Light ------Represention II
Content
Part I
Place
Photogrgrphic 3D Views Plan + Elevation Site Analysis Case Study
2 4 6 8 10
Part II Idea Development Idea 1 Idea II Case Study
12 14 16 18
Part III
Form
Part IV
Material
1
PHOTOGRPHIC----Day
2
PHOTOGRPHIC----Night
1 3
3D VIEW---Aerial Views
4
3D VIEW---Ground Views
5
PLAN
6
ELEVATION
WEST
NORTH
SOUTH
7
SITE ANALYSIS---Shade Summer
9:00
12:00
15:00
9:00
12:00
15:00
Winter
8
SITE ANALYSIS---Charater
Access The green line represents the people access site, usually students and teachers. Someone will occasional stops here.
Movement These two areas are idle in general. Occasionally, the school or student union holds activities in these two areas.
Building Surrounding these two areas are six buildings, which are large enough and have very wide views.
9
CASE STUDY---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 wellknown 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.
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Luminosity
------Zaha Hadid
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 luminaires or windows—characterize her early work, whereas luminous fields and a play of brilliance emerged later.
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.
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Development
12
13
Idea I---3D View(Out)
14
Idea I---3D View(Interior)
15
Idea II---3D View(Out)
16
Idea II---3D View(Interior)
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CASE STUDY---Reflection Even as modernism promoted the transparency of glass architecture, many within the movement were 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.
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.”
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Reflection The precursor to the Elbphilharmonie, which first showcased Herzog & de Meuron's desire to transform the mirror effects of modernist glass skyscrapers, was the Prada Epicenter in Tokyo, completed in 2003. The glazing shell consists mainly of rhombusshaped elements, but selected parts create distinct distorted reflections due to the convex exterior shapes of the glass – comparable to a contact lens resting on the façade.
Though they are less than half a millimeter thick, the titanium sheets evoke an interesting, almost corrugated- tactile dressing – an association which the New York Times critic Herbert Muschamp connected with Marilyn Monroe: “Frank Gehry’s new Guggenheim Museum is a shimmering, Looney tunes, postindustrial, post-everything burst of American optimism wrapped in titanium (...) The building is the reincarnation of Marilyn Monroe.”
Later Paul Andreu covered the monumental dome of the National Grand Theatre of China with a shiny titanium skin and heightened the effect with a surrounding reflecting pool to stand out against the nearby ancient red walls of the Forbidden City. But continuous glossy skins do not present the only option for sparkling jewels in the city.
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https://www.instagram.com/p/B00kKP2puRg/?igshid=7a4dd48g5j64 http://evanchakroff.com/2009/11/22/under-construction-zaha-hadids-maxxi/ https://www.instagram.com/p/B19jeKigKK5/?igshid=k5o0qzi5w3jc https://www.instagram.com/p/B2Kv_UZH_1o/?igshid=1v4lnr1czduzb https://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changed-modernarchitecture