Underground Light Pavilion

h li g t Nature

of

Yucheng Dai || Rep 2-18 | Structure of Light

LI

GHT

Transforming the eternal into impermanence Poeticising the spatial ambiance

01

09

Place

Idea

Photographic study 3D views Scale study Proportional system Site analysis

Precedent study Metaphor Idea I · Big Dipper Idea II · bubble Idea III · Fluid

Case study Luminosity

Case study Reflection

17

25

Form

Material

Final design Floor plans Site plan & section Aerial & Ground Views Access & movement

Composition Structure Internal views Construction details

Case study Opacity

Case study Filtration

1 Place

PHOTOGRAPHIC

STUDY

1

2

3

In general, the Maths Lawns area could receive adequate sunlight, especially during the summer months. In terms of the ambient light, it possesses distinctive characteristics in day and night. In the daytime, the sunlight as the dominant source illuminates the entire place. Additionally, the reflective facade of the surrounding buildings (Braggs in particular) diminishes the visibility from the exterior and stimulates the visual perception of outside pedestrians.

In the evening, the reflective facade of Braggs becomes transparent, so that the internal light can illuminate the Maths Lawns through the glazing. Under the artificial

4 1 Photographed from the central pathway between two Maths Lawns 2 Photographed from the northeast entrance of the Barr Smith Library 3 Photographed from the side of the Barr Smith Lawns 4 Photographed under the giant tree (located at the junction of Ingkarni Wardli and Engineering & Maths Sciences building)

light of the surrounding buildings and the street lighting around the site, although the light source becomes fragmented, the atmosphere of the entire site remains as enjoyable as during the day and is even more tranquil.

Ground views (5-6) reveal the axial symmetry in the spatial experience and portray the pedestrian perspectives of each building, path, infrastructure and vegetation.

Aerial views (7-8) depict the overall perception of the Maths Lawns area and the surrounding environment.

Place 2

3D

VIEWS

5

6

7

8

3 Place

SCALE 5

STUDY 1

Elevation ratio: 11/5 = 2.2

9 Barr Smith Library Elevation

5 10 Barr Smith Library Floor Plan

5

1

5 Elevation ratio: 11/5 = 2.2

Place 4

PROPORTIONAL SYSTEM

5

1

5

11 Barr Smith Library Bay

Elevation ratio: 11/5 = 2.2

7

4

7

12 Ingkarni Wardli Elevation 7

4

7

Scale study is typically associated with measurement, ratio and proportion. It is essential to understand and explore the manifold correspondences between the larger part and the smaller part of the building. In terms of Ratio and Proportion, Ratio describes one substance in relation to another. Proportion represents the equation of at least two ratios. It is a correspondence of several ratios. The measurements taken from the site are the fundamental basis of designing where is not just a single ratio but a series of ratios correspond to each other, producing consistent bases of designing. These are all derived from a design thinking, which illustrates the intricate world was created in the best possible form and ideal mathematical proportion to aesthetically attain perfect

13 Ingkarni Wardli Windows

Elevation ratio: 18/7 = 2.57

beauty and celebrate rationality(refer to Humanism).

Therefore, understanding the underlying mechanic of these design principles may elevate the notion of the design and develop our spatial awareness of a building.

The Barr Smith Library as a Neoclassical architecture that has embodied traditional approach to designing.

Based on the magnificent set of drawings in the Barr Smith Collection. I initially formulated the ratio (2.2) of the front elevation and floor plan (9-10). Then I examined the ratio in a smaller part (11) of the elevation and obtained the same ratio as the overall elevation.

The same mechanic also works on the Ingkarni Wardli elevation (12) and its windows (13) with the ratio (2.57).

5 Place PLAN KEY

m

III

m

3m 37 18

mm

m

8m

88

61

51

35

14

m

1m

92

67

7m 63 36

II

VI

m

0m

66

23

V

m

00 m

255

m

16

IV

m

3m

19

8m

V VI

28

III IV

Barr Smith Library The Braggs Molecular Life Sciences Ingkarni Wardli Engineering and Maths. Sciences SANTOS Building

41

I II

I

m

2m

19

58

Scale 1 : 1000

10 m

SUMMER SHADOWS

9:00 am

12:00 pm

3:00 pm

Place 6

SITE

ANALYSIS

The Maths Lawns are situated among six buildings, it could be seen as a large gap between the north buildings and the south buildings.

The main access to the chosen site is across the front of the Barr Smith Library and two side roads are flanked by the lawn.

The trajectory of the sun in summer and winter embodied the chosen site is partly shaded during summer and winter.

The central area of the Maths Lawns is regularly use for events and activities, such as orientation week and open day.

The red circle represents the most crowded areas, and the yellow circle represents the areas where the flows are relatively small.

The vegetation and street trees are standing along the paths. A giant tree standing close to the south entrance of the Ingkarni Wardli.

WINTER SHADOWS

9:00 am

12:00 pm

3:00 pm

7 Case study

LUMINOSITY

Case study 1

Linguistic definition

Philosophical definition

The term luminosity derives from the ‘lux’ or ‘lumens’ in Latin, which both represent light (even though ‘lumen’ is more poetic). Linguistically, it means a luminous (or luminescence) process and its intensity. In the notion of astrophysics, light is the ubiquitous radiance. Luminosity also refers to the ability of the light emitted from the intrinsic bright objects (stars or other radiators) to others.

Light, as a totem of life, the symbolic meaning during the history is far more profound than the definition in physics and spectral research. It has been a root of inspiration in art, science and even in religion. Illumination, like emanating the light to the mundane world, comforts the sorrow of the earthly life. It contains humanity, romance, revival, truth, kindness. It is a sacred existence. All these combined, emerging the underlying meaning of illumination — enlightenment (Aufklärung in German).

Historically, spiritual enlightenment has been intensely studied and explicitly interpreted by philosophers. For instance, the St. Augustine theory of ‘Divine illumination’ which was based on the thought of the Platonists’.1 He believed that mankind could not accomplish their exhaustive cognition of the world without the help of external nature or the creator like God. The approach to assist is the enlightenment. In the Kant’s perspectives, enlightenment is a philosophical approach which extricates humankind from the state of ‘immaturity.’2 Thus, the inner and philosophical meaning of luminosity can have construed as the ‘spiritual enlightenment’ or ‘the dawning of the truth’ for both humankind and the individual. In the architecture field, it could define space by changing visual perception, ambiance, and emotion within space.

Vitra Fire Station, 1993, Weil am Rhein, Germany

Ronald H. Nash, Some Philosophic Sources of Augustine’s Illumination Theory, (Canada: Western University Press, 1971), 47-66.

1

Michel Foucault, What is Enlightenment? What is Enlightenment, (New York: Pantheon Books, 1984), 32-50.

2

Nordpark Railway Station, 2007, Innsbruck, Austria

Schielke T. Fluid Luminosity: The architectural Lighting of Zaha Hadid.

ArchDaily. Available at: https://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid. Accessed August 12, 2018.

Case study 8

MAXXI Museum, 2009, Rome, Italy

Guangzhou Opera House, 2010, China

Heydar Aliyev Center, 2013, Baku,

Azerbaijan

Fluid Luminosity: The architectural Lighting of Zaha Hadid “Structure is the creator of light.” From the early twentieth century on, architects started to treat light as the most fundamental element, choosing a structure is synonymous with the choice of light, contributing to good influence on the space. This essay is going to the investigation of the influential modern architect Zaha Hadid and how important light is in her career.

In her early works, the precise deconstruction of light enhanced the sharp edges of the line structure, perfectly blending into the atmosphere of the Vitra Fire Station. In her earlier stage, lighting tended to be an interpretation of graphic design instead of an exploitation of the entire underlying of light to depict architecture. Later, a small turning point-- The Phaeno Science Centre, Zaha Hadid’s projects gradually transitioned from sharp geometrical figure to soft fluid.

The Nordpark Railway Station opens a new period of light and transformation of lighting in Zaha Hadid’s career. The use of multiple mirrors thoroughly stimulates the audience’s perception. The fluidity of the light also gradually became her architectural design highlight.

Even in the design of MAXXI, its internal dynamic fluidity exceeds the spatial energy of the facade.

In her later works, her manipulation of light has become softer and more comprehensive, the ambient of light has been used to create a warm and subdued atmosphere. The Guangzhou Opera House and Heydar Aliyev Centre could be considered as the representative projects that reflected the arrangement of gentle light differently. The former incorporates internal flow lines with seamless skylights spreading out to the top of the audience. Like a vast canvas on the top of the head, allowing the light to warm the entire hall gently. On the contrary, the latter transformed conspicuous luminaire composition into the enshrouded ambient, the lighting at Heydar Aliyev Centre is subtly combined with the dynamic wooden ceiling and walls, exhibiting a diffuse light experience on the fluid form.

As a Master of deconstructivism, a considerable quantity of Zaha Hadid’s innovative theories have become well-known in the architecture field at present, including the theories of fragmentation and fluidity.

The use of the light rendering is perhaps the essential element to reflect her architectural imagination.

9 Ideas

PRECEDENT STUDY Tirpitz War Museum, which is planned to be constructed in Blåvand, has been characterised as the “Invisible Museum” due to the seamlessness of embedded structure and being underground. It converts a historical German World War II bunker into an integrated cultural gathering gallery, including four exhibition units with a dynamic form. It seems to be naturally shaped by a pattern of four crustal plates, also like an inestimable treasure, emitting light from the underground at night,

contributing to the museum a immersive environment and visual experience. For the spatial disposition, four exhibition spaces not only achieves the autonomy of the parts, but the totality of the whole. On an aesthetical level, it is integrated into the landscape. The visual perception of the surrounding environment has barely been disturbed and compromised by the museums.

In addition, the large glazing results in the confusion of the edge and the boundary of the reflective form.

Ideas 10

Viipuri Library located in Vyborg, Leningradskaya Oblast, Russia, designed by Alvar Aalto in 1935. In this library, Aalto elaborated a series of conical skylights to illuminate the major reading rooms with natural light. The futuristic roof has been perforated with 2m light wells, creating a harmonious lighting environment inside the building. This composition of the apertures could be deliberated in the further idea generations.

Plan

11 Ideas

METAPHOR

Seek light is embracing nature

Conceptual sketches

As Finnish architect Aarno Ruusuvuori said, ‘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.’

Light, often thought of a natural gift from ancient times to the present, is the source of vitality and the soul of the creations. It is a fascinating process that occurs naturally. The underground light pavilion should be considered as an incarnation of sacred sunshine, and all the light within the pavilion would allow the visitors to celebrate their own eureka moments.

Ideas 12

IDEA I· BIG DIPPER

Light, as a fundamental essence of nature, is associated not merely with the earthy creations and tellurian elements but also with the celestial bodies such as the Great Dipper and Polaris. This design idea was inspired by the magnificent constellation in the galaxy. Using the simple shape of the Great Dipper as an initial origin and then transforming the lines into the surfaces and pulling them up to create irregular geometrical forms, embracing the daylight and emanating the human light in the night.

Concept Plan (not scaled)

Great dipper

Circulation

Surface

Function

Form

13 Ideas

I D E A II · B U B B L E The enormous bubbles totally re-arranged the composition of the half of the Maths Lawns areas. The entry was in a spiral ramp form to remain consistency in the shape with other bubbles. Irregular bubble raised from the earth, directing the light downwards underground pavilion. The porous nature of the light bubbles not only increased the amount of daylight penetration but maintained the optimal view from the Frome road to the Barr Smith Library.

Concept Plan (not scaled)

Bubbles

Distortion

Circulation

Function

Form

Ideas 14

I D E A III · F L U I D Inviting visitors into a shimmering pavilion which provides a feeling of flowing illusion.

The roof structure applied the concept of fluidity. Although the light is untouchable, the idea is about the materialization of the light wave to allow people to touch the light in its fluid form, twisting and bending the flat lawns areas into the streamlined shapes and assembling them together to create a variety of narrow skylights.

Concept Plan (not scaled)

Curved line

Directions

Circulation

Surface

Form

15 Case study

REFLECTION

Case study 2

Linguistic definition

Philosophical definition

Reflection, as a physical phenomenon, is defined as a physical process by which sound, light or other propagating waves are thrown back when they strike boundary or different reflecting mediums in the field of acousto-optic. It could be subdivided into specular reflection and diffuse reflection. It also indicates the response to the stimulus in living organisms. Additionally, a thorough contemplation or consideration is characterized as an appropriate connotative meaning for the term of reflection.

In philosophical dimensions, reflection awakens people aware of the problematics which are neglected in mundane. It could reshape our cognition and the interpretation of life by analyzing original impulses and exploring the connection between the cause and consequences. It is relevant to the doctrine of Karma and reincarnation in Hindu and Buddhist philosophy: enlightening humankind to perceive spiritual and philosophical sobriety through the iteration of reflection.3 In terms of the human’s mind.

The reflection corresponds to self-reflection. According to its etymological source in Latin word re-flectere, which means “to bend” or “to turn back.” It is a spiritual process: a transcendental person who can re-recognize oneself by attaining the ‘serendipity.’ For instance, through ‘thematizing the main body of thought itself,’ Descartes breaks away from the imbroglio and comprehends the certainty of himself.4 In the short term, reflection is a primary concept for Cartesian thought.

Veiled in Brilliance Glass façade of Elbphilharmonie, 2017, Hamburg, Germany

Since the early 20th century, the priority of architecture has transformed from the interior space-form configuration upwards and towards the external facades in contemporary architecture. Glass and metal as new emerging materials has dominated in the iconic building, but no longer monolithic glass cubes or stereotyped skyscraper. The reinterpretation and deconstruction of the glazing facades have become a new vision in the field of architecture and reflected in many “jewel-like” audacious practices.

The Elbphilharmonie in Hamburg, Germany, designed

by Herzog & de Meuron, innovatively awakens citizens

Ardeshir R. Wadia, Philosophy East and West: Philosophical Implications of the Doctrine of Karma, (Hawaii: University of Hawaii Press, 1965), 145-152.

4 Rodolphe Gasché, The Tain of the Mirror: Derrida and the Philosophy of Reflection, (Cambridge: Harvard University Press, 1986), 12-15.

3

South Australian Health and Medical Research Institute, 2009, Adelaide, SA, Australia

Case study 16

Fernsehturm, 1969, Berlin, Germany

from rigid glass boxes. The external glass structure is an analogy of suspended sail, water wave or quartz crystal. This unique curved design of the balconies reflects light into bright line streaks. When sun directly projects on it, the twinkling light points will emerge and emit a fascinating shimmer. The external glass is freely curved inward and outward, allowing the distorted city, water, and sky abstractly presented on the surface of the building, forming peculiar poetry.

This aesthetic of mercurial brilliance also embodied in another modernism building with metallic reflection - Bilbao Guggenheim Museum, designed

by Frank Gehry in 1997. The external surface of this architecture is covered with titanium sheets, which is less than half a millimeter thick. Random curves guide the surface to capture the light, fabricating a dynamic composition of the structure. The exterior as a symbolism of the fascinating ship with shimmering fish scales successfully integrated within Bilbao’s urban context and its surrounding environment (Nervión river port). Additionally, the so-called “Bilbao effect” has been produced. It is a controversial and rare phenomenon which is an iconic chemical reaction between audacious practice itself and the society. Bilbao Guggenheim Museum largely reversed the economic recession and rebooted the development of Bilbao city. Meanwhile, it influences the other city of similar structures as well.

Furthermore, there are also a variety of other buildings

Guggenheim Museum Bilbao, 1997, Bizkaia, Spain

that applied reflection phenomenon coping different purposes. The South Australian Health and Medical Research Institute in Adelaide used aluminium cover sheet to avoid sunlight penetration. The “Fernsehturm Berlin” applied a series of reflective spheres for the political implication. Reflection distorted the image on building facades in a complicated way and give the building an exceptional experience. All these innovative practices, which are incompatible with the international style, advocate the reflection in architecture is no longer a simplistic repetition, but gradually deepens into a fragmented reorganization. In a sense, it endows the architecture itself a profound philosophical implication.

Schielke, T., 2016. Veiled in Brilliance: How Rflective Facades Have Changed Modern Architecture. ArchDaily. Available at: https://www. archdaily.com/796974/veiled-in-brilliance-how-reflective-facadeshave-changed-modern-architecture. Accessed August 27, 2018.

17 Form

FINAL DESIGN

Form 18

Teach me your mood, O patient stars!

Who climb each night the ancient sky, Leaving on space no shade, no sears, No trace of age,no fear to die.

— Ralph Waldo Emerson The final design is based on the first iteration— the Big Dipper idea. When I focused on the ‘Hermeneutics’ in the three design proposals, I realized that the infinity of shimmer light emanated by the star itself possesses the similar symbolic meaning with the eternity of the divine light from the sacred church.

Thus, fusing with the religious humanistic connotation, the metaphor of embracing nature could be profoundly enriched. In addition, the geometrical form of this design proposal could also reflect on the Braggs and other surrounding buildings, providing a sense of modern to the entire Maths lawns area.

19 Form

FLOOR PLANS

KEY 1 2 3 4 5

Entrance I Entrance II Storage space Seminar room I Seminar room II

6 7 8 9 10

Reception area Reading & relaxing space Small library Exhibition space Male toilet

11 12 13 14

Accessible (Disabled) Toilet Female toilet Corridor Disable access

Scale 1 : 500

10

Func

tion p

8

artitio

n

14

12

13

1

4 5

9 7 2

Room

11

5m

6

3

distrib

ution

The overall shape of the floor plan corresponds to the ground structure, in order to provide the optimum visual experience within the pavilion. The underground space roughly divided into 9 primary functional areas, which cope with the requirement of the design proposal.

The reading and relaxing areas incorporate with the

reception area, served as the central hub for accommodating the visitors. Seminar room II is the primary study & work space, which could approximately contain 20 people. The Seminar room I is the ancillary study space with the maximum capacity of 10 people, allowing students to work on the small project.

Form 20

SITE PLAN & SECTION

Scale 1 : 500

Disable access

Exhibition space

There are three entrances and exits (the labels are relative) for the underground pavilion. The east entrance which extends to the central path between the two Maths Lawns, possesses a very gentle ramp served as the disabled access to the underground space. The west entrance which

Small library

Bathrooms

5m

Seminar rooms

Entrance

is located at the side of the café shop which is next to the main road. It is super convenient for students to enjoy a cup of café and then get into the pavilion. In terms of the functionality, the Ingkarni Wardli’s café shop could be even considered as a recreational area within the pavilion functional integration.

21 Form

AERIAL&GROUND

Form 22

ACCESS&MOVEMENT

Gr

ou

Elaborately designed two converse Great Dipper patterns adhered to the structural points and the access points (openings) respectively, conveying a philosophical implication of balance, the one in the sky and the one beneath the earth. Attempting to apply the great dipper shape as an inner and outer core of the entire design concept.

nd

Ci

rcu

om

Structural points Access points Circulation II

el

lat

Ro

Circulation I

lev

ion

sp

ac

e

23 Case study

OPACITY

Case study 3

Linguistic definition

Philosophical definition

Opacity, in the most prevalent sense, describes the strength of the impenetrability to which a substance absorbs or obstructs the penetration of light or other electromagnetic radiation. In the strictest dimensions, it is characterised as a degree which represents the reduction of the light pass through.

This term is also in relation to Optimality Theory (OT) in phonology called phonological opacity. In terms of scientific researches, all scientific knowledge or theories or even equations are unattainable to reach an exhaustive satisfactory state (transparency). The best they can accomplish is merely a temporarily adequate explication or interpretation (translucent).

Opacity & opaque and transparency & translucent could be considered as a symbolism of cognosciblism and agnosticism in epistemology. The cognosciblism asserts that the entire world can be thoroughly apperceived and understood. The agnosticism is in a way contrary to the cognosciblism - the nature is unknowable. The confrontation between cognosciblism and agnosticism caused by their different understanding of existence. French philosopher Maurice Merleau-Ponty believes that the visible aspects of existence are those that directly face us that allow us to see, be aware of, and perceive; while the invisible aspects of existence are aspects that we can never see, be aware of, and perceive.5 Maurice describes it as “initial past opacity”, which indicates the visible and invisible aspects are not isolated from each other but are interdependent and communicate with each other. They are reversible and inseparably united. In his perspective, art is always more truthful than science, despite the fact that art cannot directly present the invisible existence, but it could indirectly reveal the invisible dimension through its unique approach of expression, so that people can approach and feel the invisible existence.

Mieczysław Karłowicz Philharmonic Hall, 2014, Szczecin, Poland

Light in Nordic Countries Nordic countries are always with a sense of beauty and loneliness. And once it is in relation to seek light in architecture, holiness is bound to the best symbol for the whiteness of Northern Europe. The high latitude location creates a variety of extraordinary daylight phenomenon across the building. The beauty of the local nature and the soul of humanity blend together in the pure white sacred light. Thus, the perception of

Maurice M. Ponty, Phenomenology of Perception, (London: Routledge, 1945), 127-134.

5

Nordjyllands Art Museum, 1972, Aalborg, Denmark

Case study 24

Pirkkala Church, 1994, Tampere, Finland

the light not merely transcends the simple reflection and illumination in the general sense, but also poeticises the spatial experience within the space.

Whiteness can be seen as a feature and core of Nordic architecture. What really intrigues visual experiences is not only the mild reflective characteristics of the white surfaces which maximize the internal brightness in the long dark winter days but the aesthetic feeling that was arranged appropriately, merging the overall exterior into the local snowy landscape. In order to maximize the limited sunlight penetration for most of the year and ensure the brightness of the house is always greater than the outdoor, architects chose white walls and white ceilings, applied the fenestration of the side walls rather than the ceilings to cope with the long dim winter time and the low sun angles. For instances, Hyvinkää Church, in Finland, designed

by Aarno Ruusuvuori in 1959 to 1961. It has two wide glazing areas aside the chamber, embracing the sunlight. There is also a large window behind the altar. The Nordyjllands Museum of Art has reached its utmost in the concept of white diffusion, using special white enamel steel and white linoleum to intensely enhance the expressiveness of the spaces.

On a pure white wall, light and shadow are also the time of memory and flow. Soft light enhances contemplation and enlighten the sobriety. In the Pirkkala Church, architects used the dramatic transformation of

Hyvinkää Church, 1961, Hyvinkää, Finland

light and shadow to depict an upstanding scene. On the smooth white wall behind the altar, there are light strips that are projected through the glass onto the wall. As time goes by, these shimmer strips travel over the huge white canvas, composing a series of poetic imageries.

Mieczysław Karłowicz Philharmonic Hall is a representative building in Finland with opaque glass on the top. Unlike the above-mentioned architectural practices, the building is prone to create a contrast with the surroundings. The white hall is designed with two stairs (a straight one and a spiral one) to divide the entire hall. The abstract architectural pattern completely breaks the inherent architectural tradition, without windows, and the floor is not traditionally separated.

Schielke T. Veiled in Brilliance: How Rflective Facades Have Changed Modern Architecture. ArchDaily. Available at: https://www.archdaily. com/796974/veiled-in-brilliance-how-reflective-facades-havechanged-modern-architecture. Accessed August 27, 2018.

25 Material

C O M P O S I T IO N

Male toilet Accessible toilet Disable access

Female toilet Small Library

Exhibition space

Seminar room I

Reading & relaxing space Reception area

Entrance II

Seminar room II

Storage space

Entrance I

Material 26

STRUCTURE

Laminated glass Using the laminated glass as a safety insurance to mitigate the potential risks outside and inside the pavilion.

Steel structural support Using the lightweight steel as the structural frame to support the glass, improving the stability of the structure.

Ceiling ground skylight The skylight could contribute to the more dynamic daylight into the underground space and emanate the artificial light from the pavilion to the ground.

Underground space The entire space followed the shape and direction of the roof including a disable access.

Concrete columns The columns are approximately 5 metres between each other, to ensure the stability of the structure.

27 Material

INTERNAL VIEWS

9

10

12

Material 28

The interior experience of light spatially related to light penetration and diffusion in my design. I tried to enhance the uncertainty of the luminescence within the entire underground space, attempting to convert the light of sun into a state of reverie. The interior arrangement was inspired by the Jun’ichirō Tanizaki’s book — In Praise of Shadow. I realised what really provides audience visual enjoyment or even spiritual touch is not merely to offer bright light generously, but to highlight the structure of the space with its compelling and engaging glow.

9 10 11 12 13 14

At the end of the corridor Exhibition space Seminar room II Small library Reading & relaxing space Reception area

11

13

14

29 Material

CONSTRUCTION

E. P. D. M

Plasterboard Hardwood 63mm × 195 mm floor finishes timber joists

DETAILS

Fiberglass insulation

In terms of the materiality, the structure of floor is based on the timber joists as a frame support with its hardwood floor finishes. The wall applied 40mm cavity insulation, in order to improve the thermal performance of the underground space, especially in summer and winter.

19 mm plywood

Material 30

The steel frame support

Foot and beam joint instruction

Sheathing board Cavity insulation CMU backup

Water resistant Barrier

Self furring lath

1/2 scratch coat

Finish coat

31 Case study

FILTRATION

Case study 4

Linguistic definition

Philosophical definition

Filtration, in its rigorous sense, involves a wide variety of mechanical or biological procedures which extract or refine a certain substance by segregating impurities from it. In the common sense, it refers to the separation of sediment from fluid by applying a filter which only the essence can pass. This process could be characterized as in a holistic way to filtrate any valuable information from monolithic complex integrations.

The philosophical connotation of filtration could be conceptualised as an invisible sieve, which symbolising a sort of refinement and the restraint of the greed. In traditional oriental philosophy, there is an idiom in an allusion from Mencius: fish and bear’s paw can’t have both, meaning you cannot have everything you desire. 6 When the people confront numerous temptations and abundant information, learning to filtrate them critically and rationally is a positive conscious attempt and progress. According to the philosophy of Plato, he espouses the belief that the ideal does exist, but human lack capacity to entirely experience it.7 All humankind is bound to make choices and accept them, leaving what they indeed aspire.

In the felicitous generalization, this mental process is the essence of human cognitive achievement.

The Trinity of Light

Chapel of Notre Dame du Haut, 1955, Ronchamp, France

In architectural history, each epoch has fabricated a burgeoning totem of light: The glimmer of the Romanesque apse, the luminosity of Byzantine mosaics or kaleidoscopic glimpse of Gothic rose windows.

For the modern era, Le Corbusier as a prominent architect, exhibited an extraordinary perception for the manipulation of light and colours in his works.

Le Corbusier’s three kinetic architectures have been considered as his renowned sacred buildings, which manipulated with orientation, openings and texture appropriately and skillfully. It is evident that the meditation spaces are so distinctive and welldesigned in his pilgrimage chapel at Ronchamp, the monastery of Sainte Marie de La Tourette, and the parish church of Saint-Pierre in Firminy, respectively.

Kwong-loi Shun, Mencius and Early Chinese Thought, (California: Stanford University Press, 1997), 20-75.

7 Plato, The Republic, trans. R. Waterfield (Oxford: Oxford University Press, 1994), 521-535.

6

Church of Saint-Pierre, 2006, Firminy, France

Case study 32

La Tourette, 1957, Éveux-sur-l’Arbresle, France

The Chapel of Notre Dame du Haut at Ronchamp has an intimate relationship with the solar circle.

The reddish light emerged at dawn, symbolizing the beginning of humankind or even the dawn of civilization. It deliberately creates the sacred and tranquil ambiance and a new religious analogy when the sun gradually rises and illuminates the entire Chapel.

In terms of the Monastery of Sainte Marie de la Tourette at Éveux-sur-l’Arbresle in France. The most prominent characteristic is the aperiodic design philosophy, which promotes the dynamic of the windows and columns. The aperiodic design proposal led to ‘the irregular rhythm of light and shadow’ fluctuating as a euphonious composition, creating almost a ceremonial ambiance. This soothing atmosphere facilitates visitors further into contemplation.

Furthermore, the complex lighting orchestration of the La Tourette uses a lot of rectilinear geometric shapes, which contrasts with the poetry of the Ronchamp and Firminy. The four major directions are designed with the open side, so that light can provide a wide variety of phenomena and experiences.

In Le Corbusier’s later projects, he drew more attention to the transformation light, which predominantly embodied in the church of Saint-Pierre at Firminy (1960-2006). This church applied special glass and windows, filtrating the light into dots and transforming to the ‘mysterious waves.’ The light waves are extremely dynamic

Church of Saint-Pierre, 2006, Firminy, France

and unpredictable throughout the entire day due to the fluctuations of light waves. The experience of the “upwardly springing” waves of light contributed to the exceptional holiness for the entire space. In this case, the mutual relationship between space and light allows architecture to create a harmonious experience: the spatial perceptual changes follow the light and shadow alterations in any situations.

The use of filtrated light was always essential to the architectural creations of Le Corbusier. He always selectively designs light penetration rather than imprudently embraces excessive sunlight irradiation.

Schielke T. Light Matters: Le Corbusier and the Trinity of Light. ArchDaily. Available at: https://www.archdaily.com/597598/light-matters-lecorbusier-and-the-trinity-of-light. Accessed October 7, 2018.

Yucheng Dai || Rep 2-18 | Structure of Light

Nature of of Light