CONT PART 1 PLACE PAGE 4
LIGHT STUDY 1 LUMINOSITY PAGE 10
PART 3 FORM PAGE 20
LIGHT STUDY 3 OPACITY PAGE 28
TENT PART 2 IDEA PAGE 12
LIGHT STUDY 2 REFLECTION PAGE 18
PART 4 MATERIAL PAGE 30
LIGHT STUDY 4 FILTRATION PAGE 34
1:500 SITE PLAN
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①：THE BRAGGS ②：MOLECULAR LIFE SCIENCES ③： BARR SMITH LIBRARY INGKARNI WARDLI ENGINEERING AND MATH. SCIENCES ④： ⑤： ⑥： SANTOS BUILDING ⑦： DESIGN AREA
AERIAL & GROUND VIEWS
AERIAL VIEWS
GROUND VIEWS
AERIAL VIEWS
GROUND VIEWS
DAY
NIGHT
MID SUMMER MID WINTER 9:00 1/1/2019
9:00 1/7/2019
12:00 1/1/2019
12:00 1/7/2019
15:00 1/1/2019
15:00 1/7/2019
MOVEMENT & USE PATTERN &
& PLACE SOCIAL CHARACTER
THIS AREA IS IN A RELATIVELY DENSE AREA OF PEOPLE FLOW. THERE ARE TEACHING BUILDINGS ON BOTH SIDES OF IT, AND STUDENTS AND TEACHERS WILL WALK THROUGH IT. IT IS SURROUNDED BY NEAT TABLES AND CHAIRS, AS WELL AS NATURAL GRASS, WHERE PEOPLE OFTEN GATHER TO CHAT AND REST. NOT ONLY THAT, PEOPLE ALSO HOLD ACTIVITIES HERE FROM TIME TO TIME, AND THIS AREA IS ONE OF THE MOST DENSELY POPULATED AREAS ON CAMPUS. IT IS NEAR THE GATE OF THE SCHOOL AND MANY FOREIGNERS PASS THROUGH IT OR REST THERE.
LUMINOSITY LIGHT, IS AN OBJECTIVE EXISTENCE OF THE MATERIAL, BOTH WAVE AND PARTICLE NATURE, AND IN THE FORM OF ELECTROMAGNETIC WAVE PROPAGATION. THE PART OF THE EYE THAT CAN SEE IS CALLED LIGHT, OR EXACTLY VISIBLE LIGHT. THE OBJECT ABSORBS AND REFLECTS LIGHT OF DIFFERENT WAVELENGTHS, FORMING THE OUTLINE, DISTANCE, SIZE AND COLOR OF THE OBJECT. LIGHT IS A TOOL FOR SHAPING SHAPES AND DISTINGUISHING COLORS. EXPLORING THE ARTISTIC EXPRESSION OF LIGHT CAN NOT ONLY SATISFY THE BASIC LIGHTING FUNCTION, BUT ALSO MAKE THE BUILDING CHARMING.LOUIS KAHN ONCE SAID, "FOR ME, NATURAL LIGHT IS THE ONLY LIGHT THAT CAN MAKE A BUILDING AN ARCHITECTURAL ART."THE ILLUMINATION OF LIGHT MAKES THE SPACE APPEAR BEFORE US, AND AT THE SAME TIME, IT ALSO CREATES AND REORGANIZES THE SPACE. DIFFERENT INCIDENT MODES OF LIGHT PRODUCE DIFFERENT SHADOWS. THE COLOR CHANGE OF LIGHT REDEFINES SPACE AND SPACE ATMOSPHERE. THE LIGHT AND SHADE OF THE LIGHT, STRONG AND WEAK CAN UNDERSTAND THE MAIN AND SECONDARY SPACE. THE CONSTRAINT ON THE DIRECTION OF LIGHT DRAWS THE EYE TO THE MAIN FOCUS. ZAHA HADID IS VERY GOOD AT COMBINING LIGHT AND ARCHITECTURE. LEEZA SOHO IS ONE OF HER MASTERPIECES. LEEZA SOHO IS A SKYSCRAPER UNDER CONSTRUCTION IN LIZE FINANCIAL AND BUSINESS DISTRICT IN BEIJING, CHINA.IT IS THE LATEST OF FOUR PROJECTS BETWEEN ZAHA HADID ARCHITECTS AND SOHO CHINA.
LIGHT BRIDGES THE GAP BETWEEN THE BUILDING AND OUR PERCEPTION. WE PERCEIVE FORMS AND MATERIALS NOT DIRECTLY THROUGH THE EYE, BUT THROUGH REFLECTED LIGHT. ZAHA HADID WAS VERY SKILLED IN THE OPER ATION TO ENHANCE HER ARCHITECTUR AL IMAGINATION. HER EARLY WORKS FEATURED LIGHT, WHILE THE LIGHT FIELD AND THE LIGHT PLAY APPEARED LATER. THE VITRA FIRE STATION IS THE FIRST ARCHITECTURAL WORK COMPLETED BY ZAHA HADID. THE WHOLE BUILDING IS LIKE A PAPER DART, FULL OF SLANTING GEOMETRIC LINES.THE UNSTABLE DYNAMIC CHANGES AND THE DECOMPOSITION OF THE STRUCTURE RUN THROUGH EVERY CORNER OF THE BUILDING.THE EXAGGERATED HORIZONTAL LINES AND POINTED CORNERS GIVE THE STATION AN INTIMATE RELATIONSHIP WITH THE GROUND.PRECISE LINES OF LIGHT ARE INHERENT IN HER SOVEREIGN PAINTING. THE SOFT, SCATTERED INTERIOR AND EXTERIOR LIGHTING SOMEHOW COUNTERACTS THE ENERGY OF THE BUILDING FORM.THE FINO SCIENCE CENTER WAS A DECISIVE TURNING POINT IN HER ILLUMINATING IMAGINATION. THE WINDOWS AND L AMPS ON THE BUILDING'S SURFACE HAVE THE SAME SHAPE, THUS CREATING A HOLISTIC DESIGN APPROACH THAT GETS RID OF HADID'S EARLY LINES AND SHARP CORNERS. NANJING INTERNATIONAL YOUTH CULTURAL CENTRE IS HER WORK IN 2016, LOCATED IN JIANYE DISTRICT, NANJING, CHINA. THE INTERNAL FLUID LIGHT IS VERY EYE-CATCHING. THE CEILING OF THE HALL SYMBOLIZES THE UNIQUE BEAUTY OF LUMINOUS PIXELS,HUNDREDS OF SMALL HOLES IN THE WAVY LINES ARE ILLUMINATED BY DYNAMIC INTERNAL GEOMETRY.
IDEA GENERATION & HANCE PARK
PIXEL BLOCK THIS IS MY FIRST DESIGN, ONE OF THE SOURCE OF INSPIRATION IS THE GLASS SHADING AT HANCE PARK IN US. DIFFERENT FROM THE PREVIOUS SHADING, IT RESORTED TO SPECIFIC GLASS TO FADE THE ULTRAVIOLET AND LIGHT RADIATION, INSTEAD OF BLOCKING OUT THE SUNLIGHT, WHICH WAS A GOOD DESIGN. AND ANOTHER ONE IS A MOBILE GAME - MINECRAFT. EVERYTHING IN THIS GAME IS MADE UP OF SQUARES OF PIXELS, AND EVERYTHING IS SQUARE, WITHOUT ANY OTHER SHAPE.
PLAN
DAYLIGHT REFRACTION
LIGHT OF
& POSSIBILITIES 1
F NIGHT
SECTION
DISABLED ACCESS AND STAIRS
IDEA GENERATION &
SECTION
THIS IS MY SECOND IDEA I N S P I R AT I O N C O M E S F R O M A N E N E S A V I N G F L U O R E S C E N T L A M P, W COLLECTS SUNLIGHT THROUGH REFLECTION OF SUNLIGHT AND CAN GET ILLUMINATION WITHOUT TURNING ON LIGHT DURING THE DAY. IT IS A SUSTAIN DEVELOPMENT DEVICE. ON ITS SURFA USUALLY A ROUND GLASS DOME (THER OTHER SHAPES AS WELL), BELOW W IS A PASSAGE SURROUNDED BY MI FACE. SUNLIGHT REFRACTS LIGHT FROM GLASS, CHANGING ITS PATH INTO THE AF TER MANY REFLECTIONS IN THE IT FINALLY REACHES THE OUTLET OF PIPE AND SCAT TERS OUT. BY CONNEC M U LT I P L E P I P E S I N S E R I E S , T H E L CAN ALSO BE DIVERTED TO MORE PL
& POSSIBILITIES 2
. MY E R G YHICH H THE T FULL N THE NABLE ACE IS RE ARE WHICH IRROR M THE E PIPE. PIPE, F THE CTING LIGHT ACES.
DAYLIGHT REFRACTION
PLAN
DISABLED ACCESS AND STAIRS
LIGHT OF NIGHT
IDEA GENERATION & THIS IS MY THIRD IDEA, I CALL IT SOLAR FLOWER. MY INSPIRATION COMES FROM THE DESIGN OF SOLAR TREES IN SOME AREAS THAT I SEE ON THE WEB. A STREET LAMP IS MADE INTO A TREE WITH SOLAR PANELS ON IT. THIS IS A VERY ENERGY-EFFICIENT DESIGN THAT SAVES A LOT OF CARBON EMISSIONS COMPARED TO THE USUAL WAY OF GENERATING ELECTRICITY. DURING THE DAY IT ABSORBS SUNLIGHT AND CONVERTS IT INTO ELECTRICITY FOR STORAGE. AT NIGHT, IT WILL CONSUME ITS STORED ENERGY TO ILLUMINATE.WITH THE PROMOTION OF THE GOVERNMENT, SOLAR ENERGY HAS BECOME MORE AND MORE POPULAR IN OUR DAILY LIFE. PEOPLE OFTEN INSTALL SOLAR PANELS ON THE ROOF TO SHARE SOME POWER CONSUMPTION, AND THEY CAN GET GOVERNMENT SUBSIDIES.
SOLAR PANEL
SOLAR TREE
& POSSIBILITIES 3
SECTION
PLAN
DISABLED ACCESS AND STAIRS
DAYLIGHT REFRACTION
LIGHT OF NIGHT
R
E
F
THE CONCEPT OF LIGHT REFLECTION WAS FIRST USED BY PAUL SCHEERBART AND BRUNO TAUT. AT THE BEGINNING OF THE 20TH CENTURY, THEY CAME UP WITH THE IDEA OF A BUILDING F I L L E D W I T H T I N T E D G L A S S T H AT WOULD SHINE IN THE SUN.MIES VAN DER ROHE HEARD THE IDEA AND WAS THE FIRST TO PUT IT INTO PRACTICE. THE GLASS SKYSCAPER IN BERLIN WA S H I S R E P R E S E N TAT I V E W O R K . OVER TIME, MANY BUILDINGS HAVE BEEN DECORATED WITH REFLECTIONS O F L I G H T. E L B P H I L H A R M O N I E I N HAMBURG IS A REFERENCE TO THE VISIONARY SCHEERBART GLASS CULTURE AND, INDIRECTLY, TO THE SPARKLING GOLDEN SKIN OF HANS SCHAROUN'S BERLIN PHILHARMONIC. CURVED GLASS ELEMENTS, BOTH INWARD AND OUTWARD, DISTORT THE PERCEPTION OF THE CITY, WATER AND SKY. THEY FORM A SHARP CONTRAST W I T H T H E U N I F O R M F L AT G L A S S CURTAINS OF THE INTERNATIONAL STYLE. THE ENVIRONMENT IS NOT VIEWED AS A CLEAR MIRROR, B U T R AT H E R A S A P R O C E S S O F MODIFICATION AND REPRODUCTION.
L
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THE BUILDING REF LINES OF BRIGHT L TO THE CURVATURE O WHEN THE SKY IS B REFLECTED, THE REFLECTS THE LIG LINE, SIMILAR TO LINE IN THE AUTO DESIGN. IN DIRECT SPOTS OF LIGHT A A JEWEL-LIKE SHIM WOODS BAGOT HA LOGO FOR THE SO INSTITUTE OF HEA RESEARCH IN ADE THE ENTIRE BUILD AWNINGS, EACH INDIVIDUALLY COMP AMERICAN ARCHITE TRANSFERRED T AESTHETIC FROM G 1997 IN THE TITAN THE GUGGENHEIM THE GUGGENHEIM M HAS BEEN SO SU IT HAS BECOME O IMPORTANT TOURIS AT T R A C T I O N S I N BECOME A TREASU
C
T
FLECTS POINTS OR LIGHT STREAKS DUE OF THE BALCONIES. BLUE OR DIFFUSELY E UNIQUE CURVE GHT AS A BRIGHT THE HORIZONTAL MOBILE INDUSTRY SUNLIGHT, BRIGHT PPEAR AND EVOKE MMER. ARCHITECT AS CREATED A CITY OUTH AUSTRALIAN ALTH AND MEDICAL ELAIDE, WRAPPING DING IN ALUMINUM H OF WHICH IS PUTER SIMULATED. ECT FRANK GEHRY THIS GLORIOUS GLASS TO METAL IN NIUM CLADDING OF MUSEUM BILBAO. MUSEUM IN BILBAO U C C E S S F U L T H AT ONE OF THE MOST ST AND CULTURAL T H E C I T Y. I T H A S URE OF THE CITY,
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MANY ASPIRING METROPOLISES B E L I E V E T H AT S T R U C T U R A L F O R M IS THE KEY TO THE SUCCESS OF T H E B I L B A O E F F E C T. S E L F R I D G E S BIRMINGHAM DEPARTMENT STORE, WHICH OPENED IN 2003, IS COVERED IN A MODERN FASHION WITH A DENSE GRID OF 16,000 ANODIZED ALUMINIUM DISCS.SINCE THE BUILDING ITSELF HAS BECOME A SYMBOL, THE STORE C A N AVO I D AT TA C H I N G A N Y LO G O TO THE BUILDING. THE SHIMMERING M E S H C R E AT E S A M E S M E R I Z I N G SENSE OF SCALE: THE SMALL DISKS GIVE A TACTILE SENSE OF HUMANITY, WHILE THE OVERALL SHAPE OFFERS LITTLE CLUE AS TO THE NUMBER OR SIZE OF THE BUILDING'S FLOORS. THE INTERNATIONAL STYLE HAS COME TO A POINT IN FAÇADE DESIGN WHERE THE UNIFORMITY OF MIRRORING CUBES HAS BEGUN TO ERODE A SENSE OF H U M A N S C A L E . C O N S E Q U E N T LY, C O N C AV E A N D C O N V E X B U I L D I N G FORMS, REFLECTIVE CURVED FAÇADE ELEMENTS, OR A MIX TURE OF THE TWO, HAVE OPENED ANOTHER SET O F O P T I O N S , G E N E R AT I N G M O R E MULTIFACETED IMAGES FOR THE CITY.
1:100 SECTION 1
1:100 SECTION 2
1:150 PAVILION PLAN
3D VIEWS OF LIGHT PAVILION
EXPLODED 3D VIEWS THIS IS MY FINAL DESIGN, WITH A TOTAL AREA OF 3 00 SQUARE METERS. IT IS DIVIDED INTO 3 LAYERS, THE TOP LAYER IS EXPOSED ON THE 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 A R E T W O T U B U LA R DAY L I G H T S FAC I L I T Y I N 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.
IN THIS FINAL DESIGN, I COMBINED THREE IDEAS AND ADDED NEW ELEMENTS. ONLY SQUARE ONE SHAPE PIXEL BLOCK, EMBEDDED IN THE SURFACE OF THE SOLAR PANEL, THESE ARE THE PARTS I RETAINED. ON THIS BASIS, I MESSED UP THE SHAPE OF THE ORIGINAL RULES AND PUT THEM TOGETHER INTO A PATTERN LIKE MOSAIC STYLE. GREEN GRASS, BLUE PANELS AND TRANSPARENT GLASS COLLISION TOGETHER IS ALSO A FUNNY.
MOBI
ILITY
OPACITY
EXTREME VARIATIONS IN WEATHER AND DAYL LED TO UNIQUE LIGHTING CONDITIONS SCANDINAVIA, WHERE THE ARCHITECTS U WHITE SURFACES TO BALANCE THE LONG, D WINTERS. THE SUN IS LOWER IN THE NORTH IT FORMS A LONG SHADOW, SO DAYLIGHT ENT THE BUILDING FROM THE SIDE RATHER T FROM ABOVE. INSTEAD, THERE IS A DIFF GLOW ON A SUMMER EVENING. SCANDINA COUNTRIES HAVE DEVELOPED GREAT BUILDI THAT RESONATE WITH THE LACK OF LIGH W I N T E R A N D L O N G S U M M E R D AY S . H E P L U M M E R , E M E R I T U S P R O F E S S O R AT UNIVERSITY OF ILLINOIS AT URBANA-CHAMPA HAS STUDIED THE NORTHERN EUROPEAN WO OF DAYLIGHT IN DETAIL AND HAS MADE EXTEN PHOTOGRAPHIC JOURNEYS, COMBIN A N A LY T I C A L P E R S P E C T I V E W I T H P E O
LIGHT S IN USED DARK H, SO TERS THAN FUSE AVIAN INGS HT IN ENRY THE AIGN, ORLD NSIVE NING OTID
IMAGERY, TO WRITE EXCELLENT BOOKS. HIS DAYLIGHT VISION GOES BEYOND THE PRACTICAL ADVANTAGE OF USING REFLECTIVE WHITE SPACES TO FACILITATE BRIGHT ROOMS; PASSIONATE PHOTOGRAPHERS ARE MORE INTERESTED IN LIGHTING EFFECTS THAT CONNECT WITH NATURE AND TOUCH THE HUMAN SOUL. RELIGIOUS ARCHITECTURE IN PARTICULAR REVEALS A WIDE VARIETY OF CONCEPTS OF TIME. THE CONCEPTS RANGE FROM MATERIALS TO SPECIFIC GLASS FUNCTIONS AND THE BUILT-IN VOLUME OF THE IMAGE THAT CHANGES DURING THE DAY AND SEASON. SOME CHURCHES DRAW ATTENTION THROUGHOUT THE MORNING SERVICE WITH A UNIQUE PATTERN OF LIGHT, SOME WELCOMING DAYLIGHT AT THE END OF NOON, WHILE OTHERS SUGGEST THAT ONLY SOFT LIGHT CAN ENHANCE MEDITATION. KAPY AND SIMO PAAVILAINEN'S
PIRKKALA CHURCH ARE OUTSTANDING EXAMPLES OF DRAMATIC LIGHT SEQUENCES. THE ALTAR L O O K S L I K E A C A N VA S F O R C O N T RA S T I N G SUNLIGHT, WITH GLASS AS A LENS AND MIRROR. ALVAR AALTO INTRODUCED THE CONCEPT OF WHITE DIFFUSION FOR THE PAIMIO SANATORIUM IN THE 1930S, USING WHITE PLASTER, WHITE ENAMELLED STEEL AND WHITE LINOLEUM, CULMINATING IN THE NORDYJLLANDS GALLERY IN 1972. WHITE SHADOWS COVER THE WALLS, FLOOR AND CEILING, AS WELL AS EXPRESSIVE DAYLIGHT SHOVELS. HOWEVER, THE STRENGTH OF THE PURE WHITE VOLUME IS NOT THE ONLY FEATURE OF THE NORDIC BUILT ENVIRONMENT. THE VIBRATIONAL MODE OF LIGHT OR THE TRANSIENT NATURAL PULSATION OF DRAMATIC LIGHT AND SHADOW ALSO BELONGS TO THE UNIQUE NORDIC LIGHT METHOD.
CONSTRUCTION DETAILING HONEYCOMBE/CORE TO LEAF
6X12MM TIMBER JOINT
90 MINUTE RATED SUPERLITE II-XL WALL
fire-proof door
FIRE RESISTIVE STRUCTURAL FRAME
Wall structure analysis diagram
Fire door structure
INTERNAL LIGHTS VIEWS OF PAVILION
RECEPTION EXHIBITION
FEMALE TOILET
DISABLE TOILET
MALE TOILET
ACC & MOVE
ENTRY DOWNSTAIRS
CESS & EMENT
SMALL LIBRARY
SEMINAR ROOM
RELAXING SPACE
SEMINAR ROOM
STORAGE
LE CORBUSIER'S FIRMINY CHUR FOR ITS STRIKING FORM AND INTERIOR EXPERIENCE, IS YE EVOLUTION OF THE ARCHITECT'S AND PRACTICES OVER THE YEA DESIGN. THE CHURCH ALSO HAS SIGNIFICANCE BECAUSE IT WA MAJOR WORK OF LE CORBUSIER, AFTER HIS DEATH IN 1965. IN TH SINCE HIS DEATH IN 2006, THE C SURVIVED AND RETAINED ITS ESSE ARCHITECT HAD HOPED, HE INC MANY OF THE CORE ARCHITECT FROM PREVIOUS PROJECTS INTO DESIGNS, WHILE ALSO LEAVING RELIGIOUS INSPIR ATION. HE CREATE AN ENVIRONMENT, A SPIRITUAL ENRICHMENT ON A MO IN THIS REGARD, LE CORBUSIER S PA C E M U S T B E " S PA C I O U S E ALLOW THE MIND TO FEEL AT EAS ENOUGH FOR PRAYER TO BREATHE
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RCH, KNOWN BEAUTIFUL ET ANOTHER CORE IDEAS ARS OF HIS S A SPECIAL S THE LAST UNFINISHED HE 41 YEARS CHURCH HAS ENCE.AS THE CORPORATED TURAL IDEAS O HIS NEWER G SPACE FOR WANTED TO PL ACE FOR ODEST SCALE. NOTES THAT ENOUGH TO SE, AND TALL E IN."
IN MANY DIFFERENT RELIGIONS, LIGHT HAS BEEN ASSOCIATED WITH DIVINITY AND HOLINESS. IN CHRISTIANITY, THE BIBLE REFERS TO THE GOD OF LIGHT, OR CHRIST AS THE "LIGHT OF THE WORLD." AS AN ARTIST AND ARCHITECT, L E C O R B U S I E R H A S D E V E LO P E D A N E X T R A O R D I N A R Y SENSITIVITY TO THE INTERACTION OF COLOR AND LIGHT IN HIS HALLOWED BUILDINGS. HIS STANCE AS AN OUTSPOKEN AGNOSTIC CONTRADICTS HIS DESIRE TO OPEN HIS SOUL TO THE REALM OF POETRY.FORTY YEARS OF RESEARCH ON THE SACRED ARCHITECTURE OF LE CORBUSIE HAS LED HENRY PLUMMER TO TAKE AN INTEREST IN THE TRANSFORMATIVE POWER OF LIGHT: THE POWER OF VISUAL RESISTANCE AND EVASION, OF EROSION AND TRANSCENDENCE OF THE MISSION OF THE CHURCH.FOR PLUMMER, THE MAIN FEATURE OF NOTRE DAME CATHEDRAL IS THE CONSTANT CYCLE OF SOLAR ACTIVITY. THE DAWN LIGHT ILLUMINATES THE WALLS OF THE CHAPEL, MAKING THE RED - PAINTED VOID REDDER. FOR PLUMMER, THE REDDISH GLOW IS APPARENTLY ANALOGOUS TO A HUMAN BIRTH.LATER, SUN FLOODS THE TALL SLOT BETWEEN THE EAST AND SOUTH WALLS, CONTINUOUS WITH THE RAYS OF LIGHT THROUGH THE DEEP CAVITIES OF THE SOUTH WALL. THE CYCLE CULMINATES FINALLY IN A WARM GLOW FROM AN OPENING IN ANOTHER SIDE CHAPEL AT SUNSET. AFTER CORBUSIER'S DEATH, WITH THE TRANSFORMATION OF ARCHITECTURAL DESIGN VALUE AND ITS ACCOMPANYING CONCEPT IN CONTEMPORARY ARCHITECTURE, INCLUDING THE CHANGES IN THE CONTENT OF TEACHING IN SCHOOLS AND THE PRACTICE OF ARCHITECTS, THERE ARE ALSO MANY HEATED COMMENTS ON CORBUSIER'S WORKS. ON THE ARCHITECTURAL LEVEL, HIS LATER WORK PRESENTS AN UNDERSTANDING OF THE IMPACT OF MODERNIZATION, BUT HIS URBAN DESIGN WAS DERIDED BY MANY COMMENTATORS.