Rep.II-19-YongShengZhao by YONGSHENG ZHAO

LUMINOSITY

YongShengZhao A1695643

CONTENT PAGE 04

PAGE 10

PAGE 12

PAGE 16

PART I

Light study 1:

PART II

Light study 2:

Place Study

Luminosity

Idea Generation

Reflection

PAGE 18

PAGE 22

PAGE 24

PAGE 28

PART III

Light study 3:

PART IV

Light study 4:

Form

Opacity

Material

Filtration

PART I

PLACE STUDY

SITE PLAN

① ③

②

⑦ ④

⑤

⑥

①：THE BRAGGS ②：MOLECULAR LIFE SCIENCES ③： BARR SMITH LIBRARY ④： INGKARNI WARDLI ⑤：ENGINEERING AND MATH. SCIENCES ⑥： SANTOS BUILDING ⑦： DESIGN AREA

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AERIAL VIEWS

GROUND VIEWS

AERIAL VIEWS

GROUND VIEWS

AERIAL VIEWS

GROUND VIEWS ARCH

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DAY

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NIGHT

9:00 1-1-2019

MID-SUMMER

12:00 1-1-2019

SITE ANALYSIS

SHADE AND SHADOW STUDY

9:00 1-7-2019

15:00 1-1-2019

12:00 1-7-2019

MID-WINTER

15:00 1-7-2019 ARCH

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ACCESS & MOVEMENT & USE PATTERN & PLACE SOCIAL CHARACTER

SITE ANALYSIS 8

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THE BRAGGS

BARR SMITH LIBRARY

DESIGN AREA

INGKARNI WARDLI

MOLECULAR LIFE SCIENCES

DESIGN AREA

ENGINEERING AND MATH. SCIENCES

SANTOS BUILDING

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LIGHT STUDY 1: LUMINOSITY Light is an indispensable part of architecture.When it comes to the use of light, we have to mention Zaha Hadid, who is a master figure. Zaha Hadid›s projects are remarkable not only for her innovative way of handling tangible materials but also for her imagination regarding the medium of light. Her theories of fragmentation and fluidity are now wellknown design techniques which enabled her form-finding. However, her advances in using light to render her architecture have often been neglected—even though they became an essential element in revealing and interpreting her architecture. The three-decade transition from minimal light lines at her early Vitra Fire Station to the world›s tallest atrium at the Leeza SOHO skyscraper, which collects an abundance of daylight, shows the remarkable development of Zaha Hadid’s luminous legacy. Light closes the gap between architecture and our perception. We sense forms and materials with our eyes not directly but through the reflected light. Zaha Hadid›s use of light might appear graphical at first sight with her light lines. Nevertheless, the grand dame operated very skillfully to enhance her architectural imagination. Luminous lines—either as luminaires or windows—characterize her early work, whereas luminous fields and a play of brilliance emerged later.

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Zaha Hadid›s explorations with abstract paintings have led to several

The Phaeno Science Centre (Wolfsburg, 2005) was a decisive turning

graphical interpretations of lighting and luminaires. In order to

point in Hadid›s lighting imagination. The windows and luminaires

interweave the surrounding landscape with her new structures, Hadid

in the building›s surface share the same form, creating a holistic

analyzed abstracted urban transport patterns and transformed them into luminaire patterns. At Strasbourg›s Hoenheim-Nord Terminus and Car Park (2001), she became fascinated by the white road markings and converted them into white linear diffuse luminaires—either integrated as strips in the concrete roof or as tilted poles for the car parking spaces.

design approach and thus moving on from Hadid›s earlier period of lines and sharp corners. The elevated concrete structure generates a large shaded area, with the view to daylight on one side intensifies the impression of a dark void. As a counterpoint, diffuse ceiling luminaires intervene in the dim atmosphere. The diagonal building structure has been translated into rhombus-shaped windows for the façade. In contrast to earlier projects with sharp edges, Hadid›s forms here took on curved shapes, marking a transition to fluid designs. In order to form a coherent exterior surface, the rhombus contour has also been applied to the underside of the elevated museum. Thereby the visitors perceive a holistic formal approach encompassing both daylight and artificial lighting.

References:»Fluid Luminosity: The Architectural Lighting Of Zaha Hadid». 2019. Archdaily. https://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid.

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PAR GEOMETRICAL DIAGRAMMING OF SEEK LIGHT METAPHOR

IDEA GEN

For my first design. My inspiration came from a glass shading I saw on the Internet. Its called Hance Park. Different from the previous shading, he resorted to specific glass to fade the ultraviolet and light radiation, instead of blocking out the sunlight, which was a good design. For my second design. My inspiration comes from an energy-saving fluorescent lamp, which collects sunlight through the radiation of sunlight and can get full illumination without turning on the light during the day. It is a sustainable development device. So i use this system. The last idea, I used solar panels, and I wanted to make the design more sustainable and creative.The solar panel collects energy during the day to convert the sun›s energy into electricity, and when the sun isn›t shining at night, its stored energy is used to power the bulb.

References: «Industrial Tubular Daylight Device For Close Ceiling Appl». 2019. Indiamart.Com. https://www.indiamart.com/proddetail/industrial-tubular-daylight-device-for-close-ceiling-appl10167215155-.h «Solar Power: Energy Source Fact File! - Fun Kids - The UK›s Children›s Radio Station». 2019. Fun Kids - The UK›s Children›s Radio Station. https://www.funkidslive.com/learn/energy-sources/solar-p energy-source-fact-file2-/. «!Melk | Hance Park». 2019. !Melk. http://www.melk-nyc.com/work-portfolio/hance-park/.

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RT 2

NERATION

GEOMETRICAL EXPLORATIONS OF 3 POSSIBILITIES

IDEA 1

IDEA 2

IDEA 3

html. power-

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IDEA 1 SECTION

INTERNAL

CONTEXTUALISING THE VISUAL NOTATIONS OF PLACE OF EN

THE REFRACTION OF DAYLIGH

IDEA 2 SECTION

INTERNAL

IDEA 3 SECTION

INTERNAL

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E POSSIBILITIES ON SITE NLIGHTENMENT & POINT OF ENTRY

ENTRANCE AND DISABLED ACCESS

HT AND THE LIGHT OF NIGHT

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Light study 2: Reflection Accompanied by the belief that light and brilliance could

Burj Khalifa Tower

The American architect Frank Gehry transferred this aesthetic of brillia

help in creating iconic architecture and a better human

glass to metal with the titanium cladding of the Guggenheim Museu

world, glass and metal have been innovatively transformed

in 1997. While the connotations range from a ship for the larger form

to create crystalline images. As a result, the locus of meaning

scales regarding the reflective panels, the building as a whole has tur

in architecture has shifted from the internal space-form

an urban jewel that kicked off numerous urban redevelopments with

towards the external surface.Celebrating the expressive

signature. Many an aspiring metropolis assumes that the structural fo

materiality of transparency and reflective imagery for entire

key successful factor in “Bilbao effect.” However, with the sparkling light

building skins emerged during the early 20th century,

of the titanium sheets and its changing appearance, Frank Gehry has

when Paul Scheerbart and Bruno Taut envisioned a new

brought a dynamic composition of forms to Bilbao but reinforced h

glass culture made of “colored glass” “sparkling in the sun,”

with a distinctive, dynamic image which varies with every cloud and s

“crystalline shapes of white glass” which make the “jewel-

These strategies with shimmering veils have significantly increased the r

like architecture shimmer.” Mies van der Rohe absorbed this

of the surface as a carrier for the meaning of a building. The Internatio

vision when he discarded the rectangular tower in favor of a

has come to a point in façade design where the uniformity of mirrori

free-form glass skin in his proposal for the Glass Skyscaper

has begun to erode a sense of human scale. Consequently, concave an

in Berlin in 1921. In a 1968 interview, Mies explained his

building forms, reflective curved façade elements, or a mixture of the t

skepticism regarding the urban monotony of glass mirror

opened another set of options, generating more multifaceted image

effects: “Because I was using glass, I was anxious to avoid dead

city. Furthermore, the interest in complex reflection patterns has swe

surface reflecting too much light, so I broke the facades a little

brutalism with its raw concrete dualism of dark voids and light surfac

in plan so that light could fall on them at different angles:

shimmering facades have also superseded Kahn›s monumentality, w

like crystal, like cut crystal.” Norman Foster materialized this

material’s purpose is primarily to cast a shadow. Neither shadows no

glass dream with his Willis Faber & Dumas Headquarters

mirror effects seem to evoke enough attraction for our spectacle

in Ipswich in 1975 and SOM presented it in its tallest

society today. Therefore, new landmarks will continue to reach for in

manifestation with the Burj Khalifa Tower in Dubai in 2009.

combinations of material and form to create brilliant veils and a bright urb

References:»Veiled In Brilliance: H

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ance from

Guggenheim Museum Bilbao

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Guggenheim Museum Bilbao

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How Reflective Facades Have Changed Modern ArchitectureÂť. 2019. Archdaily. https://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changed-modern-architecture.

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PART 3 18

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3D MODEL OF LIGHT PAVILION IN CONTEXT

1:500 PLANS OF LIGHT PAVILION

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1:500 SECTIONS OF LIGHT

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THIS IS MY FINAL DESIGN, WITH A TOTAL AREA OF 300 SQUARE METERS. IT IS DIVIDED INTO 3 SURFACE, AND THE OTHER TWO LAYERS ARE UNDE R NEATH. THE DEEPEST IS 8.5 METERS UNDERGROUND. MOST OF THE TOP FLOORS ARE GLASS AND SOLAR PANELS, AND THERE ARE T WO TUBULAR DAYLIGHTS FACILITY IN THE CORNER.ON THE SECOND FLOOR OF THE CEIL I NG, THAT IS, THE PASSAGE FROM THE GROUND TO THE UNDERGROUND, THERE IS A SERIES OF HOLLOWED OUT PLACES. IT WILL SHOW DIFFERENT PATTERNS ON THE GROUND WITH THE DIRECTION OF THE SUN. AT 12

COMPOSITION AND STRUCTURELIGHT

LAYERS, THE TOP LAYER IS EXPOSED ON THE

O›CLOCK NOON HE WILL REFLECT THE SHAPE OF T H E ARROW POINTING TO THE STAIRS.

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How can light resonate with buildings in winter when light is scarce. resonate with both the scarce light in winter and the long summer days Urbana-Champaign, has very carefully studied the various daylight phen brilliant writing that combines an analytical perspective with a poetic to using reflective white spaces to facilitate bright rooms; the passionate p with the local beauty of nature and touch the human soul.The extreme c in Scandinavia, where architects have played with white surfaces to co the sun in northern regions creates long shadows and therefore daylig contrast, summer evenings emanate a diffuse light. In his book “Nordic out that although Norway, Sweden, Denmark and Finland are dissimilar

LIGHT STUD

Early examples of white architecture could already be found in Denma modern sacred buildings like the Dybkær Church by Regnbuen Arkitek three directions, as Plummer explains: “Low from the north to emphasiz wash; and as a shower directly behind the altar, guided down through irregular texture of white brickwork. In a similar way, the Bagsværd Chu Plummer: “Light is the most important feature of the church. I provided in Denmark for much of the year, is fully used and produces an intensi diffusion, using white-painted plaster, white-enamelled steel and white in the 1930s, and achieved a peak at the Nordyjllands Art Museum in 19 and ceilings as well as the expressive daylight scoop. However, the po Nordic built environment. The pulse of nature with vibrating patterns of distinctive Nordic light approach as well.Other architects, like Aarno Ru the liturgical service. His interpretation of sunlight comes from a more ab but man does not need to know where. Lighting is not an end in itself. B

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The Scandinavian countries have developed great buildings that s. Henry Plummer, Professor Emeritus at the University of Illinois at nomena in the Nordic countries, with extensive photo journeys and ouch. His view of daylight looks beyond the practical advantages of photographer is much more interested in the light effects that play changes in weather and daylight have led to unique light situations ounterbalance the long and dark winter days. The low position of ght enters the buildings more from the side than from above. In c light: Modern Scandinavian Architecture,” Henry Plummer points in topography and vegetation, they share the same subdued light.

DY 3: OPACITY

ark´s medieval churches, and this design approach still influences kter. For example, the sophisticated daylight concept arrives from ze a black steel crucifix; more broadly from the south as a glancing h a sluice of wall.” Further on, the nave walls are animated by an urch by Jørn Utzon plays with white, as the architect elucidated to d white walls and white ceilings so that daylight, which is limited ity of light always greater than that outside.” The concept of white linoleum, was introduced by Alvar Aalto for the Paimio Sanatorium 972, according to Plummer. Shades of white cover the walls, floors ower of pure white volumes is not the only characteristic of the light or the transiency of dramatic light and shadow belong to the uusuvuori, avoided the drama of harsh sunlight that distracts from bstract presence of light, as he states: “Light originates somewhere, But its meaning is to create a feeling of the infiniteness of eternity.”

References:»Light Matters: Whiteness In Nordic Countries». 2019. Archdaily. https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries.

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PART IV MATERIAL

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INTERNAL AND GROUND VIEWS

INSIDE & OUTSDIE ACCESS & MOVEMENT

small library

relaxing space

seminar room

Storage

Reception area

Exhibition

Female

Male Toilet

Disable

Downstairs

ENTRY ARCH

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TUBULAR DAYLIGHT DEVICE

WALL STRUCTURE

CONSTRUCTION DETAILING & INTE Decorative layer Varnishing glue Fiberglass cloth Varnishing glue Stone wool board Bonding glue

Base wall

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ERNAL LIGHTS VIEWS OF PAVILION

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LIGHT STUDY 4: FILTRATION

For his three sacred buildings, Le Corbusier has played masterfully with orientation, openings and textures to create kinetic architecture with daylight. His pilgrimage chapel at Ronchamp, the monastery of Sainte Marie de La Tourette, and the parish church of Saint-Pierre in Firminy reveal distinctive and individual approaches that each render contemplative spaces with light. In his book “Cosmos of Light: The Sacred Architecture of Le Corbusier,” Henry Plummer, Professor Emeritus at the University of Illinois at Urbana-Champaign, has analysed these projects with outstanding photographs taken over 40 years and brilliant writing.Light has been linked with divinity and holiness in many different religions. In Christianity the Bible speaks of God who “is light” or Christ as “the light of the world”. Even if the divine light and visible light are not the same, visible light appears as the most similar to the heavenly and thereby links both spheres. Each epoch has formed a new language of light: The glow of the Romanesque apse, the golden shimmer of Byzantine mosaics or the luminous walls of Gothic stained glass. As an artist as well as an architect, Le Corbusier expressed an exceptional sensitivity for the interaction of colours and light in his sacred buildings. His position as an outspoken agnostic seems very ambivalent in combination with his desire to open the soul to poetic realms.

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The light orchestration at La Tourette is more complex and widely dispersed in comparison to Ronchamp, remarks Plummer. The Monastery of Sainte Marie de la Tourette at Éveux-sur-l’Arbresle (60-1953), with its rectilinear geometry, embodies a clear counterpoint to the poetic forms of Ronchamp and Firminy. Due to the fact that all corridors have an open side facing one of the four cardinal directions, the believers encounter diverse light experiences. Additionally, the corridors are distinguished with different window arrangements. The irregular rhythm of light and shadow appears like a musical composition, notes Plummer when he observes the corridor to the atrium: “Unlike the repetitive rhythms of windows and columns in traditional churches, these fluent rhythms are aperiodic, based upon intervals of light and transparency that gradually compress and expand in waves. The lovingly cadenced beats have the intonation and flow of music – not orchestral music, but chant-like sounds, whose tones help to draw people further into a contemplative state.” The highlight of the light choreography in La Tourette›s church begins with the sunset. A crack atop the west wall draws warm lines along the side walls. The north wall connects the two golden lines and with the falling sun the line slowly moves upward. The dramatic atmosphere increases till the moment when the golden light hits the slight upward tilted roof plane and grazes over the tactile ceiling of prefabricated slabs. This effect changes with the seasons – ranging form a small triangle in winter to a large rectangle in summer when the sun reaches its maximum power. References: «Light Matters: Le Corbusier And The Trinity Of Light». 2019. Archdaily. https://www.archdaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light.

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