Zihe Chen_backup by zihe chen

s e e k in

l i g h t

memory

a s an

w a y f i n d i n g

orange

square

star Rep2 Light Pavilion Zihe Chen a1790484

Once

upon

time,

aboriginal

people

used

the stars above as wayfinding to help guide their t r a v e l s . T h e r e w a s a g o r g e o u s o r a n g e s q u a r e s t a r, now

named

MWC922,

shimmering

the

sky.

Since its light is weaker than other normal round sta rs , t o d ay, m o st o f u s l i v i n g i n t h e c i t y o f A d e laide can’t see it. It ’s hard to find skies unblemished by artificial light at the Maths Lawns. Many urbanisation issues including light pollution and air pollution can diminish our sense of the universe. This might be abstract. But many astronomers

really

think

it ’s

tragedy

that

we’re

cut off from the stars. This project is desiged to celebrate

the

natural

wayfinding

awareness of urbanisation issues.

and

raise

the

P l a c e Site Description + Site History & Identity Measurements & Scale Study 4*3D Views From the Model Circulation + Usage Light + Shade Study Photographic Study Of Ambient Light Light Study 1: Luminosity

4 5 6 7 8 10 12

I d e a

F o r m

Idea Generation - Metaphor 14 Spatial/Geometrical Explorations of Possibility 1 15 Spatial/Geometrical Explorations of Possibility 2 16 Spatial/Geometrical Explorations of Possibility 3 17 3D Context Model Of Light Pavilion 18 20 Light Study 2: Reflection

Form Exploration and Development Idea Transforming to 3D Model Masterplan Section Elevation 1 Section Elevation 2 Exploded Perspective Light Study 3:Opacity

M a t e r i a l 22 23 24 25 26 27 28

Aerial View - Day + Night Exterior Views Internal Views Construction Detailing Light Study 4:Filtration

30 31 32 34 36

P L A C E

Site History & Identity The Maths Lawns are two large areas of lawn with benches and tables all along the edges. Since the maths lawns are located between one of the main pedestrain walkways and the gates on Victoria Drive, they’re used in O’week for the different clubs or markets. The Maths Lawns also offer a gorgeous view of the original entrance to the Barr Smith Library.

Engineering and Maths Sciences A

B Ingkarni Wardli

Main Surrounding Buildings

* Barr Smith Library

Molecular Life Sciences

Barr Smith Library

Barr Smith Library, which was built in classical style on a monumental scale, originated in the Mitchell Building in the 1890’s. Today, it as become a popular study area for students and brought visitors to the Math Lawns. * The Braggs Building

| place | site description + Site History & Identity |

SANTOS Building

0 5

This 6-level new science precinct’s façade uses light – a fundamental element of photonics research – as an inspiration. An elaborate faceted glass envelope wraps the building to create a crystalline form that shimmers through its reflection and refraction of light throughout the day. * Ingkarni Wardli

25m

It is wraped with double-glazed curtain walls that insulates the building while allowing natural light entrance. The gorgeous view of the Maths Lawns is reflecting on the building.

The Braggs Building

P L A C E

Elevations 23665

25500

18300

58200

Scale

Study

Section Elevation A-A 61235

13120

68355 18735 (w) * 53060 (l)

23470

25250

Maths Lawns

18735 (w) * 60935 (l)

Section Elevation B-B

41288

Section Elevation C-C

Botanic Park

| place |measurements & scale study |

13690

21050

26000

Comparison

| 4X3D views from the model |

P L A C E

Circulation + Entrance

Human Usage

| Circulation + Usage |

main pedestrian system

secondary pedestrian system

entrance to site

entrance to building

* benches and tables all along the edges: eg. studying, gathering * lawns: eg. Oâ&#x20AC;&#x2122;week gathering, musical performance, markets

* high usage

| light + shade study |

P L A C E

mid-summer at 9 am

mid-summer at 12 noon

mid-summer at 3 pm

P L A C E

mid-winter at 12 noon

mid-winter at 3 pm

| light + shade study |

mid-winter at 9 am

| photographic study of ambient light |

P L A C E

2 August at 3 pm

5 August at 9am (cloudy)

6 August at 12 noon

5 September at 7pm

P L A C E

| photographic study of ambient light |

L U M I N O S I T Y

| transparency | translucency |

Linguistic Definition Luminosity is generally understood as a measurement of brightness. Philosophically luminosity can be described as a medium that can be used to render and interpret architecture. It has been proved that all matter is the motion of light. All motion is expressed in waves. All light waves are mirrors that reflect each

other’s condition unto the farthermost star. In other words, light is the medium that allows us to perceive space, form, texture and colour.

Philosophical Definition Philosophically, luminosity can be all there is in the spiritual universe of know-

Nanjing International Youth Cultural Centre, 2016, Nanjing / China. Image © He Shu

ing. We can even classify everything concerning the spiritual universe, such as life, intelligence, happiness, truth, power, knowledge and balance as light. Also, “Light is Spirit”. A research published in the Journal of Consumer Psychology shows that on sunny days people are more optimistic about their life. Light would affect people’s emotion,

that’s why we are sseekers of light.

MAXXI Museum, 2009, Rome / Italy. Image © Iwan Baan

L U M I N O S I T Y

way counteracts the energy of the building’s forms.” . At Strasbourg’s Hoenheim-Nord Terminus and Car Park, she converted white road markings into white linear diffuse luminaires. This shows Zaha Hadid’s explorations with abstract paintings which have led to several graphical interpretations of lighting and luminaires. In 2005, the Phaeno Science Centre became a decisive turning point in Hadid’s lighting imagination. “The windows and luminaires in the building’s surface share the same form, creating a holistic design approach and thus moving on from Hadid’s earlier period of lines

Leeza SOHO, construction 2017, Beijing / China. Image © MIR

and sharp corners. ” Hadid’s forms here took on curved shapes, marking a transition to fluid designs. With light

in virtuous flowing forms, those fluid light lines would reveal soft brightness graduations. The visitors can also perceive a holistic formal approach encompassing both daylight and artificial lighting. Fluid luminosity design can also help maintain luidity by day and night by achiving the designed light flows’ interaction with surrounding environment. Pixelated luminosity shows another advancement of fluid luminosity. The elements include small holes and triangular facets. Energy of the space stems from the fluid forms. Light with fluid forms can provide the energy of the space and create a soft atmosphere.

Reference: https://www.philosophy.org/light.html. https://mr7uj.wordpress.com/2011/11/21/the-role-of-light-in-architecture/. www.archdaily.com.

| transparency | translucency |

Heydar Binet Aliyev Center, 2013, Baku / Azerbaijan. Image © Hélène

Case Studies Zaha Hadid’s theories of fragmentation and fluidity are now two well-known design techniques. Since light could close the gap between architecture and our perception, with deconstructive lines of light, light lines can reinforce the linear architecture with sharp edges. The Vitra Fire Station is an example that shows the tensions with in-situ concrete walls. “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

idea generation | metaphor |

I D E A

looking up at the day sky at the site Aboriginal people used the stars above as wayfinding to help guide their travels

Nowadays, more stars in the night sky from urban areas are becoming invisible due to the urbanisation issues (eg. air pollution, light pollution)

Weâ&#x20AC;&#x2122;re losing the natural wayfinding

Seek light is embracing nature. Seek light is celebrate the natural wayfinding

looking up at the night sky at the site

something is missing

I D E A possibility one

existing visual experience - side view

designed architecture to lead visitors’ visual experience - side view

designed architecture to lead visitors’ visual experience - looking up

- create ‘star’ views - raise the awareness of urbanisation issues

spatial/geometrical explorations of possibility 1 |

existing visual experience - looking up

I D E A

nature as a network - inspiration from branches

light system developing as a network

underground light network weaving through the site light system installed to the site

spatial/geometrical explorations of possibility 2 |

possibility two

I D E A

possibility three

spatial/geometrical explorations of possibility 3 |

make it 3d

3D Context Model Of Light Pavilion |

I D E A

rendered context model

3D Context Model Of Light Pavilion |

R E F L E C T I O N

Aluminium discs at Selfridges Birmingham, 2003. Architects: Amanda Levete and Jan Kaplicky (Future Systems). Image © Ken Lee

Linguistic Definition Reflection can be defined as the

| refraction | Iridescence |

return of light from a surface. It is the process by which light and heat are sent back from a surface and do not pass through it. Reflection could be used in architecture to merge spectator and spectacle, as images of the user and the environment

the building, but also offers in-

ly, everything that bounce back

tive and emotional information

are reflected by the building,

teresting views for those inside.

at human could be defined

from several sources: visual, au-

as reflections — light waves,

ditory, kinesthetic, and tactile.

challenging our perception of

sound waves, even human’s

Reflection could also mean ap-

help in creating iconic archi-

Philosophical Definition

thoughts. In other words, re-

plying what we're familiar with

tecture, thus materials such as

Reflection comes from the Lat-

flection can refer to the aware-

to contexts beyond the original

glass and metal have been inno-

in reflectere, made up of the

ness of human’s own thought,

situations in which we learned

vatively transformed to create

prefix re-, "back," and flectere,

knowledge, assumptions or

something.

crystalline images. Reflection

"to bend." So it's bending

past experiences. Reflection

is not limited to those outside

something back. Philosophical-

involves drawing forth cogni-

space. Light and brilliance could

Façade with curved glass elements at Prada Aoyama, 2003, Tokyo. Architects: Herzog & de Meuron. Image © Yen-Chi Chen

R E F L E C T I O N

Case Studies With the locus of meaning in

heim Museum Bilbao into an

architecture shifting from the

urban jewel. In this case study, a

internal space-form towards

dynamic composition of forms

the external surface, large glass

has been created with reflec-

facades have been transformed

tion. Paul Andreu also used

to free-form glass skins, which

shiny titanium skins to cover

means the environment is not

the monumental dome of the

appreciated as a clear mirrored

National Grand Theatre of Chi-

picture anymore, but instead

na and heightened the effect

goes through a process of mod-

with a surrounding reflecting

ification and reproduction. In-

pool to stand out against the

diffuse reflections of the faรงade

Hall by Herzog & de Meuron in- cave and convex building forms,

wardly and outwardly curved

nearby ancient red walls of the

cladding leads to an abstract

troduces a linear interpretation and reflective curved faรงade

glass elements at the Elbphil-

Forbidden City. Another case

transformed image, which is

of light reflections. The surface elements. Thus new landmarks

harmonie in Hamburg by Her-

that shows the interaction of ar-

primarily determined by the

gives brightness to the building will continue to reach for inno-

zog & de Meuron distort the

chitecture with the fascinating

brightness and colour of the sky

which is set in stark contrast to vative combinations of material

perception of the surrounding

metal reflection is the Selfridges

and neglects any clear mirror

the dark perforations and areas and form to create brilliant veils

environment including city, wa-

Birmingham department store

effects of the neighborhood.

where the bands leans toward and a bright urban future.

ter and sky. The American archi-

with a dense mesh of 16,000

In contrast, the stretched met-

the ground. Shimmering veils

anodized aluminium discs. The

al gesture at Messe Basel New

show the combination of con-

tect Frank Gehry used titanium

Aluminum sunshades at South Australian Health and Medical Research Institute, Adelaide

Reference: https://www.vocabulary.com/dictionary/reflection.http://www.ascd.org/publications/books/108008/chapters/Learning-Through-Reflection.aspx. www.archdaily.com.

| refraction | Iridescence |

Reflections on titanium faรงade at Guggenheim Museum Bilbao, 1997

cladding to turn the Guggen-

F O R M

a simple shape inspired by an orange square star named MWC922. Nowadays it can barely be seen in urban since its light is weaker than other normal round stars

2D to 3D

devide into 4 parts and create circulation

rotate to create underground area

detail development Fugia veVoloreEheAlit ab idiorit, eatiandiam que eratis eum quo quas aut ad ut at magniendis aliquam a verum int moluptates sust labo. Parum as

small holes representing stars / light experience

windows facing surrounding buildings / reflection from buildings

underground educational zone raise the awareness of urbanisation issues

main entries

spatial development

reading / relaxing space

Fugia veVoloreEheAlit ab idiorit, eatiandiam que eratis eum quo quas aut ad ut at magniendis aliquam a verum int moluptates sust labo. Parum as

exterior - uni wayfinding info wall

form exploration and development |

form development

node

F O R M

| idea transforming to 3D model of Light Pavilion |

| masterplan |

F O R M

| section elevation 1 |

| section elevation 2 |

F O R M

concrete roof

glass facade

ground floor: reading / relaxing space

| exploded perspective |

concrete wall (uni wayfinding info wall)

floor - ground floor

stairs basement: educational zone / exhibition room concrete wall - underground

floor - underground

| darkness | shadow |

O p a c i t y

Linguistic Definition In the literal sense, opacity can be defined as the quality or state of a body that makes it impervious to the rays of light. An opaque substance transmits no light, and therefore reflects, scatters, or absorbs all of it. Therefore, darkness or shadows are largely opaque to opacity. Dybkær Church, Silkeborg, Denmark. Architecture: Regnbuen Arkitekter. Image © Henry Plummer 2010

Hyvinkää Church, Hyvinkää, Finland. Architecture: Aarno Ruusuvuori. Image © Henry Plummer 2009

Philosophical Definition Light and darkness are basic natural phenomena as well as symbolic or metaphorical meanings that are often equated with the pairs of Being and Non-Being, primordial chaos and world order. Yin and yang could be a metaphor for

Nordyjllands Art Museum, Aalborg, Denmark. Architecture: Alvar Aalto, Jean-Jacques Baruël. Image © Henry Plummer 1995

opacity and light. Opacity is associated with qualities relating to coolness, shadow, downwards movement, interiority, receptivity, tranquility, stillness and completion. Light embodied brightness, upward movement and stretched to include ideas of dyna-

mism, exteriority, arousal, and beginnings. Shadow cannot exist without light and light can only be more attractive when shadow exists. When Yin and Yang, shadow and light interact with each other, new things will be generated.

O p a c i t y

Pirkkala Church, Tampere, Finland. Light sequence on altar wall

Dybkær Church, Silkeborg, Denmark. Architecture: Regnbuen Arkitekter. Image © Henry Plummer 2010

kær Church by Regnbuen Arkitekter. Whiteness could make sure the limited daylight can be fully used and in the meantime produces an intensity of light always greater than that outside. The Paimio Sanatorium in the 1930s by Alvar Aalto shows the concept of white diffusion. Shades of white cover the el-

ements of the building, “the pulse of nature with vibrating patterns of light or the transiency of dramatic light and shadow belong to the distinctive Nordic light approach as well”. Characteristic light patterns will be presented by time concepts in many religious buildings, where altar acts as a canvas for the richly contrasting sun-

light projections and glass acts as a lens and as mirror. As Aarno Ruusuvuori’s iconic understanding of the interpretation of sunlight: “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.”

Reference: https://www.heavenlystaracupuncture.com/blog/2018/2/9/yin-yang-theory-the-dance-of-light-and-shadow. www.archdaily.com.

| darkness | shadow |

Case Studies Since white surfaces offer a high reflectance, whiteness is always a central aspect of how Nordic architects responded to their local environment. Brightness interacts with darkness in winter in order to to counterbalance the long and dark winter days. Directions daylight enters the buildings are also adjusted to the side instead of above in order to adopt to the unique light situations in Scandinavia. The design approach of the historic white architecture found in Denmark´s medieval churches still impacts some modern sacred buildings, such as the Dyb-

| Aerial view - day + night |

M a t e r i a l

day view

night view

M a t e r i a l

uni wayfinding information

| Exterior views |

wayfinding wall

| Internal views |

M a t e r i a l

basement - educational zone

ground floor : reading / relaxing space

M a t e r i a l

| Internal views |

basement: educational zone / exhibition room walkway between building

M a t e r i a l

| construction detailing |

LED media lighting

translucent acrylic sheet, 95mm

ground floor light benches (night view from ground floor)

stainless steel fixing

(day view)

ground-floor light benches act as lighting for basement(night view from basement)

translucent acrylic sheet, 95mm

concrete slab

(day view)

LED media lighting

M a t e r i a l

stainless steel splice plate

laminated glass

stainless steel splice plate (installed to concrete slab) stainless steel grillage aluminum profile LED media lighting

| construction detailing |

cast stainless steel bolted connection

glass facade

F i l t r a t i o n

| diffusion | porosity |

View looking south to “upwardly springing” waves of light. Church of Saint-Pierre, Firminy, France. Image © Henry Plummer 2011

what is wanted and give up what

Case Studies In Le Corbusier’s three sacred

colours are interacted with light

decider, then the filtration is the

buildings, it has been proved that

which expresses an exceptional

measurement for the user to

orientation, openings and textures

sensitivity. It seems that his posi-

consider what is desirable, what

with daylight can be designed to

tion as an outspoken agnostic is

is unwanted. Therefore, filtra-

create kinetic architecture, which

very “ambivalent in combination

tion itself wouldn’t make any de-

could reveal distinctive and indi-

with his desire to open the soul to

cisions about what to keep and

vidual approaches that each ren-

poetic realms”. The idea of “using

what to remove, the one who

der contemplative spaces with

light to consecrate the natural uni-

builds and uses the filtration has the ability to control the whole process and decide the result. Filtration can therefore remove positive things and keep negaLinguistic Definition

reflected from the surface re-

tive things. Thus the real ques-

Filtration is a process used to

gardless of the filter construc-

tion is never whether a filtration

separate objects using a filter

tion and a small portion of the

should be used, but what results

medium that allows the objects

light is also absorbed.

the users might decide to keep,

to pass through but not the unwanted part. Light can also be

good or bad. Whether the filtraPhilosophical Definition

filtrated. In any filter, a small

Philosophically, filtration can be

amount of the incident light is

defined as a process to keep

light. In his sacred buildings, the

is unwanted. If the user is the

tion is good or not depends on users behind it.

F i l t r a t i o n

The lovingly cadenced beats have

The north wall connects the two

the heavy roof. It creates a harsh

the intonation and flow of music

golden lines and with the falling

contrast to the glow of the vertical

– not orchestral music, but chant-

sun the line slowly moves upward.

brise-soleil at the southeast cor-

like sounds, whose tones help to

The dramatic atmosphere in-

ner. In comparison to Ronchamp,

draw people further into a con-

creases till the moment when the

the light orchestration at La To-

templative state.” Falling sun is

golden light hits the slight upward

urette is more complex and widely

another significant element that

tilted roof plane and grazes over

dispersed. Its rectilinear geometry

highlight the light choreography

the tactile ceiling of prefabricated

also embodies a clear counter-

in La Tourette's church. All the

slabs. It enhanced the character of

point to the poetic forms of Ron-

drama begins with the sunset. A

the building and also celebrated

White light and black shadows on east façade at midmorning. Chapel of Notre Dame du Haut, Ronchamp, France. Image © Henry Plummer 2011

champ and Firminy. In this way,

crack atop the west wall draws

Le Corbusier’s consciousness of

verse” comes from a deep fascina-

tre Dame du Haut at Ronchamp

diverse light experiences would

warm lines along the side walls.

the cosmic power of light.

tion for Henry Plummer regarding

(1950-55) comes, for Plummer,

be provided by corridors and dif-

the transformative power of light.

from the continuous circle of so-

ferent

Like he said, “instead of serving as

lar events. The reddish morning

Plummer notes when he observes

a tool of religious persuasion, as

light from dawning sun illuminates

the corridor to the atrium: “Unlike

it generally has in the past, light

the alcove of the side chapel and

the repetitive rhythms of windows

has become a quiet force to vi-

turns the red-painted void even

and columns in traditional church-

sually resist and elude, erode and

redder, creates a clear analogy to

es, these fluent rhythms are aperi-

outshine, the Church´s mandate”.

human birth. The small horizontal

odic, based upon intervals of light

In another case study, the main

crack of ten centimetres is a clev-

and transparency that gradually

characteristic of the Chapel of No-

er designed element to lift the

compress and expand in waves.

window

arrangements.

Corridor to atrium cadenced with sunshine in late morning. Monastery of Sainte Marie de la Tourette, Éveux-sur-l’Arbresle, France. Image © Henry Plummer 2011

image reference: www.archdaily.com.

| diffusion | porosity |

roof from the wall and “lighten”

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