REPRESENTATION II STAVROS GRAFYADEL FINAL A1703806
2
TABLE OF CONTENTS STAGE 1: PLACE SITE PLAN.............................4 ELEVATIONS............................5 SHADE & SHADOWS.......................6 3D VIEWS..............................8 ACCESS & MOVEMENT.....................9 AMBIENT LIGHT.........................10 SOCIAL & CULTURAL.....................11 LIGHT STUDY: LUMINOSITY...............12
STAGE 2: IDEA SPATIAL DIAGRAMS......................14 SITE PLAN.............................15 SECTIONS..............................16 ELEVATIONS............................18 AERIAL & GROUND VIEWS.................19 INTERIOR VIEWS........................20 SPATIAL STUDY.........................21 LIGHT STUDY: REFLECTION...............22
3 STAGE 3: FORM PLANS.................................26 ELEVATIONS & SECTION..................27 AERIAL & GROUND VIEWS.................28 ACCESS & MOVEMENT.....................30 INTERIOR VIEWS........................32 LIGHT STUDY: OPACITY..................34
STAGE 4: MATERIAL STRUCTURE.............................36 EXPLODED VIEW.........................37 3D VIEWS..............................38 CONSTRUCTION DETAILS..................41 LIGHT STUDY: FILTRATION...............42
SITE PLAN
The site is currently located at the University of Adelaide on the math lawns. the site is surronded by 5 current structures. the site is surronded by vegetation with trees located between the south buildings
4
ELEVATIONS
5
BARR SMITH LIBRARY 1:500
BRAGGS & MOLECULAR LIFE SCIENCE 1:500
ENGINEERING BUILDING 1:500
5
6
SHADE & SHADOWS
9AM JAN 1ST
9AM JULY 1ST
6
7 12 NOON JAN 1ST
3PM JAN 1ST
12 NOON JULY 1ST
3PM NOON JULY 1ST
7
AERIAL VIEWS
8
9
9
GROUND VIEWS
AMBIENT LIGHT DAYHT During the day the lawns are occupied by students mingling, laughing and enjoying the space. The height of the buildings towering over the lawns proving shade and natural light.
10
NIGHTT During the night it is silent with the movement only being the trees swaying and leaves falling. The artifical light during night lights up the whole space. making you aware of your surrondings.
11
ACCESS OF MOVEMENT
Area perimeter Traffic zone for Braggs & MLS Traffic zone for Engineering Building Access to upstairs Engineering bulding
12
SOCIAL & CULTURAL EXPERIENCE The math lawns are located on the north-east side of the university of Adelaide. The lawns are were people gather before and after classes to mingle and enjoy the scenery. The barr smith library is the main atrraction as it is heritaged and provides a lovely backdrop for the lawns. the math lawns are a place or relaxtion and serentiy. During the year activities are held here as it is a spacious and freidnly area were people can mingle and get to know each other. one of the main events of the year is o-week. new students arrive at the math lawns to learn more about their future course, during this time there are opputunities for them to meet people and to explore the campus further.
13
11
14
LIGHT STUDY: LUMINOSITY
Luminosity The Latin root is lumen, meaning “light” In astronomy the term luminosity is referred to the total amount of light emitted by a star, galaxy or other astronomical objects. It is the quality of something that gives off light or shines with reflected light. Illumination has multiple meanings that all relate to light. For instance, illumination for some people is more of a spiritual journey as one has seen light or a path has been lit up for them to explore. Another meaning is the illumination of a object, space or building. That uses light to create an aesthetic appeal. The light can be artificial or natural light such as sunroofs and windows. Zaha Hadid’s work is remarkable as the way she is able to handle tangible materials but also for her imagination as she is able to create buildings and spaces that don’t look out of place. She has the ability to create an array of buildings from fragmented disjointed buildings to fluid seamless buildings. During a period of time Zaha began to make headways into light, where she used to render her buildings with light, the light was used to reveal and appreciate her buildings. This element became an essential part of Zaha as she used to create buildings that were purposely built for light and to show how powerful light was.
Zaha Hadid’s projects capture the imagination of how a building should be perceived. The way Zaha is able to create a space that is both practical and functional is a testimony to her legacy. The Leeza SOHO skyscraper is 190 metre tall atrium that holds up to 172,800 square metres of office and residential space. The building collects an abundance of daylight which illuminates the building and disperses the light evenly throughout the building creating shadows and shade. During the night the building is illuminated with lights that show the inside of the building. Although we think steel is strong and not very flexible the way Zaha is able to the twist the steel columns inside the space to make a seamless building is credit to her creativity and ambition. A lot of Zaha Hadid’s work is being able to create a building or a space and either use natural light or artificial light to create effects and spaces. Strasbourg’s Hoenheim – Nord Terminus in France Zaha explored the use of abstract painting which led to a landscape design were she transformed white road markings into white linear diffuse luminaries. The concept to create this space was to utilizes overlapping fields, echoing the energetic movement by cars and trains, trams, bicycles and pedestrians by fusing together to form constantly shifting but clearly delineated whole. During the night the space including lights, floor and marks delineate a magnetic field. The way Zaha has been able to use a variety of materials to create spaces and buildings that all portray light has been phenomenal. Zaha’s creativity has captured people imagination across the world by creating buildings that no one has ever seen. The buildings either use natural or artificial light to illumination the space or building. From having fragmented pieces to a fluid building Zaha is able to successfully use light in any given situation.
15
14 SPATIAL DIAGRAMS SCALE 1:500
PIXEL PAVILION
CAUSTIC PAVILION
16
SITE PLANS
15
The site is located north west of the campus. The position of the pixel pavilion is directly in front of the Barr Smith Library. The entry points for the pavilion are located along the side of the building. The pavilion does not obstruct the view of the Barr smith library as it is heritage listed.
The caustic pavilion is located under the math lawns. The entry point for the pavilion is located along the footpath from the engineering building to the Braggs building, equipped with a ramp and a staircase.
17
18
SCALE 1:100
SECTIONS & ELEVATIONS
SCALE 1:200
SCALE 1:200
SCALE 1:200
AERIAL VIEWS
20
21
What these views are trying to depict are how the pixel pavilion will be used. The primary use of the of the pavilion is to filter through the light rays and cast spectacular shadows in the exhibition room. The pavilion can also be used as a seating area.
INTERIOR VIEWS VIEWS 20 INTERIOR
22
PRECEDENTS Water: Caustics occur when light penetrates water which then refracts the light onto the ocean bed leaving behind an effect. The inspiration to create this underground light pavilion came from the Beijing aquatic center also known as the water cube. They used bubbles as inspiration to create the building. I’ve taken a similar approach but have used caustics to create my pavilion. The university campus is always bustling with life and movement. The inspiration for my pavilion came from water and how it never stops moving. Combining a student who is always moving and caustics which are always moving and changing shape gave me the inspiration to create the underground caustic pavilion. When light hits the pavilion it reflects of the surface and casts a caustic shadow along the walls. The floor has water to give the feeling of movement and serenity.
23
21
22
TION Origin: Originated from late Middle English, from Old French reflexion, from Latin reflex-“bent back” from the verb reflectere. The word reflection means “the return of light or sound waves from a surface” this is just one definition. A more scientific definition is the Law of Reflection, which states the angle of the incident light ray is equal to the angle of the reflected ray. Reflection is also taking the time to reflect as individuals and reflect on your thoughts such as truth, success, purpose, thinking, life and death. Glass started to evolve in the modernism era as architects began to use glass to create facades, Mies Van der Rohe is famous for his saying “less is more”. Well known for pioneering the extensive use of glass in his buildings. His work introduced a new level of simplicity and transparency. Unfortunately, the uniform structural glazing skyscrapers began to bore urban citizens. Lighting has the ability to lighten up a room whether that be through natural lighting or artificial lighting. Light and metal with a little bit of brilliance would help create better buildings that would please the urban citizens and would see a shift in external surfaces rather than internal surfaces.
24
23 An iconic glass facade that emphasises crystalline images is the Elbphillharmonie in Hamburg by Herzog & de Meuron. This building refers to the culture of Scheerbart who proclaimed “Glass buildings could be transportable “and glass architecture enabled by sophisticated use of iron would make the built environment “paradise on earth”. Herzog & de Meuron has created a building that distorts the perception of the city, water and sky. With each day the building changes depending on its surrounding environment from brilliant light streaks that glimmer like a jewel to the dark gloomy days where the only shimmer is that metal itself on the building which the artificial lights come into play. Regardless, the body of water reflects and dances on the facades of the building. From glass to metal, Frank Gehry is an American architect who likes to show movement in his buildings. Frank has said “I have 15% of freedom to make my art”. The Guggenheim Museum Bilbao uses titanium cladding to shimmer instead of reflects. The reflectiveness the buiding gives has turned the building into an urban jewel. Frank has developed a dynamic composition but has reinforced his design with a distinctive, dynamic image which varies with every cloud and sunbeam.
Selfridges Birmingham department store opened in 2003 equipped with a dense mesh of 16,000 anodized aluminium discs. To avoid using logos and covering the building in sponsorship names, they turned the building itself into a logo. The net creates a glistening and fantastic effect that make you feel how grand the scale of the building is. The building has a mysterious feeling about it as you’re unaware of how many stories or the size of the building as it doesn’t offer any clues. Depending on the weather and season the net cladding façade leads to an abstract transformed image, which is determined by the colour of the sky and neglects any clear mirror effects of the neighbourhood.
25
PLANS SCALE: 1:200
GROUND FLOOR
UNDERGROUND FLOOR
UNDERGROUND FLOOR
26
The ground floors primrary use is for exhitibiitions, as the area is open and creates a meeting area for people to gather. The shadows that cast down and emphasis light a different dimension to the pavilion.
SECTION & ELEVATION SCALE: 1:100
SCALE: 1:100
27
AERIAL VIEWS
28
29
GROUND VIEWS
ACCESS & MOVEMENT
30
ENTRANCE
The location of the pavilion is located on the math lawns and is easily accessible. The pavilion includes a ramp and stamps and also has a lift for wheelchair access. The pavilion includes a spacious exhibition as well as a peaceful and relaxing library and reading room. The seminar rooms also offer a space where teachers can sit with students and discuss various topics.
EXIT TRAFFIC ZONES
31
INTERIOR VIEWS
32
Internal View
The pixel cubes that are made out of glass with an aluminum frame create distinct and diverse shadows depending on the day. During the day there is enough light to illuminate the space meaning less artificial light will be needed. The pixel various heights represent everyone on campus, the colour used will bring peace and harmony to the students.
33
LIGHT STUDY
Light Study:
OPACITY
Definition of Opacity: - The state or quality of being opaque. - Not being bright or shining; dark or dull - Being a solid state that doesn’t allow light to penetrate. - Not translucent or transparent Philosophical Definition of Opacity: Opacity relates to a certain understanding being vague or opaque. Quine has stated that two terms are referentially opaque if they cannot be switched. This means that one cannot without changing the true value of the statement. In exchange, mental states are sometimes thought to be opaque or difficult to grasp of a belief that might be true, another description could be indeed false.
34
Architectural Meaning: The Scandinavian countries over years have developed elaborate buildings that capture both form and light and using the shadows to create feelings and differentiate space. The drastic changes in weather and in daylight have led to a unique situation where architects have had the ability to play with white surfaces to balance the long dark and winter days. The Dybkaer Church in Silkborg, Denmark built in 1988, expresses itself by being bright, and sacred. The daylight is an essential element in the room’s architecture. The passage of light spreads throughout the room and emphasis the materials used in the church. Having the ability to use white that will create reflective space that facilitates the bright rooms minimises the use of artificial light. The clean lines and minimal detail have led to a minimalistic approach that has enabled the architects to focus on the use of light.
35
The Pirkkala church in Finland, hosts an array of different of lighting techniques. Pirkkala which means “home church� creates volumes of light that throughout the day change accordingly to the sun. similar to the Dybkaer church, materials have been selected that not only complement light but also emphasis the light penetrating through, creating shade and shadows throughout the church. The Pirkkala church has represented the light through the altar creating a richly contrasting sunlight projection, that when the sunlight hits the glass it acts as a mirror and a lens. The clean lines and flush surfaces create a delicate feel, during the day the church gleams and shines brightly minimising the use of artificial lighting.
In conclusion, the churches both create a visual richness of amazing transparency architecture, the windows do not only create the light and the shadows but they are also used as a viewing port, for the parishioners to embrace the beautiful landscape that both the churches have to offer. As the night begins to set you can see the shadows become dimmer and the materials begin to show. Transparency is based on the organisational complexity of the building where opaque and transparent surfaces are arranged in a way that they create feelings.
STRUCTURE
BRICK FEATURE WALL
15MM GLASS
150 MM CONCRETE WALL
R2.5 BATT INSULATION
CONCRETE 300MM SLAB REGULATION SIZE LIFT
TIMBER DOOR
CONCRETE STAIRS MATERIALS: BRICK
36
CONCRETE
TIMBER
INSULATION GLASS
EXPLODED PERSPECTIVE
ROOF
GROUND FLOOR/ EXHIBITION
LIBRARY/ SEMINAR ROOM TOILET/STORAGE
37
38
What these interior views capture is the light that penetrates these cubes and how they disperse the light among the space. The exhibition room is the main focal point of this pavilion, so a emphasis of light is crucial, the shadows also help distinguish materials and the space of the room.
39
1
NAILS TO FIX BALUSTRADE TO CONCRETE
SD 2 14
BALUSTRADE DETAIL 1:5
STEEL BALUSTRADE
20mm CAVITY 6mm GLAZING DOOR JAMB
SD2 14
COMMERCIAL NOSING
WHEEL AND TRACK ALUMINIUM SILL
160
DOUBLE GLAZING SLIDING DOOR CONCRETE REBATE FOR GLASS
6mm MECHANICAL EXPANSION BOLTS
SD3 14
260 50 260
SD
STAIR DETAIL
ENTRANCE DOOR DETAIL 1:10
SD 3 14
TREAD DETAIL 1:5
1:10
RAWN BY:
MAN BHATTARAI
NO.:A1621348 PANY NAME:
40
COMPANY NAME:
SHEET TITLE:
LONGSHOT COMPANY
STAIR DETAILS SHEET SIZE:
SCALE:
A3 DATE: 04.06.2017
SCALE:
A3
SHEET SIZE:
1:10
SHEET NO
Internal Views
CARPET CARPET PAD ADHESIVE SUBFLOORING 150mm CONCRETE SLAB STEEL STUD
CONCRETE FILLING FOR STRENGTH
GROUT CERAMIC TILE THINSET ADHESIVE PORTLAND CEMENT MORTAR
SD 5 08
32mm MORTAR BED
13MM PLASTERBOARD
CARPET FLOOR DETAIL 1:5
WATERPROOF MEMBRANE 150mm CONCRETE SLAB
190x190x76MM BESSER BLOCKS FLASHING
TIMBER FLOORING DAMP RESISTANT PREMIER ADHESIVE
SD
EXHIBITION FLOOR DETAIL
150 MMConcrete Slab
1:5
SD 9 09
DRAWN BY:
SHEET TITLE:
SUMAN BHATTARAI
FLOOR DETAILS
ID NO.:A1621348
TIMBER FLOOR DETAIL
SD
COMPANY NAME:
O.:
14
EXHIBITION WALL 1:10
1:5
SHEET SIZE:
SCALE:
A3
LONGSHOT COMPANY
DATE:
DRAWN BY: SUMAN BHATTARAI
1:10 ;1:5
100MM CONCRETE SLAB
1:5 SHEET NO.:
04.06.2017
11
SHEET TITLE:
CO
WALL DETAILS
LO
ID NO.:A1621348
41
Internal Views
FIL Definition of Filtration: - Filtration is the process in which operations are performed that separate solids from fluids. The fluid that passes through is called the filtrate. - Various devices for eliminating certain kinds of light rays. - Something that filters by removing, blocking or separating out certain elements.
Philosophical Definition - Mental filtering is the ability to evaluate a complex situation with both positive and negative elements. Theorists suggest that people make choices through a series of filters; each filter processes the information accordingly to the situation, and therefore, when the choice is more important, so is the effort and filtration.
42
- The sensory channels process signals in stages. The first stage consists of very basic data that contains physical properties, this is then information is filtered and data is extracted which then help the people make certain choices depending on the outcome.
Architectural Meaning: The Church of Saint-Pierre, Firminy in France built by the famous Le Corbusier, is known for its striking beautiful experiences, the church was another evolution of the core of thoughts. The use of concrete in the Church at Firminy is to recognize the small congregation of the city, which embraces the miners and steel workers that produced most of the goods of the area; this explains his use of concrete. Using such a dense and heavy material gave Le Corbusier control over the volume and spaces and his main objective was to give light to this strong and bold building. The orientation of Saint-Pierre must be credited as he was able to create kinetic architecture with daylight, the opening and textures have helped Le Corbusier distinguish spaces and also create shadows.
During the day night light floods through different light boxes located around the building all in a organised matter, these boxes bring light on specific religious holidays, like Good Friday and Easter Sunday. Days where it is overcast, soft luminous emerge on the wall. Golden light shoots into the church creating a warm and welcoming vibe. The cosmic scene comes together producing a spectacular wall abundant with light rays filtering through for people to be mesmerised by. Le Corbusiers light techniques emerge as a language to an example of this is his cosmic scene. The light layers filter through the windows and create a cosmic cycle that changes with the course of the day. Le Corbusiers structural elements range from tiny stellar openings to large windows and tube that are able to reflect and filter the light through creating patterns along the walls.
43