Structures of Light - Jared Clark by Jared Clark

STRUCTURES OF LIGHT Jared Clark // Representation II // a1747599

TABLE OF CONTENTS

PLACE Sun & Shade Study Site Circulation & Social Character

01 03

Light Study: Luminosity 05 IDEA Seek Light 07 Design Concepts 08 Final Concept 09 Design Precedent 10 Light Study: Reflection

FORM Plan, Section & Elevation 13 Context 15 Light Study: Opactiy

MATERIAL Concrete 19 Glass 21 Light Study: Filtration

PLACE Sun & Shade Study

The shade studies below indicate the amount of sun and shade that is cast during both summer and winter. The times recorded are also times of heavier pedestrian use.

Summer Solstice 9AM. 12PM. 3PM

Winter Solstice 9AM. 12PM. 3PM

PLACE

Site Circulation & Social Character The Barr Smith Library is located on the central axis of the Maths Lawns and is framed by the surrounding buildings. The users and pedestrians of the area generally stick to the paths when navigating through and around

THE BRAGGS

MOLECULAR LIFE SCIENCES

FRO ME STR ET

BARR SMITH LIBRARY

the site. In saying that, it is observed that users may cut across the Maths Lawns to minimise travel distance. The site is a very popular venue for many different pop up events that take place here, including that of Oâ&#x20AC;&#x2122;Week.

INGKARNI WARDLI HORACE LAMB

Maths Lawns

Building Footprint

Users Path of Travel

SANTOS BUILDING

L U M I N O S I TY 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 wellknown 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.

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.

S U B H E A D I N G 1 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. 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

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of fragmentation and fluidity are now wellknown 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.

S U B H E A D I N G 2 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.

A. Terminus Hoenheim-Nord, Strasbourg, France B. Heydar Aliyev Center, Baku, Azerbaijan C. Phaeno Science Center, Wolfsburg, Germany D. Vitra Fire Station, Weil am Rhein, Germany

IDEA

Seek Light is an Expansion Expansion is defined by the action of becoming larger or more extensive. This metaphor works extremely well with the overall theme of light as it is boundless.

Light is very intriguing in that it has no boundaries and will always seek to become larger than it already is.

Through visualising this metaphor and generating an idea, the main design approach that is being communicated is the burst of light from a small space to a larger space.

Concepts This first concept is based on the shape of a megaphone and how sound is transmitted through the narrow end to become amplified. The same principle applies to light.

This concept is based igloos and the ability they have to retain light and heat while still seeking to enlarge itself.

This third concept is based on the idea of the light wavering around obstacles in its way to reach a larger space. We may choose to interact with light in the same manner.

IDEA Final Concept

With a combination of the previously dicussed concepts, this final design tries to create a space that interacts with light in all the ways stated.

There are spaces that are filled with lots of natural light in contrast to the darker interiors of the rooms below them.

There is interaction with light on a vertical axis , but also on a horizontal axis. The narrow ramp and pedestrian access point opens up to a big exhibition room.

Precedent The Sydney Green Square Library and Plaza was the main design inspiration for the concepts that were conceived.

The library and plaza is predominantly built underground but has very striking orthogonal forms that protrude from the earth which results in a very interesting composition.

The interesting and unique geometric forms act as a signifier that directs the potential users of the space to the main entrance of the library.

REFLECTION Even as modernism promoted the transparency of glass architecture, many within the movement were conscious of the monotony of large glass facades, with even Mies van der Rohe using elements such as his trademark mullions to break up his facades. But in the years since, countless uniform structural glazing skyscrapers have emerged and bored urban citizens. In response

to this, unconventional reinterpretations of facades have gained interest. Accompanied by 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. Celebrating the expressive materiality of transparency and reflective imagery for entire building skins emerged during the early 20th century, when Paul Scheerbart and Bruno Taut envisioned a new glass culture made of “colored glass” “sparkling in the sun,” “crystalline shapes of white glass” which make the “jewel-like architecture shimmer.” Mies van der Rohe absorbed this vision when he discarded the rectangular tower in favor of a free-form glass skin in his proposal for the Glass Skyscaper in Berlin in 1921.

S U B H E A D I N G 1 In a 1968 interview, Mies explained his skepticism regarding the urban monotony of glass mirror effects: “Because I was using glass, I was anxious to avoid dead surface reflecting too much light, so I broke the facades a little in plan so that light could fall on them at different angles: like crystal, like cut crystal.” Norman Foster materialized this glass dream with his Willis Faber & Dumas Headquarters in Ipswich in 1975 and SOM presented it in its tallest manifestation with the Burj Khalifa Tower in Dubai in 2009.

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S U B H E A D I N G 2 Luminous lines—either as luminaires or windows—characterize her early work, whereas luminous fields and a play of brilliance emerged later. 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.

A. Walt Disney Concert Hall, Los Angeles, California, USA B. SAHMRI, Adelaide, Australia C. Messe Basel - New Hall, Basel, Switzerland D. Selfridges, Birmingham, England

FORM

Plan, Section, Elevation Interesting geometric shapes have been created and connected through small walkways that emphasis the metaphor of expansion. Both light and people are drawn towards the small narrow walkways and poorly lit rooms that are eventually flooded with both light and space.

Elevation 1:500

Section 1:500

2 1

5 3

Ground Floor Level Plan 1:500

Key Locations & Rooms 2 1 6

Lower Ground Floor Level Plan 1:500

5 7

1. 2. 3. 4.

Exhibition Room Seminar Rooms Reading Room Reception

5. 6. 7. 8.

Ramp access for all users Storage Area Library Toilets (M/F/D)

FORM Context

O PA C I TY 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 UrbanaChampaign, 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 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.

S U B H E A D I N G 1 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

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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 PlummerLight closes the gap between architecture and our perception. We sense forms and materials with our eyes not directly but through the reflected light.

A. Nordyjllands Art Museum, Aalborg, Denmark B. Dybkær Church, Silkeborg, Denmark C. Hyvinkää Church, Hyvinkää, Finland D. Dybkær Church, Silkeborg, Denmark

MATERIAL Concrete

Concerete and glass are the two materials that are utilised in this design . The use of concrete has been inspired by Japanese architect Tadao Andoâ&#x20AC;&#x2122;s elegant use of the material in creating firm yet gentle forms of architecure. Concrete holds a very unique atmospheric quality with its tendancy to effortlessly project striking, yet soft shadows among its surface.

MATERIAL Glass

Glass has been used due to its transulence and its ease in generating a pleasant and roomy spatial atmosphere. Glass can be seen as the softer of the two materials in terms of its visual aesthetic and adds great contrast to the overall composition.

FILTRATION 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

â&#x20AC;&#x153;Cosmos of Light: The Sacred Architecture of Le Corbusier,â&#x20AC;? 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.

S U B H E A D I N G 1 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

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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”.

S U B H E A D I N G 2 The main characteristic of the Chapel of Notre Dame du Haut at Ronchamp (195055) 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.

A. Church of Saint-Pierre, Firminy, France B. Church of Saint-Pierre, Firminy, France C. Chapel of Notre Dame du Haut, Ronchamp, France D. Chapel of Notre Dame du Haut, Ronchamp, France

Jared Clark // Representation II // a1747599