REPRESENTATION II SEEK LIGHT YIFAN WANG A1714175
CONTENTS
PART I PLACE (PAGE 4-11)
PART II IDEA (PAGE 12-17)
PART III FORM (PAGE 18-23)
PART IV MARTERIAL (PAGE 24-29)
MATH LAWN SITE PLAN SCALE: 1:500
PART I
INGKARNI WARDLI BUILDING
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PLACE
BARR SMITH LIBRARY
THE BRAGGS
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AERIAL VIEW 1
AERIAL VIEW 2
GROUND VIEW 1
GROUND VIEW 2
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DAYTIME 1
DAYTIME 2
NIGHT-TIME 1
NIGHT-TIME 2
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MID-SUMMER
9:00AM 01.01
12:00NOON 01.01
9:00AM 07.01
12:00NOON 07.01
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3:00PM 01.01
MID-WINTER 3:00PM 07.01
SITE ANALYSE
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LIGHT STUDY 1: LUMINOSITY 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. 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. Deconstructive Lines of Light Decisive non-parallel lines mark the explosive energy of her first building: The Vitra Fire Station (Weil am Rhein, 1993)—a lucid expression of tensions with in-situ concrete walls. Light lines in the ceiling, or between wall and ground or between the wall and the flying roof reinforce the linear architecture with sharp edges. 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. Pixelated Luminosity The recent Nanjing International Youth Cultural Centre (Nanjing, 2016) demonstrates not homogeneity like the Heydar Aliyev Centre, but instead a dynamic transition from vertical glass towers to a horizontal concrete podium. Rhomboid panels—reminding us once again of the patterns at the Phaeno Science Centre—gradually transform from transparent glass to fiber-concrete panels. The interior presents another advancement of fluid luminosity. In contrast to the grand halls at the Heydar Aliyev Center and Guangzhou Opera House, where the illumination was discretely integrated into the ceiling or looked liked a starry sky, the Nanjing Centre shows an almost offensively luminous surface. Hundreds of small holes in undulating lines follow the dynamic interior geometry for illumination. The dotted ceiling in the grand hall signifies a distinct luminous pixel aesthetic, in which the star ceiling at Guangzhou turns into luminous discs in Nanjing. Quite obviously the relationship of solid to luminescent surfaces have shifted towards the side of light here. 11
.FluidLuminosity:TheArchitecturalLightingOfZahaHadid”.2019.Archdaily.https://ww
ww.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid“
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PART II IDEA SEEK LIGHT METAPHOR
BEING WITH/EMBRACING NATURE
GROWTH/EXPANSION
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WIND&LEAF
3 POSSIBILITIES WATER DROP
13 MELTED ICE
Water play a very important role in the nature or life, which also could combine with the tree, leaf, sun. I look up lots of the rain, to feel the water drop. The place we are design is a grass ground, which feels like rain fall into the ground.
The “Seek light metaphor “ that I chose the “Being with nature(growth)”, first thing that pop out to my head is the life tree. It is like a wheel of life ,represent the growth, so I pick up this inspiration to develop the idea 1, which is the shape of a leaf. During the growth, light is the “must”, leaf has lots of ‘vein’, so I use the shape of ‘vein’ to define the sunlight, which also separate the internal space.
At idea 1and 2 I was inspired by the nature organic shapes, so I decided to search the geometric shapes. Adelaide has really hot summer time, then I figure out that the “melted ice cube”, which is human-made “water”. I did the 3D model, showed contrast with fluid and solid, artificial and nature.
14 "Celtic Coloring Pages | Moonshine 2019 | Celtic Tree Tattoos, Pattern Coloring Pages, Celtic Tree Of Life". 2019. Pinterest. https://www.pinterest.com.au/pin/431641945535565578/?nic=1. "Tree Tattoo - Water Drop Tree | Tree | Tree Tattoo Designs, Life Tattoos, Tattoo Designs". 2019. Pinterest. https://www.pinterest.com.au/pin/466474473902900814/. "Why Does Water Freeze Into Cloudy Ice Cubes In My Freezer? | Stationary | Ice Molds, Ice Cube Molds, Cold Ice". 2019. Pinterest. https://www.pinterest.com.au/pin/334110866106287399/.
WIND&LEAF
MELTED ICE
WATER DROP
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LIGHT STUDY 2: REFLECTION
The play of elegant veils in fashion and shiny cladding in architecture combined in a Paco Rabanne dress for a British retail temple. Future Systems stylishly covered the Selfridges Bir mingham department store, opened in 2003, with a dense mesh of 16,000 anodized aluminium discs. 16
"Veiled In Brilliance: How Reflective Facades Have Changed Modern Architecture". 2019. Archdaily. https://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changed-modernarchitecture.
Even as modernism promoted the transparency of glass architecture, many within the movement were
an architect Frank Gehry transferred this aesthetic of brilliance from glass to metal with the titanium cladding
genheim Museum Bilbao in 1997. While the connotations range from a ship for the larger form to fish scales
he reflective panels, the building as a whole has turned into an urban jewel that kicked off numerous urban re-
nts with its iconic signature. Many an aspiring metropolis assumes that the structural form is the key successful
lbao effect.” However, with the sparkling light qualities of the titanium sheets and its changing appearance,
y has not only brought a dynamic composition of forms to Bilbao but reinforced his design with a distinctive,
mage which varies with every cloud and sunbeam.
conscious of the monotony of large glass facades, with even Mies van der Rohe using elements such as his trademark mullions to break up his facades. But in the years since, countless uniform structural glazing skyscrapers have emerged and bored urban citizens. In response to this, unconventional reinterpretations of facades have gained interest. Accompanied by the belief that light and brilliance could help in creating iconic architecture and a better human world, glass and metal have been innovatively transformed to create crystalline images. As a result, the locus of meaning in architecture has shifted from the internal space-form towards the external surface. Celebrating the expressive materiality of transparency and reflective imagery for entire building skins emerged during the early 20th century, when Paul Scheerbart and Bruno Taut envisioned a new glass culture made of “colored glass” “sparkling in the sun,” “crystalline shapes of white glass” which make the “jewel-like architecture shimmer.” Mies van der Rohe absorbed this vision when he discarded the rectangular tower in favor of a free-form glass skin in his proposal for the Glass Skyscaper in Berlin in 1921. In a 1968 interview, Mies explained his skepticism regarding the urban monotony of glass mirror effects: “Because I was using glass, I was anxious to avoid dead surface reflecting too much light, so I broke the facades a little in plan so that light could fall on them at different angles: like crystal, like cut crystal.” Norman Foster materialized this glass dream with his Willis
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Faber & Dumas Headquarters in Ipswich in 1975 and SOM presented it in its tallest manifestation with the Burj Khalifa Tower in Dubai in 2009.
ELEVATION VIEW SCALE: 1: 100
18 WEST SECTION 1 SCALE:1:100
LOWER GROUND SCALE: 1:200
GROUND FLOOR PLAN SCALE: 1:500
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EXPLODE VIEW
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3D VIEWS •AERIAL VIEWS
•GROUND VIEWS
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LIGHT S OPAC
The Scandinavian countries have develope the scarce light in winter and the long summ at the University of Illinois at Urbana-Cham ous daylight phenomena in the Nordic co brilliant writing that combines an analytica of daylight looks beyond the practical ad es to facilitate bright rooms; the passionate the light effects that play with the local be The extreme changes in weather and day Scandinavia, where architects have played w and dark winter days. The low position of the s and therefore daylight enters the buildings mo summer evenings emanate a diffuse light. In h Architecture,� Henry Plummer points out tha Finland are dissimilar in topography and veg Whiteness is a central aspect of how Nordic arc as Plummer reveals in his studies from the 15t Steven Holl's Herning Museum of Contempo a high reflectance in order to maximize int for Plummer the affection for whiteness is a landscape.The concept of white diffusion, u steel and white linoleum, was introduced by 1930s, and achieved a peak at the Nordyjlland Shades of white cover the walls, floors and cei However, the power of pure white volumes built environment. The pulse of nature with of dramatic light and shadow belong to th
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"Light Matters: Whiteness In Nordic Countries". 2019. matters-whiteness-in-nordic-countries.
STUDY 3:
CITY
ed great buildings that resonate with both mer days. Henry Plummer, Professor Emeritus mpaign, has very carefully studied the variountries, with extensive photo journeys and al perspective with a poetic touch. His view dvantages of using reflective white space photographer is much more interested in eauty of nature and touch the human soul. ylight have led to unique light situations in with white surfaces to counterbalance the long sun in northern regions creates long shadows ore from the side than from above. In contrast, his book “Nordic light: Modern Scandinavian at although Norway, Sweden, Denmark and getation, they share the same subdued light. chitects responded to their local environment, th century up to contemporary buildings like orary Art. Without doubt, white surfaces offer terior brightness for dark winter periods, but also linked to the beauty of snow-covered using white-painted plaster, white-enamelled y Alvar Aalto for the Paimio Sanatorium in the ds Art Museum in 1972, according to Plummer. ilings as well as the expressive daylight scoop. s is not the only characteristic of the Nordic vibrating patterns of light or the transiency he distinctive Nordic light approach as well.
. Archdaily. https://www.archdaily.com/542503/light-
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PART IV MATERIAL
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CONCRETE (ROOF &INTERIOR)
GLASS (HANDRAIL&”VEIN”DESIGN)
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"12Mm Toughened Glass". 2019. Indiamart.Com. https://www.indiamart.com/proddetail/12mm-toughened-glass-14499488312.html. Free, Rustic. 2019. "Rustic Wood Texture Free". Textures4photoshop.Com. http://www.textures4photoshop.com/tex/wood/rustic-wood-texture-free.aspx.
TIMBER(STAIRS&RAMP)
MOVEMENT
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For his three sacred buildings, Le Corbusier has played masterfully with orientation, openings and textures to create kinetic architecture with daylight. His pilgrimage chapel at Ronchamp, the monastery of Sainte Marie de La Tourette, and the parish church of Saint-Pierre in Firminy reveal distinctive and individual approaches that each render contemplative spaces with light. In his book “Cosmos of Light: The Sacred Architecture of Le Corbusier,” Henry Plummer, Professor Emeritus at the University of Illinois at Urbana-Champaign, has analysed these projects with outstanding photographs taken over 40 years and brilliant writing.
The light orchestration at La Tourette is more complex and widely dispersed in comparison to Ronchamp, remarks Plummer. The Monastery of Sainte Marie de la Tourette at Éveux-sur-l’Arbresle (1953-60), with its rectilinear geometry, embodies a clear counterpoint to the poetic forms of Ronchamp and Firminy. Due to the fact that all corridors have an open side facing one of the four cardinal directions, the believers encounter diverse light experiences. Additionally, the corridors are distinguished with different window arrangements. The irregular rhythm of light and shadow appears like a musical composition, notes Plummer when he observes the corridor to the atrium: “Unlike the repetitive rhythms of windows and columns in traditional churches, these fluent rhythms are aperiodic, based upon intervals of light and transparency that gradually compress and expand in waves. The lovingly cadenced beats have the intonation and flow of music – not orchestral music, but chant-like sounds, whose tones help to draw people further into a contemplative state.”
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Le Corbusier’s light techniques emerge as a multifaceted language to consecrate his sacred buildings. His dynamic layers of light transcend the static building volumes - a cosmic cycle that changes with the course of the day, year and with a clear or overcast sky. His structural elements range from tiny stellar openings to large tubes, but even small interventions are used to generate remarkable light patterns that reflect cosmic power
LIGHT STUDY 3: FILTRATION
Light has been linked with divinity and holiness in many different religions. In Christianity the Bible speaks of God who “is light” or Christ as “the light of the world”. Even if the divine light and visible light are not the same, visible light appears as the most similar to the heavenly and thereby links both spheres. Each epoch has formed a new language of light: The glow of the Romanesque apse, the golden shimmer of Byzantine mosaics or the luminous walls of Gothic stained glass. As an artist as well as an architect, Le Corbusier expressed an exceptional sensitivity for the interaction of colours and light in his sacred buildings. His position as an outspoken agnostic seems very ambivalent in combination with his desire to open the soul to poetic realms.
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"Light Matters: Le Corbusier And The Trinity Of Light". 2019. Archdaily. https://www.archdaily.com/597598/ light-matters-le-corbusier-and-the-trinity-of-light.