Zixuan Sun Rep2 2nd attempt

STAGE

A1737397 I Zixuan Sun I Rep II 19 - Light Pavilion

1

Part I Place Site description & Photographic study

9

Part II Idea Metaphor & Idea generation

3d views of the site Elevations Access & Movement

Experiential views

Shade & Shadow study

Light Study - Luminosity

Light Study - Reflection

Part III Form Final design

15

Site plan & Floor Plan Elevation & Section

Light Study - Opacity

Part IV Material Aerial, Ground view & Detail

21

Composition, Structure & Construction detail Internal views of the pavilion Mobility

Light Study - Flitration

PLACE

- Site description & Photographic study Ambient light ( Night)

1

Ingkarni building

Ambient light ( Day)

The Braggs

2

PLACE - 3d views of the site

Ground Views

3

Aerial Views

PLACE - Elevations

1

Western Elevation -Barr Smith Library (1:200)

Northern Elevation -The Braggs ( 1:1000)

Southern Elevation - Ingkarni Wardli ( 1:1000)

4

PLACE - Access & Movement Rest area Public activity spaces

Pedestrian Entrances & Movement 5

PLACE - Shade & Shadow study

9AM Winter

12PM Winter

3PM Winter

9AM Summer

12PM Summer

3PM Summer

1 6

Light Study I - Luminosity Linguistic definition -The state of producing or reflecting bright light; the state of appearing to shine -The brightness of a star, comet.

-The measurement of the rate at which an object produces radiation.

-The total amount of energy produced by a star in one second.

Philosophical meaning There are important Buddhist concepts in the main traditions of Buddhism. In the context of Indian-Tibetan Buddhism, the term is usually translated into clear light or radiant light, both of which are literally in Tibetan, but in the context of East Asian Buddhism, it is usually simply translated into purity. Other common English translations include illuminating, internal Radiation, brightness and luminosity. Although it is obvious, the interpretation of luminosity varies according to various Buddhist traditions.

7

Meaning in architecture 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.

8

IDEA - Metaphor & Idea generation

Seek Light is a journey Just as a candle spreads light in a darkened room, people who are living in-Spirit give off a higher energy that can bring light to our hearts and minds. As the slogan of the university of Adelaide, seek light means seek the light of new knowledge. And the process is called a “journey�. human beings are searching truth and meaning of existence.

9

IDEA - Idea generation Idea I “Journey”

Idea I

Idea II

2

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.

My first idea is called “Journey”. Parallel light is reflected in all directions. Like the people we have been with all along. Something is bound to start a new journey in each direction.

In my drawing, the light which is reflected create irregular figures and paths which can be the main structures of my final design.

Idea III 10

IDEA - Idea generation Idea II “Pinhole camera”

The pinhole camera - effectively a light box with a small hole on one side. Light from the scene passes through the aperture, projecting a reversed image on the other side of the box.

In my drawing, using the principle of pinhole camera, light passes the board with round hole directly to the lower one, can form the light pots which have the same shape of the hole.

11

Idea III “Cheese”

Specular reflection is a surface reflectance that is generally described as a specular reflection of light from a surface. In specular reflection, incident light is reflected into a single exit direction.

In my drawing, based on the previous two ideas, The specular reflection principle was added and it results a double- storey pavilion in the shape of cheese.

IDEA - Experiential views

2 12

Light Study II - Reflection Linguistic definition -The image of something in a mirror or on any reflective surface.

-The return of light, heat, sound, or energy from a surface.

-A sign or result of something.

-The throwing back by a body or surface of light, heat, or sound without absorbing it.

-serious thought or consideration.

Philosophical meaning

In inorganic properties, reflection is the process by which things reproduce the traces or traces of things that affect them under the influence of other things. In organic properties, reflection is an active process, for example in the process of adapting an animal to its environment or irritating plants and other organisms. Here, the biological characteristics of the individual actively exhibited by the species in the long-term adaptation process are directly affected by other objects in the environment, and similar phenomena have appeared during the development of this period.

13

Meaning in architecture 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 space-form 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.” 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.

14

FORM - Site plan & Floor plan

Barr Smith library

Site plan ( 1:650 ) Exhibition space Seminar rooms

M/F/D Toilets Reception area

Disabled access

Stairs

Exhibition corridor Storage space 17

Reading/ Relaxing space

Small library

Floor plan ( 1: 300)

FORM - Elevation & Section

Ingkarni Wardli

Elevation ( 1 : 500)

Section( 1:500)

3 18

Light Study III- Opacity Linguistic definition -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.

-The state of being opaque, or the degree to which is opaque

Philosophical meaning The problem of referential opacity is to explain why a certain inference rule of classical logic sometimes produces invalid-seeming inferences when applied to ascriptions of mental states. The rule concerns substitution of terms for the same object, and here is one of the controversial examples. It involves the mental states of Lois Lane, who believes that Superman can fly. However, she does not know Superman is her coworker Clark Kent, and it is very natural to say that she doesn’t believe that Clark can fly.

19

Meaning in architecture 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.

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 20

Material

- Aerial, Ground view& Detail

24

Material - Composition, Structure & Construction detail Covers with round holes create the light spots for the rooms downstairs Round- shaped glass fitting in to the covers prevents leakage of rain and keeps people from falling off Main structures on the ground level

Path with round glass for people to walk creates light spots

Main structures under the ground provides space for activities

23

Green oak wood for construction

Air space Glass

Double glazed glass with high transmission of light Spacer Green oak wood for construction

Seal

Green oak wood for construction

4

Inner leaf Outer leaf Double brick veneer wall

Cavity board Retaining clip 24

Material - Internal views of the pavilion

Library / Reading room

25

Exhibition corridor

Seminar room

26

27

Internal Views - Light works in the pavilion 28

MOBILITY

29

30

Light Study IV- Filtration Linguistic definition - Filtration is a physical, biological or chemical operation that separates solid matter and fluid from a mixture with a filter medium that has a complex structure through which only the fluid can pass.

-The act of passing a liquid or gas through a piece of equipment in order to remove solid pieces or other substances

Philosophical meaning The The art of filtration was known to early humans, who obtained clear water from a muddy river by scooping a hole in the sand on a river bank to a depth below the river water level. Clear water filtered by the sand would trickle into the hole. The same process on a larger scale and with refinements is commonly used to purify water for cities.

The art of filtration was known to early humans, who obtained clear water from a muddy river by scooping a hole in the sand on a river bank to a depth below the river water level.

31

Meaning in architecture 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 Church´s mandate.

32