Light as Order Light is the Revelation of Geometrical and Natural Order Rachel Stuppos / a1668727
Table of Contents STAGE 1: PLACE
Site Plan ...............................................................................................04 Elevations .............................................................................................05 3D Views ...............................................................................................06 Site Analysis ..........................................................................................08 Light Study: Luminosity ..........................................................................12
STAGE 2: IDEA Spatial Diagrams ...................................................................................14 Site Plan, Sections, Elevations ................................................................16 3D Views ...............................................................................................18 Precedent .............................................................................................21 Light Study: Reflection ...........................................................................22
STAGE 3: FORM Final Design ..........................................................................................24 3D Views ...............................................................................................26 Light Study: Opacity .............................................................................32
STAGE 4: MATERIAL Composition ..........................................................................................34 3D Views ...............................................................................................36 Light Study: Filtration .............................................................................42
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03
1
Site Plan Mo
The
Brag
lar lecu
Scie
nce
gs
h Smit Barr ary r Lib
ring inee th Eng a M and nces Scie
TOS SAN ing d l Bui
Tree
a Ingk
ar rni W
dli
Grass Paving Gravel Building Outdoor Light Bench and Table
Scale 1:1,000 04
Elevations Barr Smith Library Scale 1:1,000
Southern Facing Elevation Scale 1:1,000
Northern Facing Elevation Scale 1:1,000
05
Aerial
3D Views: 06
Image 1:
Southern Facing
Image 2:
Western Facing
Western Facing
Image 4:
South-eastern Facing
Ground
3D Views:
Image 3:
07
Site Analysis: Shadows
08
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: Located within The University of Adelaide, close to The River Torrens, Adelaide Zoo, Botanical Gardens, and Rundle Mall. Adjacent
to
Frome
Road.
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.”
Philosophical 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 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
Luminosity:
Architectural Meaning 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:
Concept 1:
Skylight Design 1 Formation
Started with a circle
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
Concept 2: Skylight Design 2 Formation
Started with intersecting lines
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Began closing the lines so that the end of each line met another
Continuation...
Continuation...
Continued this until all lines were closed
Offset the lines by 100mm and made a surface
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.
Skylight Roof Plan 1 Not-To-Scale
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.
Floor Plan Concept Not-To-Scale
Floor plan takes 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: Concept 2
S2
Concept 1
S2
Plans, Sections, Elevation
S1
S1
S1
S1
Site Plan Scale 1:1,500
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Skylight Roof Plan Scale 1:500
S2
S2
Site Plan Scale 1:1,500
Floor Plan Concept Scale 1:500
Skylight Roof Plan Scale 1:500
S1 Northern Facing Section Scale 1:1,000
Western Facing Elevation Scale 1:1,000
S2 Western Facing Section Scale 1:1,000
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Concept 1
Aerial
3D Views:
Summer 12pm South-Western Facing
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Concept 2
Summer 1pm South-Eastern Facing
Summer 3pm Western Facing
Summer 4pm Eastern Facing
Ground
Concept 2
3D Views:
Concept 1
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3D Views: Interior
Concept 1
Left: Summer 9am Right: Summer 9:30am
Concept 2
Left: Summer 9am Right: Summer 10am
Precedent Inspiration Precedent inspiration seen through use of patterns to filter light into the building in an ordered and aesthetic manner
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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.
Philosophical 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
Architectural Meaning IMAGES top to bottom: Figure 1: Exterior view. Figure 2: One of many courtyards reaching 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 (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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3
Light Pavilion: Unity Plans, Elevations and Sections
500 1000
1500
2000
West Facing Elevation Underground Scale 1:300
S1
Reception Area Female Toilets Male Toilets
S2
Disabled Toilets Storage Exhibition Space
Reading Room
Library Fire Safety Exit Tunnel
Seminar Room 2
S2
West Facing Elevation Scale 1:300
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Seminar Room 1
S1
Floor Plan 1:300
1% FALL SURFACE RUN OFF
500 1000
1500
2000
2500
S1 Western Facing Section Scale 1:300
3000
1% FALL SURFACE RUN OFF 1% FALL SURFACE RUN OFF
1% FALL SURFACE RUN OFF 500 1000
1500
2000
2500
3000
S2 Northern Facing Section Scale 1:300
Image 1
Aerial
3D Views
Summer 9:30am Western Facing
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Image 2
Summer 9:30am Western Facing
Summer 9:30am Western Facing
Summer 9:30am Eastern Facing
Ground
Image 4
3D Views
Image 3
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3D Views
Approach, Access and Movement: Outside
Access point to structure from outside Main movement paths
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Access points to site
3D Views
Approach, Access and Movement: Inside
Access points to structure Main movement paths Access points to the exhibition space Movement to the smaller spaces
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Internal
3D Views
Image
30
Summer 12p Northern Faci
e 5
pm ing
Image 7
Summer 9:30am Northern Facing
Image 6
Summer 10:30am South-Eastern Facing
Image 8
Summer 11:30am North-Eastern Facing
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Opacity
Linguistic and Philosophical Definitions Linguistic Definition of Opacity: • The state or quality of being opaque; something opaque; capacity for being opaque. - Not translucent or transparent; impenetrable to light; not allowing light to pass through. - Not transmitting radiation, sound, or heat. - Not shining or bright; dark; dull. • Obscurity of meaning. • Mental dullness.
Philosophical Definition of Opacity:
Opacity in relation to philosophy can be traced back to Quine, who spoke of a “purely designative” or “purely referential” existence of a singular term, in these instances is when the term “is used solely to designate its object” is used. Further, Quine stated that two terms are referentially opaque if they cannot be switched salva veritate. This means they cannot be switched “without changing the truth value of the statement.” Similarly, mental states are sometimes thought to be referentially opaque due to the fact that though one description (or ascription) of a belief might be true, another description could be false. This means that an individual may believe that sometime is true, however, not have similar beliefs for co-referring beliefs.
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References: Griffiths, Alyn. 2016. “Pitsou Kedem’s Lago events complex contrasts opaque and translucent materials.” Accessed September 20. https://www.dezeen.com/2016/04/10/lago-events-hall-pitsoukedem-concrete-glass-rishon-lezion-tel-aviv-israel/.
IMAGES top to bottom: Figure 1: Lago Complex front facade. Figure 2: Night glow of the building. Figure 3 and 4: Contrast in materials.
The Lago complex (seen in Figure 1), situated next an artificial lake on the outskirts of the city of Rishon LeZion, is an events hall designed by Pitsou Kedem Architects to accommodate the largest banqueting hall in Israel. The structures palate contrasts opaque, transparent and translucent materials in its design. Translucency in design is executed with glass-plank facades designed to “glow like a firefly” at night (seen in Figure 2). Kedem aimed to design the space with a unique presence because the building is located in a large open area, seen from all the surrounding roads. The complex is divided into two separate halls organised on either side of the central reception space. The reception space also contains service areas, offices and a bridal suite that overlooks the nearby lake. The larger of the two halls can be divided in any way to suit the needs of different events and offers a multimedia system with video mapping technology, while the smaller
Opacity
Architectural Meaning hall is split over two levels to create spaces that are more intimate. Kedem employed his well-known Modernistinspired aesthetic to create an iconic looking structure characterised by its simple geometric form and expressive use of transparent and opaque materials. Materials that would stand out in elegance were chosen such as huge concrete slabs to contrast the clean clarity of the white glass (seen in Figure 3 and 4). This contrast of the opaque concrete with the translucent glass, accentuated by the minimal joints between the materials, results in an abstract patchwork that reduces that similarity of the building’s casing. These clean lines and flush surfaces emphasise the delicate feel of the facades, which has an even stronger evanescent feel at night when the building is illuminated. The frosted glass glows at night, signalling the activities taking place inside. This is why the building is said to glow like a firefly, or be like a lighthouse at night-time.
The lighting of the building not only defines the interior, but also the external spaces. The exterior incorporates landscaped gardens with seating areas providing views of the lake. A reflecting pool that lines one of the edges of the building gives the façade the illusion of added depth, making it appear as if the structure is floating above the ground plane. In conclusion, the Lago complex create a visual richness of phenomenal transparency in architecture, an effect produced by the careful arrangement of surfaces. The literal transparency is solely based on the characteristics of the material glass, in which one can see beyond its surfaces. Phenomenal transparency is based on organisational complexity where opaque and transparent surfaces are arranged in such a way that they imply depth and different interpretations as seen in the combination of the opaque concrete materials with the transparent white glass.
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4
34
Composition Exploded Perspective
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3D Views
Construction Detailing
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37
3D Views
Internal Materiality and Texture
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3D Views
Internal Materiality and Texture
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3D Views Final Renders
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3D Views
Final Renders
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Filtration
Linguistic and Philosophical Definitions Linguistic Definition of Filtration • The
process of filtering Any substance which a liquid or gas is passed to remove suspended impurities or to recover solids Any of various analogous devices for eliminating certain kinds of light rays. S o m e t h i n g t h a t f i l t e r s b y r e m o v i n g , b l o c k i n g , o r separating out certain elements.
Philosophical Definition of Filtration Filtration regarding philosophy can be defined in relation to Donald Broadbent’s “filter theory.” This theory suggests that people make choices through a series of filters as an informationprocessing framework. When the choice is more important, so is the effort and filtration. Typically, these more significant selections regard our friends and family. It is proposed that sensory channels process incoming signals in a linear sequence of stages. First is a preliminary scan of data in which very basic physical properties of the stimulus are extracted. Then, the information is filtered and the channel selected for attention is the one containing the information most promising for future processing.
References: Frearson, Amy. 2013. “Dear Ginza Building by Amano Design Office.” Accessed September 24. https://www.dezeen.com/2013/09/24/dear-ginza-building-by-amano-design-office/.
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IMAGES top to bottom: Figure 1: Dear Ginza Building front facade. Figure 2: Facade structure. Figure 3: Faceted aluminium design. Figure 4 and 5: Colour change depending on season. Figure 6: Filtered light for interior decoration. Figure 7: Double skin structure.
The Dear Ginza Building (seen in Figure 1) in the Ginza District Tokyo, Japan is a store and office building designed by Amano Design Office. The building features a faceted aluminium façade in a similar structure to a crumpled-up sweet wrapper (seen in Figure 2). The Dear Ginza Building is nine-storeys high to house small units. While the ground floor is glazed, the other levels are concealed behind a double-layer façade that is comprised of a perforated metal exterior and a clear glass interior. Computers were used to produce the irregular faceted aluminium form to avoid arbitrary forms and to approximate forms in nature, then the architects added a floral pattern to soften the appearance and balance the impression of the façade; to stop it from becoming too edgy (seen in Figure 3). The architects had a goal to attract as many people to the street as possible. The client wanted the building to be gorgeous, but to also have a “slight feeling of strangeness” that would attract them to the
Filtration
Architectural Meaning building. The architect thought that the views from the inside were useless since the outside scenery is “hopeless,” therefore a double skin structure was implemented. This consisted of glass curtain walls and graphically treated aluminium punched metal. Special lights were installed behind the metal panels, which are programmed to change colour depending on the season, swapping between shades of red, blue, and green (seen in Figures 4 and 5). The light is filtered inside the building and has become a part of the interior decoration (seen in Figure 6). It has made to need for window treatments such as blinds or curtains redundant. In addition to this, the double skin meant a reduction of air conditioning load and the need to clean to glass.
however, they all fit into a standard size. To avoid being too bulky, an extremely lightweight structure was required as well as caution to detail. The passersby are entertained through the coloured LED upper light with its different programming depending on the current season, which is located inside the double skin (seen in Figure 7). Due to the building’s fresh and young vibe, expected tenants included a beauty salon and aesthetic hair salon. In conclusion, the Dear Ginza Building demonstrates how filtered light is not just the result of the structure of the building, but is something that can be implemented into the interior design and decoration of the building to create a more intimate atmosphere.
An excellent material yield was created through the use of computing the design to create the individual aluminium punch panels. They are irregular with different angles and shapes,
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Light as Order Light is the Revolation of Geometrical and Natural Order Rachel Stuppos / a1668727