journey of reflection

Conceptual exploration of light pavilion Representation II Thomas Walker 2019

Journey of reflection Journey of reflection 1

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Contents

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PLACE

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IDEA

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FORM

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MATERIAL 3

Important views

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Molecular life sciences The Braggs Barr Smith Library

Santos Engineering/Maths Sciences Ingkarni Wardli

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SITE Library Elevation

North Elevation

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South Elevation

Shade Study

9 AM SUMMER

12 PM SUMMER

3 PM SUMMER

9 AM WINTER

12 PM WINTER

3 PM WINTER

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DAY

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NIGHT

Circulation

The site is very linear and encapsulates the view directly to the Adelaide university library from Frome road.

This view cannot be obstructed so the design of my pavilion.

There are two identical grassed areas on the site and these areas have developed quite a lot of love from many student from the university this is why i think that it is important to keep the grassed areas as untouched as possible while adding something that can be enjoyed by everyone.

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LUMINOSITY Zaha Hadid’s designs are incredible not only because of use of innovative use of material but also because of the way that she can incorporate the medium of light into her design. Light doesn’t just take a back seat in her design but rather it can dictate the design itself. The use of light in Hadid’s architecture has become an essential element when interpreting her architecture. The development of Hadid’s architecture and the importance of light within the architecture is seems to be almost directly proportional. The transition from the use of minimal light lines in her early work such as the Vitra fire station in comparison to the Leeza SOHO skyscraper which collects an abundance of daylight clearly shows the stark difference in her approach to design.

Light is the medium from which we view the world around use. The way the view our surroundings is not direct but rather a reflection of light. Zaha Hadid’s use of light to enhance the experience that of her design is unparalleled. The way that light is used in Hadid’s architecture is not so much of something that is added to enhance her design but rather something that is incorporated into the design almost as if it was a material that was not only enhances but creates an entirely new way of perceiving materials that have been use in architecture of thousands of years.

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Zaha Hadid’s exploration into abstract painting gave her a several new insights into how architecture could interweave with its surrounds.

When developing the Strasbourg Hoenhiem-Nord Terminus and car park, she was intrigued by the white road markings and decided to incorporate them into her deign by converting them into white linear diffuse luminaries, either integrated as stripes in the concrete or as tiled poles for the parking spaces.

While in most of Hadid’s architecture she applied her fluid like forms to the exterior of the building there is an exception in the design of the museum of XXI century arts. The way that the meseum uses light and fluid forms are made extremely prominent on the interior. The use of linear louvres to filter sunlight into the building, providing a soft light for the structural curves. The electrical lighting is concealed wherever possible. The black stairways are in stark contrast with the white luminous strips on their underside. The lighting within the building creates a calm counterpoint to the strong black and white lines that make up the form of the building. Throughout all of her designs Zaha developed many well defined ways in which to not only incorporate light into her projects but rather to create a form and directly linked to the way that light moves and in experienced.

All of Zaha Hadids works can be easily distinguished from one another because of the extreme forms that she is well known for but no matter how bizarre or over the top the design is there is always a sense that nothing is a mistake, every piece has been place there for a reason. This reason hidden within chaos can be tied back to the way that she uses light in her projects, she understands the way that light can be used.

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Idea generation

Light is a journey The linear paths that light follows when it interacts with the world and how people perceive this interacting is the inspiration for the my design.

Light from the sun travels such a long distance that by the time it gets to earth the light is parallel, These parallel light rays can be directed using mirrors to follow any path if the mirrors are positioned in the right place.

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Diagrams

The design started by drawing hundreds of lines that traced the path that light would follow and overlayed them over one another. I then chose two of the main paths that emerged when drawing the lines to become the walkways that would be in the pavilion.

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I then extracted the spaces that were going to be used for the rooms in the pavilion from the negative spaces between the lines.

Next I took the two paths I had taken from before and elevated and sunk parts of the path so that the form could be seen but not obstruct the views from Frome road.

After the path was made the paths i then placed the spaces all over the site creating a balanced design to fit in the site.

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REFLECTION Before the time of modernism, The structures that were formed rarely incorporated to use of transparency of glass architecture and even when the movement started to promote this idea of incorporating large glass façades into the architecture there was still a large rejection of this idea. Many architects of the time were very conscious of the monotony of a large glass facade , even Mies van der Rohe couldn’t embrace the idea using his trademark mullions to break up his façades. But the idea of using glass didn’t fade, more and more skyscrapers were being build with uniform structural glazing. In response to this, unconventional representations of façades began to gain interest.

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of “coloured glass” ”sparkling in the sun,” “crystalline shapes of white glass” which make the “jewel like architecture shimmer.”

This use of glass was adopted by Mies van der Rohe when he discarded the huge towers of glass and instead developed a more free form style. A great example of way that glass can be used to envelop the facade of a building while avoiding monotony of which early modernist architects were worried about is the Elbohilharmonie in hamburg. The building uses inwardly and outwardly curved glass elements distort the perception of the city , water and sky creating a build that draws the eye and keeps it there.

The aesthetic of brilliance from glass is can be transferred from glass to many other materials, this is demonstrated will This integration of glass completely shifted in Frank Gehry’s Guggenheim museum. the focus of architecture from the internal Gehry’s museum has had many different space to the external surface. The belief connotations referred to it ranging from a that light and brilliance could help in creating ship for the form in a whole to fish scale iconic architecture and a better human world in regard to the numerous smaller panels. was a large driving force for this change in focus. The use of transparency and From the time when modernism was first reflectivity for entire building skins emerged gaining traction in architecture to now the during the early 20th century, This radical shimmering veils enveloping buildings have change from what had been done in the past significantly increased the relevance of the can be linked to Paul Scheerbart and Bruno surface as a carrier for the meaning of a Taut when they envisioned a future made building.

The international style has now gotten to the point in facade design where the uniformity of mirroring cubes has begun to take away any sense of human scale. This has given rise to the concave and convex building forms, the use of curved faรงades or a mixture of both. These new ideas have given architects a much broader kit of parts to draw from when it comes to designing the cities of the future.

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LIGHT AS A JOURNEY

Concept a is a maze that is designed so that any person that enters can solve by changing the orientation of a set of mirrors so direct a beam of light to open passages through the building. This was the first idea that i had but i decided that this concept would not be the one that i would end up following because if the maze was solved once then the mystery would no longer be able draw people in. a building that must be solved to enter would also not work for this project due to the fact that there must be a series of rooms that serve functions such as seminar rooms as well as toilets and people would prefer not having to solve a riddle to enter a meeting or go to the toilet.

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CONCEPT A

LIGHT AS A JOURNEY

The second concept would be one that was not something that must be unlocked but a building that would be straight forward in its design and create a space that is interesting because of its materiality. The halls will be covered in mirrors to disorient someone that enters but make them feel as though they must push on through to understand what the building has to offer. There are multiple rooms throughout the building that draw almost no attention when walking through the space but can still be found without any strenuous effort, these rooms will be more subtle than the halls with only minimal mirrors creating a feeling that you have left the chaos and are in a safe space.

CONCEPT B

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TOILETS EXHIBITION SPACE SEMINAR ROOMS LIBRARY/STORAGE

Floor plan 1:500

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North Section 1:500

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OPACITY The Scandinavian countries have had to develop a way of designing that is able to resonate with the environment that they live in. The extreme changes in weather and daylight have led to a unique situation in Scandinavia where architects have used white surfaces to try and oppose the long dark days of winter.

Whiteness is a core aspect of Nordic architectures response to the local conditions. This whiteness of the architecture comes from its ability to counter the dark days of winter but also it seems to reflect its surrounds, drawing inspiration from the beauty of the white snow covered landscape.

The use of this white architecture can be seen as long ago as Denmark’s medieval churches and this kind of design can still be seen in places of worship today. The Bagsvaerd church by Jorn Utzon is a great example of this need to use light to is fullest potential when it can be so scarce for so much of the year.

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The power of using white to draw as much from the minimal sunlight is not the only defining characteristic of Nordic architecture.

The way in which light and shadow is used to emphasise the natural environment

surrounding the architecture is unparalleled all over the world.

The patterns that can be produced through manipulating light can be quite extraordinary.

Using light to create shapes are a great way to develop a space that can change its look and experience throughout the year without having to change anything physically.

Developing designs can evolve with the external conditions it inhabits.

“Light originates somewhere, but man does not need to know where. Lighting is not an end in itself. But its meaning is to create a feeling of the infiniteness of eternity.�- Aarno Ruusuvuori

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Material

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Concrete

Mirror

Glass

The floors and ceiling will be constructed out of concrete to make the building feel solid. The solid materiality of the floor and ceiling can is done so that people who enter can be sure of there footing even though the building as a whole a very disorientating, allowing them to continue forward without hesitation

The walls of all the halls will be covered in mirrors so that the building although it is quite simple in design will feel extremely complex, this juxtaposition between the constructed forms simplicity and the perception of complexity is designed to be an analogy for how although many situations can seem overwhelming there is usually a straight forward answer

The building will be fitted with multiple skylights to allow as much sunlight into the spaces as possible.

The light is what is causing the viewers confusion of what is happening around them but also what is allowing them to overcome that same confusion

plaster board mirror

concrete earth

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Visual experience When entering the building for the first time the experience should be almost overwhelming but also intriguing enough to make you continue forward. As you walk through the halls your eyes will be continuously deceived by the mirrored walls but you continue to walk forward. Eventually you see a door so you enter, the room is shaped like no room you’ve seen before but feels strangely welcoming because of the solid walls that make logical sense to your brain as appose to the chaos outside of the room, it feels safe. Once you see this room you can tell that this place is nothing to be overwhelmed by and rather something to marvel, so you exit and continue through the halls now feeling intrigued by the confusing walls rather than confused.

As you continue through the building you begin to make more and more sense of your surrounds and the intriguing halls of mirrors now makes sense, you feel comfortable in a place that you were once intimidated by and realize that this is a place that you are able to spend time in whether it be just to come and use the toilet or somewhere to come and study and reflect on thoughts that may be bothering you. You feel like if you were able to make sense of such a confusing place then you can overcome any situation.

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FILTRATION The filtration of light is an art in itself, this art-form has not been demonstrated better than by Le Corbusier. His masterful use of orientation, openings and texture to create kinetic architecture with light. Light has always been associated with divinity and worship, people have always looked up to the sky to find purpose so light has always been of incredible importance and the way that it is used and refined can completely change the way that people view and interact with space. Light has always been the link between the heavenly realm and the physical world. This use of light to connect people to the heavenly realm has been done for centuries, the Romanesque apse, the golden shimmer of Byzantine mosaics or the luminous walls of Gothic stained glass.

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Le Corbusier being an artist and an architect meant that he had a great connection with the interation with light and colour in his church designs. The main characteristic of the Chapel of Notre Dame du Haut at Ronchamp (1950-55) comes from the in depth use of light that changes throughout the day. The dawn sun illuminates the alcove of the side chapel drenching the chapel in red light. This beautiful red light is thought to be an analogy of child birth. When the sun

moves further into the sky it floods a tall slot between the east and south walls. The small horizontal crack of ten centimetres lifts the roof from the wall and creates a harsh contrast to the glow of the vertical brise-soleil at the southeast corner. The cycle finally finishes in a warm glow from an opening in another side chapel at sunset.

Le Corbusier expressed his consciousness of the cosmic power of light in his personal synthesis of maxims in the beginning of “The Poem of the Right Angle” (Le poème de l’angle droit, 1955, translated to English

by Henry Plummer): The sun master of our lives far off indifferent He is the visitor – an overlord he enters our house In setting he says good evening to this mossy earth (oh trees) to these puddles everywhere(oh seas) and to our lofty wrinkles (Andes, Alps and Himalayas).

And the lamps are lit up.

Punctual machine turning since time immemorial awakens every instant of the twenty-four hours the gradation the nuance the imperceptible almost providing a measure.

Yet brutally he breaks it twice – night and day – these two phases rule our destiny: A sun rises a sun sets a sun rises anew

“Instead of serving as a tool of religious persuasion, as it generally has in the past, light has become a quiet force to visually resist and elude, erode and outshine, the Church´s mandate. Light eats away and weakens institutional discipline, while exerting its own dazzling powers to draw attention out to the sky and its commonplace marvels – in effect using light to consecrate the natural universe”. - Henry Plummer

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Image credits Luminosity 12-13

Hoenheim-Nord Terminus, 2002, Strasbourg / France. Image © Frank Dinger, www.becoming.de Phaeno Science Center, 2005,Wolfsburg/ Germany. Image © Werner HuthmacherPhaeno Science Center, 2005, Wolfsburg / Germany. Image © Werner Huthmacher MAXXI Museum, 2009, Rome / Italy. Image © Iwan Baan Dongdaemun Design Plaza, 2013, Seoul / South Korea.

Image © Virgile Simon BertrandDongdaemun Design Plaza, 2013, Seoul / South Korea. Image © Virgile Simon Bertrand

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Reflection 20-21

Opacity 28-29

Filtration 34-35

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Reflections on glass façade.

Elbphilharmonie, Hamburg.

Architects: Herzog & de Meuron. Image © Frank Thiel

Hyvinkää Church, Hyvinkää, Finland. Architecture: Aarno Ruusuvuori. Image © Henry Plummer 2009

Upward view of fissure and brise-soleil, on overcast day.

Chapel of Notre Dame du Haut, Ronchamp, France. Image © Henry Plummer 2011Upward view of fissure and brisesoleil, on overcast day. Chapel of Notre Dame du Haut, Ronchamp, France. Image © Henry Plummer 2011

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Façade with curved glass elements at Prada Aoyama, 2003, Tokyo. Architects: Herzog & de Meuron. Image © Yen-Chi Chen Reflections on titanium façade at Guggenheim Museum Bilbao, 1997. Architect: Frank Gehry.

Photography: Thomas Mayer.

Image © ERCO. www.erco.com Aluminum sunshades at South Australian Health and Medical Research Institute, Adelaide.

Architects: Woods Bagot.

“South Australian Health and Medical Research Institute”

by Jackstarshaker is licensed under CC BY-SA 4.0 . Image

Dybkær Church, Silkeborg, Denmark. Architecture: Regnbuen Arkitekter. Image © Henry Plummer 2010 Nordyjllands Art Museum, Aalborg, Denmark.

Architecture: Alvar Aalto, Jean-Jacques Baruël. Image © Henry Plummer 1995 Pirkkala Church, Tampere, Finland. Light sequence on altar wall: Early morning, late morning, midday, early afternoon, mid-afternoon, late afternoon. Architecture: By Käpy and Simo Paavilainen.

Image © Henry Plummer 2009

Upward view of climax of sunset as golden light grazes over the tactile ceiling.

Monastery of Sainte Marie de la Tourette, Éveux-surl’Arbresle, France. Image © Henry Plummer 2011 Golden light on altar wall.

Church of Saint-Pierre, Firminy, France. Image © Henry Plummer 2011 View looking east as solar line bends around the far end wall. Monastery of Sainte Marie de la Tourette, Éveuxsur-l’Arbresle, France. Image © Henry Plummer 2011

https://pixels.com/featured/1dome-of-the-reichstagbuilding-in-berlin-massimopizzotti.html

DEVLIN, E. (2019). MIRROR MAZE. [image] Available at: https://esdevlin.com/work/ mirror-maze [Accessed 8 Sep. 2019].

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DEVLIN, E. (2019). MIRROR MAZE. [image] Available at: https://esdevlin.com/work/ mirror-maze [Accessed 8 Sep. 2019].

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Brown, C. (2019). Symmetrical Pictures of Landscapes Reflection in Water. [image] Available at: http://www.fubiz. net/2018/08/21/symmetricalpictures-of-landscapesreflection-in-water/ reflection-of-snow-cappedmountains-and-buildings-inlake-norway/ [Accessed 8 Sep. 2019].

FIRST SKETCH

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REPRESENTATION II - 2019

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