REDEFINE LIGHT
TRAYTON HANNATH
A1749028
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2|CONTENTS| |Light| .............................................. 1 |Contents| .............................................. 2 |Contents| .............................................. 3 |place| .............................................. 4 |place| .............................................. 5 |place| .............................................. 6 |place| .............................................. 7 |place| .............................................. 8 |place| .............................................. 9 |Luminosity| .............................................. 10 |Luminosity| .............................................. 11 |Idea| .............................................. 12 |Idea| .............................................. 13 |Idea| .............................................. 14 |Idea| .............................................. 15 |Idea|
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.............................................. 16 |Idea| .............................................. 17 |Reflection| .............................................. 18 |Reflection| .............................................. 19 |Form| .............................................. 20 |Form| .............................................. 21 |Form| .............................................. 22 |Form| .............................................. 23 |Opacity| .............................................. 26 |Opacity| .............................................. 27 |Materiality| .............................................. 28 |Materiality| .............................................. 29 |Filtration| .............................................. 30 |Filtration| .............................................. 31 |MOVMENT| .............................................. 32 |MOVMENT| .............................................. 33
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The site can be catogarised as a partly shaded open area that allows students to both relax and to reach their classes.
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Movment Digram
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Luminosity
is defined as the visible light radiated out from an object. This being the light within the viewable range of a human. That said there is more than meets the eye when it comes to an object’s luminosity. The true definition of luminosity when removing an observer is the total radiation emitted from an object. Light, x ray and ultra violet are parts of luminosity, most forms going unnoticed because they exist outside what is the viewable spectrum of a human. Now that Luminosity has been seen as more than just the visible light the greater significance of it must be understood when it comes to the human race. X-rays use to see within the human body have vastly improved how people are treated, this has 10|LUMINOSITY|
gone on to save countless lives and help propel our understanding of ourselves. This practical application of Luminosity moves us forward not only on an individual level but as a species. This then leads to how can we look at luminosity now to see where we need to go as a species. The simple answer to this can be seen at night with little visible light. The stars, luminosity is the key to understanding the greatest herald ahead of us, space travel or however FTL (Faster than Light). Light in this respect is the universal law that governs all aspects of reality and to better understand ourselves and this universe we find ourselves in we need to challenge the preceded limitations and look towards luminosity for the answers of how to move forward
from where we find ourselves now. Luminosity, when an architectural work is experienced it is expanded with every sense. Some architecture understands this creating an experience that engages each sense on its own level. When architecture is designed this way the one sense that gets pushed aside the most surprisingly is sight. Majority of popular architecture will be visually beautiful and will generate an idea of what the architecture should be in your head, but what is forgotten is not the form or textures but the buildings ability to interact with luminosity. Large concrete forms absorb any light, Zaha Hadid’s work allows the building to manipulate the light, using it strategically to create an experience that
truly engages sight and best represents what luminosity means. leeza soho by Zaha Hadid represents what a steel and glass skyscraper could be. The free flow of the internal cavity of the building creates a light height appearance to what is a massive skyscraper. This allows for the manipulation of light to create views from outside the building that are simply jaw dropping. This manipulation of how light is perceived appears to be heavily influenced by how an X-ray would look. The ability to see within without is because of the manipulation of the buildings Luminosity qualities. This celebration of what light can truly mean to a building is the true understanding and mastering of Luminosity within architecture. |LUMINOSITY|11
Tracing Hand Shadows 12|IDEA|
Random Triangles
Coloured Triangles
Rounded Bricks
Leaves
Building Fenestration |IDEA|13
Test 1.
The simple extrushion of diffrent coloured prisums placed onto the site to allow for a sense of scale and to better undertand how col14|IDEA|
ours will play into the overall larger concepts of splitting light and the sense of a higher power.
Test2.
Further exploration of the idea of coloured glass to create new ways to see light. The arching form associated with both godly beings
nad the idea of perfect geomtry.
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Test 3.
The combunation of diffrent ideas that origenated in previos steps. This idea of these large trianglar forms is solidfied. Colour16|IDEA|
ed prisims allow for the light to be carried onto the sight. if a true prism was used could not be garenteed that coulrs will come through
where wanted. This form of filtraion is the easiset way to achive desired effect of the form.
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Reflection is defined as the resulting image where a wavefront interacts with two masses that result in the wavefront
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being terminated back towards the mass. The basic understanding of luminosity that us as humans have created (visible light) can only occur when there is some form of reflection. All wave fronts will reflect of off a mass, but some wavefronts are absorbed by the mass. This allows for us to observe
colours, such as the blue of the sky. Some animals such as cuttlefish use this to their advantage, changing their colour to blend into the surrounding world. When a mass allows light through in such as mass like Glass, we can view other mass through this, smaller wavefronts will not make it through. Inferred will not pass through a mass such as glass. Reflection has had by far the largest impact onto the human race. The metaphoric implications
of this simple phenomena allow us to contemplate the larger questions in life and self reflect. When looking into a mirror reflection allows for someone to stop and pause, to contemplate their actions and truly question the bigger questions of one’s self. This ability to associate the reflected image as one’s self and not another human is one of the best examples of a conscious being. Reflection allows for the manipulation of
the form to allow for a larger than life and changing pattern of a building. Like the cuttlefish’s ability to change colour reflective planes/ masses in architecture allow for a building that mimics its surroundings almost perfectly. The changing shapes, colours and textures that all come from the simple allocation of a reflective material truly elevate a buildings impact and relationship to the site. All of Mies van der Rohe work’s that use reflective materials perfectly match and improve the sites that they find themselves in. This level of thoughtful design allows for Mies van der Rohe work to become something grater then just another blob or plane. When looking at Reflection and luminosity
together you can start to get some interesting characteristics from materials such as glass. When it is lighter present on the exterior of a building the glass when done correctly will reflect the outside world allowing for privacy within the building. When it is lighter present within the building the outside world will be able to see in. This works in situations such as office buildings where there is likely to be no one within the building at night, allowing. Leeza soho is a perfect example where Zaha Hadid has took this on board. Using this property to create the x-ray like images of the building that are one of its strongest images.
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Final.
The use of the arch allows to intorduce god rays of coloured light that better shows the building off in comparision to using the large prism
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suspended from either side. This choice paired with the large rotating light prisims allow for light to be played with in the site. Colour-
ed light beams will then fall into the underground parts of the site and will create a space where this filtration effect can be expirenced in a
lower light level conecting pepole to this idea of higher knolage.
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Opacity.
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You can not talk about Opacity without transparency. The opacity of an object is what allows for the penetration of light. In the real world there are almost no completely opaque masses. Subserves scattering occurs allowing for some form of reflection to occur. Objects of transparent nature have thought history been associated with wealth. Glass (one of the most common transparent architectural features. Was once only used in places of worship or high standing, it was uncommon for someone of lower standing to have such luxury’s as glass. When glass became easier to produce and more common it was still one of the most expensive parts of any building. Buildings usually
had only very small windows, buildings that had larger ones had to rely on small planes of glass such as six over six. Even in todays world glass still stands as one of the most expensive part of a building even with advancements in technology. Without opacity the way that buildings are designed and orientated would be significantly different. The physiological response that someone has to transparent and opaque objects is an interesting matter. For example, there is a lion the only thing separating you and the lion is either a transparent aluminium glass (thin yet incredibly strong) or a wall of plywood and weather board. Now if you where stood behind each wall without the knowledge of the physical properties of each wall you
would feel safer behind the opaque wall in comparison to the translucent wall. Our brains are wired so that if we can see a threat, we respond to it more then if the threat was not viewable. This extreme demonstrates how translucent materials in architecture can allow for someone to connect with what is beyond the mass. When Mies van der Rohe looks at opacity she looks at its use in allowing luminosity to penetrate within the building along with the diffusion of light through the building. This allows for the conditions of the outside world to be brought within the building. He understanding of the movement of light and how it plays a vital part not only in modern-day architecture but how light has been used in history to
tell seasons and time. His works play off of the ideas presented in religious architecture. High callings with light pouring in that creates the sense that a grater being is peering into the room, creating a connection to this higher power through the use of a translucent material. Like this work I have decided to use translucent materials, mainly stained glass to allow for coloured light beams to come down from above. Showing new ways of seeing the world, metaphorically representing the different forms of enlistment and the different paths that someone can take to reach them. This use of opacity for the structure allows for the best manipulation of light and is the result of looking at the splitting of light to its different colours. |OPACITY|25
Prisims.
The prisiums of the site are diffrent colours representing the many colours that make up what we call light. Each one is made up 26|MATERIALITY|
of glass aluminum and timber. They have a spotlight within them that directs the light in a direction of chosing as they can also be rotat-
ed around the base. This allows for any number of diffrent combunations of light to appear on the site.
Ribs.
The ribs origanate from the photo of the brick work that is located on the site. The ribs glass panes are over sized to create a sense of
being smaller on the site, seeing that their is a larger being present. The colours are aloso introduced to show the truth behind what
we belive is light. The ribs conect the aposing sides of the site as well.
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filtration
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of light is to filter the light in some means. This in the broadest sense means to change the properties of the light by some means. There are many was to filter a wavefront. Examples of this filtration in the context of light would be to use a piece of red stain glass. The red light that passes through the glass has absorbed all other colours except for the red part of the wavefront allowing for the red to be reflected. When looking at more complex forms of filtration in terms of wavelengths the use of a faraday cage will filter out larger wave lengths such as Radar waves. The filtration of light as long been associated with magic and religious buildings. The ability to change the very properties of light was seen as a holy ability.
The use of stainedglass murals popularised this belief through the middle ages. This solidifies the belief that the filtered light has a relationship to enlightenment, and the journey to seek higher knowledge. As stated, before light has strange properties resulting it being what is believed as the universal speed limit of the universe, along with it throughout having heavy ties to religious belief. Now that we are better understanding the world that we find ourselves in we can understand that light plays the biggest role in our lives. And the ability to harness this phenomenon is something truly to behold. Le Corbusier’s religious works look at light as being as form of holiness. He deliberately utilizes light in meaningful
ways that convey moods of a greater being. This understanding of lights significance is one of the reasons why we keep looking back at his work. Le Corbusier uses a couple of different means to filter light, these include: aperture, colour, shape and intensity. Some of his works utilise small pinholes to allow light in. This gives the effect of both the appearance of the starts (celestial body’s) and is a reference to how churches used pinholes to
create calendars to accurately tell the time. Then the stained glass, this gives the light peering into the building a sensation of being for that of a higher being also being a reference again to churches that predated his time. Lastly the inclusion of texture within his works not only alters the way that textures, materials and colours interact with each other but also play with scale. The large frequency of the displacement somehow with the large over head lighting adds a quality to the building that makes you feel even more small in the presence of a god.
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