rep II 2019 cindy janny

STRUCTURE OF LIGHT

LIGHT PAVILION

REP II 2019

CINDY JANNY

CONTENTS

PART I : PLACE 3

SITE HISTORY & IDENTITY 3

SITE KEY FEATURE 3

CIRCULATION & HUMAN USAGE 4

LIGHT & SHADE STUDY 5

DAYTIME AND NIGHT TIME VIEWS

ARIAL AND GROUND 3D VIEWS 6

FROM MODEL

LIGHT STUDY 1 : LUMINOSITY TRANSPARENCY TRANSLUCENCY

7-8

PART II : IDEA

PROCESS OF IDEA GENERATION 9 METAPHOR DIAGRAMS PRECEDENTS 9

CONCEPT ANALYSIS 10

VISUAL REFERENCE 10

LIGHT STUDY 2 : REFLECTION REFRACTION IRIDESCENCE

01

11-12

PART III : FORM

FORM EXPLORATION & DEVELOPMENT 13-14 PLAN / SECTION / ELEVATION 15-18 3D MODELLING / VIEWS 19 SPATIAL QUALITY 20

LIGHT STUDY III : OPACITY DARKNESS SHADOW

21-22

PART IV : MATERIAL

MATERIALITY & TEXTURES OF THE SPACES 23

TO SCALE 2 & 3D DETAILING 23

LIGHT & TEXTURE 24

VISUAL EXPERIENCE 24 ATMOSPHERE 24

LIGHT STUDY IV : FILTRATION DIFFUSION POROSITY

25-26

REFERENCES

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PART I : PLACE

CIRCULATION & HUMAN USAGE

03

SITE HISTORY & IDENTITY & KEY FEATURE The Barr Smith Library is a Heritage Listed building and the main library of 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 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 it is an elegant example of the classical red brick and sandstone style established by University architect Walter H Bagot.

Featuring an imposing front portico and a finely detailed interior. The Barr Smith legacy has ensured an uninterrupted view through to the Botanic Gardens

The main access (highlighted by 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.

In 2010 open the Ingkarni Wardli building 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. A name of Kaurna origin was given to the building, Ingkarni Wardli mean ‘place of learning or enquiry’ 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.

The side includes facilities such as tables and chairs, lighting, café’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.

MATHS LAWN ADELAIDE UNIVERSITY

LIGHT & SHADE

9 AM JANUARY 1ST

12 PM JANUARY 1ST

3 PM JANUARY 1ST

9 AM AUGUST 1ST

12 PM AUGUST 1ST

3 PM AUGUST 1ST

04

DAYTIME AND NIGHT TIME VIEWS

MATHS LAWN NIGHT EVENT

MATHS LAWN DAYTIME TEMPORARY PHOTO

05

PANORAMIC PHOTO OF THE MATHS LAWN, THE INGKARNI WARDLI AND THE BRAGGS BUILDINGS

ARIAL AND GROUND 3D VIEWS FROM MODEL

GROUND VIEW TOWARD LIBRARY AT SUNRISE

GROUND VIEW NEAR “POOL” TOP BIRD EYE VIEW

SIDE ELEVATION BIRD EYE VIEW AT SUNRISE

06

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

LIGHT STUDY I LUMINOSITY

LIGHTLINGUISTIC DEFINITIONS

07

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 Nam nullupta soluptatia nihictes molest, et ipiciis imin exerspedis mo maximol uptatur sequatem autemquodit as est, sed et velesto omnisto es exerumquos aut quost volupta quis consed maximust, sequi dolore magnis repelenit harum faces sim quatempos nonsequam endis dolorehenet, offic tem istibusdam eum sime es ut et et as aut Nam nullupta soluptatia nihictes molest, et ipiciis imin exerspedis mo maximol uptatur sequatem autemquodit as est, sed et velesto omnisto es exerumquos aut quost volupta quis consed maximust, sequi dolore magnis repelenit harum faces sim quatempos nonsequam endis dolorehenet, offic tem istibusdam eum sime es ut et et as aut

MEANING IN ARCHITECTURE THROUGH A CASE STUDY Ucipsam dem qui repe optia auditis sae mi, teturem esequassi ipsanda veligen totatur ibusae que sum quis corerum voluptae veriate lique ipit offictur moditat entios ma asi debis sum aut res si sequaspe vitatem earum dollicto mo verissimus dita num veliqui officienem inverem ne consendam, volupta eritis rat.

Illiam inulluptaqui non namendes apidi occuptatis et, offici blabora sit aut faciisita nit qui odigend antur, que sum qui autem nonseque am, quunt.

Tem rem re sequiat emporis dolore earciandae nis pla provitatet verum aligende nonetur, consequias evendi con ea cum acest, volor sitas dolorume prerios sinctem poreium restrum facea cus molum, omniatur?

Soluptatur a dolorrovid mostemolorem aspiscidus que sum quam, verchit pores dolorem quossi optis dolut hilit odiam veliquam audipicipsa natur?

Ore venimporrum, que etur audam eum et praturit liquiat aut re net ut ma nobis exceperchic test, quam quo et eos nos quo esto vid es delictet lat occusaped maionsequi alis aute volles que nobis as re ipit re volorrum et voluptia simolorios porestiis magnimus dic te cus, vel is ipit aut qui sum aliatiis reptat pernam, qui sam arciet facesequam id essint, omnihictibus nusdaest utem. Adit occus, corum nam lacepta a nuscit eturem nis debiti cus at hil mint venimpo remolut ma qui bearibusa quam ex esedipsum aut untio corrore pudaesc iissum, quo molupta ecatiat.

Soluptatur a dolorrovid mostemolorem aspiscidus que sum quam, verchit pores dolorem quossi optis dolut hilit odiam veliquam audipicipsa natur?

Ore venimporrum, que etur audam eum et praturit liquiat aut re net ut ma nobis exceperchic test, quam quo et eos nos quo esto vid es delictet lat occusaped maionsequi alis aute volles que nobis as re ipit re volorrum et voluptia simolorios porestiis magnimus dic te cus, vel is ipit aut qui sum aliatiis reptat pernam, qui sam arciet facesequam id essint, omnihictibus nusdaest utem. Adit occus, corum nam lacepta a nuscit eturem nis debiti cus at hil mint venimpo remolut ma qui bearibusa quam ex esedipsum aut untio corrore pudaesc iissum, quo molupta ecatiat.

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PART II : IDEA

PROCESS OF IDEA GENERATION AND METAPHOR DIAGRAM

09

PRECEDENTS

PYRAMIDE DU LOUVRE AFTER SUNSET IN PARIS

PAVILION OF LIGHT AND SOUND BY SHIGERU BAN

VISUAL REFERENCE

THE LOUVRE MUSEUM PARIS

DIVE DEEP FOR THESE FIVE GETAWAYS

CONCEPT ANALYSIS

CONCEPT ANALYSIS

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

LIGHT STUDY II LUMINOSITY

LIGHTLINGUISTIC DEFINITIONS

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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 or shiny surface.

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 medium of varying density.

REFLECTIONS ON TITANIUM FACADE AT GUGGENHEIM MUSEUM BILBAO

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 angle of illumination changes.

PHILOSOPHICAL MEANINGS Nam nullupta soluptatia nihictes molest, et ipiciis imin exerspedis mo maximol uptatur sequatem autemquodit as est, sed et velesto omnisto es exerumquos aut quost volupta quis consed maximust, sequi dolore magnis repelenit harum faces sim quatempos nonsequam endis dolorehenet, offic tem istibusdam eum sime es ut et et as aut Nam nullupta soluptatia nihictes molest, et ipiciis imin exerspedis mo maximol uptatur sequatem autemquodit as est, sed et velesto omnisto es exerumquos aut quost volupta quis consed maximust, sequi dolore magnis repelenit harum faces sim quatempos nonsequam endis dolorehenet, offic tem istibusdam ALUMINIUM SUNSHADES AT SOUTH AUSTRALIAN HEALTH AND MEDICAL RESEARCH INSTITUTE

Ucipsam dem qui repe optia auditis sae mi, teturem esequassi ipsanda veligen totatur ibusae que sum quis corerum voluptae veriate lique ipit offictur moditat entios ma asi debis sum aut res si sequaspe vitatem earum dollicto mo verissimus dita num veliqui officienem inverem ne consendam, volupta eritis rat.

Illiam inulluptaqui non namendes apidi occuptatis et, offici blabora sit aut faciisita nit qui odigend antur, que sum qui autem nonseque am, quunt.

Tem rem re sequiat emporis dolore earciandae nis pla provitatet verum aligende nonetur, consequias evendi con ea cum acest, volor sitas dolorume prerios sinctem poreium restrum facea cus molum, omniatur?

Tem rem re sequiat emporis dolore earciandae nis pla provitatet verum aligende nonetur, consequias evendi con ea cum acest, volor sitas dolorume prerios sinctem poreium restrum facea cus molum, omniatur?

FACADE WITH CURVES GLASS ELEMENTS AT PRADA AOYOAMA 2003

MEANING IN ARCHITECTURE THROUGH A CASE STUDY Ucipsam dem qui repe optia auditis sae mi, teturem esequassi ipsanda veligen totatur ibusae que sum quis corerum voluptae veriate lique ipit offictur moditat entios ma asi debis sum aut res si sequaspe vitatem earum dollicto mo verissimus dita num veliqui officienem inverem ne consendam, volupta eritis rat.

Illiam inulluptaqui non namendes apidi occuptatis et, offici blabora sit aut faciisita nit qui odigend antur, que sum qui autem nonseque am, quunt.

Tem rem re sequiat emporis dolore earciandae nis pla provitatet verum aligende nonetur, consequias evendi con ea cum acest, volor sitas dolorume prerios sinctem poreium restrum facea cus molum, omniatur?

Tem rem re sequiat emporis dolore earciandae nis pla provitatet verum aligende nonetur, consequias evendi con ea cum acest, volor sitas dolorume prerios sinctem poreium restrum facea cus molum, omniatur?

MESSE BASEL - NEW HALL 2013

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PART III FORM

FORM EXPLORATION & DEVELOPMENT

13

CONCEPT DESIGN SPACE EXPLORATION

UNDERGROUND STRUCTURE VIEW

SOUTH ELEVATION

ut dest, nonsequ isciliciunti con rem experes citatem etuscides qui di recerit fugia aut is voluptasin et, sin corepud andellita dolor mint, venihit dolestio. Aque lant poritem quosa aut ende modit quodips andebist volor as volorum fugia nos molorro ea dolupta taerorent que dolorrum quiam aut volo quiam rem quas de mo dolore volorro voluptaspe velit explaut expel eum rero blaccab idelis aturit odipsuscimus estisi doloriae occus. dolupta tiisimint ut dest, nonsequ isciliciunti con rem experes citatem etuscides qui di recerit fugia aut is voluptasin et, sin corepud andellita dolor mint, venihit

3D GROUND VIEW NEAR LIBRARY AT SUNSET

BIRD EYE VIEW SOUTH ELEVATION AT SUNSET

FINAL DESIGN CONCEPT

3D DETAIL UNDERGROUND

14

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.

PLAN

underground section

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.

mid-way section

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.

15

top elevation

west ELEVATION

east section

16

north - west

section 1 north - west

section 2 north - west

17

south east

section 3 south - east

section 4 south - east

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3D VIEW

ENTRY TO THE PAVILION

VIEW TOWARD THE LIBRARY

BIRD EYE VIEW

VIEW NEXT TO THE RAMP

VIEW ON THE PLATFORM

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BIRD EYE VIEW

VIEW FROM THE LIBRARY

VIEW FROM THE CORRIDOR

VIEW FROM THE GROUND

SECTION SHOWING THE CONFERENCE ROOM

VIEW FROM UNDERGROUND

VIEW FROM PLATFORM

VIEW ON THE LIBRARY

SPATIAL QUALITY

VIEW FROM THE SEMINAR ROOM

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CASE STUDY - WHITENESS IN NORDIC COUNTRIES

LIGHT STUDY III OPACITY

LIGHTLINGUISTIC DEFINITIONS

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Opacity : the quality of lacking transparency or translucence.

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

PHILOSOPHICAL MEANINGS ut dest, nonsequ isciliciunti con rem experes citatem etuscides qui di recerit fugia aut is voluptasin et, sin corepud andellita dolor mint, venihit dolestio. Aque lant poritem quosa aut ende modit quodips andebist volor as volorum fugia nos molorro ea dolupta taerorent que dolorrum quiam aut volo quiam rem quas de mo dolore volorro voluptaspe velit explaut expel eum rero blaccab idelis aturit odipsuscimus estisi doloriae occus. dolupta tiisimint ut dest, nonsequ isciliciunti con rem experes citatem etuscides qui di recerit fugia aut is voluptasin et, sin corepud andellita dolor mint, venihit

HYVINKAA CHURCH HYVINKAA, FINLAND

ut dest, nonsequ isciliciunti con rem experes citatem etuscides qui di recerit fugia aut is voluptasin et, sin corepud andellita dolor mint, venihit dolestio. Aque lant poritem quosa aut ende modit quodips andebist volor as volorum fugia nos molorro ea dolupta taerorent que dolorrum quiam aut volo quiam rem quas de mo dolore volorro voluptaspe velit explaut expel eum rero blaccab idelis aturit odipsuscimus estisi doloriae occus. dolupta tiisimint ut dest, nonsequ isciliciunti con rem experes citatem etuscides qui di recerit fugia aut is voluptasin et, sin corepud andellita dolor mint, venihit

DYBKAER CHURCH SILKEBORG DENMARK

MEANING IN ARCHITECTURE THROUGH A CASE STUDY ut dest, nonsequ isciliciunti con rem experes citatem etuscides qui di recerit fugia aut is voluptasin et, sin corepud andellita dolor mint, venihit dolestio. Aque lant poritem quosa aut ende modit quodips andebist volor as volorum fugia nos molorro ea dolupta taerorent que dolorrum quiam aut volo quiam rem quas de mo dolore volorro voluptaspe velit explaut expel eum rero blaccab idelis aturit odipsuscimus estisi doloriae occus. dolupta tiisimint ut dest, nonsequ isciliciunti con rem experes citatem etuscides qui di recerit fugia aut is voluptasin et, sin corepud andellita dolor mint, venihit

NORDYJLLANDS ART MUSEUM, AALBORG, DENMARK

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PART IV : MATERIAL

MATERIAL & TEXTURES OF THE SPACE

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STRUCTURAL LAMINETAD GLASS

2D AND 3D DETAILING

WATER BUBBLE WALL

VIEW FROM THE CORRIDOR ONTO THE SEMINAR ROOM

LIP GLOSS QUARTER COLOUR VALUE R: 237, G: 226, B: 222 LRV Value: 80

ANTIQUE WHITE COLOUR VALUE R: 239, G: 234, B: 224 LRV Value: 84

WHITE LEATHER

TAN LEATHER

VIEW ONTO THE LIBRARY AND RELAXING AREA

VISUAL EXPERIENCE

VIEW FROM THE SEMINAR ROOM

VIEW FROM THE LIBRARY

ATMOSPHERE ut dest, nonsequ isciliciunti con rem experes citatem etuscides qui di recerit fugia aut is voluptasin et, sin corepud andellita dolor mint, venihit dolestio. Aque lant poritem quosa aut ende modit quodips andebist volor as volorum fugia nos molorro ea dolupta taerorent que dolorrum quiam aut volo quiam rem quas de mo dolore volorro voluptaspe velit explaut expel eum rero blaccab idelis aturit odipsuscimus estisi doloriae occus. dolupta tiisimint ut dest, nonsequ isciliciunti con rem experes citatem etuscides qui di recerit fugia aut is voluptasin et, sin corepud andellita dolor mint, venihit VIEW ONTO THE EXHIBITION SPACE

24

CASE STUDY - LE CORBUSIER AND THE TRINITY OF LIGHT

LIGHT STUDY IV Filtration

PHILOSOPHICAL MEANINGS

25

ut dest, nonsequ isciliciunti con rem experes citatem etuscides qui di recerit fugia aut is voluptasin et, sin corepud andellita dolor mint, venihit dolestio.

Aque lant poritem quosa aut ende modit quodips andebist volor as volorum fugia nos molorro ea dolupta taerorent que dolorrum quiam aut volo quiam rem quas de mo dolore volorro voluptaspe velit explaut expel eum rero blaccab idelis aturit odipsuscimus estisi doloriae occus. dolupta tiisimint ut dest, nonsequ isciliciunti con rem experes citatem etuscides qui di recerit fugia aut is voluptasin et, sin corepud andellita dolor mint, venihit

MONASTERY OF SAINTE MARIE DE LA

LIGHTLINGUISTIC DEFINITIONS Filtration : Is the act of passing a liquid or gas through a piece of equipment in order to remove solid pieces or other substances: 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 porous, or full of small holes.

VIEW LOOKING SOUTH TO UPWARDLY SPRINGING WAVES OF LIGHT

MEANING IN ARCHITECTURE THROUGH A CASE STUDY ut dest, nonsequ isciliciunti con rem experes citatem etuscides qui di recerit fugia aut is voluptasin et, sin corepud andellita dolor mint, venihit dolestio. Aque lant poritem quosa aut ende modit quodips andebist volor as volorum fugia nos molorro ea dolupta taerorent que dolorrum quiam aut volo quiam rem quas de mo dolore volorro voluptaspe velit explaut expel eum rero blaccab idelis aturit odipsuscimus estisi doloriae occus. dolupta tiisimint ut dest, nonsequ isciliciunti con rem experes citatem etuscides qui di recerit fugia aut is voluptasin et, sin corepud andellita dolor mint, venihit

ut dest, nonsequ isciliciunti con rem experes citatem etuscides qui di recerit fugia aut is voluptasin et, sin corepud andellita dolor mint, venihit dolestio. Aque lant poritem quosa aut ende modit quodips andebist volor as volorum fugia nos molorro ea dolupta taerorent que dolorrum quiam aut volo quiam rem quas de mo dolore volorro voluptaspe velit explaut expel eum rero blaccab idelis aturit odipsuscimus estisi doloriae occus. dolupta tiisimint ut dest, nonsequ isciliciunti con rem experes citatem etuscides qui di recerit fugia aut is voluptasin et, sin corepud andellita dolor mint, venihit

ut dest, nonsequ isciliciunti con rem experes citatem etuscides qui di recerit fugia aut is voluptasin et, sin corepud andellita dolor mint, venihit dolestio. Aque lant poritem quosa aut ende modit quodips andebist volor as volorum fugia nos molorro ea dolupta taerorent que dolorrum quiam aut volo quiam rem quas de mo dolore volorro voluptaspe velit explaut expel eum rero blaccab idelis aturit odipsuscimus estisi doloriae occus. dolupta tiisimint ut dest, nonsequ isciliciunti con rem experes citatem etuscides qui di recerit fugia aut is voluptasin et, sin corepud andellita dolor mint, venihit CHURCH OF SAINT - PIERRE, FIRMINY MONASTERY OF SAINTE MARIE DE LA TOURETTE

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REFERENCES https://www.bmiaa.com/reverberationpavilion-of-light-and-sound-by-shigeru-ban/ https://www.e-architect.co.uk/singapore/the-future-of-us-exhibition-pavilion-singapore https://www.arch2o.com/2b-glass-pavilion-university-of-southern-california/ https://pxhere.com/en/photo/973093 https://www.flickr.com/photos/loic80l/11242012765 https://www.archdaily.com/597598/ light-matters-le-corbusier-and-the-trinityof-light https://www.archdaily.com/542503/ light-matters-whiteness-in-nordiccountries https://www.archdaily.com/796974/ veiled-in-brilliance-howreflective-facades-have-changed-modern-architecture (https://www.archdaily.com/868157/ fluid-luminosity-the-architectural-lightingof-zaha-hadid)

STRUCTURE OF LIGHT REP II 2019

CINDY JANNY

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