can we add value to our institutions, public spaces, commercial areas, cultural facilities using light? However, it is also essential to plan and design the lighting in the most energy efficient way to preserve our planet. Therefore, the reflection of light is the most efficient way to do that.

“The randomness of the curves are designed to catch the light” Frank Gehry on the Guggenheim Museum Bilbao

Opacity is something or quality of being not able to be seen through, not allowing light to pass through. and it also means a measure of relative impenetrability to electromagnetic the emission of energy such as light.

Opacity is a measure of the im-

In the 20th century, Walter Benjamin solved the film, photography and cultural moderniza-

penetrability of electromagnetic or other types of radiation, especially visible light. In radiation transmission, it describes the absorption and scattering of radiation in the medium. The opaque object is neither transparent (maybe all rays to pass through) nor opaque (permissible some light to pass). When the light strikes the interface between the two substances, in general, some objects may be reflected, some are absorbed, some scattered, and the rest will be fired (see also refraction). can be diffused, for example, from light reflected from a white wall or mirror, as well as light reflected from the mirror. The opaque substance is opaque and soothing, scatters or absorbs all the light. Both the mirror and the carbon black are op pity depends on the frequency of light being considered.

tion of the aesthetic acceleration of the case of aura loss, the building has become a place to create another halo: it shows the object of the device to reflect the modern spirit of the new, whether it is painting, furniture, daily necessities and modern body itself, in the health environment liberation, muscle, rational, surrounded by clear form and white wall. Or at least this is the image of the modern architectural history book. Mark Wigley elaborated on the modernity of the whitewash is a 1920s on the construction of the production of a certain strength of the propaganda argument, adhere to the white cube “LOOK.” In addition, this trend is through the creation of an “international style” building after the MOMA show in 1932, and is also invented by the display logic. In addition, opacity has become an important aspect of modern architecture. Transparency has also become a key factor in the display space, trying to get rid of the past opaque and heavy. The use of transparency in architecture as a concept shows that the concept of progress becomes a necessary condition for aesthetic and ethical. For example, the development of the 17th century store display window, when the large glass plate becomes available, the beauty of the items is displayed in the eyes of consumers. The logic of this display is reinforced by the whiteness of early modernism. The white wall does not seem to have no color, but as a “dress up” space, the whitewash helps the senses, and it divert attention to the things that Corbusier says. In this sense, the foundation of modern architecture is based on the display logic. It is not surprising that many modernist icons such as the Mies van der Rohe’s Barcelona Pavilion or the Stuttgart Weissenhof Siedlung are built within the framework of the exhibition.

For the 1927 Weissenhof IBEA building exhibition, planned by Mies van der Rohe, the pre-given restriction was the use of flat roofs and white facades to create a unified image. Extensive publications and the subsequent spread of this project have successfully spread the real modern architecture is a white image, even though some of the Weissenhof architects refuse to comply with the rules and use other colors. However, in the copy of the black and white camera, they all look white. In addition, Ke Corbusier also the white color as a symbol of “moral, ethical, functional and technological superiority” of modern architecture.

OPACITY

The building is not just concrete, bricks stacked up to the ground. Buildings connect the outside world with human life, by filtering the sun, air, and moisture, giving a more comfortable living environment. Furthermore, the buildings of the windows and walls it is determined by qualitative factors. The thickness, height and angle of the wall also affect the internal environment of human life. The size of the window, the direction and opening and closing of the external factors such as a huge impact, such as blinds. Architects use louvers as solutions to overheat in many hot climates with long days of direct sunlight. These permanent sun-shading structures range from simple patterns of concrete fins to more elaborate wing-like mechanisms that can be adjusted based on different solar angles throughout the day and across the seasons. Some buildings incorporate louvers into the shades to mitigate high-angle rays in summer, but also permit low-angle winter sunlight for passive solar heating with a variety of pattern structures that act as light-filtration screens on the façades of buildings.

One of the most common types of louvers, simple concrete fins became widespread. Since then, there have been many creative renditions of the typical louvers, ranging from perforated screens to elaborately patterned structures encasing glass façades. For buildings today, a range of sun-shading structures combine practical functions with a unique architectural language. For example, Corbusier wants the Ronchamp space to be used for meditation and reflection purposes. Bright white walls add to this purely mindset, when the light into the church, it will become this cool, misty atmosphere. The effect of light evokes the expressive and emotional qualities of mankind and raises the high sense of adaptation to religious activities. The main features of the Ronchamp church come from the sun’s rising trajectory. The morning sun illuminated the side church and made the red paint redder. For Prummer, this red morning color is like the birth of mankind. Later, the sun swimming in the southeast wall between the high trough, continuous light through the depths of the south wall, and with the southeast corner of the vertical wrinkled soles of the glow in sharp contrast. This is a cycle, at sunset, the other side of the church is also open in a warm light.

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“ n a warm climate have a very different relationship to built form. One needs but minimal protection, such as a chhatri (an overhead canopy), during the day. In the early morning and at night, the best place to be is outdoors, under the sky.”

- Charles Correa

Filtration is the act or process of removing something unwanted from a liquid, gas by using a filter. Just like we use a series of method to choose what we need and leave the things which are unused. For example, window filtrate the light.

FITRATION

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