Structures of Light REPRESENTATION II
KRISTINA SHEPHERD | A1703398 AUGUST 14 2017
Contents Page | 2
4 12
PLACE
14 22
IDEA
24
FORM
32
LIGHT STUDY: OPACITY
34 42
MATERIAL
LIGHT STUDY: LUMINOSITY
LIGHT STUDY: REFLECTION
LIGHT STUDY: FILTRATION
COVER IMAGE FROM: HTTPS://AU.PINTEREST.COM/EXPLORE/ARCH ITECTURAL-LIGHTING-DESIGN/ CONTANTS PAGE IMAGE FROM K. SHEPHERD, 2017
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E RI V
GATE 8
V IC T OR IA
GATE 10
GATE 9
GATE 6A
15
GATE 12
GATE 7
D
GATE 11
GATE 6
GATE 13 GATE 14 GATE 5
GATE 15
Secure Bike Park 1st Level Undergrnd Carpark
NORTH TERRACE
GATE 20
GATE 22A
GATE 23
AUSTIN STREET Synagogue
FISHE R PL
GATE 22
AUST IN ST. Place
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GAWLER PLACE
STEVE NS PLACE
Place
CHARL ES ST.
Site Plan | 1:1000
GATE 21
LANE
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 balance to the space.
Tavisto ck Lane
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Southern Elevation | Not to Scale Braggs, and Molecular Life Sciences buildlings
CULTU
MOVEMENT Main walkways
Mainentry gate
Walkway
Building entrances
Seating
The Math
ford or H
eras whic 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.
In summ tends to
One of th
Barr Smit
entrance
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Northern Elevation | Not to Scale SANTOS, Engineering & Maths Sciences, and Ingkarni Wardli buildlings
URE AND AMBIENCE
hs Lawns are one of the key sites at the University of Adelaide the pay homage to the classic Ox-
Harvard style of tertiary learning. The five building framing the space are a time lapse of different
ch the university has lived through, showcasing the building trends at the time.
mer the lawns are popular for study, eating and socialising however in winter the use of the space drop with the onset of the cold weather.
he key goals with any developments around the Maths Lawns is to maintain the view to the classic
Eastern Elevation | Not to Scale Barr Smith Library entrance
th Library facade, so that from a point along Frome Road and the Botanic Gardens, the grand
e is visible.
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SITE SHADOW ANALYSIS The site is far more exposed to sunlight in ummer than in winter. Maximum sunshine occurs at 12pm in Summer, and in WinSouth Eastern side is the best spot for the 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
SUMMER | 9AM
ter at 3pm the entire site is ine shade. 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 shade and will need to capitalise on artificial lighting elements.
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WINTER | 9AM
than half of daytime that pavillion will be in
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SUMMER | 12PM
SUMMER | 3PM
WINTER | 12PM
WINTER | 3PM
A
B
C
In contrast to the dayt
reflections bring colour to the building and add interesting dimension to the already textured facade. This reflection acts as a mirror
the lawns. The double
would, making the space feel larger than it already is yet slightly manipulating reality, bringing a certain aspect of the opposite building
elements to the build
DAY
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 interesting shadow/light interactions in the entire site.
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NIGHT
In the daytime, reflections and shadows become very amplified. Image (A) shows the clarity of reflections in the Braggs building windows. The
the buildings higher fl
pleasantry at night tim
D
time 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
e 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
ding 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
floors are illuminated and so the eye is drawn down to ground level in what becomes a cold, industrial feeling space. Currently there is not much of interest or
me at the site.
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CASE STUDY | FLUID LUMINOSITY: THE
Originating in the 1600s from the Latin word luminosus,
ARCHITECTURAL LIGHTING OF ZAHA HADID
meaning bright1, the word luminosity is the noun form of lu-
When it comes to architecture and design, lighting is
minous. It is “the condition of being luminous luminous,…
one of the most crucial aspects to consider in the pro-
something radiating light, shining, bright, illuminated, etc.”2
cess. Natural, artificial, warm, cool; it is a building mate-
The word is also defined as “The quality of being intellectu-
rial that does not age and constantly affects the build-
ally brilliant, enlightened, inspired, etc.”3
ing differently. Everything we see in a design is because
Luminosity
LINGUISTIC DEFINITION
light bounces off it or cannot reach it, without the pres-
PHILOSOPHICAL DEFINITION
ence and absence of light no boundaries or edges can be
Philosophically, luminosity is associated with knowledge
defined; “Light closes the gap between architecture and
and intellectual brightness, the state of being brilliant or ra-
our perception. We sense forms and materials with our eyes
diant. It differs from illumination which is the “act of illumi-
not directly but through the reflected light.”7
nating or supplying with light.”4 If we take light to be knowledge, then to be luminous is to know, and to illuminate is
Take Zaha Hadid’s incredible designs, renowned for their
to teach. There is a principle in philosophy known as the
fragmented and fluid forms, which capitalise on the
KK principle, which “in its simplest form… says that, for any
manipulation of the presence and absence of light to max-
proposition p, if one knows that p, then one knows that one
imise their effect. Museum of XXI Century Arts. 2009.
knows it.”5 Following this principle, one is luminous when
Schielke, Thomas. 2017. “Fluid Luminosity: The Architectural Lighting Of Za www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of
they are in a state of being that they are aware they are in,
The Vitra Fire Station (1993) demonstrates
otherwise they are not considered luminous6. Essentially
tificial lighting can accentuate otherwise
this means that one is aware when they know or are some-
shapes, drawing the eye to them and pres
thing, and therefore they possess luminosity.
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
ing in literally a new light. Hadid maint
or lighting addition until 2007 with the N
Station marking a shift in her play with l
shifted from harsh lines and geometric s
1
flowing designs that interacted playfully w
no previous designs had before. The lumin 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.
was no longer an accessory to the building of it.
aha Hadid”. Archdaily. http:// f-zaha-hadid.
s how the right ar-
e seemingly bland
senting the build-
tained this exteri-
Nordpark Railway
light. Her designs
shapes to curved,
with light in a way
nosity in a design
This is first most evident in Hadid’s Museum of XXI Century Arts (2009) in Rome, where the presence of light is essential to the entire design being visible and achieving success. It is clear that without the illumination throughout the building, it simply would not have the same striking effect on the user; it “developed a characteristic feeling of unison between fluid forms, daylight, and lighting”.8 The museum also demonstrates how light could be used as a colour, the black staircase contrasts with the bright white underside. Perhaps the most exquisite use of architectural lighting is seen in Hadid’s Heydar Aliyev Centre (2012), where the entire flow of the building is seamlessly enhanced by strategic light placement. The gradient of luminosity in the auditorium is impeccably executed, all thanks to the mere presence of
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.
light. Bigger spaces are brighter, smaller spaces are darker, giving the spaces a unique character: depth. This depth is evident Hadid’s latest project still under construction, the Leeza SOHO. The soaring atrium is illuminated in contrast to the rooms of the building allowing a clear indication of the space. Zaha Hadid’s designs demonstrate the simple fact that without light architecture cannot exist. It is perhaps the most important element to manipulate the emotion of a space and most crucial to understand in order to achieve a truly beautiful, moving design.
g but a vital organ
Page | 13 Leeza SOHO. Under construction.
Schielke, Thomas. 2017. “Fluid Luminosity: The Architectural Lighting Of Zaha Hadid”. Archdaily. http://
PRECEDENT
DESIGN 1
Light is life. The pr can be seen and
sights exist becau
Design 1 is inspire
through a prism, h
The Beijing National Stadium, commonly known as the Birds Nest
Design 1 Page | 14
Stadium, was constructed for the 2008 Olympic Games. At night time the inside is illuminated in a brilliant warm light, creating chaotic silhouettes of the exterior framing. Looking out, the cladding is dark against the 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/.
resence of light means life can happen,
Mirrors on alternating walls to reflect light and space
experienced. The most breath taking
use light allows our eyes to see them.
ed by the sun, the movement of light
Adjustable inner walls/dividers?
how light passes through a window.
Entry and exit ramp
Plan | 1:250 Location Plan | 1:500
Page | 15
Design 1 | Interior 1
Elevation from Frome Road | 1:100
Page | 16
North Section/Elevation | 1:10
00
Design 1 | Interior 1 Design 1 | Interior 2
South Elevation | 1:100
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PRECEDENT
DESIGN 2
Light is life. The presence of ligh experienced. The most breath our eyes to see them.
Design 2 is inspired by the sta
replicating the stars with sunlig
Design 2 Page | 18
The Louvre Abu Dhabi is a museum currently under construction. It utilises an intricate stencil roof which creates aesthetically interesting patterns in the buildings as sunlight passes through. 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.
ht means life can happen, can be seen and Water under floor to reflect light
taking sights exist because light allows
Adjustable inner walls/dividers?
ars and the experience of a planetarium,
ght through pinholes.
Entry and exit ramp
Plan | 1:250 Location Plan | 1:500
Page | 19
Design 2 | Interior 1
Elevation from Frome Road | 1:100
Page | 20
North Elevation/Section | 1:100
Design 2 | Interior 2
South Elevation | 1:100
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CASE STUDY | FLUID LUMINOSITY: VEILED IN
Originating from the Latin word reflectere, meaning to bend
BRILLIANCE:
backwards, reflection is “the act of reflecting or the state of
CHANGED MODERN ARCHITECTURE
being reflecte1 . It also means something reflected or an im-
Modernist architecture saw a rise in the use of glass and
age produced, for example the reflection in your mirror2, as
metal in building facades. This shift from masonry meant
well as “careful or long consideration or thought”3.
a new element came into play in design – light, more im-
Reflection
LINGUISTIC DEFINITION
HOW
REFLECTIVE
FACADES
HAVE
portantly the reflection of light. Glass and metal both being
PHILOSOPHICAL DEFINITION
reflective meant that designs now needed to consider their
Philosophically, reflection often refers to the long consider-
surroundings more than ever, with the added element of
ation or thought aspect of the word, a sense of inner reflec-
light play.
tion and consciousness. The reflection theory principle has
In 1921, Mies van der Rohe played around with angled glass
two sides. Emiprist reflection theory4 was developed devel-
and its reflection of light in a proposal drawing for the Glass
oped by John Locke, who reasoned that “we have knowl-
Skyscraper in Berlin; he said, “Because I was using glass, I was
This manipulation of light through des
edge of the world because our ideas resemble (or reflect)
anxious to avoid dead surface reflecting too much light, so
Norman Foster’s Willis and Dumas Hea
the objects that give rise to them”5. This essentially means
I broke the facades a little in plan so that light could fall on
with the curved glass structure manip
the ideas in our consciousness are generated by sensory
them at different angles: like crystal, like cut crystal.”7
flected in it. Perhaps the most famous
Schielke, Thomas. 2017. “Fluid Luminosity: The Architectural Lighting www.archdaily.com/868157/fluid-luminosity-the-architectural-lighti
triggers in the world; the physical world is reflected in the
curved glass and reflection is SOM’s
conscious one. Alternatively, the dialectical materialist re-
currently the world’s tallest building9.
flection theory, developed by Friedrich Engels and Vladimir
The reflective trend moved beyond jus
Lenin, argues that “the material world is knowable through
building though. Opened in 201710, H
consciousness because consciousness reflects material re-
Elbphilharmonie in Hamburg floats a
ality and the test of truth is practice”6.
ble of curved, protruding glass. A mix
“The Definition Of Reflection”. 2017. Dictionary.Com. http://www.dictionary.com/browse/reflection. Ibid Ibid 4 Harvey, Lee. 2017. “Social Research Glossary”. Qualityresearchinternational.Com. http://www.qualityresearchinternational.com/socialresearch/reflectiontheory.htm. 5 Ibid 6 Ibid
wards caved glass twists reality in its
also catch glimpses of light giving th “jewel-like shimmer”11.
Willis and Dumas Headquarters . 1975.
“Glass”. 2017. Pinterest. https://au.pinterest.com/pin/422423640028564782/?lp=true.
Schielke, Thomas. 2016. “Veiled In Brilliance: How Reflective Facades H Archdaily. http://www.archdaily.com/796974/veiled-in-brilliance-howern-architecture. 9 Valencia, Nicolas. 2017. “These Are The World’S 25 Tallest Buildings”. Ar com/779178/these-are-the-worlds-25-tallest-buildings. 10 Schielke, Thomas. 2016. “Veiled In Brilliance: How Reflective Facades Archdaily. http://www.archdaily.com/796974/veiled-in-brilliance-howern-architecture. 11 Ibid 8
1 2 3
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Guggenheim Bilbao. 1997.
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
Whilst glass exteriors offer impeccable reflections, they compromise on privacy and internal light12, so for closed design, metal is the most popular alternative. Frank Gehry’s Guggenheim Museum in Bilbao, Spain (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. The edge a reflective exterior gives a building is a greater interaction with its surroundings, neighbouring buildings,
g Of Zaha Hadid”. Archdaily. http:// ing-of-zaha-hadid.
people, and the sky are all reflected and so the façade is constantly changing. It challenges the architect to essen-
sign was realised with
tially use the surrounds and the sky as a physical part of the
adquarters in 19758,
design as it will be present in the reflection. It also brings
pulating the image re-
a sense of modern elegance into play, a reflective exterior
design implementing
is always associated with modern design. Reflection in ar-
Burj Khalifa in Dubai,
chitecture can also help mask the inside from the outside; a glass or metal façade reflects the outside world and it is
st flat glass on a curved
not known how many stories a building is what the internal
Herzog & De Meuron’s
structure or plan is like. The Messe Basel New Hall by Her-
above the city as bub-
zog & De Meuron “introduces a linear interpretation of light
x of inwards and out-
reflections”15, and brings volume and dimension by manip-
reflection. The curves
ulated the reflection of the sun.
he building an almost
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.
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.
Have Changed Modern Architecture”. -reflective-facades-have-changed-mod-
rchdaily. http://www.archdaily.
Have Changed Modern Architecture”. -reflective-facades-have-changed-mod-
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. 13 Ibid 14 Ibid 15 Ibid 12
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.
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