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Digital Design - Module 01 Semester 1, 2018 Jack Le Riche 837173 Han Li - Studio 16

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)

Diagrams are different from symbols, icons and indexes because they do not depict their dynamic object. Symbols, such as a national flag, convey their meaning through learnt cultural norms. Conversely, icons share a resemblance to what they depict, such as a religious image or a pedestrian crossing sign. Whereas indexes record data from their dynamic object, e.g. a speedometer. Rather than depicting their dynamic object, diagrams mediate between physical and abstract space on an organisational level. Their ‘dynamic object’ usually describes a specific space, the diagram being an organisational tool that describes relationships and defines performances in that space.


Week One

Precedent Analysis

Clockwise from left: Tracing of section, frame of pavilion, cladding of pavilion.

Fig 1. Unknown, Peter Zumthor’s Serpentine Pavilion, 2011. Serpentine Gallery, London. courses/ARCH20004_2018_SM1/Zumthor%20Image%2001.jpg

The simplicity of the pavilion’s structure meant that the whole frame could be constructed using the section provided. After tracing the section, the whole frame could largely be generated using the array command. Cladding was then put over the frame based on images of the completed structure.


Week Two

Reading: Hertzberger H. 2005. The in-between and The Habitable Space Between Things, from Lessons for Students in Architecture. Herzberger discusses 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)

Peter Zumthor’s 2011 Serpentine Pavilion embodies some of Herzberger ideas that spaces should be flexible, allowing people to appropriate space in a way that they are most comfortable with. This approach is most evident in the distribution of openings as a person moves through into the central garden. They may choose to experience the space by passing through the most direct route to the garden, or they may circulate the interior corridor, passing though one of the four doors into the central garden. Flexibility of the program has also been considered as the central courtyard may be used for individual contemplation of the garden along the bench, or there is space the bring in small tables and chairs for groups to experience the space together.


Week Two


Isometric Modeling the structure rather than just the overall form of the pavilion helped to re-enforce its minimal and symmetrical nature. Its simplistic structure has been layered underneath the black façade, ensuring this detail does not overwhelm the pavilion’s dark form. The exterior paths have also been modeled to provide context to how the pavilion is approached, emphasizing its ominous exterior. It is clear the pavilion has multiple thresholds, each helping to remove a person from their immediate environment and contemplate what is within. Each threshold is located when there is a change in the lighting conditions; with the pavilion’s dark form helping to emphasizing these thresholds. Firstly, occurring when moving from the exterior to the interior, then secondly along a more gradual change as one approaches the central garden. Furthermore, the circulation reflects the internal focus of the pavilion as it guides one around the pavilion rather than through it. Hence, the continuous form of the internal corridor and courtyard surrounding the central garden. To summarise, the key concept of this pavilion is to provide a space for contemplation that is removed from the outside world. With the thresholds, circulation routes and enigmatic form of the pavilion aiding in that process.


Week Two Diagrams



The circulation diagram aims to emphasise the continuous nature of the internal corridor and courtyard, guiding one around the pavilion rather than through it. With an inclusion of a dotted line representing areas for contemplation.

The threshold diagram reveals shifts in lighting conditions; demonstrating where major thresholds lie. From the more dramatic changes that occur within the internal corridor, to the gradual shift in lighting conditions, revealing the bright central garden within the dark form of the pavilion.




Schematic Diagram - Thresholds - Light

Schematic Diagram - Circulation

Developing ideas to represent light intensity by using a gradient.

Developing circulation routes, differentiating between routes by using colour


Appendix Process

Schematic Diagram - Thresholds - Halftone

Schematic Diagram - Thresholds - Shading

Using a halftone rendering technique to show shifts in lighting conditions.

Using a darker method of shading to differentiate between the internal corridor and the courtyard.




Threshold Diagram in Illustrator - Gradients Using gradients in Illustrator to represents the shifts in lighting conditions through the pavilion. Decided to use a halftone pattern instead because there wasn’t a clear enough distinction between the internal corridor and courtyard.


DD: Module 1 Journal  
DD: Module 1 Journal