G1 yanuo qu rep2 17 final

PURSUIT OF LIGHT -- LIGHT PAVILION DESIGN

Representation II 2017 Yanuo Qu a1679606

TABLE OF CONTENT Stage 1

Stage 3

Plan, Elevation

04

Elevation, Plan, Section

24

Site Analysis

06

3D views

28

Luminosity Study

12

Opacity Study

32

Stage 4

Stage 2 Spatial Studies

14

Structure

34

Elevation, Plan, Section

16

Composition

36

3D Views

20

Construction Details

38

Reflection Study

22

Filtration Study

42

Site Plan &Elevations

Site Plan Scale 1:1000

04

Barr Smith Library Scale 1:500

Computer Science Scale 1:1000

Maths and Engineerin Scale 1:1000

05

3D View & Ambient Light

Aerial View 1

Ground View 1

Aerial View 2

Ground View 2

06

07

Daytime 1

Daytime 2

Nighttime 1

Nighttime 2

Shades & Shadow Summer 9:00am

Winer 9:00am

Summer 12:00pm

Winter 12:00pm

Summer 15:00pm

Winter 15:00pm

08

Movement

09 02

Social

& Culture

Providing world-class and purpose-built teaching, learning and research facilities, the $100m nine-level Ingkarni Wardli building is home to the Faculty of Engineering, Computer and Mathematical Sciences.The Kaurna name, meaning 'place of learning or enquiry' recognises the special relationship the University shares with the Kaurna people. Thus, unlike schools that are based on a single discipline serving many industry sectors, we are a multi-disciplinary school serving a single sector.

The Australian School of Petroleum (ASP) is a world-class centre for petroleum education, training and research.

It is one of only a few institutions in the world offering fully integrated teaching and research programs in the disciplines of petroleum geoscience, engineering and management (reflecting the way industry works). Thus, unlike schools that are based on a single discipline serving many industry sectors, we are a multi-disciplinary school serving a single sector.

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The Barr Smith Library is the main library of the University of Adelaide, located in the centre of the North Terrace campus.

The Barr Smith Library owes its name to the Barr Smith family, a pioneer family in South Australia and benefactors to the University of Adelaide over many decades.

In 1899 the University Council resolved that its library should bear the name "The Barr Smith Library".

The University of Adelaide Press also occupy part of the Barr Smith Library.

These facilities include glass development and processing, optical fibre fabrication, laser and device development, luminescence dating, environmental genomics, photonic sensor development, and synthetic, surface and bio-chemistry and offices to co-locate IPAS researchers and students from a broad range of scientific disciplines. pioneer family in South Australia and benefactors to the University of Adelaide over many decades. In 1899 the University Council resolved.

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Linguistic Definitions Luminosity can be easily understand by the relationship of lights and shadow.

In astronomy, luminosity is the amount of electromagnetic energy a body radiates per unit of time. It is most frequently measured in two forms: visual (visible light only) and bolometric (total radiant energy).

Philosophical Meanings

Dongdaemum Design Plaza, 2013, Seoul, South Korea

Luminosity can have so many meanings to different people who have different point of views. It can be light, it can be an illuminant body, and it can be radiant body. All different luminosities contain different kind of lights.

In my point of view, I think luminosity is more like what we see, what we can see from our eyes that is the object’s reflection. Because of light, we are able to see things and feel things physical and emotional, and the light is come from millions trillions of luminosities. We can’t send and receive messages without light. Luminosity helps mankind to ascend the knowledge of the universe.

Leeza SOHO, construction 2017, Beijing, China

Luminosity

Pharco Science Center, 2005, Wolfsburg, Germany

12

Luminous Strips

Luminosity is one of the most important elements in architecture. It is easily to be understood like the lights and the relationship between sunshine and darkness. The masterly applying of the light will give a fantastic visual effect and breathtaking feelings. The examples of the masterly applying of the luminosity are the projects of Zaha Hadid.

Zaha Hadid's projects are remarkable not only for her innovative way of handling tangible materials but also for her imagination regarding the medium of light. Her theories of fragmentation and fluidity are now well-known design techniques which enabled her form-finding.

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.

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 luminaries or windows—characterize her early work, whereas luminous fields and a play of brilliance emerged later.

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Zaha Hadid's explorations with abstract paintings have led to several graphical interpretations of lighting and luminaries. In order to interweave the surrounding landscape with her new structures, Zaha analyzed abstracted urban transport patterns and transformed them into luminaries’ patterns. 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 luminaries—either integrated as strips in the concrete roof or as tilted poles for the car parking spaces.

Guangzhou Opera House, 2010, Guangzhou, China

Meanings in Architecture The relationship between windows and ceilings The Phaeno Science Centre (Wolfsburg, 2005) was a decisive turning point in Zaha’s lighting imagination. The windows and luminaries in the building’s surface share the same form, creating a holistic design approach and thus moving on from Zaha’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 luminaries 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, Zaha’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.

Formal & Spatial Study It is a stunning geometric coloured glass roof balanced by white which designed by Daniel Buren.

"Diamonds and Circles’ works ‘in situ’ is the first permanent public commission in the UK by the acclaimed French artist, Daniel Buren. The artwork transforms Tottenham Court Road station with Buren’s signature geometric patterns across the vast central ticket hall and multiple station entrances. His designs play with simple concepts; shapes, colours and str ipes.He has created a colour ful series of large -scale diamond and circle shapes fixed to the station’s internal glass walls.

2.3m in height and diameter, the diamond and circle shapes re p e at t h ro u g h t h e s p a ce. A cabinet containing the ‘parents’ of the forms in three dimensions is installed in a vitrine inside the ticket hall.

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Spatial Diagrams 2 3 5

1 4

Idea 1

1 Seminars, Reading Space and Library 3 5

4

2 Toilets 1

3 Exhibition Space and Reception

2

4 Storage 5 Disability Access Idea 2

15

To-Scale Plan & Elevations

Idea 1 Scale 1:100

Idea2 Scale 1:100

16

Idea 1 Scale 1:100

Idea2 Scale 1:100

17

Sections

Idea 1 Scale 1:100

Idea 2 Scale 1:100

18

Idea 1 Scale 1:100

Idea 2 Scale 1:100

19

Aerial & GroundViews

Idea 1 Aerial View

Idea 1 Ground View

Idea 2 Aerial View

Idea 2 Ground View

20

Interior Views

21

Idea 1 View 1

Idea 1 View 2

Idea 2 View 1

Idea 2 View 2

Linguistic Definitions Reflection is the image of something in a mirror or on any reflective surface. It is also the return of light, heat, sound, or energy from a surface. The angle that a beam of light or other energy that is reflected from a surface makes with a line vertical to that surface.

Philosophical Meanings Reflection is one of three “logical acts of the understanding by which concepts are generated as to their form”, the other two being comparison and abstraction. Reflection is defined as “the going back over [of ] different presentations, how they can be comprehended in one consciousness.” Reflection, comparison, and abstraction are “essential and general conditions of generating any concept whatever”. Reflection is a transformation of a figure in which each point is replaced by a point symmetric with respect to a line or plane and also a transformation that involves reflection in more than one axis of a rectangular coordinate system.

Glass façade of Elbphilharmonie, Hamburg.

Reflection

Reflections on titanium façade at Guggenheim Museum Bilbao, 1997.

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Meanings in Architecture In inorganic nature, reflection is the process of things reproducing, under the influence of other things, traces or imprints of the things exercising that influence; in organic nature, reflection is an active process, such as in the adaptation of animals to their environment or the irritability of plants and other organisms.

Here, properties in the organism which are the outcome of a long process of adaptation by the species are manifested actively by the individual in the immediate influence of other bodies in the environment the like of which have been present during this period of development. The concept of reflection, as the correspondence of mental images with the material world which is the source of those images, is the basis of the materialist approach to cognition.

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One of the best ways to make a space look bigger is by incorporating a few strategically placed mirrors, and with many people unable to afford such large homes or offices these days, mirrors have become an increasingly popular way to make the most of a small space. One of the best things about mirrors is that they can be cut to any size, and provide an easy way to get artsy with your architectural design.

Using reflection in flooring has been a growing trend in architectural design of late, and it is amazing how much brighter the right flooring can make a space look. There are a lot of different flooring options available offering a range of reflective ability, from hardwood to polished concrete floors, enabling you to bring in exactly the right amount of reflection to suit the look, style and purpose of the space. With polished concrete you can even have reflective elements such as minerals, coins or glass embedded into the top layer of your floor.

Aluminium discs at Selfridges Birmingham, 2003

One of the more beautiful and natural ways architects have been adding reflection in their designs is by making extensive use of water, and the effect can be absolutely stunning.

One of the biggest trends in architectural design is the growing use of metal, with metal furniture, fixtures, fittings, and even flooring starting to be seen. The ability of reflective metal in particular to make better use of the light, create an illusion of space, as well as be extremely easy to clean, has left metal with little competition for many key components in modern architecture and interiors. For many years, architectural design has made extensive use of glass, and while glass has been used for many different reasons, one of the biggest attributes is that it not only allows light through, but also reflects it.

Everything from glass bricks to double paned windows have been used to fabulous effect, and it seems glass will remain a central element in design for quite some time yet.

Using reflection in design can be an effective way to change the look and feel of a space, so if your home or office is feeling uninspiring at best, consider using a little more reflection in your design, as it may not take much to do the trick.

Plans & Elevations

model in site scale 1:1000

model in site scale 1:200

24

25

sections scale 1:100

Elevation 1

26

27

Elevation 2

Movement & Aerial and Ground Views

28

Ground View 1

Aerial View 1 29

Ground View 2

Aerial View 2

Internal Views

30

31

Linguistic Definitions

Philosophical Meanings

The opacity is how much an image will obscure the background when painted, usually defined by its alpha channel. It is the use of an opaque data type, a data type that is incompletely described in a module interface. It is Said of data that can only be interpreted by an external entity, such as a magic cookie.

The words “opacity” and “opaque” are often used as colloquial terms for objects or media with the properties described above. However, there is also a specific, quantitative definition of “opacity”, used in astronomy, plasma physics, and other fields, given here. Opacity is also the measure of impenetrability to electromagnetic or other kinds of radiation, especially visible light. In radiative transfer, it describes the absorption and scattering of radiation in a medium, such as a plasma, dielectric, shielding material, and glass.

Opacity 32

Meanings in Architecture These are basic qualities of surface.

Considering these early on can help you avoid treating spaces as defined only by walls. Opaque surfaces separately two sides completely and fully. The result is physical and visual separation. Transparent surfaces allow full visual connection while creating physical separation.

Translucent surfaces create partial visual separation with either full or partial physical separation. A frosted or sand-blasted glass wall allows light and some visual clues to communicate while preventing physical connection. A mesh or other type of screen allows slightly more visual information while allow facilitating sound and air movement.

Issues of transparency perception are addressed from an architectural perspective, pointing out previously neglected factors that greatly influence this phenomenon in the scale of a building.

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The simplified perforated model of a transparent surface presented in the paper has been based on previously developed theories and involves the balance of light reflected versus light transmitted.

Its aim is to facilitate an understanding of non-intuitive phenomena related to transparency for readers without advanced knowledge of molecular physics. The view of daylight looks beyond the practical advantages of using reflective white spaces to facilitate bright rooms; the passionate photographer is much more interested in the light effects that play with the local beauty of nature and touch the human soul.

The extreme changes in weather and daylight have led to unique light situations in Scandinavia, where architects have played with white surfaces to counterbalance the long and dark winter days. The low position of the sun in northern regions creates long shadows and therefore daylight enters the buildings more from the side than from above. Religious buildings especially reveal a wide variety of time-concepts. The concepts range from material textures to specific glass features and built volumes that change the image during the course of the day and season. Some churches call for attention with characteristic light patterns during the whole morning liturgy, some welcome the sunlight at the end of the service at noon whereas others imply only subdued light to enhance contemplation.

To-scale Model of the Structure Concrete and stone structure

Glass mainly uses in learning space

Concrete Wall

Concrete Wall

Floor

34

35

Perspective& Composition

Reception Stairs and disabled access Toilets Exhibition Area Library and learning space Storage

36

37

Walls Construction Detail

38

39

Glaze Construction Detail

40

41

Linguistic Definitions

Philosophical Meanings

Filtration is a process used to separate solids from liquids or gases using a filter medium that allows the fluid to pass, but not the solid. The term “filtration� applies whether the filter is mechanical, biological, or physical. The fluid that passes through the filter is called the filtrate.

The filter medium may be a surface filter, which is a solid that traps solid particles, or a depth filter, which is a bed of material that traps the solid.

Filtration is the process of separating suspended solid matter from a liquid, by causing the latter to pass through the pores of some substance, called a filter. The liquid which has passed through the filter is called the filtrate. The filter may be paper, cloth, cotton-wool, asbestos, slag- or glass-wool, unglazed earthenware, sand, or other porous material.Filtration is very frequently employed in chemical technology, and it often presents great difficulties.

Filtration 42

Meanings in Architecture In most technical operations, cotton cloth is the filtering material, but occasionally woolen or hair cloth is necessary. The cloth may be fastened on a wooden frame in such a way that a shallow bag is formed, into which the turbid liquid is poured. The filtrate, in this ease, is cloudy at first, but soon becomes clear, and then the turbid portion is returned to the filter. Filtration is often retarded by the presence of fine, slimy precipitates, or by the formation of crystals in the interstices of the cloth, from the hot solution.

Any attempt to hasten filtration, by scraping or stirring the precipitate on the cloth, will always cause the filtrate to run turbid.Filtration is any of various mechanical, physical or biological operations that separate solids from fluids (liquids or gases) by adding a medium through which only the fluid can pass. The fluid that passes through is called the filtrate. In physical filters oversize solids in the fluid are retained and in biological filters particulates are trapped and ingested and metabolites are retained and removed.

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The fragility of the island, its indefinite shores that change contours and thickness with the tide, the beautiful Austrian battery, trace of the more extensive system of fortifications that once existed in the lagoon, whose thick and solid walls leave a mark on the lagoonal landscape, the regular division of the artichoke cultivations and the ghebi or internal canals design the landscape and the building becomes part of its character. Four one meter thick parallel walls, built in reinforced concrete colored red with pigment and constructed as rough, untreated surfaces give the space the building form, like the ruins of an old battery, at the same time defining structure and shape.

The spaces between the concrete structures are closed by full-height panels in Iroko planks that may be opened at the entrance and in the areas used for unloading of dust. The red concrete walls also serve as basic structures for the design of the landscape.

The building buries its roots deep into the ground, at the same time facing the land, the void as a possible facade.

Dutch architecture offices Global Architects and Bloot Architecture cooperated in an international team of architects and became third in the Vertical Spa in Rome International Architectural Competition. The building filters the perception of the urban context of Rome. The organisation of the program works as a purification-filter of the human body and mind. The journey of the spa-experience starts at the top of the building. The first level of purification is to get elevated from the chaotic urban life. Through the filtering planes users descend the building like water dripping down and get filtered by the different spa functions. The space generated between the filtering planes, acts as a connecting void in which one program infiltrate into the other.

In these voids one moves through the building and is constantly exposed to different “framed� views on the city of Rome.

Representation II 2017 Yanuo Qu a1679606