Rep2.19 by Rose

NEST LIGHT Rose Niakan

CONTENTS

01 PLACE Site Location Site Elevations Site Analysis Luminosity

09 IDEA

1-2 3-4 5-6 7-8

Design Ideas Reflection

9-10 11-12

13 MATERIAL

FORM Final Design Final Design Visual Mobility Opacity

13-14 15-16 17-18 19-20

Design Drawings, Material Filtration

21-22 23-24

THE MATH LAWN

ath lawn is located almost at the middle of the university of Adelaide near its eastern side gate. It is consisting of two patches of lawn divided by a pedestrian track at the middle. The area is surrounded with several story tall buildings as shown in the figures on this page. The area is actually a center to many students as it is one of the largest open areas in side the university and surrounded with many buildings such as Barr Smith library, school of Engineering and mathematical sciences, school of biology, petroleum and mining engineering, Engineering North multistory laboratories and so on. One of the main tracks of the university also passes from the area which goes to the hub central of the university. Therefore the area is one of the most crowded areas of the university which is also a home to many on site events. Therefore the Math lawn is one of the harts of the university of Adelaide that represents the activeness of its members such as academics and students.

SITE ELEVATIONS

North Elevation

South Elevation

Barr Smith Library

3D view From The Site

SITE ANALYSIS R

A UL

IFE

C EN

L MO

G RA

NG RI E NE H GI AT N E DM AN

OS NT ING A S ILD BU

ITH SM RR RY BA RA LIB

K NG

D AR W I

Site Plan

he surrounding buildings and the current use of the current use of math lawn is a significance to any future design in this area. The buildings are as shown in the figures. The area is adjacent to one of the entrances of the university with a great view of one of the cities great heritages Barr Smith library. of course the design is not to block the view of this representation of the history of the city. There is one of the main tracks to the hub central and library passes through the math lawns and with the fact that the area is one of the largest open areas of the university makes it to be very crowded. maney students enjoy the sunlight that is presented there for most of the day length receiving natural light of the sun and also reflection of light from the two adjacent tall buildings that have glass cover facades. Students and the academics plus many of the other employees of the university are seen within the math lawn. The area is one of the largest open areas within the university that is home to many of on site events and of course the university wants to enjoy the venue even more after the design is implemented. So, any structure in the lawns should not block the view of Barr smith library and should allow people to still be able to enjoy the sunlight.

Winter Sunlight

Summer Sunlight

LUMINOSITY T

he luminosity of an object is a measure of its intrinsic brightness and in science is defined as the amount of energy the object emits in a fixed time. In other words, in linguistic dictionaries, luminosity is related to the quality of light emitted by the luminous object. In philosophical terms, the luminosity is referred to a relationship between objects. The laminator is the object emitting a medium, the laminator is the source, then there are objects within the environment that can reflect and hence receive their or visual existence from the source (laminator). In the belles-letters, fiction, and art literature this relationship exists between many objects regarding different medium specially knowledge, beauty, and faith. If the god is the source of the faith, the believer reflects the source. The student reflects the knowledge of the master. Existence of both believer and the student, in the term of the medium, depends on the existence of God and the master respectively. In architecture the luminosity has a similar meaning to both literature and the philosophy. Light is used to luminate the space and make it bright and to visually give existence to the patterns. The light makes the space visible and the space appreciates the light by the patterns. Zaha Hadid works are examples of how luminosity of the space can be used. Light in her designs are deconstructive rather than being simply decorative. https://www.archdaily.com/868157/fluid-luminosity-the-architectural-lightingof-zaha-hadid

For example, in At Strasbourgâ&#x20AC;&#x2122;s Hoenheim-Nord Terminus and Car Park (2001), she has used the light to luminate the urban lines. The lines that receive their existence from the light source and integrate with the urban lines and eventually add beauty and lighting to the car park. Antwerp Port House designed by Hadid exhibits a fragmented interpretation of a floating glass volume as a sharp glass faĂ§ade. The designs receive lights and reflection changes with the light situations. The design is an example of how the luminosity can be used to create a dynamic space that changes with the light. The difference in the space that are coming from the changing lighting conditions in different times makes the design alive. The life of the building that comes from the light and the source just like the existence of the student due to the master. In her other designs, many patterns are more visible by lighting that are integrated with the space and the function of the space. The patterns are all complements of the space and the functions of the building rather than being only decorative. Her works are great examples for the designers of how to render the space using artificial and natural light and reflection of the alight sources giving life to the space, completing the shapes and patterns. Haddid works are experiments with light and the source. The designs are sometimes a reflection of a source or they are reflecting the source or they do both to create patterns that their impressions are transcendental and supernatural.

DESIGN IDEAS

LIGHTS AS LINES

ight can form a line that can travel into a far distance. The line can pass through another line of light with no impact having on the other. The lines can pass through a medium and be reflected, deflected or refracted. My design possesses the latter characteristics of light consisting of beams that while reflecting light they can represent the light rays as well. A story of light traveling around and making patterns of lights and darks and create a nest. If the light. The nest so shiny that the light (shiny beams) now reflects the light. it is then not only a design but an experiment of building a nest with light making the beams disappear looking like the human long dream, living in a heaven, living in the light, resting under the shade of the light.

LIGHTS AS POINTS

ight can form a line that can infinitely travel into a far distance. The line can pass through another line of light with no impact having on the other. The lines can pass through a medium and be reflected, deflected or refracted. My design possesses the latter characteristics of light consisting of beams that while reflecting light they can represent the light rays as well. The design is a fixed pavilion that any visitor will enjoy the luminosity of the space and patterns that represent the light in bold black lines of shadows. The reflection of light by the steel structure will add to the lighting of the outdoor environment. The mirror effect of the steel structure helps the design to match with surrounding buildings that are in a perfect distance from the designated site. The mirroring effect is also an element of the design that can give life to the building as time passes during any day because the surrounding buildings are full of light reflections and mirror effect that move during the day and can be reflected again by the pavilion building.

REFLECTION R

eflection of light is used in architecture for centuries to render the spaces. More interestingly in the modern architecture reflection is used more broadly with use of glass for creating facades. The glass façade at the Elbphilharmonie in Hamburg is an example of an interesting glass façade building that employs the reflection. Or actually, it doesn’t matter were you stand the reflection seems to be a complement to the scenery rather than blocking the view. The magical facade is like a melted view or it just like a window with water splashed on it. In any angle looking at the building the reflected picture is a complement of the surrounding view. It reflects the light in a way the it becomes a part of the view being adsorbed in the scenery. While some designs such as Elbphilharmonie use the idea of mirroring the surroundings some others like Selfridges Birmingham department store, opened in 2003, have employed the reflection of light with no mirroring. Instead of glass the façade has aluminum meshes that can reflect the light. Techniques of using reflection are countless and can be very innovating.

The design of the Messe Basel New Hall by Herzog & de Meuron, uses straps of metals that dose no mirroring reflection of light while allowing more light to inter the building. The view is nicer when the glass reflection can be slightly seen. Glass and aluminum like reflection can be a fascinating technique if it designed with care. Such designs re-imagine the science-fiction star movies making the viewer exited that we are in the future. They can represent the sky that is bright but there is no reflection that bothers the eye The South Australian Health and Medical Research Institute in Adelaide for example these two reflections are integrated to create a fascinating bright faรงade that is carefully designed and analyzed for the Australian harsh sunlight conditions. The existing designs that uses the light reflection have good lessons for architectural students and junior designers. The designs that as mentioned have used mirroring or non-mirroring reflection or both at the same time to match the surrounding. https://www.archdaily.com/796974/veiled-in-brilliance-howreflective -facades-have-changed-modern-architecture

FINAL DISIGN

Internal View

FINAL DISIGN

Interior View

External View

Visual Mobility

OPACITY O

pacity literally is defined as the quality of an object not allowing the light to be reflected or past or it is defined as the quality of being difficult to understand. Being hard to understand can be made intentionally to hide the truth. What if the believer absorbs all the faith being so in love with the source that it now observes everything about the source. While the lover being so busy with his love paying no attention to its surrounding the love it self appeals in him and the surrounding starts to pay attention to him and making an example of a true lover like what happens in Romeo and Juliet. While the lover is so greedy of whatever can be received from the source he, himself, becomes a source. Then the beauty of the story coming from its sources is fascinating while the sadness that the lover suffers is hidden. In his fantastic book â&#x20AC;&#x153;Nordic light: Modern Scandinavian Architecture,â&#x20AC;? Henry Plummer believes use of the opaque objects specially the whiter patterns And hence employing their opacity is a useful technique that can be used to increase the natural light of a space. Henry Plummer points out that Nordics share the same subdued light, a diffused light that he believes can touch the human sole when photographed. While the light is scares Nordic architecture choses white and opaque surfaces to increase the brightness of the surface to redistribute the light in the space . The opaque object seems to be glowing when it absorbs the light and without reflecting the light it can alight its surrounding. https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries

Early examples of white architecture and use of opaque objects can be found in medieval churches in different areas of Denmark, and this design approach still influences modern buildings like the Dybkær Church. For example as Plummer explains: “Low from the north to emphasize a black steel crucifix; more broadly from the south as a glancing wash; and as a shower directly behind the altar, guided down through a sluice of wall”. A white diffusion technique later was developed by Alvar Aalto in 1930s that employed white-painted plaster, white-enamelled steel and white linoleum. The success of the technique was also a function of the light patterns created in this technique. Architects, like Aarno Ruusuvuori, still enjoy the white diffusion technique while avoiding direct light patterns entering the building. what can be learned from these great examples is that the new works can poss such ideas. Opaque objects can be used to improve the lighting so they are so relevant to todays power consumption problem. They also can be used in any area that it is to improve the human emotion and making him feel calm and safe touching his soul and making him dream. And dreaming is, indeed, promoted when the brain find itself in a such alight but simple and blank background. Then Opacity turns to a plan paper so the brain can writes its story on it. a story that can be guided by smooth patterns of white light that are as energy less as sleeping but as dream making as sleeping. Being in such peaceful feels so safe and calming that it has become a method to design new and modern churches around the globe.

DESIGN DRAWINGS AND MATERIAL

Section

Site Plan

Elevation

Steel Structure

Steel Structure Detail

Concrete Slap 3D Detail

Concrete Slap Detail

he structure is steel, and the floors are made of concrete slabs. The actual space is two separated underground floors that are connected with a small corridor. The floors are not on top of each other and they are placed opposite each other while they are still in two different levels. The two floors are connected with a corridor of stairs. Each beam and support of the structure is to be connected to each other with pin and bolts. This method will make the construction quicker and more efficient.

FILTRATION I

n words it is defined as the process of filtering something and avoiding its movement from one flux to another when it moves with a medium. If a substance is made of different material one of few of the materials can be filtered (removed) from the substance. Light filtration is a filtration that it does not fit within this type of explanation. The example filtrations of light experimented in the past have truly go behind this definition. They have made an architectural definition of filtration. Light indeed is hard to work with. It is hard to put into shape or mold. The light, however, can be put into shapes when pasts other objects such as glass, frames and so on. It can be trough about human soul as well. The question is how does human soul gets a shape or filtered?. Isn’t it true that the soul can receive. knowledge from the surrounding environment? Doesn’t the human itself affected by the environment. Arent for example religious believes so conditional of the environment? Don’t they impact the human soul or emotion. therefore it is possible to put human soul in to shapes. While light is always seen as a holly element in many religions, filtration of human soul can mean extracting of the holly sprit or purifying human soul of bads. In architecture filtration is the process of creating shape and patterns often with colors using some elements that light has to pass through or by to create the pattern. Example of designs involving light filtration are clearly seen in the works by Le Corbusier that has experimented different elements at his works to change the light and create fascinating patterns. For example, in La Tourette According to Plummerhe the shadows create musical patterns when entering the corridors that have open facing. In La Tourette’s church A crack on the top of the west wall draws a set of warm lines along the side walls. The north wall connects the two golden lines and, in the sunset line slowly moves upward. The dramatic atmosphere increase when the golden light hits the roof plane and grazes over the ceiling and this effect changes with the seasons. The works of Le Corbusier are rich examples of how light filtration can be used to give emotion to the space. The elements used in his designs can today be a starting point for experimenting different elements to create arts that involve natural light patterns. In these set of examples light was shaped, colored, and was set into patterns.

https://www.archdaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light

REPRESENTATION II A1667631