XIN CHENG , SEEKING LIGHT DISCOVER

STRUCTURE OF LIGHT NAME: XIN CHENG ID: A1729594

PLACE 01

IDEA 09

3D VIEWS AMBIENT LIGHT SHADE & SHADOW MOVEMENT & ACCESS PLACE SOCIAL CHARACTER LUMINOSITY

IDEA 1 IDEA 2 IDEA 3 REFLECTION

FORM 17 PLAN SECTION ELEVATION EXPLODE PERSPECTIVE OPACITY

MATERIALS 23 AERIAL VIEW GROUND VIEW INTERIOR LIGHTING DETAILS & MATERIALS VISUAL MOBILITY FILTRATION

3D VIEWS

AERIAL VIEW

GROUND VIEW

1

NIGHT TIME

AMBIENT LIGH

T

DAY TIME

2

SHADE & SHADOW SUMMER / FEBRUARY 22

9 AM

12 PM

15 PM

12 PM

15 PM

WINTER / JUNE 22

9 AM 3

N

ELEVATIO MOLECULAR LIFE SCIENCES & THE BRAGGS

BARR SMITH LIBRARY

INGKARNI WARDLI, SANTOS BUILDING, ENGINEERING & MATHS. SCIENCES  

  

 

     

 

 

4

MOVEMENT & ACCESS  

  

 

     

 

 

MAIN ACCESS 5

MOVEMENT

R

PLACE SOCIAL CHARACTE

6

LUMINOSITY

characteristics. Designed intentional use of light can be associated with more positive emotions that those associated with darkness and the absence of light. Light can

Definition

be used to direct attention, and highlight

Luminosity is a kind of light emitted by

something that is important. This form of

stars, galaxy, which relates with brightness.

applied illumination is the only difference

In architecture, it is used to enhance the

between the visible light that allows us to

connection between human and building

see our surroundings, and the light that is

by lighting reflection. Applied luminosity in

being emitted from a source.

currant architecture design is a common Technology and concept. Light bridges the

Zaha Hadid

gap between architecture and our percep-

Born in Baghdad and based in London,

tion. We do not directly sense the form and

Zaha Hadid was a design maverick and in-

material by reflecting light through the

tellectual powerhouse. The internationally

eyes.

celebrated architect was known for unconventional forms, unusual lines, and unex-

Luminosity and illumination from a philo-

pectedly breathtaking structures.

sophical perspective can be defined as the

7

action of illuminating or the state of being

Leeza Soho

illuminated in either a spiritual or intellec-

Construction of Leeza Soho, a 46-storey

tual enlightenment. With many different

(207m) mixed-use tower with the world’s

definitions of luminosity established, what

tallest atrium, has reached level 20. Within

makes this principal important to architec-

the Lize Financial Business District - a new

tural design. Luminosity is a major key in

business, residential and transport hub

experiencing a space and delivering the ex-

adjacent to Financial Road in southwest

periences to a person. In terms of physical

Beijing city.

luminosity (visible light), it is the only thing

natural light and views of the city from

that allows us to perceive a design though

the centre of all floors of Leeza Soho. Sky

our seen of sight. The light and the absence

bridges on structural rings at each refuge/

of light is what creates meaning in an archi-

MEP level and a double-insulated glass

tectural design, we have evolved to associ-

façade unite the two halves of the tower

ate light and darkness with emotions and

together within a single cohesive envelope.

The atrium’s ‘twist’ allows

Guang Zhou Opero House Born in Baghdad and based in London, Zaha Hadid was a design maverick and intellectual powerhouse. The internationally celebrated architect was known for unconventional forms, unusual lines, and unexpectedly breathtaking structures.

light The luminosity can separate the internal space and spark the volume at same time.

The Port House is the sample proving the point. In this case, the House introduces a fragment interpretation of a floating glass volume. The top of the building is decorated by massive of triangular facets for the extension. Most of the facet are transparent can facing different directions, which can maximums the lighting reflection to render the internal space and convey vibrant images in different daylight situation.

Materials are one of the elements affecting the luminosity. Different materials can reflect different unique lights. For the Guangzhou Opera House, she created a warm golden and gorgeous atmosphere by light reflection. Thousands of light pixels in the celling and remind the audience of a dreamlike starry sky, the light patterns on the balconies evoke the impression of reflections in waterfalls. The light is one of the most important factors for appreciating and understanding architecture.

8

IDEA 1

9

LIGHT-SEEKING DISCOVER

10

IDEA 2

LIGHT-SEEKING DISCOVER 11

12

IDEA 3

13

LIGHT-SEEKING DISCOVER

14

Reflection

Definition

about thought. For Hegel, on the oth-

A reflection is a phenomenon that arises

er hand, reflection he is the way by

from or is the consequence of something

which we find the essential and signifi-

else. Light reflected by an object is light

cant in things (thoughts, experiences).

that the object throws back without ab-

Modernism has increased the transpar-

sorbing it; the object is not the source of

ency of glass buildings. Many people in

Light. Similarly, an image seen as a

the movement are aware of the monot-

reflection in a mirrored surface has

ony of large glass walls, and even Mies

an intimate relationship with but is

van der Rohe uses elements such as his

not the source of the image itself.

iconic mullion to break his facade. But in

Reflection is intimately tied up with

the years that followed, countless uni-

the

thought.

form structural glass skyscrapers have

John

emerged and boring urban residents. In

The

15

concept English

of

human philosopher

Locke used reflection to describe ‘the

This

notice which the mind takes of its own

al

operations’, in other words, thought

wall

regard,

the

reinterpretation has

aroused

of

unconventionthe

external

people’s

interest.

Elbphilharmonie

or lines of brilliant light streaks. With a blue

Undoubtedly the glass façade at the El-

or diffuse sky, the distinctive curves reflect

bphilharmonie in Hamburg by Herzog &

the light as bright lines, similar to the hori-

de Meuron refers to the visionary glass

zontal lines seen in the designs of the au-

culture of Scheerbart, and indirectly to

tomotive industry. Under direct sunlight,

the golden shimmering skin of Berlin’s

bright glossy points appear and evoke a

Philharmonic by Hans Scharoun as well.

jewel-like shimmer. Additionally, the ver-

Inwardly and outwardly curved glass ele-

tical and horizontal convex curves of nu-

ments distort the perception of the city,

merous single glass elements reinforce

water and sky. They build a fresh contrast

the shiny distorted reflections of the sky.

to the uniform plane glass curtains of the

Overall the curved façade with its printed

International Style. The environment is not

dot screens evoke a vivid and liquid image,

appreciated as a clear mirrored picture, but

which expresses a close link to the water

instead goes through a process of modifica-

around. Built upon the historic brick ware-

tion and reproduction. Due to the curves of

house below, and with its abstract choreog-

the balconies, the building reflects points

raphy of complex distorted light reflections.

Guggenheim Museum Bilbao

factor for the Bilbao effect. However, with

The Guggenheim Museum Bilbao is one of

the shiny quality of the titanium plate

the largest museums in Spain that belongs

and the ever-changing appearance, Frank

to the Solomon R. Guggenheim Foundation.

Gehry brought dynamic composition to

It is one of those rare works of contempo-

Bilbao, but also enhanced his design by

rary architecture that dazzle the world with

unique dynamic images. that dynamic com-

its modern styling and intricate structure.

position chang by clouds and sunshine. The

In 1997, Frank Gehry transferred the tita-

museum is seamlessly integrated into the

nium coating of the Guggenheim Muse-

urban context, unfolding its interconnect-

um Bilbao from glass to metal. Although

ing shapes of stone, glass and titanium on

connotating the scales from larger ships

a 32,500-square-meter (350,000 sq ft) site

to reflectors, the entire building has be-

along the Nervión River in the ancient in-

come a city gem, with many iconic signs

dustrial heart of the city; while modest

initiating many urban reconstructions.

from street level, it is most impressive

Many

consider

when viewed from the river. With a total

the structural form to be a key success

24,000 m2 (260,000 sq ft), of which 11,000

aspiring

metropolises

m2 (120,000 sq ft) are dedicated to exhi-

not as impressive as the structure of the

bition space, it had more exhibition space

building itself. To be honest, it won’t be

than the three Guggenheim collections

wrong. People from all over the globe

in New York and Venice combined at that

usually pay a visit to the museum to wit-

time.The 11,000 m2 of exhibition space are

ness the avant-garde structure that they

distributed over nineteen galleries, ten

have heard so much about. Once you see

of which follow a classic orthogonal plan

the place from your own eyes, you will

that can be identified from the exterior

admit that the hype is not for nothing.

by their stone finishes. The remaining nine

In 1997, when the mercurial museum was

galleries are irregularly shaped and can be

opened to the public, it instantly became

identified from the outside by their swirl-

a hit. The iconic building has been called

ing organic forms and titanium cladding.

‘a meteorite’, ‘a fantastic dream ship’, ‘a

The largest gallery measures 30 meters

posy of fish scales’ and even ‘the master-

wide and 130 meters long (98 ft × 427 ft).

piece of the 20th century’. It is said to be

One would say that the artistic con-

one of the most remarkable buildings de-

tents and exhibits of the museum are

signed in the style of deconstructivism.

16

17

PLAN

ELEVATION

K

B

A

C

SCALE: 1:400

D A : READING SPACE B : SEMINAR ROOM C: RECEPTION AREA D: SEMINAR ROOM E: TOILETS F: LIBRARY G: STORAGE SPACE H: EXHIBITION I : SMALL LIBRARY J: RELAXING SPACE K:DISABLE ACCESS L:DISABLE ACCESS

SCALE: 1:400

E

F

SECTION

G H

I

SCALE: 1:400

J

SCALE: 1:250 ACCESS

L 18

19

EXPLODED

C

A : READING SPACE B : SEMINAR ROOM C: RECEPTION AREA D: SEMINAR ROOM E: TOILETS F: LIBRARY G: STORAGE SPACE H: EXHIBITION I : SMALL LIBRARY J: RELAXING SPACE

H

B E

A D

G F

J I

20

OPA Linguistic In general, physical terms, opacity is considered to be an attribute defined by the amount of light passing through the material. It is also the ability to see through other solid objects.

In architecture, we sometimes think that transparency allows us to perceive different spaces at the same time, creating different perceptions and feelings inside and outside the space.

Aarno Ruusuvuori avoids the intense sun exposure that distracts the ceremonial service. As he states: “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.”

The poem “raindrops” by Deborah Dambani uses the word

21

opacity as something one can’t see through and also compares it to clarity being the opposite. “i bring clarity to opacity, like this stagnant pool mirror overlaying the earth” in this case opacity is linked to a state of mind as clarity means the quality of being clear, coherent and intelligible. Light originates 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.” This quote by Aarno Ruusuvuori can describe how opacity appears but also many other ways that light can be seen indirectly as if reflected of multiple surfaces before illuminating a space.

Scandinavian countries Norway, Sweden, Denmark and Finland share a similar light environment with long dark winter days and light entering buildings at a sharp angle, ultimately creating long shadows indoors and outdoors.

Dybkær Church Henry Plummer, professor at the University of Illinois and author of Nordic Light: Modern Scandinavian Architecture, has studied Nordic light with photo journeys and writing of analytical and poetic style. Plummer believes that white surfaces are also linked to the beauty of the snow- covered landscape in the Nordica countries in an interior brightness. due to its high reflectance addition to maximizing Case Study-Opacity Denmark’s medieval churches feature this white interior architecture but a modern-day example is the Dybkær church by Ringbone Architekter. Throughout different times of the day also light presented within this building seen as, a glancing wash of light, a shower multiple of light and, with textured walls, animated light Bagsvæed Church by Jorn Utzonutilizes white architecture in a similar way and he mentioned that “light is the most important feature of the church.” and it ...produces

an intensity of light always greater than that outside away Alvar Aalto introduced the concept of an all-white interior for the Paimio Sanatorium in the 1930’s.

In 1972 the snow Nordyjllandd Art Museum achieved Nordicpeak with the concept of an all-white maximizing interior Dramatic light and shadow that produce changing and moving patterns have also been linked to Nordic built environments. Time concepts are present in some religious buildings, and can appear in “, material textures specific glass features as they change over time whether it be in a day or from season to season.The Pirkkala Church presents dramatic light and shadow in a time sequence moonlights filters through the side window similar with glazing bars and projects this the light and shadow play on the blank white altar wall.“away from the liturgical services in a religious space and prefers opacity that the harsh sunlight can take and indirect light.

CITY

22

AERIAL VIEWS

23

GROUND VIEWS

24

INTERIOR

25

LIGHTING

26

VISUAL MOBILITY

27

28

Construction details Tiles

Single top plate

Battens

Plasterboard Insulation

Sarking felt Insulation

Plywood sheathing

Plasterboard

Housewrap Furring strips Rain screen

Rigid insulation with integrak vapour protection layer

29

Cladding

Materials

Steel frame

Glass foof

Wood frame

Steel space frame

Glass

Wood roof

Window glass

Wood wall

Wood stair and railing

Grass

Concret floor

30

FILTRATION

Linguistic

ing France. In many religions, light has

Filtration is any of a variety of mechan- been related to divinity and holiness. ical, physical or biological operations Many sacred buildings incorporate this that separate a solid from a fluid light, for example, the Romanesque (liquid or gas) by adding a medium apse with a glow, the Byzantine mosaw only allows fluid to pass through. ics with golden shimmers and gothic The fluid that passes through is stained glass creating luminous walls’ la called the filtrate.filter is French With this idea of linking religion and filter as

from filter’,

medieval from

‘felt

used fear light, both light and colours have

Germanic been sensitively integrated into Leth-

west

er on Corbusier’s sacred buildings

Philosophical Filtration as and

a

can

also

screening emotion.

from An

described Le Corbusier played a subtle role in

be

experience positioning,

excerpt

opening

and

texture,

from creating a dynamic building of daylight.

the poem ‘Old Town Elegy’ by Geof- His pilgrimage chapel in Ronchamp, frey Brewer: Our little world teamed Sainte Marie de La Tourette and with action, unscreened, with no the Saint-Pierre parish church in bar of health and safety; adventure Firminy showcase a unique and indiwithout

filtration...”

This

excerpt vidual approach, each using light to

states that the world isn’t filtered render a space of contemplation. Henand therefore one can experience it ry Plummer, Emeritus Professor at filtering light is seen in each of the the University of Illinois at UrbaFrench architect and artist Le Cor- na-Champaign, analysed these projects busier’s three sacred buildings; the with his outstanding photos and Chapel of Notre Dame du Haut in Ron- wonderful writings in his book “The champ, France, the Monastery of 10 Universe of Light: The Sacred ArSainte Marie da la Tourette at Evreux- chitecture at Sur’L’Arbresle in France and, the in two flow Church of Saint Pierre, in Firm-

31

of

Le

Corbusier”.

The Monastery of Sainte Marie da la Tourette

France has three main light changes

Sainte Marie de La Tourette is a Do-

light filters in through an eastern win-

minican Order priory, located on a

dow that produces tiny dots of light

hillside near Lyon, France designed

on the floor These dots later turn into

by the architect Le Corbusier, the ar-

waves of light that rise and fall with

chitect’s final and most important[ci-

the changing angle of the sun. The

tation needed] building. The design

waves of light were not expected for

of the building begun in May 1953 and

this building but appeared due to the

completed in 1961.

construction of some materials. The

The Monastery of Sainte Marie da la

waves of light disappear around noon

Tourette at Eveux-sur L’Arbresle fea-

and two angled beams of light shine

tures a reclinear geometry through-

through the darkness of the room

out. The building has corrida with one

from the ceiling. These beams of light

wall exposed to light and fa one of the

are softer on an overcast day and

four cardinal directions Install has dif-

sharp on a bright clear day the warm

ferent window compositions playing

sun at sunset starts to create a Gold-

with the rhythm of light and shadow.

man rectangular beam of light on an

Plummer believes that the changing

interior wall Sacred building designed

window sequence with compress-

by Le Corbusier reflect cosmic power

ing and expanding sections of light

with changing light patterns over the

creates flowing rhythm to provoke

course of the day, month and year.

thought in addition, he compares the

Layers of light are produced within

monastery’s light and shadow effects

these building from different struc-

(being a modern approach) to a tra-

tural elements different Shapes and

ditional church that would normally

sizes. The elements ultimately relate

feature columns of an equal placing.

to the cosmic and its light at the cur-

over the course of the day. Firstly,

rent time.

Saint Pierre The Church of Saint Pierre, in Firming,

32