F
E
E
L
I
N
G
L I G H T
1/VOL1
ISS
30/10/17
T A B L E
O F
C O N T E N T S
PLACE 1-2 SITE PLAN & ELEVATIONS 3-4 3D VIEWS 5-6 SHADOWS 7-8 AMBIENT LIGHT ANALYSIS 9-10 LIGHT STUDY 1 - LUMINOSITY IDEA 11-12 PRECEDENTS & SPACIAL DIAGRAMS 13-14 PLAN & SECTIONS 15-16 SPACIAL CONTEXT 17-18 GROUND, AERIAL, INTERNAL 3D VIEWS
19-20
LIGHT STUDY 2 - REFLECTION
FORM 21-22 PLAN & SECTION 23-24 AERIAL & GROUND VIEWS 25-26 ACCESS & MOVEMENT 27-28 INTERNAL LIGHT 29-30 LIGHT STUDY 3 - OPACITY MATERIAL 31-32 STRUCTURAL LAYOUT 33-34 COMPOSITIONAL LAYOUT 35-36 DETAILS 37-38 TEXTURE AND MATERIALS 39-40 LIGHT STUDY 4 - FILTRATION
S I T E
1
P L A N
E L E V A T I O N S
INGKARNI WARDLI ENGINEERING AND MATH SCIENCES SANTOS PETROLIUM ENGINEERING
THE BRAGGS MOLECULAR LIFE SCIENCES
BARR SMITH LIBARARY
2
3 D V I E W S
3
G
round views present the scale of each building surrounding the Lawns and the contrast in axis between the flat ground plane and vertical structures. The linear nature of the site is also expressed in each perspective with long lines dictating the focal pointSs along the lawns to and from the Barr Smith Library.
4
S H A D O W S
WINTER
SUMMER 5
9 12
3
A
ssessing the cast of shadow across the Math Lawns at different times of day in both Summer and Winter provide an insight into the level of interaction available for an underground Light Pavillion. It is clearly evident that during the Summer months, strong direct light covers the lawns for most of the day whilst it is quite the contrary in winter. Creating a space that caters for all times of the day and year is essential to produce an emotional experience underground that is open to change seasonally with varying levels of luminosity across the site.
BSL IW TB
- Barr Smith Library - Ingkarni Wardli - The Braggs
MLS SPE EMS
- Molecular Life Sciences - Santos Petrolium Engineering - Engineering and Maths Sciences
MLS
TB
FROM
BSL EMS
SPE
E RD
After studying the site for a period of time during a busy period of the day, commonly used access points as well as shortcuts and frequently used paths were noted. Obstructing the paths across the south-western section of the lawns, particularly near the stairway casing the westerly end of Ingkarni Wardli, would result in unrest as it is an area of high traffic, particularly on the hour. In most situations, people tend to stay to the provided paths across the site for direct and linear access to their desired destination.
KEY
IW
6
A M B I E N T L I G H T A N A L Y S I S
7
T
here is an abundance of ambient light on the site which illuminates a majority of the area, with the exception of the shadow cast in the morning during winter (image 7b). During the day, sunlight is producing the ambience such that the contrast between interior and exterior limits the visibility within each structure. After the sun has set, interior light dominates the large surfaces of each building and large exterior lights illuminate a majority of the area creating an area that feels safe and peaceful even at later hours of the evening (images 7a & 7c).
ADDITIONAL SITE INFORMATION s seen in images 7a and 7c, preparation has begun for the University of Adelaide Open Day, one of many events that take place on the Math Lawns. Other social events include; Adelaide University Society barbeques and University Sporting Events, hence majorly obstructing the area, particularly the southwesterly lawn area, is not an option. Additionally, the Barr Smith Library is heritage listed by the South Australian Heritage Register, hence any obstruction of view from Frome Rd is prohibited. The Math Lawns provide an area that is abundant with social and cultural life that needs to be taken into consideration.
A
7a
7b
7c
7d
8
LUMINOSITY
LIGHT STUDY 1
T
he quality of Luminosity in Light can be presented in a wide range of philosophical and scientific interpretations, as well as its value in architecture. Derived from the Latin word lumin, something that is luminous is radiating or reflecting light. In Optics, the study of light and its behavior, Luminance is defined as the quantitative measure of brightness of a light source or illuminated surface.
9
T
he luminosity of an object or surround is often associated with enlightenment, spiritually or through greater knowledge, and religiously as to serve a higher ‘purpose’ and to seek the divine. There is a connection to light and luminosity in almost every religion, each interpretation differing but the divine nature of light is ever present. Intensity plays a large role in the divine, as the greater the intensity, especially of ‘white’ light, the more pure and ‘divine’ the environment is. Knowledge and light are linked through various terms and phrases such as illumination and enlightenment, ‘to see the light’, ‘it dawned on me’ and ‘to shed some light on the matter’. All use the fundamental principles and behaviors of light, with specific regard to its luminous qualities as a metaphor of knowledge, to seek knowledge or the realisation of exposure to new wisdom.
`````
8 http://www.archdaily.com/876397/swiss-house-xxxiv-galbisio-davide-macullo-architects
L
uminosity is a pivotal tool in an Architects arsenal when it comes to setting the tone and shaping the experience of a position, room or even an entire structure. The manipulation of light’s intensity and exposure drastically changes the feeling of a space, both positively and negatively. Davide Macullo Architects have manipulated the direction and intensities of light perfectly in their Swiss House XXXIV Galbisio in Bellinzona, Switzerland earlier this year. The house, which is constructed of a multitude of intersecting planes, restricts and directs light such to benefit the inhabitants of the building by providing “…a place of positive energy, where man is the protagonist in finding his way to become a better person.”
The presence of abundant light and a pale colour palette on the interior of the structure plays a pivotal role in providing a welcoming and uplifting space that feels crisp through the linear design of the structure. Windows act as luminaries, providing and dispersing light into the building at unique angles and intensities creating individual spaces throughout the home. During the day, direct light is drawn into the building through large bay windows generating pockets of intense luminosity that illuminates the surrounding areas to great prevail. After the sun has set though, interior lighting reverses the effect where now the source of light is from the interior, emitting purposeful and directed light outward and into the night sky. This inversed setting fabricates a fascinating appeal of curiosity as to what the source of light is and how to reach it.
10
P R E C E D E N T
W
hilst begining to draw apon ideas for a Light Pavilion on the Maths Lawns, one particular metaphor stood out and one precedent building drew particular inspiration. Utilising the metaphor “Light is Light”, playing on the idea of weight and the homograph of the word ‘light’ and its two interpretations. Using the feeling of weight, and lack of, as a the founding principle of the design, Daniel Libeskind’s Jewish Museum in Berlin (2001) sprang to mind when thinking of precise and purposful uses of angular light and shadow within a structure. Libeskind is able to create individual spaces of unique lighting through sharp prodruding forms. What intrigues the eye is not just the internal experience of where and how light is allowed to slice into the building, but the spaces that have been created outside, directing the view upwards and towards the source of light through tall and narrow concrete walls.
FORM SKETCH
P
icking apart sharp angular forms in a cross section initiated the design process with an emphasis on altering the ground plane by creating deep and narrow walkways that scar the landscape. After several iterations a final plan was rendered which uses the walkways to create a sense of gravity and weight, cutting into the landscape whilst light shines in from above.
11
For the second design, the intention remained the same but through curved forms that contradict the linear nature of light.
S P A C I A L
PATHWAY SKETCHES
D I A G R A M S
DESIGN 1 SPACIAL DIAGRAM
DESIGN 2 SPACIAL DIAGRAM
12
P L A N
&
Both designs presented convey the same layout with access points in approximately the same positions as well as the sizing of each individual room. The aim of both designs is to enhance the feeling of weight, both heavy and ‘light’ through thick walls, steep inclines and deep narrow walkways. The light experiences are not liminted to the interior rooms, nor the outside walkways, but also to the surrounding environment at night time where deep cuts in the earth shine out through the lawns. Wwith the direction of the lawns facing North-East, the orientation of the pavilion is directed in such a way with 180 degree openings to capture the maximum amount of light possible during the day, and at all times of the day. Light colours reflect as much light as possible into the pavilion whilst contrast between light and show play an important role in creating a real sensual experience of ‘feeling light’ for what it is.
13
S E C T I O N
DESIGN 1 SECTION
SCALE 1:500 DESIGN 2 SECTION
14
S P A C I A L DESIGN 1
C O N T E X T DESIGN 2
5
5
1
1 4
2 3
15
4
2 3
SCALE 1:700
KEY 1 2 3 4 5
RECEPTION, TOILETS, STORAGE, EXHIBITON SPACE SEMINAR ROOM 1 SEMINAR ROOM 2 SMALL LIBRARY STUDY/RELAXATION AREA
16
G R O U N D I N T E R N A L
&
A E R I A L 3 D V I E W S
DESIGN 2 GROUND
17
DESIGN 1 GROUND
DESIGN 2 AERIAL
DESIGN 1 AERIAL
DESIGN 1 INTERIOR
DESIGN 2 INTERIOR
18
www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changed-architecture
Meaning in Architecture Veiled in Brilliance: How Reflective Facades Have Changed Modern Architecture eflection is defined as ‘the throwing back by a body or surface if light, heat or sound without absorbing it’. In philosphical terms, to reflect is to look back apon, revising, to comprehend or to understand. Reflection of the past is a strong component of meditation and recovery that has been practices for thousands of years. Reflection of Light was never truly a signification form defining phenomenon before Modernism began its marchin the early 20th century and even then,
R
19
the focus was directed towards transparency of the new glass facades and the deeper meaning. Thomas Schielke writes ‘the belief that light and brilliance could help in creating iconic architecture and a better human world, glass and metal have been innovatively transformed to create crystalline images. As a result, the locus of meaning in architecture has shifted from the internal spaceform towards the external surface.’ Through the progression modernist movement, the design of buildings and in particular; skyscrapers, moved towards the ‘façade’ and the building having a ‘skin’.
N
LIGHT STUDY 2
ew materials such as steel and reinforced concrete enabled larger spans and hence larger possibilities for architectural design. With this, the glass façade became the basic layout for the office skyscraper, resulting in large reflective faces domination the city skyline. Reflective surfaces were not limited to glass as Frank Gerhy’s Bilbao Guggenheim Museum proposes a ‘dynamic composition of forms to Bilbao but reinforced his design with a distinctive, dynamic image which varies with every cloud and sunbeam.’ as Schielke states. Exploration in materiality and form brought a new changing dynamic to architecture where the structure seems to change depending on the level and direction of light present.
S
chielke continues to describe Selfridges Birmingham department store as a ‘glistening net that a fascinating feeling of scale’ and ‘diffused reflections of the façade cladding leads to an abstract transformed image, which is primarily determined by the brightness and colour of the sky’. Reflection was no longer just a basic and simplistic phenomenon used to encase a cubic building as per the International Style, it became a tool to create an iconic piece of architecture, to great delight, or controversy in the case of the South Australian Health and Medical Research Institute in Adelaide. Reflection has changed the way architecture is designed by directing the focus of the structure not to how it performs or casts shadow as Khan preferred, but to invest complex forms that present a ‘spectacle to today’s society’. It has possibly even defined the shape of todays building style, as more innovative shapes invite more complex reflections, which results in the wonder which is desired today.
NOITCELFER
wxw
20
P L A N
&
S E C T I O N
LIGHT PAVILION PLAN SCALE 1:500 0
5
15
35m
LIGHT PAVILION SECTION SCALE 1:250
21
0
2.5
7.5
17.5m
22
A E R I A L V I E W
F
rom an aerial perspective, the stepped curved forms contrast the surrounding linear buildings whilst ever so slightly bursting out of the ground plane. Each structure redirects light in its own unique way whilst as a whole, seemingly performing as one. Peeking down through the glassed gap between the roofing and building structures allows for an interesting perspective about how different levels of light on each ring create a simple yet effecting light experience.
AERIAL 1
From ground level it is clearly evident that although the structures rise above the ground plane, they do not obstruct the view of the Barr Smith library from Frome Rd and continue to add an interesting physical form to the Maths Lawns.
23
AERIAL 2
G R O U N D
V I E W
GROUND 1
GROUND 2
24
A C C E S S & M O V E M E N T
HALLWAY THROUGH TO RECEPTION
I 25
nternally, movement is directed around each individual building, though a series of open walkways. Disabled access through the subterranean B-Level of Ingkarni Wardli, past the three individual toilets and through Reception. The open nature of the Light Pavilion results in easy access to all areas of the site with almost 100% natural lighting throughout.
OUTSIDE MOVEMENT
M
ovement across the Maths Lawns has been significantly restricted although all the adjacent paths have avoided and obstructions. Key pathways such as from Aroma Cafe in Ingkarni Wardli to the Barr Smith Lawns and in front of the Barr Smith Library have completely avoided construction.
26
I N T E R N A L
SEMINAR ROOM 2
FACING NE BEHIND SEMINAR 1
T
he metaphor “Feeling Light� has been used to create spaces that make the viewer feel as if the space they are in is light (weight). This has been done by drawing the eye of the viewer upwards and towards the large ringed openings where abundant amounts of natural light shine through. During times of lower light levels or a night, strong artificial light sources project even light around each structure from the stepped roof platforms.
27
The nature of the forms present intricate light spectacles from a wide range of angles throughout the site demanding attention to light and shadow. Materiality does not play a large role in the design, hence the effectiveness of the pavilion relies on pure light itself.
L I G H T
INTO STUDY AREA
EXHIBITION SPACE NIGHT
28
OPACITY
LIGHT STUDY 3
O
pacity is defined as ‘the quality
https://www.archdaily.com/4369/the-nelson-atkins-museum-of-art-steven-holl-architects
29
of lacking transparency or translucence’ although in reality
it is a combination of both. An object that is opaque obscures the direction of light though it, resulting in a distorted or blurred image. Opacity is heavily linked with translucency as the greater the levels of both, the less noticeable the effects are. In philosophy, something or someone that is opaque are seen as trustworthy or are described as having no secrets as ‘they’ are able to be seen through to a certain extent.
T
he Expansion to the NelsonAtkins Museum of Art by Steven Holl Architects (2007) combines opacity and transparency to present an intriguing and inviting space through the use of 5 large glass panels to invite the public into the museum itself. Described as ‘experiential architecture’ and ‘threaded movement between the lightgathering lenses of the new addition weaves the new building with the landscape in a fluid dynamism based on a sensitive relationship to its context’ by the architects, the space created internally fluctuates with different light levels and flows on from space to space. Holl Architects continue to write how ‘multiple layers of translucent glass gather, diffuse and refract light, at times materializing light like blocks of ice. During the day the lenses inject varying qualities of light into the galleries, while at night the sculpture garden glows with their internal light.’ Opaque materials in architecture allow for versatility within a structure as the ability to semi-control the level of light being absorbed or emitted by a surface lets the building function in more ways at different times of day. Where transparent surfaces allow light to travel through without creating a large impact on the surface itself, opaque surfaces tend to glow and emit light at a much softer and calmer ratio.
30
S T R U C T U R A L M O D E L
SCALE 1:250
31
0
2.5
7.5
17.5m
32
C O M P O S I T I O N A L L A Y O U T BUILDINGS
STUDY RELAXATION AREA SEMINAR ROOM 1
SEMINAR ROOM 2
33
EXHIBITION SPACE RECEPTION TOILETS, STORAGER AND DISABLED ACCESS
CONSTRUCTION ROOFING
BUILDINGS & DISABLED ENTRANCE
CONCRETE RETAINING WALL INTERIOR FLOORING
CONCRETE SLAB
34
D E T A I L I N G
BUILDING DETAIL
E 35
ach individual building is constructed from a series of rectangular framed rings fabricated from steel. Each individual ring is secured to the adjacent rings through a number of rivets around the structure. The bottom rings are secured to the concrete slab below through a series of bolts that are welded to base. The size of the rings reduce towards the base to ensure a stronger load bearing structure.
EXTERIOR SHELL DETAIL
S
urrounding the Pavilion is a reinforced concrete curve that acts as a retaining wall and a barrier to prevent people falling into the pavilion unexpectedly. As the majority of the curve face outwards, the forces against the shell are less in these areas resulting in the ability to use the shell as an entrance platform. Reinforced concrete was chosen as it is durable and has the ability to be molded into the complex form.
36
T E X T U R E S & M A T E R I A L S
37
STUDY SPACE NIGHT SHOWING ILLUMINATED STRUCTURE
STUDY SPACE DAY
ENTRANCE TOWARDS RECEPTION
M
ateriality and Texture play a subordinate role in the success of the Light Pavilion where the forms prominently dictate how light is experienced. Each building is constructed of a satin cream painted metal. Much like the works of ‘the Whites’ in the mid to late 20th century, light colours have been used to create ‘pure’ forms. The retaining wall is raw reinforced concrete whilst the base is a light concrete. The little variation in materiality and texture allows light to act uniform within the space and off of every surface.
CENTER OF PAVILION FACING NW
38
FILTRATION LIGHT STUDY 4
F
39
iltration or ‘to filter’ light is described as ‘a screen, plate, or layer of a substance which absorbs light or other radiation or selectively absorbs some of its components’ where the operative word that effectively defines filtration is ‘selectively’. By purposely controlling light, the desired effect is much more potent where a single feature of the light phenomenon is highlighted. Filtered light has been used abundantly throughout the ages to extract a particular emotion or effect within a space. Intensity, colour and direction are main aspects in which light can be manipulated and a prime example is in religious spaces where stained glass windows filter though coloured light to extenuate the image within. High windows allow light to pierce through from above emphasising the metaphor that ‘God is light’ and that he descends from the heavens. Filtration of light does not only depict philosophical meaning but can also clearly convey purpose to a space through varying intensity.
T
homas Schielke’s Light Matters: Le Corbusier and the Trinity of Light focus’ on Le Corbusiers three religious buildings and his expert use of light internally and externally to create interesting and deeply meaningful spaces. For Henry Plummer, the ‘continuous circle of solar events’ define the characteristic of the Chapel of Notre Dame du Haut at Ronchamp where from each angle of the sun’s path, a new religious analogy is formed from a red glow in the morning to the roof ‘seemingly lifting off’ during the day. Continuing to The Monastery of Sainte Marie de la Tourette at Éveux-sur-l’Arbresle (1953-60), Plummer describes the highlight of the building’s lighting as a filtered crack of golden light that slowly moves up the wall. This is until ‘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.’ Such a simple and small detail combined with a high intensity of light and selective placement so easily creates an extraordinary element within the building. Finally, in the church of Saint-Pierre at Firminy (19602006), purposeful windows designed to project dots of light into the church, ‘mysteriously turn into waves of light’ as Schielke describes. Although not purposeful, the ‘waves’ fluctuate throughout the day and in different light levels. Where a structure in static in nature, the everpresent dynamic of light allows architecture to create spaces where the space adheres to the light that is present, no matter what the circumstances. Le Corbusier’s use of filtrated light is legendary when creating spaces that rely on light to be the prominent factor leaving materiality to a subordinate role. In all three of his religious structures, light is allows to shine through in a purposeful and controlled manner, allowing the architecture to accommodate for light and not the other way around.
https://www.archdaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light
40
HUGH ADARE HUGH ADARE A1705084 UNIVERSITY OF ADELAIDE BACHELOR OF ARCHITECTURAL DESIGN REPRESENTATION II LIGHT PAVILION FEELING LIGHT 2017