Structures of Light REPRESENTATION II
KRISTINA SHEPHERD | A1703398 AUGUST 14 2017
4
PLACE
5
LOCATION PLAN/SITE PLAN
6
ELEVATIONS/MOVEMENT/CULTURE AND AMBIENCE
8 10
SITE SHADOW ANALYSIS DAY/NIGHT PHOTO ANALYSIS
12
LIGHT STUDY: LUMINOSITY
14
IDEA
15
DESIGN 1/PLAN
16
SECTIONS/ELEVATIONS
18
DESIGN 2/PLAN
20
SECTIONS/ELEVATIONS
22
LIGHT STUDY: REFLECTION
COVER IMAGE: K. SHEPHERD, 2017. CONTANTS PAGE IMAGE: K. SHEPHERD, 2017
Contents
24
FORM
25
PLAN/SECTION/ELEVATION
26
SECTION/ELEVATION
26 27
MOVEMENT ANALYSIS INTERIOR PERSPECTIVES
32
LIGHT STUDY: OPACITY
34
MATERIAL
35
EXPLODED PERSPECTIVE
36
TO SCALE MODEL
37
3D CONSTRUCTION DETAILS
38
INTERIOR PERSPECTIVES
42
LIGHT STUDY: FILTRATION
Place
The site is located in Adelaide, South Australia at the University of Adelaide North Terrace campus. The Maths Lawns, a stretch of grass surrounded by 5 buildings, is the site location for the proposed design. The Braggs and Molecular Life Sciences buildings border to the North, Barr Smith Library to the West, and SANTOS Building, Ingkarni Wardli and Engineering & Maths Sciences buildings to the south. The lawn are bordered by outdoor benches, tables and trees. A main thoroug fare separates the grass and brings some bal-
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ance to the space.
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Site Plan | 1:1000 Sec ure Bike Park 1s t Lev el Undergrnd Carpark
NORTH TERRACE
GATE 20
GATE 21
GATE 22
GATE 22A
GATE 23
Southern Elevation | Not to Scale Braggs, and Molecular Life Sciences buildlings
Northern Elevation | Not to Scale SANTOS, Engineering & Maths Sciences, and Ingkarni Wardli buildlings
MOVEMENT Main walkways
Main entry gate
Walkway
Building entrances
Seating
Movement is encouraged around paved paths at the site as opposed to over the grass. The lawns are divided in the middle by a main thoroughfare between the Ingkarni Wardli and Braggs buildings. There are main entrances to the four main buildings spaced relatively evenly around the lawns, so the spread of traffic is relatively balanced.
CULTURE AND AMBIENCE The Maths Lawns are one of the key sites at the University of Adelaide the pay homage to the classic Oxford or Harvard style of tertiary learning. The five building framing the space are a time lapse of different eras which the university has lived through, showcasing the building trends at the time.
In summer the lawns are popular for study, eating and socialising however in winter the use of the space tends to drop with the onset of the cold weather.
One of the key goals with any developments around the Maths Lawns is to maintain the view to the classic Barr Smith
Eastern Elevation | Not to Scale Barr Smith Library entrance
Library facade, so that from a point along Frome Road and the Botanic Gardens, the grand entrance is visible.
SITE SHADOW ANALYSIS The site is far more exposed to sunlight in summer than in winter. Maximum sunshine occurs at 12pm in Summer, and in Winter at 3pm the entire site is ine shade. The South Eastern side is the best spot for the
SUMMER | 9AM
pavillion to be located as it gets the most sunshine throughout the year. The SANTOS, Engineering & Maths Sciences and Ingkarni Wardli buildings bare majority of the sunshine with the opposite buildings almost always in shade. The trees in the site provide shade for the picnic tables adjacent to them but do not offer much more shade to the site overall. Shade primarily is provided by the Braggs and Molecular Life Sciences buildings, especially in winter when the sun angle is lower. In terms of the final design, this shows that for about half the year, for more than half of daytime that pavillion will be in shade and will need to capitalise on artificial
WINTER | 9AM
lighting elements.
SUMMER | 12PM
SUMMER | 3PM
WINTER | 12PM
WINTER | 3PM
DAY In the daytime, reflections and shadows become very amplified. Image (A) shows the clarity of reflections in the Braggs building windows. The reflections bring colour to the building and add interesting dimension to the already textured facade. This reflection acts as a mirror would, making the space feel larger than it already is yet slightly manipulating reality, bringing a certain aspect of the opposite building into focus. Image (B) shows the crisp cut shadows on the rounded poles of the Engineering and Maths Sciences building. At the right time, the simple decision to stack the bricks at an angle create one of the most
A
B
interesting shadow/light interactions in the entire site.
NIGHT
C
In contrast to the daytime lights, shadows are softer whilst the lighting is harsher at night time. Image (C) shows the layered shadow created but the multiple streetlights that line the lawns. The double shadow creates a sense of distrust in what the eye sees, since we are used to seeing one shadow for everything, the second fainter one suggests there is more elements to the building than in reality. Image (D) demonstrates the shift in the light of the space from the sky and buildings to the footpaths and walls at eye level. Not much of the buildings higher floors are illuminated and so the eye is drawn down to ground level in what becomes a cold,
D
industrial feeling space.
Heydar Aliyev Centre. 2012.
Schielke, Thomas. 2017. “Fluid Luminosity: The Architectural Lighting Of Zaha Hadid”. Archdaily. http:// www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid.
Leeza SOHO. Under construction.
Schielke, Thomas. 2017. “Fluid Luminosity: The Architectural Lighting Of Zaha Hadid”. Archdaily. http:// www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid.
Luminosity
LINGUISTIC DEFINITION
This is first most evident in Hadid’s Museum of XXI
sus, meaning bright1, the word luminosity is the noun
CASE STUDY | FLUID LUMINOSITY: THE ARCHITECTURAL LIGHTING OF ZAHA HADID
form of luminous. It is “the condition of being luminous
When it comes to architecture and design, lighting is
and achieving success. It is clear that without the il-
luminous,…something radiating light, shining, bright,
one of the most crucial aspects to consider in the pro-
lumination throughout the building, it simply would
illuminated, etc.”2 The word is also defined as “The quali-
cess. Natural, artificial, warm, cool; it is a building mate-
not have the same striking effect on the user; it “de-
ty of being intellectually brilliant, enlightened, inspired,
rial that does not age and constantly affects the build-
veloped a characteristic feeling of unison between
etc.”3
ing differently. Everything we see in a design is because
fluid forms, daylight, and lighting”.8 The museum also
light bounces off it or cannot reach it, without the pres-
demonstrates how light could be used as a colour, the
ence and absence of light no boundaries or edges can be
black staircase contrasts with the bright white under-
Philosophically, luminosity is associated with knowl-
defined; “Light closes the gap between architecture
side.
edge and intellectual brightness, the state of being
and our perception. We sense forms and materials with
Perhaps the most exquisite use of architectur-
brilliant or radiant. It differs from illumination which is
our eyes not directly but through the reflected light.”7
al lighting is seen in Hadid’s Heydar Aliyev Cen-
the “act of illuminating or supplying with light.”4 If we
Take Zaha Hadid’s incredible designs, renowned for their
tre (2012), where the entire flow of the building is
take light to be knowledge, then to be luminous is to
fragmented and fluid forms, which capitalise on the
seamlessly enhanced by strategic light placement.
know, and to illuminate is to teach. There is a principle
manipulation of the presence and absence of light to
The gradient of luminosity in the auditorium is
in philosophy known as the KK principle, which “in its
maximise their effect.
impeccably executed, all thanks to the mere presence
Originating in the 1600s from the Latin word lumino-
PHILOSOPHICAL DEFINITION
Century Arts (2009) in Rome, where the presence of light is essential to the entire design being visible
of light. Bigger spaces are brighter, smaller spaces are
simplest form… says that, for any proposition p, if one
Museum of XXI Century Arts. 2009.
knows that p, then one knows that one knows it.”5 Fol-
Schielke, Thomas. 2017. “Fluid Luminosity: The Architectural Lighting Of Zaha Hadid”. Archdaily. http:// www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid.
darker, giving the spaces a unique character: depth. This depth is evident Hadid’s latest project still under
lowing this principle, one is luminous when they are in a state of being that they are aware they are in, other-
The Vitra Fire Station (1993) demonstrates how the right
construction, the Leeza SOHO. The soaring atrium is
wise they are not considered luminous6. Essentially this
artificial lighting can accentuate otherwise seemingly
illuminated in contrast to the rooms of the building
means that one is aware when they know or are some-
bland shapes, drawing the eye to them and presenting
allowing a clear indication of the space.
thing, and therefore they possess luminosity.
the building in literally a new light. Hadid maintained
Zaha Hadid’s designs demonstrate the simple fact that
this exterior lighting addition until 2007 with the Nor-
without light architecture cannot exist. It is per-
dpark Railway Station marking a shift in her play with
haps the most important element to manip-
light. Her designs shifted from harsh lines and geomet-
ulate the emotion of a space and most cru-
ric shapes to curved, flowing designs that interacted
cial to understand in order to achieve a truly
playfully with light in a way no previous designs had
beautiful, moving design.
Mahoney, Kevin. 2017. “Latin Definitions For: Luminos (Latin Search) - Latin Dictionary And Grammar Resources - Latdict”. Latin-Dictionary.Net. http://www.latin-dictionary.net/search/latin/luminos. 2 “The Definition Of Luminosity”. 2017. Dictionary.Com. http://www.dictionary.com/browse/luminosity. 3 Ibid 4 “Luminosity Vs Illumination - What’s The Difference?”. 2017. Wikidiff. http://wikidiff.com/luminosity/illumination 5 Hemp, David. 2017. “KK Principle (Knowing That One Knows) | Internet Encyclopedia Of Philosophy”. Iep. Utm.Edu. http://www.iep.utm.edu/kk-princ/#H5. 6 Ibid 7 Schielke, Thomas. 2017. “Fluid Luminosity: The Architectural Lighting Of Zaha Hadid”. Archdaily. http://www. archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid. 8 Ibid 1
Vitra Fire Station. 1993.
Schielke, Thomas. 2017. “Fluid Luminosity: The Architectural Lighting Of Zaha Hadid”. Archdaily. http://www. archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid.
before. The luminosity in a design was no longer an accessory to the building but a vital organ of it.
Idea
DESIGN 1
PRECEDENT
Light is life. The presence of light means life can happen,
The Beijing National Stadium, commonly known as the Birds Nest Sta-
can be seen and experienced. The most breath taking
dium, was constructed for the 2008 Olympic Games. At night time the
sights exist because light allows our eyes to see them.
inside is illuminated in a brilliant warm light, creating chaotic silhouettes
Design 1 is inspired by the sun, the movement of light
of the exterior framing. Looking out, the cladding is dark against the
through a prism, how light passes through a window.
bright sky, creating the same effect but with natural lighting. Night Image: “Beijing National Stadium | Antas Sealant”. 2017. Antas-Sealant.Com. http://antas-sealant.com/?portfolio=beijing-national-stadium. Day Image: Branding, Vgrafiks. 2017. “THE BIRD’S NEST: Beijing’S National Stadium › Buensalido+Architects”. Buensalido+Architects. http://www.buensalidoarchitects.com/2012/03/the-bird%E2%80%99s-nest-beijing%E2%80%99s-national-stadium-2/.
Mirrors on alternating walls to reflect light and space
Adjustable inner walls/dividers?
Entry and exit ramp
Plan | 1:250
Location Plan | 1:500
Design 1 | Interior 1
Elevation from Frome Road | 1:100
North Section/El
Design 1 | Interior 2
levation | 1:100
Design 1 | Interior 1
South Elevation | 1:100
DESIGN 2
PRECEDENT The Louvre Abu Dhabi is a museum
Light is life. The presence of light means life can happen, can be seen and
currently under construction. It utilises
experienced. The most breath taking sights exist because light allows
an intricate stencil roof which creates
our eyes to see them.
aesthetically interesting patterns in the
Design 2 is inspired by the stars and the experience of a planetarium,
buildings as sunlight passes through.
replicating the stars with sunlight through pinholes.
Image: Welch, Adrian, and Isabelle Lomholt. 2017. “Louvre Abu Dhabi, Museum Building - E-Architect�. E-Architect. https://www.e-architect.co.uk/dubai/ louvre-abu-dhabi.
Water under floor to reflect light Adjustable inner walls/dividers?
Entry and exit ramp
Plan | 1:250
Location Plan | 1:500
Design 2 | Interior 1
Elevation from Frome Road | 1:100
North Elevation/Section | 1:100
Design 2 | Interior 2
South Elevation | 1:100
eflection
Messe Basel New Hall. 2013.
Schielke, Thomas. 2017. “Fluid Luminosity: The Architectural Lighting Of Zaha Hadid”. Archdaily. http:// www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid.
Elbphilharmonie..2017.
Schielke, Thomas. 2017. “Fluid Luminosity: The Architectural Lighting Of Zaha Hadid”. Archdaily. http:// www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid.
Reflection
LINGUISTIC DEFINITION Originating from the Latin word reflectere, meaning to bend backwards, reflection is “the act of reflecting or the state of being reflecte . It also means something 1
reflected or an image produced, for example the reflection in your mirror2, as well as “careful or long consideration or thought”3.
CASE STUDY | VEILED IN BRILLIANCE: HOW REFLECTIVE FACADES HAVE CHANGED MODERN ARCHITECTURE
(1997)13 is a twisting, curving, intertwined mess of titanium sheeting renowned for its shiny façade. Guggenheim Bilbao triggered many similar designs and the shiny, twisted, reflective metal is now a signature style14.
Modernist architecture saw a rise in the use of glass
The edge a reflective exterior gives a building is a great-
and metal in building facades. This shift from masonry
er interaction with its surroundings, neighbouring
meant a new element came into play in design – light,
buildings, people, and the sky are all reflected and so
more importantly the reflection of light. Glass and met-
the façade is constantly changing. It challenges the arGuggenheim Bilbao. 1997.
PHILOSOPHICAL DEFINITION
al both being reflective meant that designs now need-
Schielke, Thomas. 2017. “Fluid Luminosity: The Architectural Lighting Of Zaha Hadid”. Archdaily. http://www. archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid.
Philosophically, reflection often refers to the long con-
ed to consider their surroundings more than ever, with
This manipulation of light through design was realised
the added element of light play.
with Norman Foster’s Willis and Dumas Headquarters in
In 1921, Mies van der Rohe played around with angled
19758, with the curved glass structure manipulating the
glass and its reflection of light in a proposal drawing for
image reflected in it. Perhaps the most famous design
the Glass Skyscraper in Berlin; he said, “Because I was
implementing curved glass and reflection is SOM’s Burj
was developed developed by John Locke, who rea-
using glass, I was anxious to avoid dead surface reflect-
Khalifa in Dubai, currently the world’s tallest building9.
soned that “we have knowledge of the world because
ing too much light, so I broke the facades a little in plan
The reflective trend moved beyond just flat glass on a
our ideas resemble (or reflect) the objects that give
so that light could fall on them at different angles: like
curved building though. Opened in 201710, Herzog &
rise to them”5. This essentially means the ideas in our
crystal, like cut crystal.”7
De Meuron’s Elbphilharmonie in Hamburg floats above
sideration or thought aspect of the word, a sense of inner reflection and consciousness. The reflection theory principle has two sides. Emiprist reflection theory4
the city as bubble of curved, protruding glass. A mix of
consciousness are generated by sensory triggers in the
inwards and outwards caved glass twists reality in its
world; the physical world is reflected in the conscious
reflection. The curves also catch glimpses of light giv-
one. Alternatively, the dialectical materialist reflec-
ing the building an almost “jewel-like shimmer”11.
tion theory, developed by Friedrich Engels and Vladi-
Whilst glass exteriors offer impeccable reflections,
mir Lenin, argues that “the material world is knowable
they compromise on privacy and internal light12, so for
through consciousness because consciousness reflects
closed design, metal is the most popular alternative.
material reality and the test of truth is practice”6.
Frank Gehry’s Guggenheim Museum in Bilbao, Spain
chitect to essentially use the surrounds and the sky as a physical part of the design as it will be present in the reflection. It also brings a sense of modern elegance into play, a reflective exterior is always associated with modern design. Reflection in architecture can also help mask the inside from the outside; a glass or metal façade reflects the outside world and it is not known how many stories a building is what the internal structure or plan is like. The Messe Basel New Hall by Herzog & De Meuron “introduces a linear interpretation of light reflections”15, and brings volume and dimension by manipulated the reflection of the sun. The use of reflection in architecture and design has opened up new possibilities of how buildings interact with their surroundings and has given architects a new element to further explore with each new design.
Willis and Dumas Headquarters . 1975. “The Definition Of Reflection”. 2017. Dictionary.Com. http://www.dictionary.com/browse/reflection. 2 Ibid 3 Ibid 4 Harvey, Lee. 2017. “Social Research Glossary”. Qualityresearchinternational.Com. http://www.qualityresearchinternational.com/socialresearch/reflectiontheory.htm. 5 Ibid 6 Ibid 1
“Glass”. 2017. Pinterest. https://au.pinterest.com/pin/422423640028564782/?lp=true.
Schielke, Thomas. 2016. “Veiled In Brilliance: How Reflective Facades Have Changed Modern Architecture”. Archdaily. http://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changed-modern-architecture. 7
Schielke, Thomas. 2016. “Veiled In Brilliance: How Reflective Facades Have Changed Modern Architecture”. Archdaily. http://www.archdaily.com/796974/ veiled-in-brilliance-how-reflective-facades-have-changed-modern-architecture. 9 Valencia, Nicolas. 2017. “These Are The World’S 25 Tallest Buildings”. Archdaily. http://www.archdaily.com/779178/these-are-the-worlds-25-tallest-buildings. 10 Schielke, Thomas. 2016. “Veiled In Brilliance: How Reflective Facades Have Changed Modern Architecture”. Archdaily. http://www.archdaily.com/796974/ veiled-in-brilliance-how-reflective-facades-have-changed-modern-architecture. 11 Ibid 8
Schielke, Thomas. 2016. “Veiled In Brilliance: How Reflective Facades Have Changed Modern Architecture”. Archdaily. http://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changed-modernarchitecture. 13 Ibid 14 Ibid 15 Ibid 12
Form
Design 1 was chosen and has been developed further with added functional considerations and further light play techniques. The pavillion features two seminar rooms, a small library and reading space, an exhibition area and toilets. Art, photography, design and science are some of the types of presentation catered for by the pavillion. The entire pavillion allows for disability access meaning full interaction and inclusion for all Section | 1:100
university students.
Seminar 1
Storage
Library/ Reading
Seminar 2
M Toilet
F Toilet
Lift
Access WC
Reception
Exhibition/ Presentation
Exhibition/ Presentation
Plan | 1:250
Section | 1:100
Elevation from Frome Road | 1:100
North Elevation| 1:100
INTERNAL ACCESS AND MOVEMENT Walkways/moving areas Stationary areas Doors Main access
EXTERNAL ACCESS AND MOVEMENT Movement areas around and over the pavillion Main access point
Both natural and artificial light illuminate the pavillion. Semi-glass roof with shapes embedded encourage light and shadow play within the pavillion. An illumanted channel of water frames that base adding an artificial element with some movement in the light reflecting off the water. Mirror facades on the lift shaft distort reality and make the user unsure of the true confines of the space. Frosted glass is used above seminar rooms and bathrooms for privacy.
Hyvinkää Church. 1961.
Schielke, Thomas. 2014. “Light Matters: Whiteness In Nordic Countries”. Archdaily. https://www.archdaily. com/542503/light-matters-whiteness-in-nordic-countries.
Nordjyllands Art Museum. 1972.
Schielke, Thomas. 2014. “Light Matters: Whiteness In Nordic Countries”. Archdaily. https://www.archdaily. com/542503/light-matters-whiteness-in-nordic-countries.
Opacity
directly behind the altar, guided down through a sluice
is non-transparent or non-translucent, meaning light
CASE STUDY | LIGHT MATTERS: WHITENESS IN NORDIC COUNTRIES
cannot pass through1. Opacity describes the level to
Thanks to their Northern position on Earth, the sun in
environment. Architect John Utzon also plays with white
which something is opaque2. Originating in the 15th
Scandinavian countries is in a low position creating
surfaces in the Bagsværd Church, explaining that “Light
century from the Latin word opacus meaning shaded
elongated shadows, long days, and dark winters7. This
is the most important feature of the church. I provided
or dark, the spelling was influenced around 1650 by the
influences the architecture of the region, with sunlight
white walls and white ceilings so that daylight, which
French3 language to the presently used opaque.
entering more from the side as opposed from above as
is limited in Denmark for much of the year, is fully used
in other parts of the world8.
and produces an intensity of light always greater than
LINGUISTIC DEFINITION Opacity is defined as the state of being opaque, which
work to create a sense of movement in an otherwise still
Dybkær Church. 2010.
PHILOSOPHICAL DEFINITION
Professor Emeritus at the University of Illinois at Urba-
There is a term in philosophy referring to something
na-Champaign, Henry Plummer, has studied the Nordic
as referentially opaque4. “Two terms are referentially
daylight characteristics through photographic study .
opaque if they cannot be substituted salva veritate (i.e.
From the 15th century to modern buildings, Plummer
without changing the truth value of the statement).”
of wall”10. The walls of the nave feature irregular brick-
Schielke, Thomas. 2014. “Light Matters: Whiteness In Nordic Countries”. Archdaily. https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries.
ture of Nordic architecture, the attention to how daylight found that whiteness is one of the primary techniques
9
5
Nordic architects employ in response to the local environment. The white colour provides a bright, reflective surface that increases light in the dark winters, and for
This is translated into mental states, where a descrip-
Plummer is also an ode to the beauty of snow covered
tion of someone’s belief may be true, but described
landscapes.
differently it becomes untrue6. For example, someone
White architecture has been around in Danish architec-
believes that an author John Smith has written a book,
ture for centuries, as evident in the medieval churches,
but it turns out that John Smith is just a pseudonym
and the same design principles apply in the country
for Jane Doe, and the subject does not belief Jane Doe
today. The Dybkær Church by Regnbuen Arkitekter uti-
wrote the book, then that person’s mental state is de-
lises opacity to utilise the light which comes from three
scribed as referentially opaque.
directions as Plummer explains: “Low from the north to emphasize a black steel crucifix; more broadly from the
“The Definition Of Opacity”. 2017. Dictionary.Com. http://www.dictionary.com/ browse/opacity. 2 Ibid 3 Ibid 4 “Referential Opacity - Dictionary Of Philosophy Of Mind”. 2004. Sites.Google.Com. https://sites.google.com/site/minddict/referential-opacity. 5 “Referentially Opaque/Transparent - Oxford Reference”. 2017. Oxfordreference.Com. http://www.oxfordreference.com/view/10.1093/oi/authority.20110803100410334. 6 “Referential Opacity - Dictionary Of Philosophy Of Mind”. 2004. Sites.Google.Com. https://sites.google.com/site/minddict/referential-opacity.
that outside”11. Pure white elements are not the only fea-
1
passes through a building at different times of the day is also key. Different materials, textures and shapes bring light into the space differently depending on the sun’s position, creating a different image at different times of day. The Pirkkala Church in Finland by Käpy and Simo Paavilainen successfully plays with daylight with the use of glass and white surfaces. The altar and associated wall act as a canvas for the different displays of light as the sun moves through the sky. Nordic architecture shows how an all-white façade does not have to be boring, and the right manipulation of daylight can create an experience as interesting as with colour.
south as a glancing wash; and as a shower directly Pirkkala Church. 1994.
Schielke, Thomas. 2014. “Light Matters: Whiteness In Nordic Countries”. Archdaily. https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries.
Schielke, Thomas. 2014. “Light Matters: Whiteness In Nordic Countries”. Archdaily. https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries. http://www.archdaily.com/779178/these-are-the-worlds-25-tallest-buildings. 8 Ibid 9 Ibid 7
Schielke, Thomas. 2014. “Light Matters: Whiteness In Nordic Countries”. Archdaily. https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries. 11 Ibid 10
Material
The seminar rooms are adjacent and located near the reading area, all making up the quieter area of the pavillion. Bathrooms are located in the centre with doors along the centre walkway to allow for toilet access from both interactive ends of the pavillion. Storage is adjacent to toilet doors for minimal disruption to open spaces. The exhibition space is the most organic located below the entry atrium, with the lift shaft entering into the space for maximum submersion upon entry.
The pavillion will be made of cast
Atrium: aluminium frame and glass detail
in situ concrete. Once the hole is excavated, formwork will be erected before it will be sprayed, then the internal walls will be erected of steel framing, insulation and plasterboard. The atrium will be made of glass framed with white powder coated aluminium. The interior walls will be coated with a thin white stucco render to keep focus on light play, and the roof/ceiling atrium will be a combination of 50mm thick glass/frosted glass and sheets. There will be a mixture of glass doors and timber doors coated in acrylic paint. The floors will be a light coloured timber.
Timber floor and water channel detail
Chapel of Notre Dame du Haut at Ronchamp. 1950-1955.
Schielke, Thomas. 2015. “Light Matters: Le Corbusier And The Trinity Of Light”. Archdaily. https://www. archdaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light.
Church of Saint-Pierre at Firminy. 1960-2006.
Schielke, Thomas. 2015. “Light Matters: Le Corbusier And The Trinity Of Light”. Archdaily. https://www. archdaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light.
Filtration
LINGUISTIC DEFINITION
For Plummer this design is successful through its inter-
the process of liquid or gas moving through any kind
CASE STUDY | LIGHT MATTERS: LE CORBUSIER AND THE TRINITY OF LIGHT
of porous membrane to remove impurities. The word
One of the modernist movement’s most iconic ar-
vertical slots in the wall whilst a horizontal gap sepa-
filtrate originates from sometime between 1605-1615
chitects is responsible for three sacred buildings that
rates the roof from the wall and creates a floating feeling,
from the Medieval Latin word filtrātus, the past tense
demonstrate effective openings, orientations and tex-
before finally sunset providing a warm glow within the
word of filtrāre2.
tures to create “kinetic architecture”3. The pilgrimage
chapel. The Monastery of Sainte Marie de la Tourette at
chapel at Ronchamp, the monastery of Sainte Marie
Éveux-sur-l’Arbresle (1953-60) disperses light in a more
Filtration is the act or process of filtering1. Filtering is
PHILOSOPHICAL DEFINITION
de La Tourette, and the parish church of Saint-Pierre in
Philosophically, filtration can be interpreted as the
Firminy al demonstrate Le Corbusier’s talent in filtering
means by which we process the world around us. In-
light from outside to inside.
coming and outgoing thoughts are all filtered by our
Professor Emeritus at the University of Illinois at Urba-
brains; the external signals of the world are technically
na-Champaign, Henry Plummer, studied this in his
a filtration once we actually process them as they move through our brain and our judged by our morals and experiences. Our entire lives can almost be described as a filtration since our lives are determined by essentially, the experiences that our brains go through. We are constantly filtering the information around us to determine what we find important and what appeals to us, and this essentially makes up a lot the basis of business and work, making our messages the most important in order to be the most successful.
play with the solar cycle; the red morning sun represents child birth, then during that day the sun shines through
Monastery of Sainte Marie de la Tourette at Éveux-sur-l’Arbresle. 1953-60. Schielke, Thomas. 2015. “Light Matters: Le Corbusier And The Trinity Of Light”. Archdaily. https://www.archdaily.com/597598/light-matters-le-corbusier-andthe-trinity-of-light.
far more rectilinear than the chapel at Ronchamp, and all
Tbook “Cosmos of Light: The Sacred Architecture of Le
ments, meaning users experience light differently in each
Corbusier”. Many religions associate light with divinity
part of the church. The church of Saint-Pierre at Firminy
and holiness and Le Corbusier makes use of this met-
(1960-2006) offers perhaps one of the most breathtaking
aphor in these three designs. In the Christian religion
light filtration displays by Le Corbusier. Small windows
God is light and Jesus is described as the light of life
create dots of light which change into poetic waves that
, and so often visible light is represented as the best
caress the walls as the sun moves through the sky. One is
way to be close to represent this holiness. Le Corbusier
reminded of the Northern Lights.
displayed a sensitive appreciation for the interaction of
All three of Le Corbusier’s sacred designs demonstrate
light and colour both as an artist and an architect in his
how effective filtration of light can create divine, poetic
sacred building designs. The Chapel of Notre Dame du
spaces for church goers. Three different techniques pres-
Haut at Ronchamp (1950-1955) is perhaps Le Corbusi-
ent three different experiences of divinity in the form of
er’s most famous design and showcases the filtration of
light and give three different representations of holiness.
light through small square windows and strips around the main façade. Monastery of Sainte Marie de la Tourette at Éveux-sur-l’Arbresle. 1953-60. “The Definition Of Filtration”. 2017. Dictionary.Com. http://www.dictionary.com/ browse/filtration?s=t. 2 “The Definition Of Filter”. 2017. Dictionary.Com. http://www.dictionary.com/ browse/filter. 1
Schielke, Thomas. 2015. “Light Matters: Le Corbusier And The Trinity Of Light”. Archdaily. https://www.archdaily.com/597598/light-matters-le-corbusier-andthe-trinity-of-light.
complex and wide manner according to Plummer. It is
Schielke, Thomas. 2015. “Light Matters: Le Corbusier And The Trinity Of Light”. Archdaily. https://www.archdaily.com/597598/light-matters-le-corbusier-and-thetrinity-of-light. 4 Ibid 3
four sides of the chapel have different window arrange-
THE UNIVERSITY OF ADELAIDE REPRESENTATION III AUTHOR: KRISTINA SHEPHERD PUBLISHED ON: 17 AUGUST 2017 REAR COVER IMAGE: HTTPS://AU.PINTEREST.COM/EXPLORE/ARCH ITECTURAL-LIGHTING-DESIGN/
STRUCTURES OF LIGHT