G1.Cai.junyi.Rep2.17 Final

CLOSER TO NATURE Light Pavilion Representation II Junyi Cai a1693509

TABLE OF CONTENTS STAGE 1 LUMINOSITY STAGE 2 REFELCTION STAGE 3 OPACITY STAGE 4 FILTRATION

04 12 14 24 26 34 36 42

SITE PLAN ACCESS & MOVEMENT

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1.The Braggs 2.Molecular Life Sciences 3.Barr Smith Library 4.Ingkarni Wardli 5.Engineering and Maths. Sciences

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SITE PLAN 1:1000

The site is filled with two grass zones and five main buildings: The Braggs, Molecular Life Sciences, Barr Smith Library, Ingkarni Wardli and Engineering and Maths. Sciences building.

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Access Movement

site movement entrance

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ELEVATIONS SOCIAL & CULTURE

Bar Smith Library 1:250

Engineering and Maths. Sciences 1:500

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Ingkarni Wardli

Barr Smith Library

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.

The Barr Smith Library is the main library of the University of Adelaide, located in the centre of the North Terrace campus.

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”.

Engineering and Maths. Sciences

The Australian School of Petroleum (ASP) is a world-class centre for petroleum education, training and research.

It is one of only a few institutions in the world offering fully integrated teaching and research programs in the disciplines of petroleum geoscience, engineering and management). Thus, unlike schools that are based on a single discipline serving many industry sectors, we are a multi-disciplinary school serving a single sector.

Ingkarni Wardli 1:500

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AMBIENT LIGHT PHOTOS 3D VIEWS

This area is very quiet in the evenings.Students are studying in the buildings with lights on.

In the daytime,it gets busier and people always have fun on the grass area.

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SHADES & SHADOWS

summer 12pm

summer 3pm

summer 9am

In summer, the grass area is in the sunshine for near the whole day.

People would like to chat and have some parties on the grass area.

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winter 9am

winter 12pm

winter 3pm

In winter, the grass area is in shadows in the morning, and gets some sunshine in the afternoon.

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light study 1

LUMINOSITY

T

his world is filled with light and people see

objects through light. The quality of something which gives off light or shines with reflected light is called luminosity. Luminosity is a term that astronomers use to describe the brightness of an object in space. The greater the luminosity is, the brighter it appears.

Empedocles is credited with the first comprehensive theory of light and vision: he

cally. Lucretius, a Roman who thought similarly: The light and heat of the sun, these are composed of minute atoms, when they are shoved off, lose no time in shooting right across the interspace of air in

presumed that everything consisted of four

the direction imparted by the shove. Newton, John

elements: fire, air, earth and water. He be-

Locke, and others, in the 18th century, firmly held

lieved that Aphrodite made the human eye without the four elements and she lit the fire in the eye that shone out from the eye to make sight possible. If this were true, then one could see during the night and the day, so Empedocles postulated an in-

that vision was not only intromissionist, but rays proceeded from seen objects were composed of actual matter, or corpuscles, that entered the seer’s mind by way of the eye.

There are so many well-known architects in the world, but very few architects create architecture with special lights. Zaha Hadid is famous for her

teraction between rays from the eyes and

projects not only because of her innovative way of

rays from a source such as the sun. Euclid

handling tangible materials but also for her imagi-

wrote Optica, where he studied the prop-

nation regarding the medium of light. The theories

erties of light. He postulated that light travelled in straight lines and described the laws of reflection and studied them mathemati-

of her fluidity is now notable design techniques that enabled her form-finding. But her advances in using light to render her architecture have usually been 12

ignored—even if they became an essential element in revealing and interpreting her architecture. Zaha designed SOHO skyscraper, which collects an abundance of daylight, shows the extraordinary development of Zaha Hadid’s luminous legacy.Light closes the gap between architecture and our feeling. People identify forms and materials with their eyes not directly but through the reflected light. Zaha Hadid’s use of light may 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.Zaha Hadid’s explorations with abstract paintings have helped to lead to several graphical interpretations of lighting and luminaires. In order to interweave the surrounding landscape with some new structures, Zaha analyzed abstracted urban transport patterns and transformed them into luminaire pat-

for natural light will lead to the world’s tallest atrium.

terns. At Strasbourg’s Hoenheim-Nord Ter-

The translucent chasm between the two building

minus and Car Park (2001), she became

halves aims for a life with daylight all around. Through

fascinated by the white road markings and

this, and all of her previous projects, she has traced

converted them into white linear diffuse lu-

a remarkable path from fragmented light lines to a

minaires—either integrated as strips in the

luminous fluidity by day and night. Therefore, light is

concrete roof or as tilted poles for the car

really a very essential element when designing an ar-

parking spaces.Although many of her build-

chitecture.

ings played with solid volumes, her late Leeza SOHO skyscraper in Beijing visualizes an

http://www.archdaily.com/868157/fluid-luminosity-the-architec-

opposite strategy. In this project, the desire

tural-lighting-of-zaha-hadid

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PRECEDENT MECA

This project brings together three cultural institutions into one building: FRAC (the Aquitaine Regional Fund for Contemporary Art), ECLA (the Cultural Agency for Writing, Music, Film & Broadcasting), and OARA (the Artistic Office of the Aquitaine Region for performing arts). Together, they are transformed into a single institution: the Maison de l’Économie Créative et de la Culture en Aquitaine - the MÉCA. We propose a building integrated with the waterfront promenade of Bordeaux to allow public life to flow through the MÉCA.

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The three institutions and their shared facilities are gathered around a public space framing a fifth program – and outdoor urban room – open towards both Bordeaux and the Garonne – as well as the OARA, ECLA and FRAC – left, right, above and below. The urban room will frame the everyday life of Bordeaux flowing through the expansive space along the promenade or to and from the river. On special occasions, it will turn in to an urban stage, or an outdoor gallery to extend the art into the city, as well as the city into the architecture. The urban room is at once a frame for the artwork, a stage for the performances, a screening room for the media collections and perhaps most importantly an open room for the urban life of Bordeaux to flow through and engage with the arts.

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IDEA 1 / 3D VIEWS SPATIAL DIAGRAM

The concept of the idea 1 is to use some geometrical shapes and different sun angles to create various shapes of shadows. People can get in the pavilion through a shelter and have a great light experience in it. It also provides disable access with a lift.

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IDEA 1 / INTERNAL VIEWS PLANS & SECTIONS

storage room disable access F/M/D toilet main access grass area exhibition space,reception area,small library, reading zone

PLAN 1:200

ELEVATION 1:100

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SECTION 1:100

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IDEA 2 / 3D VIEWS SPATIAL DIAGRAM

The concept of the idea 2 is based on some natural elements, the roof of the pavilion is covered with the surface cut by some leaves’ shapes and in the center of the pavilion, a tree grow up there. People in this pavilion can feel closer to nature and there is a tree in the center of the pavilion. People can feel many natural elements here.

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storage room disable access F/M/D toilet main access

IDEA 2 / INTERNAL VIEWS PLANS & SECTIONS

grass area exhibition space,reception area,small library, reading zone

PLAN 1:200

ELEVATION 1:100

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SECTION 1:100

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light study 2

REFLECTION

T

eflection is when light bounces off an object.

If the surface is smooth and shiny, like glass, water or polished metal, the light will reflect at the same angle as it hit the surface. This is called specular reflection.Diffuse reflection is when light hits an object and reflects in lots of different directions.

Reflection theory is the idea that our knowledge reflects the ‘real world’.Philosophical reflection is the activity of utilizing the tools that philosophy provides us to examine our lives, and our most basic beliefs about life. The end goal is to achieve a higher level of understanding which results in rebalancing or changing your life in positive ways i.e. rejecting unimportant things or activities in life in favor of the things which are truly important.

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 conditions of gener-

ating any concept whatever”.

Make no mistake, designing for minimal ecological impact is a fundamental way to respect a site and the broader concept of sustainability. But for some designers, technology and clever passive design can only make an environmental statement so far as the architecture sits in harmony with nature, or as one famous Australian architect calls it, “touches the earth lightly”.Using natural materials within topography-focussed form is thus a common strategy used by Australian designers looking to generate a connection between their project and site. However there are designers looking at new ways, beyond green roofs and hardwood construction, to combine nature with built form.

There are some projects have used mirrored facades in an innovative way to refocus the visual experience of a building back to its environmental surrounds. The mirrors serve 24

as visual devices and direct the light and ocular experience of a building from the unnatural to natural. In some cases, designers have used mirrored facades to create a building that looks like it’s not touching the earth at all.

BVN architects used a combination of reflective stainless steel panels and mirror backed glazing intermittently throughout the PlantBank building at the Australian Botanic Garden in Mount Annan. They chose to articulate the ecological nature of the building—PlantBank is a depository and conservatory for Australian native plant seeds— not through the lens of architectural naturalism but rather by creating a relationship with the landscape by reflecting it.

Charles Wright Architects dressed the undulating soffits and fascia of The Cairns Botanic Gardens Visitors’ Centre with stainless steel to create a kaleidoscopic affect. The panels are angled irregularly and reflect different elements of the surrounding landscape. The mirror visual devices are used to create a building that conspicuously celebrates nature whilst simultaneously camouflaging with it.The angles also help address sun glare problems associated with mirrored façades especially in tropical climates.

While the list of international projects that have used mirror cladding is extensive, Peter Pichler’s is unique in that he has gone to lengths to eliminate one of the drawbacks from using a reflective exterior wall—unwanted bird collisions.

Glare-reducing UV film was added to the mirror-clad western facades of the Mirror Houses to help prevent birds

from colliding with the highly reflective surfaces.The film reduces UV light and glare but maintains a clear reflection of the surrounding landscape and keeps the visual impact of the guesthouses minimal from the client’s own residence. http://www.archdaily.com/796974/veiled-in-brilliancehow-reflective-facades-have-changed-modern-architecture 25

IDEA 2 DEVELOPMENT PLANS & SECTIONS PLAN 1:100

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ELEVATION 1:100

SECTION 1:100

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IDEA 2 3D VIEWS

The second idea was chosen to be developed, this design is to help students and staff in the university to feel closer to nature when they have a rest in this pavilion. A pavilion with more natural elements help people to relax and calm down.

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IDEA 2 ACCESS & MOVEMENT

outside movement

entrance

grass area

on the ground area

disable access

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entrance interial movement

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IDEA 2 LIGHT INTERNAL VIEWS

The shadows here vary at different time, people can have different experience at differnet time here and in this pavilion they can read some books and have some activities with friends.

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light study 3

OPACITY

O

pacity is the state or quality if being

opaque.The degree to which a substance is opaque; capacity for being opaque and something opaque. The proportion of the light that is absorbed by the emulsion on any given area of a film or plate. An opaque spot or area in normally clear or transparent tissue, as a cataract of the eye.

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 co-referring beliefs.

These are basic qualities of surface. Considering these early on can help you avoid treating spac-

es 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. Relationships between two 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: Some visual connection with full physical separation. Translucency: Mesh screens or 34

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 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.

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. The altar appears as a canvas for the richly contrasting sunlight projections, where glass acts as a lens and as mirror. https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries

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disable access (lift) seminar room toilets plants area reception area small library zone exhibitiion wall

IDEA 2 STRUCTURE COMPOSITION

relax zone

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The pavilion consists of an exhibition space, a reception area, 2 seminar rooms, relaxing space, a small library, a storage space, 3 toilets (M/F/D) and disable access. As for the roof, it is hold by some columns and it is very light.

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IDEA 2 CONSTRUCTION DETIALS

WALLBOARD

CARPET

CONCRETE

SOIL

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INSULATION

BOTTOM STRUCTURE SLAB

TIMBER

CONCRETE

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IDEA 2 INTERIOR VIEWS

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light study 4

FILTRATION

F

iltration is the process of filtering. The pro-

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

The word comes from the Greek κατηγορία, 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 categories…that 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.

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 42

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, continu-

chapel at sunset. https://www.archdaily.com/597598/light-matters-lecorbusier-and-the-trinity-of-light

ous 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 43

THE END

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