NATURE LIGHT KEFEI LU a1715260
PLACE
01
3
IDEA
11
- SITE DESCRIPTION - SITE ANALYSIS
- DOCUMENTING THE PROCESS OF THREE IDEA GENERATION
- LIGHT STUDY ONE: LUMINOSITY
- LIGHT STUDY TWO: REFLECTION
FORM
19
MATERIAL
25
- DOCUMENTING THE FORM EXPLORATION AND DEVELOPMENT
- DOCUMENTING THE MATERIAL AND SURFACES OF THE DESIGN
- LIGHT STUDY THREE: OPACITY
- LIGHT STUDY FOUR: FILTRATION
02
PLACE SITE DESCRIPTION GROUND VIEWS
AERIAL VIEWS
The project site is in the Maths Lawns. In the site, it includes three crucial building: Barr Smith Library, Math Building, and Engineering building. The site is a big grasses land, and people will access it anywhere. Moreover, many parties will open on it, people also rest on it, to eating foods or talking with friends.
03
DAY TIME The two pages show the day time of the site. During the day, the site is bustling that students are running everywhere by access the site. Moreover, it has many parties that will be opened on it sometimes. People can eat foods, resting or talking with friends on it
NIGHT TIME These two pages present the night time of the Maths Lawns. It passes fewer students than the day time. People will access it quickly, and it has not many students stay on it.
04
SITE ANALYSIS SUMMER
DECEMBER 22ND 9AM
DECEMBER 22ND 12NOON
DECEMBER 22ND 3PM
JUNE 22ND 12NOON
JUNE 22ND 3PM
WINTER
JUNE 22ND 9AM
05
HUMAN USAGE
06
MEASUREMENTS & SCALE STUDY
07
SITE HISTORY The oldest building of the site is the Barr smith library, the library is the most beautiful reading room in the University of Adelaide. in 1899, Tom Elder Barr Smith financed the construction of a separate building to house the library, and the new Barr Smith Library was officially opened in 1932. The library is opened until today.
BARR SMITH LIBRARY ELEVATION
0m
40m scale 1:100
SOUTHERN ELEVATION
MOVEMENT MATHS LAWNS
NORTHERN ELEVATION
NORTHERN ELEVATION SOUTHERN ELEVATION BARR SMITH LIBRARY ELEVATION
08
Luminosity-Fluid Luminosity: The Architectural Lighting of Zaha Hadid 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 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.
09
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. 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. or as tilted poles for the car parking spaces. Striving for homogeneity at the Heydar Aliyev Centre (Baku, 2012) led to a softer graduation of light and shadow. During the day, the volume reflects the light and the overall shadow pattern of the sun dominates, with no sub-textures interfering in the smooth surfaces. The flat glass facades mirror the surrounding environment. At night, the interior light flows onto the exterior surfaces and exterior floodlights enhance the building geometry. Consequently, the fluid lines in the auditorium reveal soft brightness graduations as well. Consequently, the fluid lines in the auditorium reveal soft brightness graduations as well.
10
IDEA
ONE
SEEK LIGHT IS EMBRACING NATURE
11
Trees have been around longer than humans. Human is so small in the earth, human for the earth, as the insect for the tree. Insects crawl through holes in trees and follow the sun as it guides them from cold to warm. Tree hole like a window, making the sunlight go inset. to provide warmth for the tree. the human saw the interior from the tree hole, to see the dark world. as humans embracing the sun and nature in the eyes of the insect. tree hole is a window, I pick up the line from tree hole shape. the light comes from the tree hole in the eyes of insects. the idea of using natural elements, making humans can seek light in the interior of the project.
12
IDEA TWO
SEEK LIGHT IS EMBRACING NATURE
THE SEA IS VAST AND VAST FOR PEOPLE, THE WAVES BEAT THE COAST, AND PEOPLE PLAY IN THE WAVES. WHEN THE WAVES ARE COMING OVER, IT IS LIKE THE SEA IS EMBRACING YOU. THIS IDEA IS INSPIRED BY THE WAVES, AND WHEN PEOPLE HIT THE WAVES, A RAY OF SUNSHINE GUIDES THE WAY FORWARD. EXTRACT THE CURVE FROM THE WAVES AND MAKE IT THREE-DIMENSIONAL, MAKING HIM A SURGING WAVE. WHEN THE WAVES SURGE, THE SUN SHINES IN THE GAP, JUST LIKE THE SUN IS HUGGING YOU.
13
14
IDEA THREE SEEK LIGHT IS EMBRACING NATURE
15
THE WIND IS EVERYWHERE IN THE WORLD, IT IS SOMETIMES SOFT AND SOMETIMES TOUGH. WHEN YOU LIE ON THE GRASS, A GUST OF WIND BLEW GENTLY AS IF HE WAS HUGGING YOU GENTLY.
THE IDEA OF THIS IDEA COMES FROM THE WIND, BASED ON THE CURVE OF THE WIND, TO GET SOME FOLD LINES. AND USE THESE BROKEN LINES TO CONSTRUCT SOME SHARP SHAPES, LIKE THE WIND OF THE WINTER BLOWING ON THE FACE. BUT IT WAS INSERTED INTO SOME GAPS SO THAT THE SUN SHINES INTO IT TO BRING SOME WARMTH. IT IS YOU WHO FEEL THE BEAUTY OF NATURE.
16
Veiled in Brilliance: How Reflective Facades Have Changed Modern Architecture
17
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. 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.”
LIGHT STUDY 2: REFLECTION
Undoubtedly the glass façade at the Elbphilhar-
monie in Hamburg by Herzog & de Meuron refers to the visionary glass culture of Scheerbart, and indirectly to the golden shimmering skin of Berlin’s Philharmonic by Hans Scharoun as well. Inwardly and outwardly curved glass elements distort the perception of the city, water and sky. They build a fresh contrast to the uniform plane glass curtains of the International Style. The environment is not appreciated as a clear mirrored picture, but instead goes through a process of modification and reproduction.
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. 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.
18
FORM- -FINAL DESIGN
SECTION 1：500
1 READING SPACE 2 SMALL LIBRARY 3 ROOM 1 4 STORAGE 5 ROOM 2 6 RECEPTION
19
7 EXHIBITION 8 TOILET
ELEVATION 1：500
5 1 3 2
7
6
4 8
PLAN 1：500
20
RECEPTION
TOILET
EXHIBITION
ROOM 2 PRESENTATION SPACE
READING ROOM
SMALL LIBRARY
STORAGE ROOM 1
MODEL
21
EXPLODDE LAYER
3D MODELING VIEW
22
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.
23
LIGHT STUDY THREE: OPACITY Light Matters: Whiteness in Nordic Countries
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. 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.
24
MATERIAL
INTERNAL VIEWS
25
AERIAL VIEWS
GROUND VIEWS
26
CONSTRUCTION
CONCRETE SLAB
R4 INSULATION
AIR
BRICK VENEER
27
DETAILING
CONCRETE SLAB
STEEL DECK
CONCRETE SLAB
28
Light study 4: Filtration Light Matters: Le Corbusier and the Trinity of Light
29
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.
Genihitios verro esequidus eici ut essimin con ex et ut accatec aecerchit volupta volleca eperehe ndebisti occat in poriorias ratenducit quam quatur moluptate et quam nis idipiti busciistis quidign ihillab oribus aut odion et aboritatur as minvent qui berum volorib eariorempedi non reiciam dus es estiant am nienihicium eribus iunture plibusapit et quid que in pro dolupta tatur? Qui de ne dolenima nisquamet illandi optiatur, autempero eosto ma quae et quatectectet quo qui qui rae vit, esse nusdae. Nam, in pla quaepel estio. Nam
Officabo recest, sim expelisquae voluptatio delessit ratur? Ut omnihitam es ut est adiciderum quidenderis quia velessit ut et et apelenim re mos pa dicto isqui ut ventia excerrovid quid magnatent et moluptatem. Ici optaspi endellesti occus, comnistrum quidesento beaquiatia sitam ipsum in neturib usdantus mi, tet, simagnate veruntibus, totat molupta pe vellore pudaepro maios autemod itatiur, sitatur sus peror simos et aut occaes dolores enemporro corese volores dis soloribus dolut eiuntessi rese in ressim quis sum et porum, simodis cidenissin cus sa delitat volutem que simolora sus delitem quia sequo quam corem volora qui quatestrum rem sit et quae que cum lant evelige ndebis aliqui tectur secto comnimu sapitat usdant, odi de none con commo qui officit labor sitiissin ped ut arum eius, cone volloris dollam nam iligenduci delitib ercidundis recus, ut fugiatas voluptatur? Se officates delenti oreriat fugiatem et faccum, tem event. Iquatem sum fugiam, as quam reperum qui incil modios dolutaerro quae ped excepel molo bea autatur, ommos expliqui nusciuntem quatet facius soluptas as et ipsanimeniat eaque net esciisin conet fuga. Nam ipidendio volectur molupiti sum voloressin nis dipsundamet quo consed que qui voluptatinti nobitas rernatent quunda nis pellatis untis ea vitatempedi rentiur, sequias abo. Borem es repressi quunt, quae num aute non plique odit, voluptaque con
30
LIGHT