Unrestricted Light Adelaide University Site Development Mitchell Lobb | a1704682 | Representation 2
Table of Contents Plan 3D Views Elevations Shadow Analysis ambient light Site Access/Movement Light study
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Table of Contents spatial Diagrams 11 design details 12-14 aerial views 15 ground views 16 internal view 17 precedents 18 light study 19-20
Plan The Site, highlighted by colour to the right includes 4 large grass spaces, surrounded by a total of 5 buildings. The Braggs and Molecular Life sciences buildings are north of the site, with the Barr Smith Library to the west and the Ingkarni Wardli, Engineering and Math Sciences, and the Santos Petroleum Engineering buildings to the south.
Site Plan - 1:1000
The site includes facilities on site such as bins, tables, chairs, lighting and two cafe’s in surrounding buildings to facilitate students needs, whether it be an outdoor study area or a place to sit and eat. With large buildings on 3 sides of the site shade is abundant on the site, unfortunately not when desired as highlighted later in the site analysis. Trees are also lined along the north and south sides of the maths lawns, with another large tree just north of the eastern side of Ingkarni Wardli.
Lawn Sizes: 18.5m x 60m Pathway Surrounding Lawn Area: 9.8m Pathway Between Lawn: 13m
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3D Views A notable feature of the site is its lack of shade in summer, although it features trees alongside the seating area, they are yet to be fully Ground View - Facing West grown and do not provide a sufficient amount of shade to cover all of the benches.
Aerial View - Facing West
Ground View - Facing East
Aerial View - Facing East
*Image shadows based on summer position
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Elevations
Southern Elevation
Engineering Buildings
Northern Elevation
Ingkarni Wardli
The Braggs
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Western Elevation
Molecular Life Sciences
Barr Smith Library
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Shadow Analysis
Summer - December 30th, 9am Summer - December 30th, 12 noon
An analysis of the summer shadows that are cast upon the site reveal the minimal shadow given to the grass area and the seating alongside, with the only building light developing over the northern seating area after 3pm. This in return, reduces the usage of the space in summer as people avoid the harsh summer sun in seek of a shady space to study and/ or eat.
With minimal shade, it also has an environmental effect on the grass, as it struggles to remain green and alive in summer without extensive watering, and in result usually ends up brown and patchy, rendering it uncomfortable for use. Summer - December 30th, 3pm
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Shadow Analysis Analysing the winter shadows that are cast on the site, it is evident that majority of the site experiences shade all day long, with the exception of early morning and the southern edge of the site receives some up until approximately 1pm.
Winter - June 30th, 12 noon
Winter - June 30th, 9am
This is not ideal as during winter, people that want to utilize the space will aim for a sunny and warmer position, rather than sitting in the shade. It is also notable that there are no shading devices on the lawn or around the seating areas, hence allowing full rainfall to effect the site with little to no places with cover (except for the surrounding buildings). Winter - June 30th, 3pm
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Ambient Light
Ambient Light - Night Ambient Light - Daytime An analysis of ambient light was conducted, to find that majority of the lighting during night time is from light posts or lighting to entrances of buildings. A notable amount of light is sourced from the entrance to the Barr Smith Library, while the large tree on site also has a light above/within it to illuminate it. All other lighting on site is minimal with the exception of the designated light posts scattered alongside the edges of the lawn.
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Site Access/Movement Key: Orange - Places of Congregation and Seating Green - Access Points to Site Blue - Movement Through Site (Thickness indicating activity) After analysis of the site, the most commonly used access points are either side of the Barr Smith Library, and the walkway between The Braggs and Molecular Life Sciences buildings. Pathways alongside the site are indicated by the thickness of blue lines, with the thicker lines indicating more frequent use with thin indicating minimal use. The largest entrance being to the eastern side of the site, is primarily used for dropping off and picking up of students along Frome street, which was used the least of the 5 highlighted main entrances for the site. Northern and Souther middle entrances to the site are used to gain access to classrooms in the surrounding buildings, while also being used to access food facilities located between the northern buildings and to the western side of Ingkarni Wardli.
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Light Study Commonly heard within the field of astrology, luminosity can be referred to as the brightness of a star1. The brightness of an object within a space may not necessarily be how much light is produced by that object, but can be looked at as the qualities that the object brings to a space, whether it be happiness or aesthetic attractiveness, and therefore has the ability to illuminate the mood in which surrounds the object.
Evidentially the light produced by a star is less relatable in architecture, but can be considered when concluding that illumination and luminosity can be the source of a light that illuminates a certain aspect or quality of a space. It can also be looked at as an item or space being attractive in the space surrounding it, therefore being the illuminating factor within that area, or it can be a light source that is either lighting up a space or doing the opposite, therefore ‘brightening with light or the resulting state’2.
As evident with case studies, particularly highlighted by ArchDaily’s article on Light Studies: Creating Walls of Light, lighting features can be used not only to create an object of attraction to themselves, but also to highlight features of a space that may not have been noticed beforehand. Whether it is to bring attention to details on walls, or even light up entire areas to bring attention to the darker areas, luminosity and illumination could possibly be considered ornamental.
Private Spa Lighting, Carmody Groarke
Sancaklar Mosque, Istanbul
“Luminosity,” Collins Dictionary, accessed August 4th, 2017, https://www.collinsdictionary.com/dictionary/english/luminosity “Illumination,” Merriam Webster, accessed August 4th, 2017, https://www.merriam-webster.com/dictionary/illumination
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Light Study Highlighted in ArchDaily’s article, methods of wall grazing are becoming more popular due to their emphasis on the textural quality of the wall they are placed next to. Similar to wall washing, grazing uses a skylight instead of an artificial light source next to a wall, with the key benefit of both methods lying in the aesthetic look of a floating ceiling3, therefore making the space feel light and more spacious. The source of light is primarily kept hidden to retain curiosity for the viewer, and to enhance the ‘Mysterious Impression’ the feature gives out4. Church of Light, Japan. While successful as a border like feature for a roof to enhance its appearance, gaps in walls to allow an excess of light flow are becoming a common way of illuminating not only a shape on the wall but an entire space in a successful theme of limited illumination. As Arch Daily explored in their ‘Sacred Spaces’ article, light can be limited in a space to draw attention to where it still is allowed into the space, which in return can give the effect of a hidden meaning or as evident in Gottfried Böhm’s Mariendom, draw the viewers “attention away from the material world and towards inner enlightenment.5” Whether the limitation of light in a space is intentional or not, it does have the ability to be able to change and alter the space into an experience, rather than a place. This, highlight textures and features to further enhance the experience and create a successfully aesthetically pleasing area. Focusing on where light is and isn’t not only enables the viewer to choose where to stand and admire the space but can also determine how the person feels and reacts to the room/area, thus, communication on a much more personal level. The most successful form of light within a space will change the entire area and the way it is considered and experienced when inside or in a surrounding area. Mariendom, Neviges Germany.
3“Light Matters: Creating Walls of Light,” ArchDaily, accessed August 14th, 2017, http://www.archdaily.com/522257/light-matters-invisible-light-sources 4“Light Matters: Creating Walls of Light,” ArchDaily, accessed August 14th, 2017, http://www.archdaily.com/522257/light-matters-invisible-light-sources 5“Light Matters: Sacred Spaces,” ArchDaily, accessed August 14th, 2017, http://www.archdaily.com/490781/light-matters-sacred-spaces
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Spatial Diagrams
Mind map of access and requirements
lighting exploration
Concept 1 access and movement
Concept 2 access and movement
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Plans Concept 1
Concept 2
Total size: 267.2m2
total size: 219.15m2
2 feature light walls
1 large feature wall
disability access to all areas
1 small feature wall
stairs and ramps quiet relaxing space
small and large seminar rooms open relaxing space open reception area
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Sections Concept 1
Concept 2
‘unrestricting walls of light’
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Elevations Concept 1
Concept 2
‘unrestricting walls of light’
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Aerial Views Concept 1
Concept 2
Materials match surrounding structures
overall shape of structure matches surrounding buildings
provides sufficient shade for increased usage in area
materials suit surrounding features
‘unrestricting walls of light’
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Ground Views Concept 1
Concept 2
‘unrestricting walls of light’
Shading device continuing on from curved surfaces underneath
Natural materials match outdoor seating textures
Provides shaded area on lawn, of which was lacking beforehand
provides shading around entrance and around back of structure
two skylights uninterupted by curved roof
skylights do not obstruct grass area
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Internal View Concept 1 Lighting curved wall view from entrance
‘unrestricting walls of light’
Concept 2
small artificial lighting bordering exhibition space
Lighting leading viewer from entrance to exhibition space
natural light on both curved surfaces
Skylight in ramp entrance
frosted glass finish smooth gradient of light from distance and textured from up close
large lighting wall with natural light and artificial highlights frosted glass finish
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Precedents Horbranz Cemetery, Austria - Juri Troy Architects The selected design precedent changes lighting qualities depending on the time of the day, and emphasises the texture of the wall. Considerations were taken to include this into the two concept designs by having a frosted glass wall, (curved in concept 1) which would provide a soft glow from above from the outside light, while also having a soft glow emitting from the bottom of the wall. The texture of the glass will be viewable and also provide touch when close enough, yet at a distance will appear as a soft smooth transition from dark to light. The light emphasised in the precedent design is focused on the floor and walls, with majority of the light input being from the roof as a soft glow. The two concept designs were both related around the same metaphor of ‘unrestricting walls of light’, highlighting that regular walls provide restriction, while the concept design walls provide light and guidance throughout the pavilion space to the exhibition area.
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Light Study According to Oxford Dictionaries, reflection can be defined as ‘The throwing back by a body or surface of light, heat, or sound without absorbing it.1’ It highlights and clarifies the possible usage of reflection in an architectural project, to either enhance or develop a spatial feeling or perception of a space.
An alternate example of reflection in architecture. Australian War Memorial, London.
Evidentially, reflection can be used in architecture to make spaces feel bigger, Metal texture on Gehry’s museum. smaller, and more commonly, to manipulate lighting effects within that space. As highlighted in Marxists article on Hegel’s Logic, reflection can be considered the act of an inorganic item reproducing something. In architecture, this can relate to many aspects, but most commonly the reproduction of light, whether that be in a different direction or following the same direction of its source. In organic nature, reflection can be considered ‘an active process, such as in the adaptation of animals to their environment or the irritability of plants and other organisms.’2 Although commonly referred to as a reflective surface, reflection in architecture can also be considered a space or object created to trigger reflection in the viewer, or to resemble a memory or item of the past.
“Definition of Reflection,” Oxford Dictionaries, accessed 31/08/2017, https://en.oxforddictionaries.com/definition/reflection. “The Meaning of Reflection,” Marxists, accessed 31/08/2017, https://www.marxists.org/reference/archive/hegel/help/mean04.html.
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Light Study As Archdaily noted in their article titled ‘Veiled in Brilliance: How Reflective Facades have Changed Modern Architecture,’ glass facades have gained popularity in modern day architecture, and are commonly seen on skyscrapers and tall city buildings3. Mies Van Der Rohe was a key influential factor in using glass to break up a facade, with his 1921 Berlin glass skyscraper being a prime example of using a large facade of glass on the exterior of a building4. Eventually developing to reflective metal surfaces, Frank Gehry’s famous Guggenheim Museum uses free form shapes used to create a series of reflective surfaces. Obviously not as effective as the use of structural glass, a metal surface creates a stable and structured look, although the effect suffers while the building ages with natural elements weathering the materials. One other notable feature of Gehry’s metal facades on his museum design, is the imperfections in metal faces, which can either be purposeful or accidental in creating impurities in the reflection created. A key benefit of using metal in Gehry’s museum design was the fact that more free flowing shapes can be created, and the manipulation of reflection can be expressed through different (Left) New Hall by Messe Basel reflections and shadows. (Bottom) Frank Gehry’s Guggenheim Museum Developing from small pieces of metal used to create reflection, modern day projects such as the New Hall by Messe Basel architects, which uses ‘twisting bands of aluminium,’5 creates reflection depending on the position of the observer. With gaps used to create breaks in the free form facade, it successfully highlights not only the reflective surfaces of the building, but also draws attention to the flowing form of the building and the dark sections that highlight its form. Although glass is most commonly used alongside metal to create reflection, it can also be thought about in the form of reflecting on the past or reflecting on an experience, thus creating an alternative meaning to the term reflection in architecture.
‘Veiled in the brilliance of how reflective facades have changed modern architecture,” Archdaily, accessed 31/08/2017, http://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facadeshave-changed-modern-architecture. 4 ‘Veiled in the brilliance of how reflective facades have changed modern architecture,” Archdaily, accessed 31/08/2017, http://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facadeshave-changed-modern-architecture. 5 ‘Veiled in the brilliance of how reflective facades have changed modern architecture,” Archdaily, accessed 31/08/2017, http://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facadeshave-changed-modern-architecture. 3
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