LIGHT PAVILION
REPRESENTATION II A1702921 YUE FENG
1 Place
14 Idea
24 Form
34 Material
site plan elevations airel views ground views shade movement light site culture luminosity
spatial diagram plan section elevation ariel view ground view internal views precedent study reflection
plan section elevation ariel views ground vies 3D access internal viws opacity
stucture composition construction detail textures material filtration
ENTS
CONT-
SITE PLAN 1:1000 1
ELEVATIONS N
BARR SMITH LIBRARY
ENGINEERING BUILDING
MATHMATICS BUILDING 2
SHADE&SHADOW 9:00 AM
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12: NO
:00 OON
3:00 PM
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ARIAL VIEW
GROUND VIEW
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SITE INFORMATION MOVEMENT/MAIN PATHWAYS
ACCESS POINT
There lawns are lined by picnic tables where we can have a bench to sit on to have a meals under the sunlight or study with couples of friends as well. A water bubbler stands in front of the Braggs entrance.
On impor tant days, events are held here such as clubs performance in orientation week each s e m e m s t e r e v e r y y e a r. Sometimes there are BBQ here help staffs and students with an enjoyable rest in the busy life. It encourages students to have social activities with each other.
GATE
In the university of adelaide, the spacious and bright maths lawns consists of two lawns in between the Braggs, Molecular Life Science, Ingkarni Wardli and the Engineering and Maths Science building.
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AMBIENT LIGHT
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LUMINOSITY
The term “luminosity” is about the quality or state of being luminous, emitting or reflecting light as well as the relative quantity of light. It is related to brightness, which is the luminance of an object in a given spectral region. The antonyms of it are dark and blackness.
Luminosity is usually used in astronomy to describe the total amount of energy that is emitted by a star, galaxy or other astronomical object per unit time. However, in terms of the philosophical theory, it is often connected with light, illumination, flux and brightness etc. Whatever it is about, the principal part is the supply of light. It can be said that the brighter, the more luminous. And the value for this is expressed in “lumens”. Besides, the use of light sources as well as lighting is illumination. Flux can be used to measure luminosity as it is a flow or discharge of energy or particles across a given surface.
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We feel a building not straightforward but through the light. Light is able to be necessary to reveal and represent an architecture to the audience.
C a s e s t u d y : Wa l t D i s n e y Concert Hall/ Frank Gehry It is a good example to look at Walt Disney concert hall d e s i gn e d by Fra n k G e h r y as a case to research how luminaire help with visual effects of an architecture. Since it is a concert hall, the W D C T h a s b o t h exce l l e nt acoustic and lighting design with a unique form and special metal material.
The interior design of the concert hall is one of the most elegant of Gary's work, and the interior design of several of his other buildings is dark and somewhat depressing, but the Disney concert hall is bright, transparent and elegant. The use of Douglas fir as walls make the interior of the building filled with a sense of romantic and warm. The design of the auditorium is a warm, golden and glossy atmosphere. Some little lights up in the ceiling remind the audience of a golden, glamor and splendid starry sky.
Looking far away from it, the WDCH is like a luminous collection of metal pieces. The outer shape of the main body is like a blooming flower consists of seven petals folding each other and is surrounded by stainless steel surface reflecting light of a cool color. The smooth metal surface also reflect the scene nearby. As a result, the external form and material characteristic is different from traditional music centers.
T h e o t h e r w o r k o f F r a n k G e h r y -T h e Guggenheim Museum Bilbao is quite similar to WDCH in terms of the surface. It consists of a number of irregular streamlined polyhedron and pieces of titanium sheet, shining under the light. Although the building itself is a consumption of 5,000 tons of steel monster, it is nothing with a heavy sense because of elegant, bright colors. Inside the museum, light and shadow pour down straightforward to reflect powerful geometric order that any other high straight space do not have. Under this circumstance, visitors are activated with all senses to enjoy an artistic carnival . Ref: http://www.archdaily.com/441358/ad-classics-waltdisney-concert-hall-frank-gehry
In the morning, the surface of the main entrance will be under the action of day light showing a mixed color of khaki and silver gray ; in the evening, this color will be transformed into dark blue and dark gray. Fluidit y is enhanced with daylight and artificial light result from the titanium surface. As a building medium to connect light, reflective stainless steel surface help individual panels and curves of the facade clearly displayed in the sunlight and are colored by the city's lights Wafter the darkness.
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Light is anything behind anything what matters is.... MEDIA
Precedent of Idea 1
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Ariel view and Ground view
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Light is shade behind shade.
spatial diagram of design 1 Internal View
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Plan 1:250
Elevation 1:500
Section 1:500
Internal View
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Ariel view
Ground view 15
Elevation1:500
Section
spatial diagram of design 2
Precedent
Plan 1:250 1:500
Internal View 16
Light Precedent
The texture of water is able be prsented through light as it enrich the light making it changable and beautiful.
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Internal View 18
REFLECTION Reflection is the phenomenon of a propagating wave no matter light or sound) being thrown back from a surface. It may refer to point reflection, mathematics reflection or reflection formula. In science, reflection is a mirror image. In philosophy, it is about human self-thinking. Reflection, as is the act of reflection, casting back a light or heat, mirroring, or giving back or showing an image; i t i s t h e s t ate o f b e i n g re f l e c te d i n this way. Reflection can be an image, representation or a counterpart. Reflection need to be helped by certain media to reflec t cer tain stuff. Also, the result of reflection can be various a s co n s e q u e n ce o f t h e t h i n g b e i n g reflected. The media and material is the most important things in terms of reflection. American architect Frank Gehry built Bilbao Guggenheim Museum of glass an d g l as s f u si o n i n 1997. Al though the connotation covers a larger form of vessel from the reflector to the fish scales, the entire building has become a city gem.
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its iconic signs inspired many urban reconstruc tions. Many aspiring big cities believe that the structural form is a key success factor for the Bilbao effect.
However, with the glittering titanium mass and its ever- changing appearance, Frank Gehr y not only brought Bilbao's dynamic combination into Picasso, but also strengthened his design with a unique dynamic image. The New York Times critic Herbert Muschamp connected with Marilyn Monroe said: "Frank Gehry's new Guggenheim Museum is a shimmering, Looney tunes Post-industrial, posteverything burst of American optimism wrapped in titanium‌‌ The building is the reincarnation of Marilyn Monroe. "With the Walt Disney Concert Hall, opened in 2003, the lustrous gesture arrived arrived in the glamorous Hollywood scenery. Light can help create the belief that the iconic building and the better human world, the glass and metal have been innovatively transformed to create crystal images. As a result, the trajectory of architectural significance has shifted from the internal space to the outward surface. Celebrating the beginning of the twentieth century, the transparenc y of the entire building leather and the expression of the reflective image actually appeared, when Paul Scheerbart and Bruno Taut e nv i s i o n e d a " s t a i n e d g l a s s " I n t h e " s p a r k l i n g sunshine" in the glass culture, "white glass crystal shape" which makes the "gem-like building sparkling."
Mies van der Roach abandoned the free form of glass of leather in 1921 in the glass of Skyscaper in Berlin, and abandoned the rectangular tower, which absorbed this vision. In an interview in 1968, Mies explained his doubts about the city's monotonous effect on the glass mirror effect: "Because I used glass, I was anxious to avoid the death of the surface to reflect too much light, so I broke the facade of the plan, So that the light can fall on their different angles: like crystal, like cutting the crystal. "Norman Foster (Norman Foster) in 1975 in Ipswich's Willis Faber & Dumas headquarters to achieve this glass dream, SOM will It was exhibited in Dubai in 2009 in Hamah Bahata. Inward and outward bending of the glass element distorts the feeling of the city, the water and the sky. They are in contrast to the international style of uniform flat glass curtains. The environment is not considered to be a clear mirror, but undergoes a process of modification and reproduction.
Due to the curve of the balcony, the building WDCH reflects the highlights of the stripes or lines. The blue and diffuse sky, the unique curve reflects the light as a bright line, similar to the horizontal line in the automotive industry design. In direct sunlight, there is a bright luster, causing a gem-like flash. In addition, the vertical and horizontal convex curves of many single glass elements reinforce the reflection of the glossy twist of the sky. In general, the curved appearance of the screen with its prints evokes vivid and liquid images, indicating a close connection with the surrounding water. Elbphilharmonie was built in the following historic bricklayers, and with its complex twisted light reflections of abstract choreographers as magic glasses.
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site plan with shining water cube at night 1:500
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Section 1:100
Elevation 1:100
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Ariel views & Ground views The ground view at night shows how "water cube" and openings on the ground give out light to make a campus indentification.
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Disable access
Underground movement
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On the ground approach
On the ground movement
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Internal Views A visitor lost in an art wotk in the exibition room under a bright area/ reception space under light/ seminar room under light/ perspective view from the seminar space 27
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OPACITY the quality of lacking transparency or translucence. "thinner paints need black added to increase opacity" "the difficulty and opacity in Barthes' texts" "the opacity of much philosophical writing"
To understand opacity, it is important understand what "opaque" means. An opaque object is completely impervious to light, which means you cannot see through it. For example, a car door is completely opaque. The window above the door, however, is not opaque, since you can see through it. If the window is tinted, it is partially opaque and partially transparent. The less transparent the window is, the higher its opacity. In other words, transparency and opacity are inversely related.
Whiteness is a central aspect of how Nordic architects responded to their local environment, as Plummer reveals in his studies from the 15th century up to contemporary buildings like Steven Holl's Herning Museum of Contemporary Art. Without doubt, white surfaces offer a high reflectance in order to maximize interior brightness for dark winter periods, but for Plummer the affection for whiteness is also linked to the beauty of snow-covered landscape.
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As the architect elucidated to Plummer: “Light is the most important feature of the church. I provided white walls and white ceilings so that daylight, which is limited in Denmark for much of the year, is fully used and produces an intensity of light always greater than that outside.”Early examples of white architecture could already be found in Denmark's medieval churches, and this design approach still influences modern sacred buildings like the Dybkr Church by Regnbuen Arkitekter. For example, the sophisticated daylight concept arrives from three directions, as Plummer explains: “Low from the north to emphasize a black steel crucifix; more broadly from the south as a glancing wash; and as a shower directly behind the altar, guided down through a sluice of wall.”
The concept of white diffusion, using white-painted plaster, white-enamelled steel and white linoleum, was introduced by Alvar Aalto for the Paimio Sanatorium in the 1930s, and achieved a peak at the Nordyjllands Art Museum in 1972, according to Plummer. Shades of white cover the walls, floors and ceilings as well as the expressive daylight scoop. However, the power of pure white volumes is not the only characteristic of the Nordic built environment. The pulse of nature with vibrating patterns of light or the transiency of dramatic light and 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. In contrast, summer evenings emanate a diffuse light. In his book “Nordic light: Modern Scandinavian Architecture,� Henry Plummer points out that although Norway, Sweden, Denmark and Finland are dissimilar in topography and vegetation, they share the same subdued light.
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To-scale model of the
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Structure
beam frame
column
concrete wall
timber floor 32
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Exploded composition 34
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Construction Details galss panel detail & floor detail
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Internal views with
Texture and Material
timber floor/steel frame shelf/ seminar table and chairs/concrere wall/stairway 37
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FILTRATION noun: filtration; plural noun: filtrations the action or process of filtering something. "small particles are difficult to remove without filtration"
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.[1] 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. However, the separation is not complete; solids will be contaminated with some fluid and filtrate will contain fine particles (depending on the pore size, filter thickness and biological activity). Filtration occurs both in nature and in engineered systems; there are biological, geological, and industrial forms. For example, in animals (including humans), renal filtration removes wastes from the blood, and in water treatment and sewage treatment, undesirable constituents are removed by absorption into a biological film grown on or in the filter medium, as in slow sand filtration.
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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. Filtration is used to separate particles and fluid in a suspension, the fluid can be a liquid, a gas or a supercritical fluid. Depending on the application, either one or both of the components may be isolated.
The highlight of the light choreography in La Tourette's church begins with the sunset. A crack atop the west wall draws warm lines along the side walls. The north wall connects the two golden lines and with the falling sun the line slowly moves upward. The dramatic atmosphere increases till the moment when the golden light hits the slight upward tilted roof plane and grazes over the tactile ceiling of prefabricated slabs. This effect changes with the seasons – ranging form a small triangle in winter to a large rectangle in summer when the sun reaches its maximum power.
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. Le Corbusier expressed his consciousness of the cosmic power of light in his personal synthesis of maxims in the beginning of “The Poem of the Right Angle” (Le poème de l’angle droit, 1955, translated to English by Henry Plummer).
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.
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LIGHT PAVIL
Represention II-Light Pavillion-2017
REPRESENTATION II A1702921 YUE FENG