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matrix. n i c h o l a s m a ra c h e s a n | a 1 74 4 2 0 3 re p res e ntat i o n I I
2 CONTENTS PLACE
CASE STUDY 1
Access, Movement and Site Use 4 Site Plan 5 Place Social Character 6-7 Shade and Shadow Study 8 3D Views 8-9 Ambient Light Photos 9
Luminosity
IDEA 10-11
Design Concept 1 Design Concept 2 Design Concept 3
CASE STUDY 2 12-13 14-15 16-17
Reflection
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FORM
CASE STUDY 3
Light Pavilion Plans and Sections Zoning and Entrances Movement and Light
Opacity
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MATERIAL 24-25
Mobility Render Mobility Unfolded plan Internal Views of Light Axonometric Exploded Axonometric Entry, Approach and Access
CASE STUDY 4 26 27 28-29 30 31 32-33
FILTRATION
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ACCESS MOVEMENT AND SITE USE
PLACE
The Maths Lawns are located within centre of three main buildings on Adelaide University premises. This include the Braggs, Ingkarni Wardli and the Barr Smith Library. By analysing the site, it is evident that the lawns lie with a range entrances, some more used than others. This is depicted through the entrances and movement paths diagrams on the right-hand side. The Maths Lawns also hosts a range of tables for student use under the trees that run the length of the site. Furthermore, it was also observed that the Maths lawns often become the location for various events.
ENTRY POINTS
MAIN PEDESTRIAN ROUTES
TREE SHADED WORK AREAS
AREA FOR EVENTS
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SITE PLAN 1:750
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Barr Smith Library Eastern Elevation 1:200
PLACE Braggs and Molecular Science Building Southern Elevation 1:500
MATHS LAWNS SITE USE AND SOCIAL CHARACTER
Santos Petroleum Engi neering, Maths and Engineering, Ingkarni Wardli Northern Elevation 1:500
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WINTER
9AM
9AM
12PM
12PM
3PM
3PM
AERIAL VIEW 1
PLACE
SUMMER
AERIAL VIEW 2
GROUND VIEW 1
GROUND VIEW 2
HIDDEN LIGHTING
DAY LIGHTING OVERVIEW
NIGHT LIGHTING OVERVIEW
REFLECTED LIGHT
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LUMINOSITY
THE ARCHITECTURAL LIGHTING BY ZAHA HADID
Linguistic Definition The brightness of a light source of a certain wavelength as it appears to the naked eye, measured as the ratio of luminous flux to specific radiant flux at the same wavelength. Also known as the luminosity factor.
head. For followers, Luminosity is often associated with religion and holiness. Within religions, luminosity is used in depictions of various gods, where they are portrayed with a luminous glow surrounding their body or more commonly head.
Philosophical Definition
Case Study: Zaha Hadid
Luminosity is often associated with religion and holiness. Within religions, luminosity is used in depictions of various gods, where they are portrayed with a luminous glow surrounding their body or more commonly
It can be noticed that over Zaha Hadid’s career she used light and luminosity as a key feature within her designs. Her uWse of light has evolved throughout the decades of her professional career, from using luminosity
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11 to highlight the features of her work to using luminosity to frame and accentuate the entirety of her design. Some of her earlier work including the Vitra Fire Station, makes use of piercing linear lighting to accentuate to the concrete form the define the structure’s shape inside and out. Yet, whilst also creating a soft diffusion between the two. In this case, the illumination creates and separation between the ground and the form which counteracts the heaviness of the building’s form.
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Moving away from her usual light absorbing concrete, in the design of the Nordpark Railway Station light is reflected off the surface of the glass. The blending of curved forms and the reflection of the broad daylight embeds the two together. At night, illumination of the station allows the form emit a warm glow. The MAXXI Museum’ develops the felling of harmony between fluid forms, daylight and lighting in the museum as filtered light and the
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black stairways create an intense contrast with their white luminous underside. Light in architecture has the ability to change the way one sees and interprets a structure. Based on Zaha Hadid’s use of light with the articulation of select materials, it is able to connect the structure to the land it sits on and give false senses of weight. Ultimately, changing the way a structure is viewed.
1) MAXXI Museum, 2009, Rome / Italy. Image by Ivan Baan 2. Vitra Fire Station, 1993, Weil am Rhin / Germany. Image by Christian Richters. 3) Hoenheim-Nord Termius, 2002 Strasburg / France. Image by Frank Dinger. 4) Nordpark Railway Station, 2007, Innsbruck / Austria. Image by Wikimedia user Hafelekar licensed und CC BYSA 3.0
12 IDEA
SEEK LIGHT AS A JOURNEY DESIGN CONCEPT 1
Form developed from meandering hand-drawn curve.
The altered form allows access to the internals of the structure.
3D structure formed using various tools 3D modelling tools.
The projection of the structure on the ground was cut out of the ground-plane forming a void.
The right side of the form was pulled up while the rest of the structure remained stationary.
The internals were formed by removing a section of the ground under the structure.
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EXPERIENTIAL VIEW WITHIN
APPROACH
EXPERIENTIAL VIEW ABOVE
14 IDEA
SEEK LIGHT AS A JOURNEY DESIGN CONCEPT 2
Various length lines drawn in random directions.
Outline of the boxes were placed on a ground plane.
More hand-drawn lines were added to create a dark hatched form.
Boxes were drawn around the groups of hatched lines.
The line work was cutout the roof of the underground structure to form a skylight.
Using the hand drawn hatch form and boxes a ramp was created following the density and darkness of the hatch.
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EXPERIENTIAL VIEW ABOVE
APPROACH
EXPERIENTIAL VIEW WITHIN
16 IDEA
SEEK LIGHT AS A JOURNEY DESIGN CONCEPT 3
Structure development from two initial lines perpendicular to each other.
The 2D drawings were scaled and placed on the site. The triangular line work was rotated to form three free standing forms on the site
Based on the direction of the pattern a flat solid face was added to block light, forming shadows whilst also a 3D structure. Entrance
Entrance
The Projection of the structure on the ground was used to cut out the ground-plane.
The lines from the original draw were turned in to a filter for light using bars shown above
The internal structure was formed by removing a section of the ground under the structure.
Entrance
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EXPERIENTIAL VIEW ABOVE
APPROACH
EXPERIENTIAL VIEW WITHIN
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REFLECTION VEILED IN BRILLIANCE: HOW REFLECTIVE FACADES HAVE CHANGED MODERN ARCHITECTURE
Linguistic Definition
The concept of reflecting can be defined as the return of an image as a mirror of the original. In addition, reflection can be depicted as a perfect mirror images of the object’s reflecting, or it can simply be the reflection of light and aesthetic which comes form
loved one. Reflection is a very important part of moving forward and working past difficult times. Without the time or the ability to reflect on our thoughts, we wouldn’t be able to learn from our mistakes. We would potentially miss out on a lot of opportunities to learn
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Philosophical Definition
In a philosophical sense, reflection is a period of time where and individual can look back on their past. They can choose to revisit ideas, mental notes, and mistakes or reminisce on a lost
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19 Case Study: Elbphilharmonie and Guggenheim Museum With the Promotion of the transparency of glass through modernism, countless uniform structural glazing skyscrapers have emerged in various cities skylines around the world. These glass and metal structures have innovatively transformed these skylines into crystalline images. Because of this jewel-like architecture, the meaning of architecture has shifted from the internal space-form towards the external surface.
Using the properties of glazed glass, building skins celebrate the unique reflective imagery of the surroundings. The glass façade seen on the Elbphilharmonie in Hamburg by Herzog & de Meuron features curved sections that distort the reflected surrounding cityscape, water and sky. The reflection created allows you perceive the surroundings not as a perfectly mirrored image, but as a processed reproduction which ultimately, creates a new perception. The curved surfaces found on the building reflect clear light streaks similar to that similar to the horizontal lines seen in the designs of the automotive industry. Under direct sunlight, the curves create glossy shimmers, which are reminiscent
of jewels. Overall, the Elbphilharmonie functions as a magical eyecatcher as it evokes vivid and liquid image cleverly connecting it to its surroundings. Frank Gehry too used aesthetic of brilliance of reflection from glass in the form of metal with the titanium cladding of the Guggenheim Museum Bilbao in 1997. The cladding draws many connections that range from a ship for the larger form to fish scales regarding the reflective panels. The unique form of the Museum was only reinforced by the sparkling light reflected off the thin titanium sheets used to create the form. In turn, because of the building’s dynamic image the museum became the catalyst for reviving a once gritty, economically distressed, post-industrial city, a phenomenon called the “Bilbao effect.”
1) Messe Basel - New Hall, 2013, Basel. Architects: Herzog & de Meuron. Image by Hufton + Crow 2)Facade with curved glass elements at prada Aoyama, 2003, Tokyo. Architects: Herzog & de Meruron. Image by Yen-Chi Chen 3) Reflections on titanium facade at Guggenheim Museum Bibao, 1997. Architect Franky Gehry. Image by Thomas Mayer 4) Glass facade of
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BRAGGS
20 FORM
S2
S1
S1
INGKARNI WARDLI
S2
1:500 0
2
6
8
SITE PLAN
SECTION 1 1:500
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LACTATION PLAN (NOT TO SCALE)
SECTION 2 1:200
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22 EXHIBITION SPACE
FORM
ZONING
STORAGE TOILETS
SEMINAR ROOMS
RECEPTION AREA
ZONING
Within the open plan layout of the structure lies a set of specific zones. The zones rely on a combination of built walls and the form of the central ramp to differentiate the areas. When entering the structure you move into a common reception area that allows the transition into the toilets, storage, reading area/ library and the exhibition space. Moving through the reading area/ library and the exhibition spaces allows the entry into the two divided seminar rooms.
READING/ RELAXING SPACE AND LIBRARY
BACEMENT ENTRANCE FROM INGKARNI WARDLI
ENTRANCES
From the ground level, the only point of entry to the structure is the central ramp. However, moving below ground opens the opportunity to connect to the surrounding Ingkarni Wardli and Braggs buildings. This creates multiple points of entry to structure that allows it to be more readily accessible.
GROUND LEVEL ENTRACE
ENTRANCES
BACEMENT ENTRANCE FROM BRAGGS
23 MOVEMENT
Due to the open plan and multiple points of entry to the structure, there are multiple circulation paths possible that each offer different experiences. From above you are transitioned through the different areas via the ramp and left to decided which side of the ramp you will explore. On the other hand, entering from below creates a mystic experience as the doorways open up to a grand view of the large space with the central ramp
MOVEMENT
LIGHT
Within the structure light is captured in various locations at different times of the day. The red in the diagram to the right show the shadows formed by the unique cut-out in the ceiling. The cut-out allows different parts of the structure to be used at various times of the day which ultimately reduces the clash of areas.
LIGHT
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Linguistic Definition
The quality of lacking in translucence or transparency. If a surface is opaque, it is impenetrable to light; not allowing light to pass through.
Philosophical Definition
Philosophically, the term opaque is often linked to the idea of being unclear or hard to understand. Opacity can be a limiting factor in our desire for knowledge, due to its lack of a clear outcome from the situation. This idea
of opacity being a screen of uncertainty can be used to form deeper thoughts. On another level, this screen can ultimately be used to hide or retain information. In this sense, the screen becomes form of metal privacy as others are left with vague or unclear information. The concept of reflecting can be defined as the return of an image as a mirror of the original. In addition, reflection can be depicted as a perfect mirror images of the object’s reflecting, or it can simply be the reflection of light and aesthetic which comes form that reflections.
O PA C I T Y LIGHT MATTERS: WHITENESS IN NORDIC COUNTRIES
25 Case Study: Whiteness in Nortic Countries
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Throughout Scandinavia countries, there is scare amounts of light during the colder winter months however, in the summer they experience longer days. These extreme changes in weather and day light have led to unique natural lighting situations. White surfaces play a large role in counterbalancing the winter darkness. Due to the low position of the sun in Scandinavia, light enters buildings from the side rather than above, resulting in longer shadows. In addition, the summer evenings experience a very diffuse light. White surfaces not only offer high reflectance, allowing for maximising interior brightness, but for Plummer he draws parallels to the snowy Nordic landscapes. The Dybkær Church by Regnbuen Arkitekter uses this white surface design approach to bounce light throughout the church. Hence, producing an intensity of light in the room that is always greater than that outside. In addition, as light enters the church it approaches it from three angles, low from the north to emphasize
the 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.” Pirkkala Church by Käpy and Simo Paavilainen, is an example where the altar appears as a canvas for the richly contrasting sunlight projections, where glass acts as a lens and as mirror. In turn, creating a slideshow of images on the wall behind the alter.Despite the restrictive factors of sunlight in the far north known as Scandinavia, these innovative designs work with restrictions to create usable spaces with an incredible display of light within them. 1) Dybkaer Church, Silkeborg, Denmark. Architecture: Regnbuen Arkitekter. Image by Henry Plummer 2) Hyvinkaa Church, Hyvinkaa, Finland. Architecture: Aarno Ruusuori. Image by Henry Plummer 3) Nordyjllands Art Museum, Aalborg, Denmark. Architectur: Alvar Aalto, Jean-Jacques Baruel. Image by Henery Plummer 4) Pirkkala Church, Tampere, Finland. Light Sequence on alter wall. Architecture : Kapy Simo Paavilainen. Image by Henery Plummer
26 MOBILITY COLLAGE RENDER
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EXPLODED UNFOLDED PLAN
28 M AT E R I A L INTERNAL VIEW OF LIGHT DEFINING THE SPACE
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RAMP ACCESS TO BOTTOM
APPROACH EASTERN SIDE
AERIAL VIEW OF POINT OF ENTRY AND APPROACH
30 M AT E R I A L Axonometric View
31 Glass panelling
Pre-existing light coloured pavers
Corten steel ramp
Precast concrete panels
Polished concrete with clear glass aggregate
Exploded Axonometric with Material Pallet
32 M AT E R I A L
Additional support added under the ramp to aid in tranferring the load
Axonometric of the Central Ramp
33 Weathered 5mm corten Steel sheet.
Weathered 5mm corten Steel sheet.
Weathered 5mm corten Steel sheet. Internal Frame composed of 150mm SHS tubing with a wall thickness of 2.5 mm.
150mm SHS tubing with a wall thickness of 2.5 mm.
Exploded Axonometric Ramp Construction Detail
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F I LT R AT I O N
LIGHT MATTERS: LE CORBUSIER AND THE TRINITY OF LIGHT Linguistic Definition
The process of purifying or altering something, generally via separation or removal as it is passed through a filter. When this process is applied to light, transparent screens are used to reduce or alter the wavelength of the light via the absorption of select wavelengths
Philosophical Definition
Filtration could also be interpreted as the manipulation of character. When light is filtered it behaves differently due to its altered wavelength, if the negative were to filtered from a person’s perspective, one would only see the positive in the world. Hence, this individual would act differently. They would intern live a positive lifestyle, focusing on solutions, not on problems and constantly improving themselves and their life.
Case Study: Le Corbusier and The Trinity of Light
Le Corbusier experimented with orientation, openings and textures to create dynamic architecture with daylight. The 1954 Pilgrimage
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35 Chapel of Ronchamp, captures and filters light through the strategic placing of windows and openings that direct the sunlight into the interior at multiple times of the day. This ultimately creates a dramatic atmosphere within. The Monastery of Sainte Marie de la Tourette built in 1960, features rectilinear geometries, with each corridor having an opening in one of the four cardinal directions. Within the corridors are windows with unique arrangements that create irregular patterns of light and shadow. These patterns of light draw comparisons to the flow of music and have been interpreted as chat-like sounds, whose tones help drawing people further into a contemplative state. Le Corbusier’s creative use of filtering light through specific openings was able to turn static volumes into but dynamic spaces the were forever changing as the environment that surrounded changed.
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1) Corridor to atrium cadenced with sunshinein late morning. Monastery of Sainte Marie de la Tourette, Eveux-sur-l'Arbresle, France. Image by Henry Plummer 2) Emmergance of solar projections, one rhomboidal and the other elliptical. Church of Saint Pierre, Firminy France. Image by Henry Plummer 3) View looking south to "upwardly springing" waves of light. Church of Saint-pierre, Firminy France, Image by Henry Plummer 4) View looking East as solar line bends around the far end wall. Monestery of saint Marie de la Tourette, Eveux-sur-l'Arbresle, France. Image by Henry Plummer
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