SEEK LIGHT THROUGH NATURE - REPII

SEEK LIGHT THROUGH NATURE REPRESENTATION II 2019 STRUCTURE OF LIGHT BY VICTORIA SMART A1740199

CONTENTS

PLACE

IDEA

SITE STUDY

1-2

IDEATIONS

SITE ANALYSIS AND MOVEMENT

3-4

SEEK LIGHT THROUGH NATURE

LIGHT STUDY 1: LUMINOSITY

5-6

LIGHT STUDY 2: REFLECTION

FORM 7-8 9 - 10 11 - 12

MATERIAL

REALISATION

13 -14

FINAL DESIGN

19 - 20

PLAN, SECTION AND ELEVATION

15 - 16

INTERNAL AND CONSTRUCTION DETALING

21 - 22

LIGHT STUDY 3: OPACITY

17 - 18

LIGHT STUDY 4: FILTRATION

23 - 24

SITE STUDY PLACE

GROUND VIEW

DAY

NIGHT

AERIAL VIEW

3D VIEWS AND AMBIENT LIGHT 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. 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 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.

In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light li

SITE

1

2

SITE ANALYSIS AND MOVEMENT PLACE SUMMER

SHADOW AND SHADE 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. 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 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.

In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light li

09:00

12:00

15:00

SURROUNDING BUILDINGS

THE LAWNS

ACCESS AND MOVEMENT

WINTER

09:00

3

12:00

15:00

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 architecturous fields and a play of brilliance emerged later.sun blinds intensify the linear pattern language.

The precise light li

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 architecturous fields and a play of brilliance emerged later.sun blinds intensify the linear pattern language.

The precise light li

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 architecturous fields and a play of brilliance emerged later.sun blinds intensify the linear pattern language.

The precise light li

4

THE ARCHITECTURAL LIGHTING OF ZAHA HADID

ENHANCING FLUIDITY WITH DAYLIGHT AND LIGHTING At Strasbourg’s Hoenheim-Nord Terminus and Car Park (2001), she became fascinated by the white road markings and converted them into white linear diffuse luminaires either integrated as strips in the concrete roof or as tilted poles for the car parking spaces.

The Phaeno Science Centre (Wolfsburg, 2005) was a decisive turning point in Hadid’s lighting imagination. The windows and luminaires in the building’s surface share the same form, creating a holistic design approach and thus moving on from Hadid’s earlier period of lines and sharp corners. The elevated concrete structure generates a large shaded area, with the view to daylight on one side intensifies the impression of a dark void. As a counterpoint, diffuse ceiling luminaires intervene in the dim atmosphere. The diagonal building structure has been translated into rhombus-shaped windows for the façade. In contrast to earlier projects with sharp edges, Hadid’s forms here took on curved shapes, marking a transition to fluid designs. In

order to form a coherent exterior surface, the rhombus contour has also been applied to the underside of the elevated museum. Thereby the visitors perceive a holistic formal approach encompassing both daylight and artificial lighting. . The Nordpark Railway Station (Innsbruck, 2007) initiated a new period of light and fluidity in Hadid’s oeuvre. Here, light is not absorbed by concrete but is instead reflected by glass.

Inspired by local glacial moraines and ice formations, Hadid has significantly increased the reflectance of her surfaces for stunning mirror images. Thereby the visitors perceive a holistic formal approach encompassing both daylight and artificial lighting. The Nordpark Railway Station (Innsbruck, 2007) initiated a new period of light and fluidity in Hadid’s oeuvre. Here, light is not absorbed by concrete but is instead reflected by glass. Inspired by local glacial moraines and ice formations, Hadid has significantly increased the reflectance of her surfaces for stunning mirror images.

Above: Hadid’s first building, The Vitra Fire Station (Weil am Rhein, 1993)

LIGHT STUDY 1

5

LUMINOSITY

LUMINOUS LEGACY 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.

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 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.

In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light lines emerge as built manifestations of her suprematist paintings. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires.

Above: Interior of the MAXXI, the Museum of XXI Century Arts (Rome, 2009)

Above: Leeza SOHO, construction 2017, Beijing, China

Above: Strasbourg’s Hoenheim-Nord Terminus and Car Park (2001)

6

IDEATIONS IDEA IDEA ONE: ROOTS

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.

The three decade transition from minimal light lines at her early Vitra Fire Station to the world’s In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light li

7

IDEA TWO: LEAVES 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.

The three decade transition from minimal light lines at her early Vitra Fire Station to the world’s In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light li

8

SEEK LIGHT THROUGH NATURE IDEA IDEA THREE: WOOD 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.

The three decade transition from minimal light lines at her early Vitra Fire Station to the world’s In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light li

REALISATION 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. 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 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.

9

In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light lines emerge as built manifestations of her suprematist paintings. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. Although the edges of the

10

REFLECTIVE FACADES IN MODERN ARCHITECTURE

ENHANCING FLUIDITY WITH DAYLIGHT AND LIGHTING 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. 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 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.

Above: Interior of the MAXXI, the Museum of XXI (Rome, 2009)

In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light lines emerge as built manifestations of her suprematist paintings. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms.

Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. Although the edges of the

interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms.

Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. 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. 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 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. In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light lines emerge as built manifestations of her suprematist paintings. Although the edges of the interior luminaires echo the sharp concrete lines,

Above: Interior of the MAXXI, the Museum of XXI Century Arts (Rome, 2009)

LIGHT STUDY 2

11

REFLECTION

LUMINOUS LEGACY 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. 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 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.

In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light lines emerge as built manifestations of her suprematist paintings. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. 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. 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 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. In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light lines emerge as built manifestations of her suprematist paintings.

Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires.

Above: Interior of the MAXXI, the Museum of XXI Century Arts (Rome, 2009)

Above: Interior of the MAXXI, the Museum of XXI Century Arts (Rome, 2009)

12

REALISATION FORM

FINAL IDEA 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. The three decade transition from minimal light lines at her early Vitra Fire Station to the world’s In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light li 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. The three decade transition from minimal light lines at her early Vitra Fire Station to the world’s In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light li

13

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PLAN, SECTION AND ELEVATION FORM

SMALL LIBARY

```

READING AND RELAXING SPACE TOLIETS

ELEVATION 1:500

EXPLOADED PERSPECTIVE 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. The three decade transition from minimal light lines at her early Vitra Fire Station to the world’s In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light li

SECTION 1:500

15

SITE PLAN 1:500

16

WHITENESS IN NORDIC COUNTRIES LIGHT MATTERS 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. 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 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.

In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light lines emerge as built manifestations of her suprematist paintings. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have

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. 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 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. In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light lines emerge as built manifestations of her suprematist paintings. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. However, her advances in using light to render her architecture have often been neglected even though they became an essential element

Above: Interior of the MAXXI, the Museum of XXI Century Arts (Rome, 2009)

Above: Interior of the MAXXI, the Museum of XXI Century Arts (Rome, 2009)

OPACITY

17

LIGHT STUDY 3

LIGHT MATTERS 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. 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 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.

Above: Interior of the MAXXI, the Museum of XXI Century Arts (Rome, 2009)

Above: Interior of the MAXXI, the Museum of XXI Century Arts (Rome, 2009)

In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light lines emerge as built manifestations of her suprematist paintings.

Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. Although the edges of the interior luminaires echo the sharp concrete

lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of ligures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light lines emerge as built manifestations of her suprematist paintings. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well.

Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light lines emerge as built manifestations of her suprematist paintings. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. However, her advances in using light to render her architecture have often been neglected even though they became an essential

edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. 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. The three decade transition from minimal light lines at her early Vitrior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires.

In the interior, the light gaps of lighting and luminaires. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. 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. 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.

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FINAL DESIGN MATERIAL

MOVEMENT

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. The three decade transition from minimal light lines at her early Vitra Fire Station to the world’s In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light li

19

20

INTERNAL DETALING

CONSTRUCTION DETALING

MATERIAL

WALLS

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.

The three decade transition from minimal light lines at her early Vitra Fire Station to the world’s In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light li

21

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. The three decade

ROOF

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. The three decade

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. The three decade

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. The three decade

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. The three decade

22

LIGHT STUDY 4

FILTRATION

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Above: Interior of the MAXXI, the Museum of XXI Century Arts (Rome, 2009)

LE CORBUSIER AND THE TRINITY OF LIGHT

Above: Interior of the MAXXI, the Museum of XXI Century Arts (Rome, 2009)

Above: Interior of the MAXXI, the Museum of XXI Century Arts (Rome, 2009)

Above: Interior of the MAXXI, the Museum of XXI Century Arts (Rome, 2009)

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. 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 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.

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. 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 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. In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light lines emerge as built manifestations of her suprematist paintings. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintiour perception. We sense forms and materials with our eyes not directly but through the reflected light. Zaha Haesign of the distinctive sun blinds intensify the linear pattern language. The precise light lines emerge as built manifestations of her suprematist paintings.

LUMINOUS LEGACY 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. 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 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. In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light lines emerge as built manifestations of her suprematist paintings. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. Although the edges of the interior luminaires echo the sharp concrete lines, the soft, diffuse inside and outside illumination in a way counteracts the energy of the building’s forms. Zaha Hadid’s explorations with abstract paintings have led to several graphical interpretations of lighting and luminaires. 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. 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

In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive sun blinds intensify the linear pattern language. The precise light lines emerge as built mthree 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 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. In the interior, the light gaps between the wall and ceiling deconstruct conventional building structures as well. Even the design of the distinctive

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REFERENCES 1. GOOGLE MAPS, THE UNIVERSITY OF ADELAIDE

GOOGLE MAPS DATA (2019) WEBSITE:

HTTPS://WWW.GOOGLE.COM/MAPS/PLACE/THE+UNIVERSITY+OF+ADELAIDE/@-34.9205986,138.604039,17Z/DATA=!3M1!4B1!4M5!3M4!1S0X6AB0CED27EF95329:0XB46EE5F583FAE2BF!8M2!3D-34.920603!4D138.6062277

[ACCESSED 8 SEP 2019] 2. SCHIELKE, THOMAS. FLUID LUMINOSITY: THE ARCHITECTURAL LIGHTING OF ZAHA HADID

ARCHDAILY (31 MAR 2017) WEBSITE:

HTTPS://WWW.ARCHDAILY.COM/868157/FLUID-LUMINOSITY-THE-ARCHITECTURAL-LIGHTING- OF-ZAHA-HADID [ACCESSED 8 SEP 2019] 3. SCHIELKE, THOMAS. LIGHT MATTERS: LE CORBUSIER AND THE TRINITY OF LIGHT

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HTTPS://WWW.ARCHDAILY.COM/597598/LIGHT-MATTERS-LE-CORBUSIER-AND-THE-TRINITY- OF-LIGHT [ACCESSED 8 SEP 2019] 4. SCHIELKE, THOMAS. LIGHT MATTERS: WHITENESS IN NORDIC COUNTRIES

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HTTPS://WWW.ARCHDAILY.COM/542503/LIGHT-MATTERS-WHITENESS-IN-NORDIC-COUNTRIES [ACCESSED 8 SEP 2019] 5. SCHIELKE, THOMAS. VEILED IN BRILLIANCE: HOW REFLECTIVE FACADES HAVE CHANGED MODERN ARCHITECTURE

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HTTPS://WWW.ARCHDAILY.COM/796974/VEILED-IN-BRILLIANCE-HOW- REFLECTIVE-FACADES-HAVE-CHANGED-MODERN-ARCHITECTURE [ACCESSED 8 SEP 2019]