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Digital Design - Module 01 Semester 1, 2018 Amelia Wells

912256 Chelle Yang, Studio 2


Week One

Reading: Zeara Polo, A. 2010. Between Ideas and Matters.

According to Zeara-Polo, the diagram does not play a representational role in the design process but provides an organisational and can have a performative quality depending on how it is deployed. Explain how Diagram is different from Signs and Symbols? (100 words Maximum)

Zeara-Polo praises the way in which a diagram can stretch beyond representational architectural drawings. Rather than representing a set and concrete situation, a diagram can be used to define relationships and to prescribe the performances of a space. A diagram differs from an icon or symbol in that it does not have a set formal representation. For example, a symbol is a sign which refers to dynamic content through a formal representation. However, the symbol is not necessarily bound to this dynamic content, because its materiality has no correlation to its content. It is only a sign which represents something - there is no relationship between form and content. A symbol can only go so far as to represent and ‘mediate’ the gap between drawing and realisation. Thus, diagrams are different because they are personally interconnected with the data, and their performance depends on how they are deployed. The way a diagram is presented has strong effect on the way the content is presented, and diagrams can help to ‘project’ an architectural drawing by conveying sensation, mood and tone. It extends beyond a pragmatic need to simply represent, but furthermore allows us to organise, categorise and prioritise key conceptual information.

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Week One

Precedent Analysis

Top left: Elevation Top right: Plan view Bottom left: Isometric view Photograph: Deleu, Sylvain. Serpentine Gallery Pavilion 2002 / Toyo Ito + Cecil Balmond + Arup, 2002, photograph. Accessed 9 March 2018, https://www.archdaily. com/344319/serpentine-gallery-pavilion2002-toyo-ito-cecil-balmond-arup/.

As this pavilion is a rectangular prism, modelling it in Rhino was a relatively clear cut process. Using the provided plans and elevations, I built up each wall individually - then I aligned each wall with its adjacent sides to ensure that each of the structural steel lines were matching up. Once all edges were aligned, I extruded the linework and then generated planar surfaces to create the solid cladding and glazing. I applied a material texture to distinguish the glass.

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Week Two

Reading: Hertzberger H. 2005. The in-between and The Habitable Space Between Things, from Lessons for Students in Architecture. Herzberger discuss how design should not be extreme in its functionality. Use your precedent study to explain how the pavilion allows for an appropriation of use. (100 words Maximum)

Herzberger strong advocates for architects to consider the multiple uses of space. He suggests that giving a space flexible functionality can transform the way users interact with the space, and extend its life and purpose far beyond the original intention. Herzberger particularly analyses the concept of thresholds, and suggests that by including ‘affordances’ and multiple uses, we can soften these thresholds and invite people of varying purposes and intentions to explore the space. In the Toyo Ito Serpentine Pavilion, the entrances are cut straight out of the geometric steel structure - this cave-like entrance invite us to consider the building as an almost organic extension of the surrounding gardens, rather than an exclusive building. To further this, small alcoves are recessed into the walls, allowing curious people to sit, lean or climb into these spaces. This provides multi-functionality for groups of people (e.g. families) who have differing needs - each can find their own interest. Furthermore, the cut out glass panes help to create an interaction between the inside and outside world. This allows us to consider the natural landscape, and see it from different ‘frames’ through the geometric cut outs. In this sense, the pavilion - although primarily an area for sitting and social gathering - is able to extend far beyond its contained square floor.

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Week Two

Isometric

Toyo Ito Serpentine Pavilion This pavilion was very interesting to model in Rhino, as in the beginning, I often stumbled upon small inconsistencies due to error and it made it reflect strongly upon the importance of detail and accuracy. The geometric design was based on the process of algorithm expanding and rotating a square to create a flower like geometric pattern, which was wrapped across the building. This made me realize that in this concept, everything was perfectly aligned and there for a reason - there was no room for error. It was interesting to consider threshold, as I previously would not have considered threshold much further than being used to define the outer boundaries of a space. However, I have realized thresholds can form within a space - even if only subtle thresholds due to furniture placement or raised platforms. They can also form within the actual structure - for example, some glass panes were adjusted so people could climb into the actual steel framework. Finally, sunlight and windows can open up a building, and help bridge the gap between the built and natural environment. In this sense, although this pavilion may have a simple cube form, the details within the way it considers structure makes it a very interactive space. A simple flat roof is transformed into a thousand different universes, as one can look up and see all the different skies peaking out of each glass pane.

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Week Two Diagrams

Circulation paths (primary and secondary)

Glazing

Primary circulation space

Solid cladding Secondary circulation space (spaces of repose)

Base structure Base and structure

Circulation

Thresholds

This diagram communicates the flow of circulation throughout the pavilion. The primary circulation identifies the main paths of movement throughout the space, and is shaped by the entrances and the spaces of repose. The secondary circulation enters the space of repose - where the chairs, tables and catering services are located, and where circulation takes less defined characteristics.

The thresholds of this space can be quite clearly divided into three. The structural component influences the unique geometric shapes of the solid and glazing components. The solid cladding defines the space, dictating where the entrances go and thus influencing movement. The glazing further shapes user interaction by opening up the space and connecting the space to the surrounding gardens.

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Appendix

Process

The first step was to trace the linework on the given plans and elevations. I sectioned off each wall/plan into separate layers.

Here, I pieced the framework together threedimensionally. I then ensured all the linework aligned with the adjacent sides and the roof.

Here, I separated each side again so I could individually extrude the steel framework, and then build up planar surfaces for the cladding.

This image shows the process from structural framework to solids to the final completed building. As I progressed, I always made duplicates in case I had to backtrack.

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Appendix Process

In order to generate the Make 2D images, I broke down each of the elements of the pavilion and created separate images. I then pieced them together accordingly in Illustrator, so that I could more easily identify and fill in the shapes.

This image shows a completed, rendered view of the pavilion.

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Appendix

Process

Here, I experimented with different ways of representing my Make 2D isometric view. I decided on the bottom picture, as the other two made it difficult to distinguish it as a three dimensional shape. It also makes the spaces for glazing more visible.

This is another version of my circulation diagram, which I considered because it more strongly demonstrated how the primary and secondary spaces ‘sandwich’ together. However, I felt the other diagram more clearly reflected how the primary circulation is shaped by the ‘spaces of repose’, which was more relevant.

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M1 Journal | Digital Design 2018  

Amelia Wells 912256

M1 Journal | Digital Design 2018  

Amelia Wells 912256

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