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
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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
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ELEVATIO MOLECULAR LIFE SCIENCES & THE BRAGGS
BARR SMITH LIBRARY
INGKARNI WARDLI, SANTOS BUILDING, ENGINEERING & MATHS. SCIENCES
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MOVEMENT & ACCESS
MAIN ACCESS 5
MOVEMENT
R
PLACE SOCIAL CHARACTE
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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
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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.
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IDEA 1
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LIGHT-SEEKING DISCOVER
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IDEA 2
LIGHT-SEEKING DISCOVER 11
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IDEA 3
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LIGHT-SEEKING DISCOVER
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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
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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.
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PLAN
ELEVATION
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A
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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
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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
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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
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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
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AERIAL VIEWS
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GROUND VIEWS
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INTERIOR
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LIGHTING
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VISUAL MOBILITY
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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
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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
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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-
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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,
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