Magazine I

ARCHITECTURE IS A VISUAL ART, AND THE

purab sakhia

BUILDINGS SPEAK FOR THEMSELVES.

A1756406 Representation II Magazine I

ADELAIDE, AUSTRALIA

THE CITY OF LIGHT

CONTENTS INDEX PART I - PLACE : 3D VIEWS FROM THE MODEL

PAGE NO. 1

PHOTOGRAPHIC STUDY OF AMBIENT LIGHT

2

SHADE AND SHADOW ANALYSIS

3-4

LIGHT STUDY I - LUMINOSITY

5-6

PART II - IDEA : SEEK LIGHT AS GROWTH

7

EXPERIENTIAL VISUAL NOTATIONS OF POINT OF ENTRY

8

EXPERIENTIAL VISUAL NOTATIONS OF PLACE OF ENLIGHTENMENT

9-10

LIGHT STUDY II - REFLECTION

11-12

PART III - FORM : 3D MODEL OF LIGHT PAVILION

13-14

PLAN, SECTION, ELEVATION DRAWINGS

15-16

LIGHT STUDY III - OPACITY

17-18

PART IV - MATERIAL : AERIAL VIEW OF THE BUILDING SHOWING APPROACH AND MOVEMENT GROUND VIEW OF THE BUILDING SHOWING APPROACH AND MOVEMENT INTERNAL VIEWS OF PAVILION

19

LIGHT STUDY IV - FILTRATION

23-24

20 21-22

3D Views from the model

P A R T 1 P L A C E

Aerial View 1

Aerial View 2

Ground View 1

Ground View 2

1

Photographic Study of Ambient Light

Daytime Photo 1

Daytime Photo 2

Night-time Photo 1

Night-time Photo 2

2

Shade and Shadow Analysis

Summer day at 9 AM

Summer day at 12 PM

Summer day at 3 PM

3

Winter day at 9 AM

Winter day at 12 PM

Winter day at 3 PM

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LUMINOSITY L I G H T S T U D Y 1

Linguistic Meaning: The state of producing or reflecting bright light; the state of appearing to shine Example - 1) The photographer achieved the luminosity in the image through careful manipulation in the darkroom.

Philosophical Meanings :

The greater the luminosity of an object, the brighter it appears.

An object can be very luminous in multiple wavelengths of light, from visible light, x-rays, ultraviolet, infrared, microwave, to radio and gamma rays, it often depends on the intensity of the light being given off, which is a function of how energetic the object is. In most cases, luminosity is meant to relate how much energy is being emitted by an object in all the forms of light it radiates (visual, infrared, x-ray, etc.). Luminosity is the term that we apply to all wavelengths, regardless of where they lie on the electromagnetic spectrum.

5

Meaning in Architecture: Contemporary architectural transparen-

cy seems to go beyond all previously formulated definitions. It involves new materials and technologies, as well as new ways to assess the visual perception of architecture. With the introduction of the study of the dynamic perception of architecture, previously neglected qualities of transparent materials (e.g., reflectance and refraction) have become important factors in the perception of space, and these factors are processed on different levels in the recognition of transparent materials. The approach presented here stems from architecture-based experience, but is approached from the perspective of optics and vision science.

Physical transparency is an idea made simply possible by making large sheets of plate glass a prominent feature of the building, it is in essence a defining feature of modern architecture. Transparency is a medium to open up closed spaces to Light and air. Transparency however as stated by an essay by Rowe and Slutzky is not only the visual transparency but also a includes spacial transparency.

“Transparency means a simultaneous perception of different spatial locations.

Space not only recedes but fluctuates in a continuous activity” - an essay by Rowe & Slutzky. This is deployed by what they also called “phenomenal transparency”, as indicating spatial depth through the layering of planes.

Transparent materials are perceived differently than opaque materials. Each transparent object absorbs part of the luminous flux energy but simultaneously also generates specular reflections upon its surface. The optical model that approaches transparency from the position of reflected vs transmitted luminous flux balance seems to be sufficient and appropriate in consideration of optical cues distinctive for the visual system in the kinetic perception of transparency.

A real/virtual image model is adopted for the sake of simplicity, as—due to the scale of the pane in architecture—other phenomena like “total internal reflection, and wavelength related caused by the refractive index of the object” are invisible for human observers.

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SEEK LIGHT AS GROWTH

P A R T 2 i d e a 7

Experiential visual notations of point of entry

8

Experiential visual notations of place of enlightenment

Rays of sun at noon

9

Rays of sun in the evening

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reFLection Linguistic Meaning:

L I G H T S T U D Y 2

The return of light, heat, sound, or energy from a surface. The throwing back by a body or surface of light, heat, or sound without absorbing it.

Example - 1) He put silver foil around the fire to increase heat reflection.

Philosophical Meanings :

In inorganic nature, reflection is the process of things reproducing, under the influence of other things, traces or imprints of the things exercising that influence; in organic nature, reflection is an active process, such as in the adaptation of animals to their environment or the irritability of plants and other organisms.

Here, properties in the organism which are the outcome of a long process of adaptation by the species are manifested actively by the individual in the immediate influence of other bodies in the environment the like of which have been present during this period of development. The concept of reflection, as the correspondence of mental images with the material world which is the source of those images, is the basis of the materialist approach to cognition.

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Meaning in Architecture: The wings of a Morpho butterfly from Brazil shimmer a strange and potent blue, creating an impression that the insect sheaths itself in metallic satin. The wings’ optical verve reportedly can be seen from aircraft flying above the forest.

Equally dazzling are many other curiously brilliant colours in nature. The rippling from gold to green of a Japanese beetle’s wing covers. The blue glow of a neon tetra in a tropical fish tank. The pearly pinks and blues of an abalone shell. The deep purple of a raven’s back or the red of a ruby-throated hummingbird. Even the gleaming rainbow of an oil slick in a wet gutter. These are examples of one of nature’s most spectacular optical tricks -- creating colour without pigment.

It’s a natural light show in which waves of ordinary light are separated, combined, reflected and otherwise manipulated to create a phenomenon called iridescence. The word comes from Iris, the Greek goddess of the rainbow. Light comes in many wavelengths, each corresponding to a specific colour.

In the range of hues visible to the human eye, violet results from the shortest wavelengths and red from the longest.

Ordinary light, sometimes called white light, is a mixture of different colours. Thus, when an object appears a certain color, it is because it absorbs most wavelengths and reflects only some to our eyes to produce the colour we see. Iridescent objects do something very different. They unmix the brew of colours in white light by quelling some and intensifying others and then send the result to our eyes. The result is a brilliance, an intense, penetrating colour that no simple reflection of light can achieve.

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3D model of light pavilion

P A R T 3 f o r m 13

14

Plan of amenities

1:100

Plan of Light pavilion

1:100

15

Section of light pavilion

exploded perspective

1:100

elevation of light pavilion

1:100

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opacity L I G H T S T U D Y 3

Linguistic Meaning:

The quality of lacking transparency or translucence.

The quality of being difficult to understand or know about, especially because things have been intentionally kept secret or made complicated Example - 1) He believes the opacity of traditional property reporting has put off investors.

2) Thinner paints need black added to increase opacity

Philosophical Meanings : The central philosophical idea is in the title: opacity.

Opacity is a kind of interest in fictional works: it treats the characters and events in works as though they were “constituted by the modes of their presentation in the narrative.� The most important part of opacity is that when we read in this way, we understand the content of the work only in terms of the particular way in which it is described. Transparency is the converse of opacity: it is a way of reading that construes the events and characters as though they were part of a fictional world that we see through a particular work of literature but where the language used to open up the world to us is purely a means to the end: our interest in what is being described.

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Meaning in Architecture: The area of study of this dissertation will be based on the idea that if the lighted parts of an object are too light, the form of it is difficult to perceive, and if the parts in shadow are too dark no form will be seen. When light falls on a relief perpendicular to its surface, there will be a minimum of shadows. The intricacies will hardly be visible. Similarly, perception of texture also depends on minute differences in relief. The dynamic nature of the shadows cast by sunlight gives an immense potential to effectively design and create shades and shadows.

As the northern hemisphere is now on its journey into the But natural light’s presence and power, particularly in the darkest months of the year, I was reminded of Kahn’s insight experience of sacred spaces, is enhanced by its opposite: that light is not just seen, but felt. “We are born of light,” he darkness. The two work in tandem, like graceful dancers, said. “The seasons are felt through light. We only know the circling a room. Kahn spoke about how his experience of world as it is evoked by light.” For Kahn, it was an article of ancient Greek architecture had taught him about the alterfaith in the creation of architecture to capture natural light. nating presence of light and no light between the columns.

He had a disdain for relying too much on what he described To capture a slice of the sun was one of architecture’s greatas “the touch of a finger to a switch,” which produced a dead est achievements, but even a thin sliver of light depended illumination, forgetting “the endlessly changing qualities upon darkness for its power: “Even a room that must be of natural light, in which a room is a different room every dark needs at least a crack of light to know how dark it is,” second of the day.”

Kahn observed.

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aerial view of the building showing approach and movement

P A R T 4 m a t e r i a l 19

ground view of the building showing approach and movement

20

internal views of pavilion - daylight

21

internal views of pavilion - nightlight

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FiLtration L I G H T S T U D Y 4

Linguistic Meaning:

The act of passing a liquid or gas through a piece of equipment in order to remove solid pieces or other substances Example - The technology exists to remove all of these contaminants through filtration.

Philosophical Meanings : Diffusion, also known as cultural diffusion, is a social process through which elements of culture spread from one society or social group to another, which means it is, in essence, a process of social change. It is also the process through which innovations are introduced into an organization or social group, sometimes called the diffusion of innovations.

Things that are spread through diffusion include ideas, values, concepts, knowledge, practices, behaviours, materials, and symbols. Porosity is the quality of being porous, or full of tiny holes. Liquids go right through things that have porosity.

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Meaning in Architecture: Materials are a crucial element for architecture; they not only help the designer bring their aesthetic visions to life but they allow them to remain functional. Architecture has evolved alongside building materials–as materials become more sophisticated, so does architecture.

Materiality in architecture is the concept of, or applied use of, various materials or substances in the medium of building.

Material is a relative term in architectural design and so may be used to designate materials which are considered to be virtual, (such as photographs, images or text) or other materials which are natural. Some materials may be considered as combinations of the two. Certain veneers which are composed of images printed on plastic are a good example of this. Observationally therefore, virtual materials can be said not to exist without a natural physical substrate. Therefore, what separates a virtual material from a natural one is some aspect of the mind and perception as well as a process of representation to produce them.

Indeed, materiality in architecture is not limited to theoretical positions on the perceived materiality of images, texts, or other objects of representation.

It may refer to the materiality of specific projects, where one would need to consider the full range of materials used. Discussions on the materiality of architecture are usually synonymous with structural and aesthetic concerns in architectural design and are typically unique with each project.

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WHEN YOU

LIGHT A CANDLE YOU ALSO CAST A SHADOW