A LINEAR DISCOVERY
WHERE SHADOW AND LIGHT MEET THE STUDENTS OF THE UNIVERSITY OF ADELAIDE RENAE SCHULZ A1703673 REPRESENTATION II 2018
CONTENTS
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04
06 Scale Study
08 Light Study Luminosity
Site Analysis
Access & Movement Social Character Shade Study
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Design Concept 2
Design Concept 3
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Final Design In Context
Final Design Access & Circulation Exploded Axonometric
Final Design Plan Elevation & Section
Final Design Section
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Final Design Interior Quality
Final Design Green Roof & Glass Strip Construction Detail
Light Study Opacity
Light Study Filtration
Design Concept 1
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16 Light Study Reflection
SITE ANALYSIS
AERIAL PERSPECTIVE OVER BARR SMITH LAWNS
LOCATION & USAGE
The Barr Smith Lawns are located in the north eastern part of Adelaide University just off Frome Road. This area is populated amongst students, especially engineering and maths students. It’s a popular path for students entering the university from the east side.
The space is well lit during the day time by the sun and deciduous trees lining the grassed areas provide shade in the summer time. Night time features lighting along most buildings creating an ambience, lighting the path for pedestrians passing through the space.
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SITE ANALYSIS
PERSPECTIVE OF BARR SMITH LAWNS
NIGHT TIME / DAY TIME AMBIENCE PHOTOGRAPHS
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ACCESS & MOVEMENT / SHADE STUDY
MOLECULAR LIFE SCIENCES
THE BRAGGS SANTOS BUILDING
ENGINEERING & MATH SCIENCES
INGKARNI WARDLI
BARR SMITH LIBRARY
PUBLIC MOVEMENT BARR SMITH LAWNS NOT TO SCALE
SUMMER SHADE STUDY
9AM
12PM
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3PM
SOCIAL CHARACTER / SHADE STUDY
SOCIAL CHARACTER PHOTOGRAPHS ON SITE
WINTER SHADE STUDY
9AM
12PM
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3PM
SCALE STUDY
THE STUDY OF PROPORTIONS Proportional systems in relation to Architecture are important and repetition is achieved by using a system of proportions that are repeated in design and the building at different scales. This was first introduced by the Vitruvian Man by Leonardo da Vinci. He compared and found relationships between different parts of the human body all corresponding and proportional creating an ultimate beauty. A scale study on the Barr Smith Library above shows a proportional relationship between the main elements. By dividing the key elements with circles corresponding to the columns and the entrance there are two major components on each side diving the elevation. The space between is smaller than the two sides giving a pattern, big, small, big.
By overlapping two circles of the same dimensions over the window its evident these proportions are one unit wide by two units high. The same can be seen when rotated 90 degrees on the detail beneath the window showing the same proportions. A square from the middle of the left column across shows exactly double. Shifting the top circle to the top of the column line provides a proportional system the same as seen in the elevation however rotated with the same pattern, big, small, big. This pattern is transferred onto the main entry. Between the major columns up to the top pitch, the same circle both leave a smaller gap between the two, the same proportions as seen before. Smaller again the main door has a similar pattern.
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SCALE STUDY
PROPORTIONAL ANALYSIS ON BARR SMITH LIBRARY FRONT ELEVATION
Proportional comparison on window
Proportional comparison between column height
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Proportional comparison on main door
LIGHT STUDY
1
THE STUDY OF ZAHA HADID
LUMINOSITY: noun, plural lu·mi·nos·i·ties The brightness of a light source of a certain wavelength as it appears to the eye, measured as the ratio of luminous flux to radiant flux at that wavelength. The Latin root is lumen, meaning “light.” ‘Light’ is one of the most univeral and fundamental symbols. There is a spiritual symbolic for the definition of light representing life and everything that is pure. Light is a source of goodness and an illumination of intelligence and to seek greater knowlege.
As seen in Zaha Hadid’s work is a graduation from the fragmentation of light to the fluidity and continuity of light. Some of her earlier work such as the Vitra Fire Station, pictured to the right features sharp, linear lines and angles with an overpowering use of concrete, creating a sense of stability and weight. She uses light to intensify and differentiate between inside and out, however creating a soft diffusion between the two. Light strips enhance and illuminate the linear pattern of the structure lifting it from the ground and creating a lightness.
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LUMINOSITY
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Lighting in Architecture has the power to convey emotion, energy and stillness. Allowing natural daylight to flood the building provides a sense of reality with the outside world. It takes it from a structure on the land to a structure with the land. Absorbing materials provide a sense of security and heaviness however using light reflective materials lifts the structure to create a weightlessness. Zaha Hadid’s designs brings both The MAXXI Museum as seen in the image on the left, the light and the shadow as a play on experience and combines fluidity through daylight and lighting. The influences the way the building is perceived. building filters sunlight for a soft luminance on the 1] MAXXI Museum, 2009, Rome / Italy. Image by Iwan Baan 2] Vitra Fire Station, structural curves of the interior. Diffused light spills 1993, Weil am Rhin / Germany. Image by Christian Richters 3] Vitra Fire Station, Weil am Rhin / Germany. Image by Helene Binet 4] Vitra Fire Station, 1993, through the building providing a calm complement to the 1993, Weil am Rhin / Germany. Image by Helene Binet 5] Nordpark Railway Station. 2007, dynamic, intense black and white contrasted material. Innsbruck / Austria. Image Wikimedia user Hafelekar licensed under CC BY-SA 3.0 6] Over time she moves from light absorbing materials such as concrete to light reflecting materials such as glass as seen in the Nordpark Railway Station above. The curvature of the forms infused with the reflection of the daylight brings together structure and landscape. There’s an energetic glow when illuminated at light and the reflections provide a larger sense of scale.
Apenzoo Station. Image by Helene Binet 7] Hungerburg Station. Image by Helene Binet
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DESIGN CONCEPT 1
SKETCHING ‘DISCOVER’
CREATING A FORM ABOVE / BELOW
PERSPECTIVES AND ON SITE PLACEMENT
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DESIGN CONCEPT 1
1 ept
n owi
n sh
io Sect
onc gn C i s e gD
THE STUDY OF THE UNKNOWN
Once you ‘discover’ it can be a whole new change, a new world, a new and different insight. Sketching this meaning of discovery resulted in a change of above and below ground and a sense of not knowing until the ‘discovery’. Initial sketches was the idea of looking backwards onto something extraordinary, amazing and awe inspiring light as you make a journey through an otherwise dull space.
In section the user enters through a dark narrow hallway down stairs and is slowly exposed to more light with clear view of the exit. Upon exiting the user can turn around and make ‘the discovery’. An open bright exciting space with natural light and reflections. The drawing above shows in section the journey to the discovery for the public with the space above ground light filled while underground stays dark.
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DESIGN CONCEPT 2
SKETCHING ‘DISCOVER’
CREATING A FORM
PERSPECTIVES AND ON SITE PLACEMENT
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DESIGN CONCEPT 2
Perspective Showing Access
THE STUDY OF THE UNFOUND
Discovery means finding something unfound before. Discovering something unexpected or not what you thought you were trying to find. This design idea incooperates different shapes and space to explore each with completely different characteristics.
flooded by natural light as they follow directly the sun path.
The perspectives to the left show a feeling of space through this second design concept. Perspectives to the left, shows a descending staircase through a narrow tunnel with direct The user is to enter and expect the unexpected, not sunlight above with no exit. The other shows the staircase knowing what they’re walking into but discovering along leading to a low point and ascending again to exit through the way. The paths change levels and are constantly the other end again with direct sunlight.
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DESIGN CONCEPT 3
SKETCHING ‘DISCOVER’
PERSPECTIVES AND ON SITE PLACEMENT
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DESIGN CONCEPT 3
Per spe cti
ve
Sh
ow i
ng
Ov
era
ll S
ite
Lay ou
t
THE STUDY OF THE RELATED
Discovering one thing can lead to another to another all similarly related. Design concept 3 incoporates the idea that discovery is endless and it can continue. That is achieved by a pattern of repetition to the above ground structures. Pyramid in shape, these will allow full penetration of light no matter the time of day. These
sturctures will house the staircase to the lower level where it will be dark. The only light source are the pyramids. When the user comes across a staircase they discover the light and also discover the pyramid to higher ground. This is repeated multiple times through the site of the Barr Smith Lawns.
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LIGHT STUDY
1
THE STUDY OF ELBPHIHARMONIE &
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REFLECTION: noun, ri-flek-shuh-n The act of reflecting, as in casting back a light or heat, mirroring, or giving back or showing an image; the state of being reflected in this way. The Latin root is reflexio meaning ‘bending back’. To ‘reflect’ universally means to look back at the past and realise what was compared to what is now. It’s a state of being to reflect.
THE SHAMRI
The use of light and reflections has only become evident in modernism promoting transparency especially with the use of glass in architecture. Many designers in this movement however are conscious of the monotony of large glass facades. In the years since however, countless urban glazed skyscrapers have emerged creating a new city. Glass and metal have been innovatively transformed, now creating crystalline images and a reflective city. The meaning of Architecture has shifted from the interior spaces to the external place and building of the site
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REFLECTION
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and the surroundings that make that location unique. As seen on the façade of Elbphilharmonie in Hamburg, Germany by Herzog & de Meuron shows a reflection of distorted water, sky and surrounding cityscape. The environment is not appreciated as a clear mirror image but as a process of modification and reproduction. Due to the curved surfaces, the building reflects clear light streaks similar to that used in the horizontal lines of the automotive industry. The curved façade evokes a liquid image expressing the close link to the surrounding water. This operates as a supernatural eye catcher compared to the brick structure below. The SAHMRI in Adelaide, Australia by Woods Baggot is a modern innovation of reflection and transparency in one. Designed to protect against the harsh sunlight, the SAHMRI is enveloped in diamond-shaped aluminium sun shades each individually computer modelled to fit. This structure was not designed to blend into the skyline of
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Adelaide however fits with the surrounding landscape and structures reflecting off distinct parts of the design. These sunshades are designed for optimal thermal and light efficiency, reducing heat load and glare while reflecting and distorting the city. The SAHMRI turns into a transparent masterpiece at night with the façade allowing interior light to emerge from the structure. Through the use of reflective materials it has taken the meaning of a building to a new level. There’s a new interest in complex façade forms have swept brutalism and its dark, raw concrete. In some way it’s looking to a bright future reflecting the past and creating a sense of lightness and full exterior focus. 1] Elbphilharmonie in Hamburg, Germany by Herzog & De Meuron. Image by Maxime Schulz 2] Elbphilharmonie in Hamburg, Germany by Herzog & De Meuron. Image by Laurian Ghinitoiu 3] Elbphilharmonie in Hamburg, Germany by Herzog & De Meuron. Image by Laurian Ghinitoiu 4] Elbphilharmonie in Hamburg, Germany by Herzog & De Meuron. Image by Frank Thiel 5] SAHMRI, Adelaide Australia by Woods Baggot. Image by Renae Schulz, 2017 6] SAHMRI, Adelaide Australia by Woods Baggot. Image by Renae Schulz, 2017 7] SAHMRI, Adelaide Australia by Woods Baggot. Image by Renae Schulz, 2017
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FINAL DESIGN
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IN CONTEXT
OVERALL SITE AERIAL PERSPECTIVE
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ACCESS & CIRCULATION
FINAL DESIGN ON LOCATION OF BARR SMITH LAWNS NOT TO SCALE
MAIN ACCESS POINTS OF FINAL DESIGN
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EXPLODED AXONOMETRIC
GRASS TOP ROOF
GLASS WINDOWS BETWEEN WALL AND CEILING
SEMINAR ROOM 1 & 2
2x TOILETS
SMALL LIBRARY & READING FROOM
EXHIBITION SPACE
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PLAN
A
Seminar Room 1
B
Seminar Room 2
UNDERGROUND 1ST FLOOR PLAN 1:200 A
Exhibition Space
Toilet
B Toilet
Exhibition Space
Small Library / Reading Room
UNDERGROUND 2ND FLOOR PLAN 1:200 The exhibition space and small library / reading room features a rotating wall, able to open and close depending on the use of the space. This will allow a larger exhibition to take place if need be and light to flood the small library.
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ELEVATION & SECTION
SOUTHERN ELEVATION 1:200
SECTION A 1:100
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A LINEAR DISCOVERY
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SECTION
SECTION B DAY / NIGHT 1:50
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A LINEAR DISCOVERY
EXHIBITION SPACE INTO SMALL LIBRARY & READING ROOM
USING LIGHT TO DIRECT THE USER THROUGH SPACE
When we ‘discover’ our path of research is changed. The discovery will influence the next direction we take. It will lead us through a series of moments. Through the use of sharp, linear geometry and angles, a direct use of light has been achieved. During the day it leads the user through the space attracting them around corners and ‘lighting the way’. It
influences the path the user takes, being able to discover the brightness and natural flood of the light. The exhibition space as seen above is large, with minimal features except the opening of long, linear skylights above. This creates a spectacle and will always be changing depending on the time of day and season. The use of concrete absorbs other light leaving a strong emphisis on the pattern created through above.
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INTERIOR QUALITIES
ABOVE EXHIBITION SPACE / BELOW SEMINAR ROOM 2
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GREEN ROOF CONSTRUCTION DETAIL
CONCRETE ENGINEERED TO STUIT GREEN ROOF INSULATION BOARD ROOF MEMBRANE DRAINAGE BOARD AND GEOTEXTILE FILTER SELECTED GREEN ROOF BUILD-UP
The green roof as shown above is located on all roofs of structure blending the structure into the surrounding grass area of the Barr Smith Lawns.
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GLASS STRIP CONSTRUCTION DETAIL
CONCRETE SLAB CEILING TO ENGINEER SPECIFICATIONS GLASS CHANNEL CLEAR WINDOW GLASS TO ENGINEERING SPECIFICATIONS
The glass strip to concrete wall connection is via a frameless glass channel and is located between ceiling and roof of all upper storey rooms creating a floating like ceiling and allowing an abundance of natural light.
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LIGHT STUDY
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THE STUDY OF WHITE SCANDINAVIA
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OPACITY: noun, oh-pas-i-tee The quality of lacking transparency or translucence: the state or quality of being opaque and the degree to which a substance is opaque; capacity for being opaque. The Latin root is opācitās, meaning ‘shade’. The word ‘opacity’ could also mean the quality of being difficult to understand or know about, especially because things have been intentionally kept secret or made complicated and as opacity is directly related to ‘transparency’ It is usually important in the study of selfknowledge and meta-knowledge.
Far north in the Scandinavian countries such as Denmark and Finland, light can resonate with scarcity during winter and abundance over the long summer days. Henry Plummer, a photographer and writer at the University of Illinois, interest lies within the effects light plays in the local beauty of nature and touching the human soul. Architects have played extensively with white surfaces counterbalancing the long winter darkness. A low sun position allows long shadows resulting in sunlight entering from the sides rather than above. Both Denmark, Finland, Norway and Sweden share these same light qualities.
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OPACIT Y
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White surfaces offer high reflectance maximising interior brightness however, Plummer explains whiteness is also related to the natural, snow covered landscapes.
Religious buildings reveal a wide variety of time-concepts, featuring characteristic light patterns during the morning liturgy, while others welcome the sunlight towards the end of the service at midday. While some architects prefer a harsh use of shadows the Tampere Church in Finland Käpy and Simo Paavilainen offer a more sudued approach to light, non distracting from the service.
The Dybkær Church by Regnbuen Arkitekter uses white as one of the most important features of the Church. This produces an intensity of light always greater than that of outside. With all walls being white, light is bounced around the room. This allows a dramatic shadow pattern and the transiency of light is a distinctive approach to light in the Nordic regions.
[1] Dybkær Church, Silkeborg, Denmark by Kim Høltermand (2018) [2] Dybkær Church, Silkeborg, Denmark by Kim Høltermand (2018) [3] Dybkær Church, Silkeborg, Denmark by Kim Høltermand (2018) [4] Dybkær Church, Silkeborg, Denmark by Kim Høltermand (2018) [5] HYVINKÄÄ CHURCH/HYVINKÄÄ, FINLAND by Tapio Koivula [6] HYVINKÄÄ CHURCH/HYVINKÄÄ, FINLAND by Tapio Koivula [7] HYVINKÄÄ CHURCH/ HYVINKÄÄ, FINLAND by Tapio Koivula
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LIGHT STUDY
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THE STUDY OF LE CORBUSIER
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FILTRATION: noun, fil-tra-tion The act or process of filtering. A transparent material (such as colored glass) that absorbs light of certain wavelengths or colors selectively and is used for modifying light that reaches a sensitized photographic material (also called a colour filter). The latin root is filtrātus filtered, past participle of filtrāre. ‘Filtration’ could also mean to distinguish the good with the negative eg. to filter the negative things from your life to sustain positivity.
Le Corbusier experiments with orientation, openings and textures ultimately creating architecture with daylight. The Ronchamp, built in 1954 uses filtration of light through the thickness of concrete to expose the interior to outside light in a directional manner. When the light enters the chapel it becomes a washed out, unearthly atmosphere. This creates expressive emotional qualities heightening the senses in line with the religious activities. The sporadic window placement on the walls and tapered window well amplifies the light within the chapel. On the wall behind the alter the lighting effects create a speckled
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FILTRATION
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pattern similar to that of a starry sky. These openings are complimented by larger frames emitting a flood of light.
allowed control over the volume of space and an overall goal of giving light a true meaning. Again through the use of light boxes, natrual light floods in and is designed in a way that will bring light to the alter on specific religious holidays such as Good Friday and Easter Sunday.
The Monastery of Sainte Marie de la Tourette built in 1960 at Eceux-sur-l’Arvresle have rectilinear geometry and embodies poetic forms similar to the Ronchamp. All corridors have an open side allowing a diverse light experience while these corridors are distinguished with different window arrangement. Each window again has an aperiodic, fluent rhythm. Another project is the Church at Firminy, 2006 where Le Corbusier wanted to embrace the miners and steel workers with the main material being concrete. This
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Filtering the light through specific openings allowed Le Corbusier to promote the importance and significance of light, creating intense directionality and giving light the true meaning it deserves. [1] Ronchamp by Le Corbusier image by Flickr user: elyullo [2] Ronchamp by Le Corbusier image by Gili Merin [3] Ronchamp by Le Corbusier image by Henry Plummer [3] Ronchamp by Le Corbusier image by Sebastian Bernardy [5]Church at Firminy by Le Corbusier by Richard Weil [6] Church at Firminy by Le Corbusier by Richard Weil [7] Church at Firminy by Le Corbusier image by Richard Weil
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