G1.davis.marc.rep2.17 Final

Light Pavilion

Marc Davis a1704966

Table of Contents Place 1 - Site Plan 2 - Elevations 3 - Perspectival Views 4 - Perspectival Views 5 - Shade and Shadow 6 - Ambient Light Study 7 - Movement and Access 8 - Social/Cultural Qualities 9 - Luminosity Study 10- Luminosity Study

Form 21 - Site Plan 22 - Floor Plan + Section 23 - Aerial Views 24 - Ground Views 25 - Approach (1) 26 - Approach (2) 27 - Internal Views (1) 28 - Internal Views (2) 29 - Opacity Study 30 - Opacity Study

Idea 11- Spacial Diagram 12- In Situ Drawings 13- Spacial Diagram 14- In Situ Drawings 15- External Views 16- External Views 17- Internal Views 18- Design Precedent 19- Reflectance Study 20- Reflectance Study

Material 31- Model of Structure 32- Exploded View 33- Construction Detail (1) 34- Construction Detail (2) 35- Materials View (1) 36- Materials View (2) 37- Materials View (3) 38- Materials View (4) 39- Filtration Study 40- Filtration Study

(1) (1) (2) (2) (1) (2)

Site Plan

Maths Lawns 1:750

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Elevations

Northern Elevation 1:1000

Western Elevation 1:500

Southern Elevation 1:1000

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Perspectival Views

Aerial View 2

Aerial View 1

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Perspectival Views

Ground View 1

Ground View 2

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Shade and Shadow

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Shade and Shadow

Summer 9am

Summer 12pm

Summer 3pm

Winter 9am

Winter 12pm

Winter 3pm

Ambient Light Study

Ambient light is characterised to be the light already present in a scene, before any additional light is added.

Ambient light is commonly referred to as natural light either outdoors or coming through windows. Ambient light can also be used when talking about artificial light.

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Movement and Access

2-Point Plan NTS

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Access

Movement

Social/Cultural Qualities

The Barr Smith Library is state heritage listed and is required for the view to be maintained from Frome road. This allows for the corridor of space between the buildings to frame the Barr Smith library.

The lawns are well lit during the summer and can produce a comfortable place to relax in, on the grass and benches. Whereas during winter the lawns can get very wet and muddy, as well as the lower sun angle resulting in longer shadows being cast by the northern buildings. This results in making the northern side of the lawns to be deserted due to the lack of heat.

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Light study 1 Luminosity The word luminosity is one heard sporadically; it is defined to be the intrinsic brightness of a celestial object in the sense of astronomy. Whereas in physic it is a term used to measure the rate of emission of radiation visible or otherwise.

Illumination and luminosity are closely related, as luminosity is the state of being luminous which is immeasurable, and Illumination can be perceived as being the act to supply the light that makes something luminous. The word Illumination is used extensively within Arabic and Persian philosophical texts, and basically means a heightened state of cognition.

Luminosity holds a great place within designing architecture as it can be used effectively to create desirable spaces or frame a key aspect. This can be seen through Zaha Hadid Architects the latest example of theirs being Leeza Soho (top left) building in Beijing. The Leeza Soho consists of 2 main structures rising up in to the skyline and is set to have the world’s largest atrium linking the structures. This allows for an abundance of natural light to filtrate into all of the floors. This is an evolved form of Zaha Hadid’s work with fluid luminosity, which she expanded on over her career through her numerous projects.

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Light study 1 The design of the Leeza Soho is an evolved form of Zaha Hadid’s work with fluid luminosity, which she expanded on over her career through her numerous projects.

Zaha’s first commission to build the Vitra Fire Station (bottom left) the light was used to emphasise the rigid and explosive energy of the building, through lighting between the wall and floor.

Zaha’s later explorations with light included turning urban lines into luminous strips, through the Hoenheim-Nord Terminus and Car Park where she analysed the transport pattern of the site and abstracted it into the roofs by making a series of luminaires. A further extension to her studies in light is also the Nordpark railway station(top right), which is a highly reflective white structure which is groundlit to break up the surfaces and bounce the light around while the also allowing for the structure to blend into its site. Another great example of Zaha taking her light incorporation to the next level is with her design of the Guangzhou Opera House(bottom right) which tasks thousands of lights to gently light the auditorium, resembling that of a sky full of stars.

Pg.10 Schielke, Thomas. 2017. “Fluid Luminosity: The Architectural Lighting Of Zaha Hadid”. Archdaily. https://www.archdaily.com/868157/ fluid-luminosity-the-architectural-lighting-of-zaha-hadid.

Spatial Diagram Concept 1 Circular Pavilion The first design for the light pavilion consists of a circular structure with a ramp descending into an underground open area.

The only access to the underground area is through the ramp suitable for disabled needs, the singular ramp forces and confines the user to follow the path around the outside and take in all the angles. The roof of the descending ramp can also be used to walk above and get an elevated view of the site.

The mesh above the internal space cast shade over the interior projecting a pattern into the space that changes throughout the day, as well as easily allowing views in and out of the pavilion.

Most of the pavilion is situated underground, with only the access being above. This allows for the view of the Barr Smith Library to be mainly unobstructed.

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Exploded View

In Situ Drawings Concept 1

Plan 1:1000

Northern Elevation 1:500

Eastern Elevation 1:500

Section 1:500

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Spacial Diagram Concept 2 Rectilinear Pavilion The second light pavilion also uses a descending ramp to access the space but is designed in a rectilinear fashion.

The descent into the second light pavilion is also suitable for disabled access, and requires the user to travel in a straight path to highlight the length of the underground space. The roof of the descending ramp can also be used to walk on top of and see the sight from a different perspective.

The mesh above the internal space cast shade over the interior projecting a pattern into the space that changes throughout the day, as well as easily allowing views in and out of the pavilion. Along the edge are cuts out of the roof of the pavilion allow abstracted movements paths into the site.

Exploded View Pg.13

The spaces either side of the two meshes are angled seating areas to allow for people to relax above the sight.

In situ Drawings Concept 2

Plan 1:1000

Section 1:500

Eastern Elevation 1:500

Northern Elevation 1:500

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External Views - Concept 1

Ground View

Aerial View

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External Views - Concept 2

Ground View

Aerial View

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Internal Views

Concept 1 Interior

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Concept 2 Interior

Design Precedent Forest pavilion by nArchitects

The design precedent for the concepts created was the Forest Pavilion by nArchitects, and consists of a lightweight bamboo structure that creates a canopy over the central circular seating area.

The lattice structure arching over creates many different shadows cast onto the ground of the area as the light passes through the grid during the day but during night the light from sources within shine out through the gaps.

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Light Study 2 Reflection The definition of reflection is the throwing back of a body or surface of light heat or sound without absorbing it. Reflection is commonly recognised as an image seen in a mirror or lustrous surface, but it can also refer to the process of putting serious thought or consideration into an idea.

The philosophical meaning of reflection can refer to the texts, which leave the reader in a state in which they are left in a state of contemplation trying to reorganise the information in an order perceivable sometimes only by the reader.

Reflection in architecture has become very prevalent in contemporary architecture, due to many buildings presently being built out of glass and steel through abstracting the faรงade of a building to break up uniform glazing. This allows for many different angles and visions to be seen of the buildings surrounds. Although commonly used today creating an entire building faรงade to create reflective imagery it is not a new idea.

The ideology emerged in the early 20th century through the works of Bruno Taut particularly in his Glass Pavilion, which focused on the use of coloured glass.

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Light study 2 Contemporary examples of reflection used in architecture can be seen in projects such as the Elbphilharmonie, Guggenheim Museum in Bilbao, Selfridge’s department store façade and the Messe Basel New Hall.The Epbphilarhamonie in Hamburg designed by Herzog & De Meuron, is created to be a shimmering façade that reflects the surrounding area. The surface of the skin is also spotted with inwardly and outwardly curved glass panels. The highly reflective surface allows a clear representation to be created of the surrounding urban sprawl in reverse, with the dimples breaking up the skin of the building resulting in a widely varied representation of the surrounds.

Another example of reflection being used within architecture is the Guggenheim Museum in Bilbao by Frank Gehry. The building consists of a curving shell made of titanium, these curves allow the building to catch the sun and surrounds at multiple angles. The use of titanium also results in a very rough reflection mainly capable of reflecting rough outlines of its surrounding site.

The façade of the Selfridges Birmingham department store is another example of reflection in architecture the façade consist of 16,000 anodized aluminum discs creating a mesh around the building. The discs allow for reflections to be cast of the surrounding buildings on the side of the building while also allowing the occupants to see out through the gaps between the discs of the façade.

A further example of reflection being used within architecture is the Masse Basel New Hall, again by Herzog & De Meuron. The hall is made up of an aluminum skin, which resembles slits cut in to the surface and in some places stretched out.

Pg.20 Schielke, Thomas. 2017. “Veiled In Brilliance: How Reflective Facades Have Changed Modern Architecture”. Archdaily. https://www. archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changed-modern-architecture.

Site Plan

Site Plan 1:500

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Floor Plan + Section

Section A 1:200 Beneath the access ramp the library is along the wall, as well as storage space.

Key Exhibition Space/Presentation Space Reading/Relaxing Space Toilet (M/F/D) Seminar Room Floor Plan 1:200

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Aerial Views

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Ground Views The light pavilion is modeled based mainly on the circular concept, but is also influenced by the rectilinear concept through the canopy over the seminar rooms and general placement within the site. The placement within the middle of the lawn allow it to stand out and draw people into the space, while still not obstructing the view towards the Barr Smith library.

Once at the entrance every one enters via the disabled accessible ramp in a circular motion around the outer edges of the pavilion’s exhibition space allowing the visitor to see the exhibitions from different angles before even reaching the space. The Seminar rooms and toilets are off to the side and out of the way so that they do not interfere with the exhibitions.

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Approach

Approach at Night Pg.25

Approach

Entering Structure Pg.26

Internal Views

View from Reading Space towards Ramp

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View of Seminar Room

Internal Views The main part of the pavilion being exhibition space and reading area is lighted naturally by the sun, as well as this the seminar rooms are also naturally lit.

The lightweight meshes above the spaces act to cut the rays of sunlight to create patterns on the floor which allow for a constantly changing interior over the course of the day.

Views of Exhibition Space

At night the structure is lit through strip lighting along mullions on the ramp and concentric rings set to the center of the reading space.

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Light Study 3 Opacity The meaning of opacity is the quality of lacking transparency or translucence, and is the degree to which something is opaque. Opacity can be referred to glass in the sense that if it is opaque it is harder to see through the glass.

Philosophical meaning Opacity can also refer to texts as being obscure in meaning In Nordic countries the use of whiteness in architecture has been heavily embraced, due the characteristics created in their local environment. The white mass of opaque surfaces create heavily contrasting interiors during both the sparse supple light during winter and the long summer days. Henry Plummer, a professor at the university of Illinois has created an extensive photographic exploration into these phenomena. His key aim is to convey how he believes the Nordic lighting is used to work with the local beauty and connect with the soul.

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Light Study 3 The great environments created in Scandinavia are credited to the extreme changes in weather, which in turn lead to unique light qualities. Architects have manipulated these qualities to contrast with the long and dark winter days. The low angle of the sun in the region means that most of the sun penetrates through the side if the building as opposed to above, creating long shadows through the structure. Henry Plummer also accentuates that although the vegetation and topography vary between Norway, Sweden, Denmark and Finland, they still share the same subdued light qualities.

The Nordic architects created their spaces through the use of whiteness as a response to the local environment. The white surfaces allow for great reflectance, which allows for the building to easily appear brighter during the darker winter months. As well as this the white blends into the grandeur of the snow covered surrounds.

An early example of this whiteness in architecture can be seen in Denmark’s medieval churches, which, have greatly influenced their contemporary religious architecture such as Regnbuen Arkitekter’s Dybkaer church. His design features an irregular texture of white brickwork. As well as this it also incorporates for the sun to enter through three different directions; low from the north to accentuate the black crucifix, broadly from the south to generally light the space and directly behind the alter to shower the user in light.

The religious building of Nordic countries provide a wide palette of design concepts, such as material textures, specialized glass features and spaces that change during the day and time of year.

Pg.30 Schielke, Thomas. 2017. “Light Matters: Whiteness In Nordic Countries”. Archdaily. https://www.archdaily.com/542503/light-matterswhiteness-in-nordic-countries.

Model of Structure

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Perspectival View of Structure

Exploded View Roof of ramp Mesh to give greater light qualities Glass exterior of ramp Lightweight steel frame

Lightweight steel frame

Ramp

Mullions Wall of underground structure

Roof of seminar rooms and toilets Exploded View of Structure

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Construction Detail

Precast Concrete Wall Pg.33

Lightweight Steel Frame

Internal Lighting

Construction Detail

Disability Ramp

Mesh to give greater light qualities

Internal Lighting

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Materials View

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Material View of Exhibition Space

Materials View

The light pavilion’s walls are constructed of white precast concrete, which allows for a greater contrast to the shadows created. The floor is made up of white floor boards to again contrast the shadows The framework is made up of a dark steel to break up the whiteness of the structure.

Material View Ramp Down to Structure

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Materials View

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Material View of Seminar Room

Materials View

Material External View of Light Pavilion

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Light Study 4 Filtration The definition of filtration relates to the action or process of filtering something, for example small particles are hard to remove without filtration. In the context of architecture this can mean how the exterior skin of a structure allows the light into it.

The term filtration can also be thought of in terms of refinement, as filtration relates to removing the small these can be seen as a condensation of its best attributes. But this can also flow both was being seen as taking away the worst of something.

Le Corbusier through his three sacred buildings created, has worked with openings and textures to create a constantly changing architecture throught the natural daylight. These three buildings include his chapel at Ronchamp, monastery of Sainte Marie del la Tourette and the church of Saint-Pierre in Firminy.

Light has been a key characteristic of divinity linked to many religions. Le Corbusier expresses a exceptional sensitivity through working a lot with colours and light in his sacred buildings to bring people closer to their faith.

The main characteristic expressed in the chapel at Ronchamp is the embrace of the continuous solar events. This is achieved through the apparently random sequence in which holes are punched out of the faรงade. At dawn the sun rises and hits the alcove of the side chapel and turns the scene red.

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Light Study 4 The main characteristic expressed in the chapel at Ronchamp is the embrace of the continuous solar events. This is achieved through the apparently random sequence in which holes are punched out of the façade. At dawn the sun rises and hits the alcove of the side chapel and turns the scene red.

In Le Corbusier’s monastery in La Tourette the light composition is more complex than that seen at Ronchamp. The monastery is composed in a rectilinear manner, which contrast the sweeping irregularity of the chapel at Ronchamp. Due to the fact that the corridors have an open side facing one of the four cardinal directions, which result in diverse lighting situations.

The highlight of the lighting at La Tourette begins at sunset when the sun comes through a crack at the top of the western walls and illuminates the adjacent walls.

The church of Saint-Pierre in Firminy focuses on scenography, which are arranged in three acts. The small windows on the east façade create small dots of light within, which evolve into waves of light. The waves rise and fall within the structure throughout the day. These waves created were not originally deigned and were a positive anomaly granted of the construction process.

The Light techniques used by Le Corbusier act as a complex language to consecrate his sacred buildings. The light qualities allow to take away the static and create a kinetic structure, which changes constantly throughout the day.

Pg.40 Schielke, Thomas. 2017. “Light Matters: Le Corbusier And The Trinity Of Light”. Archdaily. https://www.archdaily.com/597598/lightmatters-le-corbusier-and-the-trinity-of-light.