LUMENS knowledge
SAMANTHA GODAKUMBURA A1706973
CONTENTS PART I 1 Plan 2 Elevations 3 Aerial + Ground Views 4 Site Analysis 5 Access + Movement 6 Study Of Ambient Light 7 Site Information 8 Theoretical Study Of Luminosity 9 Linguistic + Philosphical Defintions Of Luminosity 10 Case Study: Le Corbusier & The Trinity Of Light
CHURCH OF SAINTE-PIERRE
CONTENTS PART II 11 Design Concept I 12 Design Concept I 13 Aerial View, Section + Spatial Diagrams/Sketches 14 Ground View, Internal View + Elevation 15 Design Concept Ii: Plan, Section, Elevation + Internal View 16 Internal View + Spatial/Form Generation Diagram 17 Aerial View, Ground View + Internal View 18 Precedent Study: Church Of Light, Tao Ando 19 Theoretical Study Of Reflection: Linguistic + Philosphical Defintions Of Reflection 20 Case Study: Fondation Luois Vuitton, Frank Gehry
PLAN
SITE PLAN 1:2000
SOUTH ELEVATION 1:1000
NORTH ELEVATION 1:1000
EAST ELEVATION 1:1000
ELEVATIONS
3D VIEWS
AERIAL VIEW 1
GROUND VIEW 1
AERIAL VIEW 2
GROUND VIEW 2
SITE ANALYSIS
9AM SUMMER
9AM WINTER
12PM SUMMER
12PM WINTER
3PM SUMMER
3PM WINTER
ACCESS + MOVEMENT
PEDESTRIAN MOVEMENT
PHOTOGRAPHIC STUDY OF AMBIENT LIGHT BRAGGS: 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.
MATHS LAWNS: 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.
BRAGGS: NIGHT 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.
SOCIAL/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 Univeri=sity to the public of modern day Adelaide.
THEORETICAL STUDY LUMINOSITY
CHAPEL OF NOTRE DAME DU HAUT
LUMINOSITY
LINGUISTIC DEFINITION:
Luminosity is perhaps most directly defined through its relation to light, ‘the natural agent that stimulates sight and makes things visible.1 Light is the radiance which emanates from a particular source; through its luminosity we are able to see and perceive the world the way in which we do.2
PHILOSOPHICAL MEANING
The definition of the word luminosity has connotations beyond the obvious, extending to that of the notion of understanding a problem or mystery, of enlightenment, learning and inspiration. As light is what makes vision possible, it is the same element which enlightens us, which aids 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 or conduit…discover or reveal.’ This association of light and luminosity with knowledge and enlightenment has roots within its archaic meaning, which defines luminosity as ‘spiritual illumination’ of the individual.
MEANING IN ARCHITECTURE | A STUDY OF LUMINOSITY
LUMINOSITY CHURCH OF SAINTE-PIERRE
CASE STUDY: LE CORBUSIER & THE TRINITY OF LIGHT Light and luminosity have long been associated with holiness and divinity, perhaps due to its connotations of purity. In Christianity, Christ is spoken of as ‘the light of the world,’ a saviour to the sinful mankind. Although there is a clear distinction between divine light and light which is visible to the naked eye, the light which we see is often seen in religion as a link to both spheres: heaven and earth. However, although light had generally been used in architectural form as a ‘tool of religious persuasion,’ it has since become a force which acts, subtly, to ‘visually resist and elude, erode and outshine’ the Church. Each architectural era found a new way to express light. The glowing Roman apse, the shimmering gold of the Byzantine mosaic, and the luminosity within the walls of Gothic stained glass are all examples of how light has been perceived, molded and expressed by generations of
architects. Despite being agnostic, Le Corbusier held a strong desire to ‘open the soul to the poetic realms’ through his works. A predominant characteristic of Corbusier’s famed Chapel of Notre Dame Du Haut is its 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 an even deeper hue of red. The reddish morning light can be seen as a clear analogy to human birth. A complex and dispersed orchestration of light is present within Corbusier’s Monastery of Sainte Marie De La Tourette. The rectilinear geometry of La Tourette embodies a clear contrast with 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. 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, bearing association with that of a musical composition; 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 created by Le Corbusier’s understanding of luminosity have the intonations of ‘chant-like sounds, whose tones…draw people further into a contemplative state.’ Within the Church of Sainte-Pierre at Firminy, 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 sharply strikes through the darkness in defined beams. Overcast days see soft, gentle looking luminous veil like elements emerging on the walls. Sunset sees 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.
REFERENCES “Light Matters: Le Corbusier And The Trinity Of Light”. 2017. Archdaily. http://www.archdaily.com/597598/ light-matters-le-corbusier-and-the-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).
CHURCH OF SAINTE-PIERRE
DESIGN CONCEPT I: OBSCURUM QUAERIS LUCEM | SEEK LIGHT LIGHT AS KNOWLEDGE Design Concept I presents light as a form of knowledge that can only be reached after one journies through metaphorical darkness. The heavy shadows represent the struggles faced through the ambition to attain greater knowledge; the mysterious strips of light which appear simunltaneously within reach, and yet unatainable, symbolise the glimmer of hope (light) that has enabled humanity to progress to where it is today.
SPATIAL DIAGRAM
INTERIOR VIEW: EXHIBITION SPACE
ELEVATION 1:1000
AERIAL VIEW
SECTION 1:1000
PLAN 1:2000
GROUND VIEW
INTERIOR VIEW: CORRIDOR
GROUND VIEW
DESIGN CONCEPT II: NATURA
ELEVATION 1:1000
SPATIAL DIAGRAM
PLAN 1:2000
SECTION 1:1000
QUAERIS LUCEM | SEEK LIGHT LIGHT AS KNOWLEDGE Design Concept II is reflective of the pavillion’s natural surroundings: it uses leaf-like patterns derived from the fauna of the Math Lawns. The light filled corridors of the pavillion represent the university’s reputation as a place filled with knowledge, diiscovery and education. As visitors walk through at different times of the day, they are basked in this ligh, and metaphorically, knowledge.
M / ROUGH HAND SKETCHES
FORM GNERATION DIAGRAM: ABSTRACTION OF LEAF
INTERIOR VIEW: CORRIDOR
AERIAL VIEW
LIGHT AS KNOWLEDGE 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
INTERIOR VIEW: LIBRARY
DESIGN PRECEDENT “Light is an important controlling factor. I create enclosed spaces mainly by means of thick concrete walls.” -Tao Ando
PLAN (NOT-TO-SCALE)
CHURCH OF LIGHT | TAO ANDO 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
SECTION (NOT-TO-SCALE) 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.
INTERIOR
REFLECTION
LINGUISTIC DEFINITION:
Reflection is defined in two ways: The return of wavelengths from a surface, in which waves of light or sound are returned (reflected) from a surface.1 A thought formed through contemplation, which can refer to an idea, opinion, or new knowledge.2
PHILOSOPHICAL MEANING
Reflection also holds other, more philosophical connotations. It implies the notion of great thought, of a meditative-like state in which one is able to perceive beyond the normal, shallow state of human beings. It implies an understanding of greater things, of being able to look within oneself and reflect upon one’s innermost thoughts. In contrast, the word reflection also implies ‘consideration…of subject matter, idea, or purpose’, in which one is state of ‘serious thought or consideration’ and has potential to find answers to problems yet unsolved.3
MEANING IN ARCHITECTURE | A STUDY OF REFLECTION 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 accoriding to the time and light’ in order to reflect the ‘ephermeral and continuopusly chnaging’ nature of the world. It’s role as a gallery and cultural center ensures that the building not only has physical aspects of relfection, but is in itself a space for reflection. The intnention was to create an ‘extraordinary space for art and culture’ which would reflect the notions of ‘daring and emotion’ in modern Paris.
“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.