LIGHT PAVLION REPRESENTATION II
SCOTT WOODS STUDENT NO. A1686366
TABLE OF CONTENTS
04/
SITE ANALYSIS SHADOW/LIGHTING
12/
14/
LIGHT STUDY LUMINOSITY
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DESIGN IDEAS DESIGN PRECEDENT
22/
LIGHT STUDY REFLECTION
24/
FINAL DESIGN FORM LIGHTING
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44/
LIGHT STUDY OPACITIY
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STRUCTURAL SITE DETAILS
52/
LIGHT STUDY FILTRATION
25m
70m
SITE PLAN The site is located at the University of Adelaide on the Maths Lawns, the site is surrounded by five current structures. The Ingkarni Wardli and Engineering/ Maths Building are located on the South side of the site. The Braggs and Molecular Life Science Building are located on the North side of the site. The main feature of the Maths Lawns is the Barr Smith Library located at the far end of the lawns, the proposed design is to not interfere with the view of the Library’s entrance.
55m
MOLECULAR LIFE SCIENCE ENGINEERING MATHS 27m
15m
The sites overall dimension is approximately one hundred and sixty meters long and thirty-five meters wide. Vegetation surrounds the lawn with a large tree located to between the south buildings. 55m
INGKARNI WARDLI
50m
THE BRAGGS
60m
GRASS
SCALE 1:700 0m
5m
10m
PATHWAY 20m
BARR SMITH LIBRARY
N | 04 |
ROAD
ELEVATIONS SOUTH
Maths/Engineering Building
Ingkarni Wardli
NORTH
The Braggs
Molecular Life Science Building
WEST
Barr Smith Library | 05 |
3D MODEL OF SITE GROUND LEVEL
AERIAL VIEW
AERIAL VIEW
GROUND LEVEL
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The site is overshadowed by these large buildings. The sense of scale of from the buildings feels dramatic from ground level. As you travel around the site the focal point remains on the Barr Smith Library. The proposed pavilion will be position underground to not interfere this focal point.
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SHADOWS SUMMER SUNLIGHT 9AM
12PM
3PM
9AM
12PM
3PM
WINTER SUNLIGHT
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PEDESTRIAN TRAFFIC
N
SITE ANALYSIS
The site is a constant thoroughfare for student travelling from one class to another. The highlighted areas show the paths that most students follow.
SOCIAL QUALITIES The space is often used for students to relax and enjoy the open space. The site is often the location of many events held at the university so when designing consideration for these events.
HIGH TRAFFIC MAIN ENTRIES
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DAY
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AMBIENT LIGHTS NIGHT
DAY
DAY
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NIGHT
The site is mostly used throughout the day, however, as the campus remains constantly open the site needs to appeal to day and night. The current lighting is used to emphasize the height of the buildings with vertical lights. The brightest light sources are surrounding the buildings especially at entry/exit points.
LUMINOSITY
Luminous
lu-mi-nos-i-ty [loo-muh-nos-i-tee] (n.) 1 . the quality or condition of radiating or reflecting light Luminosity is the presence of light . The word Luminosity is derived from the Latin word lūminōsus and is defined as the quality of radiating or reflecting light. In Astronomy luminosity is class as the brightness of a celestial object where as in physics is considered the rate of emission of radiation. Traditionally luminosity is considered a term for Physics and Astronomy, however, the word luminosity is often used in a poetic sense as it has a deeper meaning. In a dark room we seek the light, using light to get an understand of the surroundings. This is no different to the desire to seek and gain knowledge so we are able to get a better understand of the world around us. The world is illuminated, enlightening the paths that we decide to take. A brighter mind is a mind that seeks more knowledge.
Night Flight / Studio MODE
“Night Flight / Studio MODE” 30 Mar 2014. ArchDaily. Accessed 14 Aug 2017. <http://www.archdaily.com/490898/night-flight-studio-mode/>
Whether the harsh sun in the clear skies above or the soft gentle sparkle of the night sky, the world is constantly being illuminated with natural light. It is a challenge for a designer to capture this natural sense of luminosity, however, with careful consideration it can be achieved. A project which capsulates the night sky is Night Flight. The entire structure is achieved through the presences of luminosity. The manipulation of this luminous artificial sky creates depth and evoke a sense of ambiance.Using the natural attraction
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of light, the lights are cluttered to draw attention to the centre stage creating a focal point in the club. Assuring to the desire of this night sky, the only source of light is from the ceiling above, scattered small lights to create a soft ambience throughout. To keep the lights above being a focus, everything on the ground level is coloured black. However, as to allow vision on the floor level reflect surfaces were applied throughout to reflect allowing greater vision without interrupting the overall concept. The lights are designed to follow a layered system to create depth from above, just as stars in the night sky have different levels of luminosity would have. The entry points of the club are light from all angles, this particular method of lighting placement gives unique experience as walking through the scattered lights. A sense of travelling to another world. Going from night to day, entering the bathrooms of the club are in complete contrast to the rest of the club. These soft subtle details are stripped and replaced with stark white walls with intense brightness. This raw white room creates a sense of sterility and bareness, which is desired in a public bathroom which is often seen as unhygienic and unpleasant. The Night Flight is just a prime example of how luminosity in architecture can play an important way in which the space is understood. Entering the club sets the mood with its unique light placement creating a tunnel to an out of world experience. Once in the opening the high ceilings with layered lights creates the perfect interpretation of the starry night sky. The soft calming lights could not be in more contrast to the bathrooms which almost overwhelms the viewer with its stark white walls creating a sterile space. Night Flight just demonstrates the power of luminosity in architecture can have with the experience to the viewer.
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DESIGN 01 SKETCH
ENVIRONMENT
EXTRUDE
STUDY SPACES
ADMIN/UTILITY
DESIGN 01 The first design looks at scattering rectangles to create multiple angles within the space, to add further dimension the height varies between space to create separate rooms with the use of walls.
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SCETION LI
SECTION ELEVATION
PLAN
SCALE 0
1
2
4
8m
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DESIGN 02 SKETCH SPATIAL DIAGRAM
ADMIN/UTILITY
SKETCH
STUDY SPACES
DESIGN 02 CONNECTING SPACES
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The second design looks at separate structures within a space, the single source of light illuminates the length of the site. The idea of these floating/individual spaces is what drove the idea.
SCALE 0
1
2
4
8m
GROUND LEVEL
SECTION LINE
SECTION LINE LEVEL 1
LEVEL 2
ELEVATION
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SECTION
DESIGN 01 INTERNAL VIEW
EXTERNAL VIEW
INTERNAL VIEW
EXTERNAL VIEW
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DESIGN 02 INTERNAL VIEW
EXTERNAL VIEW
INTERNAL VIEW
EXTERNAL VIEW
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DESIGN PRECEDENT MOUNT FUJI ARCHITECTS STUDIO
VALLEY. TOKYO. JAPAN. The sites restraints were very similar to the site located at the maths lawns. The ground level site was surrounded by large concrete buildings that limited the opportunity for windows. Mount Fuji Architects optimised the vertical light opportunities creating spaces which combine spaces some maximising light and other that did not. Using this blocking method that combines contrasting spaces, I drew inspiration from this creating a scatter of rectangles that combine contrasting light and dark spaces. The building also uses different levels to capture light at different angles and create variations in the spaces as the viewer travels through. I applied this method to my design one, giving height variation to create drama and to separate spaces without the use of walls.
â&#x20AC;&#x153;MOUNT FUJI ARCHITECTS STUDIO VALLEY. TOKYO, JAPANâ&#x20AC;? 11 Aug 2014. Divisare. Accessed 1 Sep 2017. < https://divisare.com/projects/267146-mount-fuji-architects-studio-ryota-atarashi-valley-tokyo-japan/>
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DESIGN PRECEDENT
LIGHT SPACES
CONNECTING SPACES
PLAN
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REFLECTION
Reflection
re-flec-tion [ri-flek-shuh] (n.) 1 . 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 law of reflection states that the angle of incidence is equal to the angle of reflection. A smooth flat surface will create a clear reflection where uneven wavy surface will distort the light being reflected. The word reflection is derived from the late Latin word reflexio, defined as turning back, and for one to reflect on themselves is to look back at what they have done or achieved. Furthermore, the word reflection is often associated with mirrors. Mirrors are part of daily life, used to view ones own appearance. Mirrors give the opportunity to look upon yourself and take in what you see at that current point of time, giving the perfect opportunity for one to ‘reflect’ on themselves.
The Mirror Houses / Peter Pichler Architecture Reflections can be used used to expand a space or hide it, the Mirror Houses are perfect examples of how both these qualities can be used to create stunning architecture. With respect to the spectacular views of the South Tyrolean Dolomites the Mirror houses use large reflective facades to blend into the environment. “MOUNT FUJI ARCHITECTS STUDIO VALLEY. TOKYO, JAPAN” 11 Aug 2014. Divisare. Accessed 1 Sep 2017. < https://divisare.com/projects/267146-mount-fuji-architects-studio-ryota-atarashi-valley-tokyo-japan/>
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Reflection is not only created by material, the colours that are used can cause light to be absorbed or reflected affecting the perception of the space. The Mirror Houses use black and white to create a boundary between interior and exterior. A matt black finish is applied to the exterior of the Mirror Houses, the combination of these does not draw the views attention. This was an intentional decision as the architect didn’t want to interrupt the views of the mountains. On the contrast, the interior is coated with a glossy white finish on most surfaces. This allows the entering light to reflect off all surfaces create a bright vibrate space with limited windows.
As the views of the South Tyrolean Dolomites fade with the sunset, the space no longer hides, it transforms the mirror façade. The Mirror Houses begins to show the skeleton underneath this façade with the use of lights. This space takes the surrounding environment into great consideration, the use of reflection allows the architects to achieve what they wanted without having to compromise or lack details.
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FINAL DESIGN DEVELOPMENT The final design is developed from the combination of the two designs, the irregular pattern of design one combined with the multi-level simplicity of design two created the inspiration of the final design.
LOWER LEVEL TWO SCALE 1:500
0
5
10
15m
LOWER LEVEL ONE SCALE 1:500
0
5
10
15m
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DRAWINGS
ELEVATION
SCALE 1:500 0
5
10
15m
10
15m
SECTION
SCALE 1:500 0
5
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AERIAL VIEW AERIAL VIEW 01
AERIAL VIEW 02
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GROUND VIEW GROUND VIEW 01
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GROUND VIEW 02
MOVEMENT Movement around the site is to have a smooth flow and easy feel, to minimise confusing there is a main centre flow which connects the all the lower levelâ&#x20AC;&#x2122;s buildings to the entry and exits. The second level has a more directed path taking guest through the exhibition space and as this spaces changes it creates a different feel to the journey of the second level.
02 03 01
06 05
09
07
04
08
01 | LIBRARY
04 | RECEPTION
02 | STUDY SPACE
05 | UNISEX TOILETS
08 | LECTURE THEATRE 01
03 | STAIRS / ELEVATOR
06 | EXHIBITION SPACE
09 | LECTURE THEATRE 02
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07 | STUDENT LOCKERS
MOVEMENT / ACCESS GLASS BRIDGE
ENTRY/EXIT
STAIRS / ELEVATORS
GLASS BRIDGE
There is two entry and exits to the light pavilion, the both start at either ends of the maths lawns and gradually slope down. The entrances are well lit, and lighting strips run down the edges of the path lighting welcoming the visitors to the site.
Inside the site is a room which acts as a connection point for the two levels. it has a large glass front to enable the view of stairs and elevators making travelling through the site easier and more open.
On the second floor is a frosted glass bridge that run the width of the site to allow access to both sides of the second floor. The floor glass is frosted to allow for privacy, however, still enable the light to flow through the space.
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NATURAL LIGHT NORTH-EAST ENTRY
SOUTH-WEST VIEW
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ARTIFICIAL LIGHT EXHIBITION SPACE
EAST VIEW
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OPACITY
Opacity
o-pac-i-ty [oh-pas-i-tee] (n.) 3 . the degree to which a substance is opaque; capacity for being opaque. Opacity is considered to be the amount of light that is allowed to pass through an object. The more opaque an object is the less light passes through, therefore vision through that is lost. Plastic and glass are the most two common items that come varied in opacity. Opacity is derived from the Latin word opācitās meaning of shade. Opacity could be seen as obscurity of the senses, the more obscure the mind the less information the mind will allow to enter. Opacity can also be seen as the level of honesty, someone that is obscure is mysterious, where as on the other hand someone that is transparent is seen to be completely open and allow all information pass through.
“Toulon / Studio William Hefner” 26 Jul 2017. ArchDaily. Accessed 19 Oct 2017. <http://]>
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Toulon / Studio William Hefner Architects of Studio William Hefner have used the different forms of opacity to give the illusion of maximin light while retaining complete privacy. As you walk up to the front of the house you notice the use of levels of opacity straight away. The ground level is clear and open, making the space vast and vibrant with light. As traveling up the house to the second floor the windows become semi opaque allowing the large amounts of flow in while retaining the privacy for the living quarters. Furthermore the Studio William Hefner Architects change the opacity of more then just the windows, they looked at other possible light sources. The ceiling has sections which were made of semi opaque glass to allow even more natural light into the room. The lower opacity defuses the light and gives more of a softer glow to the suns natural rays. The Architects have successfully designed a house which allows the occupants to maximise the natural light flowing into the house while retaining the privacy of a home.
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30
STRUCTURE STRUCTURE The main support of the structure is within the concrete walls of the light pavilion, the rooms are made of a truss system to create boxes which over hang the site. The main support of the overhanging rooms are exposed I-beams.
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EXPLODED PERSPECTIVE
02
03
01 05
LOWER LEVEL TWO 04
02
06
08
LOWER LEVEL ONE
07
09
ENTRY/EXIT
ENTRY/EXIT
01 | LIBRARY
04 | LECTURE 01
07 | RECEPITION
02 | STAIRS / ELEVATOR
05 | LECTURE 02
08 | UNISEX TOILETS
03 | EXHIBITION SPACE
06 | STUDY SPACE
09 | STUDENT LOCKERS
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CONSTRUCTION DETAIL AERIAL VIEW
CONC R SHEE ETE TING TIMBE
R FRA
MING
GLAS
S
FLOO
RING
INSUL
ATION
INSUL
ATION
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CONSTRUCTION DETAIL AERIAL VIEW
GLAS
S RAIL
ING
GLAS
S SUP
PORT
CONC
RETE
EARTH CONC
RETE
CONC
RETE
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INTERAL VIEW GROUND VIEW
| 38 |
INTERNAL VIEW STUDY ROOM
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INTERNAL VIEW GLASS BRIDGE
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INTERNAL VIEW ENTRY POINT
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FILTRATION
Filtrate
fil-trate [fil-treyt] (v.) 1 . to filter. (n.) 2. liquid that has been passed through a filter. Filtration is often associated with the process of separating two different states of mass or light. Filtration is used throughout daily lives, majority of drinking water, coffee and other consumable products are filtered to remove the unwanted solids. Filtration is also is used for engines and pumps to prevent any solids which may cause blockage or damage to the device. Arguably the most powerful filtration device is the brain, constantly bombarded with senses the brain must filter what is and isn’t important information. This is one of the most important features of the mind as without this process of filtration, the brain would be in a constant state of overwhelmed. The ability to learn and progress would be lost as we would no longer be able to retain the new information that we receive. The greater the mind’s ability to filtrate the incoming information allows it to retain and reuse the knowledge gained more successfully.
“Traditional Indian Architecture Meets Contemporary Office Space in This Naturally-Lit Design by Studio Symbiosis” 17 Jul 2016. ArchDaily. Accessed 21 Oct 2017. <https://www.archdaily.com/791383/traditional-indian-architecture-meets-contemporary-office-space-in-this-naturally-lit-design-by-studio-symbiosis/>
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Design by Studio Symbiosis The architectural team at Studio Symbiosis Architects has created a potential design for a office space which combines the tradition of Indian architecture and modern office spaces. The objective of the space was to create a space which maximise the facade opening to prevent the need of artificial light on a typical day. Using traditional Indian patterns a geometric facade was formed to create a filtration of light which compensates depending on the direction of light source.
The aim of the project is to give workers the required light source for work without the use of artificial lights.The building effectively has become a complete filter removing the suns heat and intensity but maximising the light. To enable light throughout the day the building has a vast open centre which not only acts as a central staircase to access all levels but also as a giant central lighting feature. When the sign is directly overhead the light is filtered through the facade and project throughout the building. Overall the building acts as a filter for the natural environment while remaining to keep the comfort of human ease.
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LIGHT PAVLION REPRESENTATION II
CREATOR SCOTT WOODS STUDENT NO. A1686366 TUTORIAL NO. GROUP 1