SEEK LIGHT ZHI XUAN CHEN A1729720
CONTENTS PAGE PART I: PLACE
ABOUT THE SITE 1 SITE CIRCULATION AND USAGE 2 SITE MEASUREMENTS 3 LIGHT AND SHADE STUDY 3-4
LIGHT STUDY I: LUMINOSITY PART II: IDEA
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SEEK LIGHT IS...SELF REFLECTION IDEA GENERATION EXPERIENTIAL VIEW OF POINT OF ENTRY EXPERIENTIAL VIEW OF PLACE OF ENLIGHTENMENT
LIGHT STUDY II: REFLECTION MOBILITY PART III: FORM
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DESIGN PROCESS PLAN ELEVATION SECTION EXPLODED PERSPECTIVE WALL DETAIL SKYLIGHT DETAIL
LIGHT STUDY III: OPACITY PART IV: MATERIAL
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MATERIAL PALATE 23 ARIEL VIEW 23 GROUND VIEWS 24 INTERNAL VIEWS 25-26
LIGHT STUDY IV: FILTRATION
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PART I: PLACE
ABOUT THE SITE
Situated in front of the Bar Smith Library, Maths Lawn is a wide open space area that is surrounded by four high buildings, with small trees, table and bench seatings along the perimeter of the lawn. This project is to create a pavilion that will provide more space function for the University of Adelaide’s staff and students that plays with the idea of LIGHT.
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AERIEL VIEW OF MODEL 1
SITE CIRCULATION AND USAGE
AERIEL VIEW OF MODEL 2
HIGH DENSITY
GROUND VIEW OF MODEL 1
LOW DENSITY
As shown in the diagram on the side, most of the movement occuring on site are concentrated on the side walks. Small vehicles are also observed to have passed through the site along the side paths. Aside from every friday when the Adelaide University Union holds their free lunch stand and whenever during Orientation or Festivals, Maths Lawn is not in use, and the bench seatings are mostly empty during winter season, causing it to be quite “deserted” due to the cold weather.
AERIEL VIEW OF MODEL 2 2
SITE MEASUREMENTS
29800 26000
13800
The site gets very limited sun due to the height of the buildings surrounding it which blocks off most of the morning and afternoon sun. While the site do receive more sunlight during the summer, not much light is shone upon the site during winter. The site does not get too dark as it is quite a vast site and has light poles along the lawns.
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The lawns are “exposed� in most parts and shade is present only by the small trees and by the height of the buildings around it. Even so, looking at the diagrams, the site still gets the most sun during summer whereas in the winter, the buildings blocks the sun light.
21000
18400
LIGHT AND SHADE STUDY
23500
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SUMMER 9AM
WINTER 9AM
SUMMER 12PM
WINTER 12PM
SUMMER 3PM
WINTER 3PM
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LIGHT STUDY I: LUMINOSITY (https://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid)
Luminosity, as defined by the Cambridge dictionary, is said to be the state of producing or reflecting bright light; the state of appearing to shine. Zaha Hadid is famous for her organic, tangible designs, but that has not always been the case. Her designs have morphed throughout her career from luminous lines during the earlier states to brilliant luminous fields that we most associate with her now. From cutting edge to free flowing, Zaha Hadid’s imagination and knowledge has allowed her to manipulate and incorporate light into her own unique technique and has created amazing and innovative projects that showcased her remarkable light-interpreted architecture.
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Zaha Hadid’s earlier works were characterized by strong, decisive non-parallel luminous lines. These lights lined the ceilings, walls and ground of the structure reflected the concrete’s materiality and sharp edges emitting the feeling of explosive energy. The light linings in between walls and ceiling also gave a sense of deconstruction. While it did in a way, “frame” the concrete’s precise lines of the edge of the buildings, soft lights were used within in conjunction with light from the outside. This combination created a diffused and soft illumination that contrasted and cancel out the energy from the sharp edgy forms. In her continued explorations with light, Hadid became fascinated with the patterns on transportation and began to incorporate abstract urban transport movements and characteristics into her luminaries. One of the examples of this exploration is seen at Strasbourg’s Hoenheim-Nord Terminus and Car Park (2001). During the process of designing the Phaeno Science Centre in 2005, Hadid created forms with curved
shapes instead of using hard lines like in her previous works. This new change of style marked her transition from static lines to a more fluid, organic design practice. What used to be non-parallel with form, the placement of the windows and luminaries now mirror the same form as the structure’s form. Similar to her previous light design style, the use of both artificial and natural lighting as part of her design is still present, but instead of an explosive atmosphere, the new style creates a more holistic approach. Hadid moved on to experimenting reflection of light on glass rather than being absorbed on concrete after being inspired by glacial and ice formations. The properties and degree of the reflectance of glass resulted in creating a stronger tie between the new structure and the landscape around it as reflections of its surroundings is now “embedded” on the facade. As the viewers move about the structure, the reflection from different angles and atmosphere the perspective it provides a constant change to the viewer.
still appeared to be light weighted, now not just by the means of organic forms but also by reflection.
The atmosphere of Hadid’s lights transitioned from an concentrated explosive energy to a more grand spatial atmosphere. She achieved this through the use of fluid forms, daylight and soft diffused lighting. The light that illuminates the space now emits a calm atmosphere in contrast to the sharp lines and contrast between materials in her earlier works. From raw and cool, to warm golden and glossy. Her designs are no longer rigid, but fluid and smooth. Aside from daylight, her lights also mimic the reflection of the stars and waterfalls, playing on the idea of both day and night. Soon after, her design moved from concealed “stars” to a pixelated aesthetic. A bit more contrasting than the discrete light given off by the “stars”, the pixels were more offensive and prominent. And with pixelation followed fragmentation, that was used in a way that was very much transparent as a facade which creates a rippling effect and vibrant atmosphere. The fragmentation of surface provided dramatic changes in different daylighting situations. Her volume
Zaha Hadid’s design technique transformation made progressive change throughout her career, but there was one important element that was constantly present in her designs: the atmosphere that it created. From framing her deconstructive lined forms, integration of transportation patterns, reflection with the surroundings, waterfall like light waves to rippled fragmentation, all of these were enhancing and creating an atmospheric flow on her structures, leading the occupant to feel the ambiance that Hadid intends them to feel. However, Hadid did not use luminaire design to heighten the visual effects but rather used it to explore new dynamics of facades that pushed numerous boundaries. Her theories on the fragmentation and fluidity of light was what enabled her design to be revealed in a way that was never before seen during her time.
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PART II: IDEA
IDEA GENERATION
SEEK LIGHT IS... SELF-REFLECTION There is no end to self-reflection, to define who we truly are as it is a process of constant search and constant change to better ourselves depending on the situation we are in. I chose the circle to represent the inner self and also as a symbol of “never ending�. IDEA 1 Multiple circles within a circle to represent different personality and characteristics in a person. All in different sizes to show the complexity and depth between the characteristics that makes one unique.
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IDEA 2 Circle broken in to two, the “light” and the “dark” within one self. Different yet part of the same circle. Broken yet still linked in some way. As all things require balance, the light needs the dark.
IDEA 3 A circle within a circle a metaphor for what we show on the outside and the parts we keep within. Mirrored to “self-reflect” by seeing one self as a whole and not just parts we choose to see.
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IDEA 1
EXPERIENTIAL VIEWS OF PLACE OF ENTRY IDEA 2
IDEA 3
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IDEA 1
EXPERIENTIAL VIEWS OF PLACE OF ENLIGHTENMENT IDEA 2
IDEA 3
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LIGHT STUDY II: REFLECTION (https://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changedmodern-architecture)
According to the Cambridge dictionary, Reflection is defined as the image of something in a mirror or on any reflective surface. Since the beginning of age, humans have always been fascinated with the idea of light. The transparency and use of glass in architecture were pushed to its height during the modernism era, but with numerous glazed skyscrapers erected (and many still being built now), it would seem that the magnificence of glass back in the day is no longer appreciated but rather, considered to be “boring�. This led to the re-imagination of glass as a facade and countless new and aspiring design technology begin to gain interest.
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The use of glass and metal were iconic in modernism architecture, being one of the main drives that shifted the focal attention of architecture from the space within to the external facade. The lightness and transparency of glass was often associated the good side of spiritually, brightness in “a better world”. While the texture of reflection and transparency of glass were celebrated, there was the concern of getting too much monotonous reflection off of it. In Mies van der Rohe’s proposition for the Glass Skyscraper in Berlin, had that concern. To tackle the problem, he broke the flatness of the glass by having little separations in between so that he could achieve a crystal-like effect when light falls upon the glass on different angles. Now, instead of flat transparency of glass, the structure reflected light similar to the way crystals do. Another ingenious way of breaking the monotonous quality of glass is evident on the Elbphilharmonie in Hamburg. Curved both inwardly and outwardly, the glass created a skin
that frames a distorted perception of the buildings, water and sky in its surroundings, providing a new way of appreciation of the scenery around the structure through distinctively reflected brilliant light streaks. As light shines upon it, the irregularity of the facade creates speckles of light through reflection thus creating a jewel-like effect. The distorted reflection produced compasses a vivid and liquid-like image. Frank Gehry on the other hand, showcased the aesthetic of light reflection through not the use of glass, but of metal, as seen executed brilliantly in the titanium cladding of the Guggenheim Museum Bilbao. The reflection of the titanium produces sparkling light qualities that creates a dynamic appearance that changes with every single light that falls upon it, perhaps much more dramatic than possibly what would have been gotten from glass. This creation became an impactful key that inspired many other redevelopments with its iconic symbolism, creating what was termed as the “Bilbao Effect.”
combined with the reflection of surrounding light produces a sense of light-weighted-ness to the eye. The metal reflects the sky and light around it, providing a “break” from the dark heavy perforations where the bands are more towards the ground.
The Selfridge Birmingham department store that opened in 2003 became its own marketing device with the sense of mystery and fascination of the scale caused by the discs encompassing the facade. As a dense mesh of 16000 small shimmering discs that covers the building, it overthrows the sense of scale and hides what is within the fabric, leaving many questions as to what resides within. It is this curious feeling that the building ignites within the viewer that proved to be a better marketing strategy than any big advertising boards or logos. The small discs reflects only the brightness and color of the sky, which creates an abstract image in the midsts of its neighborhood. A subtle and elegant reflection, contrasting to its outstanding form.
The dramatic effect created by reflective facades can and have made an impact on its value and meaning to and the structure it sits upon. The fascination on the complexity of the reflection of light over-shone the brutalism of raw concrete and dark surfaces, causing a transition from a more bare architecture to one that is filled with “light and possibilities”. The flare and uniqueness with every change of light attracts the society that is much spectacle-oriented now a days. And with new technology and innovations, the possibilities in creating spectacular facades are seemingly endless.
The Messe Basel New Hall on the other hand, reflects light through a series of linear interpretation. The twisted aluminum bands along the facade gives a little bit of a twist to the monotony of windowless exhibition halls. Stretched across the building, the aluminum facade created with the twisting method 12
MOBILITY 1
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MOBILITY 2
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PART III: FORM DESIGN PROCESS
Idea 2 was taken and further developed into the final design.
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LEGEND 1 EXHIBITION 2 SEMINAR ROOMS 3 STORAGE 4 LIFT 5 RECEPTION 6 DISABLED TOILET 7 TOILETS 8 LIBRARY
PLAN 1:200
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ELEVATION 1:200
SECTION 1:200
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EXPLODED PERSPECTIVE
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PLASTERED INTERIOR FINISH INSULATION SHEATING BOARD CAVITY VAPOUR BARRIER INTERLOCKING COPPER PANEL CLADDING BITUMEN COATING BLOCK WALL FILLED SOLID GROUND LEVEL
WALL DETAIL 1:10
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
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PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
FLUSH-GLAZED JOIN GLAZING INSULATED PERIMETER FLASHING
SKYLIGHT DETAIL 1:10
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PRODUCED BY AN AUTODESK STUDENT VERSION
LIGHT STUDY III: OPACITY (https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries)
Opacity is the state of being opaque, or the degree to which something is opaque, as defined in the Cambridge dictionary. In Scandinavia, where light is scarce during the cold winter season, it is important that they are able to attain as much light as possible, and to do so the color white plays a critical role as Nordic architects’ response to the local environment. The power of white light and the nature of light patterns and shadows are characteristics to the peculiar way the Nordics approach the subject of light.
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way more fascinated in the effects on light in play with the beauty of nature. Pulmmer was intrigued with the relationship between light, nature and human soul. He found affection in the link between the whiteness within buildings, and beautiful snow-covered landscape.
Unique light situations due to extreme weather changes in weather and daylight resulted in Scandinavian architects having to experiment with white surfaces to prepare for the dark winter days. Due to the sun being in a lower position, daylight enters a building not from the top but rather from the sides. In comparison, light is more diffused during the summer. The color white is used due to its ability to provide higher reflectance of light comparatively to other colors. This is done so that sunlight is fully maximized for interior brightness during the winter season. In 1930, Alvar Aalto introduced the use of white-painted plaster, whiteenameled steel and white linoleum when designing for the Paimio Sanatorium which in turn created the white diffusion concept. With an extensive and careful study on various phenomenons of daylight in the Nordic countries, Henry Pulmmer, a professor at the University of Illinois sees daylight beyond its practical advantage to light up rooms and spaces, and is
Medieval churches have a particular attitude towards light, taking it as an important feature within the religion and was one of the early examples of white architecture found which is still influencing contemporary sacred buildings today. BagsvÌrd Church is one of the contemporary church that follows the concept of the old, designed by the architect so that the whiteness is fully used and the light intensity produced within is always stronger than the outside’s. The sophisticated daylight comes from three different directions: low north to emphasize a black steel crucifix, broadly from the south as a glancing wash and as a shower guided down through the wall behind the altar. With all the light and brightness going on, Irregularity
of texture is present to flush out the monotonous effect of white, giving a bit more depth to the viewer’s perspective.
weather, sunlight is very much needed indoors. The use of white along with glass is perhaps the most use combination by the Nordic architects to adapt and solve the complication of the local environment. In terms of spiritually, while enlightenment gives people a closer feeling to the higher beings, perhaps finding the light in oneself would better create the feeling of eternal illumination.
Light strongly ties with spirituality. The presence of light brings peace and perhaps a guide to those who are lost. In the Nordic church culture the need of light in relation with time is quite the drama. As light is needed, yet harsh light would be preferred to be avoided. Some churches welcome characteristic light patterns during the morning service while some welcome sunlight at noon after the end of the service. One of the churches that potrays this dramatic light and shadow sequencing occurrence is at Pirkkala Church. There are others that only require muted light to enhance contemplation, and avoided harsh light as it is seen to be distracting, and seeks to find the light within. All in all, light should be seen as importantly both practically and spiritually. Light is required in everyday life and especially in the Nordic during harsh winter 22
PART IV: MATERIAL
MATERIAL PALATE COPPER -Used on exterior cladding
GLASS -Used as skylight
MARBLE -Use as flooring
AERIEL VIEW
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GROUND VIEWS
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ENTRANCE VIEW
INTERNAL VIEWS
LIBRARY
RECEPTION
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RECEPTION
LIBRARY
EXHIBITION
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LIGHT STUDY IV: FILTRATION (https://www.archdaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light)
As per the Oxford dictionary, Filtration is defined as the action or process of filtering something. In this case study, it is assumed to be the filtration of light. By manipulating the orientation, openings and textures of a structure, Le Corbusier has skillfully created a kinetic architecture with daylight. Being associated with divinity and holiness across many different religions, light is a key element in sacred buildings. Le Corbusier desired to open the soul to poetic realms and is quite sensitive and particular on the interaction between colors and light in the sacred buildings he designs, each with distinctive features and individuality.
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For centuries, light has been strongly associated with the thought of holiness and divinity. While many have sought to uncover the secrets of light, the light we see and the light of the divine are two separate things. Even so, humans perceive visible light as most likely the closest to the heavens, a link between them and the divine. Le Corbusier is an artist and architect that skillfully incorporates light into the interaction with his sacred buildings, an irony really, being an agnostic. Having done an in depth study on Le Corbusier’s sacred works, Henry Pulmmer was captivated with the way Le Corbusier transforms light within his buildings. He found the lights to be a force that quietly but powerfully outshone the Church’s authority. One could say this was where Le Corbusier’s agnostic side came into play, light became the dominating factor rather than religion itself. The Chapel of Notre Dame du Haut at Ronchamp is largely characterized from the continuous circle of solar events. At dawn, the
red sunlight shines upon the already red-painted void alcove making it even redder at the point of time. Then, the sun floods through the tall slot between the south and east walls, with rays of light shining through the cavities of the south wall. At sunset, the sun shines a warm glow through an opening on the other side of the chapel. According to Henry Plummer, this light phenomenon created within the building was seen as a metaphor of the human birth and life cycle. At La Tourette, the light orchestration that Le Corbusier is more dispersed and complex. With one face opened facing the four basic directions, all the corridors provide visitors with different experiences with light, each unique according to its side. The window arrangements at the corridors are irregular which in turn creates irregular patterns of light and shadow that flows dissonantly. This flow pattern was seen to be like a musical composition, its highlight beginning during the sunset, where the change in lights and shadow creates a dramatic atmosphere up till when the light hits the tilted
has always encouraged “accidents” to happen.
roof plane and ceiling which creates a triangle that ranges in size depending on season. The light choreography at the church of Saint-Pierre at Firminy is arranged in three acts. It starts from the east side where small stellar windows are located to filter dots of light into the structure that later turns into waves that will rise and fall following the course of the sun. The movement of these waves create a phenomenal pattern over the walls facing the altar. When noon arrives, the waves of light disappear and sharp beams of sunlight strikes down from the roof through two angled tubes. As sunset dawns, a beam of golden light shines onto the altar wall. Warm sunlight is projected onto the interior wall while the stellar windows frame the cool blue sky, showing the cosmic scenes of day and night appearing simultaneously.
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Le Corbusier treated his buildings not as an architecture nor an art piece, but more like a musical instrument. The way that he has designed it to bring light into the buildings to create a specific scene at a certain time and to orchestrate an entire “show” throughout the entire day creates an unique experience to the visitors of the church. Le Corbusier’s combination of dynamic light within a static building volume is remarkable. What is more fascinating is the detail and position of every opening he created within the structure that was able to filter the light in at the correct angle at the correct time to create the sacred ambiance that is exclusive to the time and location.
While Le Corbusier has created many symphonies of light with his buildings, the waves created at Saint-Pierre was not necessarily within his vision. Even so, he 28