Full name : Yuanhang Ding ID ： a1730983 Rep 2 2019
Seek Light as a journey
PLACE 02
ELEVATIONS SITE PLAN AND ELEVATION SITE PERSPECTIVE SHADE PHOTOS : DAY PHOTOS : NIGHT ACCESS AND MOVEMENT SITE CHARACTER CASE STUDY ONE : LUMINOSITY
IDEA 12
METAPHOR IDEA 1 : EDGES AND CORNERS IDEA 2 : BUMP WORLD IDEA 3 : COLOR CHANNEL CASE STUDY TWO : REFLECTION
FORM 18
FINAL DESIGN FLOOR PLAN SITE PLAN AND SECTIONS EXTERNAL VIEWS ACCESS & MOVEMENT CASE STUDY THREE : OPACITY
JOURNEY 26
COMPOSITION CONSTRUCTION DETAIL INTERNAL VIEWS CASE STUDY FOUR: FILTRATION CASE STUDY FIVE : IRIDESCENCE
TABLE OF CONTENTS
Barr Smith Library
Santos Building
Engineering and Math. Sciences
The Braggs
Ingkarni Wardli
Molecular Life Sciences
Barr Smith Library
ELEVATIONS
2
Molecular Life Sciences
The Braggs
ELEVATION 1:500
ELEVATION 1:500
ELEVATION 1:500
Ingkarni Wardli
Engineering and Math. Sciences
Santos Building
SITE PLAN AND ELEVATION 3
SITE PERSPECTIVE 4
SUMMER 1.1 9am
SUMMER 1.1 12pm
SUMMER 1.1 15pm
WINTER 7.1 9am
WINTER 7.1 12pm
WINTER 7.1 15pm
SHADE 5
PHOTOS : DAY 6
PHOTOS : NIGHT 7
The site is surrounded by a group of buildings. At noon, the building has little impact on the site (no shadows). If necessary, consider the influence of the surrounding buildings on the site.
ACCESS AND MOVEMENT 8
The location of the site is a piece of grass in the school, covering an area of about 1,000 square meters, and the area of the Pavilion shall can not exceed 350 square meters, so it is necessary to consider how to make the best use of the site.
People can choose a variety of routes to pass through the site, where there is basically nothing to hinder travel or obstacles.
SITE CHARACTER 9
LINGUISTIC DEFINITION
PHILOSOPHICAL DEFINITION
Brightness of the dark underground corridor-Le Corbusier
Luminance refers to a physical quantity in which the surface of the illuminant (reflector) is bright (reflective). The human eye observes the light source from one direction. The ratio of the light intensity in this direction to the area of the light source "visible" by the human eye is defined as the brightness of the light source unit, that is, the luminous intensity per unit projected area. The unit of brightness is candela/square meter (cd/m2) brightness is the perception of the intensity of light. It is a subjective quantity. An objectively corresponding quantity defined by physics that is different from illuminance is light intensity. These two quantities are often confused in general everyday language. Brightness is also called brightness, which indicates the degree of color shading. The brightness perceived by the human eye is determined by the brightness of the color reflection or transmission.
'luminosity' is not an event in existence, it cannot be 'said', but only 'shows' as its horizon. It is also plausible to say that although luminosity is not an event in existence, it nonetheless shows only in relation to what is sayable.
In the monastery of Sainte Marie de La Tourette, one of the best moments of the architectural promenade is the ramp down to the church entrance: an austere, concrete corridor with uneven yet rhythmic glazing, which leads to a stern metal wall that rotates to give access to the dark, colored glow to the rest of the church. The interior of the church reveals a concrete box which is given a spiritual essence through its use of natural light and strong color, both selectively and carefully placed. "Light cannons" are created as the five different types of openings around the church let in daylight, several of which are graciously sculpted on the exterior. The colors are also present in these openings, w h i c h g i ve t h e c h u rc h a wa r m a n d evokative glow.
CASE STUDY ONE : LUMINOSITY 10
Much of the personality of this building is found in the interior, with the floor-toceiling glazing in the public areas, like the chapter room and refectory with their commanding west-facing views over the valley, library, and church entrance. The uneven spacing of the vertical concrete mullions, or ondulatoires, and the similar divisions and uneven spacing of the horizontal components between them were fashioned according to the Modular system of proportions of Le Corbusier.
CASE STUDY ONE : LUMINOSITY 11
If architecture is solid music, then light and shadow is the chapter of rhythm. If the structure is the physique of the building, then the light and shadow is the expression of the building. When the light is everywhere in the building, humanity awakens, the flower of the heart blooms, and the building that accommodates the space begins to be full of spirituality. There is a "shadow" in "light". It is precisely because of the constant change of "light" that the original unchanging and lifeless architectural form and space become agile under the light of "light", as if it has life. While adapting to the surrounding environment, the building also needs the backdrop of light and shadow to show its true value. In the building, looking for light is a journey..
METAPHOR 12
The first design consists of a number of prominent, angular glass. The material of the glass is translucent, and people can see the outside situation from the inside, and the light will pass through the glass, so that people can follow the light to find the direction.
IDEA 1 : EDGES AND CORNERS 13
The second design consists of reflective and translucent glass. This design is presented in the shape of a cave with some small gaps between the glass. As the sun rises, the fragmented light passes through the glass and the gap, leading people to begin the journey of finding light.
IDEA 2 : BUMP WORLD 14
The third design shape is a regular corridor. At the beginning of the corridor is a shading with clear glass, and some transparent round glass appears on the ceiling. The glass is made of refracting glass. When light passes through the round glass, the light is refracted by the glass to form some rainbows, and people can follow the shadow of the light.
IDEA 3 : COLOR CHANNEL 15
LINGUISTIC DEFINITION
PHILOSOPHICAL DEFINITION
Reflective light-Disney Concert Hall, Frank Gehry
Reflection is the change in direction of a wavefront at an interface between two different media so that the wavefront returns into the medium from which it originated. Common examples include the reflection of light, sound and water waves.
As boring urban dwellers have become tired of countless unified structural glass skyscrapers (especially for large glass walls that are monotonous to them), people have become interested in the routine planning of the external walls. Thus, free-form glass and metal (light and brightness) can help create the iconic architecture and a better human world. From the perspective of human reality, reflection can be imagined as a reflection of human beings.
American architect Frank Gehry transferred the titanium cladding of the Guggenheim Museum in Bilbao from glass metal to metal in 1997, which is also the basis for the future Walt Disney Concert Hall (2003). The building of the Walt Disney Concert Hall is covered by (stainless steel) titanium, and the entire building looks like an aluminum strip. Although the connotation ranges from larger forms of ships to fish scales on reflectors, the entire building has become a city gem and has initiated many urban reconstructions with its iconic logo. With the shiny quality of the titanium plate and the ever-changing appearance, Frank Gehry not only brings dynamic composition to Bilbao, but also strengthens his design with its unique dynamic image, changing with each cloud and sunlight. In the sun, the surface of the building is silvery and dazzling. The concert hall has not only become a new collection of Los Angeles musicians, but has also become the focus of the global music and architecture community.
CASE STUDY TWO : REFLECTION 16
After the completion of the Disney Concert Hall, some of the additional costs of the amendments were incurred due to the reflection of the flaky roof causing trouble to the surrounding residents. These embossed polished stainless steel plates, like large mirrors, reflect the hot sun to the surrounding apartments when the sun is shining, and the air-conditioning costs of these residents are exploding, and the streets are reflected and pedestrians pass by. They can't stand the sudden high heat. After the measurement, the roadside temperature can reach 60 °C.
CASE STUDY TWO : REFLECTION 17
FINAL DESIGN 18
FINAL DESIGN 19
1.Promenade, entrance 2.Reception 3.Relaxing space 4.Exhibition 5.Storage space
1
6.Small library 7.Toilet 8.Seminar room 1 9.Seminar room 2
8
9 SECTION 1 1:200
7 2
4
3
5
6 As it can be clearly seen from the plan, the theme of the building is connected by a corridor (about 50 meters long). Part 1 is the entrance to the building, and part 2-5 is the reception, Relaxing space, exhibition and storage space. At the ceiling of these buildings, some round skylights are designed. These skylights are made up of glass that refracts light. When light passes through a circular glass, the light is refracted by the glass to form a rainbow, and people can begin to explore the shadow of the light that follows. Part 6,8,9 (library, seminar room 1 and seminar room 2) have transparent glass windows on the outer and top walls, which help the light to pass through the glass and add some light to the room. Because looking for light is a journey, I think a long corridor-shaped building can guide people to discover light and find light.
FLOOR PLAN 1:200
SECTION 2 1:200
FLOOR PLAN 20
SITE PLAN 1:200
SITE PLAN AND SECTIONS 21
EXTERNAL VIEWS 22
ACCESS & MOVEMENT 23
LINGUISTIC DEFINITION
PHILOSOPHICAL DEFINITION
Light in the church-Black Gavin Church, Arno Lutherwari
In the field of optics, transparency is a physical property that allows light to pass through a material without being dispersed. At the macro scale (where the size studied is much larger than the wavelength of the photons in question), the photons follow Snell's law. Translucency is a superset of transparency: it allows light to pass, but not necessarily in accordance with Snell's law; photons can be dispersed in either of the two interfaces. In other words, translucent media allows the transmission of light, while transparent media not only allows The transmission of light, and allows image formation. The opposite property of transparency is opacity. The transparent material looks clear and the overall appearance is a color, or any combination, that produces a spectrum of each color.
The central philosophical idea is in the title: opacity. Opacity is a kind of interest in fictional works: it treats the characters and events in works as though they were "constituted by the modes of their presentation in the narrative." The most important part of opacity is that when we read in this way, we understand the content of the work (the fictional world) only in terms of the particular way in which it is described. Transparency is the converse of opacity: it is a way of reading that construes the events and characters as though they were part of a fictional world that we see through a particular work of literature but where the language used to open up the world to us is purely a means to the end: our interest in what is being described.
The white building is an effort by Nordic a rc h i te c t s i n re s p o n s e to t h e l o c a l environment. This is due to the long and dark winter, the long shadow of the sun in the northern region; in the summer, the summer night emits diffuse light, so the architects use a white surface to balance the relationship with the surrounding environment. In Finland, the Black Gavin Church which designed by Aarno Ruusuvuori is one of the typical representatives. Aarno Ruusuvuori avoids the intense sun exposure that distracts the prayers of the believers. The white surface provides high reflectivity to maximize internal brightness during dark winters, and the effect on whiteness is also related to the beauty of the snowy landscape. His interpretation of the sun comes from the more abstract light, as he said: "The light source originated somewhere, but humans don't need to know where it is. Lighting itself is not an end. But it means creating a eternal infinity. The feeling of pure white volume is not the only characteristic of the Nordic architectural environment. The
CASE STUDY THREE : OPACITY 24
pulse of nature and the vibration mode with light or the dramatic light and shadow transients belong to the unique Nordic light method.
CASE STUDY THREE : OPACITY 25
Small library The wall is made of concrete, and has huge transparent windows. Toilet The wall is made of concrete, without windows, with an exhaust fan. Seminar room 1 and Seminar room 2 The wall is made of concrete with a skylight.
Refractive glass
Entrance
Storage space
The wall is made of concrete and has a reflective roof.
The wall is made of concrete and has no windows.
Promenade The material of the road is concrete.
Reception, Relaxing space and Exhibition The material of the wall is concrete, and the material of the skylight is refractive glass, which can refract rainbow light.
COMPOSITION 26
Typical concrete wall
The wall surface of the concrete wall does not need other decorative materials, and there is no need to put a lot of things to decorate anything. It is only necessary to spray a thin protective layer on the concrete wall for protection. Concrete walls are made of the same cement and are not used together, so they are used for a relatively long time. Meanwhile, the refractive glass can illuminate a beautiful rainbow, prompting people to start seeking light.
CONSTRUCTION DETAIL 27
28
INTERNAL VIEWS
INTERNAL VIEWS 29
LINGUISTIC DEFINITION
Light of God-The pilgrimage chapel, Le Corbusier
When light is incident on the surface of a transparent or translucent material, a portion is reflected, a portion is absorbed, and a portion can penetrate the past. This phenomenon is called transmission of light. Transmission is the phenomenon of incident light after it has been refracted through an object. The object to be transmitted is a transparent body or a translucent body such as glass, a color filter or the like.
The most striking part of the pilgrimage chapel at Ronchamp is the curved roof that rolled up in the sky. The curved roof supported by the pillars embedded in the wall looks like it is suspended above the building, so there is a 10 cm gap between the roof and the wall, which allows the light of the skylight to enter the roof is only mechanically affected. A miniature of the overall design of the Fragrance Church; the curved shape of the roof mimics the curve of the wing of the aircraft. This streamlined design runs through the huge and heavy character of the church and makes it look very light. The most interesting part of the design is the sporadic windows that are distributed across the wall. Le Corbusier adopted a method of opening holes in the faรงade to enhance the light in the chapel through a conical window between the sandwich walls.
CASE STUDY FOUR: FILTRATION 30
Each wall is illuminated by a square window of varying sizes, together with a plain whitewashed wall to give the wall a bright trait that is interrupted by more intense direct light. On the wall behind the chapel's pulpit, the lighting effect produced a speckled pattern, like a starry night sky, and the sparse windows were praised by the light of a huge mouth above the cross, which not only created a powerful Religious images and also a transformative experience. As can be seen from the plane of the pilgrimage chapel, the curved walls and roof define the formal meaning of the church. It looks like it grows directly from the hill, and the curve of the roof resembles the mirror of the church sitting on the hill. However, once inside the building, the curved walls and roof are no longer the pure essence of defining the design, but the definition of light and giving the church an empirical meaning.
CASE STUDY FOUR: FILTRATION 31
LINGUISTIC DEFINITION
PHILOSOPHICAL DEFINITION
Iridescence (also known as goniochromism) is the phenomenon of certain surfaces that appear to gradually change color as the angle of view or the angle of illumination changes. Examples of iridescence include soap bubbles, feathers, butterfly wings and seashells, as well as certain minerals.
The iridescence design philosophy is the study of color design, collocation and the philosophy of the psychological impact on the audience. Color makes the world colorful, it can change our mood and affect our perception of something. The company is therefore willing to invest the green and green banknotes in the design to represent the color of the company. The designers rack their brains to express the characteristics of each color, so that they believe that you can be interested in the moment when you meet the color. That is the message that it delivers to you under the gentle, or violent, color. Color involves a lot of learning, including aesthetics, optics, psychology and folklore. Psychologists have proposed many theories of the relationship between color and human psychology in recent years. They point out that each color has a symbolic meaning. When visually touching a certain color, the brain nerves will receive the signal of color distribution, and instantly generate associations.
CASE STUDY FIVE : IRIDESCENCE 32
Mysterious and magical colors-Le Corbusier The monastery, completed in July 1959, is located in the Eveux-sur-Arbresle Rhone region near Lyon, France. Originally designed in 1953, the monastery, which was founded in 1956, is part of the Dominican Patriarchal Congregation, which consists of nearly 100 monastic rooms, libraries, restaurants and churches as Le Corbusier. One of the later masterpieces reflects his five principles of modern architecture: 1. the underlying overhead 2. the roof garden 3. the free plane 4. the long window in the horizontal direction 5. the free facade
There is no stained glass in the whole church, and there are no round windows. There are only horizontal vents, which are covered with various bright colors, which are in great contrast with the dark walls. Some people say that it has even surpassed the Pantheon. The sense of space and the solemnity of St. Peter's Cathedral allow the people who come here to constantly ask "Who am I?" and unconsciously explore the truest side of the heart. This is the true victory of hypocrisy, the victory of the soul for material, and the monastery, the recorder of all this. Although the glass and concrete piles of the monastery seem to be irregular, when the sun shines in and casts shadows on the floor, people can instantly taste the dark charm, and the bright holy people may be surprised: It is light and shadow that shape the true spirit of this building. Besides, it does not need to add anything. Perhaps it is what Le Corbusier called "real architecture". The twilight of God, the new home built for the human heart.
CASE STUDY FIVE : IRIDESCENCE 33