Light Journey by Tyler Bampton

Light Journey Tyler Bampton

Rep 2-18 Structures of Light

TABLE OF CONTENTS PLACE 1-2 3-4 5-6 7-8

SITE DESCRIPTION - 3D VIEWS AND AMBIENT LIGHTING STUDY SCALE STUDY & PROPORTIONAL SYSTEM SITE ANALYSIS - SHADING & ACCESS, MOVEMENT AND USE PATTERNS, AND PLACE SOCIAL CHARACTER LIGHT STUDY 1 - LUMINOSITY

IDEA 9-10 11-12 13-14 15-16

LIGHT IS A JOURNEY - SPATIAL AND GEOMETRICAL DIAGRAMS IDEA 1 AND IDEA 2 IDEA 3 LIGHT STUDY 2 - REFLECTION

FORM & MATERIAL 17-18 19-20 21-22 23-24 25-26 27-28 29-30 31-32

PLAN, SECTIONS & ELEVATIONS COMPOSITIONAL LAYOUT AERIAL VIEWS AND GROUND VIEWS LIGHT STUDY 3 - OPACITY ACCESS AND MOVEMENT INTERNAL VIEWS MATERIALITY AND CONSTRUCTION DETAILS LIGHT STUDY 4 - FILTRATION

SITE

DESCRIPTION 3D VIEWS

AMBIENT LIGHTING STUDY

Ambient light is abundant during the day, with the highly reflective glass curtain walls reflecting the sunâ&#x20AC;&#x2122;s rays.

At night the street lights and ample building walkway lighting make the place well lit and feel safe and vibrant.

SCALE STUDY & PROPORTIONAL SYSTEM

Barr Smith Library Elevation

Barr Smith Library Elevation Details

Ingarkni Wardli Elevation

SITE ANALYSIS

SHADING Shading at 9am in summer and winter covers the Maths Lawns completely, whereas at 12pm they both receive full sun, and a t 3pm only in summer there is little shade on the lawns,

whereas in winter two thirds of the lawn is shaded with the most sun received closest to the Barr Smith Library.

SUMMER

WINTER

12 3

ACCESS, MOVEMENT AND USE PATTERNS From observing people travelling around the site key routes were picked up as being used the most. Two shortcuts across the west side of the Maths Lawns coming from the Ingkarni Wardli building going towards the Barr Smith

Lawns, and one going from The Braggs building towards the Hub Central. These shortcuts will need to be accommodated and integrated with the design proposal.

Molecular Life Sciences

Ingkarni Wardli

Engineering and Maths. Sciences

Barr Smith Library

The Braggs

SANTOS Building

PLACE SOCIAL CHARACTER

The open, spacious environment that is the maths lawns attracts many people for a place to hang out in groups or have lunch at one of the many benches located alongside the long stretch of the Maths Lawns.

LIGHT STUDY 1

LUMINOSITY Luminosity has different meanings in varying contexts, it is generally defined as the state of reflecting or producing bright light; the state of appearing to shine. Luminosity in astronomy is a measure per unit of time of energy emitted by a star, galaxy or other astronomical object (“Luminosity” 2018)

Luminosity is a core concept found among the primary traditions of Buddhism. In the case of Indo-Tibetan Buddhism the term is often interpreted as clear light or radiant light. Although the many types of Buddhism have their own interpretations for the term, it is most commonly used to describe the mind’s inherent attribute of purity that leaves behind defilements such as harmful emotions. Early Buddhist traditions such as Theravāda typically used the term to communicate the notion that impurities, which bind you to samsara (an endless cycle of rebirth), are not intrinsic to the mind. This fact opens up the possibility of enlightenment, as any defilements of the mind can be potentially removed fully and permanently (Kemp 2018). References “Luminosity.” Dictionary. 2018. https://www.dictionary.com/browse/luminosity Kemp, Casey. 2018. “Luminosity - Buddhism - Oxford Bibliographies - Obo”. Oxfordbibliographies.Com. http://www. oxfordbibliographies.com/view/document/obo-9780195393521/obo-9780195393521-0219.xml.

Light bridges the gap between Architecture and the senses, as material forms are revealed to our eyes with the reflection of light on their surfaces. Zaha Hadid has made clever use of light in her Architecture, with luminous lines prevalent in her early work, whilst playful luminous areas lit up her later work. With her design of the Guangzhou Opera House the was a drive for fluidity and seamlessness. A starry dream-like sky is created with the use of thousands of light pixels that beautifully illuminate a warm, glossy, golden room. The cascading balconies use light patterns to evoke the sense of reflection of waterfalls. The Heydar Aliyev Centre (Baku, 2012) was aiming for homogeneity and resulted in light and shadow having a softer graduation. The volumes flowing exterior reflects the light during the day with a dominating shadow cast by the sun across its white surface. At night exterior surfaces are illuminated by the interior light that flows onto them whilst exterior flood lights intensify the buildings flowing geometry. Inside the auditorium the fluid lines expose graduations in brightness softly. Unlike the starry-sky of the Guangzhou Opera House, with Baku there is a subtle integration with the lighting into the timber ceiling and walls, even to the extent of being hidden from view of the audience. Cove lighting has been added to to reinforce the fluid forms with their diffuse play of light. In contrast, the lobby makes use of light lines that are scattered and have hard edges in comparison to the flowing nature that the rest of the structure exhibits. Finally her design of the Nanjing International Youth Cultural Centre (Nanjing, 2016) highlights a fluid luminosity on the interior. Unlike the Heydar Aliyev Center and Guangzhou Opera House, where the integration of illumination in the ceiling was more discrete or appeared to be a star filled sky, the Nanjing Centre boasts an intensely luminous surface. Illumination following the flowing interior geometry is uniquely created by hundreds of small holes in undulating lines. A form of luminous pixel aesthetic is produced with the dotted ceiling in the grand hall. There is almost more emphasis on luminescent surfaces than solid in this case (Schielke 2018).

References Schielke, Thomas. 2018. "Fluid Luminosity: The Architectural Lighting Of Zaha Hadid". Archdaily. https://www.archdaily. com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid.

LIGHT IS A

JOURNEY Straight and Clear

Gradual Change

Flowing

Drop/Climb

Point-to-Point

Weaving Through

Circling Around

Crossing Paths

Interwoven

GEOMETRICAL & SPATIAL DIAGRAMMING

IDEA 1 Using a triangular form to create separation of spaces and angular intersections where you must decide on a direction to take.

Angular wall formations underground create spaces for various functions or light features.

These formations cut up through the ground above to let in light through angular windows.

IDEA 2 A point-to-point system of circulation is used here to enable a decision making process of which path to pursue.

One enters from a point on the surface to then descends down by stairs to the next point on their journey.

Light is filtered in through dome skylights and also shines down the staircases to urge passer-byâ&#x20AC;&#x2122;s to explore.

IDEA 3 An interwoven network of pathways creates a fluid journey across the site.

The paths circulate around three oval spaces of which can be crossed though and will be abundantly lit.

The oval forms will protrude above the surface to receive light through a tinted glazed dome roof, and clerestorey windows running along the pathways.

IDEA 3

Light filters in from above in the rooms in a blue tint, with diamond crossings casting a unique shadow on the bluish floor.

The curved ramps provide a natural and seamless entrance and exit path, whilst also enticing passer-byâ&#x20AC;&#x2122;s.

LIGHT STUDY 2

REFLECTION Reflection is when light bounces off an object. For a surface that is shiny and smooth, such as water, glass or polished metal, the light reflects at the same angle that it hit the surface. This is called specular reflection. For a surface that is rough, reflected rays of light scatter in all directions. This is called diffuse reflection (“Reflection Of Light” 2018).

Self-reflection is a practice taken place since man’s early existence and has deep roots in philosophical thinking and the practice of meditation. In philosophy self-reflection correlates with an understanding of one’s own mind set, beliefs and desires in life. Modernism with its emergence of transparent glass facade skyscrapers created a lot of monotony and as a result unconventional reinterpretations have been aiming to change this. The belief that brilliance and light could help in creating iconic architecture and better the world has steered the transformative innovation of metal and glass into crystalline images. This has resulted in the source of meaning in architecture being primarily towards internal space-form, to shift instead towards the external surface. References “Reflection Of Light”. 2018. Science Learning Hub. https://www.sciencelearn. org.nz/resources/48-reflection-of-light.

The Elbphilharmonie in Hamburg by Herzog & de Meuron is a visionary design in its use of curved glass. The inward and outward design of the glazed facade creates a distorted perception of the sky, water and city. The curves of the balconies enables the reflection of points or lines as stunning light streaks. Vertical and horizontal convex curves of multiple single glass elements emphasize the glistening and distorted reflections of the sky. The curved facade and it’s dot screens provide a liquid and vivid image that links closely with the water that surrounds the building. In the context of a closed off concert hall or exhibition space where transparency is not required, other reflective materials have been utilized to create a dynamic facade. Frank Gehry’s use of titanium cladding in his design of the Guggenheim Museum Bilbao was a different aesthetic direction from glazing. The building’s ship like form with its fish scale like reflective panels has created a dynamic and distinctive facade, one that is shaped by every cloud movement and ray of sun. The Selfridges Birmingham department store facade was created with 16,000 anodized aluminum disks. The cladding creates diffuse reflections that result in images being abstracted, with colour and brightness of the sky being determining factors of the level of distortion, whilst the mirroring of the surrounding area is left to an unclear image. These strategies with reflective facades have significantly increased the level of importance a buildings exterior surface has in the overall meaning of it’s design. Concave and convex forms combined with curved reflective surfaces has now created more varied, dynamic and abstract ways for the city to be viewed. The shimmering of glass and metal has driven off the dark voids and light concrete surfaces of brutalism, and done away with the belief that a materials surface is only meant to cast a shadow, which along with simple mirror effects is not enough to attract viewers eyes in today’s spectacleoriented society. For that reason, designers will continue to innovate with various materials and forms to create stunning, eye-catching facades whilst shining a light on the future of urban design (Schielke 2018).

References Schielke, Thomas. 2018. “Veiled In Brilliance: How Reflective Facades Have Changed Modern Architecture”. Archdaily. https:// www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changed-modern-architecture.

PLAN, SECTIONS & ELEVATIONS

PLAN 1:100

SECTION A EAST TO WEST 1:100

SECTION B EAST TO WEST 1:100

NORTH ELEVATION

EAST ELEVATION

SOUTH ELEVATION

WEST ELEVATION

COMPOSITIONAL LAYOUT PROGRAM/FUNCTION Exhibition Space Seminar room A and Toilets Seminar room B Reading/Study area Pathway Library Access Ramp

CONSTRUCTION Steel lattice Concrete dome roof

Pathway glazing Brick inner leaf walls

Concrete foundation walls Polished concrete floor Concrete ramp

AERIAL VIEWS

GROUND VIEWS

LIGHT STUDY 3

OPACITY Opacity is defined as a measure of impenetrability to visible light. An opaque object is neither translucent (letting some light pass through) nor transparent (letting all light pass through). An opaque object does not transmit any light but instead scatters, reflects or absorbs all of it.

Opacity has been termed as the secret key to paintings of the Renaissance, being a time period that understood paintings as windows onto realities that exist elsewhere. Forgoing the concept of the frontal gaze which is controlled by perspective, the focus is instead on lateral roaming of the gaze which touches on all that is denied by representation, such as the ‘the traces of the painter’s gestures left behind in the brushstrokes’, the ‘presence of matter’, the ‘distances, accents, concealments, obscuration’s and arrangements, and the ‘drips and discharges, crumbs, scratches, splashes and incisions’, all elements of which constitute ‘opacities’.

References 1. “Opacity”. last edited Sep 2018. Wikipedia. 2018. https://en.wikipedia.org/wiki/Opacity_(optics) 2. Looch, Ulrich. 2007. “Opacity”. frieze. 2018. https://frieze.com/article/opacity

Buildings developed in Scandinavian countries resonate with extreme changes in weather, with scarcity of light during winter, as well as long days in summer. In an attempt to counterbalance the long and dark winter days, architects have experimented with white surfaces. The suns low position in northern regions forms long shadows, meaning more daylight enters from the buildings sides than from above. In contrast light is emanated diffusely in summer evenings. White surfaces have a high reflectance which contribute to a higher interior brightness during dark winter periods. Early examples of white architecture can be found from Denmark’s medieval churches, whose design approach influenced buildings like Dybkær Church by Regnbuen Arkitekter. There is an advanced concept of daylight which has three directions of arrival: low from the north emphasizing a black steel crucifix, broadly from the south acting as a glancing wash, whilst showering down on a section of wall behind the alter. The irregular texture of white brickwork also works to animate the nave walls. Similarly, the Bagsværd Church by Jørn Utzon experiments with white, he explains: “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.”

White diffusion is a concept that involves using a white-painted wall, white-enamelled steel and white linoleum. It was introduced by Alvar Aalto in the 1930’s and became prominent with the design of Nordyjllands Art Museum in 1972. The ceiling, walls, floors and an eloquent daylight scoop. The impact of pure white volumes is just one element of the Nordic buildings, the brevity of dramatic light and shadow is also another key aspect of Nordic architecture. Concepts of time are revealed in religious buildings, expressed in materiality, glazing features and volumes that evolve image daily or seasonally. The Pirkkala Church by Käpy and Simo Paavilainen demonstrates light and shadow in a dramatic sequence. Glass works as a lens and a mirror and the altar is a backdrop for sunlight projections of strong contrast. References Schielke, Thomas. 2018. “Light Matters: Whiteness In Nordic Countries”. Archdaily. https://www.archdaily.com/542503/lightmatters-whiteness-in-nordic-countries.

ACCESS AND MOVEMENT

INTERNAL VIEWS

MATERIALITY

CONSTRUCTION DETAILS Steel Lattice Blue Tinted Glazing Single brick leaf wall

Concrete dome roof Steel support column Reinforced concrete foundation wall

LIGHT STUDY 4

FILTRATION Filtration is a process where objects are passed through a device to remove anything unwanted. The word is also associated with movement, and can define the action of something gradually entering or leaving a place in small amounts and with a specific direction.

Philosopher Immanuel Kant (17241804) held the belief that we understand the world through a filter, like tinted glasses, they’re there even if we may forget. The human mind is the filter, determining our experience of everything and the shape of that experience. All we perceive occurs in time and space, and each change has its cause. But according to Kant, reality is not ultimately like this, it is a contribution of the mind. We lack direct access to the ways of the world. And it is not possible to take the glasses off to see things as the truly are. This filter is stuck with us and we could not experience anything without it. We can only acknowledge its presence and understand how it alters the colours we experience.

References “Immanuel Kant: An Introduction And Collection Of Resources - The Daily Idea”. 2018. The Daily Idea. http:// thedailyidea.org/philosophers/introduction-to-kant/.

Le Corbusier, in his three sacred buildings, has experimented with openings, orientation and textures in aiming to use daylight to create kinetic architecture. His monastery of Sainte Marie de la Tourette, the pilgrimage chapel at Ronchamp and the parish church of Saint-Pierre in Firminy uncover individualized and distinct methods, focusing on the filtration of light, that work to create contemplative spaces. The Chapel of Notre Dame du Haut at Ronchamp (195055) is characteristic of the circle of continuous solar events. The red side chapel alcove void is illuminated by the dawning sun. Light floods a tall slot between the east and south walls, which continues with light rays through deep cavities of the south wall. The roof is lifted from the wall by a small horizontal crack, creating a harsh contrast with the glowing vertical brise-soleil in the southeast corner. The culmination of events is with a warm sunset glow from another side chapel opening. La Tourette’s church works with the sunset to highlight a crack running along the west wall, creating warm lines along the side walls. These golden line connect at the north wall and as the sun falls the line moves upwards gradually. The dramatic atmosphere intensifies up until the golden light touches the roof plane and flows across the tactile prefabricated slab ceiling. This effect adjusts to the seasons, producing a small triangle in winter and large rectangle in summer with the sun at its peak power.

There are three parts to the scenography at the church of Saint-Pierre at Firminy (1960-2006). The east façade is dotted with light on the floor from small stellar windows, these dots later turn into waves of light mysteriously. There is a gentle rise and fall of the waves as the sun moves. The pattern they create on the three walls facing the altar is remarkable. By noon the waves of light are gone and sharply defined beams of sunlight pierce down into the darkness. Golden light is then projected by a rectilinear light cannon onto the interior wall, whilst cool blue sky softly flows through the stellar windows.

References Schielke, Thomas. 2018. “Light Matters: Le Corbusier And The Trinity Of Light”. Archdaily. https://www.archdaily.com/597598/ light-matters-le-corbusier-and-the-trinity-of-light.

Light Journey Tyler Bampton

Rep 2-18 Structures of Light