Chi Xu by Chi Xu

Light

Representation II Chi Xu A1728103

Table of content

Place pp.4-13

Idea pp.14-25

Form pp.26-31

Material pp.32-39

Seek Light Place Idea Form Material

Aerial views

Place

Ground views

Site analysis Yellow lines show the route that cars, bikes and walking access. Blue lines show the route for walking and bikes

Social character

access. I will put the social character into the middle of the map because it is the center of flow rate.

Place

Night time reflection 6

Day time reflection

Shading and Ambient Light

<Summer 9 a.m. 12 a.m. 3 p.m.

Shadow

9 a.m. 12 a.m. 3 p.m. Winter>

Site Plan

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1:1000 Scale bar

Existing elevation

Not to scale

uminosity

uminosity Luminosity is generally understood as a measurement of brightness. Each discipline, however, defines the term differently, depending on what is being measured. Luminosity In astronomy, luminosity is the total amount of energy emitted by a star, galaxy, or other astronomical object per unit time. It is related to brightness, which is the luminosity of an object in a given spectral region.In SI units luminosity is measured in joules per second or watts. Values for luminosity are often given in terms of the luminosity of the Sun, which has a total power output of 3.846Ă&#x2014;1026Â W. The symbol for solar luminosity is L. Luminosity can also be given in terms of magnitude. The absolute bolometric magnitude (Mbol) of an object is a logarithmic measure of its total energy emission.

he Phaeno Science Centre (Wolfsburg, 2005) was a decisive turning point in Hadid’s lighting imagination. The windows and luminaires in the building’s surface share the same form, creating a holistic design approach and thus moving on from Hadid’s

econstructive Lines of Light Decisive non-parallel lines mark the explosive energy of her first building: The Vitra Fire Station (Weil am Rhein, 1993)—a lucid expression of tensions with in-situ concrete walls. Light lines in the ceiling, or between wall and ground or between the wall and the flying roof reinforce the linear architecture with sharp edges. In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light lines emerge as built manifestations of her suprematist paintings. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms.

aha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. In order to interweave the surrounding landscape with her new structures, Hadid analyzed abstracted urban transport pat

earlier period of lines and sharp corners. The elevated concrete structure generates a large shaded area, with the view to daylight on one side intensifies the impression of a dark void. As a counterpoint, diffuse ceiling luminaires intervene in the dim atmosphere. The diagonal building structure has been

terns and transformed them into luminaire patterns. At Strasbourg’s Hoenheim-Nord Terminus and Car Park (2001), she became fascinated by the white road markings and converted them into white linear diffuse luminaires—either integrated as

translated into rhombus-shaped windows for the façade. In contrast to earlier projects with sharp edges, Hadid’s forms here took on curved shapes, marking a transition to fluid designs. In order to form a coherent exterior surface, the rhombus contour has also been applied to the underside of the ele

strips in the concrete roof or as tilted poles for the car parking spaces.

vated museum. Thereby the visitors perceive a holistic formal approach encompassing both daylight and artificial lighting. 13

Precedents Study Heydar aliyev cultural center With an area of more than 111,000 square meters, this streamlined building stands out from the surrounding environment. Beautiful and sexy curves unfold from the ground, forming an organic and dynamic form. This continuous curved skin contains various functions, providing appropriate privacy and uniqueness of each space. The museum in the heydar aliyev cultural center directly echoes the external landscape and will provide visitors with an open view. The huge glass curtain wall skin gives the interior space plenty of natural light. The library faces north, which can effectively control the illumination of natural light, while the folds of the outer skin clearly define the reading area and the data area. A series of ramps connect the various spaces in the room, forming a continuous traffic loop, and an air passage connects the library and conference center. The program also designed a public forum area on the new square as an extension of the entire cultural center. What inspired me is the curved shape and it is similar to the shark. Although it is a complex building, the light can still fully comes into the interior area.

IDEA 16

Ideas

Ocean 2

3 Methods

Curve 3 Net

Idea 1

Idea 2

Idea 3

Site 1

People Access

Light Access

People Access Library

Bathroom

Exhibition

Light Access People Access

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Light Access

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Site 2

Light Access People Access Light Access

People Access

Bathroom

Exhibition

N Library

Bathroom

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Light Access 1:200

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Light Access Light Access

Site 3

Light Access Light Access

People Access

Exhibition

People Access

Library

People Access Bathroom Light Access

Light Access Light Access

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eflection

R eflection

Reflection is the change in direction of a wavefront at an interface between two different media so that the wavefront returns into the medium from which it originated. Common examples include the reflection of light, sound and water waves. The law of reflection says that for specular reflection the angle at which the wave is incident on the surface equals the angle at which it is reflected. Mirrors exhibit specular reflection. In acoustics, reflection causes echoes and is used in sonar. In geology, it is important in the study of seismic waves. Reflection is observed with surface waves in bodies of water. Reflection is observed with many types of electromagnetic wave, besides visible light. Reflection of VHF and higher frequencies is important for radio transmission and for radar. Even hard X-rays and gamma rays can be reflected at shallow angles with special â&#x20AC;&#x153;grazingâ&#x20AC;? mirrors. 24

or an Australian science facility the veil has even fulfilled the task of protecting against the harsh sunlight. The architects Woods Bagot

ven as modernism promoted the transparency of glass architecture, many within the movement were conscious of the monotony of large glass facades, with even Mies van der Rohe using elements such as his trademark mullions to break up his facades. But in the years since, countless uniform structural glazing skyscrapers have emerged and bored urban citizens. In response to this, unconventional reinterpretations of facades have gained interest. Accompanied by the belief that light and brilliance could help in creating iconic architecture and a better human world, glass and metal have been innovatively transformed to create crystalline images. As a result, the locus of meaning in architecture has shifted from the internal space-form towards the external surface.

Some forms of sparkling reflective patterns are even able to initiate political discussions and influence the names of buildings. The “Fernseh-

elebrating the expressive materiality of transparency and reflective imagery for entire building skins emerged during the early 20th century, when Paul Scheerbart and Bruno Taut envisioned a new glass culture made of “colored glass” “sparkling in the sun,”

Berlin” is an excellent example of this, with its reflection in the form of a cross emanating from the sphere. Built in 1969, the socialist and atheist party of the German Democratic Republic erected the tower to resemble the Russian satellite Sputnik. Located in the historic center of former East Germany next to a medieval church, the tall tower was intended as a political statement ad-

crystalline shapes of white glass” which make the “jewel-like architecture shimmer.” Mies van der Rohe absorbed this vision when he discarded the rectangular tower in favor of a free-form glass skin in his proposal for the Glass Skyscaper in Berlin in Ipswich in 1975 and SOM

dressing the deconstruction of the old city. But the selection of pyramidal stainless steel panels led to an unintended effect: The reflections of the sun create a clearly visible cross pattern on the sphere. Thereby, the communist regime had accidentally installed a highly visible Christian symbol in an ostensibly atheist environment. Hence, the people in Berlin nicknamed the lighting effect the “Pope’s

presented it in its tallest manifestation with the Burj Khalifa Tower in Dubai in 2009.

revenge.”

This site is inspired by the curved sh

and I make a glass window on the to

glass structure so that if it is sunday,

About the undergroud layer, with diff

the light can also come into the unde

It is design for social character and t areas and rest rooms as well.

Glass, plants and curves make a mod

into this pavilion through the top gap

hape building, it is actually a pavilion

op of the pavilion, I also made a round

, the light could come in,

fferent height but the same position,

erground.

there is 2 libraries and 2 exhibition

dern pavilion, the light always come

p not the round glassess.

Plan, Elevation & Section

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Elevation

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Section

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O pacity

Opacity is the characteristic of being difficult to understand or unclear. A professor whose lectures are known for opacity is going to find himself in a room full of some very frustrated students. In its literal sense opacity is used to talk about objects that donâ&#x20AC;&#x2122;t allow light to shine through. A window that has accumulated a lot of dirt and dust is characterized by its opacity, as opposed to a transparent window, which is one you can see right through. The word opacity is used more generally for anything obscure, unclear, or incomprehensible, like the opacity of a novel full of ten-syllable words or a dictionary that doesnâ&#x20AC;&#x2122;t give you any clear or straightforward definitions.

hiteness is a central aspect of how Nordic architects responded to their local environment, as Plummer reveals in his studies from the 15th century up to contemporary buildings like Steven Holl’s Herning Museum of Contemporary Art. Without doubt, white surfaces offer a high reflectance in order to maximize interior bright-

he Scandinavian countries have developed great buildings that resonate with both the scarce light in winter and the long summer days. Henry Plummer, Professor Emeritus at the University of Illinois at Urbana-Champaign, has very carefully studied the various daylight phenomena in the Nordic countries, with extensive photo journeys and brilliant writing that combines an analytical perspective with a poetic touch. His view of daylight looks beyond the practical advantages of using reflective white spaces to facilitate bright rooms; the passionate photographer is much more interested in the light effects that play with the local beauty of nature and touch the human soul.

he extreme changes in weather and daylight have led to unique light situations in Scandinavia, where architects have played with white surfaces to counterbalance the long and dark winter days. The low position of the sun in northern regions creates long shadows and

for dark winter periods, but for Plummer the affection for whiteness is also linked to the beauty of snow-covered landscape. Early examples of white architecture could already be found in Denmark´s medieval churches, and this design approach still influences modern sacred buildings like the Dybkær Church by Regnbuen Arkitekter. For example, the sophisticated daylight concept arrives from

therefore daylight enters the buildings more from the side than from above. In contrast, summer evenings emanate a diffuse light. In his book “Nordic light: Modern Scandinavian Architecture,” Henry Plummer points out that although Norway, Sweden, Denmark and Fin-

three directions, as Plummer explains: “Low from the north to emphasize a 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.” Further on, the nave walls are animated by an irregular texture of white brickwork. In a similar way, the Bagsværd Church by Jørn Utzon plays with white, as the architect

land are dissimilar in topography and vegetation, they share the same subdued light.

elucidated to Plummer: “Light is the most important feature of the church. I provided white walls and white ceilings so that daylight, which is limited in Denmark for much of the year, is fully used and produces an intensity of light always greater 31 than that outside.”

Roof

xploded perspective

Underground

Stairs

Aerial and ground views

Movement Upstairs

Internal views

Oak concrete

Detail and composition

Glass

iltration

iltration Filtration is any of various mechanical, physical or biological operations that separates solids from fluids (liquids or gases) by adding a medium through which only the fluid can pass. The fluid that passes through is called the filtrate. [1] In physical filters oversize solids in the fluid are retained and in biological filters particulates are trapped and ingested and metabolites are retained and removed. However, the separation is not complete; solids will be contaminated with some fluid and filtrate will contain fine particles (depending on the pore size, filter thickness and biological activity). Filtration occurs both in nature and in engineered systems; there are biological, geological, and industrial forms. For example, in animals (including humans), renal filtration removes waste from the blood, and in water treatment and sewage treatment, undesirable constituents are removed by absorption into a biological film grown on or in the filter medium, as in slow sand filtration. 38

tudying Le Corbusier’s sacred buildings for more than four decades has led to a deep fascination for Henry Plummer regarding the transformative power of light: “Instead of serving as a tool of religious persuasion, as it generally has in the past, light has become a quiet force to visually resist and elude, erode and outshine, the Church´s

or his three sacred buildings, Le Corbusier has played masterfully with orientation, openings and textures to create kinetic architecture with daylight. His pilgrimage chapel at Ronchamp, the monastery of Sainte Marie de La Tourette, and the parish church of SaintPierre in Firminy reveal distinctive and individual approaches that each render contemplative spaces with light. In his book “Cosmos of Light: The Sacred Architecture of Le Corbusier,” Henry Plummer, Professor Emeritus at the University of Illinois at Urbana-Champaign, has analysed these projects with outstanding photographs taken over 40 years and brilliant writing..

ight has been linked with divinity and holiness in many different religions. In Christianity the Bible speaks of God who “is light” or Christ as “the light of the world”. Even if the divine light and visible light are not the same, visible light appears as the most similar to the

mandate. Light eats away and weakens institutional discipline, while exerting its own dazzling powers to draw attention out to the sky and its commonplace marvels – in effect using light to consecrate the natural universe”. The main characteristic of the Chapel of Notre Dame du Haut at Ronchamp (1950-55) comes, for Plummer, from the continuous circle of solar events. The

heavenly and thereby links both spheres. Each epoch has formed a new language of light: The glow of the Romanesque apse, the golden shimmer of Byzantine mosaics or the luminous walls of Gothic stained glass. As an artist as well as an architect, Le Corbusier expressed

dawning sun illuminates the alcove of the side chapel and turns the red-painted void even redder. For Plummer this reddish morning light is a clear analogy to human birth. Later, sun floods the tall slot between the east and south walls, continuous with the rays of light through the deep cavities of the south wall. The small horizontal crack of ten centimetres lifts the roof from the wall and creates

an exceptional sensitivity for the interaction of colours and light in his sacred buildings. His position as an outspoken agnostic seems very ambivalent in combination with his desire to open the soul to poetic realms.

a harsh contrast to the glow of the vertical brisesoleil at the southeast corner. The cycle culminates finally in a warm glow from an opening in another side chapel at sunset. 39