LIGHT PAVILION UNDER THE SEA LEYING GAO
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CONTENTS: Stage 1: 1.1 Site description 1.2 Site analysis
Stage 2: 2.1 Geometrical diagraming of metaphor 2.2 Spatial explorations
Stage 3: 3.1 3D modle in context 3.2 Exploded structure 3.3 Plans and elevation
Stage 4: 4.1 Construction detailing 4.2 Aerial and internal view of the design
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AMBIENT LIGHT
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S O C I A L CHARACTER Many events( especially club activities) are held in the front of the lawn. Sometimes, students will have picnic on the lawn or just lie down on the grass to have a rest. The main flow of people is from the engineering building, because many classes are held there and many students come to the study rooms o review.
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SHADE AND SHADOW Winter:
9 : 00
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12 : 00
15 : 00
Summer:
9 : 00
12 : 00
15 : 00
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MODLE VIEW:
KEY FEAT
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Ele
Bin
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TURES:
airs
MOVEMENT:
The arrrows show the directions of people's travle. The traffic near the library and engineering building is more than that of the back part of the lawn.
ectrical Box
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LUMINOSITY
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Linguistic definitions:
Philosophical meanings:
Luminosity is an absolute measure of radiated electromagnetic power (light), the radiant power emitted by a light-emitting object. In astronomy, luminosity is the total amount of electromagnetic energy emitted per unit of time by a star, galaxy, or other astronomical object. In SI units, luminosity is measured in joules per second, or watts.
Luminosity is a key Buddhist concept found throughout the major traditions of Buddhism. In the context of IndoTibetan Buddhism, the term is commonly translated as clear light or radiant light, both of which are literal renderings from the Tibetan, while in the context of East Asian Buddhism, it is commonly translated simply as purity. Other common English translations include radiance, inner radiance, brightness, and luminous clarity. Although it is clear that luminosity is interpreted differently according to the various Buddhist traditions, it is most often e m p l o y e d t o d e s c r i b e t h e m i n d ’s inherent characteristic of purity that lacks defilements.
Fluid Luminosity: The Architectural Lighting of Zaha Hadid: Sparkling Facets Break the Volume While Hadid has worked with glass-enclosed buildings before, like in the fluid language of the Nordpark Railway Station, her newer Port House (Antwerp, 2016) introduces a fragmented interpretation of a floating glass volume. Most of the triangular facets on the building extension are transparent, with just a few being opaque. In combination with its rippling surface, the façade conveys a very vibrant image—changing dramatically in different daylight situations. From her matt in-situ concrete walls at the Vitra fire station, in Antwerp Hadid has arrived at a sparkling appearance for the façade.
Deconstructive Lines of Light Decisive non-parallel lines mark the explosive energy of her first building: The Vitra Fire Station (Weil am Rhein, 1993)— a lucid expression of tensions with in-situ concrete walls. Light lines in the ceiling, or between wall and ground or between the wall and the flying roof reinforce the linear architecture with sharp edges. In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light lines emerge as built manifestations of her suprematist paintings. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building's forms
Coherent Forms Flow From Windows to Ceiling The Phaeno Science Centre (Wolfsburg, 2005) was a decisive turning point in Hadid's lighting imagination. The windows and luminaires in the building's surface share the same form, creating a holistic design approach and thus moving on from Hadid's earlier period of lines and sharp corners. The elevated concrete structure generates a large shaded area, with the view to daylight on one side intensifies the impression of a dark void. As a counterpoint, diffuse ceiling luminaires intervene in the dim atmosphere.
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IDEA 1: UNDER THE SEA
The idea is from the pictures and movies about undersea world. The complex strip structure can create long shadows, which can remind people of the water ripple. In the daytime, when people come to the underground, they can see those beautiful shadow and shade created by sunlight. When it comes to nighttime, there are some light sources in the structure, which will create artificial shadow, so that people on the ground can enjoy the beauty.
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STRUCTURE:
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IDEA 2: HONEYCOMB
There is a wonderful light and shadow phenomenon in honeycomb, so I choose to start my design with it. When people get closer to the site, they can find the “honeycomb� shape shadow on the ground. There is also a tall structure in the middle. It is designed for releasing more light when the sky started to get dark.
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IDEA 3: SEABED
This idea is very similar as the first one. However, I explore it further. The big hollowed-out dome is situated in the center. It has a changeable light effect in different time during a day. In the day time, the shadow shape changes frequently when the sun is in different positions. When it is getting dark, the light in the center of the dome will glow. So the shadow will show on the outside ground. Also, the accesses around the dome is designed in different height to create wave structures. The strings upon the access can create shadows on the stairs too.
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REFLECTION
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Linguistic definitions:
Philosophical meanings:
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. The law of reflection says that for specular reflection the angle
Reflection is when light bounces off an object. If the surface is smooth and shiny, like glass, water or polished metal, the light will reflect at the same angle as it hit the surface. This is called specular reflection. Diffuse reflection is when light hits an object and reflects in lots of different directions. This happens when the surface is rough. Most of the things we see are because light from a source has reflected off it. Human self-reflection is the capacity of humans to exercise introspection and the willingness to learn more about their fundamental nature, purpose and essence. ... Human selfreflection is related to the philosophy of consciousness, the topic of awareness, consciousness in general and the philosophy of mind.
Ve i l e d i n B r i l l i a n c e : How Reflective Facades Have Changed Modern Architecture Undoubtedly the glass façade at the Elbphilharmonie in Hamburg by Herzog & de Meuron refers to the visionary glass culture of Scheerbart, and indirectly to the golden shimmering skin of Berlin’s Philharmonic by Hans Scharoun as well. Inwardly and outwardly curved glass elements distort the perception of the city, water and sky. They build a fresh contrast to the uniform plane glass curtains of the International Style. The environment is not appreciated as a clear mirrored picture, but instead goes through a process of modification and reproduction.
The American architect Frank Gehry transferred this aesthetic of brilliance from glass to metal with the titanium cladding of the Guggenheim Museum Bilbao in 1997. While the connotations range from a ship for the larger form to fish scales regarding the reflective panels, the building as a whole has turned into an urban jewel that kicked off numerous urban redevelopments with its iconic signature. However, with the sparkling light qualities of the titanium sheets and its changing appearance, Frank Gehry has not only brought a dynamic composition of forms to Bilbao but reinforced his design with a distinctive, dynamic image which varies with every cloud and sunbeam.
The play of elegant veils in fashion and shiny cladding in architecture combined in a Paco Rabanne dress for a British retail temple. Future Systems stylishly covered the Selfridges Birmingham department store, opened in 2003, with a dense mesh of 16,000 anodized aluminium discs. The store was able to avoid attaching any logos to the building due to the fact that the building itself was turned into a sign. The glistening net creates a fascinating feeling for scale: Small discs generate a haptic, human feeling while the overall form offers hardly any clues about the building's number of stories or size.
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SITE PLAN 1:500
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ELEVATION 1:100
PLAN 1:100
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EXPLODED STRUCTURE:
STAIRS STORAGE SPACE
RECEPTION AREA
TOILET 3
DISABLE ACCESS
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READING ROOM
CONCRETE STAIRS
CONCRETE STAIRS
EXHIBITION SPACE DISABLE ACCESS TOILET 1
The whole structure is divided into 3 layers. The first layer is for accessing the site. The secend layer ( underground 1) is for open activities. The third layer ( underground 2) is for relatively private activities. Toilets are placed on the second and third floor, and the accesses are in four directions, which are much more convinient.
SEMINAR ROOM 2 SEMINAR ROOM 1 TOILET 2 LIBRARY
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OPACITY
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Linguistic definitions:
Philosophical meanings:
Opacity is the measure of impenetrability to electromagnetic or other kinds of radiation, especially visible light. In radiative transfer, it describes the absorption and scattering of radiation in a medium, such as a plasma, dielectric, shielding material, glass, etc.
The Scandinavian countries have developed great buildings that resonate with both the scarce light in winter and the long summer days. Henry Plummer, Professor Emeritus at the University of Illinois at Urbana-Champaign, has very carefully studied the various daylight phenomena in the Nordic countries, with extensive photo journeys and brilliant writing that combines an analytical perspective with a poetic touch. His view of daylight looks beyond the practical advantages of using reflective white spaces to facilitate bright rooms; the passionate photographer is much more interested in the light effects that play with the local beauty of nature and touch the human soul.
Light Matters: Whiteness in Nordic Countries: The extreme changes in weather and daylight have led to unique light situations in Scandinavia, where architects have played with white surfaces to counterbalance the long and dark winter days. The low position of the sun in northern regions creates long shadows and therefore daylight enters the buildings more from the side than from above. In contrast, summer evenings emanate a diffuse light. In his book “Nordic light: Modern Scandinavian Architecture,” Henry Plummer points out that although Norway, Sweden, Denmark and Finland are dissimilar in topography and vegetation, they share the same subdued light.
Religious buildings especially reveal a wide variety of time-concepts. The concepts range from material textures to specific glass features and built volumes that change the image during the course of the day and season. Some churches call for attention with characteristic light patterns during the whole morning liturgy, some welcome the sunlight at the end of the service at noon whereas others imply only subdued light to enhance contemplation. An outstanding example of a dramatic light and shadow sequence occurs at the Pirkkala Church by Käpy and Simo Paavilainen. The altar appears as a canvas for the richly contrasting sunlight projections, where glass acts as a lens and as mirror.
Early examples of white architecture could already be found in Denmark´s medieval churches, and this design approach still influences modern sacred buildings like the Dybkær Church by Regnbuen Arkitekter. For example, the sophisticated daylight concept arrives from three directions, as Plummer ex pl ai ns : “ Low fr om the nor th 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.” Further on, the nave walls are animated by an irregular texture of white brickwork.
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CONSTRUCTION DETAILS carved dome construction details:
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bending concrete stairs construction details:
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AERIAL AND GROUND VIEWS
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INTERNAL VIEWS
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FILTRATION
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Linguistic definitions:
Philosophical meanings:
Filtration is any of various mechanical, physical or biological operations that separates solids from fluids (liquids or gases) by adding a medium through which only the fluid can pass. The fluid that passes through is called the filtrate.
Light has been linked with divinity and holiness in many different religions. In Christianity the Bible speaks of God who “is light” or Christ as “the light of the world”. Even if the divine light and visible light are not the same, visible light appears as the most similar to the heavenly and thereby links both spheres. Each epoch has formed a new language of light: The glow of the Romanesque apse, the golden shimmer of Byzantine mosaics or the luminous walls of Gothic stained glass. As an artist as well as an architect, Le Corbusier expressed an exceptional sensitivity for the interaction of colours and light in his sacred buildings. His position as an outspoken agnostic seems very ambivalent in combination with his desire to open the soul to poetic realms.
Light Matters: Le Corbusier and the Trinity of Light The highlight of the light choreography in La Tourette's church begins with the sunset. A crack atop the west wall draws warm lines along the side walls. The north wall connects the two golden lines and with the falling sun the line slowly moves upward. The dramatic atmosphere increases till the moment when the golden light hits the slight upward tilted roof plane and grazes over the tactile ceiling of prefabricated slabs. This effect changes with the seasons – ranging form a small triangle in winter to a large rectangle in summer when the sun reaches its maximum power.
The light orchestration at La Tourette is more complex and widely dispersed in comparison to Ronchamp, remarks Plummer. The Monastery of Sainte Marie de la Tourette at Éveux-sur-l’Arbresle (1953-60), with its rectilinear geometry, embodies a clear counterpoint to the poetic forms of Ronchamp and Firminy. Due to the fact that all corridors have an open side facing one of the four cardinal dir ections, the believer s encounter diverse light experiences. Additionally, the corridors are distinguished with different window arrangements.
The main characteristic of the Chapel of Notre Dame du Haut at Ronchamp (1950-55) comes, for Plummer, from the continuous circle of solar events. The dawning sun illuminates the alcove of the side chapel and turns the redpainted void even redder. For Plummer this reddish morning light is a clear analogy to human birth. Later, sun floods the tall slot between the east and south walls, continuous with the rays of light through the deep cavities of the south wall. The small horizontal crack of ten centimetres lifts the roof from the wall and creates a harsh contrast to the glow of the vertical brise-soleil at the southeast corner. The cycle culminates finally in a warm glow from an opening in another side chapel at sunset.
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LEYING GAO a1746564