G2 gillett james rep2 17

JAMES GILLETT 6/10/2017

LIGHT PAVILION REPRESENTATION II 2017 STAGE 1 2 3 4

LIGHT PAVILION REPRESENTATION II 2017 STAGE 1 + 2

C ON TEN T S

STAGE 1 SITE PLAN 3 1_ 2_ ELEVATIONS 4 3_ 3D VIEWS 5 4_ SHADOWS/SHADING 7 5_ ACCESS/MOVEMENT 8 6_ AMBIENT LIGHT 9 10 7_ ADDITIONAL SITE INFO 11 8_ LIGHT STUDY - LUMINOSITY STAGE 2 13 SPATIAL DIAGRAMS 9_ 15 10_ PLANS AND SECTIONS 17 11_ AERIAL AND GROUND VIEWS 18 12_ INTERNAL VIEWS 20 13_ FORMAL AND SPATIAL STUDY 21 14_ LIGHT STUDY - REFLECTION STAGE 3 23 15_ PLANS AND SECTIONS 24 16_ ELEVATIONS 25 17_ AERIAL VIEWS 26 18_ GROUND VIEWS 27 19_ 3D VIEWS 29 20_ INTERNAL VIEWS 31 21_ LIGHT STUDY - OPACITY STAGE 4 33 22_ STRUCTURE 35 23_ EXPLODED PERSPECTIVE 37 24_ 3D CONSTRUCTION DETAILING 39 25_ 3D INTERNAL VIEWS - TEXTURES AND MATERIALS 41 26_ LIGHT STUDY - FILTRATION

1 _

S I TE

P LA N

2 _

EL EV ATIONS

3 _

3 D

V I E WS

3 _

3D

VIEWS

4 _

S hadows

5 _

access

and

movement

6 _

am b ient

light

7 _

c u lt u r al

and

social

q u alities

8 _

light

st u d y

Luminosity or luminous refers to giving off or contributing light to a space.

It represents the presence of light and illuminating a space. In astronomical terms, luminosity is the intrinsic brightness of a celestial object (as distinct from its apparent brightness diminished by distance).

As luminosity refers to giving off light or illuminating spaces, it could be considered a symbol of enlightenment or realisation/ awareness. By revealing space through light luminosity, it’s as if new discoveries are being made and could be referred to as seeking knowledge or truth. Without light spaces would be impossible to understand as they would no longer be defined. By having luminosity within spaces clarity is found, relating to truth as a spiritual awakening. Finding purpose and meaning through luminosity, guiding towards the right path by highlighting the destination.

The No Shadow Tower is a proposed design that has been designed accordingly to direct light to illuminate an area on the ground plane that would originally be shaded. The idea is based on light penetration through the city canopy. As tall skyscrapers cast a large shadow, conditions on the ground within the shadow differ significantly to that of an area exposed to

-

l u minosit y

the sun light. The No Shadow Tower would irradiate the shaded space below making them a more inhabitable space for people.

Through extensive site and solar analysis a solar chart can be mapped informing the architect of the shape and angle of the tower. The proposed tower would have reflective glass or mirrors on the appropriate façade to reflect light downwards eliminating the shadow. However as the sun rises and falls during the day the shadow of the building will move. To combat this the reflective tower will be angled suitably so the redirected sunlight will follow the movement of the shadow of the other. This process would encourage more people to use the newly illuminated space. As well lit areas are often associated with happiness or warmth, people will be drawn to these places thus creating social outdoor hub.

However there are factors that need to be controlled such as glare or harmful solar rays.

To avoid any potentially dangerous concentrated solar rays, the reflected light must be diffused. The process is a good example of the ability to use a relatively inflexible resource and control it. Though, the notion of illuminating shadows cast by reflecting sun light has been around since the early 1990s.

8 _

light

st u d y

A large solar mirror was recently launched into space by Russian scientists to illuminate cold and dark areas primarily to the north, the idea was proposed approximately 100 years ago as the town of Rjukan spent 6 months without sunlight each year.

As explored by designers and behavioural scientists, it has been discovered that daylight significant affects urban activity and popularity of spaces in a city environment.

By illuminating spaces, specific to their purpose, architects can improve the quality of life in these spaces. This would eliminate restrictions of space usage in the city due to unsuitable lighting conditions. For example, a yoga or meditation site would require a well-lit area to promote a calm and peaceful atmosphere. If it was beneath a large tower it would change the mood to a cold and potentially uninviting space.

There are also environmental advantages to directing sunlight beneath the city canopy.

Any plant life that thrive in large amounts of sunlight would be unsuited to the conditions provided by a space situated in the shadow of a skyscraper. However, if the light was directed to eliminate the shadows effects a wider range of plant species would be available to inhabit these spaces further promoting a healthy and happy state of being.

-

l u minosit y

9 _

S P A TI A L

D IA G R AM S

9 _

SPA TIAL

DIAGRAMS

1 0 _ plan

and

sections

-

concept

1

1 0 _ plan

and

sections

-

concept

2

1 1 _ ae r ial

and

g r o u nd

views

1 2 _ inte r nal

views

-

concept

1

1 2 _ inte r nal

views

-

concept

2

1 3 _ f o r m

and

spatial

st u d y

1 4 _ light

st u d y

Reflection refers to an amount of light heat or sound reflected off a body or surface.

In physics or optics terms, reflection is the return of light, heat and sound after striking a surface. Mathematically, the operation of inverting a system or event with respect to a plane, each element being transferred perpendicularly through the plane to a point the same distance the other side of it.

Reflection has many philosophical meanings including perceiving, thinking, doubting, believing, reasoning, knowing, and willing. To reflect on something is to revisit or reminisce over past events. By reflecting on history, humans may learn from past mistakes or find a previous solution to a current problem. Alternatively it could refer to a more personal experience with internal dialogue or thought evoking emotion or sensations. Promoting an emotional response thus triggers thinking, reasoning and perceiving functions as the human mind attempts to organise the recently visited thoughts, gathered through reflection.

Reflection, utilised in architecture, has a variety of uses and benefits whether it’s altering human’s perception of buildings and scale, or if it’s creating visually pleasing reflective patterns through deliberate moulding of the façade.

-

r e f lection

As many contemporary buildings feature mirrors or reflective materials on their façades, humans have explored the capabilities and limitations of reflective surfaces in design. However, some projects, such as the Elbphilharmonie, have found a way to distort human perception significantly. Using concave and convex window elements, the reflection of the city is distorted to the point of it being unrecognisable. The window fragments the reflection with some sections displaying reflections completely out of context. Furthermore the image displayed changes entirely depending on the position of the viewer meaning the building looks different from almost every angle. Due to this, the viewer’s perception of the structure is changed dramatically as the focus of the building is the image reflected rather than the actual shape eliminating the edges of the structure.

Any reflective material or surface can produce a reflection from simple tonal difference to accurate edges and have a mirror like quality. Depending on the surrounding context, the images reflected can be interesting in character and composition. To increase this, architects can add geometry or curvature to the building façade.

1 4 _ light

st u d y

This alters the reflection creating a new image and generally shattering the old one. The South Australian Health and Medical Research Institute in South Australia demonstrates this effect through a highly geometric surface.

Manipulating the cityscape and reflecting it off hundreds of triangular mirror extrusions to create an interesting reflective pattern As mirrors direct attention away from the shape of the building and more towards the image or images rebounded of its reflective surface, buildings can sometimes be overwhelmed and forgotten due to an overpowering façade. However, reflective materials, rather than steal the attention of the viewer, assist in merging the idea of materiality and form together. By having a material that makes the surrounding landscape the material, form becomes limitless. Having reflective surfaces on a building façade blurs boundaries and hides edges to create a never ending structure by hiding any evidence of ends. This can help to reinforce a hidden theme behind the construction or design of the building, such as a futuristic design having the building in a camouflaged state. Or if the building was to serve as a symbol celebrating the city, by reflecting it in an interesting or aesthetically pleasing way would communicate the theme clearly and affectively.

-

r e f lection

1 5 _ plans

and

sections

1 6 _ elevations

1 7 _ ae r ial

views

1 8 _ g r o u nd

views

1 9 _ 3 d

views

1 9 _ 3 d

views

2 0 _ inte r nal

views

2 0 _ inte r nal

views

2 1 _ light

st u d y

Opacity refers to the quality of being obscure or that lacks transparency. Often a used as a measure of something’s solidity or translucence. It also can refer to being unclear in meaning or significance.

Scientifically speaking opacity is the state of a body that makes it impervious to rays of light, the relative capacity of matter to obstruct by absorption or reflection the transmission of radiant energy. When referring to reflection, if an object has a low opacity, it will reflect light poorly as rays are able to pass through it. Opacity could also refer to the ability to see through something such as a lie, mask or disguise.

It could also be how clearly something can be seen such as destiny or future.

Cloudiness, denseness, impenetrability are all terms associated with looking or passing through an object and the opacity of that object. Scandinavian countries have explored the concept of light for many years developing buildings utilising natural light suited for both winter and summer days. Due to their location their winter days are short and have long summer days and buildings such as the Herning Museum of Contemporary Art demonstrate their knowledge of solar patterns well. As Nordic architects established, reflecting

-

opacit y

natural light within the building to create a well lit room. Henry Plummer found that white surfaces were most efficient in reflecting light to facilitate rooms with limited windows. To combat against the low light levels in winter Scandinavian architects allow the low angled sunlight to enter the building and flood the room with brightness. An architect’s aim could be to have the internal space maintain a consistent theme and would lead to avoiding any severe changes to dynamic of the space, specifically the intensity and frequency of the presence of natural light These techniques were incorporated into many religious projects to reinforce enlightenment and other aspects that are associated with the church. As the sun angle is much higher in summer in comparison to winter, architects are faced with the dilemma of balancing the harshness of both conditions. Many used angled windows allowing compromise between the 2 extremes. Others used less windows and reflected the light accordingly. This technique highlights the philosophical meaning of opacity as a structure with seemingly opaque walls and limited windows can still allow light into the interior.

2 1 _ light

st u d y

Through reflection a building, with walls that allow no light to pass through them, can be illuminated effectively with natural light using small windows and white surfaces.This causes the inhabitant to view the building much differently, as the building might be constructed out of stone or brick; a very cold and solid material. Based on the material the user may make a connection to a cave or underground space with limited natural light. However, once they enter the space the reflected light illuminates the area and creates a much warmer and open feeling. Light can have a significant influence on the characteristics and initial impact of an internal space making it important to consider in relation to the function and philosophy behind the building. By having this misleading aspect to the building, people can be pleasantly surprised when they enter a building. This also has a connection to the idea of opacity as the building’s exterior demonstrates a deceptive characteristic clouding or misinforming a person as they cannot truly see through the mask to the truth.

-

opacit y

2 2 _ st r u ct u r e

2 2 _ st r u ct u r e

2 3 _ e x ploded

pe r spective

2 3 _ e x ploded

pe r spective

2 4 _ 3 d

const r u ction

detailing

2 4 _ 3 d

const r u ction

detailing

2 5 _ inte r nal

views

2 5 _ inte r nal

views

2 6 _ light

st u d y

Filtration refers to the process of which something is separated or removed from a group of collection of something leaving the remaining material on its own.

Scientifically speaking filtration refers to removing impurities or solid particles from a liquid or gas passed through a porous device. In philosophical terms, filtration could refer scattering, blurring leading to confusion or limited visibility. As filtration can be interpreted as diffusion or separation it can be also understood as movement or dispersal. Filtering refers to passing a liquid, gas, light or sound through a device to remove an unwanted material. It also means to move through a space in a specified direction usually in the path of least resistance, such as a crowd passing through a corridor. Filtration when referring to architecture can refer to the diffusion of light through windows or various external or internal openings. In the case of some windows, light isn’t necessarily filtering out unwanted material, rather it filters through the window highlighting certain aspects for example colour in the example of stained glass windows. In internal space, such as high-rise buildings, crossing over staircases, balconies and escalators

-

f ilt r ation

can create obstructions as light filters down through the building. Le Corbusier produced some fantastic buildings over his career with three in particular highlighting a deep understanding for the connection between architecture and natural light, the pilgrimage chapel at Ronchamp, the monastery of Sainte Marie de La Tourette, and the parish church of Saint-Pierre in Firminy. Throughout most of his buildings Le Corbusier demonstrated a connection his designs and sensitivity for the interaction of colours and light.

The Chapel of Notre Dame du Haut at Ronchamp features windows that shape or manipulate sun light in a deliberate and meaningful way. Using stained glass and peculiarly shaped windows, Le Corbusier created various solar events that occur as the day progresses within the building. The monastery of Sainte Marie de La Tourette features corridors that each have a side featuring irregular shaped windows facing north, south, east and west respectively.

These interesting window arrangements cause an interesting arrangement of shadows and light described as a musical composition creating an interesting theme throughout the entire building.

2 6 _ light

st u d y

Religious structures have commonly been associated with light and enlightenment.

Through his designs Le Corbusier creates dynamic buildings that change based on the suns position and angle. As light filters into the internal space through deliberately placed and shaped openings, they change to create different characteristics.

Filtration in architecture can refer to light penetrating the external shell of the building as well as how it filters through the interior of the structure. By filtering light through specific windows different characteristics including specific coloured windows to simulate specific conditions.

In the case of the Chapel of Notre Dame du Haut at Ronchamp, the red stained glass window represents life before birth as the warm red hue saturates the internal space like the mothers womb. Filtration can change the dynamic of the internal space of buildings as well as illuminating it in interesting and unique ways.

-

f ilt r ation

JAMES GILLETT 6/10/2017

REPRESENTATION II 2017 STAGE 1 + 2