THROUGH NATURE - ATTEMPT II

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

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

EXPERIENTIAL MOBILITY

25 - 26

11 - 12

SITE STUDY PLACE GROUND VIEW

3D VIEWS AND AMBIENT LIGHT

SITE

1

AERIAL VIEW

AM

PM

2

SITE ANALYSIS AND MOVEMENT PLACE SUMMER

09:00

12:00

15:00

12:00

15:00

WINTER

09:00

3

SURROUNDING BUILDINGS

THE LAWNS

ACCESS AND MOVEMENT

4

THE ARCHITECTURAL LIGHTING OF ZAHA HADID

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

LIGHT STUDY 1

5

LUMINOSITY

LUMINOUS LEGACY The philosophical meaning of luminosity is sometimes associated with the idea of religion and holiness. This is evident in depictions of various gods, including icons and deities. As they are often portrayed with a luminous glow surrounding their figure, given these characters as undeniable aura. Not only is luminosity associated with religion and holiness, but also with the idea of selfknowledge and understanding. This idea of knowledge, has also been described as being aware of one’s appearance. The term luminosity under linguistic definition, is generally defined as the relative brightness of something. Luminosity is often associated with celestial sources when referring to their brightness, such as stars.

Zarah Hadid has used light and luminosity as key features within her designs throughout her career. With her use of light evolving through the decades of her professional career, her first design, the Vitra Fire Station, Hadid used linear lighting to accentuate the sharp, concrete forms that define the building’s shape. Creating a dynamic energy which would not be visual if it weren’t for the use of this lighting. Contradictory to the sharpe linear forms of the fire station, the interior lighting gives off an soft glow when viewing the building from the outside, looking in. In an attempt to incorporate the surrounding environment into her designs, the HoenheimNord Terminus and Car park in Strasbourg is an example.

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

Above: Leeza SOHO, construction 2017, Beijing, Chi

ina

ENHANCING FLUIDITY WITH DAYLIGHT AND LIGHTING Hadid used white road markings as inspirations for the luminary strips in the concrete ceiling of the structures of angked markers for defining car parking spaces. The Phaeno Science Centre was a step away from Hadid’s typical design style. She opted for more curvaceous fluid form. The shaded area of the structure opens to one end and allows the daylight to shine through, whilst intensifying the cave like feeling.

Rhombus shaped luminaries line the celling to help cut through the dim atmosphere as well as linking the diagonal form of the building itself. The Phaeno Science Centre is a brilliant example of Hadid trying natural and artificial light together to compliment her designs. Hadid also designed the Nordpark Railway Station in Innsbruck, 2007. In this design, the light is reflected by a glass façade rather than absorbed concrete like her previous works. This causes the structure to sit within the landscape rather than stand isolated, whilst reflecting the surroundings, which is also different to her previous designs.

Further linking the two together, the smooth reflective surfaces of the Nordpark Railway Station, inspired Hadid to create the design of the Serpentine Sackler Gallery in London, in 2013.

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

6

IDEATIONS

2

IDEA

1

3

4

IDEA ONE: ROOTS

7

1

2

3

IDEA TWO: LEAVES

8

SEEK LIGHT THROUGH NATURE IDEA

1

IDEA THREE: WOOD

9

2

3

REALISATIONS

10

REFLECTIVE FACADES IN MODERN ARCHITECTURE

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

LIGHT STUDY 2

11

REFLECTION

REFLECTION CONCEPT In a philosophical sense, reflection is an intellectual process as it can come later in the design process, when we revisit ideas and evaluate the merit of them allowing improvement. Reflection in this context is a crucial element for growth, because if we were not able to reflect upon our past, thoughts and movements, we would not be giving ourselves that opportunity to reflect on and learn. The concept of reflection can be defined as the return of an image as a mirror of the original, or as the result of flipping an image along an axis. This is an linguistic definition of reflection. It can be portrayed as perfect mirror images of the object it’s reflecting or it can simply be the reflection of light and the aesthetic which comes from that reflection.

Designed by Herzog and de Meuron, the Glass façade of the Elbhilharmonie in Hamburg, takes inspiration from the culture of Scheerbart. Which refers indirectly to Berlin’s Philharmonic. The building features a glass façade that has sections that curve inwards and outwards, which creates a disorted reflection of the water, sky and city. This façade also allows you to perceive the building’s surrounding not as a perfectly mirrored image, but as a professional reproductions. Which also brings a new perception. The use of curved balconies creates an interesting as well as distinct reflections. When there is a a clear, diffuse sky, the curves reflect the light and create distinct lines, conversely, when the building is under direct sunlight. It also creates glossy shimmers which are reminiscent of jewels.

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

REFLECTIONS FROM NATURE The Elbphilharmonie has made use of its abstract façade to create eye-catching reflections, which changes the viewer’s perception of the building’s surroundings. Frank Gehry’s Walt Disney Concert Hall, also takes on the creative idea of using reflection through the architectural styles when designing. It transfers from glass to metal and the signature style of a sail-like forms combined with the uses of titanium cladding on the façade of the building, creates a very dynamic scene. This also changes constantly which is entirely dependent on the time of the day and the weather. The hall’s unique aesthetic creates a spectacle within downtown Los Angeles, and has become a well-known part of Hollywood. The unique façade has made the form of the building an advertisement in itself, whilst creating a sense of anonymity about the building’s true size or number of stories. The reflections from the discs are diffuse and leads and abstract image to be produced. This means its predominantly dictated by the colour and brightness of the sky, and neglects any clear visions of the surrounding areas. All of the aforementioned projects have taken the concept of reflection to help created their own unique interpretations, straying away from the traditional concept definition of reflection.

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

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

12

REALISATION FORM

13

14

PLAN, SECTION AND ELEVATION FORM ```

ELEVATION

SECTION

15

SITE PLAN

SMALL LIBARY READING AND RELAXING SPACE TOLIETS

EXPLOADED PERSPECTIVE

16

WHITENESS IN NORDIC COUNTRIES LIGHT MATTERS

LIGHT STUDY 3

17

OPACITY

Throughout Scandinavian countries, there is a scarce amount of light during the winter months and during summer they experience very long days. This has affected the way designers have applied the opacity as a tool to help lighten rooms naturally, despite their less than favourable access to the natural sunlight. These extreme shifts. In their weather pattern have influenced the use of experimenting white surfaces to counteract the long and dark winter days. Due to the low position of the sun in the surrounding regions, light generally enters the buildings from the side, rather than from above, which create longer and more shadows, and summer evenings generally have a very diffuse light. Not only is the use of white surfaces are inspired due to the high albedo properties, but it has also been seen as designers drawing parallels to the snowy Nordic landscapes. Examples are shown through many churches in the Scandinavian countries. Opacity can be defined as the quality of an object or surface lacking transparency or translucence, making it difficult to see through or for the light to be transmitted through. The linguistic definition is the impenetrability of an object or surface, and to apply it in a philosophical context. It could also be interoperated as the difficulty of understanding. In literal sense, opacity restricts light’s ability to

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

transmit through a surface or an object, if we could draw parallels between light and knowledge, the situation created can be a restricting factor in our pursuit of knowledge, due to the lack of outcome. This idea of opacity being a screen of uncertainty can promote deeper thoughts and which could then result in new ideas being created. The Lack of a clear and certain outcome, results the vagueness of the situation also. The Dybaer Church

by Regnbuen Arkiteter, is a great example of opacity as light enters the church from three angles. From the North, emphasizes a black steel crucifix and then it entres more broadly from the south, creating a wash over the walls.

When it showers down directly from behind the alter, it guides a portion of the wall. Another project that uses white volumes as a strong factor to create an interior which shone brighter than the external envieronment, is the Nordyjllands Art Museum. The Prikkala Church by Kapy and Simo Paavilainen is another example however, it focuses on the white surfaces being combined with the placement of windows, creation a slideshow of images on the wall behind its alter. Depending on the time of the day and the year, different images of light are projected onto the wall, crating a dynamic interest within the building. These designs have taken advantage of restrictions in an innovative way to create a spectacle light within their structures.

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)

18

FINAL DESIGN MATERIAL

19

MOVEMENT When analysing the site, the pavilion was designed from the movement and flow of the site itself.

20

INTERNAL DETALING MATERIAL

The materials used throughout this constructed design, incorporates natural elements such as timber, concrete and steel. These materials where chosen to help maintain the idea of seeking light through nature and natural elements.

21

CONSTRUCTION DETALING

ROOF The roof is created with timber slats aligning the design. The way the timber is constructed, creates the unique lighting for the design to achieve its goal.

22

LIGHT STUDY 4

FILTRATION

23

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)

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)

Filtration is the at of purifying something by altering its essence of what it originally was, generally by removing something when it passes through a filter. If this definition is applied to light, it can be to do with reducing the wavelengths of light or even altering the light in some form. This would result in the light forming certain patterns because of passing the screen to create. In the case of light, filtration is our way of dictating its appearance and how it behaves. Using filtration of light can transform how we perceive certain spaces. Highlighting certain elements whilst leaving others in the dark or using patterns of light to bring attention to the smaller scale of detail presents on a surface. Le Corbusier’s trinity of sacred buildings all integrate filtration as a major design element. Corbusier has captured this through the use of his strategically, placing windows and opening to direct sunlight into the interior at different times of the day. Creating a distinct dynamic character about all three. The Ronchamp Chapel, The Monastery of Sainte Marie de la Tourette and the parish Church of Saint Pierre, each has its own distinct and individual character yet, all feature an element of light filtration as a major element. Corbusier experimented with the intereaction of colours and varying solar events in the design for the Ronchamp Chapel. Despite being agnostic, Corbusier appreciated the important image of divinity that light portrayed and set out to create his own interpretation of the situation. The use of light in the Ronchamp Chapel has been recognised by Henry Plummer as a method to consecrate the natural universe. La Tourette uses rectilinear geometries with each of the main hallways having an opening to one of the cardinal directions. Each of these corridors have a unique window arrangement that create patterns in the shadows and light. These patterns often draw comparisons to the flow of music and have been interoperated of drawing people further into a contemplative state. La Tourette looks amazing at sunset when the light streams through the crack of the ceiling above the west walls, illuminating the wall. This features that light differs between seasons. The theatre of light at Saint Pierre occurs over three acts during the day. In the morning includes the small star windows on the eastern façade creates dots on the floor, which turn to rolling waves of light as the time of the day passes by, at midday. Later, during the sunset, a bright light beams onto the altar wall, drawing the theatre of light to a close. Le Corbusier’s creative use of light in his trinity of light, was able to transcend buildings past not only static volumes, but dynamic spaces which were ever changing as the environment around them changes too. The concept of filtration can be broadened to encompass all of nature and how humans love to interfere with the natural world itself, whilst removing impurities to create a more ideal setting.

24

EXPERIENTIAL MOBILITY MATERIAL

25

26

REFERENCES 1. 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] 2. SCHIELKE, THOMAS. LIGHT MATTERS: LE CORBUSIER AND THE TRINITY OF LIGHT ARCHDAILY (11 FEB 2015) WEBSITE: HTTPS://WWW.ARCHDAILY.COM/597598/LIGHT-MATTERS-LE-CORBUSIER-AND-THE-TRINITY- OF-LIGHT [ACCESSED 8 SEP 2019] 3. SCHIELKE, THOMAS. LIGHT MATTERS: WHITENESS IN NORDIC COUNTRIES ARCHDAILY (29 AUG 2014) WEBSITE: HTTPS://WWW.ARCHDAILY.COM/542503/LIGHT-MATTERS-WHITENESS-IN-NORDIC-COUNTRIES [ACCESSED 8 SEP 2019] 4. SCHIELKE, THOMAS. VEILED IN BRILLIANCE: HOW REFLECTIVE FACADES HAVE CHANGED MODERN ARCHITECTURE ARCHDAILY (12 OCT 2016) WEBSITE: HTTPS://WWW.ARCHDAILY.COM/796974/VEILED-IN-BRILLIANCE-HOW- REFLECTIVE-FACADES-HAVE-CHANGED-MODERN-ARCHITECTURE [ACCESSED 8 SEP 2019]