LIGHT REPRESENTATION II TYLER SCHMIDTKE A1705674
CONTENTS 4.
PLACE
- Documenting your site description, modelling, & analysis - Measured plans | sections | elevations | perspectival views | detailing - Luminosity
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IDEA
- documenting the process of your idea formation - Measured plans | sections | elevations | perspectival views | detailing - Reflection
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FORM
- documenting your design development – form and space - Measured plans | sections | elevations | perspectival views | detailing - Opacity
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MATERIAL
- documenting your materials and surfaces - Measured plans | sections | elevations | perspectival views | detailing - Filtration
PLACE The site for the project is the Maths Lawns, part of the University of Adelaide. It is an extended lawn area between the Barr Smith Library and Frome Road. The vista of the Barr Smith Library from the street is herritage listed.
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SITE ANALYSIS
ACCESS AND MOVEMENT The Lawn area of the site goes largely unused, however is occupied by a large gazibo at certain times of the year for open days etc. The site has multiple access points, mainly for pedestrian access however sevice vehicles do access the western side by the Barr Smith Library. Most of the movement throughout the site is people getting from A to B, with very few people using the area as a place to stop and sit or hang out.
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SITE MODELLING
SITE PLAN | 1:1000
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NORTHERN ELEVATION | 1:1000
WESTERN ELEVATION | 1:1000
SOUTHERN ELEVATION | 1:1000
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SHADING 12PM DECEMBER 22ND
9AM JUNE 22ND
12PM JUNE 22ND
3PM DECEMBER 22ND
WINTER
SUMMER
9AM DECEMBER 22ND
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3PM JUNE 22ND
AMBIENT LIGHT
DAY
SKY REFLECTION ON GLASS
TREE REFLECTION ON GLASS
LIGHT REFLECTION ON GLASS
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LIGHT SHINING ON BSL ENTRY
NIGHT
3D VIEWS
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LUMINOSITY
FLUID LUMINOSITY: THE ARCHITECTURAL LIGHTING OF ZAHA HADID
Through reading the case study “Fluid Luminosity: The Architectural Lighting of Zaha Hadid” you begin to get an understanding of luminosity in and through architecture. Zaha uses and incorporates light in many creative ways through her design’s but over her career her design style changes from sharp hard edges to flowy luminous spaces. In some of Zaha’s earlier work such as the Vitra Fire Station she used many straight, sharp lines in the form of the building. However, the use of light through windows and luminaires provides diffused light almost softening the
LINGUSTIC DEFINITION
The dictionary definition refers to luminosity as something that is luminous. It also relates the word to someone being intellectually bright or inspired. Along with this it is an astronomical term relating to the brightness of stars. However, in architecture we can look at luminosity as being illuminated through the presence of light.
PHILOSOPHICAL DEFINITION
The term Luminosity has a philosophical meaning which relates to illumination. This idea comes from a theory from Plato of “Divine Illumination” which in layman’s is that light bulb moment. Plato along with many other thinkers of the time referred to this spark of understanding in the mind as a “flood of light”. The theory suggests that we as human require assistance from an external source such as a God, nature, etc when completing cognitive tasks. The theory is quite often looked at in a religious regard, suggesting the inspiration comes from God. However the theory can be looked upon in a way that is not religious and seen as the inspiration coming from other sources.
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sharp concrete edges inside and out. After some time Zaha began designing with very different forms from the sharp edges seen in the Vitra Fire Station. More fluid designs featuring curvaceous edges and free flowing forms became her style first seen with the Phaeno Science Centre. The building is built above ground creating a dark shaded area beneath it. Similarly, to the Fire Station she uses luminaires to contrast the environment, this time however she is contrasting the dim atmosphere. These fluid forms continued with buildings such as the Nordpark Railway Station, Heydar Aliyev Centre and the Museum of XXI Century Arts. Within the Nordpark Railway station Zaha plays with reflection with a glass exterior reflecting the icy landscape of which it is nestled in. At night, the building glows through the choice of lighting around the building. With these building Zaha begins using lighting in a way that further emphasises her curvaceous designs while also
being concealed within the design where possible. Luminosity in architecture can be used in many different ways as can be seen through Zaha Hadid’s work. However, all of these ways provide the same outcome; the emphasis and contrast of the form of the building by the manipulation of natural light through windows and cut outs or through luminaires. The presence of light is the key factor within many of Hadid’s works, however this doesn’t mean the light is dominant. More often than not the key to Hadid’s designs are the indirect lighting, be that from the sun or from luminaires. The
key difference between the buildings towards the start of Zaha’s career and now in regards to light is that the earlier buildings used snippets of light whereas her later buildings have moved into being luminous, continuous spaces with no start or end both in form and the lighting within.
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IDEA
LIGHT IS A SEAM
The design idea for the project originally came from nature, the idea of a crack in the ground letting a single slither of light enter and illuminate the space. After pondering on this idea for a while I discovered that this was something that happened all the time in both nature in architecture. Whether it be the feeling within a valley, cravase or canyon or the light that slips through the crack in the door, as well as more and more architects using this thing slither of light as emphasis within their buildings and environments. It was this idea and the whichbecame the driver for the project, Light is a Seam.
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PRECEDENT
TEATRINO OF PALAZZO GRASSI
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When looking into precedents looking into precedents of buildings that use this similar idea of a “Seam of Light” I came across the ‘Teatrino of Palazzo Grassi’ by Japanese architect Tadao Ando. The building is an auditorium built within the facade of a 18th century palace. This building while above ground deals with many similar issues to the project regarding lighting due to the closeness of surrounding building making it difficult to bring natural light into the building. The building brings natural light into the building through an array of angled skylights. These angles are replicated inside the building with the buildings light fixtures hidden by a suspended ceiling creating soft light reflected down the concrete walls filling the building with a rather ambient light. These hidden light fixtures follow the line of the walls creating a seam of light where the wall and ceiling meets.
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DESIGN DEVELOPMENT IDEA 1
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IDEA 2
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IDEA 1
CLEAN CUTS
PLAN | 1:500
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SOUTH ELEVATION
NORTH ELEVATION
ELEVATIONS
WEST SECTION
NORTH SECTION
SECTIONS PAGE
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IDEA 2
CRACKED EARTH
PLAN | 1:500
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SOUTH ELEVATION
NORTH SECTION
NORTH ELEVATION
ELEVATIONS
SECTIONS PAGE
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WEST SECTION
VEILED IN BRILLIANCE: HOW REFLECTIVE FACADES HAVE CHANGED MODERN ARCHITECTURE
PHILOSOPHICAL DEFINITION
LINGUSTIC DEFINITION
The dictionary definition refers to reflection as “the throwing back by a body or surface of light, heat, or sound without absorbing it”. An everyday example of this is the mirror which reflects back what is in front of it.
In philosophical regards the term reflection generally relates to a person’s thinking when they are giving serious thought or consideration to an idea or a past occurrence. As defined by the Kant Dictionary, reflection is “the going back over [of] different presentations, how they can be comprehended in one consciousness.” To further this, as humans we have the capacity for self-reflection which is our willingness and drive to learn about the way that we as humans behave as well as our purpose. Through reflection the goal is to better understand ourselves and our choices to be better equipped to make choices into the future.
Reflection has become more and more readily used in architecture over recent years. This is addressed in the article “Veiled in Brilliance: How Reflective Facades Have Changed Modern Architecture”. In the article, it is suggested that light and brilliance help to make iconic, recognisable architecture which in turn is pushing away from architecture being the internal space towards being the external skin and form of the building. This idea of transparent and reflective surfaces originated at the start of the 20th century. Modernism prompted this idea of transparency although people such as Mies
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van der Rohe were cautious believing that these largescale glass facades would become monotonous and hence not interesting and appealing to look at. As a counteract to this, it seems as though reflection in architecture is not just simply to do with materiality such as glass, or metal however the melting pot of both material and form. Building such as the Elbphilharmonie in Hamburg by Herzog & de Meuron display this through the use of both convex and concaved glass on the skin. Not only does this glass reflect the water and sky surrounding the building but it abstracts
these reflections creating visual interest. Similarly, Frank Gehry did the same type of thing with his design for the Guggenheim Museum in Bilbao. This building unlike the Elbphilharmonie is made with a titanium shell which reflects the light giving the building an appearance like fish scales. The dynamic curves that are used throughout the whole building complimented by the titanium shell result in a surface and appearance that changes dramatically during the day with large contrast between light and shade as well as colour. For a local example, the South Australian Health and
REFLECTION Medical Research Institute in Adelaide utilises a dynamic aluminium skin which through the angles produces to provide shade to all windows reflects the sun and light in different angles. The Selfridges Birmingham department store also uses aluminium in the form of 16000 discs creating a mesh like appearance to the building. The discs provide a diffuse reflection, avoiding reflecting surrounding buildings however providing an abstraction of the sky and light surrounding the building. Much like the Guggenheim the whole appearance of the building can change depending on the brightness
and colour of the sky. From this it can be clearly seen that reflection in architecture is not just about providing a mirror like surface to reflect exactly the surroundings of the building. However, through the uses of dynamic forms and surfaces along with these highly reflective surfaces such as glass, titanium, aluminium and other metals, it is possible to create an interesting and highly aesthetic building, which abstracts the light and its surroundings.
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FORM
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& MATERIAL
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AIREAL | EXTERIOR VIEWS
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ELEVATIONS | EAST ELEVATION
NORTH ELEVATION
WEST ELEVATION
SOUTH ELEVATION
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SECTIONS | PLANS
WEST SECTION
NORTH SECTION
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ENTRY/RECEPTION
QUIET READING NOOK
BATHROOMS
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LIBRARY
SMALL SEMINAR ROOMS
OPEN RECREATION/EXHIBITION SPACE
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ACCESS | MOVEMENT THE FLOW Once within the pavilion, the canyon feeling draws you through the space. Emphasised by the water rippling beneath your feet like the river coursing through the canyon leading you to the wide open exhibition space.
MOVEMENT TO AND WITHIN THE SITE Being practically all underground the pavilion provides an extra functional space while not completely taking away from the existing lawn. There is one entry near the Barr Smith Library with many access points to the entry as the roof of the pavilion acts as an access path and gathering space.
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| FLOW
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LIGHT EXPERIENCE
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- Glass flooring used to break up the marble flooring - Reflects the crack at the ground level with running water below emphasising the canyon feel within the pavilion - Gloss finish reflects the light
- Marble finish to the majority of the floors inside the the pavilion - Glossy finish contrasts with the matta concrete finish of the walls - Reflects the light that enters the pavilion
MARBLE
CONCRETE - Concrete finish to the majority of theinterior walls - Gives a slightly rough, imperfect matte appearance to the walls - Almost earthy in the finish emphasising the canyon like effect and experience inside the pavilion
GLASS
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MATERIALITY | TEXTURE PAGE
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STRUCTURE | DETAILING STRUCTURAL GLASS MOULDED FIBREGLASS REINFORCED CONCRETE CAST CONCRETE STEEL REINFORCED CONCRETE STEEL STUD/ PLASTERBOARD
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GRASS STEEL DECKING STEEL SUPPORTS STEEL REINFORCED SOIL FIBREGLASS REINFORCED CONCRETE WALLS CONCRETE
RASIED MARBLE FLOOR
WATERPROOF SEAL
STEEL SUPPORT WATER
DETAIL #1 EXTERIOR WALL/FIBREGLASS CONCRETE SHELL DETAIL
DETAIL #2 RAISED EXHIBITION AREA DETAIL
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GLASS
OPACITY WHITENESS IN NORDIC COUNTRIES LINGUSTIC DEFINITION
The dictionary definition refers to Opacity as “the quality of lacking transparency or translucence”. This means that opacity and translucence are inversely related. An example of this would be in a window that allows light to enter but that you cannot see through.
PHILOSOPHICAL DEFINITION
In a philosophical regard, Opacity likewise relates to a person’s transparency. This can relate in multiple ways. If a person is being transparent then it is easy to see what they are saying or meaning. It also means that they are being quite open and not withholding information etc. However contrastingly if a person is being opaque or obscure it means that they are hiding something and not being completely clear or honest about what they’re saying.
In the Arch Daily article “Light Matters: Whiteness in Nordic Countries” the author addresses the use of white on the interior of many Scandinavian buildings. The author suggests while not only does this make the spaces feel light in times where there is almost complete darkness but it also relates to their global situation, and the “snow covered landscape” outside. Examples of this white architecture can be seen all the way back to Medieval
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churches in the area and continues to be used today. The use of white walls and ceilings intensifies the limited light, illuminating the space. In many religious buildings in this area of the world the building is specifically designed with the light at the forefront of thinking. Windows are strategically placed to create patterns illuminating the walls at different times of the day showing how transformed the space can feel in just a matter of hours. An example of this is Pirkkala Church by
Käpy and Simo Paavilainen. The space changes quite dramatically as the sun moves in the sky, orientated towards the alter reflecting on a higher religious meaning as if the light of God is shining in on the alter. Contrastingly, the light can also be used to just illuminate a space without casting shadows. Aarno Ruusuvuori suggests this saying “Light originates somewhere, but man does not need to know where. Lighting is not an end in itself. But its meaning
is to create a feeling of the infiniteness of eternity.” While being a very different experience, similarly this can provide a very similar feeling of enlightenment as the entire space fills with a luminous glow. The white walls of these buildings specifically show how the use of windows isn’t the only factor that plays on the amount of light in a room. The white walls are of course opaque as light doesn’t shine through them, though light that does shine on them is
then diffused throughout the space making it a pleasant illuminated space.
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FILTRATION PHILOSOPHICAL DEFINITION
LINGUSTIC DEFINITION
The dictionary defines filtration as the process of passing through; also referred to as filtering or as if through a filter. An example of this is light passing through a screen, not allowing all of the light to get through “filtering� what comes through.
Filtration relates in a philosophical aspect to everyday human nature. Everyone has moments where a thought comes to mind in relation to the context you are presented with, but for one reason or another you chose not to voice this thought. Your filter is acts as a way of keeping you out of trouble for actions or words that could be inappropriate, hurtful or unnecessary. This works in the same way as a literal filter, allowing certain things while stopping others from going through.
Le Corbusier was a master of using natural light in different ways, manipulating how it is let into the building through a range of techniques. This is very evident in his buildings the chapel at Ronchamp, the monastery of Sainte Marie de La Tourette, and the church of Saint-Pierre in Firminy. This can be seen through the multiple types of fenestrations in the buildings allowing light to come through the walls in different ways. Be that through coloured glass like in the chapel at Ronchamp, or the deep cavities creating a completely different feeling and filtering the light in a completely different way. Similarly, in Sainte Marie de La
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Tourette Le Corbusier uses different size and window types to create interesting light and shade along the passage ways. This shows that even though a wall can be completely of glass, light is not the only thing you have to consider to create interest. The use of different size and shape windows along the wall creates an almost music like rhythm through the patterns created on the ground and interior walls. These windows also act as filters that relate directly to the way the sun moves, creating different atmospheres at different times of the day. For example, the sunset at Sainte Marie de La Tourette draws a thin seam
of light into the building which moves up the wall as the sun sets. Within Saint-Pierre in Firminy Le Corbusier uses small star like opening in the wall to create light with contrasts from small intense dots along the floor of the building through to blurred waves of light streaming down the walls at other times. While this could not have been something Le Corbusier planned, he was always on for experimenting with many different ways of bring light into buildings, always up for stumbling upon magical accidents as are evident in Saint-Pierre in Firminy. Within all of these buildings Le Corbusier uses the light
LE CORBUSIER AND THE TRINITY OF LIGHT and the different ways that he lets light into the building as a way of declaring the space as sacred, linking back to the belief systems that God is “light” and Christ is “the light of the world”. He also shows within these buildings that you don’t need to have a large fenestration to have a large light impact on a space, instead being quite the opposite. Le Corbusier shows that when it comes to light within a building is can be the small details of the windows that provide the greatest effect on the space. From the tiny pin like holes in the wall creating large waves dancing along the walls, to the diffuse spread of colour
through a space from an indirect coloured window, Le Corbusier shows the sheer power that filtered light can have within a space.
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"IS A SEAM" REPRESENTATION II 2017