Light Study
Representation 2 Ho Man Lau a1697398
Content Stage 1: Place
3d Aerial Views & Gruond Views - - - - - - - - - - - 1-2 Shade Of Site Buildings - - - - - - - - - - - - - - - - - - - - 3-4 Movements And Site Character - - - - - - - - - - 5-6 Scale Study - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 7-8 Luminosity - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 9-10
Stage 2: Ideas
Idea 1- - - - - - - - - - - -- - - - - - - - - 11-12 Idea 2 - - - - - - - - - -- - - - - - - - - - 13-14 Idea 3 - - -- - - - - - - - - - - - -- - - - 15-16 Reflection - - - - - - - - - -- - - - 17-18
Stage 3: Form
3d View of Design - - - - - - - - - - - - - - -19-20 Scale Plan - - - - - - - - - - - - - - - - - - - - - - -21 Sections - - - - - - - - - -- - - - - - - - - - - - - - - - 22 Compostion - - - -- - - - - - - - - - - - - - - - - - -23 Movements - - - - - - - - - - - - - - - - - - - - - - - 24 Opacity - - - - - - - - - - - - - - - - - - - - - - - - - - - -25-26
Stage 4: Material
Ground Views - - - - - - - - - - - - - - 27 Aerial Views - - - - - - - - - - - - - - - - -28 Compostion - - - - - - - - - - - - - - - - - 29-30 Visual Experience - - - - - - - - - - 31-32 Construction Detail - - - - - - 33-34 Filtration - - - - - - - - - - - - - - - - - - - 3536ww
Ground Views
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Aerial Views
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Photographic Study
Day
Night
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Shade Study
9:00 am
(Jan 15) SummerTime
12:00 pm
15:00 pm
(Jul 15) WinterTime 04
Acess and Movement
The red dashed arrow is about the movement and the main access that people usually go though and walk away. The orange arrow is from the grass area to the public space , it is for people to studing or having fun.
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Site Character
The blue area is green grass and also provide the space fo r the uni students, like running, walking, chilling ,talking and studing, And the party could be set up in there too.
According to the diagram , the purple and blue building is usually for engineering student ,they will have their lecture and tutorial in that building.
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Scale study The length of Bar Smith Library length is 40.53m The length of the Braggs is 74.9m The length of te inkami Wardi is 57.5m The length of he Math Lawns grass area is 49.42m , and the width is 21.88m, also the width of te pedestrain path between the brags and the grass area is 10.4m,while the other side, the pedestrain path s 6.46m , and the cloumn length is 2m, and the distance between each column under the Ingkami Wardi building is 7 meters, The gap of Barr smit Library and grass area is 21.1m. The Barr Smith Library’s length of sep in te front of gate is 10.8m.
Proprtional System The Brags height equals to forteen 1.8m tall human, while the width equals to almost 8 of the human heighs. and 8/14 is about 0.618. So, the proportion resonate better with human Golden Ratio. Another one which is the Ingkami Wardli , the height equrals to eleven 1.8m tall human, while the building which between Engineering and Maths,Scences. Also the height of equrals to almost 7.5 of the human heights , so according to the Golden Ratio. 7.5/11 is about 0.618. So that shows the proportion resonate is better with human Golden Ratio.
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The height of Inkarni Wardli building is equals to 15.5 times 1.8m tall human scale, while he length equals to 32 times 1.8m tall human scale. the distance of two column is 10 times 1.8 tall human scale .Both of the result are almost 0.618 , which is resonate better with the golden human ratio. HASSELL PTY LTD ACN 007 711 435 70 HINDMARSH SQUARE ADELAIDE SA 5000 AUSTRALIA ADELAIDE@HASSELL.COM.AU T 61 8 8203 5222 F 61 8 8203 5200
And the stair height is about 3 times 1.8m tall human scale . Each column distance is 6 times 1.8m tall human scale. And 3/6 answer is like 0.618, which is resonate batter with the golden human ratio.
A-302
The engineering building’s height equals to 15 times 1.8m tall human scale. while the length of it equals to 30 times 1.8m tall human scale. The height from the land to building’s roof equals to 10 times for the 1.8 human scale.
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Light closes the gap between architecture and our perception. We sense forms and materials with our eyes not directly but through the reflected light. Zaha Hadid's use of light might appear graphical at first sight with her light lines. Nevertheless, the grand dame operated very skillfully to enhance her architectural imagination. Luminous lines—either as luminaires or windows— characterize her early work, whereas luminous fields and a play of brilliance emerged later.
Luminosity Zaha Hadid’s projects are remarkable not only for her innovative way of handling tangible materials but also for her imagination regarding the medium of light. Her theories of fragmentation and fluidity are now well-known design techniques which enabled her form-finding. However, her advances in using light to render her architecture have often been neglected—even though they became an essential element in revealing and interpreting her architecture. The three-decade transition from minimal light lines at her early Vitra Fire Station to the world’s tallest atrium at the Leeza SOHO skyscraper, which collects an abundance of daylight, shows the remarkable development of Zaha Hadid’s luminous legacy.
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Decisive non-parallel lines mark the explosive energy of her first building: The Vitra Fire Station (Weil am Rhein, 1993)—a lucid expression of tensions with in-situ concrete walls. Light lines in the ceiling, or between wall and ground or between the wall and the flying roof reinforce the linear architecture with sharp edges. In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light lines emerge as built manifestations of her suprematist paintings. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms.
Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. In order to interweave the surrounding landscape with her new structures, Hadid analyzed abstracted urban transport patterns and transformed them into luminaire patterns. At Strasbourg’s Hoenheim-Nord Terminus and Car Park (2001), she became fascinated by the white road markings and converted them into white linear diffuse luminaires—either integrated as strips in the concrete roof or as tilted poles for the car parking spaces.
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The idea is come from the sea, because when light pass though water , it will create a beautiful sea patterns. that’s why i want to create a sea’s roof , so the sun light can create the sea pattern when the light pass though the water Also water is part of the nature , so that this idea is also from the nature.
Idea 1 Seek Light is Nature
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According to this idea , it is about discovery, when people go in to building ,they will see a hugh window on the roof , so the sunlight will pass though the building .w
Idea 2 Seek Light is Discovery
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THe idea is come from the bird nest, because bird nest have a very unique shape ,and the can create diffierent angle ,so if the light gonna go thought the bird nest , it will shows lots of shape to the underground which is from the light. That’s why this idea is about seek light is Nature.
Idea 3 Seek Light is Nature
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Reflection The American architect Frank Gehry transferred this aesthetic of brilliance from glass to metal with the titanium cladding of the Guggenheim Museum Bilbao in 1997. While the connotations range from a ship for the larger form to fish scales regarding the reflective panels, the building as a whole has turned into an urban jewel that kicked off numerous urban redevelopments with its iconic signature. Many an aspiring metropolis assumes that the structural form is the key successful factor in “Bilbao effect.� However, with the sparkling light qualities of the titanium sheets and its changing appearance, Frank Gehry has not only brought a dynamic composition of forms to Bilbao but reinforced his design with a distinctive, dynamic image which varies with every cloud and sunbeam.
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Though they are less than half a millimeter thick, the titanium sheets evoke an interesting, almost corrugated- tactile dressing – an association which the New York Times critic Herbert Muschamp connected with Marilyn Monroe: “Frank Gehry’s new Guggenheim Museum is a shimmering, Looney tunes, post-industrial, posteverything burst of American optimism wrapped in titanium (...) The building is the reincarnation of Marilyn Monroe.” With the Walt Disney Concert Hall, opened in 2003, the lustrous gesture subsequently arrived in the glamorous Hollywood scenery. Later Paul Andreu covered the monumental dome of the National Grand Theatre of China with a shiny titanium skin and heightened the effect with a surrounding reflecting pool to stand out against the nearby ancient red walls of the Forbidden City. But continuous glossy skins do not present the only option for sparkling jewels in the city.
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3D Model Of Light Pavilion In Context
Context 1
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Context 2
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Scale Plan
B
A
A
B 1:200
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Section
AA-Scetion
1:100
BB-Scetion
1:100
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Exploded Perspective Of The Structure 1 2
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6
1. 2. 3. 4. 5.
7 8 3
Bird Nest Roof Entrance Disable access 3 Toilet Presentation area
6. 7. 8. 9. 10.
Two Seminer Room Small Library Reception Relaxing Area Storage Room
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6 7
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9
1. 2. 3. 4. 5.
Bird Nest Roof Entrance Disable access 3 Toilet Presentation area
6. Two Seminer Room 7. Small Library 8. Reception 9. Relaxing Area 10. Storage Room
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Movement
Movement From Outside
Movement From Iinside
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Opacity 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. 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.
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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.
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.” 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.
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. “Light originates somewhere, but man does not need to know where. Lighting is not an end in itself. But its meaning is to create a feeling of the infiniteness of eternity.”
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Ground Views (With Model)
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Aerial Views (With Model)
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Exploded Perspective Of The Structure
Roof Plan
Ground Plan
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Internal Views
31
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Construction Details
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Filration 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.
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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.
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