G2 yiin jiyang rep2 17 final

THE LIGHT OF THE CROSS

REPRESENTATION II MAGAZINE BY JIYANG YIN A1677175

Table of Contents Ideas

Site Analysis Plan

4

Precedent

14

Access & Movement

5

Idea Plan

15

Elevation

6

Idea Elevation

16

3D View & Shadow Form

8

Idea Section

17

Ambient Light

10

3D View

18

Social & Cultural

11

Spatial Diagram

21

Light Study 1 Lunimosity

12

Light Study 2 Reflection

22

Form

Material

plan, Section & Elevation

24

Model Structure

34

3D View

27

Perspective

35

Inside Movement

30

Construction Detail

36

Outside Access

31

3D View

38

Light Study 3 Opacity

32

Light Study 4 Fitraion

42

Plan 1:1000

3

2

7

4

Site Analysis

7

5

1. BSL Building

1 6

2. The Braggs 3. Molecular Life

Science

4. Santos Building 5. Eengineering and Maths, Science 6. Ingkarni Wardli 7. Math Lawns

Access & Movement

5

Elevation

1

2

6

1: 250

1: 500

1: 500

4

3

1: 500

1. BSL Building 2. Santos and Engineering and Maths, Science Building 3. Ingkarni Wardli 4. The Braggs 5. Molecular Life Science

5

1: 500 7

3D View and Shadow Form

8

SUMMER 9AM

SUMMER 12 NOON

SUMMER 3PM

WINTER 9AM

WINTER 12 NOON

WINTER 3PM

9

Ambient Light

10

vv

Social & Cultural

The Barr Smith Library owes its name to the Barr Smith family, a pioneer family in South Australia and benefactors to the University of Adelaide over many decades. In 1899 the University Council resolved that its library should bear the name "The Barr Smith Library".

The Australian Federal Government, South Australian State Government, DSTO, Defence SA and The University of Adelaide invested over $40M to construct a headquarters for IPAS, which now houses a unique suite of transdisciplinary laboratories.

These facilities include glass development and processing, optical fibre fabrication, laser and device development, luminescence dating, environmental genomics, photonic sensor development, and synthetic, surface and biochemistry and offices to co-locate IPAS researchers and students from a broad range of scientific disciplines.

Providing world-class and purpose-built teaching, learning and research facilities, the $100m nine-level Ingkarni Wardli building is home to the Faculty of Engineering, Computer and Mathematical Sciences.

The Kaurna name, meaning 'place of learning or enquiry' recognises the special relationship the University of Adelaide shares with the Kaurna people, the original custodians of the land on which the University is situated.

Two lawns in between The Braggs, Molecular Life Sciences, Ingkarni Wardli and the Engineering and Maths Sciences building. If you're looking for a bench to sit on, these lawns are lined by picnic tables. A water bubbler stands in front of The Braggs entrance.

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Light study 1 luminosity Linguistic definitions: Luminosity is the quality of something that gives off light or shines with reflected light. You might describe a bright lively oil painting in terms of its luminosity, or marvel at the luminosity of a brilliant sunset. Astronomers use the word luminosity to talk about a specific property of physics, the energy given of by an astronomical object in a certain amount of time. The Latin root is lumen, meaning "light."

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Philosophical meanings: The theory of divine illumination is generally conceived of as distinctively Christian, distinctively medieval, and distinctively Augustinian. There is some justification for this, because, Christian medieval philosophers gave the theory s e r i o u s a n d s u sta i n e d d i s c u s s i o n , and Augustine gave illumination a very prominent role in his theory of knowledge. He said that “the mind needs to be enlightened by light from outside itself, so that it can participate in truth, because it is not itself the nature of truth.

You will light my lamp, Lord and you hear nothing true from me which you have not first told me.� According to Augustine, God does not give us certain information, but rather gives us insight into the truth of the information we received for ourselves.

In the 12th century, Shahab al-Din Suhrawardi founded a school of Islamic p h i l o s o p hy c a l l e d i l l u m i n a t i o n i s t p h i l o s o p h y. I n h i s P h i l o s o p h y o f Illumination, Suhrawardi argued that light operates at all levels and hierarchies of reality. Light produces immaterial and substantial lights, including immaterial intellects (angels), human and animal souls, and even 'dusky substances', such as bodies.

Meaning in architecture through case study: Zaha Hadid showed many great examples in using lights through her design, and her design theory of light also changed and developed in the last 30 years. In 1993, Zaha’s early design project Vitra fire station, she used linear lights to respond with building, light lines in the ceiling, between ground and wall, between roof and wall reinforce the linear architecture with sharp edges. In the interior, the light gaps between ceiling and wall have also showed the traditional architecture construction.

Even the special designed sun blinds coherence the linear pattern with lights as well. The precise lights using gives us a deep impression.

Although the interior lights echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. In Zaha’s early work, she just used limited linear lights and not a series of gorgeous lights, and used lights to work with the shape of architecture and surrounding to form a sense of harmony and great effects with architecture. In 2010, the Guang Zhou opera house built up.

Over the 20 years of her practice, the way her using lights has developed.

For external of opera house, the wall of the platform edge and grass lawn edge to form a water wave of light. Those long and meandering smooth light band through the entrance to internal space. As the main body of the building, “two rocks”, from the root to lightly and homogeneous illuminate, it kindly likes two rocks reflected by the water reflection on the surface. For internal of the audience hall, it is a complicated and important space of the whole building. Except the floor, other parts are rolling curved surface. The lights are hidden in the depressions of the surface, and the seats are likes a fold on the surface, integrate with the opera house.

The small and dense hole is used to form the lighting. It is random bur evenly distributed in the top of the surface, the light comes out through the holes. The dense holes formed dense lights are well represented by the ups and downs of the surface. This thousands of light pixels in the ceiling remind the audience of a dream like starry sky. Light patterns on the cascaded balconies evoke the impression of reflections in waterfalls.

Through these two projects, zaha has improved her skills in using like from linear small group of light to a large scale of light, and the light does do a great work in corresponding with architecture. Light brings more meanings for architecture and get a positive enhancement of the whole effects of

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Ideas

Precedent----Church of Light by Tadao Ando

The charm of the church is not outside, but inside, it is like the shock taken by light overlap of La Chapelle de Ronchamp. However, Ronchamp is brought quiet, light church is a strong shock. Solid architectural concrete confined to create a dark space. It makes people feel isolated from the outside world, and the sun light comes from the horizontal and vertical openings of the wall. That is the famous " Light of the cross "- sacred, clear, pure, shock. Inside the building, Ando reduced the openings, and limited to performance of the natural element "light".

Cross-shaped partition of the wall resulted in a special effect of light and shadow, it makes believers produce a wonderful feeling that close to God.

Ideas plan Idea 1 is aim to form linear shadow underground. From the top view, it forms the structure of cross, which present the light under the cross.

Lift is the only thing above ground so that the light pavilion will not block the view of barr smith library.

1: 500

Idea 2 is aim to form square shadow underground. From the top view, there is a large square and six smaller squares skylight windows.

1: 500

15

c

Elevation

idea 1 1: 500

16

idea 2 1: 500

Section

idea 1 1: 250

idea 2 1: 250 17

Aerial View

idea 1

18

idea 2

Ground View

idea 1

idea 2

19

Internal View

idea 1

idea 1

idea 2

idea 2

20

Spatial Diagram

Lift Tower / Disable Access Roof Structure Glass System Stair and Glass Guard Bar Seminar Room 1 Library Seminar Room 2 Reception Area Storage Space

Disable Toilet Male Toilet Female Toilet

The space in the centre will become the exhibition/presentation space and the reading/ relaxing space.

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Light study 2 Reflection Linguistic definitions of reflection: Image: The image of something in a mirror or on any reflective surface.

Sending back: the return of light, heat, sound, or energy from a surface.

Sign: a sign or result of something.

Thought: serious and careful thought.

Philosophical meanings: Reflection is one of three "logical acts of the understanding by which concepts are generated as to their form", the other two being comparison and abstraction. Reflection is defined as "the going back over of different presentations, how they can be comprehended in one consciousness." Reflection, comparison, and abstraction are "essential and general co n d i t i o n s o f ge n e rat i n g a ny co n c e p t whatever". Insofar as the spirit of something bouncing off something else, philosophical i nv o l v e s a s u p e r f i c i a l exa m i n a t i o n o f something from a philosophical perspective. It likes something happens to people during the day. They go home and review what happened in accordance with philosophical methods, or in accordance with objects of philosophical inquiry. If people bounce an idea or the details of an event off the methods or objects of philosophy, then they are philosophically reflecting.

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Meaning in architecture through case study: Through the using light and light reflection, it can create iconic architecture. Glass and metal are the two main innovations to create good facades and images. As a result, the meanings of architecture have transformed from internal spatial form to external surface. In this way, those unconventional reinterpretations of facades have gained interest and attention.

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. Titanium is one of the characteristic in the Guggenheim Museum, 24000 square meters metal board, bend, repeat, curl one piece by one piece, it increased the charming of architecture. The flakes surface makes the Guggenheim Museum reflect sunshine easily, especially when sunset. Even in cloudy day, the flashing light titanium plates have a sense of aesthetic perception. This museum has become the jewel of the city, and it has inspired many urban redevelopments.

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.

The materials he used create form and light reflection. From different angle different space of the museum, it makes people feel different light effects.

In Hamburg Herzog & de Meuron designed the Elbphilharmonie. This building is a total work of art. It combines innovative architecture with an exceptional location, outstanding acoustics and a visionary concert programme. The defining feature of the Elbphilharmonie: 1,000 curved window panels, tailor-made to capture and reflect the colour of the sky, the sun’s rays, the water and the city, turn the concert hall into a gigantic crystal. Because of the curves of the balconies, the building reflects a series of beautiful lines and points streaks. With a blue sky, the distinctive curves reflect the light as bright lines. Under direct sun light, there are many bright glossy points, they evoke jewel like flashing.

Besides, the convex curves in vertical and horizontal directions enhance the glossy and distortion reflection of sky. Overall, they built a fresh contrast with the uniform plane glass, and those glass reflections give people a fresh impression.

The concave convex architectures and reflective curved façade elements have opened another options for people and they give city a more multifaceted images.

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the Light of the Cross

Plan

Form

1: 250 This is aim to form linear shadow underground. From the top view, it forms the structure of cross, which present the light under the cross.

Section

1: 200

25

Elevation

1: 500

26

Aerial view

27

Ground view & Internal view

28

29

Inside movement

30

Outside access

31

Light study 3 Opacity Linguistic definitions: 1.

The state or quality if being opaque.

2.

The degree to which a substance is opaque; capacity for being opaque.

3.

Something opaque.

4.

Photography. The proportion of the light that is absorbed by the emulsion on any given area of a film or plate.

5.

Obscurity of meaning.

6.

Mental dullness.

7.

Medical. An opaque spot or area in normally clear or transparent tissue, as a cataract of the eye.

Philosophy meanings: referential opacity: Two terms are referentially opaque if they cannot be substituted salva veritate (i.e. without changing the truth value of the statement). Following Quine, we can say two terms are referentially opaque if they cannot be substituted salva veritate (i.e. without changing the truth value of the statement). Likewise, mental states are thought to be, at least sometimes, referentially opaque in that one description (or ascription) of the belief might be true, but another description be false. That is, a person might believe something to be the case, yet not have similar beliefs for coreferring beliefs.

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Meaning in architecture: These are basic qualities of surface. Considering these early on can help you avoid treating spaces as defined only by walls.

Opaque surfaces separately two sides completely and fully.

The result is physical and visual separation. Transparent surfaces allow full visual connection while creating physical separation.

Translucent surfaces create partial visual separation with either full or partial physical separation. A frosted or sand-blasted glass wall allows light and some visual clues to communicate while preventing physical connection. A mesh or other type of screen allows slightly more visual information while allow facilitating sound and air movement.

Re l a t i o n s h i p s b e t w e e n t w o spaces can be made complex when you begin to combine these three qualities in a single space or single surface.

There are five types of light matters.

Opaque Surface: complete physical and visual separation.

Transparency: physical separation with full visual connection.

Translucency: Mesh screens or other porous surfaces create diffused visual connections while also allowing air to pass through.

Combined Surfaces: This exterior skin combines opaque lower panels, a transparent centre section for views, and an upper translucent zone for diffused light.

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 t h e p ra c t i ca l a d va nta ge s o f 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 co u nte r b a l a n c e t h e l o n g 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.

Religious buildings especially reveal a wide variety of timeconcepts. The concepts range from material textures to specific glass features and built volumes that change the image during the course of the day and season.

Some churches call for attention with characteristic light patterns during the whole morning liturgy, s o m e we l co m e t h e s u n l i g ht at the end of the service at n o o n w h e re a s o t h e rs i m p l y only subdued light to enhance contemplation. An outstanding example of a dramatic light and shadow sequence occurs at the Pirkkala Church by Käpy and Simo Paavilainen. The altar appears as a canvas for the richly contrasting sunlight projections, where glass acts as a lens and as mirror.

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the Light of the Cross

Model structure

Greenroof

Internal load bearing wall Internal load bearing wall

Material

Internal load bearing wall External wall

Perspective Ground level shell Lift Tower / Disable Access Roof Structure Glass System Stair and Glass Guard Bar Seminar Room 1 Library Seminar Room 2 Disable Toilet Male Toilet Female Toilet Reception Area Storage Space

35

Construction detail

Lawn Soil Filter layer Drainage Protection layer Waterproof Membrane Insulation Vapour barrier Concrete

36

Wall Flooring angular line Carpet Concrete Soil

37

38

39

40

41

Light study 4 Fitration Linguistic definitions: 1.

The process of filtering.

2.

The process of passing through or as if through a filter. the act of passing a liquid or gas through a piece of equipment in order to remove solid pieces or other substances.

Philosophy meanings: Category-based filtering of perception The word comes from the Greek, katēgoria, meaning "that which can be said, predicated, or publicly declared and asserted, about something."

A category is an attribute, property, quality, or characteristic that can be predicated of a thing. "‌I remark concerning the categories‌that their logical employment consists in their use as predicates of objects."[4] Kant called them "ontological predicates."

Since the Categories are a list of that which can be said of every object, they are related only to human language. In making a verbal statement about an object, a speaker makes a judgment. A general object, that is, every object, has attributes that are contained in Kant's list of Categories.

In a judgment, or verbal statement, the Categories are the predicates that can be asserted of every object and all objects.

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Meaning in architecture: Le Corbusier has played masterfully with orientation, openings and textures to create kinetic architecture with daylight. 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”.

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.

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