seek light Zixuan Sun rep2 magzine

SEEK LIGHT -Light Pavilion Representation II, 2019

Zixuan Sun a1737397

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C O N T E N T S

Part I Place Site Photos Elevation & Plan 3D site Light & Shade Access & Movement

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Light Study 1- Luminosity

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Part II Idea Metaphor

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Precedent Study

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Light study 2- Reflection

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Part III Form 3D model

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Elevation, Plan & Section

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Light Study 3- Opacity

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Part IV Material 3D View Inside of pavilion & Light Materials & Composition

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Light Study 4 - Filtration

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1 site Photos

PLACE

Day time View

Night time view

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PLACE Site Plan

Western Elevation ( Barr Smith Library)

1 Elevation & Plan

Southern Elevation ( Ingkarni Wardli)

Northen Elevation (The Braggs)

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1 3D Site

PLACE

Aerial View

Ground View

Aerial View

Ground View

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PLACE

JUNE 22, 9AM

JUNE 22, 12PM

DECEMBER 22, 9AM

DECEMBER 22, 12PM

JUNE 22, 3PM

1 Light & Shade

DECEMBER 22, 3PM

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PLACE

Access& Movement

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PLACE

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The Braggs An elaborate faceted glass envelope wraps the building to create a crystalline form that shimmers through its reflection and refraction of light throughout the day.

The eight-storey Ingkarni Wardli building was the first Key Site project in Australia to achieve a six Green Star ratFeatures ing under the GBCA Green Star Education.

Students can sit down and chat here

Lots of club activities are held here

Ingkarni building

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Light Study I - Luminosity Luminosity is an absolute measure of radiated electromagnetic power (light), the radiant power emitted by a light-emitting object.

In astronomy, luminosity is the total amount of electromagnetic energy emitted per unit of time by a star, galaxy, or other astronomical object.[3][4] In SI units, luminosity is measured in joules per second, or watts. In astronomy, values for luminosity are often given in the terms of the luminosity of the Sun, Luminosity can also be given in terms of the astronomical magnitude system: the absolute bolometric magnitude (Mbol) of an object is a logarithmic measure of its total energy emission rate, while absolute magnitude is a logarithmic measure of the luminosity within some specific wavelength range or filter band.

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After a period of raw, cool, concrete buildings, Hadid turns for the first time to a warm, golden and glossy atmosphere with the Guangzhou Opera House (China, 2010). The design of the auditorium is driven by fluidity and seamlessness.

Thousands of light pixels in the ceiling remind the audience of a dream-like starry sky. Light patterns on the cascaded balconies evoke the impression of reflections in waterfalls. These waves stand in a clear contrast to the crystalline exterior with the triangular façade pattern.

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.

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.

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IDEA

Metaphor

Light as nature- The nest A nest is a place animals live or raise offspring.

Nests are made of tree branches and light can penetrate them to form filtration. My first design was inspired by nature- nest. My aim is going to construct a nest-shaped pavilion and let the light come through in the ibterstice.

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IDEA

Diffuse reflection

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Diffuse reflection is the reflection of light or other waves or particles from a surface such that a ray incident on the surface is scattered at many angles rather than at just one angle as in the case of specular reflection. Since the diffusion goes to any direction, the ray of light can form any shape and I would like to take that to form a series of diamond- shaped room.

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IDEA

Final Design

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IDEA

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The Seattle Public Library’s Central Library is the flagship library of The Seattle Public Library system. The library has a unique, striking appearance, consisting of several discrete “floating platforms” seemingly wrapped in a large steel net around glass skin.

Prencedent Study

Beijing National Stadium, also known as the Bird’s Nest .

The entire structure of interconnected sections was welded together as the primary means of interconnection used to assemble the entire surrounding nest structure. Upon removal of the supporting columns used for the purpose of expediting the assembly of the interconnecting sections, the completed nest structure as a whole settled approximately 27 cm to attain full stability before the interior design and construction of the stadium could be installed and completed.

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Light Study II - Reflection Reflection is the process by which light and heat are sent back from a surface and do not pass through it. something that makes other people have a particular opinion about someone or something, especially a bad opinion.

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.

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Undoubtedly the glass façade 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.

The precursor to the Elbphilharmonie, which first showcased Herzog & de Meuron’s desire to transform the mirror effects of modernist glass skyscrapers, was the Prada Epicenter in Tokyo, completed in 2003. The glazing shell consists mainly of rhombus-shaped elements, but selected parts create distinct distorted reflections due to the convex exterior shapes of the glass – comparable to a contact lens resting on the façade.

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.”

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 17 the Burj Khalifa Tower in Dubai in 2009.

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FORM

3D Model

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FORM

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3 Elevation, Plan& Section

FORM

West Elevation ( 1:200)

Section ( 1:200)

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FORM

Plan( 1: 300)

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Light Study III - Opacity obscurity of sense. the quality or state of being mentally obtuse. the quality or state of a body that makes it impervious to the rays of light broadly : the relative capacity of matter to obstruct the transmission of radiant energy. an opaque spot in a normally transparent structure (such as the lens of the eye).

Opacity is the measure of impenetrability to electromagnetic or other kinds of radiation, especially visible light. In radiative transfer, it describes the absorption and scattering of radiation in a medium, such as a plasma, dielectric, shielding material, glass, etc. An opaque object is neither transparent (allowing all light to pass through) nor translucent (allowing some light to pass through). When light strikes an interface between two substances, in general some may be reflected, some absorbed, some scattered, and the rest transmitted.

Reflection can be diffuse

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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.

Religious buildings especially reveal a wide variety of time-concepts. The concepts range from material textures to specific glass features and built volumes that change the image during the course of the day and season. Some churches call for attention with characteristic light patterns during the whole morning liturgy, some welcome the sunlight at the end of the service at noon whereas others imply only subdued light to enhance contemplation. An outstanding example of a dramatic light and shadow sequence occurs at the Pirkkala Church by Käpy and Simo Paavilainen. The altar appears as a canvas for the richly contrasting sunlight projections, where glass acts as a lens and as mirror.

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Material

Ground View

3D Views

Ground View

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Material

Aerial View

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Aerial View

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Material

Inside of Pavilion & light

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Material

Diamond-shaped exhibition houses are basically made of highly transparent glass and the alloy skeleton is attached to the surface of each glass.

4 Materials & Composition

The pavilion supported by aluminum alloy skeleton is like a huge mountain. It has a silvery sheen to it. When the sunlight comes through, it will make a beautiful shadow.

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Light Study IV- Filtration 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.

Filtration is any of various mechanical, physical or biological operations that separates solids from fluids (liquids or gases) by adding a medium through which only the fluid can pass. The fluid that passes through is called the filtrate. In physical filters oversize solids in the fluid are retained and in biological filters particulates are trapped and ingested and metabolites are retained and removed. However, the separation is not complete; solids will be contaminated with some fluid and filtrate will contain fine particles (depending on the pore size, filter thickness and biological activity). Filtration occurs both in nature and in engineered systems; there are biological, geological, and industrial forms.

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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. The dramatic atmosphere increases till the moment when the golden light hits the slight upward tilted roof plane and grazes over the tactile ceiling of prefabricated slabs.

This effect changes with the seasons – ranging form a small triangle in winter to a large rectangle in summer when the sun reaches its maximum power.

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.

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. Polycarbonate cylinders with concentric grooves holding the glue cause these impressive wave effects. The luminous pattern appeared unexpectedly for the client when the cylinders were mounted into the concrete wall.

Plummer points out, that Le Corbusier could not have envisioned this phenomenon - particularly as the actual construction of the building wasn’t carried out until decades after his death - but it is known that he delighted in, and often encouraged, accidents of construction, especially when they enhanced the character of the building.

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