Seek Light Weijian Zhang a1733106 Rep2.2019 Light as a journey
PLACE 02
IDEA
Persepective Shade and Shadow Photography Plan and Elevation Site Analysis Case Study1: Luminosity
12
FORM 22
MATERIAL 32
Idea1 Idea2 Idea3 Precedent
Plan,Elevation,Sections Above and Below Access and Movement 3D view: External 3D view: Internal
Materiality Structure Texture Construction Detail External and Internal View Visual Mobility
Case Study2: Reflection
Case Study3: Opacity
Case Study4: Filtration
Site Perspectives
2 PALCE
Aerial View 1
Aerial View 2
Ground View 1
Ground View 2
Shade and shadow
3 PALCE
Summer 9am
Summer 12pm
Summer 3pm
Winter 9am
Winter 12pm
Winter 3pm
Photography
Daytime
4 PALCE
Photography
Daytime
5 PALCE
Photography
Night
6 PALCE
Photography
Night
7 PALCE
Site Plan The Braggs
60m
Molecular Life Science
67m
12m
38m
42m
Barr Smith Library
73m
25m
25m
Scale 1:1000 Ingkarni Wardi
8 PALCE
Engineering/Math Science
Santos
Site Elevations
Library Elevation
North Elevation
South Elevation 9 PALCE
Site Analysis
Frome Road
Frome Road
Car and PedestrianAccess
Car Traffic
Frome Road
Frome Road
Social Area
Pedestrian Network
Acess and Movement
10 PALCE
Site Analysis Social Character: The site is flanked by science building to the north, engineering buildings to the south, and the Bar Smith library to the west. The central lawn areas are for common uesd by students and the public, for example, university club,events(open day and O'week), social gathering. But the tables and charis on the edges are regularly used. The open space is just occassionaly by the above conditions.
Urban Context: The site is located at the university of Adelaide, to the north is closed to the Torrens River, Adelaide Zoo, Botanic Gardens, to the south is closed to Rundle Mall. Besides, the site is adjacent to Frome Road, North Terrace, and Victoria Drive. Home to the Bar Smith Library which is the state heritage listed building.
11 PALCE
L uminosity :
Linguistic and Philosophical Definiation linguistic definition ·Something luminous or something that has luminance. -An obeject that radiates or reflects light: shines;or is bright. -Something that is well-lit or iluminated "The room was luminos" ·the quality of being intellectually brilliant, enlighted, or inspired. "The luminosity of his poetry is unqualled."
philosophical definition How bright is a star? A planet? A galaxy? When astronomers want to answer those questions, they express the brightnesses of these objects using the term "luminosity". It describes the brightness of an object in space. Stars and galaxies give off various forms of light. What kind of light they emit or radiate tells how energetic they are. If the object is a planet it doesn't emit light; it reflects it. However, astronomers also use the term "luminosity" to discuss planetary brightnesses. The greater the greater the luminosity of an object, the brighter it appears. An object can be very luminous in multiple wavelengnths of light, from visible light, x-rays, ultraviolet, infrared, microwave, to radio and gamma rays, It often depends on the intensity of the light being given off, which is a function of how energetic the object is.
Sources: Cool Cosmos, coolcosmos.ipac.caltech.edu/cosmic_classroom/cosmic_ reference/luminosity.html. “Luminosity | COSMOS.” Centre for Astrophysics and Supercomputing, astronomy.swin.edu.au/cosmos/L/Luminosity.
12 PALCE
Fluid Luminosity: The Architectural Lighting of Zaha Hadid 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. However, 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. Light closes the gap between architecture and our perception. We sense forms and materials with our eyes not directly but through the reflected light. Zaha Hadid's use of light might appear graphical at first sight with her light lines. Nevertheless, the grand dame operated very skillfully to enhance her architectural imagination. Luminous lines— either as luminaires or windows—characterize her early work, whereas luminous fields and a play of brilliance emerged later.
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. Zaha Hadid's explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. In order to interweave the surrounding landscape with her new structures, Hadid analyzed abstracted urban transport patterns and transformed them into luminaire patterns. At Strasbourg's Hoenheim-Nord Terminus and Car Park (2001), she became fascinated by the white road markings and converted them into white linear diffuse luminaires—either integrated as strips in the concrete roof or as tilted poles for the car parking spaces. Thomas Schielke. "Fluid Luminosity: The Architectural Lighting of Zaha Hadid" 31 Mar 2017. ArchDaily. Accessed 5 Sep 2019. <https://www.archdaily.com/868157/fluidluminosity-the-architectural-lighting-of-zaha-hadid/> ISSN 0719-8884
13 PALCE
Idea 1 : Design Concept
14 IDEA
Form
3D VIEW 1
Structure
3D VIEW 2
Idea1 Analysis
light as a journey Light, often thought of as one of life's constants, is in fact continually chaging. The direction, intensity and colour of light from the sun shifts throughout the day and acroos the season. Indeed, it is these changes and cycles that have fascinated humankind since before the dawn of civilsation. Rather than despair that light cannot be fixed into place, the journey of the sun through the sky and all of the wonderful variations in light it brings shoule celebrated.
15 IDEA
The light pavilions herein take the concept of journey as their parti. The three circles represents the infinite life of light it comes from light to dark then dark to light. The external shelter is made of glass so the light can shine in the space, the grid structure is concrete which to support the glass and by the way limit the sunshine in a square or rhombus shape. People can walk through the pavilion either in the west or the east.
Idea 2 : Design Concept
16 IDEA
Form
3D VIEW 1
Structure
3D VIEW 2
Idea2 Analysis
light as a journey Journey, is the act of traveling from one place to another, especially when involving a considerable distance; a trip. Journey is also a process or course likened to traveling, such as a series of trying experience; a passage. In terms of this case, journey can be a metaphor of light. Specifally, there is light shine throught the whole journey or is just dark, so we can create many different shapes and refer back to the life of journey.
17 IDEA
The light pavilions herein take the concept of journey as their parti. The snake shape of the pavilion is unique and taken the idea in a rough journey, the pavilion itself is made of glass that can shade the sun in. The scale outside can open up and down to control the sunlight. There is entrance between the scale and the snake's body itself.
Idea 3 : Design Concept
18 IDEA
Form
3D VIEW 1
Structure
3D VIEW 2
Idea3 Analysis
light as a discovery Discovery, the process of learning something that was not known before, or finding someone or something that was missing or hidden. Philosophically, discovery refers to the outcome and to the procedure of inquiry. In terms of light, discovery generally apply to seek light or find light so in architecutre it might be having a settled structure or building then dicover light through the shading, form, and feature.
19 IDEA
The light pavilions herein take the concept of dicovery as their parti. The up and down "V" shape structure enable the sun shine through the interspace between each structure obeject. The material of wood can have a better shading purpose and to prevent sunlight when the sun is drying. The entrance can be either the entrance of Barr Smith Library or the end of the first lawn, or even the interspace through the pavilion.
R eflection :
Linguistic and Philosophical Definiation linguistic definition
philosophical definition
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.
Philosophical reflection is the careful examination of life situations. This involves the weighing of several alternatives and using specific standards to evaluate one's action. A man reflects philosophically when he is abel to build on previous actions, events,or decisions. This essential attributes spells the difference between man and other lower animal whoses basis of action is their feeling. Making an assenment of my life, i wil say that philosophical reflection has been part of my life. 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 at which the wave is incident on the surface equals the angle at which it is reflected. Mirrors exhibit specular reflection.
Sources: https://studymoose.com/philosophical-reflection-essay https://en.m.wikipedia.org/wiki/Reflection_(physics)
20 IDEA
Veild In Brilliance: How Reflective Facades Have Changed In Modern Architecutre Even 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 “jewellike architecture shimmer.” Mies van der Rohe absorbed this vision when he discarded the
rectangular tower in favor of a free-form glass skin in his proposal for the Glass Skyscaper in Berlin in 1921. In a 1968 interview, Mies explained his skepticism regarding the urban monotony of glass mirror effects: “Because I was using glass, I was anxious to avoid dead surface reflecting too much light, so I broke the facades a little in plan so that light could fall on them at different angles: like crystal, like cut crystal.” Norman Foster materialized this glass dream with his Willis Faber & Dumas Headquarters in Ipswich in 1975 and SOM presented it in its tallest manifestation with the Burj Khalifa Tower in Dubai in 2009. Undoubtedly the glass facade 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.
https://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-havechanged-modern-architecture
21 IDEA
Plan, Elevations, Sections
West Elevation Scale 1:300
Male and Female Toilet
Reception Area
Seminar room 2
S2
S2
Seminar room 1 Library/Reading room
22 FORM
Floor Plan Scale 1:300
West Section Scale 1:300
Section Detail 1
North Section Scale 1:300 Section Detail 2 23 FORM
Above and Below
Ground level
Ceiling
Underground pavilion
24 FORM
Access and Movement The vistor can access the pavilion through the southeast entrance and exit from the north-west. Vistors will go down a sprial ramp, and the journey will start ahead from the library/exhibition area, the northwest descent will be gradul, accessible to all. The well-used path between the buildings is still go to use. Above the ground, movement accross the lawns is hibiated and visitors can walk back and forth in the pavilion.
Visitors can pass through From Road,Victoria Drive and the campus access to the pavilion. They can walk through the lawn and the path in front of the Barr Smith Library to get a outdoor view of the pavilion.
Pedestrain path
25 FORM
Possbile access
3D Views: External
Image 1: Entrance
Image 3: Out
Image 2: Exit/Shelter area
26 FORM
tdoor View
Image 5: Outdoor View
3D Views: External Image 4: Outdoor View
27 FORM
3D Views: Internal The Library/Exhibition area is located at the left side corner when walking down the ramp. There is a curved wall which can be used to hang up some drawings or paintings. There is sunlight shine through the wall so it is a great place for people siting down to read or walking around.
Image 1: Exhibition area/Library
The largest seminar room is located at the west corner close to the toilet. The oblong shape room is suitable for the long chair and there is also a television hang up on the wall. The room is with suffcient sunlight and can see throught the glass ceiling to the ground.
Image 2: Seminar room
28 FORM
3D Views: Internal The bathroom in the pavillion is located at the middle of all the rooms it has a relatively flat ground compared to other rooms. The sunshine here is suitable during daytime and will be cool in the evening.
Image 3: Bathroom
The reception is the first room when walking down the ramp. It just contained a table and two charis. Looking out the door you can see the arc-shaped corridor and all the function rooms that the pavillion contains. The shadwo is here is a bit strange, because it is the start of the curved so the sunlight may not shade all the room but instead half the room.
Image 4: Reception
29 FORM
O pacity :
Linguistic and Philosophical Definiation linguistic definition
philosophical definition
In the most literal sense, opacity is the degree to which an object obstructs the transmissions of light or other radiant energy. In meaning it is insperable from its opposite, transparency, to which it is always inversely propotional. Opacity can thus be characterised as the absence of transparency, or the absence of light.
There seems to be a lot of opacity in our language. Quotation is opaque. The modal idioms are apparently opaque. Propositional attitude ascriptions seem opaque, as do the environments created by verbs such as ‘seeks’ and ‘fears’. Opacity raises a number of issues — first and foremost, whether there is such a thing. This article concentrates on the question of whether there is any opacity to be found in natural language, examining various reasons one might have for denying that apparent opacity is genuine.
Sources: https://www.oxfordhandbooks.com/view/10.1093/ oxfordhb/9780199552238.001.0001/oxfordhb-9780199552238-e-027 https://www.iep.utm.edu/referential-opacity/
30 FORM
Light Matters: Whiteness in Nordic Countries 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 â&#x20AC;&#x153;Nordic light: Modern Scandinavian Architecture,â&#x20AC;? Henry Plummer points out that although Norway, Sweden, Denmark and Finland are dissimilar in topography and vegetation, they
share the same subdued light. 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 brightness for dark winter periods, but for Plummer the affection for whiteness is also linked to the beauty of snow-covered landscape. The concept of white diffusion, using white-painted plaster, white-enamelled steel and white linoleum, was introduced by Alvar Aalto for the Paimio Sanatorium in the 1930s, and achieved a peak at the Nordyjllands Art Museum in 1972, according to Plummer. Shades of white cover the walls, floors and ceilings as well as the expressive daylight scoop. However, the power of pure white volumes is not the only characteristic of the Nordic built environment. The pulse of nature with vibrating patterns of light or the transiency of dramatic light and shadow belong to the distinctive Nordic light approach as well.
https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries
31 FORM
Materiality
32 MATERIAL
Structure
Whitewashed brick Concrete Wall Glass cover
The Whitewased brick is the main material for the snake scale underneath that is the glass cover which shade the sun inside the romm. The Blackwashed brick retaining walls line the corridors and principle rooms, their undulating surface allowing for a rich, textured reading of light and shadow. On the floor, the timber board gives a feeling of peacful and mysterious to the pavilion but there is still light and sunlight enrich this atmosphere.
33 MATERIAL
Blackwashed brick
Timber Floor
Texture
Whitewashed brick snake scale
Glass ceiling
Aluminum sliding door Blackwashed brick wall Timber Flooring
34 MATERIAL
PRODUCED BY AN AUTODESK STUDENT VER
Construction Detail
Brick
Waterproof
Glass Cover Brick Timber Flooring Graskets Concrete Base Ceiling
Earth Waterproof
Gypsumboard Insulation Gypsumboard
Scale 1:10 Timber Floor
Insulation
Earth Cavity
Concrete Beam
UCED BY AN AUTODESK STUDENT VERSION 35 MATERIAL
Scale 1:10
Exrenal and internal view
Fine Render
36 MATERIAL
External and internal view
Fine Render
37 MATERIAL
Visual Mobility 1
38 MATERIAL
Visual Mobility 2
39 MATERIAL
F iltration:
Linguistic and Philosophical Definiation linguistic definition
philosophical definition
Filtration is a process used to separate solids from liquids or gases using a filter medium that allows the fluid to pass through but not the solid. The term "filtration" applies whether the filter is mechanical, biological, or physical. The fluid that passes through the filter is called the filtrate. The filter medium may be a surface filter, which is a solid that traps solid particles, or a depth filter, which is a bed of material that traps the solid.
Filtration is the process of activing and delibrating attempt to remove what is unwanted and keep only what is desirable. This notion of the agency of filtration would revolutionise the way we saw the wrold and ourselves and Kent proposed that all experience and thought was not objective, but was actively filtered by the mind. Our perception of reality, then, is only what made it through the filter, the good and desirable. What does not make it through a filter is inevitably discarded or dissipated,considered unworthly. Filtration implies action taken on a moving, continuous process, making it distinct from the sorting of immobile objects. In this regard light,water and traffic may be filtered while photographys, bottled drinks or cars are merely sorted. Filtration therefore does not produce discrete or even complete results, but is rather than an ongoing process, an intention as much as an action.
Sources: https://www.thoughtco.com/filtration-definition-4144961 https://www.britannica.com/science/filtration-chemistry
40 MATERIAL
Light Matters: Le Corbusier and the Trinity of Light 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. 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. Studying Le Corbusier's sacred buildings for more than four decades has led to a deep fascination for Henry Plummer regarding the transformative power of light: “Instead of serving as a tool of religious persuasion, as it generally has in the past, light has become a quiet force to visually resist and elude, erode and outshine, the Churchs mandate. Light eats away and weakens institutional discipline, while exerting its own dazzling powers to draw attention out to the sky and its commonplace marvels – in effect using light to consecrate the natural universe”. 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 red-painted void even redder. For Plummer this reddish morning light is a clear analogy to human birth.
https://www.archdaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light
41 MATERIAL
The End Rep2 2019