JIA SHI REP2-19 by Jia Shi

CONTENT

PLACE SITE ANALYSIS The Math Lawn are situated among the six buildings ,as transition area of northside and south side of the campus . The lawn is used for the main outdoor event and activities frequently. As the site diagram show that , Math lawn have the seven entries , the access to the chosen site is across the front of the Bar Smith Library and the two side roads are flanked by the lawn .

ENTRY .3 BRAGGS BUILDING /MAWSON BUILDING OF EARTH SCIENCE

ENTRY .4 GATE OF CAMPUS

ENTRY .5 PETROLEUM ENGINEERING / ENGINEERING NORTH /SCHOOL OF THE MACHANICAL ENGINEERING

ENTRY .2 BRAGGS BUIILDING /BENHAM BUILDING

ENTRY .6 ENGINEERING &MATHS SCIENCES / ENGINEERING NORTH / SOUTH STUDENTS OF ENGINNERING

ENTRY .1 UNION HOUSE /LADY SYMONSTUDENTS /VISITORS

ENTRY .7 INGKARNI WARDLI BUIDING EBGNEERING SOUTH/BAR SMITH LIBARARY

PLACE SITE ANALYSIS

MID SUMMER 9:00

MID WINTER 9:00

MID SUMMER 12:00

MID WINTER 12:00

MID SUMMER 15:00

MID WINTER 15:00

Sun path, sometimes also called day arc, refers to the daily and seasonal arc-like path that the Sun appears to follow across the sky as the Earth rotates and orbits the Sun. Also,Sun paths at any latitude and any time of the year can be determined from basic geometry.The Earth’s axis of rotation tilts about 23.5 degrees, relative to the plane of Earth’s orbit around the Sun. As the Earth orbits the Sun, this creates the 47° declination difference between the solstice sun paths, as well as the hemisphere-specific difference between summer and winter. The diagram show that the trajectory of the the sun in summer and winter embodied the chosen aiteis party shaded during the summer and winter .

PLACE 3D MODEL

ARIEL DISPLAY GROUND DISPLAY

ARIEL DISPLAY GROUND DISPLAY 3

PLACE PHOTOGRAPHY The site ,Maths Lawn is located in the north campus of the uni. in general , the Math lawn could received the adequate sunlight ,especially in the summer. The sunlight as the dominant source illuminates the entire place .in the evening , the reflective façade of the Braggs becomes transparent , therefore , the light resource of the lawn is offered by the internal light of the Braggs through the reflection and also the street lamps of the outdoor area.

DAY VIEW

NIGHTVIEW BAR SMITH LIBARARY

DAY VIEW

NIGHT VIEW

The Barr Smith Library is the main library of the University of Adelaide, situated in the centre of the North Terrace campus. The library was named in honour of Robert Barr Smith who donated £9,000 to buy books. In 1920 his family gave an extra £11,000 in the form of an endowment and in 1928 his son, Tom Elder Barr Smith, gave £30,000 for the Barr Smith library building. The Barr Smith Library was opened 4th March 1932, with later additions to the main building being built from the 1950s onwards.[1] The present entrance was constructed in 1984.

PLACE SCALE &PROPORTION

3 1 8 5 0 m m

2 4 0 0 0 m m

HIGHT:WIDTH=5:11

PLACE SCALE &PROPORTION

6 2 0 0 0 m m

76500 mm

HIGHT:WIDTH=4:12

HIGHT:WIDTH=7:15

5 HIGHT:WIDTH=2:5

CASE STUDY LUMINOSITY Zaha Hadid’s projects are remarkable not only for her in novative 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. Deconstructive Lines of Light 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. Transforming Urban Lines into Luminous Strips 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.

CASE STUDY LUMINOSITY CASE STUDY

L U M I N O S I T Y

REFERENCE: https://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid

Vitra Fire Station, 1993, Weil am Rhein

CASE STUDY LUMINOSITY

Introducing Shining Landscape Reflections

Coherent Forms Flow From Windows to Ceiling

The Nordpark Railway Station (Innsbruck, 2007) initiated a new period of light and fluidity in Hadid’s oeuvre. Here, light is not absorbed by concrete but is instead reflected by glass. Inspired by local glacial moraines and ice formations, Hadid has significantly increased the reflectance of her surfaces for stunning mirror images. Therefore the structure does not stand isolated in the landscape but has features of the local landscape embedded in it. While moving toward and around the station, complex mirror images stimulate the viewer’s perception. Illuminated at night, the station radiates an energetic glow. Years later, the glossy surfaces at the Serpentine Sackler Gallery (London, 2013) are reminiscent of the floating ice structure in Innsbruck.

The Phaeno Science Centre (Wolfsburg, 2005) was a decisive turning point in Hadid’s lighting imagination. The windows and luminaires in the building’s surface share the same form, creating a holistic design approach and thus moving on from Hadid’s earlier period of lines and sharp corners. The elevated concrete structure generates a large shaded area, with the view to daylight on one side intensifies the impression of a dark void. As a counterpoint, diffuse ceiling luminaires intervene in the dim atmosphere. The diagonal building structure has been translated into rhombus-shaped windows for the façade. In contrast to earlier projects with sharp edges, Hadid’s forms here took on curved shapes, marking a transition to fluid designs. In order to form a coherent exterior surface, the rhombus contour has also been applied to the underside of the elevated museum. Thereby the visitors perceive a holistic formal approach encompassing both daylight and artificial lighting.

IDEA METAPHOR & PRECEDENT RESEARCH

CONCEPT DRAFT

SEEKING LIGHT IS EXPANSION

Nanjing Sifang Art Museum / Steven Holl Architects The museum is formed by a “field” of parallel perspective spaces and garden walls in black bamboo-formed concrete over which a light “figure” hovers. The straight passages on the ground level gradually turn into the winding passage of the figure above. The upper gallery, suspended high in the air, unwraps in a clockwise turning sequence and culminates at “in-position” viewing of the city of Nanjing in the distance. The meaning of this rural site becomes urban through this visual axis to the great Ming Dynasty capital city, Nanjing.

The courtyard is paved in recycled Old Hutong bricks from the destroyed courtyards in the center of Nanjing. Limiting the colors of the museum to black and white connects it to the ancient paintings, but also gives a background to feature the colors and textures of the artwork and architecture to be exhibited within. Bamboo, previously growing on the site, has been used in bamboo- formed concrete, with a black penetrating stain. The Museum has geothermal cooling and heating, and recycled storm water

In modern design, the use of light is increasingly divorced from the traditional lighting requirements, and more attention is paid to the creation of spatial artistic conception and artistic expression. The relationship between light and architecture is also increasingly considered in the design itself. Through the application of new light technology, architecture can form a unique visual language, making architecture more artistic expression.Since the light is shapeless, as the light go through variaty of object which created the shadow .the shadow do not the reflect shape of the obejct itself but the expansion of shape . The more flexible the light, the stronger the shock and imagination. By contrast of light and shade, the building can be divided into different Spaces, so that each area can be differentiated and integrated at the same time, which increases the sense of hierarchy and interest of the space.

IDEA DESIGN 1

IDEA DESIGN 2

IDEA DESIGN 3

CASE STUDY

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 space-form 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. 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.

https://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changed-modernarchitecture

13 7

CASE STUDY

R E F L E C T I O N

South Australian Health and Medical

CASE STUDY 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. 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, post-everything 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. The play of elegant veils in fashion and shiny cladding in architecture combined in a Paco Rabanne dress for a British retail temple. Future Systems stylishly covered the Selfridges Birmingham department store, opened in 2003, with a dense mesh of 16,000 anodized aluminium discs. The store was able to avoid attaching any logos to the building due to the fact that the building itself was turned into a sign. Its sensuality immediately spurred the marketing world to utilize the sensational setting for advertisements. The glistening net creates a fascinating feeling for scale: Small discs generate a haptic, human feeling while the overall form offers hardly any clues about the building’s number of stories or size. The diffuse reflections of the façade cladding leads to an abstract transformed image, which is primarily determined by the brightness and colour of the sky and neglects any clear mirror effects of the neighborhood. 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.

GUGGENHEIM MUSEUM BILBAO,1997

WALT DISNEY CONCERT CENTRE ,2003,LA

FORM 3D MODEL

The final design is based on the first idea. Comparison with other two concept ,the first idea can create more sense of layer than the two others,.AS Tadao Ando explains, architecture design is to “intercept the ubiquitous light ,”and express the existence of light on a specific occasion .”architecture condense light into its simplest existence. The creation of architectural space is the purification and concentration of the power of light. It is enough to see the role of space light in architectural design. The use of light to shape space mainly considers the following three aspects: Adjust and guide dimensional order, model dimensional atmosphere; Shaping spatial hierarchy; Adjust the sense of spatial scale.

FORM PERSPECTIVE & PLAN a disabled tiolet e

b small seminar room

c exhibition area d female/male tiolet b

e exhibition entrance 1

f south side elevator g exhibition entrance 2

ROOF PERSPECTIVE

h north side elevator ECOND FLOOR PLAN 1:150

a north side elevator

b relaxing area

c north side entrance

SECOND FLOOR PERSPECTIVE

d small libarary e reading area

b i

a c

GROUND FLOOR PERSPECTIVE

GROUND FLOOR PLAN 1:150

f south side elevator g reception area h exhibition entrance 2 i storage area

FORM SITE PLAN

SITE FLOOR PLAN 1:400

FORM ELEVATION &SECTION

ELEVATION A 1:100

SECTION A-A 1:100

FORM ELEVATION &SECTION

ELEVATION B 1:100

SECTION B-B 1:100

CASE STUDY 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 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.

CASE STUDY

O P A C I T Y

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.

REFERENCE: https://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid

Dybkær Church, Silkeborg, Denmark. Architecture: Regnbuen Arkitekter.

CASE STUDY OPACITY

Nordyjllands Art Museum, Aalborg, Denmark. Architecture: Alvar Aalto, Jean-Jacques Baruël 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.”

Hyvinkää Church, Hyvinkää, Finland. Architecture: Aarno Ruusuvuori.

MATERIAL EXTERIOR &ACCESS

ARIEL VIEW 2 GROUND VIEW 1

ARIEL VIEW 1

23 GROUND VIEW 1

GROUND VIEW 2

MATERIAL EXTERIOR &ACCESS

GROUND FLOOR

SECOND FLOOR

MATERIAL INTERIOR VIEW

EXHIBITION AREA

RELAXING AREA

SAMLL SSEMINAR ROOM

MATERIAL INTERIOR VIEW

SMALL LIBARARY

TOILET

MATERIAL STURCTURE

MATERIAL STRUCTURE

CASE STUDY FILTRATION CASE STUDY 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. 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”. REFERENCE: https://www.archdaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light

F I L T R A T I O N

View looking south to “upwardly springing” waves of light. Church of Saint-Pierre, Firminy, France

CASE STUDY FILTRATION

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 light orchestration at La Tourette is more complex and widely dispersed in comparison to Ronchamp, remarks Plummer. The Monastery of Sainte Marie de la Tourette at Éveux-sur-l’Arbresle (1953-60), with its rectilinear geometry, embodies a clear counterpoint to the poetic forms of Ronchamp and Firminy. Due to the fact that all corridors have an open side facing one of the four cardinal directions, the believers encounter diverse light experiences. Additionally, the corridors are distinguished with different window arrangements. The irregular rhythm of light and shadow appears like a musical composition, notes Plummer when he observes the corridor to the atrium: “Unlike the repetitive rhythms of windows and columns in traditional churches, these fluent rhythms are aperiodic, based upon intervals of light and transparency that gradually compress and expand in waves. The lovingly cadenced beats have the intonation and flow of music – not orchestral music, but chant-like sounds, whose tones help to draw people further into a contemplative state.”

Upward view into scoop at sunrise. Chapel of Notre Dame du Haut, Ronchamp, France

Corridor to atrium cadenced with sunshine in late morning. Monastery of Sainte Marie de la Tourette,

Upward view of fissure and brise-soleil, on overcast day. Chapel of Notre Dame du Haut, Ronchamp, France.