Rep2-Yunguang Bai-light Pavilion Magazine-stage1

Light Representation 2 Yunguang Bai a1717504

Content

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Place

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4-9pp

Idea

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Form

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Content

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Photos Day & Night

4 Place

Elevations

Australian School of Petroleum

School of Computer Science

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The Braggs Building

Barr Smith Library

Mclecular Life Science

Site Analysis Aerial& Ground Views

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Summer &Winter Shading Summer 9:00 am

Summer 12:00 pm

Summer 15:00 pm

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Winter 9:00 am

Winter 12:00 pm

Winter 15:00 pm

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Light Study

Zaha Hadid’s projects are remarkable not only for her innovative way of handling tangible materials but also for her imagination regarding the medium of light. Her theories of fragmentation and fluidity are now well-known design techniques which enabled her form-finding. How-

ever, her advances in using light to render her architecture have often been neglected—even though they became an essential element in revealing and interpreting her architecture. The three-decade transition from minimal light lines at her early Vitra Fire Station to the world’s tallest atrium

at the Leeza SOHO skyscraper, which collects an abundance of daylight, shows the remarkable development of Zaha Hadid’s luminous legacy.

L

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Luminosity

The Architectural Lighting of Zaha Hadid

daylight on one side intensifies the impression of a dark void.

As a counterpoint, diffuse ceiling luminaires intervene in the dim atmosphere. The diagonal building structure has been translated into rhombus-shaped windows for the façade. In contrast to earlier projects with sharp edges, Hadid’s forms here took on curved shapes, marking a transition to fluid designs.

In order to form a coherent exterior surface, the rhombus contour has also been applied to the underside of the elevated museum. Thereby the visitors perceive a holistic formal approach encompassing both daylight and artificial lighting.

Light Study

Coherent Forms Flow From Windows to

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

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Seek light is being with Nature

1st Idea 10

Idea

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2nd Idea 13

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3rd Idea 14

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Idea

Reflection

16 Light Study

How Reflective Facades Have Changed Modern ArchitecEven as modernism promoted the transparency of glass architecture, many within the movement were conscious of the monotony of large glass facades, with even Mies van der Rohe using elements such as his trademark mullions to break up his facades. But in the years since, countless uniform structural glazing skyscrapers have emerged

and bored urban citizens. In response to this, unconventional reinterpretations of facades have gained interest.

Accompanied by the belief that light and brilliance could help in creating iconic architecture and a better human world, glass and metal have been innovatively transformed to create crystalline images. As a result, the locus of meaning

in architecture has shifted from the internal spaceform towards the external surface. Celebrating the expressive materiality of transparency and reflective imagery for entire building skins emerged during the early 20th century, when Paul Scheerbart and Bruno Taut envisioned a new glass culture made of “colored glass” “sparkling in the

sun,” “crystalline shapes of white glass” which make the “jewel-like architecture shimmer.”

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

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.

17 Light Study

itself was turned into a sign.

Its sensuality immediately spurred the marketing world to utilize the sensational setting for advertisements. The glistening net creates a fascinating feeling

Selfridges Birmingham depart-

of American optimism wrapped in titanium (...)

The building is the reincarnation of Marilyn Monroe.” With the Walt Disney Concert Hall, opened in 2003, the lustrous gesture subsequently arrived in the glamorous Hollywood scenery.

Guggenheim Museum Bilbao

Though they are less than half a millimeter thick, the titanium sheets evoke an interesting, almost corrugated- tactile dressing – an association which the New York Times critic Herbert Muschamp connected with Marilyn Monroe: “Frank Gehry’s new Guggenheim Museum is a shimmering, Looney tunes, post-industrial, post-everything burst

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Final Design 3D Model In Site 18

Idea

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Model Plan 1:500

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Section A 1:1000

Section B 1:500

South Elevation 1:1000

Form

North Elevation 1:1000

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Exploded image

Roof & Shading

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Form Ground Floor

-1st Floor

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Storage Space

Library &relax space

3 Toilets Sminar Room

Entrance Sminar Exhibition Scale 1:200

Form

Reception

Scale 1:500

Space plan & People Movement

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Opacity

22 Light Study

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.

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.

like the Dybkær Church

by Regnbuen Arkitekter.

For example, the sophisticated daylight concept arrives from three directions, as Plummer explains: “Low from the north 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. In a similar way, the Bagsværd Church by Jørn Utzon plays with white, as the architect elucidated to Plummer: “Light is the most important feature of the church

Light Study

brightness for dark winter periods, but for Plummer the affection for whiteness is also linked to the beauty of snow-covered landscape.

Early examples of white architecture could already be found in Denmark´s medieval churches, and this design approach still influences modern sacred buildings

Whiteness in Nordic Countries

Whiteness is a central aspect of how Nordic architects responded to their local environment, as Plummer reveals in his studies from the 15th century up to contemporary buildings like Steven Holl’s Herning Museum of Contemporary Art. Without doubt, white surfaces offer a high reflectance in order to maximize interior

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Aerial and ground views

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Material

Internal views & Atmosphere

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Material

Materials Stainless Steel

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Material

Aglometrate Wood

White Beige Linoleum Floortile

3D Views

Ceramic Tile Bond Coat

2/1 Cementitions Backer Unit

Dry Set Mortar

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Material

Exterior Glue Pyl Wood Subfloor

Steel

Filtration

28 Light Study For his three sacred buildings, Le Corbusier has played masterfully with orientation, openings and textures to create kinetic architecture with daylight.

His pilgrimage chapel at Ronchamp, the monastery of Sainte Marie de La Tourette, and the parish church of Saint-Pierre in

Firminy reveal distinctive and individual approaches that each render contemplative spaces with light. In his book “Cosmos of Light: The Sacred Architecture of Le Corbusier,” Henry Plummer, Professor Emeritus at the University of Illinois at Urbana-Champaign,

has analysed these projects with outstanding photographs taken over 40 years and brilliant writing. Read on for more about how Le Corbusier created his cosmos of light. 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”.

The scenography at the church of Saint-Pierre at Firminy (1960-2006) is arranged in three acts. The small stellar windows on the east façade generate dots of light on the floor which later mysteriously

turn into waves of light.

These waves gently rise and fall with the course of the sun. They create an astonishing pattern over all three walls facing the altar.

29 Light Study

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-surl’Arbresle (1953-60), with its rectilinear geometry, embodies a clear coun-

terpoint 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 directions, the believers encounter diverse light experiences. Additionally, the corridors are distinguished with different

window arrangements.

The irregular rhythm of light and shadow appears like a musical composition, notes Plummer when he observes the corridor to the atrium: “Unlike the repetitive rhythms of windows and columns in traditional churches, these fluent

rhythms are aperiodic, based upon intervals of light and transparency that gradually compress and expand in waves.”

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.

Seek Light is Being with Nature Representation 2 2019