g1.Zeyu guo rep2.17.final

REP

light · triangle · dark Zeyu Guo

Light Perspectives 'A column and a column brings light between them. To make a column which grows out of the wall and which makes its own rhythm of no-light, light, no-light, light: that is the marvel of the artist.'

by Louis Kahn

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04-13

The Elevations The Plan Access and Movement Ground View Aerial View Luminosity

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14-23

Precedent Design One -Spatial Diagrams -Plan,Section -Ground View -Aerial View -Internal Views

The Shade and Shadow Culture of The Place Photographic study

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24-33

The Plan The Sections Aerial View Ground View Movement and Access Internal Views Opacity

Design Two -Spatial Diagrams -Plan,Section-Internal Views

Contents

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34-43

The Plan Exploded Perspective Construction Details Internal Views Filtration

-Ground View Reflection -Aerial View -Internal Views

01 The Engineering Building ELEVATION

The Math Building ELEVATION

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The Barr Smith Library ELEVATION Access Movement The Barr Smith Library The Engineering Building The Bragg Building The Science Building The Math Building

SITE PLAN 1:500

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Site, Winter, February, 9AM

Site, Winter, February, 12AM

Site, Summer, July, 9AM

Site, Summer, July, 12AM

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Site, Winter, February, 3PM

CULTURE OF THE PLACE

The Barr Smith built in 1884, is a perfect milestone of late Victorian architecture.

The Barr Smith Library is the main library of the University of Adelaide, located in the centre of the North Terrace Campus, There is a stone near the stair of Library, which is to honours the donation for the library, so name it the Barr Smith Site, Summer, July, 3PM

Library.

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GROUND VIEW

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Photographic of Daytime

AERIAL VIEW

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GROUND VIEW

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Photographic of Nighttime

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When the light meets the fluid architecture, the luminosity would be fluid too. Zaha Hadid is one of the light master, whose projects are amazing for her magical building shape and the use of light. In her building, light divided into nature light and artificial light. No matter which light gives people a comfortable feeling. One of the reason is that the light converted by the fluid shape. When the sun shine in the exterior of building, the light looks like dancing in the surface, giving people a strong activity rhythm.

But the interior of the building, for example the Museum of XXI Century Arts (Rome, 2009), surpassed the spatial energy of its façade, making the light flows through the building and builds a calm counterpoint to the dynamic lines.

The material is also important that different material reflect different color. The concrete and light give people a strong single and hard sense, the wood and light give people a warm and comfortable sense. In her building, The Guangzhou Opera House (Chian, 2010), she mixed a warm, golden and glossy atmosphere in it. Thousands of light pixels flow in the fluid wooden ceiling, which is not only the visual impact but also the shocking of spirit.

Meanwhile the light could divide the space and spark the volume. In her Port House (Antwerp, 2016) introduces a fragmented interpretation of a floating glass volume. Thousands of facets on the building reflect a light in different angle, rendering the boring space to a magical world.

Besides, her diffuse illumination created a soft atmosphere, where the energy of the space stems from the fluid forms.

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Luminosity

In astronomy, Luminosity is the total amount of energy emitted by a star, gal-

axy, or other astronomical object per unit time. It is related to the brightness, which is the luminosity of an object in a given spectral region. In photometry, “Luminosity” is the density of the Luminous intensity in the specified direction.

A thing is either light and luminosity in its own reality or is not light and luminosity in its own reality. The meanings of ‘light’ and ‘luminosity’ are the same here. Light is divided into light that is a state of something else (the accidental light) and light that is not a state of something else (the incorporeal or pure light). That which is not light in its own reality is divided into that which is independent of a locus (the dusky substance) and that which is a state of something else (the dark state). The light is something that people can see, but the luminosity is something that people can feel. When people say the light is shining, that the term shining describe the luminosity. So, luminosity is a feeling which is related to the medium or maybe the shape.

In condition, luminosity related to light more important is the medium. The property of medium decides the feeling of the luminosity, the shape, the marital, the diffuse, the reflection.

Reference http://architectureau.com/articles/2013-national-architecture-awards-public-7/ http://www.designinc.com.au/projects/university-adelaide-ingkarni-wardli-building-formerly-innova21 http://www.abc.net.au/news/2013-07-05/adelaide-university-opens-new-research-and-lecture-building-the-/4801650 http://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid/58dbfe6be58ecec9a6000074-fluid-luminosity-the-architectural-lighting-of-zaha-hadid-photo http://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid/58dbfdf4e58eceef0900010d-fluid-luminosity-the-architectural-lighting-of-zaha-hadid-photo http://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid/58dbfe4be58ecec9a6000072-fluid-luminosity-the-architectural-lighting-of-zaha-hadid-photo http://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid/58dbfe59e58ecec9a6000073-fluid-luminosity-the-architectural-lighting-of-zaha-hadid-photo http://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid/58dbfe1ce58ecec9a6000070-fluid-luminosity-the-architectural-lighting-of-zaha-hadid-photo

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SPATIAL DIAGRAMS DESIGN ONE

PRECEDENT

VIA 57 WEST BY BIG

VIA 57 West is a hybrid between the European perimeter block and a traditional Manhattan high-rise.

-3m

300 SQM UNDERGROUND

The shape transferred from a box to a quadrilateral.

Placing a hole in the mid of the building, in this case ,the resident could enjoy the sunshine. Besides, the architects open a lot of different size skylight in the roof, which not only make the building more beautiful, but also lead the sunshine come into inside space.

b

What is more important, the orientation of the building, the roof facing the eastern way. So make the best use of the light.

VIΛ occupies nearly a full city block at the corner of West 57th Street and the West Side Highway, with uninterrupted views towards the Hudson River Park and the waterfront.

The Durst Organization commissioned BIG to design a building for the site in the spring of 2010, and construction commenced in 2011. The 32-story building has welcomed residents since May 2016 with the construction completing this Fall. Earlier this year, the Council on Tall Buildings and Urban Habitat (CTBUH) named VIΛ the Best Tall Building in the Americas as part of its 2016 Tall Buildings Award.

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a

0m

TRANSFER TO OVAL

d d b

d

c h

SKYLIGHT

ENTRANCE (RAMP) FILLET THE CURVE

f

i

SEPERATED IN RANDOM

a b c d e

e

g

f

roof entrance ramp ( disable access) storage space 3 toilets presentation space

f g

seminar rooms

h i

reception area

small library

reading/ relaxing space

02 SECTION 1:100 DESIGN ONE

0

5

10m

AERIAL VIEW

ONE

DESIGN

DESIGN ONE

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GROUND VIEW DESIGN ONE

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INTERNAL VIEW 1 DESIGN ONE

INTERNAL VIEW 2 DESIGN ONE

PLAN 1:200 DESIGN ONE

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SPATIAL DIAGRAMS DESIGN TWO

a

b

0m -3m

c

0m -3m

300 SQM UNERGROUND

300 SQM UNERGROUND

e

d

e f

i h TRANSFER TO PENTAGON

SKYLIGHT

ENTRANCE (RAMP)

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g

TRANSFER TO PENTAGON

SKYLIGHT

ENTRANCE (RAMP)

j

GLASS ROOF

GLASS ROOF

a b c

glass roof

d e

presentation space

entrance ramp

(disable access)

seminar rooms

f g h i j

small library reception area storage area 3 toilets reading/ relaxing area

SECTION 1:100 DESIGN TWO

0

5

10m

DESIGN

TWO

AERIAL VIEW DESIGN TWO

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GROUND VIEW DESIGN TWO

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INTERNAL VIEW 1 DESIGN TWO

INTERNAL VIEW 2 DESIGN TWO

PLAN 1:200 DESIGN TWO

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O n the other hand, the curves of the glass operates

the building as a magical eyecatcher. With a blue or diffuse sky the distinctive curves reflect the light as bright lines, similar to the horizontal lines seen in the designs of the automotive industry. Under direct sunlight, bright glossy points appear and evoke a jewel-like shimmer. Additionally, the vertical and horizontal convex curves of numerous single glass elements reinforce the shiny distorted reflections of the sky. Overall the curved façade with its printed dot screens evokes a vivid and liquid image, which expresses a close link to the water around.

Other good example of the reflection is the Guggenheim Museum Bilbao by Frank Gehry in 1997. The American architect transferred such aesthetic of brilliance from glass to metal with the titanium cladding.

With a abstract shape, the architect use metal rather than glass to make a mystical feeling, besides, the titanium sheets have a poor ability of reflection, which make the building as a whole and make people focus on the shape rather than the others. However, with the sparkling light qualities of the titanium sheets and its changing appearance, Frank Gehry has not only brought a dynamic composition of forms to Bilbao but reinforced his design with a distinctive, dynamic image which varies with every cloud and sunbeam.

In contrast to the shimmering disc dress at Birmingham, the stretched metal gesture at Messe Basel New Hall by Herzog & de Meuron introduces a linear interpretation of light reflections. The two different way to twist bands of aluminium give brightness to the building in contrast feeling. Besides, the dark perforation and area could hide the internal view perfectly. When oriented towards the sky, the surface gives brightness to the building which is set in stark contrast to the dark perforations and areas where the bands leans toward the ground.

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Reflection Reflection is the throwing back by a body or surface of light, heat,

or sound without absorbing it. Sometimes, it is an often obscure of indirect criticism. Besides, Reflection is the change in direction of a wavefront at an interface between two different media so that the wavefront returns into the medium from which it originated.

The philosophical reflection is a little hard to define. It could be colourful or black, which is up to the media and the light. When the reflection meets water, it could be silvery. When the reflection meets metal, it could be shining. When the reflection meets glass, it could show what the glass could see on the surface of the glass. That is amazing things, so the definition of the philosophical reflection is defined by what it meets.

There is no doubt that the glass is really a special material, whose property is up to the surrounding and the light, especially the reflection. The Elbphilharmonie in Hamburg by Herzog and de Meuron show the best possibility of the glass and light. The glass faรงade at the building shows the perception of the city, water and sky. Besides, the glass is not every single straight one, it is the curved glass elements.

So that the scene at the glass is a little abstract than reality, which fit the concept the building, contrast.

Reference http://www.big.dk/#projects-w57 http://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changed-modern-architecture/57f94b2ae58ece3e7b000257-veiled-in-brilliance-how-reflective-facades-have-changed-modern-architecture-photo http://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changed-modern-architecture/ 57f94af2e58ece3e7b000255-veiled-in-brilliance-how-reflective-facades-have-changed-modern-architecture-photo http://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changed-modern-architecture/57f94b78e58ece3e7b000259-veiled-in-brilliance-how-reflective-facades-have-changed-modern-architecture-photo http://www.archdaily.com/796974/veiled-in-brilliance-how-reflective-facades-have-changed-modern-architecture/ 57f94ae9e58ece6dad00010f-veiled-in-brilliance-how-reflective-facades-have-changed-modern-architecture-photo http://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid/58dbfe59e58ecec9a6000073-fluid-luminosity-the-architectural-lighting-of-zaha-hadid-photo http://www.archdaily.com/868157/fluid-luminosity-the-architectural-lighting-of-zaha-hadid/58dbfe1ce58ecec9a6000070-fluid-luminosity-the-architectural-lighting-of-zaha-hadid-photo

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SECTION A-A 1:100 0

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5

10m

SECTION B-B 1:100 0

5

10m

03 PLAN 1:200

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GROUND VIEW

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GROUND VIEW

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3D VIEW

MOVEMENT OUTSIDE

MOVEMENT ROOMS

MOVEMENT INSIDE

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AERIAL VIEW

AERIAL VIEW

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INTERNAL VIEWS

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INTERNAL VIEWS

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T hese 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. 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 (eg dynamically changing reflectance) for readers without advanced knowledge of molecular physics. A verification of the presented model has been based on the comparison of optical performance of the model with the results of Fresnel's equations for light-transmitting materials. The presented methodology is intended to be used both in the design and explanatory stages of architectural practice and vision research. Incorporation of architectural issues could enrich the perspective of scientists representing other disciplines.

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Opacity O pacity means something that is difficult to see through or perceive.

Sometimes, it also mean the degree to which light is blocked or a linguistic context in which it is not possible to substitute co-referential terms while guaranteeing the preservation of truth values.

There seems to be a lot of opacity in our language. Quotation is opaque. The modal idioms are apparently opaque. Propositional attitude ascriptions seem opaque, as do the environments created by verbs such as ‘seeks’ and ‘fears’. Opacity raises a number of issues — first and foremost, whether there is such a thing. This article concentrates on the question of whether there is any opacity to be found in natural language, examining various reasons one might have for denying that apparent opacity is genuine.

Transparency is a condition where the transmission of light through an object and seeing the things behind it is not prevented; whereas opacity is a characteristic of that object where it is not transparent and doesn't transmit the light. Transparency and opacity, which are also very influential in the formation of architectural buildings, keep their position as an important factor both in the interpretation of architectural milieu and consequently the buildings and in the perception by the user. Depending on the function of the buildings, one of transparency and opacity is sometimes used more than the other, while both of them are sometimes used equally. So this makes possible the buildings to give the user a functional message.

Reference https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries/54006005c07a8003e1000097-lightmatters-whiteness-in-nordic-countries-photo https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries/54006007c07a809ad700009e-lightmatters-whiteness-in-nordic-countries-photo https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries/54006007c07a809ad700009e-lightmatters-whiteness-in-nordic-countries-photo https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries/54006007c07a809ad700009e-lightmatters-whiteness-in-nordic-countries-photo https://www.archdaily.com/542503/light-matters-whiteness-in-nordic-countries/5400602bc07a809ad700009f-lightmatters-whiteness-in-nordic-countries-photo

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INTERNAL VIEW

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INTERNAL VIEW

04

INTERNAL VIEWS

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INTERNAL VIEW

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INTERNAL VIEW

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PLAN 1:150

EXPLODED PERSPECTIVE

roof

entrance ramp

ROOF PLAN

rooms/ internal walls

rooms space

rooms space GROUND PLAN

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h

i

b a a a f

a b c d

c

b d e

g

j

3 toilets (M/F/D) 2 seminar rooms exhibition space library

e f g

reception area storage space relaxing space

h

triangle glass roofs

i

ramp/ disable access

j

concrete wall 300mm

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CONSTRUCTION DETAILS

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In his Ronchamp built in 1954, whose skin is holy white with some size windows. The walls of Ronchamp give the building its sculptural character. The thick gentle curving walls act as a practical method of supporting the concrete and masonry construction, as well as the massive curvilinear roof. However, the walls do not solely act as structural and sculptural elements; they also act as acoustic amplifiers, especially in the case of the eastern exterior wall that reflects the sound out over the field from the outdoor altar. The most striking part of Ronchamp is the curved roof that peels up towards the heavens. The curving roof appears to float above the building as it is supported by embedded columns in the walls, which creates a 10 cm gap between the roof and the walls, which allow for a sliver of clerestory light.

The roof is actually the only glimpse of mechanized influence in the overall design of Ronchamp; the roof’s curvature mimics the curves of an airplane wing. Each wall becomes illuminated by these differing window frames, which in conjunction with the stark white washed walls gives the walls luminous qualities punctuated by a more intense direct light. On the wall behind the altar in the chapel, the lighting effects create a speckled pattern, almost like a starry night, of sparse openings that are complimented by a larger opening above the cross that emits a flood of light, creating a powerful religious image as well as a transformative experience.

For his Convent of La Tourette built in 1960, the more obvious of these in this specific project are the pilotis, or load-bearing columns, which line the inside walls and open the facade to long strip windows. The classic grass rooftops create an architectural promenade, relating back to the Villa Savoye, although the context of the convent is very different than of the residence.

Such a strange surface make the dark and light different inside of the building, the triangle and rectangle combine together.

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 42 power.

Filtration F iltration is any of various mechanical, physical or biological operations that separate solids from fluids 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. However, the separation is not complete; solids will be contaminated with some fluid and filtrate will contain fine particles. Filtration occurs both in nature and in engineered systems; there are biological, geological, and industrial forms.

Filtration is a process used to make light come into the buildings. The building is a filter medium that allows the light or air fluid to pass through.

Architecture is not a building or solid, it is a connection, connected the inside and outside, link the human and building, converting the emotion or feeling by using the light, the structure or the technology. So the great architects must have a good talent for the using light and color to create a moment which architects want to convert to public. And the architecture is the special medium, make people feel the light or warm which could be seen and the emotion and visual effect.

As for the Church at Firminy in1963, he wanted to create a setting that established a place for spiritual enrichment on a modest scale. About this, Le Corbusier stated that the space must be "vast so that the heart may feel at ease, and high so that prayers may breathe in it." The scenography at the church of Saint-Pierre at Firminy (1960-2006) is arranged in three acts. The small stellar windows on the east faรงade generate dots of light on the floor which later mysteriously turn into waves of light. These waves gently rise and fall with the course of the sun. They create an astonishing pattern over all three walls facing the altar. Polycarbonate cylinders with concentric grooves holding the glue cause these impressive wave effects. The luminous pattern appeared unexpectedly for the client when the cylinders were mounted into the concrete wall. Plummer points out, that Le Corbusier could not have envisioned this phenomenon - particularly as the actual construction of the building wasn't carried out until decades after his death - but it is known that he delighted in, and often encouraged, accidents of construction, especially when they enhanced the character of the building.

Reference https://www.archdaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light/54da556ae58ececb5300000f-view-looking-south-t https://www.archdaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light/54da5556e58ececb5300000e-upward-view-into-sco https://www.archdaily.com/597598/light-matters-le-corbusier-and-the-trinity-of-light/54da5571e58ececf16000013-golden-light-on-alta

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