Valeria Guajardo || Rep2.18 | Structures of Light | Seek Knowledge
Place Light Study 1: Luminosity
Idea Light Study 2: Reflection
Form Light Study 3: Opacity
Material Light Study 4: Filtration
Luminosity In science, luminosity is defined as the measure of the radiant power emitted by a star, an attribute of an object or colour ealing the extend to which an object emits light to be observed. In philosophical terms however, luminosity can be defined as the quality of being intellectually brilliant, enlightened, inspired, etc. Both of these definitions translate to what we refer to when talking about luminosity in architecture. A space that that is brilliant and enlightened, with a variance of reflection of colour to create ambience and different effects. In a philosophical sense, light can have multiple meanings. It can be a metaphor for growth, journey, enlghtenment, knowledge, faith, and many more. This design takes a hermeneutical process in form finding, diving into the idea of light as knowledge, and the geometrical forms that it reflects.
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Light Study 1 Luminosity
Fig 10. Aria Gold Suspension
Case Study: Fluid Luminosity: The Architectural Lighting of Zaha Hadid Zaha Hadid (1950-2016) is arguably the most influential post-modernist architect, redefining 21st Century architecture and design thinking across the world. This article reviews numerous of her projects where her ingenious use of luminosity adds another dimension to the architecture, stimulating atmosphere through fluidity and fragmentation. In her earlier projects we mainly see a deconstructive play of luminous lines, creating a soft atmosphere by enhancing the geometry of forms. This can be appreciated in her Vitra Fire Station, Weilham Rhein, 1993. The article responds to the project as a ‘lucid expression of tensions with in-situ concrete walls’, her use of light lines creates a sense of explosive energy, which reinforces the outer linear architecture. This intense energy is counteracted by the soft diffusion of illumination through the interior, creating a seamless balance between inside and outside spaces. We see a similar use of geometric lighting in her Strasboroug’s Hoenheim-Nord Terminus and Car Park, 2001 where the use of luminaires is more of a graphical interpretation of the surrounding urban context and patterns, again creating that connection between architecture and landscape. In her Nianjing International Youth Centre, 2016 her use of luminaires becomes greatly more experimental, however we still see these deconstructive patterns that closely relate to the contextual aspect. The pixel aesthetic of luminous surfaces gives the space a dynamic relationship between forms and materials.
Fig 12. Guangzhou Opera House Interior, 2010
Fig 16. Braggs Glass Exterior Fig 11. Guangzhou Opera House, 2010
Fig . Hyvinkaa Church, Finland Fig 13. MAXXI, Rome, 2010 Fig 18. Gugghenheim Bilbao, 1997
Dybaeker Church, DenFigFig 19..Leeza SAHMRI, Adelaide, 2009 Fig 14. SOHO, Beijing, 2017
As Hadid begins to push the boundaries of luminosity, in her later work we can see a different approach to the use of light from fragmentation and deconstructivism to more fluidity and continuity, through a more dramatic use of light to enhance materials and textures. In her MAXXI project in Rome, 2009 she is able to create a harmonious connection between fluid forms and both daylight and artificial lighting, using concealed lights and contrasting material colours. Similarly, this way of bringing in the outdoor landscape into the inside atmosphere through lighting is seen in her Guangzhou Opera House, China, 2010. The use of luminaire mirrors that of a starry night sky and waterfall reflections in a very fluid manner, creating a warm and glossy atmosphere with her use of golden and white interiors common to her work of late. Sources Article:: https://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid Fig 1. https://www.casatrasacco.com/aria-gold-suspension/ Fig 2. https://www.architectsjournal.co.uk/home/maxxi-museum-rome-by-zaha-hadid-architects/5211023.article Fig 3. https://www.telegraph.co.uk/news/worldnews/asia/china/8620759/Guangzhou-Opera-House-falling-apart Fig 4. https://www.google.com.au/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&ved=2ahUKEwiK Fig 5. https://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid
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Light Study 1 Luminosity
Site Analysis
Fig.1 Day ambience & Braggs material quality
Aerial View (East)
Fig.3 Night ambience in Braggs Lecture Theatre
Ground View (West)
Fig.4 Day ambience & material quality
Fig.2 Aerial view (south west)
3 Site Description
Fig.5 Ground view (north west)
Fig.6 Night ambience & light quality
Fig.8 Aerial view (east)
Fig.7 Ground view (south east)
Fig.9 Night ambience & light quality
Fig.1
4 Site Description
Barr Smith Proportional Analysis 5
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Elevation
5 Scale Study
Braggs Proportional Analysis
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Elevation
6 Scale Study
Shade Study Winter
Summer
9 am
12 pm
3 pm
7 Site Description
Social Character access, movement and use
Main Access Points
Fig.5
Moderate Congregation Areas High Congregation Areas
The main access point into the site is via the main axis of the University running down from North Terrace to Victoria Drive across the front of the Barr Smith Library. Other access points are mainly from the main exits of Ingkarnii Wardli and Braggs, as well as via Frome Road. The site is used for a variety the site to access surrounding of purposes. On a normal buildings. It is also an area day, students move around for relaxation and socialising. Students will sit on the grass area and the benches surrounding it, and will sit at the cafe area outside of Ingkarnii Wardlii to enjoy a coffee, some food and some company. The Maths Lawns are also used during campus events such as open day, O-week and other sporting activities.
8 Social Character
Reflection Scientifically. reflection refers to the throwing back by a body or surface of light, heat, or sound without absorbing it. It can also mean the production of an image by or as if by a mirror. In a more philosophical sense, reflection speaks about serious thought or consideration, contemplation, meditation or deliberation. In every day life, people reflect as they ponder on important thoughts, whether for decision making purposes, self growth or simply consideration Reflective architecture has become largely more popular after the introduction of crystalline materials in the 20th Century like metal and glass. These materials give buildings a mirror-like appearance that creates a dynamic and interesting exterior skin.
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Light Study 2 Reflection
Fig 10. Baha’i House of Worship, Chile, 2016
Case Study: Veiled in Brilliance: How Reflective Facades Have Changed Modern Architecture Modernism saw the rise of glass architecture, particularly in scale of full fascades. Over the turn of the century we have experienced a shift from conventional skyscraper glass forms to more interesting and experimental forms to reinterpret the fascade. Glass and metal have properties that make them reflective, creating crystalline images and other interesting effects using light and brilliance. Transparent and reflective architecture in the 20th Century can be admired through Paul Scheerbart and Bruno Taut’s vision of “jewel-like architecture”. This translated to the work of Mies Van der Rohe when he proposed a more free-form glass design for his Glass Skyscraper in Berlin (1921). In order to not have a full fascade of intense reflecting light, he broke up the fascade into smaler segments to allow light to fall on different angles. Following the vision of Sheerbart, Herzog & Meuron’s glass fascade of the Elbphilharmonie in Hamburg forms a distorted reflection of the city, water and sky. They use curved glass elements, which creates a liquid-like fascade that changes with every beam of light and every curve reproduces a different mirrored image. This project in particular is a good representation of the movement against conventional modernist skyscrapers. Additionally, it is not only from the exterior that the material quality can be appreciated, but the curved glass also creates an interesting interior experience with light illuminating the space in intriguing ways.
Fig.1
Fig 11. Elbpvhilharmonie, Hamburg, 2017
Fig 15. Guangzhou Opera House Interior, 2010
Fig 12. BraggsChurch, Glass Exterior Fig. Pirkkala Finland
Fig Gugghenheim . Hyvinkaa Church, Finland Fig 13. Bilbao, 1997
DybaekerAdelaide, Church, DenFigFig 14.. SAHMRI, 2009
Another material that is widely used to create intereting reflective architecture is metal. Perhaps the most known project to use metal cladding is Frank Gehry’s 1997 Guggenheim Museum in Bilbao. An urban jewel and cultural icon, the brilliance of glass is transferred to metal with the titanium cladding, creating an everchanging appearance with sparkling light qualities. Titanium sheets also present an interesting, corrugated material quality. The dynamic composition of forms manipulate the reflection of light, resulting in a dynamic skin that varies with every sunbeam and cloud. Woods Bagot in their SAHMRI in Adelaide, use qualities of metal and glass to create a reflective fascade as well as functionally providing aluminum sunshades. Sources Article: https://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changed-modernFig 11. http://elite-dangerous.wikia.com/wiki/File:Hariri-pontarini-architects-bahai-temple-of-south-america Fig 12. Valeria Guajardo Photography Fig 13. https://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changed-modernFig 14. https://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changed-modern-
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Light Study 2 Reflection
Light as KNOWLEDGE In this design project, we are attempting to exercise the hermeneutical approach to form finding by taking ‘Light’ as the overall idea, and consequently abstracting that idea down into the multiple metaphorical meanings it holds. Some metaphors we have identified include journey, enlightenment, growth, nature, faith and knowledge. My design will focus of knowledge as a metaphor of light, specifically the form of a pyramid to represent knowledge. I have undergone a geometrical study of the pyramid, analysing the ways in which this idea can The father of Modernism Le Corbusier be further abstracted and implemented refers to the house as a ‘machine for into my design. Next are 3 intitial concept living’. This metaphor comes to life most ideas that attempt to encompass the prominently in his famous Villa Savoye meaning of light and knowledge in the form of a pyramid. project, and others as well. Architects and designers alike use different methods for form generation, such as symbolism, typology, formalism, functionalism and structuralism. This project however, focuses on a hermeneutical approach to form finding. Hermeneutics is merely defined as the act of interpretation of ideas. However, in the design process, the hermeneutical approach involves a ‘design follows metaphor’ pathway where design becomes an interpretative act of a particular idea.
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Form Idea
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Glass Atrium
Access Points Fig.8
Fig.6
Light Access Fig.1
Movement
12 Ideation
Form Idea
Access Points
Movement
Light Access
13 Ideation
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Form Idea
Access Points
Movement
Light Access
14 Ideation
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Contextualising Forms Into Site
Idea 1
15 Ideation
Idea 2
Idea 3
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Opacity By basic definition, opacity refers to the quality of lacking in translucence or transparency. A surface which is opaque, so it doesn’t allow light to pass through. Philosophically, the act of being opaque or obscure can refer to a lack of clarity, an impenetrable quality that is unintelligble. Much as, ironically, philosophical work is often described. In architecture, an opaque space invites limited natuural light into it, by using surface materials that unlike transparent or translucent surfaces, separate two spaces completely. This opaque qualities allow designers to heavily manipulate how light enters a space, often making a statement with rigid, linear light which defines space.
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Light Study 3 Opacity
Fig 15. Church of Light, Tadao Ando, 1999
Case Study: Whiteness in Nordic Countries The article talks about the studies of Professor Henry Plummer from the University of Illinois. His research analysises the ways in which designers build spaces in Scandinavian countries, where there is scarce light and long winters. Specifically dealing with the role light effects play in adding natural beauty to a space, one which can ‘touch the human soul’. The extreme weather changes of the Nordic countries give northern regions unique subdued light qualities. where the sun position is lower so the light enters buildings form the side rather than above. This allows architects to play with white surfaces to create unique spatial experiences. In response to the local environment, designers use white spaces to highlight spatial qualities and maximise interior brightness. Plummer states that this style has been used from the 15th Century up to contemporary 20th Century buildings. White spaces act to counterbalance the long and dark winter days due to their high reflectance qualitie. He argues that whiteness carries an emotional effect of beauty and a ‘snow-covered landscape’. An example of white time-less architecture is found in Dybkaer Church by Regnbuen Arkitekter in Denmark, where the space is defined by light as it arrives from three directions, highlighting different spaces in the church like the crucifix, nave and altar respectively. Similarly, Jorn Utzon uses light in his Bagsvaerd Church as a way to heighten the interior brightness and maintain an intesity of light always greater than the outside. These influences trace back to medieval churches found in Denmark and other nordic countries.
Fig16 . Dybaeker Church, Denmark
Fig 15. Guangzhou Opera House Interior, 2010
Fig 17. Pirkkala Church, Finland
Fig 18. Hyvinkaa Church, Finland
Fig 19. Dybaeker Church, Denmark
It was Alvar Alto that introduced the concept of white diffusion in the 1930’s. The trend of covering the walls, floor and ceiling in shades of white peaked in 1972 at the Nordjillands Art Museum. It is most commonly in religious buildings that we see this effect of light creating a dynamic and almost magical space. Material textures, glass features and vuilt volumes are time-concepts, meaning that the image they impose changes throughout the day and season. Some churches utilise light in dramatic ways to highlight times of the day like morning liturgy, noon mass, or simply time for prayer and contemplation. Contrastingly, architects like Aarno Ruusuvuori use light in a more abstract manner to appeal to the personal feeling of the individual, rather than to a specific object of space. He states light’s meaning is ‘to create a feeling of the infiniteness of eternity’.
Sources Article: https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries Fig 15. https://www.deviantart.com/insomnia-devil/art/tadao-ando-church-of-light-60067895 Fig 16. https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries Fig 17. https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries Fig 18. https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries Fig 19. https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries
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Light Study 3 Opacity
Idea 1 Development: Seek Knowledge My design proposal takes inspiration from ‘Light’ as a metaphor for knowledge. The shape of a pyramid is often, almost subconsciously associated with knowledge and human development. In some cultures, it traditionally represents the path up to the light and eternal. In the context of the University of Adelaide, Seek Knowledge aims to create a seamless connection between human and knowledge. Careful consideration was taken in mateiality, and glass was chosen because of its transluscent properties. The Barr Smith Library is the centre of knowledge for the University, so I wanted to create a connection between the two. As seen in the image to the right, the pyramid also acts to replicate the pediment motif of the Barr Smith building. Walking into campus from the east side, you will be welcomed by the pyramid top , which then guides your eye up to the Barr
Smith building, therefore creating that emotional connection and a subconscious sense of inspiration from the moment you walk into campus . Similarly, approaching the site from the west side will present you with a reflection of the same building, accompanied by changing light qualities throughout the day. These light qualities translate into the interior spaces and define them in a dynamic manner, which is dictated by the exterior enviroment. Ths juxtaposition of controlling the light yet allowing it to define the space is intended, to create a dynamic space inside and outside. The atrium extends down over two underground floors, this maintains the connection between inner and outer spaces, allows natural light to flood the space, and provides a view of the outside environment regardless of which space you are in.
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Seek Knowledge
Seek Knowledge Development Process
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Seek Knowledge Development
Compositional Analysis
Elevation
Isometric view (NW)
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Seek Knowledge Composition
Site in Context
Perspective Section
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Seek Knowledge In Context
Access and Approach Access through from south side through Engineering and Maths building. This is done to maintain the central atrium as a visual piece fom interior and extrior spaces, as well as to reduce the high traffic that already occurs sround the Maths Lawns.
The Pyramid top of the atrium can be approached from all directions. on both interior and exterior spaces. The reflective glass will present different acts dynamically to present different light qualities and reflections which are defined by the outside environment.
Fig 20. Approach render
Fig 21. Night time Interior render
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Seek Knowledge Access & Approach
Movement and Use The central area around the atrium is an open space, which is ultimately defined by the light entering through the atrium. The bottom floor has access to the inside of the atrium which acts as a courtyard.
First floor has 5 closed spaces that can be used as tutorial rooms, the large central space can be used for events or as a study space. The central courtyard is a space to reconnect with the outside environment above.
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Seek Knowledge Movement & Use
Spatial Experience
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Seek Knowledge Spatial Experience
Precedents Through my precedent research I was inspired by the way in whic hlight can make spaces dynamic and influence the atmosphere. The use of a pyramid provokes a sense of wonder and mystery. The use of glassamplifies this effect because you can see into the space from outsie and vice versa. The large interior spaces are intended that way becaus I believe that open spaces also cresate space for the mind, and consequently intensifies the power of the large central atrium. This idea is portrayed in a similar manner in I.M Pei’s Louvre, where the interior space is flooded by natural light, and the use of the pyramid top allows the space inside to feel larger and more open, especially since the museum is under ground. Further inspiration was taken from spaces that challenge perception , like the Invisible Barn and the ise of highly luminous material which comes alive at night as well, as seen in Zaha Hadid’s Guangzhou Opera House.
Fig 20. The Louvre, Paris
Fig 21. Invisible Barn, USA
Fig 22 Guangzhou Opera House Sources Fig 20. https://www.archdaily.com/881407/the-evolution-of-light-in-im-peis-museums-from-dark-concrete-voids-to-luminous-glass-pyramids Fig 21. https://www.dezeen.com/2015/07/24/stpmj-invisible-barn-mirror-clad-cabin-camouflaged-among-trees-california-forest/ Fig 22. https://www.telegraph.co.uk/news/worldnews/asia/china/8620759/Guangzhou-Opera-House-falling-apart
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Seek Knowledge Precedents
Exterior Material Exploration
Taking the context into consideration, there is already a lot of glass surfaces within the site, therefofre generating enough glare and reflection. In order to avoid this issue of glare, I have made the glass material a little matte, so that it retains its translucent qualities but reduces the glare on a sunny summer day. Furthermore, in order to make the design compliment the surrounding buildings, I have given the glass a slight redish tint, that is expressed at different levels as the light changes. This also creates a more interesting experience inside. The triangular shapes of the pyramid primarily acts as to replicate the pediment of the Barr Smith building, bu similarly compliments nicely with the Braggs facade, also composed of triangular shapes.
Ingkarni Wadrli
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Seek Knowledge Material Qualities
Braggs
Fig 23. http://starlightskylights.com/products-pyramid.html
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Seek Knowledge Material Qualities
Interior Material Exploration
The interior is timber cladding on both floor and wall surfaces. The aim is to create a warm and glossy ambience, similar to Hadid’s work (See Light Study 1: Luminosity). As the light floods through the central atrium, it will reflect off the timber surfaces and encourage a calm and soft environment, encouraging more focus, productivity and learning. The qualities of the material also tend to compliment the exterior context. The Maths Lawns contains multiple timber aspects like the benches, the interior of the Braggs, and some study areas. This therefore creates a seamless connection between interior and exterior spaces, especially as the atrium provides a translucent surface through which people can see inside and outside. The purpose of using timber for most aspects of the walls and floor is to create a continuous space that becomes defined by the light, thus creating a dynamic space that changes depending on the time of the day, as well as the exterior environment.
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Seek Knowledge Details
Interior timber qualities of the Braggs
Wall Cladding visualisation
Timber Cladding
Fig 24. https://en.wikipedia.org/wiki/Cladding_(construction)#/media/File:Grenfell_Tower_cladding.png
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Seek Knowledge Details
Filtration
Filtration in its simple terms refers to the process of filtering something by passing it through a porous surface. Scientifically, it can be the manner of separating solid matter from a liquid. Similarly in Architecture, porous surfaces can be used to filter light for functional purposes as for climatic reasons, or to create interesting interior spaces. Filtration of light can be used in a variety of ways, such as commonly in sacred buildings to create movement of light and a sense of divinity.
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Light Study 4 Filtration
Fig 23. Baha’i House of Worship, Chile, 2016
Case Study: Le Corbusier and The Trinity of Light The article explores Henry Plummer’s take on Le Corbusier’s expert manipulation of orientation, texture and openings in order to use light to enhance particular spaces in relation to their function. It compares three of his sacred buildings, the Pilgrimage Chapel at Ronchamp (1950-55), the Monastery of Sainte Marie de La Tourette an (1953-60) the Parish Church of Saint-Pierre in Firminy (1960-2006). Through these projects one can appreciate the different Fig 25. Chapel of Ronchamp Fig 26. Monastery of La Tourette approaches Le Corbusier takes to create spaces with light. Henry Plummer is a professor at the University of Illionis-Champaign and has dedicated decades to studying Le Corbusier’s work. Often in religious structures, light is asocciated with divinity and holiness. The Chapel of Ronchamp exhibits this through Le Corbusier’s sensitivity to light and colours, through the use of Byzantine mosaics and Gothic stained glass. The sun illuminates spaces during different times of the day, for instance a redish morning light floods the side chapel in the morning, cavities on the walls and roof filtrate light rays on the east and west walls, and finally a warm glow Fig 27. Church of Saint-Pierre, Firminy illuminates a side chapel at sunset. He is able to speak La Tourette deals with light in a more to the soul by ‘... consecrating the natural universe’. complex manner as it deals with its rectolinear geometry, rather than the poetic forms of Firminy and Ronchamp. Every side has open surfaces, creating a variety of light experiences, along with irregular window arrangements, exentuating the rhythm of light and shadow through narrow corridors leading to the atrium. Light effects here change not only with the days but with the seasons as well. The light effects at Firminy utilise three different effects. In the East facade the light is filtered through small stellar windows. The light trancends into waves of light along with the course Fig 24. Monastery of Sainte Marie de la Tourette of the day. The three walls facing the altar become Sources illuminated by the rising waves. This interesting Article: https://www.archdaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light/ Fig 23. https://www.deviantart.com/insomnia-devil/art/tadao-ando-church-of-light-60067895 effect was accidentally caused by cilinders placed in Fig 24 . https://www.archdaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light/ Fig 25 . https://www.deviantart.com/insomnia-devil/art/tadao-ando-church-of-light-60067895 the ceiling, which although not what Le Corbusier Fig 26 . https://www.archdaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light/ Fig 27. https://www.archdaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light/
Fig 17. Hamburg, Fig Elbphilharmonie, 15. Guangzhou Opera House2017v Interior, 2010
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Light Study 4 Filtrationv
Valeria Guajardo | Seek Knowledge