Rep2-18 Light As Movement

Zviko Kutsanzira

| | Rep2 18

||

Structures of Light

| | Light As Movemnt

contents.

location SITE PLAN PROPORTION STUDY SITE DESCRIPTION LIGHT STUDY 1: LUMINOSITY

02 02 03 05 07

concept

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IDEA GENERATION CONCEPT RENDERS LIGHT STUDY 2: REFLECTION LIGHT, VISION AND FORM STUDY

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form

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study

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FINAL DESIGN SECTION DRAWINGS CONSTRUCTION AND MATERIALITY RENDERS

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LIGHT STUDY 3: OPACITY LIGHT STUDY 4: FILTRATION

27 28

142,600 mm

37,200 mm

42,500 mm

site analysis

1.

winter - 3aM

shadow study.

Pedestrian Movement

winter - 12aM

Pedestrian Movement

winter - 9aM

composite diagram

SUmmer - 9AM

SUmmer - 12pM

figure ground

2.

1

Proportion study.

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This proportion study showcases my own findings for each of the site buildings. These proportions were derived by outlining the overall elevation of the building and then highlighting certain parts of the building that would correspond and match with the rest of the elevation.

Elevation ratio: 14/4 = 3.5

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0.5 0.5 0.5 0.5 0.5 0.5 0.5

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1

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4

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barr smith library.

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4 1.5 1.5 1.5 1.5

maths/engineering building and ingkarni wardii.

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the braggs and molecular life science building.

4.

SITE DESCRIPTION. 3dviews.

ground view.

The site is very open, with benches flanking on both sides of the lawn. Trees provide light shading for the nearby benches. The space is usually populated during the hotter months and events are held on the lawn.

arial view 1.

ambient light study. light study, night.

light study, day.

light study, day.

arial view

light study, night.

6.

luminosity. linguistic definition Luminosity is by definition the occurrence of light – the intrinsic brightness of an object. The term “luminosity” can be attributed to an object that is able to emit observable light. Derived from the French word luminosite – meaning the quality of being luminous.

Philosophical meaning When we observe all the times luminosity or light has been described throughout the history of man – we see that it has always held a more meaningful definition.

Since the very beginning humans made the connotation that light is intrinsically good, and darkness is bad - weather that was through religious teachings passed down or Neanderthals creating fire – a sort of light. Where light is found – progress and life are found, and the Absence of light was often referred to as the “place of the dead”. Even in our modern day having a “radiant” or “illuminated” face is a sign of good health – further giving luminosity a positive connotaAtion to whatever it is related to. Different cultures also interpreted luminosity with their own world views, early Buddhist’s viewed luminosity as an experience of consciousness rather than just a mere characteristic of a minds potentiality and it can “rise” as the levels of one’s consciousness dissolves. On the other side of the world luminosity was perceived as a shift in intellectual philosophy – such as in the age of enlightenment seen in Europe in the early 18th century. Light is good – it is seen as the truth and the absence of it is evil.

the architectural lighting of zaha hadid The perception of light and understanding has slowly shifted throughout history.

Architecture as a whole also reacted to the world views that were formed as each culture defined for themselves what illumination meant to them. The realization of theories such as the germ theory that illuminated people of the dangers of dark damp spaces caused architecture to also bend to the perception of light - Early modernist architecture such as le Corbusier’s villa Savoye which were built paying special attention to light. As time and technology advanced and stylistic movements in architecture evolved, architects incorporated light and the concept of luminosity even more thoughtfully into their projects. In the case of a young Zaha Hadid, her projects used light as a means of accenting her buildings, in the cause of the Vitra fire station light is used as a lucid expression of tension and movement. The light is non-intrusive and continuously follows the rhythm of the architecture. In her later projects there is a shift in the use of light. Originally used as a grace element per say, it takes a more direct role as the built forms change – from dramatic concrete shapes to fluid seamless movements we see light and luminosity being a forefront in the new movement. The Guangzhou Opera house showcases this shift – the design of the entire auditorium is driven by fluidity and seamlessness and the ceiling is fitted with thousands of pixel lights to simulate the feeling of a starry night. These light patterns continue throughout the structure covering balconies and entrances, its intricacy evoking impressions of waterfalls. Looking at Zaha’s overall projects we see a shift in the use of light. As interpretations of light in relation to architecture changed throughout her career we see light moving from initially being a tool to aid the expression of form into a more comprehensive integration of light.

7.

christian richers

christian richers

christian richers

christian richers

8.

concepts.

idea generation.

A

B light moving in a linear line

light interacts with object: breaking continuity.

forming pathways of movement. idea A

A

idea B

B

A

forming shapes - reinforcing disorientating movement of light.

using pathways of movement to create spaces

concept section

9.

B

floor spaces // spaces for movement.

A

B

point of entry.

exit.

plan view.

elevation.

This space features and plays with the notion of looking at movement through light. The space starts linear at the entrance. As you move deeper in and the surroundings begin to affect the light – distortion occurs. Being led by the light, occupants lose themselves in the disorientating structure until they find themselves through the structure – having experienced the distorted and sporadic movements induced by light. concept perspective.

10.

concepts.

concept perspective

This concept was derived from the light-movement metaphor. It places emphasis on the journey one would have as they enter the space through its exaggerated proportions that assistance the architecture's movement.

The space has rooms and corridors one would find as they start to venture into it that would be places of closure amidst the distortion of the surrounding structure.

concept perspective

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12.

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concepts.

This concept while being derived from the light-as-movement metaphor, it focuses more on the movement all people would have with the object.

Having sections where people will need to contort and bend their bodies to endure shows how light continues to move forward despite what it may run into.

14.

reflection. linguistic definition Reflection can be defined as the act of casting back a light or heat signature without absorbing it. The word is derived from the late Latin word reflexionem – literally a “bending back” or a “reflection”.

Philosophical meaning The philosophical definition of reflection takes after the meaning of the literal definition – but now its not a physical ‘bending back’ but a philosophical. To reflect philosophically is the act of utilizing the tools we find in philosophical concepts and ideas to examine our own lives and the beliefs that construct our world. The climax of reflecting inwardly is to reach a state where one can balance their life in a positive manner by being able to deduce and remove the unwanted or negative aspects of their life. Being able to build on previous events, actions or decisions is essential.

Philosophical reflection is often open ended – with everyone having a different outlook and view. This difference in perception however allows us to be able to see a large variety of outlooks on the same matter which broadens the general understanding of a matter by viewing all possible angles of perception.

Reflective facades in Modern Architecture Previously we had observed how modernism as a movement incorporated of light into architecture, which spawned a series of buildings that featured large glass facades. This new direction was a response to new knowledge that supposed the use of large glass openings – to create healthier spaces, accompanied by the belief that light and brilliance would help create iconic architecture. However, the monotonous glass facades that resulted from this new ideology left the public wanting. There had to be a shift so that architecture wasn’t solely concerned about internal-space forms. The result was a new paradigm that explored the possibilities of transparency, reflectivity and materiality. Herzog & de Meuron’s elbphilharmonie building in Hamburg stands as result of this glass exploration. The interior and exterior glass elements bend and distort its surroundings – what was originally a uniform city is reflected through this buildings character and the output is a modified picture of what the sky, city and water look like. Perhaps one could say this building’s façade borrows on the philosophical meaning of reflection. Being able to take in a world view – in our case its surroundings and then repurpose them with its own materiality is in a sense what it means to reflect philosophically. Another interpretation of glass and reflectivity was seen through Frank Gehry’s titanium cladding on the Guggenheim museum Bilbao. Gehry used titanium’s sparkling qualities to create a form that seemed to change appearance – creating a dynamic composition that varied depending on its surrounding weather. The building gives off a subtle corrugated look as the thin titanium sheets reflect light. In a society that is now unmoved by shadows or simple mirror effects, architecture responds to this shift to evoke attraction through pushing the limits of reflectivity. New built forms will continually explore new possibilities and twists as our expectations change.

15.

arthor ortiz 1994

arthor ortiz 1994

arthor ortiz 1994

mary ann sulivan 2005

16.

Light, vision & FOrm Roger Bacon (D. 1292 AD) Roger Bacon – born 1220 was an English Francisan philosopher and educational reformer who was a major propagator of medieval science. Bacons most noteworthy philosophical and educational achievements were in the fields of mathematics, language studies and natural sciences. “Bacon was convinced that mathematics and astronomy are not morally neutral activities, pursued for their own sake, but have a deep connection to the practical business of everyday life. Bacon was committed to the view that wisdom should contribute to the improvement of life.

For example, his extensive works on the reform and reorganization of the university curriculum were, on the surface, aimed at reforming the study of theology; yet, ultimately, they contained a political program whose goal was to civilize humankind as well as to secure peace and prosperity for the whole of the Christian world, both in the hereafter and in this world.” (zorn 2018) “Bacon’s projects spanned many topics, but perhaps his most noted projects were those that investigated optics and the refraction of light through lenses, leading to the development of spectacles. Drawing on the works of Islamic researchers, he researched the entire field, from how the brain interpreted light and distance to how this could be corrected or enhanced using lenses and mirrors. Although he never created an actual optic lens, it was his research that led to the creation of modern corrective lenses about three centuries later in Europe.”

ISAAC NEWTON (D. 1727 AD) “Born in 1643 in Woolsthorpe, England, Sir Isaac Newton began developing his influential theories on light, calculus and celestial mechanics while on break from Cambridge University. Years of research culminated with the 1687 publication of “Principia,” a landmark work that established the universal laws of motion and gravity. Newton’s second major book, “Opticks,” detailed his experiments to determine the properties of light” Sir Isaac continues his now obsessive conquest on truly understanding light. In his efforts he starts to experiment with both his body and experimental objects. He refracts white light with a prism, resolving it into its component colours: red, orange, yellow, green, blue and violet. In the late 1660s, Newton starts experimenting with his ’celebrated phenomenon of colours.’ At the time, people thought that colour was a mixture of light and darkness, and that prisms coloured light. Hooke was a proponent of this theory of colour, and had a scale that went from brilliant red, which was pure white light with the least amount of darkness added, to dull blue, the last step before black, which was the complete extinction of light by darkness.

Newton realizes this theory was false. Newton set up a prism near his window and projected a beautiful spectrum 22 feet onto the far wall. Further, to prove that the prism was not colouring the light, he refracted the light back together Webexhibits.org. (2018). Newton and the Color Spectrum. [online] Available at: http://www.webexhibits.org/colorart/bh.html [Accessed 7 Sep. 2018].

Zorn, M. (2018).

Roger Bacon Inventions and Accomplishments - Vision Launch. [online] Vision Launch. Available at: http://visionlaunch.com/roger-bacon-inventions-and-accomplishments/ [Accessed 7 Sep. 2018].

Biography Online. (2018). Biography Sir Isaac Newton |. [online] Available at: https://www.biographyonline.net/scientists/isaac-newton.html [Accessed 7 Sep. 2018].

17.

roge

er bacon

isaac newton

roger bacon - optic study

roger bacon

18.

final design.

concept version 1

19.

concept version 2

The form is split into four components, the primary portion being the above ground structure. The above ground portion features shading as people traverse over the form. Seating has also been accounted for, as there are bench cut-outs into the form allowing visitors to sit and enjoy the structure above ground. These outer protrusions were the result of abstracting the nature in which light moves, with the intent of making a physical representation of light as it moves through space.

The first lower level which is a multi-function space fitted with seating arrangements features an abundance of glassed fenestrations, allowing for ample light to enter the space. The floor of this level also features the glassed perforations, these acting as the primary light source for the level underneath it. The aim was to make a space that continually chances, not only during the day but as you go further down. Patterns shift as sunlight enters the glassed fenestrations and shine onto the exposed concrete walls.

There is a main circular opening that runs through all three underground levels, ensuring an abundance of natural light. The second lower level serves also as small work space, the abundance of light ensures a comfortable unique working space.

The third lower level is the designated exhibition room. This space also receives natural light from the circular opening which floods the room with ambient atmosphere. .

final design

movement diagram

20.

Section Drawings.

site plan. 1:200

-1 lvl floor plan. 1:100

-2 lvl floor plan. 1:100

-3 lvl gallery floor plan. 1:100

north-south section 1:100

south-north section 1:100

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north elevation section 1:100 west-south section.

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construction and materiality.

toughened glass concrete roof

in-situ reinforce structure

metal handrail f

waterproofing metal rods wooden stairs

The materials used throughout the structure were kept simple, easily accessible and constructible. The interior has a raw concrete finished that helps create a raw, rich a mosphere and also capturing shadows and light it passes through the glassed open

23.

s

e concrete

framing

d atnings.

The outer form is composed of an aluminium cladding with an inbuilt pattern. Specifically built to not only draw eyes towards, the form reflects all surrounding light.

24.

renders.

EXTERIOR view.

-3 LEVEL ROOM

25.

-3 LEVEL ROOM

These views show the reflectivity of the form above surface. Having a polished aluminium clad surface is a continuation of the metaphor of moving light.

Light can be seen moving as it reflects off the form. These renders also show how people would interact with the object. Being a source of shade, the form would also be a suitable place to relax and sit.

The interior renders capture the piercing light that enters the space through the several glassed fenestrations and the main circular opening. This flow of light helps to give the space character and atmosphere.

-2 lEVEL ROOM

26.

opacity. linguistic definition Opacity defined linguistically is the degree that an object is opaque. The word started seeing frequent use in the 1550s, derived from the French opacité which meant how dark or obscure something was. The literal use we see now which describes a condition of being impervious to light was first recorded in the 1630s.

Philosophical meaning

In a philosophical setting, opacity is viewed not so literally, but how obvious or transparent a person or a piece of writing is. Often, if a subject is viewed as opaque it is seen as being easier to understand or in some cases for the less intelligent. This is commonly seen in most advanced philosophical works were ideologies are often guised in mystery and overlapping ideas rendering them to the common man hard to view or of low opacity.

meaning in Architecture Opacity in architecture is frequently related to the amount of light that is present in a space. Light and its abundance in a space effects the architectural quality of a building greatly. As seen in most Scandinavian countries were natural sunlight is scarce in winter, Light is often welcomed. This relationship with light is usually more prevalent in religious buildings. Large white painted spaces and an abundance of fenestration makes sure that ‘whiteness’ is a central aspect of Nordic religious architecture. With such focus on space governed by the presence of light, Nordic architects also try to see how the absence of light can still convey a message. One example of this focus on shadow is the Pirkkala church by Kapy and Simo paavilaainen; Its multiple glass openings allow for shadows to reflect behind the alter, turning it into a canvas that shows the change in opacity as the seasons go by. Some architects however tend to steer clear from this direct focus of light and opacity, just as how some philosophical texts are opaque to the reader. Their reasoning is a different interpretation of light all together – believing that “Light originates from somewhere, but man does not need to know where.” Their focus isn’t on light being the sole focus point, rather it being a medium to create the feeling of a never-ending eternity.

27.

concepts.

henry plummer 2009

28.

filtration. linguistic definition Filtration is act of an object passing through a filter. This process of filtering often applies to liquids, light or gases. Derived from the french filtration circa 1600.

Philosophical meaning In a philosophical setting filtration is usually described as the way you perceive something. Removing a perception filter means to view something differently or in a new way.

meaning in Architecture

Due to the role light plays in built forms, ones of the religious context, Architects often tried to see what other meaning their use of filtration and light could evoke. In the case of Le Corbusier, he wanted light not to be used as a religious tool of persuasion, but rather as a force that resits, erodes and outshines the church’s mandate. With this mind set, Le Corbusier explored the use of skilfully arranging small and large openings that would allow his projects to inherit a sense of life – moving, breathing, shifting as the day goes. Le Corbusier’s church of Saint-Pierre at Firminy shows this attention to detail quite well; features windows on its eastern façade which generate remarkable light patterns on walls that shift in shape from small dots to beautiful waves of light.

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arthor ortiz 1994

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