Full name : Yuanhang DING ID : a1730983 REP 2 2019
Seek Light as a journey
PLACE 02
ELEVATIONS AND PLAN PHOTOS : DAY AND NIGHT SITE PERSPECTIVE SHADE SITE CHARACTER CASE STUDY ONE : LUMINOSITY
IDEA 10
METAPHOR IDEA 1 : EDGES AND CORNERS IDEA 2 : BUMP WORLD IDEA 3 : COLOR CHANNEL CASE STUDY TWO : REFLECTION
FORM 16
FINAL DESIGN FLOOR PLAN SECTIONS ELEVATIONS COMPOSITION CASE STUDY THREE : OPACITY
JOURNEY 24
EXTERNAL VIEWS INTERNAL VIEWS ACCESS & MOVEMENT CONSTRUCTION DETAIL CASE STUDY FOUR: FILTRATION
TABLE OF CONTENTS
Santos Building Engineering and Math. Sciences
The Braggs
Ingkarni Wardli
ELEVATION 1:500
Barr Smith Library
ELEVATION 1:500
Molecular Life Sciences ELEVATION 1:500
SITE PLAN 1:1000
ELEVATIONS AND PLAN 2
PHOTOS : DAY AND NIGHT 3
The Maths Lawns located in the University of Adelaide, and these two grand lawns are encircled by three main buildings. The ancient Barr Smith Library is facing to the site directly, and both sides are the modern teaching buildings, which showing case a glass architecture feature. The site provides an outdoor public rest area for the university students and staffs. People can chat and have lunch there.
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
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.
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 6
Large areas of lawns are often used to host community activities ot school gatherings. The tables and chiars around are for people to rest.
7
LINGUISTIC DEFINITION 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.
PHILOSOPHICAL DEFINITION '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.
CASE STUDY ONE : LUMINOSITY 8
The Architectural Lighting of Zaha Hadid The success of her project was motivated by Zaha Hadid’s new and innovative approach to tangible materials and the imagination of light. Light bridges the gap between architecture and our perception. We do not directly sense the form and material by reflecting light through the eyes. Zaha Hadid used her skillful operations to increase her architectural imagination, using light in her early works, and in the later stages there was a glowing field and a radiant drama. The decisive non-parallel lines mark the explosive energy of her first building: the Vitra Fire Station (1993). The light between Zaha Hadid on the ceiling or between the wall and the ground or between the wall and the ceiling enhances the linear structure with sharp edges. However, although the edges of the interior lighting echoed the clear concrete lines, the soft, scattered interior and exterior lighting partially offset the energy of the building form.
and then into a charming golden space. Zaha Hadid transforms geometric lines into diffuse lines and curves by understanding the visual language of painting. As a result, her early lighting seemed to be more of an expression of graphic design than to make full use of light to interpret the potential of architecture, and she did not use dramatic grazing to render tables or textures more vividly. In the later stages of design, she focused her attention on the lighting itself, which is an important aspect of architecture.
During her career at Zaha Hadid, we can see that in her architecture, reflections are used to supplement or replace the matte curtain wall surface, and the building begins to reflect the surrounding environment. Similarly, her interior has changed from raw concrete to pure white,
CASE STUDY ONE : LUMINOSITY 9
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 10
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 11
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 12
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 13
LINGUISTIC DEFINITION 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.
PHILOSOPHICAL DEFINITION 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, freeform 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.
CASE STUDY TWO : REFLECTION 14
Veiled in Brilliance: Reflective Facades Changed Modern Architecture 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. These veiled veil strategies have been accepted by international styles, and the uniformity of mirrored cubes has begun to erode the sense of scale. Therefore, the architectural form of the bumps, the reflective curved facade elements or a mixture of the two opens up another option that adds more brilliance to the city.
CASE STUDY TWO : REFLECTION 15
FINAL DESIGN 16
FINAL DESIGN 17
SITE PLAN 1:500
SITE PLAN 18
SECTION 1 1:200
SECTION 2 1:200
SECTIONS 19
ELEVATION 1 1:400
ELEVATION 2 1:400
ELEVATION 3 1:400
ELEVATION 4 1:400
ELEVATIONS 20
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. 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 21
LINGUISTIC DEFINITION 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.
PHILOSOPHICAL DEFINITION 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.
CASE STUDY THREE : OPACITY 22
Light in the church-Black Gavin Church, Arno Lutherwari The white building is an effort by Nordic architects in response to the local 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 pulse of nature and the vibration mode with light or the dramatic light and shadow transients belong to the unique Nordic light method.
INTERNAL VIEWS
CASE STUDY THREE : OPACITY 23
EXTERNAL VIEWS 24
EXTERNAL VIEWS 25
INTERNAL VIEWS 26
INTERNAL VIEWS 27
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 7
2
4
3 6
ACCESS & MOVEMENT 28
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 29
LINGUISTIC DEFINITION 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.
PHILOSOPHICAL DEFINITION 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.
CASE STUDY FOUR: FILTRATION 30
Light Matters: Le Corbusier and the Trinity of Light 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.
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.
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,
CASE STUDY FOUR: FILTRATION 31