L UMINOUS LIGHT BY ROSARIA TRIPODI
D IRECTORY
COVER
P1
DIRECTORY
P 2-3
PLAN/ACCESS & MOVEMENT
P 4-5
ELEVATIONS & 3D VIEWS
P 6-7
SHADE & SHADOW
P 8-9
STUDY OF LIGHT
P 10-11
LUMINOSITY
P 12-13
SPACIAL DIAGRAMS
P 14-15
PLAN, SECTION & ELEVATION
P 16-17
AERIAL & GROUND VIEWS
P 18-19
3D INTERNAL VIEWS
P 20-21
REFLECTION
P 22-23
P LAN / A CCESS& M OVEMENT
E LEVATIONS
&
3 D V IEWS
S HADE
&
S HADOW
S TUDY
OF
L IGHT
BOTH IMAGES TOP AND BOTTOM SHOW ‘MATHS LAWNS’ BETWEEN 8AM AND 12NOON. WHERE IT IS EVIDENT THAT THE SUN RISES FROM BEHIND THE BARR SMITH LIBRARY AND ONLY COMPLETELY LIGHTS UP THE LAWNS IN THE AFTERNOON. ALL BUILDINGS LOCATED ON THE SOUTHERN SIDE SEE THE SUN FIRST. WHERE THE NORTHERN-SIDE BUILDINGS ARE SHADED.
THE ABOVE IMAGE SHOWS THE SHADOWING OF WEATHER COVERS THE BUILDINGS. IN WINTER TH OF THE UNIVERSITY OVER T
THE BELOW IMAHE SHOWS DIRECTLY HOW THE SU RECTION, THIS MEANS THAT THE SOUTHERN SID
THE MATHS LAWNS, CREATED WHEN STORMY HE CLOUDS FLOAT IN FROM THE NORTHERN SIDE THE BARR SMITH LIBRARY.
UNSHINE GLOWS FROM THE NORTH-WESTERN DIDE OF THE MATHS LAWNS ARE LIT DIRECTLY.
THE TWO IMAGES, ABOVE AND BELOW ARE EXAMPLES OF THE MATHS LAWN FROM 6PM AND MIDNIGHT. THE CLOUDS AND SUN BOTH HEAD EAST. WHILE THE UNIVERSITY HAS INSTALLED LIGHTING TO BRIGHTEN THE AREA WHEN DARK. THIS WOULD MAKE IT ACCESSABLE ANY TIME OF DAY.
The term ‘Lu of an object in the brightness o
L UMINOSITY
Two philoso Luminosity. looking at it. Th nosity than if A distant, but
The other p emitted by a pa x-ray etc). The t
Zaha Hadid’s projects are second to none. She design It is known that through her works, she developed fr es of light. The Vitra Fire Station (Weil am Rhein, though the edges of the interior luminai Hadid’s work then transforms and evolves. She tak took inspiration from the public transport system and concret The process of sharp lines began to diminish onc turning point in Had Moving on from simply experimenting with mater Railway Station (Innsbruck, 2007) for example, was glacial moraines and ice formations, Hadid has sig scape but has features of the local landscape embedd
This development is now making history, and beco
uminosity’ was first used by astronomers to determine the distance and brightness space (particularly the light given from stars). Luminosity is still used to describe of an object. However, ‘Luminosity’ is now more commonly used to describe light in a particular ‘luminous’ state, glowing or shining through an object.
ophical meanings linked to ‘Luminosity’ include: Stellar Luminosity and Spectral y. Stellar refers to obtaining a general idea of an object’s luminosity by just simply he general idea discusses that if it appears bright, then it must have a higher lumiit were dim. However this idea can become deceptive as it is not always the case. t very energetic object can appear dimmer to us, than a lower-energy object that is closer to the eye. philosophical meaning of Spectral luminosity, refers to how much energy is being articular object, in all ways in which it radiates light (whether it is visual, infrared, term Luminosity is applied to all wavelengths, regardless of where they lie on the electromagnetic spectrum.
ns specifically around natural light and is world-renowned for the way light encapsulates her building designs and illuminates the interior. rom her smaller designs where she would use small minimal light lines, to her later major skyscrapers which encapsulate huge abundanc1993) was her first building. She designed this station using non-parallel slabs of concrete, which created a harsh but thin materiality. Alires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. kes her love of sharp lines and concrete, to then design the Strasbourg’s Hoenheim-Nord Terminus and Car Park (2001). It is here that she d became fascinated by the white road markings and converted them into white linear diffuse luminaires—either integrated as strips in the te roof or as tilted poles for the car parking spaces. She used her surroundings and building design purpose to inspire her thought process. ce Hadid became experimental with fluid lines and free-forming sculptures. The Phaeno Science Centre (Wolfsburg, 2005) was a decisive did’s lighting imagination. The windows and luminaires in the building’s surface share the same form, creating a holistic design approach. riality, Hadid begins expressing more within her works. Her designs further encapsulated light and luminosity within them. The Nordpark first to initiate a new period of light and fluidity. Here, light is not absorbed by concrete but is instead reflected by glass. Inspired by local gnificantly increased the reflectance of her surfaces for stunning mirror images. Therefore the structure does not stand isolated in the landded in it. While moving toward and around the station, complex mirror images stimulate the viewer’s perception. Illuminated at night, the station radiates an energetic glow. oming her well known art of light appreciation. Through this, and all of her previous projects, she has traced a remarkable path from fragmented light lines to a luminous fluidity by day and night.
S PACIAL DIAGRAMS
The below mode structure to experi shards of glass extrudi
STRUCTURE 1
The above model has been designed using two cubic forms, one smaller underneith, and one larger ontop. These are mad eo to allow users to experience the visual aesthetics of the design. The cubic structures have circular cut outs on particular side enters the structure, and creates a beautiful luminous amiance.
el has been designed also using a similar transparent material, which allows for light to enter, and for viewers and users of the ience the ambiance created from the light. The roof is designed in the shape of a dome, where each panel has its own unique ing from the surface. These shards also add to the design, to allow light to enter the interior and create an illuminating affect.
out of grey transparent glass, es. These cut outs ensure light
STRUCTURE 2
STRUCTURE 1 - PLAN
STRUCTURE 1 - ELEVATION
STRUCTURE 1 - S
STRUCTURE 2 - PLAN
SECTION
STRUCTURE 2 - SECTION
P LAN / S ECTION / E LEVATION
STRUCTURE 2 - ELEVATION
STRUCTURE 1 - AERIAL VIE
STRUCTURE 1 - GROUND V
EW
STRUCTURE 2 - AERIAL VIEW
VIEW
STRUCTURE 2 - GROUND VIEW
A ERIAL & G ROUND V IEWS
3 D I NTERNAL V IEWS
STRUCTURE 1 - INTERNAL VIEW
STRUCTURE 1 - INTERNAL VIEW
STRUCTU
STRUCTURE 2 - INTERNAL VIEW
URE 2 - INTERNAL VIEW
Reflective facades are believed to be th glass architecture, many within the m as his trademark mullions to break better human world, glass and metal in architecture has shi The American architect Frank Geh um Bilbao in 1997. While the con has turned into an urban jewel that k structural form is the key successful ance, Frank Gehry has not only bro
The new Australian science facility, the The architects Woods Bagot erected a
What these buildings are creating
Furthermore, the interest in complex shimmering facades have also superse mirror effects seem to evoke enough
The definition of reflection means a body of light or heat, bouncing back (or throwing back) and returning without being absorbed. It often bounces back onto another object. The reflection can be of an image, surface or being, where light would imitate the object in the form of a ‘reflection’. In inorganic nature, reflection is the process of things reproducing, under the influence of other things, traces or imprints of the things exercising that influence; in organic nature, reflection is an active process, such as in the adaptation of animals to their environment or the irritability of plants and other organisms. Reflection is one of three “logical acts of the understanding by which concepts are generated as to their form”, the other two being comparison and abstraction. Reflection is defined as “the going back over of different presentations, how they can be comprehended in one consciousness.” Reflection, comparison, and abstraction are “essential and general conditions of generating any concept”.
x reflection patterns has swept aside brutalism with its raw concrete dualism of dark voids and light surfaces. These eded Kahn’s monumentality, where the material’s purpose is primarily to cast a shadow. Neither shadows nor simple h attraction for our spectacle-oriented society today. Therefore, new landmarks will continue to reach for innovative combinations of material and form to create brilliant veils and a bright urban future.
R EFLECTION
he future in architecture, changing and evolving in positive ways. Even as modernism promoted the transparency of movement were conscious of the monotony of large glass facades, with even Mies van der Rohe using elements such k up his facades. Accompanied by the belief that light and brilliance could help in creating iconic architecture and a have been innovatively transformed and maneuvered to create crystalline images. As a result, the locus of meaning ifted from the internal space-form towards the external surface, leaving more buildings as an idea of art and beauty. hry transferred this aesthetic of brilliance from glass to metal with the titanium cladding of the Guggenheim Musennotations range from a ship for the larger form to fish scales regarding the reflective panels, the building as a whole kicked off numerous urban redevelopments with its iconic signature. Many an aspiring metropolis assumes that the l factor in “Bilbao effect.” However, with the sparkling light qualities of the titanium sheets and its changing appearought a dynamic composition of forms to Bilbao but reinforced his design with a distinctive, dynamic image which varies with every cloud and sunbeam. e veil has even fulfilled the task of protecting against the harsh sunlight by using individually designed steel shields. an urban icon with enveloping the entire building with aluminum sunshades, each individually computer modeled, for the South Australian Health and Medical Research Institute in Adelaide. g, are not only external effects, but also re-enforcing the internal beauty, as the light enters the buildings in different ways, through reflection and luminosity.