LIGHT PAVILION
A1730566 HEYU DING
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PART I
SITE VIEW IN 3D& SOCIAL CHARACTER ANALYSIS SITE ANALYSIS SCALE STUDY LIGHT STUDY I LUMINOSITY
PART II
IDEA GENERATION PRECEDENTS AND OPTIONS' VIEW LIGHT STUDY II REFLECTION
PART III
FINAL VIEW AND ANALYSIS PLAN AND SECTIONS LIGHT STUDY III OPACITY
4-5 6-7 8-9 10-11
12-13 14-15 16-17
18-19 20-21 22-23
PART IV MATERIAL AND CONSTRUCTION INTERIANL AND ACCESS VIEWS LIGHT STUDY IV FILTRATION
24-25 26-27 28-29
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DAY VIEW (PHOTO)
NIGHT VIEW (PHOTO)
SITE VIEW IN 3D & SOCIAL CHARACTER ANALYSIS
The main venue of this design is the following. The picture is a three-dimensional map and feature analysis map. The characteristics of the venue are more obvious. It is a student rest area and a side door main road, but it is slightly empty. This design has set the surface for solving this problem. Class buildings not only make up for the characteristics of the open space, but also do not affect the line of sight
6 SITE PLAN
SITE MOVEMENT ANALYSIS
SUMMER 9AM
SUMMER 12PM
SUMMER 3PM
WINTER 9AM
WINTER 12PM
WINTER 3PM
8 ELEVATION I (SCALE 1:500)
SCALE STUDY
PLAN SCALE 1:1000
ELEVATION II (SCALE 1:1000)
SCALE 1:200
WINDOWS DETAIL (SCALE 1:100)
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LIGHT STUDY I: LUMINOSITY Fluid Luminosity: The Architectural Lighting of Zaha Hadid Light is an indispensable part of our perception of architecture. We use the eyes not to directly sense the shape and material, but the light that is reflected by them. Zaha Hadid's use of light may fall in love with her light. However, this great lady is very skilled in her work to enhance her architectural imagination, and her architecture is often unique in its passionate style. The glowing lines - whether as lamps or windows - are the hallmarks of her early work, and the illuminating field and the brilliance that comes later.
Her first project to attract public attention and passion: fire department of vitra (Weil am Rhein, 1993) - the whole building USES concrete walls to increase the architectural clarity. Light lines on the ceiling or between the wall and the ground or between the wall and the flying roof reinforce the sharp edges of the line structure. She is a deconstructionist architect who also deconstructs traditional structures within the interior, the light gap between the walls and the ceiling. Even the unique shade design will enhance the linear pattern language. Light appears in the architectural expression of her supremacist paintings. While the edges of the interior light fixtures echo the sharp concrete lines, the soft, diffuse interior and exterior lighting somehow counteracts the energy of the building's shape "Fluid Luminosity: The Architectural Lighting Of Zaha Hadid". 2019. Archdaily. https://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid.
Zaha Hadid explored the graphical interpretation of several lighting and fixtures to make them more abstract. To entangle the surrounding landscape with her new structure, hadid analyzed the abstract urban traffic patterns and turned them into lighting patterns. At the Hoenheim-Nord terminus and parking lot in Strasbourg (2001), her love of white turned her into a scatter of white light - integrated as a strip in a concrete roof, or as a tilting pole for parking spaces . The Phaeno Science Center (Wolfsburg, 2005) is the decisive turning point in Hadid's lighting imagination. The windows of the building are in the same shape as the luminaires, an overall design technique that extends from Hadid's early lines and sharp corners. The elevated concrete structure creates a large shaded area, and the sunlight on one side enhances the impression of a dark emptiness, and the fiber penetrates out to form a strong contrast. In contrast, diffuse ceiling luminaires interfere with the dim atmosphere. The diagonal building structure has been translated into a diamond shape - in stark contrast to the early sharp edge project, the Hadid shape has a curved shape that marks the transition of the fluid design. To form a coherent outer surface, a diamond profile is also applied to the bottom of the elevated museum. Therefore, visitors feel the overall form of the method including daylight and artificial lighting. Nordpark Railway Station (Innsbruck, 2007) has opened a new light and flowing period in all of Hadid's work, which is not absorbed like concrete because it is made of glass. Inspired by ground glacier hail and ice, Hadid significantly increased her surface reflection for stunning mirroring. This structure is not isolated in the landscape, but has local landscape features embedded in it. Complex mirrors can irritate the viewer as they move around the station and station. At night, the station radiates a vibrant glow. Years later, the glossy surface of the Serpentine Sackler Gallery (London, 2013) is reminiscent of Innsbruck's ice floes.
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OPTION I: The idea comes from the rectangular shape. According to the analysis of the texture of the site, it is the best fit. By converting the straight line into a curve, a smooth rectangle can be obtained, and the two figures are overlapped to form a building with above and below ground.
OPTION II: The idea comes from UFOs. According to the analysis improve the sharpness of the rectangular buildings o is combined with the wall. The light can be refracted i one, three-quarters of the ground is on the ground, an
IDEAS
s of the school terrain, a sleek building can effectively on both sides, and the glass material of the top layer into the building to create a modern atmosphere. It is nd it feels natural. OPTION III: The idea came from the bird's nest. There were woven-type buildings on both sides of the building. The roof used the same style. By applying the grasshopper in the rhino, the roof was woven and a transparent material was applied. Matching the architectural styles on both sides, and the main body is underground, which is both beautiful and does not affect the line of sight.
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CASE STUDY
LIGHT ANALYSIS
New York City -Bob Webb Homes described the house as bright, warm and enticing in the first year of using beam windows in the company's showroom for family travel. The exterior of the building is a glass structure. Light can create a modernist atmosphere through refraction and reflection. The structure of the building and the combination of glass make the building look elegant and easy-going.
DIAGRAM OF LIGHT
"Natural Light Sets A Nice Mood, And Builders Seek More Of It - Constructconnect.Com - Daily Commercial News". 2019. Daily Commercial News. https://canada.constructconnect.com/dcn/news/ projects/2018/09/natural-light-sets-nice-mood-builders-seek.
OPTION I The top and bottom of the building are made of glass, and the light is emitted and refracted to fill the interior of the building.
OPTION II The top of the building is m a d e o f gl a s s, a n d t h e rounded edges change the light's emission path so that the light source in the room is unevenly distributed.
OPTION III Uniform structure and curved surfaces are given a glass material to create a surreal atmosphere
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LIGHT STUDY II: REFLECTION Veiled in Brilliance: How Reflective Facades Have Changed Modern Architecture Undoubtedly the glass façade at the Elbphilharmonie in Hamburg by Herzog & de Meuron refers to the visionary glass culture of Scheerbart, and indirectly to the golden shimmering skin of Berlin’s Philharmonic by Hans Scharoun as well. Inwardly and outwardly curved glass elements distort the perception of the city, water and sky. They build a fresh contrast to the uniform plane glass curtains of the International Style. The environment is not appreciated as a clear mirrored picture, but instead goes through a process of modification and reproduction.
Due to the curves of the balconies, the building reflects points or lines of brilliant light streaks. With a blue or diffuse sky the distinctive curves reflect the light as bright lines, similar to the horizontal lines seen in the designs of the automotive industry. Under direct sunlight, bright glossy points appear and evoke a jewel-like shimmer. Additionally, the vertical and horizontal convex curves of numerous single glass elements reinforce the shiny distorted reflections of the sky. Overall the curved façade with its printed dot screens evokes a vivid and liquid image, which expresses a close link to the water around. Built upon the historic brick warehouse below, and with its abstract choreography of complex distorted light reflections, the Elbphilharmonie operates as a magical eyecatcher. "Veiled In Brilliance: How Reflective Facades Have Changed Modern Architecture". 2019. Archdaily. https://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facadeshave-changed-modern-architecture.
In contrast to the shimmering disc dress at Birmingham, the stretched metal gesture at Messe Basel New Hall by Herzog & de Meuron introduces a linear interpretation of light reflections. The building's twisting bands of aluminum avoid the well-known monotony of windowless exhibition halls. The homogeneous bu t s t re t ch e d a l u m i nu m m o d u l at e s t h e building in a light way. When oriented towards the sky, the surface gives brightness to the building which is set in stark contrast to the dark perforations and areas where the bands leans toward the ground. For an Australian science facility the veil has even fulfilled the task of protecting against the harsh sunlight. The architects Woods Bagot erected an urban icon with enveloping the entire building with aluminum sunshades, each individually computer modeled, for the South Australian Health and Medical Research Institute in Adelaide. Some forms of sparkling reflective patterns are even able to initiate political discussions and influence the names of buildings. The “Fernsehturm Berlin� is an excellent example of this, with its reflection in the form of a cross emanating from the sphere. Built in 1969, the socialist and atheist party of the German Democratic Republic erected the tower to resemble the Russian satellite Sputnik. Located in the historic center of former East Germany next to a medieval church, the tall tower was intended as a political statement addressing the deconstruction of the old city. But the selection of pyramidal stainless steel panels led to an unintended effect: The reflections of the sun create a clearly visible cross pattern on the sphere. Thereby, the communist regime had accidentally installed a highly visible Christian symbol in an ostensibly atheist environment. Hence, the people in Berlin nicknamed the lighting ef fect the “Pope's revenge.
18 AERIAL VIEW
GROUND VIEW
AERIAL VIEW
GROUND VIEW
This design is based on the first option 1, deepened in option 1, reasonable segmentation of enough space, one layer (on the ground) one side and the top of the glass material used, and the side wall wall curtain wall decoration based on Inspired by the source of the water cube, this shape can reasonably divide the natural light. The top curtain wall decoration is inspired by the bird's nest. The irregular gap and the reflection and refraction of the glass can create a post-modern minimalist atmosphere. The bottom layer is perfectly adapted to the entire building through curved disable access and parametric stairs, and the glass material on the bottom of the bottom layer allows the light to enter the room perfectly. The atmosphere is romantic. The overall building fits the school's tone and is in line with the core concept of “light search�. This architectural design not only penetrates the light over a large area, but also shows the path of the light and the reflection and refraction from the fine details. The area of this design is 260 m2
EXPLODED VIEW
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PLAN 1:1000
SECTION 1:1000
ELEVATION 1:1000
TOILET(F)
TOILE(M) ace
AREA PLAN 1: 200
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resenta tion sp
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ibition/p
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An exh
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small library
reading/relaxing space
ACCESS
STORAGE
TOILET(D)
DISABLE
MOVEMENT ANALYSIS
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LIGHT STUDY III: OPACITY Light Matters: Whiteness in Nordic Countries
The extreme changes in weather and daylight have led to unique light situations in Scandinavia, where architects have played with white surfaces to counterbalance the long and dark winter days. The low position of the sun in northern regions creates long shadows and therefore daylight enters the buildings more from the side than from above. In contrast, summer evenings emanate a diffuse light. In his book “Nordic light: Modern Scandinavian Architecture,� Henry Plummer points out that although Norway, Sweden, Denmark and Finland are dissimilar in topography and vegetation, they share the same subdued light.
The Scandinavian countries have developed great buildings that resonate with both the scarce light in winter and the long summer days. Henry Plummer, Professor Emeritus at the University of Illinois at Urbana-Champaign, has very carefully studied the various daylight phenomena in the Nordic countries, with extensive photo journeys and brilliant writing that combines an analytical perspective with a poetic touch. His view of daylight looks beyond the practical advantages of using reflective white spaces to facilitate bright rooms; the passionate photographer is much more interested in the light effects that play with the local beauty of nature and touch the human soul.
Whiteness is a central aspect of how Nordic architects responded to their local environment, as Plummer reveals in his studies from the 15th century up to contemporary buildings like Steven Holl's Herning Museum of Contemporary Art. Without doubt, white surfaces offer a high reflectance in order to maximize interior brightness for dark winter periods, but for Plummer the affection for whiteness is also linked to the beauty of snow-covered landscape. Early examples of white architecture could already be found in Denmark´s medieval churches, and this design approach still influences modern sacred buildings like the Dybkær Church by Regnbuen Arkitekter. For example, the sophisticated daylight concept arrives from three directions, as Plummer explains: “Low from the north to emphasize a black steel crucifix; more broadly from the south as a glancing wash; and as a shower directly behind the altar, guided down through a sluice of wall.” Further on, the nave walls are animated by an irregular texture of white brickwork. In a similar way, the Bagsværd Church by Jørn Utzon plays with white, as the architect elucidated to Plummer: “Light is the most important feature of the church. I provided white walls and white ceilings so that daylight, which is limited in Denmark for much of the year, is fully used and produces an intensity of light always greater than that outside.” The concept of white diffusion, using white-painted plaster, white-enamelled steel and white linoleum, was introduced by Alvar Aalto for the Paimio Sanatorium in the 1930s, and achieved a peak at the Nordyjllands Art Museum in 1972, according to Plummer. Shades of white cover the walls, floors and ceilings as well as the expressive daylight scoop. However, the power of pure white volumes is not the only characteristic of the Nordic built environment. The pulse of nature with vibrating patterns of light or the transiency of dramatic light and shadow belong to the distinctive Nordic light approach as well.
"Light Matters: Whiteness In Nordic Countries". 2019. Archdaily. https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries.
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MATERIAL ANALYSIS GLASS JOINT
IRON FRAME
GLASS IRON SKIN
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SEEK LIGHT IN BUILDING
ENTRY VIEW
INTERNAL VIEW
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LIGHT STUDY IV: FILTRATION Light Matters: Le Corbusier and the Trinity of Light
For his three sacred buildings, Le Corbusier has played masterfully with orientation, openings and textures to create kinetic architecture with daylight. His pilgrimage chapel at Ronchamp, the monastery of Sainte Marie de La Tourette, and the parish church of Saint-Pierre in Firminy reveal distinctive and individual approaches that each render contemplative spaces with light. In his book “Cosmos of Light: The Sacred Architecture of Le Corbusier,” Henry Plummer, Professor Emeritus at the University of Illinois at Urbana-Champaign, has analysed these projects with outstanding photographs taken over 40 years and brilliant writing.
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 similar to the heavenly and thereby links both spheres. Each epoch has formed a new language of light: The glow of the Romanesque apse, the golden shimmer of Byzantine mosaics or the luminous walls of Gothic stained glass. As an artist as well as an architect, Le Corbusier expressed an exceptional sensitivity for the interaction of colours and light in his sacred buildings. His position as an outspoken agnostic seems very ambivalent in combination with his desire to open the soul to poetic realms.
"Light Matters: Le Corbusier And The Trinity Of Light". 2019. Archdaily. https://www.archdaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light.
Studying Le Corbusier's sacred buildings for more than four decades has led to a deep fascination for Henry Plummer regarding the transformative power of light: “Instead of serving as a tool of religious persuasion, as it generally has in the past, light has become a quiet force to visually resist and elude, erode and outshine, the Church´s mandate. Light eats away and weakens institutional discipline, while exerting its own dazzling powers to draw attention out to the sky and its commonplace marvels – in effect using light to consecrate the natural universe”. The main characteristic of the Chapel of Notre Dame du Haut at Ronchamp (1950-55) comes, for Plummer, from the continuous circle of solar events. The dawning sun illuminates the alcove of the side chapel and turns the red-painted void even redder. For Plummer this reddish morning light is a clear analogy to human birth. Later, sun floods the tall slot between the east and south walls, continuous with the rays of light through the deep cavities of the south wall. The small horizontal crack of ten centimetres lifts the roof from the wall and creates a harsh contrast to the glow of the vertical brise-soleil at the southeast corner. The cycle culminates finally in a warm glow from an opening in another side chapel at sunset. The highlight of the light choreography in La Tourette's church begins with the sunset. A crack atop the west wall draws warm lines along the side walls. The north wall connects the two golden lines and with the falling sun the line slowly moves upward. The dramatic atmosphere increases till the moment when the golden light hits the slight upward tilted roof plane and grazes over the tactile ceiling of prefabricated slabs. This effect changes with the seasons – ranging form a small triangle in winter to
a large rectangle in summer when the sun reaches its maximum power.