Rep 2-18, Xi Lin, a1732804, Light Journey

Light Xi Lin a1732804 REP 2-18 Excercise

Contents 1 3 4 5 7 9 11 13 15 17 19 21 23 27 29 30 31

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Contents Site View Day & Night Summer & Night Site Analyse Luminosity Idea 1 Idea 2 Idea 3 Reflection Out view & Inside Views Enter place Plan, Secction, Elevation Details Construction Materials The distribution of rooms

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Site View

View 1

View 2

View 3

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View 4

Day For the site, in the evening, there are enough lights here to illuminate, which still have enough light. The sun falls from the left side of the corner.

Through the reflection of the glass mirror, the entire area becomes lavender, which is beautiful and mysterious.

In the morning, this site have enough sunshine and full of light. In addition, the sun is shining from the side. Therefore, the site have a big shadow, people can study and communicate in the site and do not need to afraid sunburn. The glass wall also can reflect the light, which can make the place more beautiful.

Night

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Winter

9 am

12 pm

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3 pm

Summer

9 am

12 pm

3 pm

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Site Analysis A. Barr Smith Library B. Stairs C. Ingkami Wardi D. Molecular Life Sciences E. Engineering and Maths Sciences F. Santos petos petroleum engineering

D

A

C

B

E

F

Human Activity

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Sun Road

Section 1 Scale 1:500

Section 2 Scale 1:500

Elevation 2 Scale 1:500

Elevation 1 Scale 1:500

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Luminosity 1. Luminosity Definition: Luminosity is defined as the brightness of an object in space that have stars and galaxies with various forms of light (Ivanov et al., 2018). The light that they emit tells about their energy. The more the object has luminosity, the appearance is brighter. In x-rays, visible light, microwave, ultraviolet, infrared, gamma radiation and radio, the object is luminous. Based on the intensity of the light, the object has an energetic function.

2. Luminosity Meaning

Philosophical

According to the philosophy, Light itself mean luminous. The

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author had studied it as lumenmeaning light is an objective matter as seen as external- and lux – meaning light is as interior and subjective (Thompson, 2016).

People have different aspects of light as they move around and perceive about them and reveal the experience that they feel different around the world. There are direct impact on the lives physiology were they find different kind of light.

3. Luminosity Architecture In the projects of Zaha Hadid’s the techniques use for designing fragmentation and fluidity is the essential element for her architecture (Schielke, 2018). The Zaha Hadid’s luminous legacy

Hadid’s luminous legacy has remarkable development to collect abundance daylight at her early Vitra Fire Station. The graphical appearance of light used by Zaha Hadid with first sight of the light lines.

It has luminous lines for luminaires or windows.

The first building, the Vitra Fire Station forms a tensions for lucid expression that has in-situ concrete walls. There are lines of light between the ground and wall, in the ceiling, or between flying roof and wall that have sharp edges. The interior has a light gaps in between the ceiling and wall were conventional structures could be build and the edge of interior luminaires could echo the soft, the sharp concrete lines, diffuse illumination.

In Pixelated Luminosity demonstrates a transition from a towers of vertical glass to a podium of horizontal concrete. In the interior there is a fluid luminosity where illumination was integrated discretely in the ceiling that look like a starry sky. There are small holes that follow illumination for dynamic interior geometry. The pixel aesthetic has distinct luminous with dotted ceiling where dotted ceiling of the Guangzhou has changed to Nanjing luminous discs. The surface of Matt façade had replaced

Matt façade had replaced the visual effects and concentrated on the light for getting the dimension or supplemented by its architecture. In the visual language, Hadid had converted geometrical lines to diffuse luminous light that are respectively curve. Lighting has a graphic design with full exploitation of potential light that interpret the architecture (Abdallah et al., 2018). A software atmosphere is created that diffuse the illumination which forms a fluid forms for space stems. Hadid use luminaire design through which

she could heighten of the architecture. She had temporary installation for light patterns that react with the membranes of the flexible movement and she embedded to the parametric architectural language. There are several graphical interpretations for luminaires and lighting that have explore with abstract paintings by Zaha Hadid.

Hazid has analyzed the landscape surrounding by new structures for urban transport patterns to transform it into the luminaire patterns.

References Abdallah, W., Hammad, A., Khalil, S., & Moretti, S. (2018). Searching for Charged Higgs Bosons in the $ BL $ Supersymmetric Standard Model at the High Luminosity Large Hadron Collider. arXiv preprint arXiv:1806.03585.

Ivanov, D., Liberati, S., Viel, M., & Visser, M. (2018). Perturbative treatment of the luminosity distance. arXiv preprint arXiv:1803.08766.

Schielke, T. (2018). Fluid Luminosity: The Architectural Lighting of Zaha Hadid. [online] ArchDaily. Available at: https:// www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid [Accessed 11 Aug. 2018].

Thompson, E. (2016). PrĂŠcis of Waking, Dreaming, Being: Self and Consciousness in Neuroscience, Meditation, and Philosophy. Philosophy East and West, 66(3), 927-933.

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View 1

Idea 1 Light is being with/embracing nature For this idea, I am inspirationed by spider web. I created many hexagon, the hexagon is made by glass, so the light will enter the place through the glass. There are many shell shapes wall around the hexagon, which made the place become beautiful.

View 2

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Scetion Scale 1:500

Metaphor

View 3

View 4

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View 1

Idea 2 Light is a journey In this idea, in inspriationed by labyrinth. I created many line, then I created some surface and wall. The empty place is glass. Light can enter the place through the glass. The gunder ground the a are library. When people coming into the place, they can hangout and enjoy the light.

View 2

Scetion Scale 1:500

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View 3

Metaphor

View 4

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View 1

Idea3 Light is being with/embracing nature For this idea, I am inspirationed by wave. I created lots of curves, people can walk under the curve. The light will enter the place from the gaps. There are a big slop, people can enter the place by walk in the slope.

View 2

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Scetion Scale 1:500

View 3

Metaphor

View 4

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Reflection 1. Linguistic Definitions: As per the words of Lacan, who is one of the foremost figures of structural linguistics, the articulations of the aspect of vision (reflection being a part of concept of vision) are mainly guided by language as a form of communicative tool (Cuesta, de la Fuente, Barrio-Solรณrzano & Beato, 2002).

2. Philosophical meanings: Reflection, a state in the field of vision obtained with the help of mirror can be well related to the philosophy of

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depicting the otherness of oneself. In realms of modernism in architecture field, reflection can be depicted as the casting of an alter reality or alter ego of the entity. The concepts of existentialism can also be related many of the building making use of glass and metal in order to make reflections (Ammon, 2010). They have no such definite shapes, are out of the box and their storeys cannot be understood from outside. This fact also depicts and well related with the absurdity of life as shown in the form of art.

3. Meaning in architecture through case study: The art of making use of reflective surfaces over buildings can be well related with the concept of minimalism (Plataniotis, Ma, Proper & de Kinderen, 2015). The different of the architects have been making use of the fact and aspect of reflection as one of the symbols of modernism. The use of rough and dull surfaces on building has been monotonous. Thus architects started designing building with shiny

Thus architects started designing building with shiny and reflective surfaces or building having very uncommon kind of structure and aesthetics. The outer appearance of buildings becomes more important than the overall inner appearance of the buildings. This led to the rise of designing building using metal and glass to make shiny and uncommon and unique loos and surfaces and give them a mirror like finish (in many of them). The use of glass as a reflective surface can be long traced from 1920

with the initiation of Mies van der Rohe’s Glass Skyscraper in Berlin, built in the year 1921.

The reflective facades have changed the whole dimension and aesthetics base for architecture and brought in with it an alternative and modern form of architecture. Use of aluminum plates as sunshades have also been seen in many of the building that have been in the modern times (Tsiambaos, 2017).

This kind of appearance has given them a kind of “Avant

“Avant-Garde” essence in the field of architecture. This kind of modern form of architecture does not have a fixed kind of shape and structure, thus depicting their own unique and signature style. Further, in many of them, people cannot make out how many storeys do they contain. This aspect also relates to the concept of minimalism, that is the finding or showing of otherness of self (“Veiled in Brilliance: How Reflective Facades Have Changed Modern Architecture”, 2018).

References Ammon, S., (2010). Language of Architecture. An approach to Nelson Goodman’s theory of symbols. From Logic to Art. Themes from Nelson Goodman, Frankfurt ua: Ontos, pp.321-328.

Chang, J. H., & Winter, T. (2015). Thermal modernity and architecture. The Journal of Architecture, 20(1), 92-121. doi: 10.1080/13602365.2015.1010095 Cuesta, C. E., de la Fuente, P., Barrio-Solórzano, M., & Beato, M. E. (2002). Introducing reflection in architecture description languages. In Software Architecture (pp. 143-156). Springer, Boston, MA doi: 10.1007/978-0-387-35607-5_15 Ersoy, U. (2017). Friedrichstrasse Skyscraper: Transfiguration Through Glass, or Vertical and Horizontal Transparencies: Mies van der Rohe.

Companion to the History of Architecture, 1-13. doi: 10.1002/9781118887226.wbcha120

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Out views & Inside views

Out View 1

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Out View 2

Out View 3

Out View 4

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Inside view 1

Stairs

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Lift

Inside view 4

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Plan Scale 1:250

Elevation Scale 1:250

Section Scale 1:250

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Elevation Scale 1:200

Section Scale 1:100

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Detail 1

Section Detail

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Details

Detail 2

Detail 3

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Plan 2 Scale 1:250

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Construction Materials Grass

Concrete

Glass

Metal

Glass Fibre Reinforced Concrete (GFRC)

Brick & Concrete

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The distribution of rooms Reading & Relaxing space & Small Library storage sapce Male Toilets

Female Toilets Lift Disable Access Seminar Room

Seminar Room

Exhibition

Reception Area Stairs

Plan Section Scale 1:150

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Opacity & Filtration Linguistic definition Opacity is related to light and it is linguistically defined as the extent at which light is not allowed to pass. On the other hand, filtration is linguistically defined a s the process or an action of separation of fluids by use of a medium in order to obtain the necessary materials. In architecture it is absorption and interference of wavelength. interference of wavelength.

Opacity is one of the subjects that are prevalent in the realms of art. Opacity is a varied simultaneous perception

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of spatial locations as space fluctuates and recedes in a continuous activity. Opacity falls into the category of conceptual and perceptual which is dependent on the part it engages. Conceptual engages the mind while perceptual engages the eyes. Filtration on the other hand refers to the process of absorbing wavelengths that are unwanted and selected wavelengths by reflection and interference that is destructive in nature. It can either be achieved through the use of interference filters or through the use of absorption filters.

Architectural meanings on

the basis of the articles Opacity and filtration are a major consideration given in the development of the great buildings in the scandivian’s great buildings. Opacity and filtration are given a major priority in all the ancient buildings given the variations in the climate and the nature of vegetation in the Scandivian countries. Opacity of rooms is eliminated through the use of reflective bright rooms which facilitates entry of light and brightens the rooms. These lights play and touch both the human soul and play with the nature’s beauty

that is within the locality.

In instances where vegetation limits the entrance of light in the building, the architectures play with white surfaces with intent of counterbalancing dark and long days experienced during the winter season. The shadow casted by the sun in the northern regions allows the sun to enter the building from the left side as opposed to the above.

The difference in topography and vegetation necessitates variance in architectural design to respond to the light needs.

The filtration of light in vari ous buildings has been used to convey and pass different message and convey emotions over time. This is evidenced in monasteries where light is linked to holiness and divinity. In order to link to the divine light, visible light is used as a link to the two spheres.

Main sacred buildings are artistically designed to express exceptional color interaction and light. The use of light filtration is a way of consecrating the natural universe. For instance Notre Dame Chapel turns red during the dawn which

the alcove and turns it redder which is an analogy of human birth. The sunset reflects a different color and the cycle culminates in an opening and a warm glow during sunset in another side of the chapel.

The complexity of these scenarios that apply filtration varies with buildings which allow the users to encounter experiences that are diverse from the light. Various openings and walls have different paints and styles which are meant to convey and evoke different emotions and meanings.

Reference

https://www.arch2o.com/tectonics-of-transparency-chirsitno-parreno-architects/ http://keywordsuggest.org/gallery/854430.html https://textileartscenter.wordpress.com/tag/invisibility/

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Journey Xi Lin a1732804 REP 2-18 Excercise