The Growth of Light Spencer Caon || Rep 2-18 | Structures of light
Table of contents
Stage 1 - Place
Stage 2 - Idea
Scale study of the Barr Smith Reading Room
Pg 1 - 2
Light as a metaphor for growth
Pg 9
3D views
Pg 3
Spacial explorations
Pg 10
Photographic study of ambient light
Pg 4
Early conextual studies
Pg 11 - 12
Experiential ideation
Pg 13 - 14
Exploration of reflection
Pg 15 - 16
Circulation and social character
Pg 5
Shadow studies
Pg 6
Exploration of luminosity
Pg 7 -8
Stage 3 - Form & Material
Stage 4 - Light Studies 3 & 4
Pavilion in context with site
Pg 17 -18
Exploration of opacity
Pg 29 - 30
Access to the pavilion
Pg 19 - 20
Exploration of filtration
Pg 31 - 32
Floor plans and section
Pg 21 - 22
Structural composition of the pavilion
Pg 23 - 24
Interior spaces during daytime
Pg 25 - 26
Interior spaces during night time
Pg 27 - 28
Scale study of the barr smith reading room
Door
The Barr Smith building follows the 5, 1, 5 pattern in the larger scale components, this can be seen on the elevation and plan studies. This pattern gives the building a ratio of 2.2, or 11 over 5. The smaller scale components
Window
of the building, such as the door and window scale studies which have been shown, follow a 1, 1 pattern. This pattern gives these components a ratio of two. As can be seen on the window study, there are three components which
follow this pattern, but at different scales, which results in there being three different rectangles portrayed on this section of the building, all being different sizes to each other, but still all the same proportionally.
1
Elevation
Plan
2
3D views of the site
Ground View 1
Ariel View 1
Ground View 2
During the day, the lawns are lit up by the sun. The large spans of glass especially on the Braggs facade reflect the light as well as the Engineering building on the opposite side of the lawns. The benches on either side of the lawns are bathed in sunlight at different times during the day, making them a very popular social hub especially on cooler days. At night, the spcae is well lit by artificial lighting, such as spotlights which illuminate the facade of the Barr Smith reading room and really highlight the beauty of this building. There are lights spaced regularly along the lawns so there is an abundance of light no matter what time it is, making the area inviting at all hours. The interior lights of the surrounding buildings help add to the ambience of the space, as well as the vertical light strips on the corner of Ingkarni Wardli give the site a whole new dynamic at night.
Ariel View 2
3
Photographic study of ambient light
Day
Day
Night
Night
4
Circulation, and social character
S
Circulation map scale 1:1000 The Maths Lawns’ social character provides people with a meeting place where they can, study, eat, relax or engage in recreational activities.
During visits to the site, people were seen partaking in various activities such as frisbee, and medieval role play. The benches that line either side of the lawns prove
to be very popular, with the southern benches being the more popular out of the two sides due to them having more regular sun exposure throughout the day.
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Shadow studies Summer
Winter
9am
9am
12pm
12pm
3pm
3pm 6
Exploration of luminosity Linguistic Definition
Philosophical Meaning
The term, luminosity has been generally defined as the relative quantity of light or the relative brightness of something. Luminosity is often associated with celestial sources, such as stars, when referring to their brightness.
From a philosophical standpoint, luminosity is sometimes associated with the idea of religion and holiness. This is evident in depictions of various gods, icons and deities, as they are often portrayed with a luminous glow surrounding their figure, giving these characters an undeniable aura. Not only is luminosity associated with
Nordpark Railway Station
holiness and religion, but also with the idea of self knowledge and understanding. This idea of knowlegde of the self has been described as being aware of, and understanding one’s experience. An examplethis is knowing you’re hungry because your body is giving you cues that it needs to consume food.
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Vitra Fire Station
Hoenheim-Nord Terminus
Phaeno Science Centre
the fire station, the interior lighting gives off a soft glow if you were to view the building from the outside. In an attempt to incorporate the surrounding environment into her designs. This is evident in the Hoenheim-Nord Terminus and Car Park in Strasbourg. Hadid used white road markings as inspiration for the luminary strips in the concrete ceiling of the structure and in the angled markers for defining car parking spaces. The Phaeno Science Centre was a step away from Hadid’s typical design language, as she opted for a more curvaceous, fluid form. The shaded area of the structure opens to one end, allowing daylight in, as well as intensifying the cave like feeling of the space. Rhombus shaped
luminaires line the ceiling to help cut through the dim atmosphere, as well as linking the luminaires to the diagonal form of the building. The Phaeno Science Centre was an excellent example of Hadid tying natural and artificial light together to complement and enhance her design. In 2007, Hadid designed the Nordpark Railway Station in Innsbruck. In this instance light is reflected by a glass facade rather than absorbed by concrete like on her earlier works. This causes the structure to sit within the landscape rather than stand isolated, as well as reflecting the surrounding environment, further linking the two together. At night, the station is illuminated giving it a warm energy. The smooth reflective surfaces of the Nordpark Railway Station inspired Hadid’s 2013 design for the Serpentine Sackler Gallery in London.
Case Study: Zaha Hadid Throughout Zaha Hadid’s career she has used light and luminosity as a key feature within her designs, with her use of light evolving through the decades of her professional career from using luminosity to highlight the features of her work early in her career, to using luminosity to frame and accentuate the entirety of her design later on in her career. In her first design: the Vitra Fire Station, Hadid used linear lighting to accentuate the sharp, concrete forms that define the building’s shape, creating a dynamic energy which would not be visible if it were no for the use of this lighting. Contradictory to the sharp linear forms of
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Light as a metaphor for growth
Small to Large Scale
Simple to Complex
Tree as a Symbol for Growth
When exploring the idea of growth, the two images that are most immediate and prominent are the ideas of a transformation from a smaller scale to a larger scale, and the idea of growth from a simple to more complex form. The idea of a growth in scale is well understood as it can be seen all throughout nature, such as physical growth in flora and fauna. The Idea of growth in the idea of simple to complex could be applied to a more intellectual context. As we continue on our journey to build our knowledge base, our intellectual capacity becomes more complex, and we develop greater understanding and appreciation for our surroundings. As a symbol of growth, a tree can represent both of the aforementioned images of growth. naturally, like all other living organisms, a tree grows in size from a small sapling to a towering tree, but it also displays the idea of simple to complex forms. From above ground, a tree expands from the simplicity of its trunk, into a network of branches, which further break off into networks of leaves, each step becoming more complex than the last. Below ground, trees also have complex networks of roots. These roots are essential for the tree’s growth. Parallels between a tree’s growth and the growth we experience in the pursuit of knowledge can be drawn. Without our basic roots of knowledge, it will be difficult to grow intellectually, as having a strong base to build upon is crucial.
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Spacial explorations
Upon deciding to represent growth as a concept of small to large scale, whilst using the tree as a foundation of the design, three spacial diagrams were formed. Each diagram intends to explore the concept of growth as a development of smaller to larger scale, but through the use of different geometries. Through the process of forming the three spacial diagrams, elements from the geometric and fluidity models were found to be appealing. The aim will be to integrate these two ideas together to create a contrary, yet profound spacial experience within the pavilion.
Streamlined
Geometric
Fluidity
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Early contextual studies
Access Points
The most highly frequented routes by pedestrians are the paths between the braggs and engineering north, and the path in front of the Barr Smith Reading Room. To generate ease of access for people into the light pavilion, multiple entrances will be located along the axes of the two thoroughfares. The entrances will be offset from the central axis of the lawns to help preserve the Barr Smith Reading Room vista.
Intended Access Points
Layout
To visualise the metaphor of light as growth, the tree was adopted as a symbol of this. An abstraction of this symbol was created, using the roots of the tree to create pathways and access points, and using the canopy to create a central gallery space.
Layout of Light Access
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Orientation
As was gathered from the shadow studies earlier, the northern edge of the lawns receives the most sun exposure throughout the year. It will be important to orientate the pavilion on site with reference to this area of higher sun exposure, as well as integrating larger windows or openings into that section to filter as much sunlight into the pavilion during the day.
Area of major Sun Exposure
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Experiential ideation
The two main types of spaces that will most likely be incorporated into the design are the access pathways and the central gallery space. The multiple pathways are symbolic of tree roots, and are supposed to evoke the idea of the roots of knowledge and their importance in the early stages of growth. The central pavilion space is reminiscent of the tree’s canopy. It symbolises later stages of growth and the vast potential that accompanies it. When referring to intellectual growth, it is naive to think that growth can be capped. There is new knowledge being created in every moment. It was important that this idea could be reflected in the design, so it was thought to use light to express this. Throughout the passages, light access will be somewhat restricted, creating a more dim, uncertain atmosphere. As you progress into the main hall, light access become much less restricted, creating a much brighter environment. The design will make use of skylights, which not only will allow light access, but also allow the person inside to see outwards and experience the infinite span of light.
Night Exterior Ideation
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Aerial Ideation
Interior Transition Ideation
Day Interior Ideation
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Exploration of reflection Linguistic Definition
Case Study: Reflection in a Modern Context
The concept of reflection can be defined as the return of an image as a mirror of the original, or as the result of flipping an image along an axis. Reflection can be portrayed as perfect mirror images of the object it’s reflecting, or it can simply be the reflection of light and the aesthetic which comes from that reflection.
The glass facade of the Elbphilharmonie in Hamburg, which was designed by Herzog & de Meuron takes inspiration from the culture of Scheerbart, and refers indirectly to Berlin’s Philharmonic. The building features a glass facade that has sections that curve inwards and outwards, which creates a distorted reflection of the water, sky and city. This facade allows you to perceive the building’s surroundings not as a perfectly mirrored image, but as a processed reproduction which brings a new perception. The use of curved balconies creates interesting and distinct reflections. When there is a clear, diffuse sky, the curves reflect the light and create
Philosophical Meaning In a philosophical sense, reflection is an intellectual process. It can come as a later stage of the design process, when you revisit your ideas and evaluate the merit of them, allowing you to further improve upon them. Reflection in this context is a crucial element for growth, because if we were to not reflect upon our past actions and thoughts, we are not giving ourselves that opportunity to learn from those experiences and build upon them.
Elbphilharmonie
distinct lines, conversely, when the building is under direct sunlight, the curves create glossy shimmers, which are reminiscent of jewels. The Elbphilharmonie has made use of its abstract facade to create eye-catching reflections, which change the viewer’s perception of the building’s surroundings. Frank Gehry’s Walt Disney Concert Hall takes the idea of reflection and transfers it from glass to metal. Gehry’s signature style of sail-like forms, combined with the use of titanium cladding on the facade of the building creates a very dynamic scene which changes constantly, entirely dependant on time
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South Australia HMRI
Selfridges Department Store
Walt Disney Concert Hall
of day, cloud cover and sun intensity and angle. The hall’s unique aesthetic creates quite the spectacle within downtown Los Angeles, and has really become a part of the glamourous Hollywood scenery. In Birmingham, the Selfridges Department Store has avoided using any exterior branding, and instead has a skin made up of 16,000 anodized aluminium discs. This unique facade has made the form of the building an advertisement in itself,
as well as creating a sense of anonymity about the building’s true size or number of stories. The reflections from the discs are diffuse, leading to a abstract image being produced, which is predominantly dictated by the colour and brightness of the sky, and neglects any clear visions of the surrounding neighbourhood. Finally, the South Australian Health and Medical Research Institute designed by Woods Bagot, has used its angular
reflective facade to help combat against the harsh Australian sun. The skin of the building is made up entirely of aluminium sun shades, all of which have been individually modelled on the computer to provide the the best shading for the entire building. All of the aforementioned projects have taken the concept of reflection and created their own unique interpretations of it, straying away from the traditional concept of reflection.
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Pavilion in context with site
Plan view of pavilion in context scale 1:1000 From the exterior, the pavilion during the day creates little impact to its surrounding space, the exterior elements of the pavilion include a wooden waffle dome, or “canopy� and a snaking crevice with a ramp which
leads down the second floor of the pavilion. making the access point lead to the lower level of the pavilion was intended as a play on the metaphor that light is growth, as you begin your journey deep underground with the tree
roots. As you move through the spaces, you find youself on the upper level, or the latter stage of growth. During this stage, you will find yourself underneath the great canopy, with sunlight flooding in from all directions.
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Exterior during night time
Exterior during day time
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Access to the pavilion
Based on the circulation studies done on site, the most frequented footpath was the one in between the Barr Smith Reading Room and the Maths Lawns. In terms of direction of travel, it appeared that it was more or less equal. The entry point to the pavilion is located
on the north eastern corner of the Maths lawns, so that people entering the campus can easily enter the pavilion. The descent towards the lower level of the pavilion is facilitated by a gentle snaking ramp, which slowly traverses further into the ground until reaching the lower level, making the
pavilion easily accesible for people with disabilities. Due to the ramp being open, there is no lack of light access during the day. However, at night the upper edge of the canyon is lit up by a snaking ribbon of LED lights, creating a luminous path towards the canopy of the pavilion.
Approach from Barr Smith
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Entrance ramp during daytime
Entrance ramp at night
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Floor plans and section
seminar room
gallery space presentation room
seminar room
Upper level floor plan Scale - 1:200
storage
D
Reading area
M F
library
Reception Lower level floor plan Scale - 1:200
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The pavilion’s interior is spaced across two floors. On the lower floor, the entrance and reception area is located. Making the entry point on the lower level creates the opportunity to move upwards, or grow. This idea also influenced the placement of the
library and reading areas on the lower level as well, as these spaces are important factors in aquiring knowledge and growing intellectually. As you move upwards around the central trunk which supports the canopy dome, you arrive on the upper level of the pavilion. The two seminar
rooms and the presentation room surround a central gallery space underneath the canopy dome. These spaces are representative of the latter stages of intellectual growth , as the purpose of these spaces is to share and present our acquired knowledge.
Section facing Engineering North Scale - 1:250
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Structural composition of pavilion
Exploded Axonometric The floor dividing the upper and lower level of the pavilion has a transluscent plexiglass surface, which allows for ligh to pass through to the lower level of the pavilion and reduce the reliancy on artificial light. These plexiglass
sheets are supported by a grid network of steel beams which are bolted together and are spaced 1200 millimetres apart in either direction. The dome is constructed from a network of curved wooden beams, which have slots cut into them so the pieces
can slot into each other. this network of beams creates multiple openings of varying sizes. These openings each have a pane of plexiglass mounted in them to shield the pavilion from the elements, but still allow light into the interior.
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Floor Construction Detail
Dome Construction Detail
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Interior spaces during day time
Downstairs library space
Presentation room
Seminar room
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During the daytime, light streams in through the canopy dome. On the lower level, light filters in through the transluscent plexiglass floor/ceiling. this creates a softer, diffuse light in the lower level of the pavilion. A library can be seen as the foundation or roots of knowledge, so it was positioned on the lower level of the pavilion as this floor represents the early stages of growth. filtering the sunlight through a transluscent surface
can draw parallels to the uncertainty associated with early stages of knowledge aquisition or growth. As you progress upwards into the central gallery space, the light streams into the pavilion through the canopy dome, bathing you in unfiltered light. The gallery space is a representation of the latter stages of growth, the light is clearer as your knowledge base becomes more clear and your understanding improves. This reasoning influenced the positioning of
the seminar and presentation rooms, as these rooms present an opportunity to share knowledge that has been acquired with others. The presentation and seminar rooms have floor to ceiling windows to allow as much natural light access into the rooms as possible. To allow for privacy, translucent strips through the middle portion of the windows allow for light to pass through, but keep outsider´s visions into the rooms obscured.
Central gallery space
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Interior spaces during night time
Downstairs library space
Presentation room
Seminar room
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At night time, the interior is artificially lit. On the lower level of the pavilion, there are gentle spotlights which shine onto the walls, as well as soft upward lighting from the floor. All of the artificial light on the lower level is directed towards or parallel to the wall. This creates a more diifuse light in the lower level, keeping the middle of the space relatively dim. the soft lighting adds to the metaphor of growth,
as the dimness is an image for the unkown or uncertainty. Lighting the wall rather than the space brings attention to the structure of the pavilion, rather than the space it creates for its inhabitants. highlighting structure draws back to the metaphor of growth. If we don’t have a sound foundation or structure for which to build our knowledge base, then there will be gaps or flaws within our knowledge. Much like if a building doesn’t have a solid foundation,
there could be dangerous consequences associated with the structure itself. On the upper level of the pavilion, the artificial light streams down from above, creating a much brighter environment. The light cutting through the darkness, and enabling us to see the space in full is a representation for an increase in understanding, as we have reached a later stage of growth, therefore our knowledge base increases.
Central gallery space
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Exploration of opacity Linguistic Definition
Philosophical Meaning
Opacity can be defined as the quality of an object or surface lacking transparency or translucence, making it difficult to see through or for light to be transmitted through. If we take the linguistic definition of what the quality of opacity is, which is essentially the impenetrability of an object or surface, and apply it in a philosophical context, it could be interpreted as the difficulty of understanding.
If opacity can be defined as the inability for light to penetrate, the philosophical implications could be the inability to understand due to a certain vagueness or uncertainty regarding the issue. In this context we could draw parallels between light and knowledge, with the former being a metaphor for the latter. In a literal sense, opacity restricts light’s ability to transmit through a surface or object. If we are to draw parallels between the literal
Pirkkala Church
situation created by opacity and apply it to the context of knowledge, opacity can be a restricting factor in our pursuit of knowledge, due to its lack of a clear outcome from the situation. This idea of opacity being a screen of uncertainty can promote deeper thought, which could result in new ideas being created due to the lack of a clear and certain outcome as a result of the vagueness of the situation.
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Dybkær Church
Dybkær Church
Nordyjllands Art Museum
Case Study: Whiteness in Nordic Countries Throughout Scandinavian countries, there is scarce amounts of light during the winter months, but during summer, they experience very long days. This has led to designers using opacity as a tool to help light rooms naturally despite their less than favourable access to sunlight. These extreme shifts in weather and light have led designers to play with white surfaces to counteract the long and dark winter days. Due to the low position of the sun in in these regions, light generally enters buildings from the side, rather than from above, creating long shadows. As well as this, summer evenings generally have
a very diffuse light. Not only is the use of white surfaces used due to it’s high albedo properties, but it has also been seen as designers drawing parallels to the snowy Nordic landscapes. Examples of this design approach can be seen in several churches throughout the regions. One of these being the Dybkær Church by Regnbuen Arkitekter. In this example, light enter the church from three angles: it approaches from a low angle from the north which emphasizes a black steel crucifix, then it enters more broadly from the south, creating a wash over the walls, and then it showers down directly behind the altar, which is guided by a portion of wall. Another
example of a project that used white volumes to create an interior which shone brighter than the external environment is the Nordyjllands Art Museum. The Pirkkala Church by Käpy and Simo Paavilainen is an example of how the white surfaces combined with placement of windows has created a slideshow of images on the wall behind the altar. Depending on the time of day and year, different images of light are projected onto this wall, creating a dynamic interest within the building. Despite the limiting factors that the Nordic sun presents, these designs have used the restrictions in an innovative way to create a spectacle of light within the structures.
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Exploration of filtration Linguistic Definition
Philosophical Meaning
the general meaning of filtration is the idea of purifying or altering something, generally by removing something when it passes through a filter. If this definition is applied to light it can be to do with reducing wavelengths of light, or altering the light in some form, such as having it pass through a screen, which could result in the light forming certain patterns because of passing through the screen.
As filtration is the act of purifying something by altering its essence of what it originally was, this can be interpreted as a manipulation of something’s character or defining element. In the case of light, filtration is our way of dictating how light behaves, as well as dictating its appearance. Using filtration of light can transform how we perceive certain spaces, highlighting certain
Saint Pierre
elements whilst leaving others in the dark for example, or using patterns of light to bring attention to the smaller scale of detail present on a surface. The concept of filtration can be broadened to encompass all of nature and how we as humans love to interfere with the natural world and remove “impurities� to create more ideal settings for ourselves.
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Sainte Marie de La Tourette
Sainte Marie de La Tourette
Ronchamp Chapel
Case Study: Le Corbusier and the trinity of light Le Corbusier’s trinity of sacred buildings all integrate filtration as a major design element, creating a distinct dynamic character about all three. The Ronchamp Chapel, the monastery of Sainte Marie de La Tourette, and the parish Church of Saint-Pierre all feature an element of light filtration as a major element, yet each has its own distinct and individual character. Corbusier experimented with the interaction of colours and varying solar events in the design for the Ronchamp Chapel. Despite being agnostic, Corbusier appreciated the important image of divinity or holiness that light portrayed and set out to create his own interpretation of it. The use
Saint Pierre
of light in the Ronchamp Chapel has been described by Henry Plummer as a method to consecrate the natural universe. Corbusier has captured this through use of strategically placing windows and opening to direct sunlight into the interior at different times of day, creating multiple atmospheres within the same space. Unlike the Ronchamp Chapel, La Tourette uses rectilinear geometries, with each of the main hallways having an opening to one of the cardinal directions. Each of these corridors have unique window arrangements, creating irregular patterns of light and shadow. These patterns have often drawn comparisons to the flow of music and have been interpreted as a means
of drawing people further into a contemplative state. The highlight of La Tourette can be seen at sunset, when light streams through a crack in the ceiling above the west walls, illuminating the wall. This feature of light differs between seasons, with summer presenting a large rectangle of light compared to the small triangular sliver during winter. The theatre of light at Saint Pierre occurs over three acts. Firstly, the small, star like windows on the eastern façade create dots on the floor, which then turn into rolling waves of light as the day progresses. Finally, at about midday. The light waves disappear and light streams into the building through two tubes in the roof, creating intense beams of light. As the sunsets, a bright light beams onto the altar wall, drawing the theatre of light to a close. Le Corbusier’s creative use of light in his “trinity of light” was able to transcend buildings past being only static volumes, but dynamic spaces which were ever changing as the environment around them changed.
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