G1.Rushui ping.RepII.18.pdf

light is nature Rushui Ping || REP 2-18| structures of light

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CONTENT

PLACE site plan ambient lighting access and movement use partens porprotion system& 3D view shadow case Study-Luminosity

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IDEA 4 5 6 7 8 9 10

idea1 idea2 idea3 case Study-reflection

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MATERIAL

FORM final design section elevation Exploded floor plan and movement Case Study-Opacity

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20 21 21 22 23 24

aerial view ground view interior view day interior view night materials construction detail Case Study-filtration

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Site Plan

NORTH

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Ambient Lighting

Day

Night

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Access and Movement

Barr Smith Library

Ingkarni Wardli

Engineering and Math. Sciences

The Bragge

Mclecular life Sciences

Santos Building

NORTH

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Use Patterns

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Proportion System & 3D Views

Aerial View

Ground View

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Shadows Summer

winter

9AM

9AM

12AM

12AM

3PM

3PM

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Case Study-Luminosity The definition of light can be divided into two aspects: language and astronomy. luminosity can be identified lightness or brightness. Luminosity in astronomy is how bright an object appears to an observer. Apparent brightness depends on both the luminosity of the object and the distance between the object and observer, and also on any absorption of light along the path from object to observer.

Luminosity and illumination from a philosophical perspective can be defined as the action of illuminating or the state of being illuminated in either a spiritual or intellectual enlightenment. With many different definitions of luminosity established, what makes this principal important to architectural design. Luminosity is a major key in experiencing a space and delivering the experiences to a person. In terms of physical luminosity (visible light), it is the only thing that allows us to perceive a design though our sen of sight. The light and the absence of light is what creates meaning in an architectural design, we have evolved to associate light and darkness with emotions and characteristics. Designed intentional use of light can be associated with more positive emotions that those associated with darkness and the absence of light. Light can be used to direct attention, and highlight something that is important. This form of applied illumination is the only difference between the visible light that allows us to see our surroundings, and the light that is being emitted from a source.

We sense the features and distances of objects through the reflection of light on objects. Light expresses space in the building or some kind of perception is sacred, mysterious. The use of light occupies a rather sacred position in the interior decoration of the church. This is true from the medieval church to the internal treatment of modern churches.

Le Corbusier intends to make the space easy to think and think. He took a way to open the hole in the facade, through the conical window between the sandwich walls to enhance the light in the chapel. Each wall is illuminated

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by a square window of varying sizes, together with a plain whitewashed wall that gives the wall a bright character that is interrupted by more intense direct light. On the wall behind the chapel’s pulpit, the lighting effect produced a speckled pattern, like a starry night sky. The effect of light evokes a certain expressive and emotional trait that is born with a strong feeling of religious activity.

Kang said: “Structure is the creator of light.” In his view, choosing a structure is synonymous with the choice of light, to give space a good influence, and let light become part of the architectural order. In the Golden Bell Art Museum, Kang practiced this very well. And when the structure and light are related, the light will appear full of power. How to control natural light is especially important in the design of such buildings as art galleries, and it is often a major challenge for architects. It is necessary to ensure the indoor lighting needs, to add bright colors to the artworks, and to ensure that no destructive ultraviolet rays shine on them. In the Fort Worth area of Texas, where the Golden Bell Art Museum is located, the sun is full and strong, which is a problem facing Kang. In Kang’s ideal, the museum should be a space defined by the unity of light and structure. In the Golden Bell Art Museum, Kang designed a structure of a kind of arched roof and allowed light to enter from the skylight. In fact, this arch-like non-arch structure tends to bend the beam more evenly across the column. The curve determined by the structure is a rotation curve

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Design Idea 1

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Light is nature

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Design Idea 2

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Light is safety

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Design Idea 3

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Light is advanture

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Sometimes, we need to break the routine, do some adventures, pranks, or bored matter to get unexpected results.

Case Study-Reflection Modernism has increased the transparency of glass buildings. Many people in the movement are aware of the monotony of large glass walls, and even Mies van der Rohe uses elements such as his iconic mullion to break his facade. But in the years that followed, countless uniform structural glass skyscrapers have emerged and boring urban residents. In this regard, the unconventional reinterpretation of the external wall has aroused people’s interest.

A reflection is a phenomenon that arises from or is the consequence of something else. Light reflected by an object is light that the object throws back without absorbing it; the object is not the source of light. Similarly, an image seen as a reflection in a mirrored surface has an intimate relationship with but is not the source of the image itself.

Reflection is intimately tied up with the concept of human thought. The English philosopher John Locke used reflection to describe ‘the notice which the mind takes of its own operations’, in other words, thought about thought.For Hegel, on the other hand, reflection he is the way by which we find the essentiaf and significant in things (thoughts, experiences).In this sense, much as light reflected from an object is intrinsically linked to the light that hit it but will undergo a change in its intensity,colour or direction,eflection can only ever be a part of the thing from which it has arisen, a simplified indication of the presence of this thing but without any explanation of the thing’s deeper processes or origins.

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With the belief that light and brightness can help create iconic architecture and a better human world, glass and metal have been innovatively transformed into creating crystal images. As a result, the meaning trajectory in the building has shifted from the internal space form to the external surface.

Mies van der Rohe abandoned the rectangular tower in the proposal of the Berlin Glass Skyscaper and switched to a free-form glass that absorbed this view. In an interview in 1968, Mies explained his monotony doubts about the city’s specular effect on glass: “Because I am using glass, I am eager to avoid the reflection of too much light, so I broke the outer walls slightly in the plan. Light can fall on them from different angles.

The glass curtain wall of Herzog&de Meuron in Hamburg’s Elbphilharmonie refers to Scheerbart’s dream glass culture and indirectly to the golden glittering skin of Hans Scharoun’s Berlin Philharmonic.

The glass elements that bend inward and outward distorted the perception of the city, water and sky.

They stand in stark contrast to the international style of uniform flat glass curtains. The environment is not seen as a clear mirror image, but undergoes a process of modification and reproduction.

Due to the curve of the balcony, the building reflects the dots or lines of the bright stripes. In a blue or diffuse sky, a unique curve reflects light into a bright line, similar to horizontal lines in the automotive industry design. In the direct sunlight, bright luster appears, evoking a jewel-like luster. In addition, the vertical and horizontal convex curves of many individual glass elements enhance the shiny twisted reflection of the sky. Overall, the curved façade and its printed dot screen display a fluid image of the birth, expressing a close connection with the surrounding water.

In 1997, Frank Gehry transferred the titanium coating of the Guggenheim Museum Bilbao from glass to metal. Although connotating the scales from larger ships to reflectors, the entire building has become a city gem, with many iconic signs initiating many urban reconstructions. Many aspiring metropolises consider the structural form to be a key success factor for the Bilbao effect. However, with the shiny quality of the titanium plate and the ever-changing appearance, Frank Gehry brought dynamic composition to Bilbao, but also enhanced his design by unique dynamic images. that dynamic composition chang by clouds and sunshine.

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final design

3D model in context

Section BB

Section AA

Plan 1:200

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section & elvation

Section AA

Section BB

Southern Elevation

Westhern Elevation

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Exploded

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Floor plan & movement

Ground Floor 1:200

Exhibition Ramp

First Floor of Negative 1:200

Elevator Reading Seminar Storage Toile Movement

Second floor of negative 1:200

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Case Study-Opacity Linguistic

Opacity is the noun derived from the adjective opaque.Opacity is the state of being opaque which means not transmitting light, impenetrable to sight, obscure;not lucid.The origin is French opacité from Latin opacitas - tatis.Alternative meanings from the word opacity is obscurity of meaning, in addition, obtuseness of understanding

Philosophical

the poem “raindrops” by Deborah Dambani uses the word opacity as something one can’t see through and also compares it to clarity being the opposite. “i bring clarity to opacity, like this stagnant pool mirror overlaying the earth” in this case opacity is linked to a state of mind as clarty means the quality of being clear, coherent and intelligible.

Light originates but man does not need to know where.Lighting is not an end in itself.But its meaning is to create a feeling of the infiniteness of eternity.” This quote by Aarno Ruusuvuori can describe how opacity appears but also many other ways that light can be seen indirectly as if reflected of multiple surfaces before illuminating a space. Scandinavian countries Norway, Sweden, Denmark and Finland share a similar light environment with long dark winter days and light entering buildings at a sharp angle, ultimately creating long shadows indoors and outdoors. White surfaces have been used by many architects in this environment to counterbalanceA the subdued light thatis unique to the Scandinavian countries.

Henry Plummer, professor at the University of Illinois and author of Nordic Light: Modern Scandinavian Architecture, has studied Nordic light with photo journeys and writing of analytical and poetic style.Plummer believes that white surfaces are also linked to the beauty of the snow- covered landscape in the Nordice countries in a interior brightness due to its high reflectance ddition to maximizing

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Denmark’s medieval churches feature this white interior architecture but a modern-day example is the Dybkær church by Regnbuen Arkitekter.Throughout different times of the day alsolight presented within this building seenas, a glancing wash of light, a shower multipleof light and, with textured walls, animated light Bagsvæed Church by Jorn Utzon utilizes white architecture in a similar way and he mentioned that “light isthe most important feature of the church .”and it ...produces an intensity of light always greater than that outside.away Alvar Aalto introduced the concept of an all-white interior for the Paimio Sanatorium in the 1930’s.In 1972 thesnowNordyjllandd Art Museum achieved Nordicpeak with the concept of an all-white maximizinginterior Dramatic light and shadow that produce changing and moving patterns have also been linked to Nordic built environments.Time concepts are present in some religious buildings, and can appear in “., material textures specific glass features and buit volumes as they change over time whether it be in a day or from season to season.

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The Pirkkala Church by Kapy and Simo Paavilainen presents dramatic light and shadow in a time sequence nozonLights filters through the side window similarwith glazing bars and projects this thelight and shadow play on the blank white altar wall.Ruusuvuori believes 9 3 outside.”away fro the liturgical services in a religious space and prefers opacity that the harsh sunlight can take and indirect light

aerial view

Aerial view in Night

Aerial view in Day

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ground view

Ground View in Night

Ground View in Day

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inerior view

Second Floor of Negative

First Floor of Negative

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Second Floor of Negative

First Floor of Negative

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inerior view

Second Floor of Negative

First Floor of Negative

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Materials

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Construction Detail

Wood

LED Lighting

Soil Waterproofer

Concrete Pipe Slab

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Case Study-Filtration filtering light is seen in each of the French architect and artist Le Corbusier’s three sacred buildings;the Chapel of Notre Dame du Haut in Ronchamp, France, the Monastery of 10 Sainte Marie da la Tourette at Eveux- at Sur’L’Arbresle in Franceand, the in tw flo Church of Saint Pierre, in Firminy France.In many religions, light has been related to divinity and holiness.Many sacred buildings incorporate this light, for example the Romanesque apse with a glow, the Byzantine mosaics with golden shimmersand gothic stained glass creating luminous walls.Th la With this idea of linking religion and fea light, both light and colours haveth been sensitively integrated into Le thr tar on Corbusier’s sacred buildings

Linguistic

FILtration is the noun derived from the world filter which is a screen or attachment for absorbing or modifying light. it’s nore commonly known in relation to water purification and tratment. the origin of the word filter is french filtre from medieval ‘felt used as filter’, from west germanic.

Philosophical

Filtration can also be described as a screening from experience and emotion.An excerpt from the poem ‘Old Town Elegy’ by Geoffrey Brewer: Our little world teamed with action, unscreened, with no bar Of health and safety;adventure without filtration...” This excerpt states that the world isn’t filtered and therefore one can experience it

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Henery Plummer looked at Le Corbusier’s work too with his fascination and study of light in architecture.Plummer thinks that the main focus of light for the Chapel of Notre Dame du Haut at Ronchamp is the continuous solar evens throughout the day and years.Light filtering through the side of the chapel where a void is painted red increases the intensity of this colour.Plummer connects this

red morning light to the idea of human birth.The harsh glow that filters through the 10cm horizontal crack at the wall and roofs meeting gives the effect of the two components being separated as if floating.At sunset, a warm glow appears at another side of the chapel and filters in through an opening.

The Monastery of Sainte Marie da la Tourette at Eveux-sur L’Arbresle features a reclinear geometry throughout.The building has corride with one wall exposed to light and fa one of the four cardinal directions I niswall has different window compositions playing with the rhythm of light and shadow.Plummer believes that the changing window sequence with compressing and expanding sections of light creates flowing rhythm to provoke thought In addition, he compares the monastery’s light and shadov effects (being a modern approach) to a traditional church that would normally feature columns of an equal placing

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The Church of Saint Pierre, in Firminy, France has three main light changes over the course of the day.

Firstly, light filters in through an eastern window that produces tiny dots of light on the floor These dots later turn into waves of light that rise and fall with the changing angle of the sun.The waves of light were not expected for this building but appeared due to the construction of some materials.

The waves of light disappear around noon and two angled beams of light shine through the darkness of the room from the ceiling.These beams of light are softer on an overcast day and sharp on a bright clear day The warm sun at sunset starts to create a goldern rectangular beam of light on an interior wall

Sacred buildings designed by Le Corbusier reflect cosmic power with changing light patterns over thie course of the day, month and year.Layers of light areproduced within these building from diferent struictural elements ol uil different shapes and sizes.The elements utimately relate to the cosmic andits light at the current time

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