LUMENS
knowledge & discovery Samantha Godakumbura A1706973
01
02
PLACE: SITE INFORMATION
IDEA: DESIGN CONCEPTS
Plan Elevations Aerial Views Ground Views Site Analysis Access & Movement Study: Ambient Light Site Information
Spatial Diagrams Internal Views Aerial Views Ground Views Plan Section Elevation Form Generation
LUMINOSITY
REFLECTION
Case Study: Le Corbusier & The Trinity of Light
Case Study: Fondation Louis Vuitton, A Major Architectural Gesture
03
04
FORM: FINAL DESIGN
MATERIAL: DESIGN DETAILS
Plan Elevations Sections Aerial Views Ground Views Internal Views Three Dimensional Views
Structural Model Exploded Perspective/Composition Construction Details Internal Views
OPACITY
FILTRATION
Case Study: Whiteness in Nordic Countries
Case Study: From Expressive Dynamic Patterns to Diffuse Light
PLAN
Site Plan 1:2000
South Elevation 1:1000
North Elevation 1:1000
East Elevation 1:1000
ELEVATIONS
3D SITE VIEWS
AERIAL VIEW 2 Aerial Views
SHADOW ANALYSIS: Summer
9am Summer
& Winter
12pm Summer
3pm Summer
Ground Views
3pm Winter
9am Winter
12pm Winter
ACCESS + MOVEMENT
Pedestrian Movement Along Paths Shared Zone: Movement + Seating Area
AMBIENT LIGHTING: DAY
The Braggs building makes very effective use of ambient light, as light is mirrored within its reflective surface during the day. In the event of clear skies, the glazed surface of the Braggs reflects the blue skies. On overcast days, the clouds are geometrically reflected within the angled glazing. In addition to reflecting the surrounding landscape and sky, the Braggs building also reflects those across from it, distorting there images across its angled glazing.
AMBIENT LIGHTING: NIGHT
Viewing from near Frome road, the uplighting on the facade of the historic Barr Smith Library ensures that it is the main focal point. The reflective glazing of the Braggs appears transparent at night. Views from the lawns include seeing into the interior of the building, rather than of the exterior surroundings such as in the daytime. Starl difference in the Bragg’s use of ambient light from day to night: from reflective to transparent.
SOCIO CULTURAL QUALITIES
The Math Lawns are the vibrant outdoor hub of The University of Adelaide. Often used for showcasing the university’s clubs during events such as Open Day and Orientation Week, , the Math Lawns are a vast area of greenery typically utilised by students on a daily basis to eat, converse and congregate. With a view to both the Barr Smith library and Frome Road, the Math Lawns connect the heritage of Adelaide University to the public of modern day Adelaide.
Luminosity.
THE T RINITY of light
1. Related to light, ‘the natural agent that stimulates sight and makes things visible.1 2. Light is the radiance which emanates from a particular source; it is through its luminosity that we are able to see and perceive the world the way in which we do.2
The definition of the word luminosity has connotations of enlightenment, learning and inspiration. As light is what makes vision possible, it is the same element which enlightens us, aiding us in our search for knowledge, and even identity. It is therefore not surprising that luminosity can be interpreted as a quality which enlightens and informs. Luminosity provides the means to ‘guide, discover or reveal.’ The association of luminosity with knowledge and enlightenment has roots within its archaic meaning, which defines luminosity as the ‘spiritual illumination’ of the individual.
LUMINOSITY Church of Sainte-Pierra
Church of Sainte-Pierre
MEANING IN ARCHITECTURE Case Study: Le Corbusier & The Trinity of Light
Light and luminosity have long been associated with holiness and divinity, perhaps due to their connotations of purity. In Christianity, Christ is spoken of as ‘the light of the world,’ a saviour to the morally impure mankind. Although there is a clear distinction between divine and physical illumination, light is often seen in religion as a link to both spheres: heaven and earth. Light, having had generally been used in architectural form as a ‘tool of religious persuasion,’ has since become a force which acts to ‘visually resist and elude, erode and outshine’ the Church. Throughout history, each architectural era found a new way to express light. This can be seen through the glowing Roman apse, the shimmering Byzantine mosaic, and the luminous Gothic stained glass, all examples of how light has been perceived, molded and
expressed by generations of architects. Perhaps one of the most famous of these architects is Le Corbusier, whom, despite being a firm agnostic, had a strong desire to ‘open the soul to the poetic realms’ through his architecture. His Chapel of Notre Dame Du Haut involves an interaction with the continuous events of the solar cycle: the dawn sun provides illumination to the red painted alcove of the side chapel, causing it to appear a deeper hue of red. It has been said that the reddish morning light is analogy to human birth. Corbusier’s rectilinear Sainte Marie De La Tourette is a clear contrast to the poetic curved forms of the Chapel of Notre Dame. Within La Tourette, all of the corridors have a side which is open and facing one of the four cardinal directions. As such, depending on the corridor in which one stands, the user will encounter a diversity in light experiences. As such, La Tourette presents a complex and dispersed orchestration of light. In addition to this use of light, the corridors of the monastery are all distinguished by different window arrangements. This results in an irregular rhythm of shadow and light, which resembles musical compositions. The periodic nature of the sun ensures that the rays of light let in through these windows expand and compress in waves. It has been said that this musical flow has intonations of ‘chant-like sounds, whose tones…draw people further into a contemplative state.’ Within the Church of Sainte-Pierre, there are three ‘acts’ of luminosity that take place. The smaller Eastern windows generate points of light on the floor, which later transforms into waves of light which rise and fall with the cycle of the sun. A spectacular pattern is created over all of the walls which face the altar. At noon, the waves of light subdue, and sunlight pierces the darkness in defined beams. Overcast days see soft, gentle looking luminous veil like elements emerging on the walls. Sunset witnesses a golden ray of light pass into the church and hit the wall of the altar. Le Corbusier’s church uses the hourly changing elements of light to heighten atmosphere and senses, creating a spiritual atmosphere that reflects cosmic power through an astonishing use of luminosity and pattern.
“Light Matters: Le Corbusier And The Trinity Of Light”. 2017. Archdaily. http://www.archdaily.com/597598/light-matters-le-corbusier-andthe-trinity-of-light. 1 “Light - Definition Of Light In English | Oxford Dictionaries”. 2017. Oxford Dictionaries | English. https://en.oxforddictionaries.com/definition/ light). 2 “Light - Definition Of Light In English | Oxford Dictionaries”. 2017. Oxford Dictionaries | English. https://en.oxforddictionaries.com/definition/ light).
Notre Dame du Haut
Church of Sainte-Pierre
DESIGN CONCEPT I: Obscurum
Elevation 1:200
Plan 1:200
Gallery Space
Ground View
Aerial View
Corridor
Plan 1:2000
DESIGN CONCEPT II: Natura
Stairs
Reception
Library + Central Reading/ Relaxing Space
Storage Bathroom
Tutorial Room
Ramp
Disabled Access
Section 1:200
Elevation 1:200
Site Plan 1:2000
Corridor
Form Generation: Leaf Abstraction
Aerial View AERIAL VIEW
The library and inner reading/relaxing space is a light filled area, alluding to the purpose as a library as a place of learning, discovery, and enlightenment. Ground View: Pavillion Side Library Interior
DESIGN PRECEDENT The Church of Light, Tao Ando
“Light is an important controlling factor. I create enclosed spaces mainly by means of thick concrete walls.” -Tao Ando
Plan (Not-to-Scale)
A STUDY OF FORM & SPACE Tao Ando’s Church of Light is described as an ‘architecture of duality’; of solid and void, light and dark, stark and serene. These contrasting yet coexisting elements leave Ando’s church deviod of any ornamentation, thus leaving the intersecting strips of light alone to raise the occupants awareness of their spirituality. The Church of the Light has a surreal effect which transforms material into immaterial, dark into light, and light into space. It embraces Ando’s philosophical framework between nature and architecture. The dualities, as discussed earlier, are emphasised through the use of simple materials- primarily that of thick, heavy concrete..The use of concrete adds to the darkness of the interior to create a humble, meditative space. The coexisting dualities and minimalist nature of the Church of Light allow the church to create a pure, unadorned space that embraces the concept of architectural purity.
Section (Not-to-Scale)
Beams of light shine within the interior of the church (1)
FONDATION Louis Vuitton
Reflection. 1. The return of wavelengths from a surface, in which waves of light or sound are returned (reflected) from a surface.1 2. A thought formed through contemplation, which can refer to an idea, opinion, or newly found knowledge.2 Reflection is an ‘effect produced by an influence’ which inspires it. Reflection implies the state of meditative thought, implying an understanding of greater things, and of being able to look within oneself and reflect upon innermost thoughts. The word ‘reflection’ also implies the ‘consideration of subject matter, idea, or purpose’, in which one has potential to find answers to problems yet unsolved.3 In this manner, the notion of reflection is closely linked to that of discovery.
MEANING IN ARCHITECTURE Case Study: Fondation Louis Vuitton, A Major Architectural Gesture
Frank Gehry has been described as a ‘creator of dreams’, a title realised within his design of the Fondation Louis Vuitton, Paris. Gehry held a desire to ‘design, in Paris, a magnificent vessel’ which reflected ‘the cultural calling of France’. Using the technological achievements of the 21st century, Gehry’s Fondation Louis Vuitton reflects the history of 19th century France. From the 1900’s, he retained the element of ‘transparent lightness’, found in 19th century glass by using glass as an envelope for his building. He also drew his inspiration from 19th century French garden architecture, and its walks which are punctuated by surprise. The Fondation Luois Vuitton is placed in a specially designed basin so as to fit in with its natural surroundings. Its location and surroundings allow it to play with the effects of light and mirror. Fondation Luois Vuitton is reflective of the iconic brand’s uniqueness, innovation and creativity. The building’s shapes and lines formed through its ‘sails’
lend it a sense of movement, emphasised through the reflective surfaces which capture the water, gardens and surrounding forest, and continuously changing light of the surroundings. However, not only does the building embody the concept of reflection in its physical aspects, but also through what it is trying to achieve. Gehry aimed to ‘reflect [the] constantly changing world’ through creating ‘a building that would evolve according to the time and light’ in order to reflect the ‘ephemeral and continuously changing’ nature of the world. Its role as a gallery and cultural center ensures that the building not only has physical aspects of reflection, but is in itself a space for reflection. The intention was to create an ‘extraordinary space for art and culture’ which would reflect the ‘daring and emotion’ of Paris and Louis Vuitton.
“A Major Architectural Gesture”. 2017. Fondationlouisvuitton.Fr. http://www.fondationlouisvuitton.fr/ en/la-fondation/un-geste-architectural-majeur.html. 1 ”Definition Of REFLECTION”. 2017. Merriam-Webster.Com. https://www.merriam-webster.com/ dictionary/reflection. 2 ”The Definition Of Reflection”. 2017. Dictionary.Com. http://www.dictionary.com/browse/reflection. 3 ”Definition Of REFLECTION”. 2017. Merriam-Webster.Com. https://www.merriam-webster.com/ dictionary/reflection.
‘Sail-like’ glass elements
Light reflecting on glass: Fondation Louis Vuitton
PLAN
A geometric structure above ground is juxtapositioned with a formal floor plan. The upper pavilion structure is symbolic of discovery, experimentation and innovation within the university, whilst the lower level represents the traditional learning environment of university institutions. Reading + Relaxing Space
Library (shelved walls)
Storage
Formal Floor Plan Underground
Bathroom
Tutorial Room Staircase from ground level
Exhibition Space
Reception
Deconstructed/Geometric Structure Above Ground
Lift
Floor Plan 1:250
Ground Level 1:250
Light Pavilion 1:250
Stairs Leading to Underground Pavilion
Stairs Leading to Underground Pavilion
Access/Movement around Site
Access Points
Movement
Stairs Leading to Underground Pavilion
Access/Movement: Lift
Shard of Light through Library Skylight Site Plan 1:1000 Section Cut
Elevation 1:200
Section 1:200
Seating Nook
Sheltered Area on Ground Level
Library
Aerial View
The final design is based on the deconstruction of the adjacent Braggs building.
Ground View: Sheltered Area/Seating Nook
Aerial View
Ground View
Corridor: View of Roof Structure through Glass Strip On Gallery Space Wall
Corridor Lighting
Gallery Space: Natural Sunlight Filtration
Opacity.
NORDIC White
1. The quality of a material or substance in which it lacks the transparency of translucence by not allowing for the passage of light, and hence, is opaque.1 2. The quality of being difficult to decipher, understand or explain. Obscure, unclear and incomprehensible.2 As materials opacity restricts the flow of light, if light is interpreted as knowledge, opacity can be viewed as the restriction of that knowledge, the barrier which prevents it from diffusing into its surroundings. In a similar vein, opaque can be used to refer to that which is obscure and incomprehensible, a challenge to learn- in essence, the opposite of that which is transparent. Opacity provides a challenge to the flow of light in much the same way that its philosophical meaning implies a challenge to the flow of learning.
MEANING IN ARCHITECTURE
Case Study: Whiteness in Nordic Countries
Architecture in Scandinavia is crafted to adapt to the extreme fluctuations in weather and subdued lighting conditions of the region. A consequence of the low sun position is the long shadows, created by rays of light which enter through the sides of buildings, more so than above. As a result of the lengthy, dark winter days, architects have experimented with the use of white surfaces to counterbalance the darkness of the days and nights, using the high reflectivity of white surfaces to aid in maximising winter brightness. In referring to the design of the Bagsvaerd Church, architect Jorn Utzon stated, ‘Light is the most important feature…I provided white walls and white ceilings so that daylight, which is limited in Denmark for much of the year, is fully used and produces an intensity of light always greater than that outside.’ To some, the strong use of ‘whiteness’ is also associated with the beauty of the surrounding snow-covered region. However, the use of primarily white surfaces in not a modern concept; example of whiteness in architecture can be found in as early as the Hyvinkää Church, Hyvinkää, Finland
Nordyjllands Art Museum, Denmark
medieval era, within many of Denmark’s churches. These buildings act as both precursor and precedent to modern whiteness in Nordic architecture. The notion of “white diffusion” was introduced in the 1930’s by Alvar Aalto, in which white plaster, linoleum and enameled steel was used to accentuate the whiteness of interior spaces. The most famous example of this concept is the Nordyjllands Art Museum, built 1972. Within the museum, the walls, ceilings, floors and iconic daylight scoop feature are covered in shades of white. These large, pure white volumes express both the characteristics and beauty of the Nordic environment, and the transient nature of light and shadow that is a result of the Scandinavian sun. The concept of time is displayed through use of light, especially in religious architecture. Use of varying material textures, glass features, and built volumes change the images projected by light during the course of the day, season and year. The changing strength and pattern of light is used to accentuate the atmosphere of liturgic services; some churches are filled with distinctive patterns of light during the entire morning service, some are filled with sunlight at the conclusion of the noon liturgy, whilst others make use of only subdued light in order to enhance the atmosphere of contemplation. Such a sequence of lighting can be observed within the Pirkkala Church, by Kapy and Simp Paavilaineen. The glass elements of the Pirkkala Church function as both lens and mirror, causing the strongly contrasting rays of light to be projected onto the altar wall in changing patterns throughout the day. Conversely, architects like Aarno Ruusuvuori avoided the manipulation of harsh light, as he felt that the dramatic effect this created distracted from church service. Ruusuvuori’s interpretation of light is one of a more abstract, philosophical nature: ‘Light originates somewhere, but man does not need to know where.’ A deeper analysis could interpret Ruusuvuori’s architecture as using opacity to restrict human knowledge. This can be observed within his designs, in which spaces are filled with light, yet the architecture does not make it explicitly clear where this light originates from. As Ruusuvuori’s states, however, an awareness of the lightings origin is not needed, as ‘lighting is not an end in itself… its meaning is [rather] to create a feeling of infiniteness of eternity.’
Pirkkala Church, Finland: Light sequence on altar wall, early morning to late afternoon.
1
Schielke, Thomas. 2017. “Light Matters: Whiteness In Nordic Countries”. Archdaily. https://www.archdaily. com/542503/light-matters-whiteness-in-nordic-countries. “Definition Of OPACITY”. 2017. Merriam-Webster.Com. https://www.merriam-webster.com/dictionary/opacity. 2 “Opacity - Dictionary Definition”. 2017. Vocabulary.Com. https://www.vocabulary.com/dictionary/opacity.
STRUCTURE Ground Level Structure: Glass Elements Allow Light into Gallery Space Below
Internal Walls 220mm
Below Ground Structure
Ground Level
Library Shelves (On Wall)
Stairs Exhibition Space Glass Panels on Upper Walls to allow for view of roof structure whilst standing in corridors
Elevator
Reception Wall
Retaining Walls Load- bearing 400mm
Entranceway into Underground Pavillion
Gallery Space: Ceiling
Exposed Concrete
Powered Aluminium Sheets (Orange)
Glass Panels
Library: Light on Concrete
CONSTRUCTION DETAILS Powder-Coated Aluminium Strips Over Glass
Structural Double-Sided Tape Adhesive
Structural Glass 50mm
Powder-Coated Aluminium Strips Under Glass
Reflective Glass Panel
Powder-Coated Aluminium Strips
Structural Glass
Powder-Coated Aluminium cladding
In-Situ Concrete Self aupporting
Above-Ground Structure: Exposed Concrete, Aluminium Cladding + Structural Glass
Glass
INTERIOR VIEW 3
Seating Nook: Ground Level (under structure)
Concrete
LED Light Strips
Gallery Space: Light on concrete, interacting with sculptural pieces
Filtration. 1. The process by which one substance passes through another, causing it to be filtered and diffused. 2. The effect given by blocking sections of light whilst allowing others through, often forming patterns and distinctive geometries on the projection surface; the process by which the elements of light are intentionally separated for the desired effect. Filtration is a method of restricting light, by placing a material which acts as a barrier to block its elements according to the experience or visual aesthetic that we desired. As such, the concept of filtering the light to suit our needs can be seen as human manipulation of nature, an expression of humanity’s desire to control that which surrounds us. Light, which travels as a continuous, unhindered and unwavering stream, is fragmented, projected onto surfaces as humans see fit in our quest to arrange the natural world into something more visually pleasing. The resulting effect is often one which increases the experience of the space in which the filtration occurs. We use these ‘restrictions’ provided by the filtering material to enable us to create the spaces we desire, manipulating human emotions and senses along with light. The scientific definition of ‘filtration’ involves the removal of impurities from a substance, in order to achieve chemical purity. In this manner, filtration can be viewed as means by which to achieve ‘purity’ of light, by removing the excess, undesirable elements and leaving only those we desire.
MEANING IN ARCHITECTURE
Case Study: 10 Typologies of Daylighting: From Expressive Dynamic Patterns to Diffuse Light
Many examples of architecture make strong use of innovative filtering systems. Some almost seem to use sunlight itself to provide a sense of form to the structure, leading to the creation of a dynamic environment which changes according to the varying external environment conditions. Smithsonian Institute
Therme Vals
Chapel of St. Ignatius
Due to the transient nature of sunlight, filtering this sunlight creates a temporal diversity within the architectural space. However, the filtration of natural light may be strongly dependent on external conditions: daylight will either produce direct sunlight, or sunlight which has been diffused through a cloudy sky. Many examples of architecture make strong use of innovative filtering systems. Some almost seem to use sunlight itself to provide a sense of form to the structure, leading to the creation of a dynamic environment which changes according to the varying external environment conditions. Due to the transient nature of sunlight, filtering this sunlight creates a temporal diversity within the architectural space. However, the filtration of natural light may be strongly dependent on external conditions: daylight will either produce direct sunlight, or sunlight which has been diffused through a cloudy sky. Direct sunlight creates dramatic shadows; the direction of these shadows is strongly influenced by the position of the sun as the day takes its course. This can result in a captivating play of shadows and light. Conversely, if light is filtered through the clouds of an overcast sky, there will be significant loss in brightness, resulting in a lack of clear, distinct shadows. Such conditions tend to create an aura of uniformity and calm. Within the built environment, the use of filtration can be split into three categories: high, medium and low contrast. High contrast filtration tends to provide dramatic, dynamic and slightly exaggerated patterns which are projected onto surfaces as a result of the filtration device. Norman Foster’s Kogod Courtyard within the Smithsonian Institution uses a filtration device which is comprised of a combination of grids and beams to make use of direct sunlight to cast a fishnet-like pattern over the facades underneath it, and bathe the courtyard with natural daylight. Using a similar principle, The Seattle Central Library by OMA creates intense lighting patterns with its glass façade, which results in projections of light that are almost as bright as the light outside. Within the ‘medium contrast’ category are spaces that use partially or selectively direct daylight in conjunction with indirect daylight. Peter Zumthor’s Therme Vals shows a highly efficient use of selectively direct light. The dramatic effect is one of distinct contrast between subdued light and shadow, filtered through strong built volumes. Yet as this form of filtration relies little on the external lighting conditions, there is only minute variation in interior lighting during the day, in contrast to the Smithsonian Institute and Seattle library. Low contrast architecture involves indirect diffused lighting, which eliminates intense contrast and variation during the day. This can be seen within Steven Holl’s Chapel of St. Ignatius, which uses several openings in the walls to let in dispersed light, creating a soft atmosphere appropriate for a liturgic space. The varying levels of contrast within the interiors of built form created by filtration devices lead to unique atmospheres, each providing different visual, spatial, and sensual experiences. The dynamic composition of light and shadow aid in creating human spaces, and filtration is merely a method by which we seize to control this interplay of dark and light.
Schielke, Thomas. 2017. “10 Typologies Of Daylighting: From Expressive Dynamic Patterns To Diffuse Light”. Archdaily. https://www.archdaily.com/787734/10-typologies-of-daylightingfrom-expressive-dynamic-patterns-to-diffuse-light. 1 ”Definition Of FILTRATION”. 2017. Merriam-Webster.Com. https://www.merriam-webster.com/dictionary/filtration. 2 “The Definition Of Filter”. 2017. Dictionary.Com. http://www.dictionary.com/browse/filter.
Seattle Central Library