Journey through light | Mikayla Robson | Final magazine | REP II 2019

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MIKAYLA ROBSON | A1747868 | REP II 2019

DESCEND A JOURNEY THROUGH LIGHT


CONTENTS


Part One|Place

Part Two|Idea

1. SITE PLAN 2. ELEVATIONS 3. SITE DESCRIPTION 5. LIGHT AND SHADE 6. CIRCULATION 7. LIGHT STUDY: LUMINOSITY

9. METAPHOR 10. IDEA 1 11. IDEA 2 12. IDEA 3 13. PRECEDENCE 15. LIGHT STUDY: REFLECTION

Part Three|Form

Part Four|Material

17. SITE IN CONTEXT 19. PLAN AND SECTION 21. COMPOSITION 22. STRUCTURE 23. LIGHT STUDY: OPACITY

25. AERIAL AND GROUND VIEWS 26. ACCESS AND MOVEMENT 27. ATMOSPHERE 29. MOBILITY 31. LIGHT STUDY: FILTRATION

CONTENTS


7 m

.6m 18

m .40 41

.27

5 13

6 N

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BARR SMITH LAWNS

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ENGINEERING NORTH

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1

SITE PLAN

8m

.8 59

2

GATE 6A EXIT TO FROME ROAD


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4

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NORTH ELEVATION

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2

SOUTH ELEVATION

1. BARR SMITH LIBRARY 2. INGKARNI WARDLI 3. ENGINEERING AND MATHS SCIENCES 4. SANTOS BUILDING 5. MATHS LAWNS 6. THE BRAGGS 7. MOLECULAR LIFE SCIENCES

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WEST ELEVATION

ELEVATIONS

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The Maths Lawns is located towards the back of Adelaide University between The Braggs and Engineering Buildings. The lawns face the Eastern side of the Barr Smith Library and gate 6A which exits onto Frome Road. The site is used as a gathering area commonly with students in the adjacent buildings. The tables beside the grass provide an outside study area away from the noisy environments inside buildings particularly the Hub where most individual or group study takes place. The area of the Maths Lawns is subjective to a variety of lighting both natural and man-made. The basic shadowing from the sun is determined by the weather and season of each day however, there

3

SITE DESCRIPTION

are certain aspects such as the man-made lighting which also dictates the light distribution within the space. The windows on the façade of the Braggs building, allows the reflection of light to “bounce” within the space, creating an area of interest as visitors would be drawn to the light and reflections. The shadows created by surrounding buildings and the trees, create shade throughout the space. At night the reflective nature of the windows on the Braggs allows the interior to clearly be seen, providing another aspect of light within the area as all the interior lighting now becomes visible from the exterior. This also includes the diagonal pattern of the stairs and the horizontal lines of individual floors.


SITE DESCRIPTION

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SUMMER

WINTER

9AM

Site views Views of from the site run on a T-shaped axis and is dictated by the surrounding buildings. 12PM

3PM

Buildings The Maths Lawns is a central point between 6 buildings with views directed to lawns.

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LIGHT AND SHADE


6 Gathering areas and entry points There are three key gathering areas related to the key entry points where the flow of people is directed

Site uses The site is commonly used for large university events such as orientation week or open days.

Movement The movement around the site is dictated by the footpaths, directing traffic in an orthogonal direction.

CIRCULATION

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Luminosity 7

DEFINITION Luminosity can be defined as a quality which emits light or a shine due to a reflecting light hitting the surface. The word luminosity itself is derived from its Latin root lumen, which means “light”.

PHILOSOPHICAL DEFINITION Luminosity is a visual experience which is used to bounce light around the space and reflect it into areas where light normally wouldn’t enter, creating a sense of surprise for people who are using the space. Using natural light enhances the surprise aspect due to the dependency on weather and exterior conditions. However, the use of man-made light provides more control of lighting within the space allowing people to dictate the atmosphere and therefore, how people feel and experience the space. For example, using warm soft lighting portrays a comfortable and welcoming atmosphere encouraging people to frequently use the space. In contrast to this, a cool harsh lighting creates discomfort and can possibly lead to discouraging people from using the space.

Nanjing International Youth Cultural Centre, 2016, China

Dongdaemun Design Plaza, 2013, South Korea

“Fluid Luminosity: The Architectural Lighting of Zaha Hadid.” ArchDaily, March 31, 2017. https://www.archdaily.com/868157/ fluid-luminosity-the-architectural-lighting-of-zaha-hadid. “Luminosity Dictionary com. Accessed October

Guangzhou Opera House, 2010, China

Definition.” Vocabulary. 25, 2019. https://

www.vocabulary.com/dictionary/luminosity.

MAXXI Museum, 2009, Italy


Luminosity

FLUID LUMINOSITY Zaha Hadid created many great projects featuring a unique way to involve the medium of light based off her theories about fragmentation and fluidity. Light creates a new perception for us to view architecture as form and material is enhanced and effected by how light is reflected. Hadid’s work is an example of how, upon first appearance, light is very graphical and a tool to enhance an architectural imagination into new interesting creations. Looking at her work, the luminous lines are critical to her early work with the use of luminous fields being brought to light with her later work.

Vitra Fire Station, 1993, Germany

Hadid’s first building The Vitra Fire Station features deconstructive lines of light, highlighting the use of in-situ concrete walls by including non-parallel lines with lights lining the ground or the ceiling. Using lights to accentuate building aspects, reveals the linear lines and sharp edges, reflected on both the exterior and the interior. In Hadid’s design of Strasbourg’s Hoenheim-Nord Terminus and Car Park, she transformed the surrounding urban lines into luminating strips again harnessing that linear rhythm. She took inspiration from white road lines and incorporated them in the concrete roof or tilted

Leeza SOHO, 2017, Beijing

Hoenheim-Nord Terminus, 2002, France

poles for the actual parking spaces, creating links of site and purpose together.

following a conceptual grid and filtering the sunlight. The luminous white underside of the stairs was created as a contrast against the rich black as light flows throughout the building creating a calming counterpoint from the lines and contrasting colours. The next stage in Hadid’s unique and remarkable designs was the Guangzhou Opera House where she used warm tones to create an inviting atmosphere while still demonstrating the identifiable seamlessness and fluidity.

The turning point in Hadid’s design style came with the Phaeno Science Centre where the windows and luminaries of the building all demonstrated the same fluid form, turning away from her previous style of linear lines and sharp edges. The design of the Museum of XXI Century Arts, Hadid brought the fluid and seamless style inside creating a union between fluid forms and the lighting, including both natural and man made. A soft light over the structural curves is formed from the louvers

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is explored as a a space and using experimentations create a journey.

The next development looked closely into refraction and how light behaves when a prism interferes with the beam and the direction and end of light.

Another key light pattern is reflection, which when paired with reflective surfaces such as glass or mirrors, could prove to be an effective way to create interesting light patterns within space.

Uniting both refraction and reflection generates a unique pattern of light and looking closer the relationship with interference pattern’s also play a vital role in how light reveals itself within a space.

The generic idea of refraction way to bounce light throughout the metaphor to generate of how light can be used to

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METAPHOR: SEEK LIGHT IS A JOURNEY


Beginning with the base of triangles, a line-work shape was overlaid which lead to a transition into section including above and below ground areas. Translating this into a floor plan, the original line-work was developed into the circulation of space allowing connections to be formed between the exterior facade and internal layout.

1. Entrance 2. Reception area 3. Storage 4. Toilets 5. Exhibition/presentation space

6. 2 Seminar rooms 7. Disable access 8. Void 9. Small library 10. Reading/relaxing space

BELOW GROUND

ABOVE GROUND 5

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PROGRESSION ONE

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Line-work from progression one was applied over a new exploration of triangles leading to an interesting pattern. This began as an external shape to control light entering the space, but was translated into a floor plan design. The zigzag provides a unique movement through the space allowing optimum opportunity to create multiple experiences.

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2

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1 6 5

11 PROGRESSION TWO

1. Entrance 1 2. Reception area 3. Storage 4. Reading/relaxing space 5. Small library

6. Exhibition/presentation space 7. Toilets 8. 2 Seminar rooms 9. Disable access 10. Entrance 2


The third progression stems directly from the form created in progression two. It was created into a two-dimensional plan shaping the rooms around the circulation and flow. Two sections were developed, one a multi-storey building with a light void to enter space below. And the second, a single storey which gradually descends underground.

1. Entrance 1 2. Reception area 3. Storage 4. Exhibition/presentation space 5. Small library

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6. Reading/relaxing space 7. Toilets 8. 2 Seminar rooms 9. Disable access 10. Entrance 2

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PROGRESSION THREE

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TIRPITZ - BIG ‘The architecture of the Tirpitz is the antithesis to the WWII bunker. The heavy hermetic object is countered by the inviting lightness and openness of the new museum. the galleries are integrated into the dunes like an open oasis in the sand – a sharp contrast to the Nazi fortress’ concrete monolith. the surrounding heath-lined pathways cut into the dunes from all sides descending to meet in a central clearing, bringing daylight and air into the heart of the complex. the bunker remains the only landmark of a not so distant dark heritage that upon close inspection marks the entrance to a new cultural meeting place.’ - Bjarke Ingels, BIG’s founding partner.

In 2012, Architectural firm Bjarke Ingels Group (BIG) revealed its plan for the “invisible” Tirpitz museum in Blåvand, Western Denmark. The unique design is described as a hidden sanctuary within the sand with a gentle design created to contrast and balance out with the violent history of the site from World War II. The museum itself is located directly opposite a heavy concrete building used as part of the World War II bunker. This adjacent building is dark and hard on the eye, and during the design process, the museum was designed to camouflage with the surrounding landscape whilst bringing light and an open feeling into the building, to counteract the dark history which encapsulates the area, creating an unique atmosphere fitting to the style and purpose of this building. The total space of 2800 square meters includes four exhibition areas built into the surrounding sand dunes. The entrance into this unique bunker style design, isn’t seen until visitors approach the museum and progress down one of four heath-lined hallways, which as seen in the diagrams, leads guests to an open courtyard area before they can branch off into the exhibition areas. Despite the descend into the ground, the immense windows allow a wide array of light to enter and fill the space of the underground areas. The four exhibition areas feature both permanent and temporary exhibitions translating the story of the site’s history. Hernández, Diego. “TIRPITZ / BIG.” ArchDaily. ArchDaily, July 18, 2017. https://www.archdaily.com/875965/tirpitz-big.

13 PRECEDENT


LOCAL PRECEDENT

The Braggs building located opposite the site has a triangular window arrangement which allows the ambient and man-made light to bounce and reflect within the space, creating interesting shadows as the two light sources interact with each other. These windows allow the interior lighting to be visible at night. The beginning of the design originated from these triangles as a way of uniting the surrounding buildings with the light pavilion design.

PRECEDENT

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Reflection 15

DEFINITION

Selfridges 2003, Birmingham

A scientific definition of reflection is described as light or sound waves bouncing back from a surface. For example, light reflecting off water or noise echoing across a river. In terms of sight, reflection is defined as an image which is received or “given back” off a reflecting surface such as a mirror.

PHILOSOPHICAL DEFINITION Reflection, aside from the scientific definitions, is also a concept of thinking within yourself as a person. The act of reflection back on past or possible future events, particularly of human thought is the concept of death and living a meaningful life. In 1978 Kai Nielsen wrote a paper about Death and the Meaning of life, he talked about how even if death is the end and there is nothing more that you can still live a fulfilling life. Nielsen mentions that reflecting on your life and regretting death is different to dreading it. In the concept of light, reflection can be used physically but also with meaning to represent an area, meaning or purpose of the space. It draws connections to something deeper than what meets the eye and encourages thoughts to get to the roots of the revelation all using light in reflection.

Elbphilharmonie, 2017, Hamburg

Hauskeller, Michael. “Philosophical Reflections.” Philosophical Reflections, January 1, 1970. http://hauskeller.blogspot.com/. “Reflection.” Merriam-Webster. MerriamWebster. Accessed October 26, 2019. https:// www.merriam-webster.com/dictionary/reflection. Schielke, Thomas. “Veiled in Brilliance: How Reflective Facades Have Changed Modern Architecture.” ArchDaily. ArchDaily, October 12, 2016. https://www. archdaily.com/796974/veiled-in-brilliance-howreflective-facades-have-changed-modern-architecture.

Prada Aoyama, 2003, Tokyo Messe Basel - New Hall, 2013, Basel


Reflection

VEILED IN BRILLIANCE Modernism brought to attention glass and its transparency with the use of large glass exteriors. Architects like Mies van der Rohe often used elements which divided up the glass. Since the time of glass skyscrapers, it started to bore citizens, leading to experimentations and reinterpretations of glass façades. This progressed to the use of glass and metal altering the focus from internal space form to the external surface. Mies van der Rohe created a free-form glass exterior as a proposal for Glass Skyscraper in Berlin however he later reveal concerns about being cautious to avoid the façade reflecting

excess light. To prevent this, he broke up the skin allowing light to fall at different angles. The alternating curved glass of the Elbphilharmonie’s façade is a unique way of distorting the view of the city, sky and water and was a contrast against the uniform International Style. Streaks of light are reflected off the building as a result of the cleverly designed curved balconies, which when under direct sunlight, the glossy points provide a shimmer comparable to that of a jewel. A distorted reflection of the skyline is provided through the convex and concave curves aligned both

Guggenheim Museum Bilbao, 1997, Bilbao

horizontally and vertically, created by glass elements. All combined into one design, it creates a façade which is fluid and liquid like in appearance, a direct relation to the surrounding water.

South Australian Health and Medical Research Institute, 2013, Adelaide

Frank Gehry, an iconic American Architect started transitioning from the use of glass to metal with his well-known Guggenheim Museum in 1997. The exterior reflective panels were formed from titanium cladding making the museum recognisable from one simple element. The unique structural shape, surrounded by the reflective cladding is what makes the building successful, as the

dynamic form which demonstrates a corrugated like texture alternating the appearance dependant on the angle the light hits. The use of metal continues with the Selfridges Birmingham department store design. Surrounded by 16,000 anodized aluminium discs, this building continues to demonstrate how unique shapes and reflective materials can affect the way we see architecture and how it is represented to us through plays with light, a move which continues to shape the architectural world.

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17 FINAL DESIGN IN CONTEXT


The final design was interpreted from idea 3 with a gradual descent into the ground as a way to manipulate light through its entry points and projection inside as it travels below the surface. The floor-plan layout was inspired by the adjacent building The Braggs with the triangular shape. Interpreting this into a new pattern with a zigzag like shape with different lengths. The main hallway is a gradual decent until the last room is completely underground. The remaining individual rooms are at different layers based on where the entry point corresponds with the hallway. The exterior walls reach up to the roof with some featuring glass cut outs to allow light to enter from the side and provide an alternate route into specific rooms. The choice to leave interior walls only to a certain height, was made on the perception that as people gradually move throughout the space, they can see the way light interacts with each other at intersection points as it enters through the roof, and how it bends and reflects of walls to create interesting patterns during both day and night.

FINAL DESIGN IN CONTEXT

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2. RECEPTION AND STORAGE

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4. SMALL LIBRARY AND READING 5. MALE TOILETS 6. DISABLED TOILET 7. FEMALE TOILET 8. SEMINAR ROOM 1+2

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SITE PLAN AND ELEVATION

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Female Toilets Storage Disable toilet Seminar room 2 Seminar room 1 Male toilet

Small library and reading space

Exhibition and presentation space

Reception and storage

21 COMPOSITION


Laminated glass roof cut out

Zinc roofing

Laminated glass wall cut out Pre-cast concrete walls

Feature wall tile

Timber hardwood flooring

STRUCTURE

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Opacity 23

DEFINITION

Dybkær Church, Silkeborg, Denmark

The word opacity has multiple meanings dependant on the topic. For example, obscurity of sense where you cannot be understood, or a quality or state of mentally obtuse essentially dullness. In terms of light opacity is a capacity of matter which will obstruct the transmission of light rays or an opaque section.

PHILOSOPHICAL DEFINITION Opacity is the working of being able to “see through” something whether that be literal or philosophical such as seeing through something physically or mentally someone’s character. When speaking in terms of it in the sense of obscurity, where something is not understood or intelligible, opacity is then in the context that information is concealed. This can be a multitude of situations whether knowledge or truth is being withheld or altered to fit the situation, causing the confusion and preventing the opacity of conversation or understanding of situations. In an argument sense, obscurity will cause difficulties as meaning is not understood and metaphorically can be compared to the sense of light, where through certain materials, light struggles to reach the other side. “Opacity.” Merriam-Webster. Merriam-Webster. Accessed October 29, 2019. https://www. merriam-webster.com/dictionary/opacity.

Hyvinkää Church, Hyvinkää, Finland

Schielke, Thomas. “Light Matters: Whiteness in Nordic Countries.” ArchDaily. ArchDaily, August 29, 2014. https://www.archdaily. com/542503/light-matters-whiteness-in-nordic-countries.

Pirkkala Church, Tampere, Finland


Opacity

WHITENESS IN NORDIC COUNTRIES Daylight in Nordic countries is a unique phenomenon where summer days are long and light during winter is minimal, leading to architectural styles being adjusted to suit the requirements for these countries. University of Illinois Professor Henry Plummer performed extensive research into this daylight situation including journals and writings of both an analytical perspective and a poetic sense. It broadened further from the use of white to reflect light around spaces and brighten rooms, but how it effects nature and the emotions from a human perspective. From an architectural point

of view, white spaces were used to counteract against the winter days, often long and dark, due to the low sun position creating long shadow patterns. Because of this, light would enter more from the side of a building opposed to above. However, during summer evenings a diffuse light is emitted. This is evident through four countries, Norway, Sweden, Denmark and Finland. Nordic architects highly regarded the use of white in their designs to adapt to the local environment and provide a fully functioning building. The white surfaces provide a highly reflective nature bouncing light within and providing the

Nordyjllands Art Museum, Aalborg, Denmark

brightness required during the dark winter months, whilst still drawing connections to natural landscape. Examples of this unique architectural style is dated back to medieval churches in Denmark which has been translated into modern designs such as Dybkaer Church by Regnbuen Arkitekter. Daylight is transported into the space from three main directions as described by Plummer “Low from the north to emphasize a black steel crucifix; more broadly from the south as a glancing wash; and as a shower directly behind the altar, guided down through a sluice of wall.” Dybkær Church, Silkeborg, Denmark

During the 1930’s Alvar Aalto introduced a concept called white

diffusion, where shades of white would cover vastly using three main materials, white painted plaster, white enamelled steel or white linoleum. A prime example of this concept is showed in the Nordyjllands Art Museum from 1972 where white covered from the floors to the walls and ceilings. The large use of white was not the only key feature showcased in Nordic designs, with the use of natures natural light patterns being a distinctive highlight especially within religious buildings where the concept of time is important.

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25 AERIAL AND GROUND VIEWS


MOVEMENT INSIDE PAVILION

KEY ACCESS AND ENTRY POINTS

ACCESS AND MOVEMENT

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27 ATMOSPHERE


ATMOSPHERE

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29 MOBILITY


EXTERIOR WALLS

INTERIOR WALLS

MOBILITY

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Filtration 31

DEFINITION Filtration is quite commonly a scientific term used specifically in chemistry to describe the act of passing a liquid or gas through a filter to clear out solid elements or other substances. Simply, it is the act of separating substances.

PHILOSOPHICAL DEFINITION During the filtration process used in chemistry, a filter is used to allow a liquid or gas to pass through but prevents a solid, which in a physical sense is essentially the concept of removing unwanted objects. Connections between filtration and light can be described as the act of light changing when passing through individual materials, as what is of “importance” passes through leading to alterations in how we see light in different situations. When thinking about how filtration can be applied to mental activity, humans actively filter through information we are provided and determine what is of importance and what is unnecessary. This theory can affect how we see the world and in turn, react to what is around us and significant events, changing our perception of reality to individually accommodate what we deem as wanted and unwanted.

Church of Saint-Pierre, France

Monastery of Sainte Marie de la Tourette, France

“FILTRATION: Meaning in the Cambridge English Dictionary.” Cambridge Dictionary. Accessed October 30, 2019. https:// dictionary.cambridge.org/dictionary/english/filtration.

Chapel of Notre Dame du Haut, Ronchamp, France

Schielke, Thomas. “Light Matters: Le Corbusier and the Trinity of Light.” ArchDaily. ArchDaily, February 11, 2015. https://www.archdaily. com/597598/light-matters-le-corbusier-and-the-trinity-of-light.

Monastery of Sainte Marie de la Tourette, France


Filtration

LE CORBUSIER & TRINITY OF LIGHT During his time as an architect Le Corbusier has three sacred buildings where he experimented with the orientation, openings and textures to create a dynamic architecture which uniquely interacts with daylight filtering through the building. From a religious perspective, light has links towards divinity and holiness for example, in Christianity God is spoken of as the “light of the world”. Because of this it is extremely common to find churches using the light in a physical sense to represent light as a divine to create heavenly atmospheres. Le Corbusier highlights this interaction

of colours and light within his three sacred buildings. Henry Plummer studied these sacred buildings for over four decades and has since discovered much about the transformative power of light. Plummer describes one of the main characteristics of the Chapel of Notre Dame du Haut at Ronchamp is the solar events which are continuously cycling throughout the year. The red morning light is caused by the sun illuminating the alcove on the side of the chapel, with Plummer drawing connections to human birth. Further in the day the sun filters through a tall slot

Church of Saint-Pierre, France

located between east and south walls which creates rays within the deep cavities. Another slot of 10cm running horizontal contrasts against the glow provided in the southeast corner. By sunset, the cycle begins to provide a warm sunset cast throughout the chapel.

Church of Saint-Pierre, Firminy, France

In comparison to Ronchamp, the light work at La Tourette is a much more complex element due to the rectilinear geometry. An interesting light experience is created from the corridors each featuring an open side facing a cardinal direction with extra windows individually arranged per area. Plummer speaks of how a musical composition feel is given off due to the irregular

Monastery of Sainte Marie de la Tourette, France

rhythm of light and shadowing, “Unlike the repetitive rhythms of windows and columns in traditional churches, these fluent rhythms are aperiodic, based upon intervals of light and transparency that gradually compress and expand in waves.” The lighting patterns begins at sunset where a crack on the western wall brings warm lines along adjacent walls. Golden light is cast inside the building creating a dramatic atmosphere until golden light is at the tilted roof plane and cast over the prefabricated slabs. Through these design’s Le Corbusier unique designs with complex light techniques formed a language which defined his sacred buildings.

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MIKAYLA ROBSON | A1747868 | REP II 2019


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