Aaron TANG Eng Hau Rep 2

S e ek Ligh t Li g h t Pavi l i o n , Re pres e n ta ti on 2

a17 1888 3 A aron E ng H au TA N G

TABLE OF CONTENTS

Place Study

Pg.

Idea Generation

Pg.

3D Ariel and Ground Views, Shadows (Summer) 1

Luminosity

5- 6

3D Ariel and Ground Views, Shadows (Winter)

Design Concept

7- 10

2

Movement, Access Points, Site Plan, Sites Fields and Trees

3

Daytime Views

4

Night time Views

4

Form

Pg.

Material

Pg.

Reection

11- 12

3D Views

13

Exploded Perspective

14

Model Plan, Section, Elevation

15- 16

Opacity Ariel and Ground Views Interior Lightings Construction Details Mobility Diagrams Filtration

17- 18 19- 20 21-22 23 24 25-26

1

Place Study

3D Ariel View from Botanic Garden

3D Ground View from Botanic Garden

Shadows (Summer) January 22

9am

12pm

3pm

Place Study

3D Ariel View from Barr Smith Library

Shadows (Winter) June 22

12pm

3D Ground View from Barr Smith Library

9am

3pm

2

3

Place Study

Access Points

Sites Fields and Trees

Site Plan 1:500

Movement

Place Study

Day time view from Barr Smith Library

Day time view from Botanic Garden

Night time view from Barr Smith Library

Night time view from Botanic Garden

4

5

Light Study

Luminosity

Zaha Hadid’s projects are remarkable because of her innova on on using tangible materials and her imagina on regarding the medium of light. Her inspira on for finding forms are from her theories of fluidity and fragmenta on which design techniques are well- known.

Even though the light became an essen al element in showing and self-explanatory of her architecture, it have o en been neglected.

Nanjing Interna onal Youth Cultural Centre shows not only homogeneity like the Heydar Aliyev Centre, but also a dynamic transi on from the ver cal glass towers to a horizontal concrete podium. The Rhomboid panels of the Phaeno Science Centre gradually transform from transparent glass to fibre- concrete panels.

On the other hand, the illumina on was discretely integrated into the ceiling or looked like a starry sky was displayed by the Aliyev Center and Guangzhou Opera House.

Light closes the gap between architecture and our percep on. We sense materials and forms with our eyes through the reflected light. Zaha Hadid’s light lines appear graphically at the first sight because of her use of light. Nevertheless, the grand dame operated very skillfully to enhance her architectural imagina on.

Luminous lines—either as luminaires or windows—characterize her early work, whereas luminous fields and a play of brilliance emerged later.

The Nanjing Centre shows an almost offensively luminous surface it has hundreds of small holes in undulating lines follow the dynamic interior geometry for illumina on. The dotted ceiling in the grand hall signifies a dis nct luminous pixel aesthe c, in which the star ceiling at Guangzhou turns into luminous discs in Nanjing.

Quite obviously the rela onship of solid to luminescent surfaces have shi ed towards the side of light here.

Light Study The deďŹ ni on of light can be divided into two aspects: language and astronomy. Luminance can be deďŹ ned as Brightness. The luminosity in astronomy is the observer sees the brightness of the object. Obviously Luminance of absolute objects is the distance between the object and the observer, any light absorp on along the pat from the object to the observer.

6

7

Idea Generation

Light is an expansion

Idea Generation

8

9

Idea Generation

Idea Generation

10

11

Light Study

Re ection

Guggenheim Museum Bilbao The American architect Frank Gehry transferred this aesthe c of brilliance from glass to metal with the tanium cladding of the Guggenheim Museum Bilbao in 1997. While the connota ons range from a ship for the larger form to fish scales regarding the reflec ve panels, the building as a whole has turned into an urban jewel that kicked off numerous urban redevelopments with its iconic signature. Many an aspiring metropolis assumes that the structural form is the key successful factor in “Bilbao effect.” However, with the sparkling light quali es of the tanium sheets and its changing appearance, Frank Gehry has not only brought a dynamic composi on of forms to Bilbao but reinforced his design with a dis nc ve, dynamic image which varies with every cloud and sunbeam.

Elbphilharmonie There is no doubt that Herzog de Meuron’s glass curtain wall in Hamburg’s Erbil Hamon refers to Sherbat’s visionary glass culture and, indirectly, to the glittering skin of Hans Sharon’s Berlin Philharmonic.The glass elements bent inward and outwards distort the percep on of the city, water, and sky.They are a completely new contrast to the interna onal-style uniform flat glass curtains.The environment is not appreciated as a clear mirror image, but goes through a process of modifica on and replica on.

Light Study

Facade 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 dis nct distorted reflec ons due to the convex exterior shapes of the glass – comparable to a contact lens res ng on the façade.

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Reflec on is the light reflected by the object is the light that the object does not absorb and projects backward. The object is not a light source. The mirror is closely related to the image itself, but not the image itself. It is believed to be related to the concept of human thought. The Bri sh philosopher John Locke used a retrospec ve to describe “the a en on that thought takes to his own opera ons.” In other words, it is thinking about thought. Thus, for Hegel, reflec on is the way we discover the essence and important ways (thoughts, experiences) of things. In this sense, the light reflected by an object is intrinsically linked to the light striking it, and the intensity occurs.

Change in color or direc on, deforma on can only be part of the thing it originated, it is a simplified indica on of the existence of things, and cannot explain the deeper process or origin of things.

13

3D Views

Model

Exploded Perspective

Model

14

1. Outdoor seminar Room 2. Recep on Area 3. Indoor Seminar Room 4. Relaxing Space 5. Exhibi on Room 6. Relaxing Space 7. Small Library and Storage Room 8. Toilets

15

Model

Front Elevation 1:200

Plan 1:200

1 S

Model Elevation 1:200

Section 1:200

02 SD

01 SD

16

17

Light Study

Opacity

Dybkaer Church Early examples of white architecture could already be found in Denmark´s medieval churches, and this design approach s ll influences modern sacred buildings like the Dybkær Church by Regnbuen Arkitekter. For example, the sophis cated daylight concept arrives from three direc ons, 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.”

Religious buildings especially reveal a wide variety of me-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 a en on with characteris c light pa erns 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 contempla on. An outstanding example of a drama c light and shadow sequence occurs at the Pirkkala Church by Käpy and Simo Paavilainen. The altar appears as a canvas for the richly contras ng sunlight projec ons, where glass acts as a lens and as mirror.

Light Study

18

Opaque is a noun. Opaque is not transparent, it Indicates opacity and cannot penetrate.

French opacité origina ng from the La n opacitas-ta s. The alterna ve symbol of the word opacity is meant to be obscure, and thus the understanding is obscure.

Deborah Dambani’s poem “raindrops” is used The word opaque that people cannot see And it is the opposite of clarity.

“I brought clarity to opacity, like this stagnant pool.

In this case, opacity is related to the state of mind, because clarity means Clear, consistent and clear quality.

19

Ariel View

Model’s Detail

Model’s Detail

Ground View

20

21

Renders

Model’s Detail

Model’s Detail

22

23

Model’s Detail

Construction EPDM Gasket Aluminium Mullion

Aluminium Transon Aluminium Cap

Concrete Coller

Double-glazed Unit

Gravel Base

Base Pad

01 SD

02 SD

Material

Model’s Detail

24

Oak Wood

Aluminium Frame

Glass

Grass

Glass

Marble

25

Mobility Diagram

Model’s Detail

Model’s Detail

Mobility Diagram

26

27

Light Study

Filtration

Le Corbusier Studying the sacred architecture of Le Corbusier for more than 40 years led to a deep fascina on with Henry Plummer for the transforma ve power of light: “Light is not a tool of religious belief, but a quiet Power, with visual resistance and escape, erosion and transcendence, the mission of the church. Light engulfs and weakens ins tu onal discipline, while at the same me exer ng its own dazzling power, a rac ng a en on to the sky and its familiar miracles - in fact, using light to dedicate Natural universe.�

Chapel of Notre Dame Du Haut For Plummer, the main feature of the Notre Dame Cathedral in Langham (1950-55) is the con nuous circula on of solar ac vity. The dawn of the sun illuminates the wall of the chapel, making the red painted void become redder. For Plummer, this reddish morning light is clearly similar to human birth. Later, the sun drowned the high gap between the east wall and the south wall, accompanied by light passing through the deep cavity of the south wall. A small horizontal crack of ten cen meters li s the roof from the wall and contrasts sharply with the ver cal Brise-soleil in the southeast corner. At sunset, an opening in another small chapel ďŹ nally glowed warmly.

Light Study

Filtra on is a noun derived from the world filter, which is the screen or a achment for absorp on.

Filtering can also be described as screening Extracted from experience and emo ons.

Geoffrey Brewer’s poem “The Old City Elegy”: Our li le world is in harmony with the ac on.

No barriers to health and safety; no filtering adventures...”. This excerpt points to the world Not filtered, so you can experience. Every French architect saw the filtered light And the three sacred buildings of the ar st Le Corbusier; Notre Dame du Haut church in Ronchamp, France, 10 Sainte Marie da la Toure e monastery Eveux - Sur’L’Arbresle in France and Zurich St. Pierre Church, in Famini, France.

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