REP II 2019 . FLICKER

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QUINCY NGUYEN A1738376 Page 1 REPRESENTATION II - 2019

CONTENTS

“All material in nature, the mountains and the streams and the air and we, are made of Light which has been spent, and this crumpled mass called material casts a shadow, and the shadow belongs to Light.�

-Louis Kahn

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4-5 6 7 8 9 10 - 11

18 19 20 21 22 - 23

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04

12

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3D VIEWS SITE ANALYSIS SHADE/SHADOW SITE PLAN 2D DRAWINGS LUMINOSITY

2D DRAWINGS EXPLODED DRAWING PERSPECTIVE SECTION CONSTRUCTION DETAILS OPACITY

IDEATION IDEA 1 IDEA 2 IDEA 3 REFLECTION

RENDERING MOBILITY UNFOLDED DRAWING FILTRATION

12 13 14 15 16 - 17

24 - 25 26 27 28-29

PA RT I

MATHS LAWNS VIEW

SOCIAL CHARACTER

BARR SMITHS LIBRARY Page 4

THE MAT HS L AW N S

BARR SMITHS LIBRARY

NIGHT VIEW Page 5

3D VIEWS

3D V I E W

Maths Lawns is a quite open space with designed benched on both sides of the lawn providing seats for people.

Trees are generated quite symmetrically along the side to provide consistent light shading for the nearby benches. The space is usually populated during the hot months when people would spend time sitting or laying on the grass and when events are being held on the lawn.

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S IT E A N A LY S I S/ SHADE AND S HADOW

EXISTING BUILDINGS

MOVEMENT

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9AM -SUMMER

9AM -WINTER

12PM -SUMMER

12PM -WINTER

3PM -SUMMER

3PM -WINTER

EXISTING TREES

GRASS AREA

S IT E P L A N

FROME RD

KING WILLIAM RD

VICTORIA DR

NORTH TERRACE

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2D DR AW I N G S

Elevation E Scale 1:100

Elevation W Scale 1:100

Elevation Barr Smith South Library Scale 1:100

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LUMINOSITY Page 10

THE STUDY OF ZAHA HADID Linguistically, luminosity refers o the state of being lumious, or a lumious object and it could be understoof as the brightness of a light source as it appears to the eyes.

The meaning of light and luminosity extends beyond linguistic definitions. Luminosity was a derived term from French which forms luminous + ity. Before that, light was considered to be spiritual and the divine from God that is illumination and intelligence. Light is the source of goodness and the ultimate reality. It is the sun, represents God and the avenger of evil forces and darkness. Light is knowledge, purify and morality. Different cultures have their own interpretation of light, for example, Buddhist’s viewed luminosity as an experience of consciousness rather than just a mere characteristic of a mind potentiality.

LIGH T S T U DY 1 Zaha Hadid was inspired by the white road markings after and she combined them with abstract paintings ans transfered them in to strips in the concrete roofs or tilted poles in the parking spaces. The phaeno Science Centre is another example of utilizing luminosity and this time, windows ans lumnaires are playing big roles.

Unlike previous designs, it does not have any straight lines or sharp corners ans instead, curly lines ans curved shapes which are related to fluidity as well.

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The Nordpark Railway Station uses mirrors and glasses to stimulate indidvidual’s percetion which is using sumilar strategy as the Serpentince Sackle Gallery. In most of cases before, architects are using cold, raw and concrete forthe buildings. However, Hadid changed to use the golden colour to create a warm atmosphere for the audiences in Guangzhow Opera House.

Layers of ceilings are created to illustrated a magic sky. Heydar Aliyev Center is the example of using the interior light to make changes between daylight and nightlight.

E X PA N S I O N GROWTH

FIRE

Taking inspiration from fire as a metaphor for expansion and growth, in which expansion is represented by the flame and growth is seen in flicker.

Traced image of flame

The beautiful fire burns in the dark red light and expanse in the wildest imagination.

The intense, the dark, the horror that fire brings to everyone of us will soon be replaced by the brightest light that it creates for us.

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Using both straight and curved lines to create interesting shapes

Filling in empty space

Using straight lines to trace over

Using closed curved lines

IDE A 1

Placing rearranged shapes in the plane

Entry point Page 13

Forming closed space and make it closer to the ground

Placing rearranged shapes in the plane and moving it upwards

Combining 2 forms together

IDE A 2

Placing rearranged shapes in the plane

Entry point Page 14

Moving them upwards to create roofs

Extruding the curves alongside to create walls

Rearrang vertically to create an hiearchy of height

IDE A 3

Manipulating the ground plane in terms of contouring

Extruding surface to the ground plane

Entry point

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Placing rearranged shapes and spliting them seperately

Form generated

REFLECTION Page 16

THE STUDY OF MIES VAN DE ROHE Reflection can be defined as the act of casting back a light or heat signature without absorbing it. The word is derived from a Latin world reflexionem – literally translates as “bending back” or “reflection”. Perceived light reflecting off a surface often gets a result in a mirrored image.

Reflection has become a notion of human thought, to considerately reflect upon one’s self is inherently resulting in human reflection. To reflect philosophically is the act of utilizing the tools we find in philosophical concepts and ideas to examine our own lives and the beliefs that construct our world. The climax of reflecting inwardly is to reach a state where one can balance their life in a positive manner by being able to deduce and remove the unwanted or negative aspects of their life.

LI G H T S T U D Y 2 Many people realized the large glass facades during the modernism promoted the transparency glass architecture. Mies Van Der Rohe using this trademark mullions to break up his facade. However, in the last few years, people feel boredto the same structure building thus unconventional reinterpreations of facades get more people interested.

The building Elbphiharmonie in Hamburg

by Herzog de Meuron. The curved glass elements twist the perception of the city, water and sky. The image on the mirrored picture is not clean since it had be reproduction and changed form.

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The play of elegant veils in fashion and shiny cladding in architecture combined in a Paco Rabanne dress for a British retail temple. Future Systems stylishly covered the Selfridges Birmingham department store, opened in 2003, with a dense mesh of 16,000 anodized aluminium discs. The store was able to avoid attaching any logos to the building due to the fact that the building itself was turned into a sign. Its sensuality immediately spurred the marketing world to utilize the sensational setting for advertisements. clear mirror effects of the neighborhood.

2D DR AW I N G S

Elevation Scale 1:100

Section Scale 1:100

Plan - Movement Scale 1:100

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EX P LO D E D P E R SPEC TIVE DR AWING

WAFFLE STRUCTURED ROOF

CONCRETE ROOF

REFLECTIVE GLASS ROOF

LIBRARY

STORAGE SPACE

SEMINAR ROOM 1/2

TOILET F/M/D RECEPTION AREA

EXHIBITION SPACE

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P ERS P E C T I V E SECTION

THE MATHS LAWNS

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CO N S T R U C T I O N DETAIL S

6mm plywood (y,x) diagnal struts 6mm plywood (x,y) diagnal struts

6mm plywood (x,x) horizontal struts

6mm plywood (x,x) horizontal struts

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800 x 1280 mm Wikihouse frame module

O PA C I T Y

THE STUDY OF HENRY PLUMMER

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Opacity linguistically defined is the degree that an object is opaque. The word started seeing frequent use in the past around 1550s and was derived from the French opacite which uses to describe how dark and obscure something was. The literal use we see now which means a condition of being impervious to light was first recorded in the 1630s.

In philosophical setting, opacity is viewed not so literally, but how obvious or transparent a person or a piece of writing is. Often, if a subject is viewed as opaque it is commonly seen in the most advanced philosophical works were ideologies are often guised in mystery and overlapping ideas rendering them to the common man hard to view of low opacity.

LI G H T S T U D Y 3 The 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 position of the sun in northern regions creates long shadows and therefore daylight enters the buildings more from the side than from above.

In contrast, summer evenings emanate a diffuse light.

He points out that although Norway, Sweden, Denmark and Finland are dissimilar in topography and vegetation, they share the same subdued light.

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The concept of white diffusion, using white-painted plaster, white-enamelled steel and white linoleum, was introduced

by Alvar Aalto for the Paimio Sanatorium in the 1930s, and achieved a peak at the Nordyjllands Art Museum in 1972, according to Plummer. Shades of white cover the walls, floors and ceilings as well as the expressive daylight scoop. However, the power of pure white volumes is not the only characteristic of the Nordic built environment. The pulse of nature with vibrating patterns of light or the transiency of dramatic light and shadow belong to the distinctive Nordic light approach as well.

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RENDERING

IN T E R N A L S PACE

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MOB IL IT Y

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U N F O L D E D D RAWING

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F I LT R AT I O N Page 28

THE STUDY OF LE CORBUSIER Filtration is the action or process of filtering something. The process of passing through or as of through a filter grades in a different object, one that is more refined than it was in its original state. Filtration indicates a movement that initiates purification.

Light is purity and filtration is a process that purifies an object of its objectionable qualities. Leaving only what is required. The action of purification required an object to pass through a filter or undergo a process of filtration.

In the project of the ‘Critique of Pure Reason’, German philosopher Immanuel Kant associates the mind, the only tools we have to investigate the mind. We must use the faculties of knowledge to determine the limits of knowledge.

LIGH T S T U DY 4 Light 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 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. Le Corbusier expressed an exceptional sensitivity for the interaction of colours and light in his sacred buildings.

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Studying 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 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”.

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