Rep2 | 2019 | Imagine & Motivate by Kaitlin

A1749817 | REPRESENTATION 2 |2019

KAITLIN CHADWICK

IMAGINE & MOTIVATE

REFLECTION

09 | Definition 09 | Zaha Hadid 09 | Luftwerk

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IDEA

PLACE

04 | Site Description 06 | Scale Study 07 | Foot Traffic 07 | Shadow Study

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LUMINOSITY

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PAGE 26 00 | Definition 00 | Le Corbusier

FILTRATION

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MATERIAL

FORM

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OPACITY

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PAGE 04

PLACE

SITE DESCRIPTIOWN The Adelaide University Maths Lawns located off of Frome Rd, Adelaide SA is a stretch of open space which is located in the middle of several buildings; Barr Smith South, The Braggs, Engineering, Maths, Sciences, SANTOS Building and Ingkarni Wardli. The lawn

space allows for foot traffic between the other sites in close conjecture, and with the help of The Braggs, Engineering, Maths, Sciences, SANTOS Building and Ingkarni Wardli a frame towards Barr Smith South is created, making it the centre of attention. The

lawn has paved paths on either side, and one in the centre which creates a break within the site. The lawn is also lined with trees and benches.

Site Plan 1:200

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PLACE

Site Traffic Indicator

Daytime 1

Daytime 2

Daytime 3

Nighttime 1

Nighttime 2

Nigthtime 3

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LUMINOSITY Reflections on Luminosity in Architecture As defined by Merriam Webster, luminosity is the quality or state of being luminous, which in turn means emitting or reflecting usually steady, suffused, or glowing light. In a simplified form of this definition, luminosity is defined by the relative quantity of light, or the relative brightness of something (Merriam Webster, 2019). Theoretically Luminosity is the interpretation of light wave vibrance. In an architectural sense, luminosity is the notion where the emission/reflection of light quality is manipulated to create a specific atmosphere. Manipulation of light, or lack of, can influence viewersâ&#x20AC;&#x2122; experiences with their surrounding space by altering their perceptions. Zaha Hadid is an architect whose work delves deep within the use of light manipulation as a source of luminesce. The depth of her growth and expression of architecture when comparing older and newer designs. An example

of her earlier work is the Vitra Fire Station in Weil am Rhein, 1993, constructed from concrete and lined with light strips on the exterior which gives the building a strong and dominant feel within the landscape. Hadidâ&#x20AC;&#x2122;s never pieces like the Nanjing International Youth Cultural Centre in Nanjing, 2016 and Leeza SOHO skyscraper play with luminosity as the heart of the piece, these buildings feel like a fluid putty with their play on curves and lights. The light within these buildings enhances all aspects of the buildings by manipulating light to make them feel bigger, while adding a soft inner glow to their appearance that calls for comfort. In contrast to the use of luminosity in architecture an artistic collaboration under the name Luftwerk focusses on temporary installations to that explore the immersion of the sight through colour and light. Luminous Field is one example of luminosity as an interactive light sequence which uses light and

movement to enhance the Millennium Park and draw people who are passing by to stop and have a look. Colour Code was installed as a visual representation of how particular shapes and colours can evoke particular emotions and feelings.

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IDEA LIGHT ENHANCES MOTIVATION BECOMES MOTIVATION CREATES MOTIVATION INSPIRES MOTIVATION DIRECTS MOTIVATION IS MOTIVATION

AS MOTIVATION

Form Finding 1

Form Finding 2

Form Finding 3

Concept Design 1

Concept Design 2

Concept Design 3

Concept Design 4

Navigation Anaylsis 1

Navigation Anaylsis 2

Navigation Anaylsis 3

Navigation Anaylsis 4

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IDEA

Concept Deelopment The development process started by observing traffic and light around the site, then moved forward to creating a navigation analysis which wouldnâ&#x20AC;&#x2122;t interrupt the existing paths of traffic and wouldnâ&#x20AC;&#x2122;t hide the existing view. The concept designs directly relate to traffic circulation and the final decision became a combination of concept design 1 and navigation analysis 1 for the interior floor plan. The floorplan became one which is symmetrical and has a centre access point. The site itself is locat-

ed on a university campus, and is designed for students. The theme of the design is a play on how light creates motivation. The perception of this information is that the space would be used for students involved with assignments who often come to roadblocks and require a bit of extra motivation, in turn the light and space manipulation within the building create an inspiration for motivation.

Floorplan Level 1 1:200

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REFLECTION Reflections on Reflection in Architecture As defined by Merriam Webster Reflection is (1) the production of an image by or as if by a mirror, (2) the production of an image by or as if by a mirror, (3) a thought, idea, or opinion formed or a remark made as a result of meditation. Architecturally Reflection is the duplication of a pattern/object on a defined/undefined parallel line. Harzog & de Meuron, Woods Bagot, Amanda Levete and Jan Kaplicky, Frank Gehry are architect’s whose work with light manipulation as a source of reflection, have revolutionized modern architecture. The façade of the Elbphilharmonie in Hamburg, created from glass, by Herzog & de Meuron, was designed to mirror the city, sea and sky but uses manipulation within the surface of the glass to distort the perception, creating an imperfect reflection. Located in South Australia, Adelaide is the Health and Medical Research Institute. By the architects Woods Bagot uses a manip-

ulation of triangulation around curves which allows the reflective surface to reflect the landscape as well as show pops of colour through the triangles all depending where the viewer is looking depending on their position. Amanda Levete and Jan Kaplicky work with Selfridges Birmingham, Future Systems (2003) made a department store an icon by coating the building in 16,000 aluminium disks which act as a diffusion of the surrounding landscape and adds a new level of brightness and colour to the area. Frank Gehry ‘s Guggenheim Museum Bilbao (1997) uses a material mix of glass, metal, and titanium cladding along with dramatic shapes. The finish on the fabrics creates a reflective surface for light, and deliberately made rifts on the surface seem to lighten the appearance and soften the light.

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FORM

Elevation 1 1:200

Section 1 1:200

Section 2 1:200

Exterier Render

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FORM

Stair Atmosphere Render

Elevator Atmoshpere Render

Interior Render

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OPACITY Reflections on Opacity in Architecture As defined by Merriam Webster Opacity is (1) obscurity of sense and (2) the quality or state of a body that makes it impervious to the rays of light. Broadly defined as the relative capacity of matter to obstruct the transmission of radiant energy (Merriam Webster, 2019). Architecturally opacity is the use of lack of light, or minimized light levels to create dynamic spaces. Regnbuen Arkitkter, Käpy and Simo Paavilainen, Alar Aalto and JeanJacques Baruel, Aarno Ruusuvuori are architects who work with light and

shadow manipulation as a source of opacity. The Dybkaer Church in Silkeborg, Denmark by Regnbuen Arkitkter is a building which uses light coloured walls and white spaces to create light and open feelings compared to large full wall window. Similarly, the Pirkkala Church in Tampere, Finland by Käpy and Simo Paavilainen uses large ceiling heights and light walls to bring in the presence of light. The Nordyjillands Art Museum in Aalborg, Denmark by Alar Aalto and Jean-Jacques Baruel plays with opacity as a way to form shadows that define the spaces with-

in the large open rooms. The rooms themselves feel light and open just like the Dybkaer and Pirkkala Churches, due to the white spaces however the low ceiling heights play with the shadows created from the ceiling which make them feel more dramatic in appearance. The Hyvinkää Church in Hyvinkää, Finland by Aarno Ruusuvuori focuses on how light and shadows are created through different times of the day. The intricate details with the ceiling height and rotation manipulation provide curvature within the light and shadows from the tall windows spe-

cially within the later hours of the day and allows the light to filter through the ceiling undisturbed in earlier hours.

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MATERIALITY

Materiality Render 1

Materiality Render 2

Room Aestheic and Layout | Floorplan 1:200

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FILTRATION Reflections on Fltration in Architecture As defined by Merriam Webster Filtration is (1) the process of filtering and (2) the process of passing through or as if through a filter. In this case the word itself describes the word, and as defined by Merriam Webster filtering is defined as (1) an apparatus containing a filter medium, (2) a device or material for suppressing or minimizing waves or oscillations of certain frequencies (as of electricity, light, or sound) and (3) a transparent material (such as coloured glass) that absorbs light of certain wavelengths or colours selectively and is used for modifying light that reaches a sensitized photographic material. Although the third definition of filtering provided by Merriam Webster is a part of an architectural form which filtration applies to, filtration should also include the second definition of filtration. The idea behind this is that filtration occurs when a wavelength is changed through a material of fabric, which occurs when the material (such

as glass) has a colour change but also when patterns are engraved/ made within the material element. Le Corbusier is an architect who works with materiality manipulation as a source of filtration. The Monastary of Sainte Marie de la Tourette in Eveuxsur-lâ&#x20AC;&#x2122;Arbresle, France uses a manipulation of coloured glass cracks within the wall to form glowing lights of colour panels. The Church of Saint-Pierre in Firminy, France uses filtration to create a soft golden glow on the main focus of the church the altar, in composition to this the dark room makes a striking and dramatic atmosphere which is comfortable and thought-provoking. The Chapel of Notre Dame du Haut in Ronchamp, Frace by Le Corbusier plays with extrusions and intrusions to create filtered strands of light and shadow that act as picturesque and simple dĂŠcor along the walls, floors and ceilings at different times of the day. The use of coloured glass within the chapel also play with the build-

ing in contrast to create a warm and friendly space.

IMAGINE & MOTIVATE KAITLIN CHADWICK