BEYOND REFLECTION BY CINDY JANNY

BEYOND REFLECTION LIGHT STUDY : A CONCEPTUAL DESIGN OF A LIGHT PAVILION WITHIN THE UNIVERSTITY OF ADELAIDE

BY CINDY JANNY

CONTENTS

PART I : PLACE

SITE HISTORY, IDENTITY & KEY FEATURE 3 3-4 LIGHT & SHADE STUDY 4 CIRCULATION & HUMAN USAGE 5 DAYTIME AND NIGHT TIME VIEWS 6 ARIAL AND GROUND 3D VIEWS FROM MODEL

LIGHT STUDY I : LUMINOSITY TRANSPARENCY TRANSLUCENCY

PART II : IDEA

PROCESS OF IDEA GENERATION METAPHOR 9 DIAGRAMS

CONCEPT ANALYSIS 10

VISUAL REFERENCE 10 LIGHT STUDY II : REFLECTION REFRACTION IRIDESCENCE

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PART III : FORM

FORM EXPLORATION & DEVELOPMENT ORTHOGONAL PROJECTION ISOMETRIC VIEW PLAN / SECTION / ELEVATION 3D MODELLING / VIEWS SPATIAL QUALITY

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LIGHT STUDY III : OPACITY DARKNESS SHADOW

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PART IV : MATERIAL

MATERIALITY & TEXTURES OF THE SPACES 25 CONSTRUCTION DETAIL 25 ATMOSPHERE, VISUAL EXPERIENCE, LIGHT & TEXTURE 26

LIGHT STUDY IV : FILTRATION DIFFUSION POROSITY

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PART I : PLACE

LIGHT & SHADE STUDY

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9 AM JANUARY 1ST

12 PM JANUARY 1ST

3 PM JANUARY 1ST

SITE HISTORY, IDENTITY & KEY FEATURE The Barr Smith Library is a Heritage Listed building and the main library within the University of Adelaide, situated in the centre of the North Terrace campus. The library was named in honour of Robert Barr Smith who donated £9,000 to buy books. The Barr Smith Library was opened on 4th March 1932, with later additions to the main building being built from the 1950s onwards.

The present entrance was constructed in 1984.

The Barr Smith Library is an elegant example of the classical red brick and sandstone style established by University architect Walter H Bagot whom designed building such as the Bonython Hall. the Library is featuring an imposing front portico and a finely detailed interior. The Barr Smith legacy has ensured an uninterrupted view through to the Botanic Gardens.

In 2010 ,the Ingkarni Wardli building was open which houses the faculty of Engineering, Computer and Mathematical Science on the South side of the Maths Lawn. This building is the largest construction project in the University’s extensive redevelopment program. The name of Kaurna origin was given to the building, Ingkarni Wardli mean ‘place of learning or enquiry’, this recognises the special relationship the University of Adelaide shares with the Kaurna people, the original custodians of the land on which the University is situated. The Ingkarni Wardli is the first building on Campus to be given a Kaurna name, it was also awarded Australia’s first 6 Star Green Star rating for an education building.

On the North side of the Math Lawns is the Braggs Building. Named after two of its greatest alumni, 1915 Nobel Laureates Sir William Henry Bragg and his son, Sir William Lawrence Bragg, the only father and son team to win a Nobel Prize.

9 AM AUGUST 1ST

12 PM AUGUST 1ST

3 PM AUGUST 1ST

CIRCULATION & HUMAN USAGE Barr Smith Library

The Braggs The Ingkarni Wardli

Pedestrian Circulation Grass Area Sitting Area Molecular Life Sciences Buildings Engineering Math Sciences and Santos

The main access (highlighted by red colour on the map) to the site are to the West and East side with additional access point North and South through the surrounding buildings.

The Maths Lawn, site selected for this project is surrounded by 5 buildings; -West side, The Barr Smith Library; -North side, The Braggs and Molecular Life Sciences buildings; -South side, The Ingkarni Wardli, Engineering Math Sciences and Santos buildings.

The side includes facilities such as tables and chairs, lighting, cafÊ’s in the surrounding building and bins.

It is currently used as a relaxing outdoor area, lunch break, study area, and function or walk through access.

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DAYTIME AND NIGHT TIME VIEWS

THE BRAGG BUILDING AT NIGHT

LIGHT REFLECTION ON THE GLASS

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PANORAMIC VIEW ONTO THE MATH LAWN

ATMOSPHERE AROUND THE LAWN

BARR SMITH LIBRARY AT NIGHT

ARIAL AND GROUND 3D VIEWS FROM MODEL

GROUND VIEW TOWARD LIBRARY AT SUNRISE

TOP BIRD EYE VIEW

SIDE ELEVATION BIRD EYE VIEW AT SUNRISE

GROUND VIEW NEAR “POOL”

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CASE STUDY - FLUIDE LUMINOSITY : THE ARCHITECTURAL LIGHTING OF ZAHA HADID

LUMINOSITY

LINGUISTIC DEFINITIONS

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Luminosity : can be define as the luminous quality or the intrinsic brightness of a celestial object (as distinct from its apparent brightness diminished by distance).

Transparency : Can be define as the characteristic of being easy to see through.

Translucency : Permitting light to pass through but diffusing it so that persons, objects, etc., on the opposite side are not clearly visible.

PHILOSOPHICAL MEANINGS Luminosity can be seen in a sense as enlightenment of spirituality and mind, the light coming through in our moment of darkness. it is also associated to wellbeing and the relaxing feeling light brings to people. References to luminosity and light are often found in diverse religions but is also affiliated to knowledge and joy, we often use the metaphor to describe someone with a clever mind as been bright and someone happy as been luminous. Philosophically, luminosity can represent an object, a person or something non-physical beyond science.

GUANGZHOU OPERA HOUSE, 2010, GUANGZHOU / CHINA

MAXXI MUSEUM, 2009, ROME

MEANING IN ARCHITECTURE THROUGH A CASE STUDY Luminosity enable your eyes to sense forms and material through reflection and transparency, enhancing the design and its fluidity with daylight and lighting.

Zaha Hadid way of using luminosity to render her architecture has been present in her design for three-decade, with her theories of fragmentation and fluidity exposed in her painting early on, then later physically in her design with the development of advanced design software, enabling her form-finding. Throughout the course of her career Zaha Hadid design has transitioned, starting with the Vitra Fire Station (1993) and its explosive energy, minimal light lines, sharps edges and gaps allowing the soft diffusion of light inside.

Her journey with abstract guided Hadid to numerous graphic interpretation of luminosity in order to connect her design with the surrounding landscape, taking urban transport patterns as inspiration into her design by creating light strips in the concrete roof and poles for the HoenIn her design for Maxxi Museum (2009) Zaha Hadid applied her free-flowing form to the interior of the building. Creating dynamic and intense contrast by using black stairs with their white luminous underside. Hadid used a complex combination of daylight and lighting to create a soft light throughout the space.

LEEZA SOHO, BEIJING

In 2013 Zaha Hadid design strategy moved to focus on a new language of light using reflection to mirror its surroundings, changing her pure white interior to a rich gold for key spaces, using diffuse illumination to create a soft atmosphere with energetic fluid from.

One of Zaha Hadid last design the Leeza SOHO skyscraper (2019), considered the world’ tallest Atrium is capturing daylight throughout the building, by playing with transparency, translucency and challenging twisted curvilinear forms providing views of the city from the centre of all floors of the tower.

Through Zaha Hadid design exploration, we can only conclude that light in architecture has become a key element to enhance designs, the luminosity, transparency and translucency conveyed in the buildings can drastically change the atmosphere and use of one’s design.

DONGDAEMUN DESIGN PLAZA, 2013, SEOUL

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PART II : IDEA

PROCESS OF IDEA GENERATION AND METAPHOR DIAGRAM

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STRUCTURE EXPLORATION

VISUAL REFERENCE

PYRAMIDE DU LOUVRE AFTER SUNSET IN PARIS

PAVILION OF LIGHT AND SOUND BY SHIGERU BAN

CONCEPT ANALYSIS

CONCEPT ANALYSIS

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REFLECTION

CASE STUDY - VEILED IN BRILLIANCE : HOW REFLECTIVE FACADES HAVE CHANGED MODERN ARCHITECTURE

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LINGUISTIC DEFINITIONS

PHILOSOPHICAL MEANINGS

Reflection : Can be define as the throwing back by a body or surface of light, heat, or sound without absorbing it.

Or an amount of light, heat, or sound that is reflected by a body or surface. Also as an image seen in a mirror

Reflection in philosophy can be referred too as the reflection of the mind, with thoughts and careful examination of a life situation, writings, art, nature or something physical that we can touch.

Refraction : Fact or phenomenon of light, radio waves, etc. Being deflected in passing obliquely through the interface between one medium and another or through a Iridescence : Iridescence also known as goniochromism is the phenomenon of certain surfaces that appear to gradually change color as the angle of view or the

Involving the consideration of several different alternative and possibilities surrounding us. Reflection can be regarded as an action of the mind with no physical appearance or form necessary. A state of consciousness where one reflect on actions, events, or decisions.

The capacity of reflection is also an essential attribute marking the difference between human and other animals whose actions are based on instinct and feelings.

SOUTH AUSTRALIAN HEALTH AND MEDICAL RESEARCH INSTITUTE

PRADA AOYOAMA 2003

GUGGENHEIM MUSEUM BILBAO

MESSE BASEL - NEW HALL 20

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MEANING IN ARCHITECTURE THROUGH A CASE STUDY After the explosion in popularity of transparency the countless uniform structural glazing skyscraper with larges glass façade, became associated with monotony by the public. In order to change this feeling of monotony Mies Van Der Rohe believed that light and brilliance could enhance and create iconic structure to lean toward a better world. Through innovation the glass and metal have been subject to transformation to create crystalline images which resulted in a shift in focus from internal space to outside appearances.

Inspired by Paul Scheebart and Bruno Taut with their expressive materiality and reflective imagery in the early 20th century, Mies Van Der Rohe envisaged to create a new culture made of coloured glass forming a shimmering, jewel like architecture with free form glass skin. By breaking the façade, the light was able to reflect on different angles like a crystal.

The Prada epicentre in Tokyo completed in 2003 first show case Herzog & de Meuron’s desire to transmute the mirror effect of modernist skyscraper. By using shell glazing the reflection became distorted creating intriguing image of brilliant refraction inside and outside.

With the Guggenheim Museum Bilbao (1997), Frank Gehry was able to create a new aesthetic of brilliance by using titanium cladding instead of class. The sparkling light qualities of the titanium sheets bring dynamism in the composition creating various reflection depending of the clouds and sun light.

In contrast the sparking brilliance of the Guggenheim Museum, the twisting bands of aluminium cladding at Messe Basel New Hall by Herzog & de Meuron avoid the monotony of windowless exhibition halls. The homogeneous stretch of aluminium envelope the building in a light way.

The reflection of light on the surface give a strong contrast compared to the area where the shadowed perforations and bans are tilted toward the ground.

The South Australian Medical Research institute by Wood Bargot became an urban icon by successfully designing an aesthetically veil, creating various reflection and iridescence depending of where a person stands, while being able to protect again the harsh sunlight. Each panel has been individually designed to fulfil this requirement.

Though the design of various architect and the use of curve glass, titanium and aluminium, new facades and skin have been created in other projects, giving another dimension to the reflection, refraction and iridescence of light

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PART III FORM

FORM EXPLORATION & DEVELOPMENT

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SPACE EXPLORATION

CONCEPT DESIGN

UNDERGROUND STRUCTURE VIEW

SOUTH ELEVATION

3D DETAIL UNDERGROUND

BIRD EYE VIEW SOUTH ELEVATION AT SUNSET

3D GROUND VIEW ON THE LIBRARY

FINAL DESIGN CONCEPT

3D GROUND VIEW NEAR LIBRARY AT SUNSET

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ORTHOGONAL PROJECTION 15

MOBILITY 1 UNDERGROUND STRUCTURE

GROUND STRUCTURE

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ISOMETRIC VIEW

PLAN 17

UNDERGROUND SECTION NOT TO SCALE

TOP ELEVATION NOT TO SCALE

The underground facility includes on the west side a small library and relaxing space attached, in the middle a corri-dor with male, female and disable bathroom as well a storage space and ramp access from ground level. the recep-tion area and two seminar room are located on the east side.

Ground and upper level, from the ground level is the access to the underground as well as the 30 cm deep “pool” on each side of the pavilion. The “pool” allows natural light to penetrate and to be diffuse in the underground facilities while offering translucency to the space.

The upper level is connected the Bragg building trough the 4th level giving access to the exhibition space.

A frosted glass platform with glass barriere, surrounded by a cubic structur glass dom.

MID-WAY SECTION SCALE 1 : 100

WEST ELEVATION SCALE 1 :50

EAST SECTION SCALE 1 : 50

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NORTH - WEST 19

SECTION 1 NORTH WEST SCALE 1: 100

SECTION 2 NORTH WEST SCALE 1 : 100

SECTION 4 SOUTH EAST SCALE 1: 100

SOUTH - EAST

ELEVATION SOUTH EAST SCALE 1:100

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3D VIEW 21

MOBILITY 2

VIEW ON STAINLESS STEEL AND GLASS STRUCTURE

VIEW FROM THE GROUND ONTO THE RECEPTION AND SEMINAR ROOMS

UNDERGROUND VIEW FROM LIBRARY ONTO WATER WALL CORRIDOR

VIEW FROM MOLECULAR LIFE SCIENCES BUILDINGS

UNDERGROUND LIBRARY WITH WATER POOL ROOF

SPATIAL QUALITY

VIEW FROM THE SEMINAR ROOM

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CASE STUDY - WHITENESS IN NORDIC COUNTRIES LINGUISTIC DEFINITIONS Opacity : Is the quality of lacking transparency or translucence, it can also be define as the quality or state of a body that makes it impervious to the rays of light.

OPACITY

Darkness : Can be define as the partial or total absence of light or wickedness and evil.

Shadow: Can be define as a dark area or shape produced by a body coming between rays of light and a surface.

Also as a partial or complete darkness, especially as produced by a body coming between rays of light and a surface

DYBKAER CHURCH, SILKEBORG, DENMARK

HYVINKAA CHURCH HYVINKAA, FINLAND

PHILOSOPHICAL MEANINGS

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In philosophy, opacity can referee to a mental state of thought where sometimes one can be opaque, close to idea or subjections. A state where someone opinion might be true to one, but be false to another depending of their beliefs. Opacity can also referee to the unknow, the reality of one’s situation depend on the knowledge of another, creating the illusion of truth. In the context of language, word can be opaque to the truth.

DYBKAER CHURCH SILKEBORG DENMARK

MEANING IN ARCHITECTURE THROUGH A CASE STUDY Throughtout Scandinavian countries, the opacity of space is used to an advantage. Developing building that resonate with the variance of light through winter to the long summer days. To counterbalance the long and dark winter days, as well as the low position of the sun entering from the side raver then above, white reflective spaces are used to diffuse the light creating bright rooms and producing intricate shadows.

This type of architecture could already be found in Denmark’s medieval churches, influencing to this day modern sacred building. In order to maximise interior brightness in winter, Nordic architects focus on whiteness to respond to the local environment. It is also a reflection of the natural beauty of the surrounding landscape covered in bright white snow.

Introduce by Alvar Aalto for the Paimio Sanatorium in the 1930s, the concept of white diffusion makes use of white painted plaster, steel and linoleum to create shades of white in the spaces from floor to ceilings.

Materials, texture, specific glass features and built volume are often used in religious buildings, especially to render different images and patterns with the change of the season or time. Some churches enjoy characteristic light patterns during the morning service while other enjoy the sunlight toward this end by example, the church of Pirkkala by Kapy and Simo Paavilainen is capturing dramatic lights and shadows with rich sunlight projection.

Nevertheless, the energy of pure white spaces is not the single attribute of the Nordic built environment. The vibrating nature and striking patterns of light offer dramatic light and shadow belonging to the characteristic Nordic light approach as well.

NORDYJLLANDS ART MUSEUM, AALBORG, DENMARK

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CONSTRUCTION DETAIL, MATERIAL & TEXTURES OF THE SPACE

CONNECTING DISK

PART IV : MATERIAL

CONNECTING BOLT

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AMERICAN WHITE OAK

SOUTH AUSTRALIAN SAND STONE

ITALIAN WHITE MARBLE

STRUCTURAL LAMINETAD GLASS

UV PROTECTED GLAZING SP 10 CLEAR

STAINLESS STELL STRUCTURE

CONCRETE RETAINING WALL

ALUMINING RAILING

STEEL FRAME

CONSTRUCTION DETAIL OF THE STAINLESS STELL CUBE STRUCTURE

STAINLESS STELL STRUCTURE

ATMOSPHERE, VISUAL EXPERIENCE, LIGHT & TEXTURE

VIEW FROM THE CORRIDOR ONTO THE SEMINAR ROOM

VIEW ON THE UNDERGROUND ENTRY AND EXPOSITION PLATFORM

Aiming to create a relaxing, natural and refine atmosphere playing with light and shadow, the underground structure has a pool roof allowing light to come through while being filtered by the water and UV protected structural glass. lime stone wall and white marble floors reflect light to create a clear and natural space, with white oak timber door and furniture.

The upper structure is made a stainless steel and clear uv protected glass, partly open to allow maximum air flow within the structure. The strucure has been design to be light and transparent to complement the view onto the bar smith library. An elevated platform hosting exibitions and events accessible through the Braggs and Molecular Life Sciences Buildings also provide anamazing view onto the Botanic Garden and Bar Smith Library.

VIEW FROM THE LIBRARY

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CASE STUDY - LE CORBUSIER AND THE TRINITY OF LIGHT LINGUISTIC DEFINITIONS

FILTRATION

Filtration : Is the act of passing a liquid or gas through a piece of equipment in order to remove solid pieces or other substances:

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Diffusion : Can be define as the action of spreading the light from a light source evenly to reduce glare and harsh shadows Porosity : Can be define as the quality of being permeable, or full of small holes.

PHILOSOPHICAL MEANINGS In philosophy, filtration can refer to the selection or separation of something physical or non-physical such as filtering through a crowd of people to find one person or applying selective criteria to filter through on internet to find something specific. We can also filter people for an interview such as by academic, knowledge, capability, experience to find the right candidate. Filtration could also refer to the mental state or decision of someone where we select the best option or outcome that is possible.

CHURCH OF SAINT - PIERRE, FIRMINY

MONASTERY OF SAINTE MARIE DE LA TOURETTE

MONASTERY OF SAINTE MARIE DE LA TOURETTE

VIEW LOOKING SOUTH TO

MEANING IN ARCHITECTURE THROUGH A CASE STUDY In various religions, light has often been linked to divinity and holiness; inspiring architect across the world for centuries. We find evidences in the light filtration of the Romanesque apse, the golden shimmer of byzantine mosaic and the skilfully designed gothic stained glass.

In the work of the Architect le Corbusier, the filtration of light is very important. In the design of three sacred buildings: the Chapel of Ronchamp, the Monastery of Saint Marie de la Tourette, and the Parish church of Saint-Pierre in Firminy.

Le Corbusier played with the opening, orientation texture and position, to create an architecture in synergy with daylight. Skilfully filtering the light through the building to create various interactions, colours and lights, to represent the sacred character of those buildings.

According to Henry Plummer, retired professor at the University of Illinois, the principal characteristic of the Chapel of Ronchamp comes from a continuous circle of solar events. At sunrise, the illumination of the side of the chapel enhancing the red colour of the painted void. A clear analogy to human birth. During the day, continuous rays of light entre the building through slot on the East and South walls.

To finish, at sunset a warm glow entre the building from an opening on the other side of the chapel.

In comparison the monastery de la Tourette has a more complex light setting with a wider dispersion of light with rectilinear geometry. The monastery as an intricate arrangement of light and shadow seemingly made like a musical composition, with intervals of light and transparency slowly condensing and expanding like waves.

The church of Saint-Pierre at Firminy has a sophisticated light arrangement of three acts. On the east faรงade, the small windows producing dots of light on the floor which are transforming into three gentle waves of light rising and falling with the course of the sun, creating a marvellous pattern over the three walls surrounding the altar. Those waves are created by cylinder mounted into the concrete wall filtering the sunlight into the building.

Le Corbusier light exploration in his design emerge as a complex language use to enhance the dynamic of the buildings changing according to the cosmic circle of the day, season and years.

UPWARDLY SPRINGING WAVES OF LIGHT

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STRUCTURE OF LIGHT 2019 REP II 2019

CINDY JANNY

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