Jonathon Selinis A1747834
LIGHT STUDY
Part I Site Description - Site Plan - Elevations - 3D Site Views - Ambient Light Study Site Analysis - Shade & Shadow Study - Access, Movement & Use Pattern - Place Social Character
Part II - Geometrical Diagamming Of Seek Light Metaphor - Spatial/Geometrical Explorations Of 3 Possibilities - Contextualising The Possibilities On Site - Experiential Views/Visual Notations Of Point Of Entry - Experiential Views/Visual Notations Of Place Of Enlightenment
Part III -3D Model Of Light Pavilion In Context - To-Scale Plans, Sections & Elevations Of Light Pavilion - Exploded Perspective Showing The Composition And Structure
Part IV - Aerial And Ground Views Of Your Building/Structure, Showing Approach, Access, & Movement Inside & Outside As Appropriate - Internal Views Of Your Pavilion, Showing How Light Defines Spaces - 2x 3D Selected Construction Detailing
site plan
Scale 1:200
elevation
Scale 1:200
Scale 1:200
Scale 1:200
3d site view
ambient light study
Summer 9am
Summer 12pm
Summer 3pm
Winter 9am
Winter 12pm
Winter 3pm
ambient lighting: day
ambient lighting: night
access & movement As shown on the diagram on the tal movements occur around the actually on the Math Lawns, as purpose for students or anyone lawns.
left, fundemenlawns, and not there is no real to walk over the
The site is surrounded by buildings, therefore views from a distance would be blocked, meaning that the lawn would not be visible unless someone is walking by. Science building can be viewed on the North (right) side on the diagram, mathematics and engineering building are located on the South (Left), the library on the West (top) side of the site, and an exit onto Frome Road is located on the East (Bottom) side. It is alsso important to note that the view of the library from Frome Road is heritage listed and therefore cannot be obstructed. From analysing the lawns on multiple occasions it was evident to see that the lawns (in red circles) are not commonly used, unless there is an event, which usually occurs over a few days, or on one day. The only spots that are used in this region are the benches, mainly used by the students at occassionally.
pattern
Across the site there are meany reacurring patterns as seen through the images, as this is a consistent theme it may be a reasonable decision to utilise the theme of pattern & consistencythroughout my Light Pavilion.
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. Thousands of light pixels in the ceiling remind the audience of a dream-like starry sky.
LUMINOSITY
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. 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.
Looking back at the career of Zaha Hadid, we can identify a decisive turning point regarding her design strategy, manifest in the Nordpark Railway Station, where continuity and fluidity pushed her deconstructivism and fragmentation aside. This step was also translated into a new language of light. Matt façade surfaces were then supplemented or replaced by reflections and the architecture started to mirror its surroundings. Similarly, her interiors changed from raw concrete, via a purist white to glamorous gold for key spaces. Deep-rooted in the visual language of suprematist paintings, Hadid often converted geometrical lines into diffuse luminous light lines and respectively curves. Thus, her earlier lighting looked more like an expression of graphic design than an exploitation of the full potential of light to interpret architecture. Meanwhile, her diffuse illumination created a soft atmosphere, in which the energy of the space stems from the fluid forms. But she did not use dramatic grazing light to render forms or texture more vibrantly.
It is worth mentioning that she withstood the temptation to use luminaire design to heighten visual effects and rather concentrated on the light itself as an important dimension of architecture. While some of her contemporaries have investigated dynamic forms and reached out to media facades to explore new types of dynamic urban scenario, Hadid constrained her design parameters to form and reflectance. Surprisingly, while pushing numerous formal and technical boundaries, Hadid hardly ever translated the movement of her paintings into dynamic lighting for her architecture. Her temporary installation Parametric Space (Copenhagen, 2013) represents a dreamy exception in which light patterns react to the flexible movement of a membrane and are embedded in her parametric architectural language. But although many of her buildings played with solid volumes, her late Leeza SOHO skyscraper in Beijing visualizes an opposite strategy. In this project, the desire for natural light will lead to the world’s tallest atrium. The translucent chasm between the two building halves aims for a life with daylight all around.
The starting idea came from developing images, the images developed into abstract shapes until a design that looked suitable enough. The design was then further developed over the course of the weeks.
developing the concept
Light Is Growth/Expansion Growth & expansion, can be viewed as the various changes that one goes through throughout their life, as people grow up they have to adapt, and learn. Light from the Sun, can be viewed as growth as it provides vitamins and nutrients for all beings and plants across the Earth. The light pavilion is fundamentally based on utilising the light feature from the Sun, therefore utilising a glass concept would be effective in introducing light for most of the day, as well disallowing raining conditions. This pavilion would introduce a distinctive stmosphere when viewing or visiting the sight, as it aims to introduce a new way of understanding.
spatial eploration
Scanned with CamScanner
Concept I Utilising the metaphor of light is growth and expansion, light is a key aspect of this concept of design. This bunker style design allows light to enter from the top as top is made out of glass, with gaps inbetween each curved glass pannel. The gaps between each glass pannel are cover by steel, so that rain doesn’t get into the bunker and flood it during the rainier months. The tunnel would be an attraction as it has an entrance/exit on both side, making it so students can walk through without wasting much time. The underground area also has space for all necessary features that the Light Pavilion needs to include, as well as the above ground acting as a quiet relaxation space for the students.
contexualising & refinement
Concept II Utilising the metaphor of light is growth and expansion, light is a key aspect of this concept also, as it is used to light the underground passageway for students and the likes to use. THis inverted curve design is the opposite of design concept 1, as it lets in a lot less light, which creates a darker and more mysterious concept then the last. The design allows for light to enter in on specific angles at different times of the day. Contrary to design A the glass panels are placed, between each extruded steel panel. The space between each panel above the glass allows for a relaxation space for people to read without many disruptions.
contexualising & refinement
points of entry
Throughout this process, it was evident that a tunnel style design would be the most effective in illuminating light, and expressing the different ways in which the design process could be carried out. Each precedent has a large similarity, as they are all effective in accomodating light, and people who would be utilising these sights would have knowledge of where the sun is at all times.
Precedent A, Shelter, By Gino Miles
Precedent B, Solar Arch Highway, By Tyson Steele
Precedent C, Lai Tak Tsuen
precedents
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. Therefore, new landmarks will continue to reach for innovative.
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.
Due to the curves of the balconies, the building reflects points or lines of brilliant light streaks. With a blue or diffuse sky the distinctive curves reflect the light as bright lines, similar to the horizontal lines seen in the designs of the automotive industry. Under direct sunlight, bright glossy points appear and evoke a jewel-like shimmer. Additionally, the vertical and horizontal convex curves of numerous single glass elements reinforce the shiny distorted reflections of the sky. Overall the curved façade with its printed dot screens evokes a vivid and liquid image, which expresses a close link to the water around. Built upon the historic brick warehouse below, and with its abstract choreography of complex distorted light reflections, the Elbphilharmonie operates as a magical eyecatcher. 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.
The precursor to the Elbphilharmonie, which first showcased Herzog & de Meuron’s desire to transform the mirror effects of modernist glass skyscrapers, was the Prada Epicenter in Tokyo, completed in 2003. The glazing shell consists mainly of rhombus-shaped elements, but selected parts create distinct distorted reflections due to the convex exterior shapes of the glass – comparable to a contact lens resting on the façade. 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.
3d model in context
plans Stairs & Ramp Storage Space
Reception Area Small Library
Seminar Room
Seminar Room Relaxing Space
Relaxing Space
Ground Floor Plan 1:200
Exhibition Space The main area of the underground passageway includes; an exhibition space, reception area, small library, storage space as well as toilets, and disable access via a ramp.
Toilets
Bottom Floor Plan 1:200
sections
North Section 1:200
South Section 1:200
elevations
North Elevation Scale 1:200
South Elevation Scale 1:200
site plan
Site Plan Scale 1:200
exploded perspective
OPACITY 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. Other architects, like Aarno Ruusuvuori, avoided the drama of harsh sunlight that distracts from the liturgical service. His interpretation of sunlight comes from a more abstract presence of light, as he states: “Light.
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.
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 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,.
The concept of white diffusion, using white-painted plaster, white-enamelled steel and white linoleum, was introduced by Alvar Aalto for the Paimio Sanatorium in the 1930s, and achieved a peak at the Nordyjllands Art Museum in 1972, according to Plummer. Shades of white cover the walls, floors and ceilings as well as the expressive daylight scoop. However, the power of pure white volumes is not the only characteristic of the Nordic built environment. The pulse of nature with vibrating patterns of light or the transiency of dramatic light and shadow belong to the distinctive Nordic light approach as well. Religious buildings especially reveal a wide variety of time-concepts. 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, some welcome the sunlight at the end of the service at noon whereas others imply 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.
movement inside
movement outside
internal views
Steele Seating Area
Window Panel Above Seminar ROom Glass Panels
Concrete Staircase & Ramp
3d detailing
FILTRATION 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. The scenography at the church of Saint-Pierre at Firminy (1960-2006) is arranged in three acts.
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 chantlike sounds, whose tones help to draw people further into a contemplative state.”
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 highlight of the light choreography in La Tourette’s church begins with the sunset. A crack atop the west wall draws warm lines along the side walls. The north wall connects the two golden lines and with the falling sun the line slowly moves upward. 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. This effect changes with the seasons – ranging form a small triangle in winter.
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. These waves gently rise and fall with the course of the sun. They create an astonishing pattern over all three walls facing the altar. Polycarbonate cylinders with concentric grooves holding the glue cause these impressive wave effects. The luminous pattern appeared unexpectedly for the client when the cylinders were mounted into the concrete wall. Plummer points out, that Le Corbusier could not have envisioned this phenomenon - particularly as the actual construction of the building wasn’t carried out until decades after his death