Digital Design - Module 01 Semester 1, 2019 Jason Li

996169 Samuel Lato + Studio 17

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)

Signs and Symbols are interpreted and usually defined as a literal representation of objects or information, such as material haches and patterns, or museum-sillouette symbols used to representing museums. In contrast, Diagrams are quite different in terms of the information it may contain. Diagrams may often include abstract information such as time and movement, which are elements that cannot usually be seen or represented physically by any use of Signs and Symbols, hence it possesses organisational and perfomative quality.

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Week One

Precedent Analysis

Top left: the basic and very informative plan of the pavilion is used as reference in Rhino through the command “backgroundbitmap”

Top right: the cude and the spheres are intersected with correct measurements according to the plan.

Bottom left: this is the post-boolean difference view of the pavilion with some of its surroundings built.

Upon first glance, the Pavilion - Radix, by Aires Mateus - is very self-explainatory in terms of its geometry compositions. The form took on simple geometries such as a cude and spheres/ellipsoids. Thus, the pavilion was relatively easy to model on Rhino, adopting the command of “Boolean Difference”.

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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 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)

Herzberger suggests that a space is most efficient when its â&#x20AC;&#x153;accommadating potentialâ&#x20AC;? is maximised, and that there is a sense of contrain when a space is to only fulfil only one program. With regards to the Radix, the difference volumed vaults created by the spherical extractions allowed for a transition of intimacy from the smaller volume into the larger ones, and through this transition and thresholds, occupants will experience differently in each of the sections; the largest vault faces the water in the bay and hence appeals to a different usage when compared to the more enclosed vault that is ellipsoidal.

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Week Two

Isometric

Isometric view Although the modeling process of Radix was very selfexplainatory and simplistic, its isometric view is not very idealistic in showing off its features, as its extending corners usually blocks the view. As a solution, I chose to illustrate the hidden lines that carves the vaults, which provides the model with a more dominant sense of field, depth, and space. In addition, some of the pavilionâ&#x20AC;&#x2122;s surrounding is also modelled to indicate its connection to its setting context, which is mostly the water that it is interacting with. Through the construction of the model, its idea of circulation and threshold slowly presented themselves. The volume of the vaults gradually increase from the rear ellipsoid towards to vault situated before the water, creating a transition of space and thresholds in-between, and this also determined the major circulations of this structure. Moreover, the structure not only responds to the water, but also to the near by dock of Arsenale, which is flanked by arched walkways. This is also the key inspiration to this precedent project.

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Week Two Diagrams

Circulation

Threshold

The major circulation of the space is almost predetermined by the basic form of the structure. The arrows indicate the direction of circulatory behaviors.

The threshold in between the 3 key areas is shaded with a darker grey, indicating a transition of space and volumes.

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Appendix

Process

1. Using “backgroundbitmap” for accurate measurements of the actual plan.

3. Interior lines and patterns are created through the use of a series of lines and the “project” command.

2. Spherical volumes are created according to the radius and centre showed on the plan.

4. Make 2D views.

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Appendix Process

5. Make 2D views are imported into Illustrator in order to fix line weights.

6. The Illustrator file can then be opened with Photoshop to fill in colors and show a bit more materiality.

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Appendix

Process

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