G2.Stuppos.Rachel.Rep2.17.

Light as Order Light is the Revolation of Geometrical and Natural Order Rachel Stuppos / a1668727

Table of Contents STAGE 1: PLACE Site Plan .....................................................................04 Elevations ...................................................................05 3D Views: Arial ............................................................06 3 D V i e w s : G r o u n d. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0 7 Site Analysis: Shadows ................................................08 S i t e A n a l y s i s : A c c e s s a n d M o v e m e n t. . . . . . . . . . . . . . . . . . . . . . . . . . . . 0 9 Site Analysis: Ambient Light .........................................10 Site Analysis: Social and Cultural Qualities ...................11 Luminosity: Linguistic and Philosophical Definitions ......12 L u m i n o s i t y : A r c h i t e c t u r a l D e f i n i t i o n. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 3

STAGE 2: IDEA Spatial Diagrams.........................................................14 S i t e P l a n , S e c t i o n s , E l e v a t i o n s. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 6 3D Views: Arial ............................................................18 3D Views: Ground .......................................................19 3D Views: Internal .......................................................20 Formal and Spatial Study of Precedent ........................21 Reflection: Linguistic and Philosophical Definitions ......22 Reflection: Architectural Definition..............................23

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03

1 Site Plan

Stage

Scale 1:1,000 Mo

The

Brag

lar lecu

Scie

nce

gs

h Smit Barr ary r Lib

ring inee th Eng a M and nces Scie

a Ingk

ar rni W

TOS SAN ing d l Bui

dli Tree Grass Paving Gravel Building Outdoor Light Bench and Table

04

Elevations Barr Smith Library Scale 1:1,000

Elevation of the site facing south Scale 1:1,000

Elevation of the site facing north Scale 1:1,000 05

Arial

3D Views: 06

Above: South arial view of the site Right: West arial view of the site

Left: South-east arial view of the site

Ground

3D Views:

Above: West arial view of the site

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Site Analysis: Shadows

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Summer: 9am

Summer: 12pm

Summer: 3pm

Winter: 9am

Winter: 12pm

Winter: 3pm

Site Analysis:

Access and Movement Frome Road

Frome Road

Car Traffic to site

Access to site: Cars and Pedestrian

Not-to-scale

Frome Road

Frome Road

Social Areas within the site

Possible pedestrian network although the site was designed for pedestrians so this network is not mandatory 09

Ambient Light

Site Analysis:

Day time:

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During the day, the primary source of light is the sun, which reflects off of the surrounding buildings and on to the lawns.

These images were taken at 3:19pm, when the sun was mostly covered by the buildings on the north (The Braggs and the Molecular Sciences Building).

Night Time: At night time the source of ambient lighting comes from the artificial lights of the buildings and the street lamps.

These images were taken at 5:58pm, when the sun was setting.

Urban Context: Site is located within The University of Adelaide which is walking distance to The River Torrens, The Adelaide Zoo, The Botanical Gardens, and Rundle Mall. The site is also adjacent to Frome Road which can generate some traffic noise.

The site is home to the Barr Smith Library, which is a state heriatge listed building.

Site Analysis:

Maths Lawns are used for the following: • University clubs • Events (For example, Open Day and O’Week • Social gatherings/quiet reflection on the lawns and benches

Social and Cultural Qualities

Social Qualities:

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Luminosity:

Linguistic and Philosophical Definitions Linguistic Definition of Luminosity: • Something luminous or something that has luminance.

- An object that radiates or reflects light; shines; or

is bright.

- Something that is well-lit or illuminated

“The room was luminous.”

• The quality of being intellectually brilliant, enlightened, or inspired.

“The luminosity of his poetry is unequalled.”

Philiosophical Definition of Luminosity:

Luminosity can be discussed in philosophy in relation to the idea of enlightenment or a divine “illumination,” which links philosophical and religious thoughts and theories. Plato, among other theorists, thought of and expressed their belief in the sudden flash of understanding, inspiration and insight as a flood of light. Furthermore, and illumination on the entry of light into the mind. Philosophers see light and luminosity as a method to allow people to experience and understand the world.

Light is considered among philosophers to be immensely entangled with existence. Additionally, light is invisible and is experienced as an idea or is seen through the forms in the objects made visible. Therefore, light is illumination and has an originality of its own.

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References: Gale, Thomas. 2006. “Illumination.” Accessed August 9. http://www.encyclopedia.com/humanities/encyclopedias-almanacs-transcripts-and-maps/illumination.

Bille, Mikkel, and Tim Flohr Sorensen. 2007. “An Anthropology of Luminosity.” Journal of Material Culture 12 (3): 263-284.

IMAGES top to bottom: Figure 1: Prisms during the day.

Figure 2: Interior escalators.

Figure 3: Section showing the daylight from the prisms.

Figure 4: Prisms at night time.

The meaning of “Luminosity� will be discussed in relation to the architecture of the underground railway in Copenhagen, which opened in 2002, designed by KHRAS Architects.

The primary motif of this building was light and its orchestration materialised in relation with the interior, therefore, two sources of light were used, day light and electrical lighting.

Daylight is channelled into the station through a design of glass pyramids on the ground surface and reflectors (Seen in Figure 1). Within the glass, acrylic prisms diffuse the light into sunbeams with a full spectrum of colours illuminated on to the interior of the underground station.

The interior consists of

Luminosity:

Architectural Meaning concrete, glass, steel and stone elements, with a large open room with stairs, escalators and lifts criss-crossing the internal space (Seen in Figure 2). The prisms are the only ornamental features, and the daylight projected is still seen even at the bottom of the deep stations (Seen in Figure 3). The illumination caused by the prism allows for easy orientation for the metro’s travellers.

The daylight and the artificial light within the station are easily differentiated, allowing the passengers to use the light from above to position themselves and travel upwards towards the natural light and outside of the station. The security of the station is also enhanced by creating a welcoming space in

which dark corners are avoided.

During the night time, the artificial lights are arranged and rearranged by reflectors to diffuse the direct and white light, as well as eliminating monotonous lighting throughout the station.

Additionally, the artificial light is illuminated up through the glass prisms to make the station more visible at ground level, producing an aesthetic sculpture of light for travellers to better orientate themselves (Seen in Figure 4).

By incorporating luminous elements into the architectural design of a building, not only is the aesthetic value increased, an ambience of dynamism and movement can be created. Through the composition of

day light and artificial lighting within the Copenhagen Metro Stations people were easily able orientate themselves, allowing for the channelling of movement to and from the platforms to be simple and fast.

Security was additionally enhanced, and a connection was made with the city through the glass prisms as the time of day and weather can always be indicated through the illuminated colour, warmth and degree of day light throughout the station. In conclusion, it can be argued that luminosity when incorporated into architecture has the capacity to transform spaces and human experience and can be a source of social negotiation.

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2 Spatial diagrams:

Stage

Concept 1:

Skylight Design 1 Formation

Started with intersecting lines

Began closing the lines so that the end of each line met another

Continued this

Continued this

Continued this until all lines were closed

Offset the lines by 100mm and made a surface

Concept 2: Skylight Design 2 Formation

Started with a circle

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Circle was offset by 250mm

Offset circle was made into a surface

Circle was copied over so that the side of the circle would intersect with the middle of the circle next to it. The pattern of the skylight is beginning.

This is repeated below the first circles

And this was repeated again until a pattern was formed

Building Formation Maintaining an order in design was an imporatant consideration in the formation of the concept designs for the Light as Order metaphor.

The intent behind the design was to maintain an order in relation to the geometric forms and the surrounding natural landscape. The light reflections created by the triangular formed skylights will continue the theme of order by keeping a consistant pattern of light in the interior.

Additionally, for the arrangement of space was created to maintain a uniform sequence in both designs.

Reception Area Female Toilets Male Toilets

Skylight Roof Plan 1 Not-To-Scale

Disabled Toilets Storage

Noticed the reacurring shapes within both patterns to be triangles and based my floor plan on this. By doing this, maintaining a geometrical order in the design of the structure.

Exhibition Space

Reading Room

Library

Seminar Room 2

Seminar Room 1

Floor Plan Not-To-Scale

Floor plan takes on the shape of an eqilateral triangle with a tunnel connected to a surrounding building as an additional exit for fire safety

Skylight Roof Plan 2 Not-To-Scale

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Concepts 1 and 2: Plans, Sections, Elevation

S1 South Facing Section Scale 1:1,000

Floor Plan Scale 1:500

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S2 West Facing Section Scale 1:1,000

West Facing Elevation Scale 1:1,000

Concept 2

S2

S2

Concept 1

S1

S1

S1

S1

Site Plan Scale 1:1,500

Skylight Roof Plan Scale 1:500

S2

S2

Site Plan Scale 1:1,500

Skylight Roof Plan Scale 1:500

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Left: Concept 1

Arial

3D Views:

Summer 12pm South-West Facing

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Right: Concept 2 Summer 1pm South-East Facing

Summer 3pm West Facing

Summer 4pm East Facing

Ground

Left: Concept 2

3D Views:

Above: Concept 1

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3D Views: Interior

Above: Concept 1

Left: Summer 9am Right: Summer 9:30am

Below: Concept 2 Left: Summer 9am Right: Summer 10am

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Precedent:

Form and Spatial Study Louver Abu Dhabi

• Designed by French architect, Jean Nouvel.

• Inspired by the architecture and traditions of the United Arab Emirates, in particular, the traditional Emirati roofs consisting of thatched palm leaves.

• The complex, geometric dome ‘hovers’ above the museum-city – the geometric structure contains 7,850 unique stars, repeated at various sizes and angles in eight different layers to create the cinematic effect of ‘Rain of light.’

• Combination of light and shadow in its design.

These ideas were replicated in the concept designs for Light as Order, however, in a simpler way. Patterns were replicated, but only one layer of these patterns exist so as not to filter out too much light and to keep a minimalist design. The use of a dome was not included so that pedestrians could still walk on top of the structure (tinted glass will be used to provide privacy to those who wear skirts). The arrangement of the pattern was kept consistent in its sequence to maintain an order in design.

References: Louvre Abu Dhabi. 2017. “Louvre Abu Dhabi.” Accessed August 29. http://www.louvreabudhabi.ae/.

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Reflection

Linguistic and Philosophical Definitions Linguistic Definition of Reflection: • The act of reflecting

- To cast back (light, sound, heat) from a surface.

- Mirroring, or giving back, or showing an image.

• An image, representation, counterpart.

• A fixing of thoughts on something; careful consideration

- To think, ponder, or mediate.

Philiosophical Definition of Reflection:

Reflection in philosophy can be discussed in relation to Reflection theory, articulated by V. Lenin. The term in discussed as the basis for any materialistic epistemology and proposes: • Cognition reflects the external world by human consciousness.

• Reflection is a definite, essential and worldwide property of matter, while consciousness is the highest degree of development of that property.

• The concept of reflection presupposes similarity of image and object, as distinct from the concepts of symbols, hieroglyphs, signs etc.

• The subjective dialects of thinking reflect the objective dialects of nature, while logical figures reflect the most ordinary conditions of things.

• True cognition is an adequate reflection of reality, and social practice is the criterion of truth.

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References: Katvan, Zeev. 1978. “Reflection Theory and the Identity of Thinking and Being.” Accessed August 29. https://www.jstor.org/stable/20098785?seq=1#page_scan_tab_contents.

Mayer, Thomas. 2007. “Forum.” Accessed August 29. http://www.arcspace.com/features/herzog--de-meuron/forum/..

Reflection

IMAGES top to bottom: Figure 1: Exterior view. Figure 2: One of may courtyards reading from the roof to the soffit. Figure 3 and 4: Courtyard showing kaleidoscope effect. Figure 5: Golden entrance doorway. Figure 6: Courtyard with abstract shape.

The Forum Building , or Museu Blau as it is now known, by Herzog and de Meuron (Seen in Figure 1) consists of an 180 meter equilateral triangle plan supported by concrete columns.

The architects designed a series of courtyards at ground level to intersect the elevated structure in order to establish a multifaceted exchange between the covered open spaces and the various levels of the building and create new viewing angles while changing light effects

Architectural Meaning (Seen in Figure 2 and 6).

These courtyards consist of varying sizes and shapes with different amounts of reflective material in them. Some are made of mirrored glass, while some have a complete internal lining of glass or gold steel panels. All of which create a kaleidoscope effect and an introspective reflection of the building due to the crystalline opening of the courtyards with the solid block of the structure (Seen in Figure 3 and 4). The exterior glazing of the building reflects the sky, linking it with the water patterned soffit below.

Due to the structures positioning within the city of Barcelona, between the sky and the Mediterranean Sea, and its triangular blue facade it has been

likened to a sponge saturated with water.

The faรงade mirrors the surrounding of the building, the sea and the sky.

To enter the building one must step into the open space beneath the gently undulating and shimmering soffit, similar to the pattern of water, covered entirely in triangular plates of decorative stainless steel.

The golden doorway consists of the same pattern and is framed in glass with the top cut into the blue triangle (Seen in Figure 5).

The building is now home to the Museum of Natural Sciences and consists of a growing collection of rocks and minerals, taxidermy, microbes, plants and herbariums, meteorites, among other things. This

is the perfect choice for the museum as the building connects with nature due to its mirrored faรงade of the surrounding nature.

The interior has a dark ambience and a rough wall crust and each object is captured in an individual glass bell full of light, emphasising its importance.

The only other form of light within the building is the natural light let in where the courtyards meet the internal structure of the building so as not to take away from the objects being presented inside the museum.

In conclusion, it can be argued that reflection when included in architecture has the power to add interest to a building and help to connect it with its context and surrounding nature.

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