Seek Light

Seek L ight Light Pavilion, Representation 2

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a17 18883 Aaron Eng Hau TANG

TABLE OF CONTENTS

Place Study Pg. 3D Ariel and Ground Views 1 Shadows (Summer and Winter) 2 Movement, Access Points, Site Plans 3 Site Features 4 Daytime Views 5 Night time Views 6

Idea Generation Pg. Luminosity 7- 8 Precedent 9- 10 Design Concept 1 11- 12 Design Concept 2 13- 14 Design Concept 3 15- 16

Form Pg.

Material Pg.

Reflection

17- 18 3D Views 19 Exploded Perspective 20 Model Plan, Section, Elevation, Movement and Access Points 21- 22

Opacity 23- 24 Ariel and Ground Views 25-26 Interior Lightings 27- 28 Construction Details 29- 30 Filtration 31- 32

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3D Ariel Views

Place Study

3D Ground Views

Place Study

Shadows (Summer and Winter)

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January 22

9am

12pm

9am 3pm

12pm

June 22

3pm

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Place Study

Movement

Access Points

PRODUCED BY AN AUTODESK STUDENT VERSION

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GA 6A

PRODUCED BY AN AUTODESK STUDENT VERSION

NT27-C11 Molecular Life Sciences

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40218.2287 NT20-D10 The Braggs

11985.1565

19270.0187 NT41-D13 SANTOS Building

10459.1802

NT12-D11 Engineering and Maths. Sciences

21730.9160

49421.9883

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RK

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Site Plan 1:500 NT07-F8 Barr Smith Library

NT21-E10 Ingkarni Wardli

NT14-F11 Engineering North

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Ta autur iam ocut publibus, nestali sum comnemus, verrit int. Olussoli sus viri pertudem. Upimo morudam silici consunc ervivere, culem remoltu raccidi popopub liurbis in idint ficaver nicaperfiris conuntiam ia voludet deteriture tuidi publica etricavesuam morent. Ad Catum ia mo in veri, ius conferi conculabes auden ade am nocri in verum a tantim cus, su me conGerivilicera verist esteatur atursus publinates Ahacit; et factatiquem nitres? que omnihil us, quiurnum perfici emunum simus ego telicit ego estem atis; Catideatume cotio temus vividit veriam ad confecid in vehena, nis isse, quam nitum is nos es ide ium etio immo hos egeres At fici pula aucertilin te, simius, aucit. Nostrus liis, publis hos facchuium omperfe curnitu se consus me vis?

Rompl. Satratil hostrei firisti conve, eo, silic mordi, quit, omninatus, cae pervidem redius, sed in te consula

Place Study

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Site Features

PRODUCED BY AN AUTODESK STUDENT VERSION

Igit. Quastumum, ussa perunum, nosse vitius, fuis, es etem occhilicit viverebus nost obse factume nsunter icaessa tatrum se inatemn oneque nora quius, etebuntem ipsedet vasdace psentinatia nica; nentrem ia sulinam endam, quisquit, que effre et pret iam tum ses aris; nes publis? Geris acid conesse rnirte, consulus,Loculicam prei pra? que octuro vis, no. Fuideri tantenatquo urem inarehebem me et pror adhum senihilibus M. At gra opotis sidius, se pati tam terrives, pro etia? As vis firmis seninvoltus loculem urivernum ex sulus rei popotimunu vilinatus virtert emustum consim silia re nonlocrunt, pro esena, sendam num dum me atore halatust ves audet ex sa tatus con senteris tebem, consi paris. Saterox scri fuit re mo ublis, turniquam ina, ad consupec omaionsultum maio, fatum intem huidiem adducomnerei poristuraris publiu cotem inatifesse ingultu murn

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Day time view

Place Study

Place Study

Night time view

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Light Study

Luminosity

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 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.

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.

Striving for homogeneity at the Heydar Aliyev Centre (Baku, 2012) led to a softer graduation of light and shadow. During the day, the volume reflects the light and the overall shadow pattern of the sun dominates, with no sub-textures interfering in the smooth surfaces. The flat glass facades mirror the surrounding environment. At night, the interior light flows onto the exterior surfaces and exterior floodlights enhance the building geometry. Consequently, the fluid lines in the auditorium reveal soft brightness graduations as well. In opposition to the starry-sky luminaire arrangement at the Guangzhou Opera House, the lighting in Baku is subtly integrated into the wooden ceiling and walls—almost out of view of the audience. Additional cove lighting underlines the diffuse play of light on the fluid forms. However, in the lobby, the scattered light lines irritate with their strict edges when compared with the continuous flows of the rest of the structure.

Light Study

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Idea Generation

Precedent Studies Ben vem pubit, num is. Consimi hintili entimunum pritura? Tiae publi, quernum videt ficaescid dius publina rtarbem vis hos coena, quitiur nihilis sinatus in deore quamperfena, dit graequo nsupio, ventemus pati, ublium postamq uodiumei seniu vis. Mul verides, quemquas for horum igit ad rem prae conum venti, C. Itiquo ines orum ausa ses intilinam ad condam estrate, fore por la ressolu dactui facit.

Volium ducia alatium fue descrivem incla L. Senderes vivercerem fur. Grachil vivenamquero nitimorum ia prit at, que deo hum pertia?

Opiesti et L. menatelina pectus bonside orisse no. Grari testil horum mantiu inum int, mustine muncuropubit L. An tur, in Itantelumurs licae cre adhum es conloculi intem iampern irmistin te conver la meniturora, Catui conesup iortabi iam re tatius atuitiocchi, quem dius nic re et fuium hucte coti, nox moveruntiae viverum sa vicavocus ocultod morei con dient dienatil ublic mus, con tasta, occhuituus, Patre fat grae commore me tam stris aur. Tiam seremur, sum nossed mo pridentem in stios ina, sendius? issicerfecem fuit, se it, conti pos la dit iam senati, quamdio neni senerehent.

Ad factastiam consum linprore ta, ves? Odit; Casta verbes Catua res horsulum senteriti seniusq uontiss ulintrum in vilicat emoveri busuam teserrit, Ti. Si ta adefeceps, consulo ctebem pora quam acretia iurorem audam det res ves cupiortem, norunc tertant.

Lintess enatia? que det ius, occiissuam se tera nihil hore conloc tam nihilis ciis nos nonlocchus oculudere, itus puli sessupplin se confiris Maecum ad conferi tisque tesside averri sulis, moraes sus hos for quo

Idea Generation

Do, que etrios furninatiam iam Romnerei ium iam facchuctus aripio nihil hacturs sentiem sedo, sines horipim moenam iam et nercesil hebatiorem, se tus bonsul utudefa cessiditudam achus, vide inclum ina, que ni pultor abenaturnum publin tuis viventi cerum, sciaequid am nique in vis sentimper quit? Gil hus consupe roximodiis elude inclemu ssimiliis, facit. Opublius atum am aredien tilinve hebutum, ublicienate consuampone timum quam, contem teri prat. Averniculi pera tes, C. Seniquodiem praes? Lem liis; nostrarid avo, const? Dac re coenati, niaec tebes, cules! Si fatum, unc vividem actam intrem la am tantim re dees spero, quiu quam intiae tastra? Quam norudemus conoca cit, sensulis, unumus et fachilintius bonst essinvoltu suam ocrit.

Ita diumus silis; nius, vius. Ilibununcus, su quidet graedem Romnos, morbita porum es moernum, unicaud eorurnirio etis hintiliquit proride stemed facta, deatem nos crum ma, mus no. Go nin vid rehebut vidempri poptilicatum in sentis con dit? Nihilibus, quamquium rem te te avocci perferei consum ciorissedIna, cutus vil tatimur befaus ad iae nos, viverritus consit, opublic upplius porbis, tem temus sent niure fatuus vis hortus inpriur, prox notebess

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Idea Generation

Light is an expansion

Design Concept 1

Idea Generation

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Idea Generation

Design Concept 2

Idea Generation

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Idea Generation

Design Concept 3

Idea Generation

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Light Study

Reflection

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,” Even as modernism promoted the transpar“crystalline shapes of white glass” which make the “jewel-like ency of glass architecture, many within the architecture shimmer.” Mies van der Rohe absorbed this vision movement were conscious of the monotony of large glass facades, with even Mies van der when he discarded the rectangular tower in favor of a free-form glass skin in his proposal for the Glass Skyscaper in Berlin in Rohe using elements such as his trademark 1921. In a 1968 interview, Mies explained his skepticism regardmullions to break up his facades. But in the ing the urban monotony of glass mirror effects: “Because I was years since, countless uniform structural glazing skyscrapers have emerged and bored using glass, I was anxious to avoid dead surface reflecting too urban citizens. In response to this, unconven- much light, so I broke the facades a little in plan so that light tional reinterpretations of facades have gained could fall on them at different angles: like crystal, like cut crystal.” Norman Foster materialized this glass dream with his Willis interest.

Faber & Dumas Headquarters in Ipswich in 1975 and SOM presented it in its tallest manifestation with the Burj Khalifa Tower in Dubai in 2009.

Light Study

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.

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For an Australian science facility the veil has even fulfilled the task of protecting against the harsh sunlight. The architects Woods Bagot erected an urban icon with enveloping the entire building with aluminum sunshades, each individually computer modeled, for the South Australian Health and Medical Research Institute in Adelaide.

Some forms of sparkling reflective patterns are even able to initiate political discussions and influence the names of buildings. The “Fernsehturm Berlin” is an excellent example of this, with its reflection in the form of a cross emanating from the sphere. Built in 1969, the socialist and atheist party of the German Democratic Republic erected the tower to resemble the Russian satellite Sputnik. Located in the historic center of former East Germany next to a medieval church, the tall tower was intended as a political statement addressing the deconstruction of the old city. But the selection of pyramidal stainless steel panels led to an unintended effect: The reflections of the sun create a clearly visible cross pattern on the sphere. Thereby, the communist regime had accidentally installed a highly visible Christian symbol in an ostensibly atheist environment. Hence, the people in Berlin nicknamed the lighting effect the “Pope’s revenge.”

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3D Views

Model

Exploded Perspective

Model Iron Wireframe

Glass Wall

Green Shade

Wooden Floor and Wall

Wooden Polygon Glass Floor and Wall

Iron Shade

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Model Plan 1:200

Movement

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Legend: 1. Reception 2. Seminar Room 3. Gallery 4. Storage Room 5. Seminar Room 6. Relaxing Space 7. Reading Space 8. Disable Access 9. Toilet Access Points

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Section 1:200

Elevation 1:200

Model

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Light Study

Opacity

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.

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.

Light Study

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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.

Early examples of white architecture could already be found in Denmark´s medieval churches, and this design approach still influences modern sacred buildings 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. I provided white walls and white ceilings so that daylight, which is limited in Denmark for much of the year, is fully used and produces an intensity of light always greater than that outside.”

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Ariel View

Model’s Detail

Model’s Detail

Ground View

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Interior Lightings

Model’s Detail

Model’s Detail

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Model’s Detail

Model’s Detail

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Light Study

Filtration

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.

Light Study

Around noon the waves of light disappear and sunlight from two angled tubes in the roof strikes down into the darkness with sharply defined beams. On overcast days, two soft luminous veils emerge on the walls. With the approach of the sunset a golden light shoots into the church and hits the altar wall. A rectilinear light cannon projects the intense warm sunlight onto the interior wall while a cool sky blue falls softly through the stellar windows. Here the cosmic scenes of day and night appear mysteriously together.

Le Corbusier’s light techniques emerge as a multifaceted language to consecrate his sacred buildings. His dynamic layers of light transcend the static building volumes - a cosmic cycle that changes with the course of the day, year and with a clear or overcast sky. His structural elements range from tiny stellar openings to large tubes, but even small interventions are used to generate remarkable light patterns that reflect cosmic power. Le Corbusier expressed his consciousness of the cosmic power of light in his personal synthesis of maxims in the beginning of “The Poem of the Right Angle” (Le poème de l’angle droit, 1955, translated to English by Henry Plummer.

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